Generally speaking, Laoshe is a writer who tended to incorporate heavy local color into his own works. However, there is an important phenomenon in China’s literary history that Laoshe intentionally abandoned his depiction of Beijing’s local color in his writing in the early period of the Anti-Japanese War and stopped writing in his most skilled Beijing dialect. It’s not until around 1943 that Laoshe restarted to bring Beijing’s local customs into his novel writing. In this paper, the author tries to interpret this literary phenomenon by analyzing the reasons why Laoshe reused local color in his 1940s writing. In the final part of this paper, the author concludes that the reason why Laoshe abandoned Beijing’s local color in his writing in the early period of Anti-Japanese War is that he worried that the depiction of a certain region might not reflect the new image of Chinese people in Anti-Japanese War thus couldn’t encourage the whole nation. However, in around 1941, with Laoshe started to regard local color as an effective carrier and means of narration, the application of Beijing’s local color again became the most important characteristic of his works.