Li, with a sense of humor, weakness and a little innocence, is an observer of this era. He himself made an inventory review of hot topics such as hot words, popular culture and social politics in recent two or three years. This comment is interspersed with confessions and dialogues of the characters in the novel. After reading Li's Anti-disassembly, readers will unconsciously complete a self-examination and rethink their relationship with society. People are social animals, which is particularly obvious in Li. Li's anti-demolition story not only describes his own experience, but also records the spiritual history of most people in China.

In the text, although Li's anti-demolition story has the shadow of Wang Shuo's "Who am I afraid of?", it is not rogue literature. It is not black humor, because it is a little less profound and a little more sharp than Wang Xiaobo's works. It takes a "surreal" approach to reality, which makes it irrelevant to online literature. The writing of Li's Anti-disassembly is based on collective memory. The author Wang Yang's wanton language expression and almost arrogant imagination create an exaggerated reading effect after colliding with the cold facts. The author and readers have completed a kind of performance art through the media, that is, they put on the strongest resistance posture in the safest way. Therefore, we might as well regard Li's Anti-disassembly as a practical note novel.

A few years ago, writers and critics kept putting forward the concept of "returning to the literary world", but after so many years, writers in China either lead a drunken life in fictional works without any historical background, or play word games in ivory towers. When it comes to realistic literature, what we think most is that those old writers write about seven aunts and eight aunts in the village, and realistic themes have become synonymous with local themes. As a former famous football reporter, Li Jin entered one of the most important places in literature: violent demolition after experiencing the springboard of opinion leaders and two novels.

In 2009, the self-immolation case was the origin of Li's anti-demolition story. During the writing and publication of this book, violent demolition and death cases occurred all over the country. Frequent media reports make such cases become daily events, losing the freshness of news, and readers become more and more numb when they come into contact with such information every day. At this time, the intervention of literature is a good vocal weapon, and the novel becomes a theater. When the characters in the novel leave the page, they are real people. This article alone is shocking enough. After "Watching and Changing China" became the slogan, we would rather read novels than see the bloody reality, because this is the lowest-cost way of education and self-education. (Evaluation from Han Haoyue)