After watching the ghost blowing the lamp, what's the story of the fixed-point geomantic omen?

It's not uncommon to see films featuring geomantic theory. Hong Kong filmmakers, in particular, have been keen on geomantic metaphysics, and have made classic films of childhood nightmares such as The Weasley's Overlord, Yinyang Road 9: Life Turn to Gankun, Great Superstition 1993, Twenty Years of Geomantic omen, etc. Some are really clever suspense, which plays a key role in fueling the flames, but there are also gold-plated lilies and dense chicken ribs. For example, Dalu Company, which produced a three-level serial of Liaozhai, released a movie called Feng Shui Gambling God in 2000. The so-called "feng shui" function is to win the gambling game with special functions. So, if a movie wants to make good use of geomantic metaphysics, what are the stresses?

First, rummaging through historical materials and accumulating strongly, please ask Master Yin Zhai to get lost.

Although the script of Searching for Dragons is a re-edited story, it is highly dependent on the original "Ghost Blowing Lights". The tomb-robbing system, sect, technology and historical origin built in the early stage of Ghost Blowing Lights have become a game of its own. The evolution of ancient totem, the principle of compass, and the style arrangement of each dynasty in the book are particularly true and accurate. Muye Zhang (Zhang Muye) interspersed authentic materials of ancient China culture, and his emphasis on "truth and falsehood" became an attractive bargaining chip for finding dragons. The eight volumes of ghost blowing lanterns have their own origins, the exquisite ancient city is taken from Hanshu Biography of the Western Regions, and Yunnan Worm Valley is taken from Shiji Biography of Southwest China. However, Hu Bayi's grandfather, Hu Guohua, handed down a 16-character Secret of Yin and Yang Feng Shui, which recorded the layout of ancient tombs in various dynasties, and somehow triggered the grave robbery process in Hu Bayi.