The sixth part has a total of 116 chapters, and for me, the overall completion has met my expectations.

When I was writing the fifth part, I said that the climax of the plot would be in the sixth part. Please note that I said climax, not **, haha, because I knew clearly at that time that the sense of excitement and explosiveness would be a little lacking. The most important thing is to give a strong sense of impact. When Amon mentioned Chernobyl and when the Chief said that Omybella had died long ago, I could clearly feel the joy that writing brought me.

Correspondingly, the subscriptions also exceeded 60,000, becoming the peak of the whole book, especially the Amon chapter, which reached a maximum of 63,000. As for the Omibella chapter, it was not 24 hours when I wrote the summary, so I couldn't give the results. I only know that the subscriptions reached 32,000 one hour after uploading.

These are the two peaks of the sixth part, one at the beginning and the other at the end, which just string the whole thing together. They are both the product of the complete ideas I had when I was writing the first part, or even before the first part, and the conscious laying of clues. One is something that was determined when setting the world view. When I typed the word "Scarlet" in the first chapter, everything corresponding to it was already in my mind. The other is the inspiration that gradually took shape when I started to write about the City of Silver and the Curse. Only then did I have the Harvest Church and Emlyn White. In fact, there are quite a few corresponding clues, which are relatively obscure, but there are also hints.

A lot of secrets were revealed around these two peaks. Generally speaking, there was no problem with this. The overall worldview began to take shape and had a relatively complete framework. In this way, I could smoothly unfold some information and clues about the Old Ones and the Outer Gods in the seventh part, and write about the story of the ancient sun god and his family. A family, uh, it seems very down-to-earth to describe it this way.

Speaking of the mundane world, we have to mention the issues of war and "justice" which many of our friends criticize.

When I was writing about martial arts, I finally developed a set of writing methodologies that suited me. But many things were still vague at the time. It was not until I started writing about mysteries and had corresponding experiments and gains that things became clear little by little, and I was able to summarize more things.

For me, the first and most important thing in writing is a very simple word:

Express.

What I want to express and convey is something I need to think clearly about before I start writing, and then make plot choices around it to ensure that the focus does not shift.

To put it simply, it can be described by a word that everyone hates: central idea.

So what do I want to express in the sixth part? First, it is the sense of impact brought by the two peaks. Second, the insignificance and helplessness of human beings in front of the gods. Third, even if you are as small as a moth, you must chase the light.

The second point is not unique to the sixth part. It is something that is inevitable in the K-series and K-like worldviews, the fear of the unknown, the insignificance in the face of the "unknown". Moreover, this is also in line with the straw in the second part.

So, when I was writing the sixth part, or even before the fifth part, I was thinking about what kind of plot I could use to support what I wanted to express so that it could be accurately conveyed to everyone's hearts.

If I were to write about the war in detail, the emphasis would become on various extraordinary abilities and battleships, machine guns, and cannons, which would be relatively fresh. I could also include sacrifice, passion, the cruelty of war and other deeper things, but this would deviate from the point I want to express, because since you have entered the battlefield, you will clearly understand the meaning and reason of death and survival, and there will be no feeling of being at a loss whether to live or die.

Similarly, the series has been describing extraordinary wars all along, and in the sixth part, it even begins to reveal the secrets of the Angel King and the gods. If it were to unfold into a full-scale war among humans, not only would the styles of painting be conflicting, but it would also be rather discordant.

Taking this into consideration, I said long ago that I would not write about the war in detail, but would focus on ordinary people in the war. Moreover, I deliberately blurred their faces and did not give them names. This is the reverse operation of the second part, The Faceless Man, in order to reflect the feelings of a large number of people and reduce the corresponding pain and sadness, focusing on confusion, numbness and bewilderment.

The only people with names are the landlord and his wife. That part deepens the pain and discomfort. Otherwise, Audrey's decision to kneel down and kiss her parents would not have enough power.

Originally, there was no need for Audrey to appear so many times doing charity. In order to strengthen the numbness, dullness, pain and confusion, I deliberately wrote it several times more. As a result, Audrey's inner changes were not reflected in those plots. It was a bit monotonous and repetitive. However, I didn't think there was any problem with her two subsequent conversations with Klein, her confusion for two different reasons, her decision-making behavior, and her manipulation after making the decision. It was not dragged out or cumbersome, and it had its own contradictions and corresponding plot tension.

In a nutshell, I combined Audrey's accumulation of inner strength, her own growth, and the insignificance of human beings that I wanted to express, and treated them as one thread. As a result, sometimes I was writing about her, but the real focus was not on her, making her a bit like a tool at certain times. This is probably the necessary duty and sacrifice of an "audience". Sigh, but I also thank everyone for their tolerance and support. At that time, the subscription basically did not drop, and it has been around 53,000. This allowed me to write calmly and calmly, and I could lay the groundwork for what I wanted to express bit by bit.

