The poster’s question is very difficult to answer. I want to solve the poster’s doubts. First, I will briefly talk about “martial arts”.

Martial arts novels are a unique cultural product of China. The word "xia" was first seen in the Warring States Period. In "Han Feizi·Wu Jia" there is a saying that "Confucianism uses literature to disrupt the law, and chivalry uses martial arts to violate the prohibition." As for the origin of martial arts novels, it can be traced back to "Historical Records: Biographies of Rangers", but "Historical Records: Biographies of Rangers" is a biography genre, and strictly speaking, it cannot be regarded as a novel. The first martial arts novel in the true novel genre should be "Yan Danzi" by an unknown person in the Han Dynasty. The martial arts novels in the Six Dynasties period talked a lot about ghosts and gods, and knights often used weird means to achieve their goals. For example, "Gan Jiang Mo Xie" and "Li Ji" in "Sou Shen Ji". Another characteristic of this period is that people who use force to hold others hostage are also classified as "xia". The martial arts novels of the Tang Dynasty were not only numerous in number, but also tended to be mature. The famous ones include "The Story of the Qiubearded Guest", "The Red Line", "Nie Yinniang" and "Kunlun Slave". Song Dynasty martial arts novels mainly imitate the Tang Dynasty, and there are not many good books. Classical Chinese martial arts novels in the Ming Dynasty were at a low ebb, but there is a collection of short classical Chinese martial arts novels "The Legend of the Swordsman", which is collected from legendary novels of the Tang, Five Dynasties and Song Dynasties. Most of them are popular masterpieces. The Qing Dynasty was a peak in the development of martial arts novels, which can be divided into four genres in terms of content: loyalty and thief type, martial arts public case type, heroic sons and daughters type, and martial arts gods and monsters type. In the first half of the 20th century, martial arts novels were not only numerous and widely disseminated, but also were significantly different from ancient martial arts novels in content and form. Four major writers of the Northern School emerged: Huanzhu Louzhu (who wrote about fantasy swordsmen, represented by "The Legend of Shushan Swordsman"); Bai Yu, who was good at writing about human emotions and sophistication, represented by "Twelve Money Darts"; Zheng Zhengyin, who wrote about gang fights, Martial arts dominate, represented by "The King of Eagle Claws"; Wang Dulu is famous for writing tragedies and chivalrous romances, represented by the five-part "Crane and Iron" series.

By the early 1950s, martial arts novels were undergoing a period of development. After the silence, it was revived in Hong Kong and Taiwan. The content and techniques of the novels are obviously different from the martial arts novels before 1949. People are accustomed to call them new-school martial arts novels. There are endless writers and works, and the level is very uneven. Jin Yong and Liang are the most popular. Hanyu and Gu Long have the greatest influence.

Martial arts culture was only proposed in modern times, but upon closer inspection, the so-called martial arts culture is the carrier and continuation of Chinese traditional culture and philosophical system, and as martial arts novels it is also It has its basic elements: 1. Chivalrous spirit. With the development of martial arts novels, chivalrous spirit has gradually become richer and has become a spirit of fighting against unfair fate or system; a spirit of not being afraid of danger and overcoming difficulties; The spirit of upholding justice and never regretting it. 2. Martial arts in traditional martial arts novels can be divided into two categories: one is powerful and brave kung fu and martial arts, and the other is fantasy swordsmanship and magical powers. Martial arts novels feature shocking martial arts. 3. Weapons. The background of martial arts novels is generally ancient, so the weapons used in the books generally originate from ancient times, but many weapons have been processed by the author and become more refined and mysterious. More powerful. The martial arts novelists of the early 20th century created many strange weapons in addition to the eighteen kinds of weapons, and even some daily necessities such as folding fans, whisks, prayer beads, fishing nets, paddles, chessboards, chess pieces, and sleeves. , embroidery needles, etc., can be used as weapons. Developed into new martial arts novels, it is proposed that "no sword is better than having a sword", relying on body functions and emotions, such as whistling, roaring, finger strength, palm strength, crying, laughing, and picking flying flowers. Ye and others can defeat the enemy, and the weapons are limitless. 4. Jianghu (or martial arts) is an illusionary symbolic structure, a world without government, where the government ignores laws and regulations, and there is no rule. The burden of life. Jianghu provides freedom for martial arts novels that other novel genres do not have, and provides a broad world for the creation of martial arts novels.

