Tokyo Girls Have Big Problems
by Passing Crow
About This Novel
After working too much, he fainted and fell to the ground. When he woke up, his past life memories and system were restored. We were supposed to have a glorious future, but... Why is life more difficult? If you don't take class seriously, the system will randomly send confession text messages to girls!
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Official(56)Scraped 1mo ago
From the first time I voted for Qing Ye Shen, I have always wanted to encourage Ya Sang. When I was writing about Love Game, Ya Sang really said a lot about not being able to persevere, so later I saw that Love Game became popular and I was really happy. Maybe Ya Sang never paid attention to me. Just like Qingye left the spiritual world of Yasang, even if the characters are gone and readers have mixed reviews, I sincerely hope that Yasang can continue writing and meet different characters. Even if he is not liked by everyone, I am grateful that Yasang has brought us
The author's brain is still not enough. After reading it for so long, I feel like I don't have a clue about every line, so I just make random comments.
The male protagonist says that the system is him, but at the same time he keeps feeling guilty for using the system, cutting himself off from the system. If you feel guilty, are you using the mud horse? Both acting and standing up, compared to the pretense, the character is very unpleasant and not pleasant to watch at all.
It's so outrageous, don't have any expectations
This male protagonist, the poet, was fine in the first few dozen chapters, but started to get sick around the hundredth chapter. It was like the left and right brains fighting each other. He was really wretched, salty and self-deprecating to the extreme. He was rated as not as good as Long Aotian's cool novel.
Girls in Tokyo do have a big problem
Ono Mika is awkward and arrogant, thinking that if she rejects Aoyama, she can push him to Mika. The more she writes, the more unlikable she becomes; Ono Mizuki is young and ignorant, so naturally she will not move forward on her own, and Aoyama completely treats her as a family member; Mikami Ai is sober but arrogant, sitting there waiting for the Ono sisters to be eliminated, but does not hide that she is too lazy to move, and she is always a few steps behind Miyayo Yaeko by relying on small accidents to advance; Aiyusha has a strange brain circuit, so this option has a very low priority in the eyes of Aoyama; Miyayo Yaeko is the most sober and capable, hiding herself in front of the Ono sisters, and cutting in from a unique angle. Even though she only has the smallest scenes, she has the highest strategy. It is expected that the first 90% will be Hachi. If this is not a harem, otherwise this situation will only be played by Hachi as a single female protagonist in the future.
In the new era, we are still making shit from the past. Even if shit is retro, it won't become an antique.
I seriously doubt that "Love Travel" was written by a gunman
Character Aunt Mei style person
As mentioned in the title, the actions and actions of the male protagonist and the four female protagonists cannot be said to be close to God, but they are also far away from human beings. Let's talk about the male protagonist first. The male protagonist likes the Ichino sisters. He is interested in falling in love with them, and at the same time he is interested in the student council president (sorry, I don't remember the names of the people in the novel). To put it simply, it is both wanting and wanting. This is not a big problem. This is what I read in Nikkei Tokyo. But the male protagonist wants a way to both want and want. As of Chapter 150 that I have read, I don't see at all what the protagonist relies on to attract the four female protagonists to sleep with them. It relies purely on the self-propulsion of the four female protagonists, and the male protagonist occasionally relies on the system to pretend to be lucky to make the female protagonists feel special to them. If you can't get any money at the beginning and don't push forward for fear that the heroine will not live a good life, that's understandable. But if a novel with only the beginning has sold 700 million, a normal person can feel what the heroine means, right? So once you have money, can you continue to push forward, show your charm and dedicate yourself to the heroines so that they can accept each other and realize their dream of opening a harem? Unfortunately, the male protagonist has done nothing, and his personal growth is close to zero. He only relies on the system to improve his learning and cooking skills. However, the skills acquired through the system have little to do with advancing the female protagonists, and the emotional growth is no different from the first chapter. As of Chapter 150, all I can say about the male protagonist's idea of conquering the four female protagonists is to rely on his injuries to make the female protagonists feel pity for him, or to give the female protagonist a "handle" for fun. The Ono sisters are synonymous with green turtles. You say they like the male protagonist, but they just watch the male protagonist flirt with other girls, without any possessiveness in the relationship. You have to say that they don't like the male protagonist, but they are willing to take a bath with the male protagonist, yes, without wearing anything (although the lights are turned off). Even if you are concerned about the feelings of another sister, do you still need to consider excluding outsiders? If you love the male protagonist, shouldn't you feel possessive of him in your heart? Just open the door so wide that other girls can come and leave as they please? Completely devoid of human