In the development of China reportage in the 20th century, there are two main forms of changing perspectives: one is to embed two perspectives in the same text, such as changing from an omniscient perspective to a limited perspective with the first person as the main focus, or conversely, overlapping many times to form an arrangement of "omniscient → restricted → omniscient" or "restricted → restricted". The first-person narrator used to limit the perspective here is the author himself-a non-fictional character who does not participate in the story process. Another form is that the two perspectives mentioned above are also embedded in the same text. However, it is no longer the author who bears the limited perspective of the first person, but the people who participate in the story process. This can be one or several. If it is the latter, then this passage forms a multiple restricted perspective-they either tell different stories or ideas from the perspective of multiple characters, or let multiple characters observe the same story or idea from the perspective of multiple characters. This is most common in panoramic and collective reportage texts in the middle and late 1980s, and Qian Gang's Tangshan Earthquake is a typical representative. On the surface, this is a circular perspective construction from "restriction" to "restriction", that is, "I and my Tangshan" at the beginning of the text and "My conclusion" at the end are all set from the first-person perspective, and the "I" here is undoubtedly the author himself. However, in the process of text evolution, the switching of perspectives is very rich, just like a montage of perspectives. The omniscient perspective is part of it, and