Why didn't anyone write about pandas becoming spirits in Chinese mythology?
The panda turning into a spirit was a fictional plot with no scientific basis. The panda was a cute mammal-like animal, and it didn't conform to the laws of nature to say that they had evolved. There were many magical stories in Chinese mythology, but there was no plot about the panda becoming a spirit.
Why didn't anyone write a novel about going to the Mummy 3 and becoming the Dragon Emperor?
The story of the Mummy 3 Dragon King was not written because the theme of the Mummy 3 Dragon King was not officially recognized, so no author would try to write this theme. The copyright of the Mummy series belonged to Marvel, and Marvel had very strict control over the copyright. Each work had its own unique storyline and character setting. Therefore, the theme of the Mummy 3 Dragon Emperor was not recognized by Marvel, so no author would try to write this theme. Of course, if readers are interested in the story of the Mummy 3 Dragon Emperor, they can create their own related stories, but they need to pay attention to copyright issues and not violate the copyright of Marvel Corporation.
Why didn't anyone write a novel about firefighters?
Writing novels about firefighters is a very interesting topic because firefighters play a very important role in our lives. However, because being a firefighter is a very dangerous profession, writing novels about firefighters may face some challenges. Writing a novel about a firefighter requires sufficient detail to make the reader feel that the job of a firefighter is dangerous and requires a certain level of skill and knowledge. These details could include the firefighter's work processes, their training and equipment, and how they would respond in an emergency. Writing a novel about a firefighter needed to provide enough plot to attract the reader's interest. These scenarios can include various types of emergencies such as fires, explosions, chemical leaks, etc., as well as the challenges and difficulties faced by firefighters in dealing with these emergencies. Writing a novel about firefighters also needed to provide enough emotional elements to attract the reader's emotional resonance. These emotional elements could include the firefighter's family, friends, and colleagues, as well as the psychological pressure and sense of accomplishment they faced when dealing with emergencies. Firefighter was a very dangerous profession, so novels about firefighters needed to provide enough details, plot, and emotional elements to attract readers 'interest and make them feel the importance of this profession.
Why didn't anyone write a novel about transmigration?
Anti-Qing and Ming novels had a relatively small audience, but it wasn't as if they didn't exist. This kind of novel usually involved historical, political, emotional, and other factors. It required the reader to have a certain amount of historical knowledge and cultural background. At the same time, this kind of novel also had a certain degree of challenge. The author needed to put in a lot of effort in the plot, character creation, and story development. To write a novel about the rebellion against the Qing Dynasty and the restoration of the Ming Dynasty, the author needed to have strong writing ability and creativity, as well as a deep understanding of the historical and cultural background. If the author could skillfully use the historical background and characters to create a novel with a compact plot, deep character descriptions, and fascinating story, it might gain a higher reader evaluation and reputation. Of course, it was not an easy task to write a novel about anti-Qing and reviving the Ming Dynasty. It required the author to invest a lot of time and energy in research and creation. If an author was interested in writing this kind of novel, he could start by understanding the historical and cultural background to accumulate relevant experience and continuously improve his writing level.
Why didn't anyone write a novel about the tramp?
Tramp novels usually depicted homeless and destitute protagonists who were often in hunger, cold, loneliness, danger, and other predicaments. The audience for this kind of novel was relatively small because many people held a negative view of the image and behavior of tramps, believing that their behavior was irresponsible and immoral. In addition, homeless people usually did not have a stable job or residence, which would also affect the plot and character of the novel. In contrast, modern novels paid more attention to shaping the characters and plots, emphasizing the tension and conflict of the story. These novels had a wider audience, including people of all ages, and paid more attention to the plot and the development of the characters rather than just depicting a down-and-out image. To sum up, tramp novels had a relatively small audience in modern novels, and it was difficult to write stories that were attractive and intense. Therefore, modern novels such as romance, science fiction, history, and horror attracted a wider audience.
Why didn't anyone write novels about gods?
The Investiture of the Gods was an ancient Chinese mythological novel that mainly told the story of the rise of Jie School at the end of the Shang Dynasty. Jiang Taigong was the leader of Jie School, and the core of its teachings was the Investiture of the Gods. It was said that the list was written by Taishang Laojun, which recorded the locations and situations of all immortals, demons, ghosts, and monsters. In the novel, at the end of the Shang Dynasty, King Wen of Zhou, the leader of the Shang Dynasty, was killed by an immortal sent by the Tribe of Severity. King Wu, the son of King Wen of Zhou, inherited his father's throne and became the leader of the Tribe of Severity. Jie School rose up at the end of the Zhou Dynasty and fought fiercely with the forces of the Shang Dynasty and the Qin Dynasty. Because the content of the Investiture of the Gods had a strong mythological color and the novel had an important position in Chinese history, there were very few novels about this type in modern literature. Although the novel is still of great significance in cultural traditions, modern readers may have some difficulty accepting its mythological colors and historical background, so creators rarely choose this genre to write.