Finally, the Backlund battlefield unfolds from Audrey's perspective. It is to continue the changes in the war of gods and to put away the things that were laid out before.

When this audience member walked through the streets and alleys and went back home, and saw that everyone from the citizens to the nobles and even himself, the demigod, were equally confused and numb, and he sighed, "I don't know who caused the death, and I don't know why I was born," then I felt that the corresponding plot was not written in vain, and I felt that the plot that floated to the sky returned to the earth, very heavy, very stable, and very solid, which is very good.

In addition, this also happens to form three progressions of emotions at the end, from the confusion, insignificance, and sadness embodied in Audrey's line to the pursuit and determination embodied in Bernadette's line, and the determination to move forward no matter how dark or hopeless it is, and then to the Silver City, where after thousands of years of difficult exploration in the darkness, she finally opened the door and saw the light, and saw something called hope.

For this reason, the Emperor line that I originally wanted to write in the sixth part was postponed to the seventh part.

Well, the progression of these three emotions can also be arranged in reverse, which would be very desperate and not in line with the title "Light Chaser".

Regarding the Chief's death, because of Lovia's death before, I did not express sadness repeatedly or do more sensationalism. I just described his condition very restrainedly, hiding the corresponding pain deeper, letting light take the lead, and expressing emotions with regret, relief and hope.

One problem with the sixth part is that there are too many battles to fight, and they are a bit dense, without enough "relaxation" in the middle, which can easily make the reader tired. This is a problem that needs attention in the seventh part.

Also, if the war is not written, the opportunity to expand the entire world will be lost, making the stage of the plot seem small. However, this is also what I expected, because if the stories of the twenty-two paths, different countries, and many gods and angels are unfolded one by one, and Xiao Ke is allowed to run all over the map, it will be very cumbersome and bloated. Each place can only be touched upon briefly, so it is better not to write about it.

So, although I had clearly set up the situations of Intis, Fenipotent and other places in detail, I did not expand on them. A classmate who is 1.5 meters tall can testify to this. During the preparation of the secret, she asked me how to write an outline, and I directly copied a small part of the settings of Intis for her to see. That should be a more detailed version.

This is one thing I was sure of before I started writing the book. I would try not to go around the map, but to work carefully and meticulously. I would be able to write about the atmosphere and characteristics of a country, bring out some characteristics of other countries and other approaches, and completely outline the world view and world framework. Then the book will have accomplished its mission. Well, you should be able to feel that I am restrained in writing it.

As for the development of other countries and other channels, I hoped to solve it with a clever method. That is, under this world view, write the second part or even the third part, and use the unused settings of Intis, Feynaporthe, various secret organizations, the Western Continent, etc., to develop and improve the entire mysterious world from another angle and another entry point.

I've even thought of some stories that I might write or might not write, such as a member of an Old One who sneaks in to sabotage, only to encounter an accident, lose his memory, and is picked up by the Church of the God of Knowledge and Wisdom, becoming "addicted" to textbooks and exams every day, such as starting out as a hunter, getting guidance from Saint Danis, tearfully robbing Anderson, fighting a battle of wits and courage with the Red Angel, and so on and so forth.

This may become the main line of the second part. As for the third part, it will probably be the story of the Western Continent with an oriental mystery. I used to smile when I saw you guys working on the "Yuanshi" route. Of course, for the power system setting of the Western Continent, I just left the interface but haven't detailed it yet.

Well, I may not write the third part. I can only promise the second part for now, and it’s not the next one I’ll write. I plan to change the subject matter, change my mood, and write something else. After all, I have accumulated a lot of inspiration and have two formed and interesting ideas, one is more about wasteland, and the other is more about fairy tales. It is currently difficult to decide which one to write. I will consider it in detail and collect materials after the secret is finished.

Enough of the small talk, let's get back to the point. As usual, I'll take a break for three and a half days, and resume updating at 7pm on Sunday (actually it's four days, but I've written over 3,000 words in my summary, so it counts as one chapter).

As for the name of the seventh part, I think many friends have guessed it, which is "The Hanged Man".

Finally, since I have opened a single chapter, how can I not ask for monthly votes? I will upload the first chapter of the seventh part of "The Hanged Man" on time at 7 o'clock on Sunday night. Please give me monthly votes!

In addition, the average subscription is more than 98,600. Please subscribe to the genuine version. I hope it will exceed 100,000 soon~

Finally, please give me a monthly ticket~