character or emotion. Seeing love is synonymous with losing dogs. The one who bores me the most among the four heroines. The author wanted to create a tsundere who was dissatisfied with her integrity, but instead created a arrogant and coquettish little fairy. Her speech to the male protagonist repeatedly made me feel physically uncomfortable. If this person existed in reality, no one would fall in love with her except for beauty, just because of her mouth. There is no limit to the jokes and taunts. If the other heroines are progressing slowly but still making progress, then I Love You is just pushing forward a little and pulling back a little, for fear that your life will be too smooth. No matter how abstract the previous chapter is, how unnatural the male protagonist's behavior is, or how he ensures that he stays away from his romantic partner, the next chapter will follow him like a pug, making people feel physically uncomfortable. Seeing the way Ai and the male protagonist get along, I think even normal people with a little bit of self-respect can't stand it. The President of the Student Council, the most normal one, has only been straight forward since his debut. He directly expresses his feelings for the male protagonist whether in front of other female protagonists or in front of the male protagonist, but when faced with the male protagonist, he pretends to be stupid and doesn't respond at all. The same problem as the Ono sisters, there is no possessiveness in love at all, so they just watch the male protagonist and Mikami Ai interact with each other. Without this point, the student council president's behavior towards the male protagonist becomes "I love you, but if you don't respond to me, forget it, and continue to say I love you the second time we meet." Even though he is the closest to a human being, his operations are still not human. In summary, they are all just a tool used by the author to fill in the gaps. Their characteristics as complete characters cannot be seen at all, and they are not human beings.
Stable and declining, indicating that there is a lot of room for improvement
I still really like Crow's Daily. Although Crow's daily writing power has dropped a lot after getting the first 100 million yuan, but Qidian has no competing products of the same type (I haven't seen much of Qidian and I really don't know), so I insisted on watching it. This work is even more twisted than "The Bad Lady" because Cheru Watanabe has been the protagonist from the beginning and is the top of the world. Even if there is no system, he will rise to the top, so he doesn't get entangled and dares to let go and love. Aoyama Ri is an ordinary person, even worse than ordinary people. He lost his mother when he was young, and the awakened memories of his past life did not make him more mature. He is afraid of losing it. After all, even the most important mother's love can be lost in a car accident. Therefore, he does not dare to overuse the system. As mentioned before, he feels that the system is not him and may be lost. If he keeps relying on the system to shine, it will be even more painful when the system disappears. The twist of this work is that all the characters are moving forward but Ri Aoyama remains the same. Mitsuki Ai went from not believing that she would fall in love with others to being really sure that she fell in love with Riko Aoyama; Hachi's favorability has always been full (don't worry about how full it is, Nikgarubun has its own way of playing), and she shows love more and more boldly; Mika goes from being wronged to be her younger sister at the beginning to looking forward to a threesome, Mitsuki will also go through this process. As for the more than 300 chapters of this book, Aoyama Ri has not grown at all: he still believes that Ai's love is vicious and unwilling. He feels that Hachi's love stems from the illusory suspension bridge effect and is pure possessiveness. In his opinion, the female rivalry between the two eldest ladies was just a competition, and he was not his lover but the prize. Regarding Meihua and Meiyue, he still worries about gains and losses. He clearly knows why Meihua refused before, and even though Meiyue hinted so before, he still goes in the opposite direction. The more the knot is pulled, the tighter it becomes. In Miss Nasty, the bond between Teru Watanabe and the four of them was born from scratch, and their love stemmed from the complete recognition of both parties; while Ri Aoyama and Ono have been a family for ten years, and have an indissoluble bond with Hachi who escaped from a car accident. What he has to do is not to create a relationship, but to first destroy (or sort out) the previous shackles, and then build a love nest from the ruins (or the past). From God's perspective, the writing may seem distorted. The writing power of Ya's article is indeed not as good as before, and the characters in many places are broken or out of touch, but I still prefer Aoyama Ri to Watanabe Che, because Watanabe Che is too far away from people, and is an unreachable god; while Aoyama Ri is worse than ordinary people, this article is more like a peach fantasy of mine (another reason is that I really like Miki and Mai, but Ya is too partial, Kiyono has too many scenes, and even the linkage with this article is basically only Kiyono). At least up to this point, this book is only rated 8 or even lower, but I believe that he can write my beautiful girl into my heart from the arrogant eldest lady at the beginning, and can make the bad eldest lady turn from a dog-licking novel in the first hundred chapters to the starting point of youth. Then he can also bring this book back to life. Maybe in another hundred chapters, all the plots now are the perfect foreshadowing for the future.