Why didn't they write novels about the Chinese giants in Serie A?
Serie A Chinese powerhouse was the name of a novel, but because the plot and content of the novel had not been clearly stated, it was impossible to determine why the novel was no longer written. Perhaps the novel is waiting for further plot development or is waiting for the story to develop and deepen. Or the novel may have been completed or is waiting for publication or release. If the book is waiting for further plot development, the author may use the title in future works or may use it as part of the title of the novel. If the book is finished, it may be that the book has decided to keep the name or no longer use it, or the copyright of the book may have been owned by another company or author, so it is impossible to continue writing. Serie A Chinese powerhouse was an attractive title for a novel, but the specific storyline and ending determined whether the novel would continue to be written.
Why didn't anyone write about the Shura Martial God Doujin?
Shura Valkyrie is a very popular online novel, but because the original novel is a manga, there may be some doujinshi creators who lack inspiration or don't know how to relate to the original. In addition, Shura Wushen's copyright has been purchased by the manga company, so he may not be able to freely create doujinshi works.
Why didn't anyone write base novels anymore?
Base novels were novels that revolved around the base. Such novels usually had elements of science fiction and fantasy. The base was a very important element. It could provide the base setting, technology setting, and character setting for the story. Although base novels were once very popular, with the continuous development of technology, people gradually realized some limitations of base novels. For example, as an independent location, a base usually required a large amount of resources and materials to maintain its operation, which was not possible in modern society. In addition, base novels often involved a large number of supernatural phenomena and magic, which were no longer accepted in modern society. To sum up, although base novels have many attractive elements, due to their limitations, very few people write base novels now. People preferred to explore more advanced technology and a more realistic future rather than going back to the past.
Why didn't anyone make a Chinese martial arts novel into a Chinese anime?
Chinese martial arts novels had a profound cultural heritage and unique artistic style, but there were certain challenges in making them into Chinese style cartoons. Here are some reasons: 1. Cultural tradition: Chinese martial arts novels contain rich cultural implications and traditional values such as respecting traditional culture, emphasizing loyalty and courage. The performance of these values in the animation needed to take into account the audience's psychology and cultural cognition, which required the creator to carry out in-depth thinking and exploration. 2. artistic style: The unique artistic style of Chinese martial arts novels usually described the grudges of the Jianghu and the loyalty of heroes. To integrate these characteristics into the animation, the creator needed to make a lot of adjustments and imitations, which might require a lot of effort. 3. technical requirements: The production of Chinese style animation requires certain technical requirements such as animation production technology, picture style design, etc. This required the creator to have a high level of technical level and production experience, but the theme of Chinese martial arts novels was more complicated and required a lot of modifications and adjustments, which might increase the production cost. 4. Target audience: Chinese martial arts novels usually target adult males, and their target audience is relatively clear. And the target audience of the animation was more extensive. They needed to take into account the preferences and needs of different audiences. In summary, to make a Chinese martial arts novel into a Chinese style animation, one needed to consider cultural traditions, artistic style, technical conditions, audience positioning, and many other factors. This required the creator to think deeply and explore. Even so, the production of Chinese-style cartoons had gradually risen and might become an important part of the Chinese animation industry in the future.
Why didn't modern people write classical Chinese?
Modern people wrote classical Chinese mainly because of its special history and usage environment. It was used for a relatively short period of time in Chinese history and was mainly used for written communication. In the development of modern Chinese, although classical Chinese is rarely used in modern literature, it still has a certain literary value and artistic value. Therefore, some people expressed their love for traditional culture and their unique pursuit of literature. However, it was not easy for modern people to write classical Chinese. The grammar and structure of classical Chinese were more complicated, and one needed to be familiar with the grammar and vocabulary of ancient Chinese. Secondly, the expression of classical Chinese was very different from modern Chinese. In addition, the use of classical Chinese in modern society was relatively limited. To sum up, although modern people have a certain degree of difficulty and challenge in writing classical Chinese, they can write excellent works of classical Chinese.