The Red Age: Starting as a Truck Driver

Not even a single chapter of this book hooked me. I don't know why. It just looked awkward. There are big problems with the author's writing style and ideas. For example, in the beginning, I emphasized that the sister-in-law is very young. I was afraid that the protagonist would take over the offer, and then it seemed that the start didn't take over. I didn't read it later, and I didn't know how to deal with it in the end. The author emphasized that the sister-in-law was very young many times. Then what is called adoption? I instantly felt that the author simply had no insight or knowledge. The fact the author wrote was that he paid for the care, but the statement he wrote was that he was adopted? I only saw that there was a discussion with the female educated youth in the first chapter, and there was no adoptive plot in the second chapter? Moreover, I strongly suspect that the author does not understand adoption. This thing has been subject to legal and moral restrictions since ancient times. In the ancient times, you couldn't call your original parents your parents. Moreover, if you take the initiative to adopt a child, you are not allowed to find the child. Take the book as an example. When it was mentioned about adoption, I didn't see the content. When the protagonist went to work in the city, I didn't see what the adoption process was. What? The child is adopted to the protagonist. What does the child call his sister-in-law? While talking about passing it on to the protagonist, she takes care of it herself? Are you sick? The formal approach is for the protagonist to get married in the city and take the children away. The author made another big mistake here Then there is the space, which is written very vaguely. How big is it? What features? I don't know, it's a mystery Why do I care so much about space? The root lies in the spy novels I read. As soon as you write a space in it, you will find that it is very interesting. If you can write, the space is not big. You can make a space according to the settings. If you have some, you can put a gun, bring some food and clothing, and then put some money. If the plot requires bicycles or the like, then it is only 2³ cubic or 3³ cubic. At most, you can put a transmitter. Then use the limited space to ponder the plot And some spaces are too big, and the enemy's material warehouses are emptied wherever you go, which becomes boring after a few times. Therefore, the size and function of the space are very critical. They must be set according to the outline, which is also a constraint for the author. In urban areas, if the space is large, it will inevitably stretch out and it will definitely not look good. So I have no problem with the book having space, but what it is used for specifically is very important. The bigger the space, the uglier it becomes. For example, can it contain the earth? You don't need to read this book to know that it is garbage. Can you pretend to be a county? It's also pulled, so the most suitable one is the size of a truck compartment or the size of a container to create a small boutique space, instead of carrying supplies larger than a mountain everywhere. Having said a lot, the problem with this book is that the plot has no hook, it is all problems. It is emphasized countless times that the sister-in-law is young and so on, and it is too likely that there will be a harem in the future. Then the adoption was badly written. How big is the final space? I've used it several times, but I don't see it Therefore, the best starting setting is that the protagonist is discharged from the army in the same setting, and the setting of the sister-in-law and his family is deleted, and the father is sick. Come back and work as a driver in the city, build a small space, and resell along the way. Then the protagonist lives his own small life, writing about things in different places along the way. The protagonist makes money and treats illnesses at the same time. The heroine can be from the city, or she can be acquainted by going to the surrounding areas to deliver goods. In this way, from 1972 to the time when she can do business openly, she can write a lot of words, just in daily life. Later, I will go directly to business or do whatever I love. On the other hand, the author's setting, the sister-in-law's family, is 100% cumbersome (I'm talking about the structure of the book), and the space. I only saw the part where the protagonist entered the city, and I didn't understand how big it was. Then there was the female educated youth. We met too quickly, too hastily, and got married immediately? There is no sense of existence,

There's nothing poisonous about it. The protagonist takes possession of someone else's body and makes a lot of excuses to do something for the family, just like giving a favor. It seems that the author is late to know that such a character is not lovable. In addition, the protagonist is a bit too lazy to move and refuses to do any physical work. He didn't do anything, so he was content with his future contribution to this family. I don't know what kind of readers would like such a character. I don't like it anyway. You can also delete my comment, this is my second time posting. If you delete it again, I will post it in the square to help you publicize it. In addition, I still have to respond to customer service.

In that era, the drivers of long-distance trucks, especially public vehicles, were armed with guns! And he won't run alone! The passenger is assigned a deputy!

The writing is really disgusting, especially the protagonist's wife and his mother. What are they writing about? Two people can't come up with a normal brain. I'm convinced.

I don't know why you, the author, write those disgusting family ethics plots. You also explained that it is to make the protagonist forget about his family so that it can be convenient for the protagonist to go abroad to save supplies. Your protagonist can go abroad if he wants to. Why do you want to do this? Your family is harmonious and beautiful, but you can't go abroad?

I can barely see it from the front, but if you accept a disciple who no one else accepts, will it look like you are great? And how can you use the space when you are driving a disciple to send watermelons to others after saying goodbye to your educated youth friends? You are so generous. In those days, an apple would be shared among six or seven people without even leaving the core. It would only be shared if it was a family member. Materials were scarce and there was no food to eat. You were so generous and just gave me watermelons. Don't worry. From now on, people will go to your parents' house every day to catch the autumn wind. You don't worry about scarcity but inequality. Why don't you give gifts to educated youths who have been your neighbors for decades? Your parents were drowned in saliva. When I saw this, I gave up decisively.

My brain twitched and I decided the whole thing. I really couldn't bear to watch this. The author probably wanted to position the protagonist as a bohemian image, but what he presented was a twisted personality. He always felt that he was superior. The occasional reflective description was more like a tough whitewash.

Don't you know what your level is? I know it's poisonous, but I still have to write it. Isn't this just disgusting? If you force-feed readers Xiang, sooner or later they will rush to the street to deceive novices.

I'm a pure idiot, I want to open a harem generously, I want to be a prostitute, and I want to build an archway

I thought it was good at first, but I finally couldn't help it when I saw the interjection. You interjected once and it was already poisonous enough, and you did it twice. Can't you write about daily life well? I insist on getting into this, and now I can't stand it at all.