I'm a Teacher in Tokyo!

The development of the plot is always a bunch of coincidences, and then a catastrophe breaks out, the protagonist takes action, and then suppresses it. The protagonist is like a puppet on strings in this process, being pulled back and forth, with no active intention to solve the disaster. The funniest thing is that the protagonist has a very magical brain circuit: I am an ordinary person, and I can't solve the problem when I encounter a ghost, so I had to hide at the beginning and let Qinzi go first, but Qinzi couldn't do it. Ah, Qinzi helped me a lot, and I wanted to help her too, and then ran to save people. . . . . What kind of idiotic thinking is this? To be honest, it fits the role of a useless protagonist, without the slightest opinion. It's okay for you to be like this at the beginning. After all, there is a process of growth. Well, it's already 150 chapters and it's still like this. The advantage of a time traveler is that it has not been used at all. Don't tell me that money is useless. It depends on Kotoko to protect the three girls. When something goes wrong with Kotoko, the author arranges this coincidence and that coincidence to make the heroine stupid and then cause other crises. Can't you spend some money to hire someone to protect her? I have to rely on Kotoko alone. Zhuo, I'm really convinced. How did you bring in such a useless protagonist? Can you stop being like a puppet? The author may have wanted to write about the impermanence of fate and the tragedy caused by coincidence, but the arranged coincidence was too stupid. If you want to write about the impermanence of fate, you must write about your struggle with fate well. The harder you fight and fail in the end, the more you can highlight the impermanence of fate, instead of stacking up stupid coincidences and lowering the evaluation of the entire book.

The plot is pretty good, and the writing is not bad either. I hope you don't rush to update or anything like that. The beginning is well laid out.

I couldn't stand it anymore, so I saved up 30 chapters and came back. This Mako chapter is really stinky and long, and I don't know how to make it watery. I originally liked it, but now that I write it, I feel like I've changed into a different person.

It's boring to write about Mako's forced reversal of various reasonings in order to emphasize the rewriting of reality. It's watery and procrastinating, and it ruined my subscription.

It seems that there are about a hundred chapters, and the overall plot is quite innovative, and the writing is okay. But the plot is not very good. The harem plot was obviously not grasped. In order to create conflicts, write about how the heroine behaves, and then the protagonist does not notice, and finally the conflict breaks out due to lack of communication. This way of writing looks very bad. It's just trying to forcibly reduce the intelligence of the protagonist, which makes him seem brainless. As a reader, you already know that the heroine has misunderstood something, and there are also clues lying in front of the protagonist. Then the plot insists that the protagonist didn't notice because of something. Forcibly leaving conflicts to promote the plot. It's too blunt, too intellectual, and it's ruining the character, making it look like the protagonist has no eyes, no brain, and is somewhat seriously ill. This kind of plot has appeared many times. The plot is basically forced to develop in this way. The plot arrangement is too heavy and unnatural. There is also the scandal between the protagonist and the female teacher that has not been resolved for dozens of chapters. The misunderstanding about Kayako is not clearly explained. It is just forcing the plot and the writing is inferior. Also, the characterization is a bit stiff. After Fu Jiang came out, something was a little strange. Sadako also has a very strange personality, and I personally don't like him. At the beginning, you have to use your abilities to control the protagonist, who has a bad personality. The plot of the harem is out of control, the heroines' images are becoming stereotyped and intellectual, and the subsequent characterization is a bit strange. The Shura Field is too deliberate. The plots of those female protagonists are not in line with the "identity" in the protagonist's heart. They are Shura Field for the sake of Shura Field. The transformation of the heroine's character is abrupt, she seems not very wise, and she is morbid. In the first hundred chapters, the protagonist's attitude is also inexplicable. Get close to the heroines in order not to die. But the attitude of being too close without explaining, admitting, or taking responsibility is too bad. I want to see sweet love. If you touch it accidentally, your heart will throb inexplicably. One hundred chapters in, the protagonist is running around with a teacher-student relationship, but the protagonist's emotional line has made no progress at all. There is no ambiguity, no intimacy, the protagonist is absent from the plot, and there is no emotional development. How does the protagonist view the heroine? Doesn't he feel moved? Does the protagonist have no heart? These are not written. I don't want to see how the protagonist deals with that ghost thing. I want to watch the protagonist and the heroine stick together, watch the disgusting and vulgar emotional drama, and watch the joy of youthful ignorance. The plot puts the cart before the horse, and the emotional line is too little developed and too blunt. The plot of the harem is not grasped, the characterization is rigid, and the characters lack initiative. So be it.

This book is well written, It's just a little bit missing, and I can't sleep at night! I hope you all can support me

Although the previous plot is a bit repetitive, the overall evaluation is still good based on joy. It's a pity that the Sadako chapter only pursues perfection and ignores the reality that its own writing power cannot control this kind of plot. Infinitely dizzying reversals, ambiguous plots that appear without any foreshadowing, and abrupt deus ex machina... All together make up a bad reading experience. However, this is not the most serious mistake. The most serious point is that the plot development in the book is broken. Kayako and Tomie lost contact for a long time, and Mako, who had already paved the way for several plots, almost went offline after the plot of "Sadako" was introduced. In addition, Miko was brutally hidden by the gods just after it was included. This makes this article feel particularly disconnected from the previous chapters, and it loses the gradual progression that the story should have. I'm afraid that by now, the author either doesn't have an outline, or has completely derailed from the outline. And if the main line of a book is broken, the consequences will undoubtedly be catastrophic.

I thought it was over, but it turns out you stopped updating.

It was a good book before Chapter 200, but when I got to the Sadako chapter, I realized it was a piece of shit, and I had a huge poop. I wanted to write something mind-numbing, so I burned my novel grades and my previous 📖friends, and I didn't have a diamond to get any porcelain work.

The writing of pity and sympathy is a bit delicate and contrived, unnatural, as if it was written with deliberate pity and sympathy, and a Jia Yezi who has been abused for a long time should be numb and silent. How can he have so many psychological activities?