I haven't read this book yet, but I'm willing to give it five stars for Miki and Rin (Koizumi Aona feels it's forced, and as for Asuka Mai, the content is too little). After three readings of the nasty eldest lady, I understand more and more that it used to be difficult to make a difference. Except for the poem "Wushan is not a cloud," I always feel that it's almost meaningless when I read other Tokyo novels. Especially for the author's other novels, the more I read, the more I think of the nasty lady, and then I have a feeling of uneasiness. Therefore, I only read a small part of each of the author's other novels, and then I review the classic episodes of the nasty lady. I feel like I am sick, very ill. In addition, can the author negotiate and continue to update the comics of the nasty lady? To my completed youth
Rating
Community(0)
Official(56)Scraped 1mo ago
From the first time I voted for Qing Ye Shen, I have always wanted to encourage Ya Sang. When I was writing about Love Game, Ya Sang really said a lot about not being able to persevere, so later I saw that Love Game became popular and I was really happy. Maybe Ya Sang never paid attention to me. Just like Qingye left the spiritual world of Yasang, even if the characters are gone and readers have mixed reviews, I sincerely hope that Yasang can continue writing and meet different characters. Even if he is not liked by everyone, I am grateful that Yasang has brought us
The author's brain is still not enough. After reading it for so long, I feel like I don't have a clue about every line, so I just make random comments.
The male protagonist says that the system is him, but at the same time he keeps feeling guilty for using the system, cutting himself off from the system. If you feel guilty, are you using the mud horse? Both acting and standing up, compared to the pretense, the character is very unpleasant and not pleasant to watch at all.
It's so outrageous, don't have any expectations
This male protagonist, the poet, was fine in the first few dozen chapters, but started to get sick around the hundredth chapter. It was like the left and right brains fighting each other. He was really wretched, salty and self-deprecating to the extreme. He was rated as not as good as Long Aotian's cool novel.
Girls in Tokyo do have a big problem
Ono Mika is awkward and arrogant, thinking that if she rejects Aoyama, she can push him to Mika. The more she writes, the more unlikable she becomes; Ono Mizuki is young and ignorant, so naturally she will not move forward on her own, and Aoyama completely treats her as a family member; Mikami Ai is sober but arrogant, sitting there waiting for the Ono sisters to be eliminated, but does not hide that she is too lazy to move, and she is always a few steps behind Miyayo Yaeko by relying on small accidents to advance; Aiyusha has a strange brain circuit, so this option has a very low priority in the eyes of Aoyama; Miyayo Yaeko is the most sober and capable, hiding herself in front of the Ono sisters, and cutting in from a unique angle. Even though she only has the smallest scenes, she has the highest strategy. It is expected that the first 90% will be Hachi. If this is not a harem, otherwise this situation will only be played by Hachi as a single female protagonist in the future.
In the new era, we are still making shit from the past. Even if shit is retro, it won't become an antique.