After understanding the above principles, let’s talk about the questions asked by the poster.

In the traditional Chinese culture and philosophy system, women are discriminated against. This also leads to the fact that in martial arts novels, the world view, outlook on life, and values ??are all based on the male-dominated society, that is to say , martial arts novels are constructed from a male perspective. Although there are many female knights in martial arts novels, and many martial arts novels have female knights as the protagonists, the patriarchal Jianghu system formed by the novels of the past dynasties will definitely not Changed.

As a woman, it is undoubtedly difficult to see and develop issues from a man’s perspective in such a world. This requires considerable literary skills and realism. Have some chivalrous spirit. Therefore, many female authors have difficulty grasping male psychology when writing and describe too many emotional entanglements. Of course, many male authors also write in the same way. It doesn’t mean that martial arts novels cannot describe emotions. For example, many places in Mr. Jin Yong’s works describe emotions. There are many wonderful and vivid emotional descriptions in basically 15 novels. However, as martial arts novels, their main line is the spirit of chivalry, and It’s not just the love between children, but as the protagonist of the story, he must be chivalrous. In my opinion, the so-called romantic martial arts novels are just romance novels with martial arts descriptions.

Therefore, many novels written by female authors can only be read by female readers, because male readers really cannot invest in big romance novels. Although some men also like romance novels, they are a minority after all, and most male readers still like martial arts. In this world, the spirit of martial arts is exactly what I miss between books, and my heart has longed for it. It's easy to feel immersed in a book. Even if you don't imagine being the protagonist, you will still be in the world of martial arts and experience the state of drinking from a big bowl and enjoying grudges. If only Fei Yunfan, who was driving, had been replaced by Fei Yunfan, who was riding a horse and holding a sword, he would have probably thrown the book out of the window.

The reason why Jin Yong, Gu Long, and Liang Yusheng can become the great masters of modern martial arts novels is due to various factors. Jin Yong has profound knowledge of history and culture, Gu Long is good at describing the loyalty of men, and Liang Yusheng is quite satisfactory. The description of the fighting scenes is very vivid. There are also differences in the description of chivalry. Jin Yong describes a righteous hero who cares about the country and the people, while Gu Long describes a hero who is at every risk, life and death, and sexual intercourse. These are all chivalrous, such a chivalrous spirit. There are basically relatively few articles written by female writers throughout the ages. I have also seen that many writers on the Internet, regardless of gender, are unsure of the chivalrous spirit.

The most basic thing for a writer is to write what he is like and what he writes is. Except those who have never seen characters like Xiao Feng, Guo Jing, Chu Liuxiang, Lu Xiaofeng, etc., who would think that their names can be changed? Obviously not. But in many novels nowadays, let alone different novels by the same person, it doesn't hurt to change the names of different characters in the same novel.

If you can’t fight, then you have no martial arts; if you can’t talk about righteousness, then you have no chivalry. Without these, how can martial arts novels be called martial arts novels? Fantasy martial arts novels have basically become extinct since Huan Zhu Lou Zhu. What Huang Yi writes can only be said to be fantasy novels, not fantasy martial arts novels.

Many martial arts novels nowadays are either boring or boring, or have polyamorous relationships, or even mess with the relationship between men and women. After all, novels are stories, and taking over Hedu should be natural. Some are limited by their writing skills and cannot write, some can't afford to write a draft of a novel outline, and they just have to write whatever they want. Some have writing skills but don't understand the spirit of chivalry and insist on writing. These are absolutely unacceptable.

There are too many successes in excellent martial arts novels. No matter what kind of novel you write, rich knowledge and writing skills are indispensable, especially the vivid portrayal of characters. Without the accumulation of culture, knowledge, and The accumulation of life and observation is simply impossible. I have read the works of martial arts novels by everyone dozens of times, and only when I am familiar with them by heart can I write. of.