师傅驾鹤西去，仇家找上门怎么办？！觉醒授徒返利系统，乖徒儿们，快来把，为师从来不藏私！

玉藏锋刚接受九剑山就遇到了宗门危机，即将逃跑时激活了授徒返利系统。给徒弟的功力、功法、法宝等等纷纷能够触发数倍返还机制，最高万倍。这下，一个对徒弟毫无保留的好、从来不藏私的奉献自己的好师傅就此诞生！

穿越利用现代医术治愈亲人的顽疾，并在宅斗中强势反击，最终摆脱黑心夫家束缚的故事。元静姝原是星战医疗兵，穿越后凭借随身医疗空间和生活辅助智能在古代施展医术，治好了久病的哥哥，揭露夫家的阴谋并与之决裂‌

穿越利用现代医术治愈亲人的顽疾，并在宅斗中强势反击，最终摆脱黑心夫家束缚的故事。元静姝原是星战医疗兵，穿越后凭借随身医疗空间和生活辅助智能在古代施展医术，治好了久病的哥哥，揭露夫家的阴谋并与之决裂‌

江川自幼被江家收养，却饱受养父母江卫城、张红梅的虐待与压榨。他被强迫承担弟弟江海的医药费和家庭开支，甚至被当作江海的备用器官供体。 江川算计江城首富温晴，本想着只是能从她身上得到好处，没想到温晴这个首富对男主居然恋爱脑，无条件帮助信任男主，疯狂帮助男主打脸。

礼部尚书谢宣宠妾灭妻，正妻林婉死后留下一女，谢轻言。直到谢轻言与霍家霍无鸣婚定之日，正当霍家将军霍枭的正白事，红白喜事相撞。突然一股奇怪声音和文字预示谢轻言的丈夫会背叛自己，未来会凄惨而死的下场。但谢轻言当真撞见霍无鸣与谢娇娇苟且。谢轻言却不信命由天定，当即揭发霍无鸣与谢娇娇的丑事。

江川幼年被江卫城、张红梅收养，却遭遇虐待和压榨， 被迫承担养弟江海的高昂医药费及家庭开支，甚至沦为江海的备用器官供体。为摆脱困境，江川算计江城首富温晴，欲从其身上获利。却不料温晴对江川恋爱脑上身， 无底线信任、帮助江川，助力他一路逆袭打脸江家

九剑山掌门外出，门中独苗玉藏锋留守九剑山， 但没过多久却发现师傅魂灯熄灭 ，临死前传讯要他接任掌门，保九剑山传承不灭，要是能广大门楣就更好了。面对除了自己就只剩下一个杂役少女的九剑山。主角开启授徒万倍返回系统，只要赐予徒弟物品，就能获得随机最高万倍返还。当下出关收杂役少女江月瑶为徒， 疯狂赐予，获得倍返 ，实力大涨， 轻松碾压前来上门挑战、企图吞 并九剑山的狂刀堂长老及数名弟子。一番仔细研究系统后开始复仇狂刀堂，一人一剑覆灭狂刀堂，获得不少修炼资源 ，也获得师父陨落线索， 指向玄剑宗。

Extremely autobiographical piece made during an intensely depressive period for the filmmaker after his divorce from Jane, his first wife, and separation from his five children. Brakhage calls it "a true, narrative, dramatic psychodrama". The film's background music is a piece which is a collage of brief phrases from various Stephen Foster songs whose common theme is loss. Brakhage scratches individual words from these songs on the film at intervals, and the shaky letters dance uncertainly across the frame. The primary visual theme is of the 55-year-old filmmaker himself brooding in a lonely apartment, sitting on the floor leaning against a wall, repeatedly rising naked from his bed and falling back. This is intercut with footage made years earlier, in the 70s, when his children were much smaller, as they played happily in the home they once shared. Even at his very lowest point, Brakhage continued to turn his life into art.

Extremely autobiographical piece made during an intensely depressive period for the filmmaker after his divorce from Jane, his first wife, and separation from his five children. Brakhage calls it "a true, narrative, dramatic psychodrama". The film's background music is a piece which is a collage of brief phrases from various Stephen Foster songs whose common theme is loss. Brakhage scratches individual words from these songs on the film at intervals, and the shaky letters dance uncertainly across the frame. The primary visual theme is of the 55-year-old filmmaker himself brooding in a lonely apartment, sitting on the floor leaning against a wall, repeatedly rising naked from his bed and falling back. This is intercut with footage made years earlier, in the 70s, when his children were much smaller, as they played happily in the home they once shared. Even at his very lowest point, Brakhage continued to turn his life into art.