I seriously doubt that "Love Travel" was written by a gunman
Character Aunt Mei style person
As mentioned in the title, the actions and actions of the male protagonist and the four female protagonists cannot be said to be close to God, but they are also far away from human beings. Let's talk about the male protagonist first. The male protagonist likes the Ichino sisters. He is interested in falling in love with them, and at the same time he is interested in the student council president (sorry, I don't remember the names of the people in the novel). To put it simply, it is both wanting and wanting. This is not a big problem. This is what I read in Nikkei Tokyo. But the male protagonist wants a way to both want and want. As of Chapter 150 that I have read, I don't see at all what the protagonist relies on to attract the four female protagonists to sleep with them. It relies purely on the self-propulsion of the four female protagonists, and the male protagonist occasionally relies on the system to pretend to be lucky to make the female protagonists feel special to them. If you can't get any money at the beginning and don't push forward for fear that the heroine will not live a good life, that's understandable. But if a novel with only the beginning has sold 700 million, a normal person can feel what the heroine means, right? So once you have money, can you continue to push forward, show your charm and dedicate yourself to the heroines so that they can accept each other and realize their dream of opening a harem? Unfortunately, the male protagonist has done nothing, and his personal growth is close to zero. He only relies on the system to improve his learning and cooking skills. However, the skills acquired through the system have little to do with advancing the female protagonists, and the emotional growth is no different from the first chapter. As of Chapter 150, all I can say about the male protagonist's idea of conquering the four female protagonists is to rely on his injuries to make the female protagonists feel pity for him, or to give the female protagonist a "handle" for fun. The Ono sisters are synonymous with green turtles. You say they like the male protagonist, but they just watch the male protagonist flirt with other girls, without any possessiveness in the relationship. You have to say that they don't like the male protagonist, but they are willing to take a bath with the male protagonist, yes, without wearing anything (although the lights are turned off). Even if you are concerned about the feelings of another sister, do you still need to consider excluding outsiders? If you love the male protagonist, shouldn't you feel possessive of him in your heart? Just open the door so wide that other girls can come and leave as they please? Completely devoid of human character or emotion. Seeing love is synonymous with losing dogs. The one who bores me the most among the four heroines. The author wanted to create a tsundere who was dissatisfied with her integrity, but instead created a arrogant and coquettish little fairy. Her speech to the male protagonist repeatedly made me feel physically uncomfortable. If this person existed in reality, no one would fall in love with her except for beauty, just because of her mouth. There is no limit to the jokes and taunts. If the other heroines are progressing slowly but still making progress, then I Love You is just pushing forward a little and pulling back a little, for fear that your life will be too smooth. No matter how abstract the previous chapter is, how unnatural the male protagonist's behavior is, or how he ensures that he stays away from his romantic partner, the next chapter will follow him like a pug, making people feel physically uncomfortable. Seeing the way Ai and the male protagonist get along, I think even normal people with a little bit of self-respect can't stand it. The President of the Student Council, the most normal one, has only been straight forward since his debut. He directly expresses his feelings for the male protagonist whether in front of other female protagonists or in front of the male protagonist, but when faced with the male protagonist, he pretends to be stupid and doesn't respond at all. The same problem as the Ono sisters, there is no possessiveness in love at all, so they just watch the male protagonist and Mikami Ai interact with each other. Without this point, the student council president's behavior towards the male protagonist becomes "I love you, but if you don't respond to me, forget it, and continue to say I love you the second time we meet." Even though he is the closest to a human being, his operations are still not human. In summary, they are all just a tool used by the author to fill in the gaps. Their characteristics as complete characters cannot be seen at all, and they are not human beings.
Stable and declining, indicating that there is a lot of room for improvement
I still really like Crow's Daily. Although Crow's daily writing power has dropped a lot after getting the first 100 million yuan, but Qidian has no competing products of the same type (I haven't seen much of Qidian and I really don't know), so I insisted on watching it. This work is even more twisted than "The Bad Lady" because Cheru Watanabe has been the protagonist from the beginning and is the top of the world. Even if there is no system, he will rise to the top, so he doesn't get entangled and dares to let go and love. Aoyama Ri is an ordinary person, even worse than ordinary people. He lost his mother when he was young, and the awakened memories of his past life did not make him more mature. He is afraid of losing it. After all, even the most important mother's love can be lost in a car accident. Therefore, he does not dare to overuse the system. As mentioned before, he feels that the system is not him and may be lost. If he keeps relying on the system to shine, it will be even more painful when the system disappears. The twist of this work is that all the characters are moving forward but Ri Aoyama remains the same. Mitsuki Ai