Chapter 86: Now Live—A Simple Chat

I’m a new author, not writing my first book, but this one has the best performance—I’ve never written a post-apocalyptic story before, and I never expected so many friends would support it.

First, thank you all readers who’ve made it this far for your patience.

New authors are like this—we start without clear planning. My original outline was simply: post-apocalyptic farming, upgrading an invincible war vehicle, then cruising freely, collecting harems, facing endless hordes of zombies while lounging comfortably inside a well-stocked, heavily fortified cargo compartment, enjoying a peaceful post-apocalyptic life.

I believe many readers of post-apocalyptic TV shows, movies, and novels have fantasized about or enjoyed this feeling, which is why stories about building permanent shelters have been popular these past few years—I originally intended to go this route too, and the setting summary makes it clear this was the direction.

But writing is different from imagining a victory screen.

For example: once you build a permanent shelter, the thrill lasts only a moment—after the neighborhood’s comeuppance and showboating are done, then what?

Or: upgrading the train into an invincible fortress, zero danger, total safety—after spending a few days inside the steel fortress, cuddling beauties, how do you write the next chapter?

Cultivation?

So I began rethinking, redesigning the setting, aiming to write a dangerous post-apocalypse.

In a post-apocalypse, survival and insecurity are the core themes.

Safety is built step by step, but countless dangers lurk in the night—survival crises never disappear; only with crisis is there motivation.

If a post-apocalyptic novel removes the protagonist’s survival crisis, doesn’t it become just another xianxia power-fantasy with revenge and humiliation?

From many earlier reviews, readers can see this book’s development has deviated from what many assumed it would be.

For instance: some believed post-apocalyptic stories must feature lone wolves, and they began criticizing in Chapter One for including female characters—but if you don’t write females, others scold you for abandoning the story.

Others thought the protagonist should hunker down, grow strong, then emerge with total safety, strolling the wasteland—so they kept complaining: why don’t you let the protagonist stop and develop, given how overpowered his ability is?

(To avoid this exact problem, I designed a post-apocalypse with a battle royale structure, added time-consuming consumption, exhausting energy, unknown dangers, and emphasized the protagonist’s ability’s functionality over combat—intentionally steering readers away from the “hunker down” mindset. Many think his mechanical ability is so overpowered it should be used this way or that, and my approach feels stupid to them—I almost added a rule: 【Protagonist cannot hunker down for over 24 hours—immediate death】… Sigh… ╮（╯＿╰）╭)

PS: I listened to the comments and actually paused for three or four chapters to let the protagonist rest and develop—then got yelled at for being too slow.

Others think the post-apocalyptic protagonist must be ruthless—any supporting character with ambition or cunning should be cut down instantly; all roles must be either loyal followers who just stare in shock, or evil villains who instantly earn their death.

But I’ve never labeled the protagonist as ruthless—he’s just a college student who gained an ability and planned a seemingly insane escape strategy. I believe every supporting character and passerby in a post-apocalypse has their own survival philosophy.

The protagonist’s ability is merely the foundational layer; achieving this goal requires teamwork, mutual support.

Readers who’ve made it this far probably realize I’m trying to build characters through a long narrative—like Kiki, like Chen Laoshi, and later Shasha and new teammates will all have key plot developments.

From the girl on the helicopter in Chapter One, to the much-maligned Chapters 23–26—a passenger with cunning and insecurity, mutual suspicion, then reconciliation, gradually understanding Kiki’s personality…

I admit my writing is too raw to create vivid characters with just a few strokes like the masters do—I can only use lengthy exposition…

So as a new author seeing decent results but constant criticism, I’ve become deeply conflicted, almost mentally fractured.

But after guidance from my editor, I’ve adjusted my mindset.

Some readers prefer post-apocalyptic stories full of safety and showboating; others prefer those brimming with unknowns and survival trials—each has its audience.

Some veteran readers have criticized it, saying it clearly feels like a style from ten years ago.

I fully agree.

Over the years, I haven’t read Feilu or Fanqie novels, haven’t studied their new tropes—no showing off, humiliating enemies in front of crowds, no revealing power before audiences, no fast-paced stories where the satisfaction cycle repeats every three chapters—and I never intended to follow those formulas (uh… even though the title sounds like Feilu style).

As readers can see from the summary, this isn’t a story full of clever quips, memes, humor, or the “hunker-down-as-god-king” trope.

This is a completely unknown survival adventure.

Natural disasters, blizzards, nightfall, weird phenomena, supernatural events, sky giants, puzzles, combat—all will be included.

Food, water, energy, air, warmth—constant insecurity.

!

Survival is always the main theme of the apocalypse.

The wheels roll forward—what lies ahead is always an unknown expedition.

…

Finally, I’ve said what needed saying—I’ll work harder and push for more updates, hoping to write a post-apocalyptic novel with flavor, free of clichés, and I hope you’ll support it with monthly votes and subscriptions; please bear with its shortcomings.

Thank you all—readers who like this book can join the group; when I’m not writing, I’ll chat with you about the story, and feel free to share your ideas.

It goes live tomorrow—I beg all the patrons who’ve saved this book to give it a first subscription—thank you so much.

Gratefully yours (*^▽^*)~~

It goes live tomorrow—I beg all the patrons who’ve saved this book to give it a first subscription—thank you so much.

(End of Chapter)