went from not believing that she would fall in love with others to being really sure that she fell in love with Riko Aoyama; Hachi's favorability has always been full (don't worry about how full it is, Nikgarubun has its own way of playing), and she shows love more and more boldly; Mika goes from being wronged to be her younger sister at the beginning to looking forward to a threesome, Mitsuki will also go through this process. As for the more than 300 chapters of this book, Aoyama Ri has not grown at all: he still believes that Ai's love is vicious and unwilling. He feels that Hachi's love stems from the illusory suspension bridge effect and is pure possessiveness. In his opinion, the female rivalry between the two eldest ladies was just a competition, and he was not his lover but the prize. Regarding Meihua and Meiyue, he still worries about gains and losses. He clearly knows why Meihua refused before, and even though Meiyue hinted so before, he still goes in the opposite direction. The more the knot is pulled, the tighter it becomes. In Miss Nasty, the bond between Teru Watanabe and the four of them was born from scratch, and their love stemmed from the complete recognition of both parties; while Ri Aoyama and Ono have been a family for ten years, and have an indissoluble bond with Hachi who escaped from a car accident. What he has to do is not to create a relationship, but to first destroy (or sort out) the previous shackles, and then build a love nest from the ruins (or the past). From God's perspective, the writing may seem distorted. The writing power of Ya's article is indeed not as good as before, and the characters in many places are broken or out of touch, but I still prefer Aoyama Ri to Watanabe Che, because Watanabe Che is too far away from people, and is an unreachable god; while Aoyama Ri is worse than ordinary people, this article is more like a peach fantasy of mine (another reason is that I really like Miki and Mai, but Ya is too partial, Kiyono has too many scenes, and even the linkage with this article is basically only Kiyono). At least up to this point, this book is only rated 8 or even lower, but I believe that he can write my beautiful girl into my heart from the arrogant eldest lady at the beginning, and can make the bad eldest lady turn from a dog-licking novel in the first hundred chapters to the starting point of youth. Then he can also bring this book back to life. Maybe in another hundred chapters, all the plots now are the perfect foreshadowing for the future.
I haven't read this book yet, but I'm willing to give it five stars for Miki and Rin (Koizumi Aona feels it's forced, and as for Asuka Mai, the content is too little). After three readings of the nasty eldest lady, I understand more and more that it used to be difficult to make a difference. Except for the poem "Wushan is not a cloud," I always feel that it's almost meaningless when I read other Tokyo novels. Especially for the author's other novels, the more I read, the more I think of the nasty lady, and then I have a feeling of uneasiness. Therefore, I only read a small part of each of the author's other novels, and then I review the classic episodes of the nasty lady. I feel like I am sick, very ill. In addition, can the author negotiate and continue to update the comics of the nasty lady? To my completed youth
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❀S❀ [System Love] Crow's new work still has the same style. Plot ★★★★☆☆ Settings ★★★★☆☆ Character ★★★★★☆
Crow's new book finally writes that the sun is young, so wait and see before investing.
If you want to use one sentence to evaluate Crow's return to the Nikgaru circuit, it would be "the emperor of the light novel circuit has sat on the long-dusted Nikgaru throne." From the peak of love games to the continuous attempts to transition to other categories, it can be seen that Crow is trying to find a writing route that has both performance and comfort zone. Unfortunately, after a few years, the results are still unsatisfactory. I hope that this time I can return to my comfort zone to recreate the glory of love games. The male protagonist is a time traveler whose memory is clouded by fetal transmutation. He is from a single-parent family and both his mothers passed away due to accidents. He lives with the two Qingmei sisters whom he has known since childhood. In terms of setting, it can be said to be the "Heaven Collapse Opening" commonly used in most urban novels here, and Goldfinger's "Human" The "Student Guidance System" also appeared with the male protagonist recovering his past life memories. Adhering to the idea of writing novels for a living to support his family, the male protagonist returned to high school to accumulate materials for systematic creation, and the beautiful girl classmates he came into contact with one by one continued to change his life. The most important aspect of Nikkei's web novels is the design and emotional lines of the female protagonists (if there are multiple female protagonists, the story of Shura Field must also be included). The first girl the male protagonist comes into contact with at school - Jian Shang Ai, in Crow's writing presents the image of a proud daughter who comes from a wealthy family, with knowledge and appearance far beyond her peers. The slightly bad character displayed when discussing with the male protagonist to establish the Athens Philosophy Research Club left a deep impression on me. However, there are some creative flaws in the character of the male protagonist. There is a feeling that the image of the male protagonist appears to be relatively thin without the system. I hope Crow can maintain his writing state and try his best to show the process of shaping the male protagonist and give this work a perfect presentation.
Grain- I've been falling out of love recently, and I rely on love stories to support me. From now on, I'll read love stories. I don't want to talk about any kind of love. It's good to watch other people fall in love.
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