[Gintama] Looking Back, the Height Difference Is Gone

When I came back to see this from the ff7 symbiosis fandom (bushi), I had a subtle feeling, like I was watching the reverse process of a flower from blooming to sprouting (is the order wrong? Hahaha), it's like I can see Akong's growth trajectory. The power of words is really amazing. I feel that the charm of Akong's writing lies in the warmth that comes from between the lines. Even a knife (wait, um, ah...) Ahem, okay, even a knife wrapped in sugar can make people swallow it with a smile (close their eyes). The most important thing is that you can really feel the "love" from the text. Whether it is the love of the heroine for the hero, or Akong's love for this article and the original work, you can definitely feel it. This may be the so-called "child bathed in love, you can see the traces of happiness on the face" (what a strange metaphor) It's really a pity that I didn't get to know A Kong earlier and read A Kong's articles earlier (what on earth was written in the locked chapter? Damn it, it made me scratch my head (bushi)) ↑Just kidding (well, not entirely, I'm really curious. Jpg) It's really a blessing to read Akong's writing. When I read Akong's writing, I feel like I'm back to when I first came into contact with the fandom. I already knew the plot, and I'm still surprised that the details that the author may have never thought of filling in have been filled in. To talk about my personal opinion, I think the original author created the bones and flesh of the character, and the fan creators filled the blood vessels in these flesh and bones with endless blood, making the character more vivid and complete. These days I feel like I was a child again, hiding in bed and reading the text chapter by chapter, word by word. My mood fluctuates with the development of the plot. I am happy for the funny plots and sad for the sad plots. It's like someone suddenly hit my heart that has been calm for a long time with several stones in succession. But when I touch my heart and cheeks, I can clearly feel that feeling called "excitement" (not a fever!), Which is the excitement I have not felt for a long time. I really never thought that my heart could be so excited again after reading some articles about industrial assembly lines that were so boring and uninteresting, like the flower buds that burst into bloom in the article about Ren Jian Yin Dao when Amei heard the young master's praise. I will always love words, and I will always love fanswWw By the way, I would like to express my love to Kong, I love you (wWw)

I followed the clues from "The Never Die" (? I came across "Looking Back and No Height Difference". After much hesitation, I posted the review. After all, this article was already written a few years ago and I was worried that it would be out of date (and Sora-chan rarely responds to comments), but No matter what, you can't go to whoring for nothing, especially Akong who is dedicated to producing food. Before I start, please allow me to explain how difficult it is to write an otome novel. The second otome novels I have read so far (should they be called this?) All fall into three patterns: 1. The male protagonist can balance the interpersonal relationships and love in the original work, while the female protagonist (at least the plot in the article) is centered on the male protagonist or the male protagonist's affairs take priority. 2. The male protagonist can balance the interpersonal relationships and love in the original work, and the female protagonist also has her own important things and love. 3. The center of the male protagonist and the female protagonist (at least the plot in the article) is each other. This is a fanfic that revolves around the male protagonist, but being OOC is the most important thing. Readers come to see this character and not anyone else... That's why the otome circle is so bumpy, especially when the original work is not a love story. The original work is not a love story. Of course, the male protagonist is not in love. Everything is centered on love. It is necessary to insert a female protagonist to fall in love with him while maintaining the original interpersonal relationship and things he values. Moreover, the focus of the fan fiction is on the male protagonist. This easily leads to pattern 1. The female protagonist is the supporting role of the male protagonist and tends to revolve around him. Depending on the author's skill, the heroine can also be made very plump, but I personally don't like the situation of "one party has many important things, and the other party only/prioritizes their love". If you want to create a heroine who is not primarily about love, you have to spend a lot of time on her. Although Mode 2 can restore the role and the relationship between the two parties is relatively equal, it requires a lot of space to describe and develop the heroine. If you accidentally fail to control it well, the center of the plot will deviate from the male protagonist and put the cart before the horse. After all, readers originally came here to watch the male protagonist fall in love, but the plot ended up focusing on the female protagonist. Mode 3 is... Especially prone to OOC, so you need to be very careful. Therefore, the otome circle is not easy (look up to the sky, no matter which model is used, it is easy to cause dissatisfaction. Compared with the BL where the characters have been designed and there are interactions and only they are circled into a pair, it is not easy to create everything from scratch by arranging the interaction from the character creation and also consider the balance of interpersonal relationships. Is a prostitute worthy of a wife who produces food!? There are many fanfics about Takasugi Shinsuke, and the one that impressed me the most is "Height Difference" - it's so cruel that I can hardly forget it! Full of grief and anger, I lay in bed for several days without a good sleep. I just wanted to send the razor blade to Kong-chan, but I have to admit that this article was written so well. This is the most suitable ending for Gao He. The article "Height Difference" should be classified as the Mode 2 I just mentioned. What is very strange is that although Tsuruko's personal line is more important than the emotional line, especially the invisible male protagonist Takasugi Takasugi, this still does not affect my love for "Height Difference". Sora-chan's articles always have a charm that converts readers who come for the male protagonist into fans of the female protagonist. Takasugi is no longer important, I came to see Tsuruko's personal biography (Hey! Although I really want to talk about Tsuruko's personal line on Biliba, many experts have already analyzed it in the comment area. I am satisfied after reading those wonderful analyzes (lay down, so let me talk about the emotional line) Tsuruko is a good girl, so I feel very sad. Why do you like Takasugi? If that person hadn't been Takasugi, Tsuruko might have lived an ordinary but happy life like other girls, instead of leaving as the first snow fell. Even though she was happy when she left, I still felt bad for her Compared with "It's you" in "Immortal", "Height Difference" gave me the feeling of "because it was you at that time, so it was you". Of course, both of them are very romantic, but I still feel sorry for Tsuruko. Uh, I don't know what I'm talking about in this paragraph. I'm probably crazy. In Xia Chan Juan, Tsuruko already had some concern and affection for Takasugi. The moment he really fell in love with Takasugi was the sentence "You sang the wrong song". That sentence was like a beam of light in the deep darkness, which made Tsuruko come back to life. Then he slowly fell in love with everything about Takasugi. This feeling gradually deepened over two years, and he didn't realize this love until he fell off a cliff. But Takasugi didn't know it at the time, so it was a mistake. Assuming that someone else said those words, there was someone else who gave Tsuruko hope for life when she wanted to give up. Even if it couldn't develop into love, it might be friendship and family, that person would become a very important person to her, and then take her to explore the beauty of the world. One day, Tsuruko would meet someone she likes and live a good life with him. It's a pity that that person is Sugi. He lights up Tsuruko's life. When he follows Takasugi's footsteps, the world becomes new and shining, but he can't run towards the future. What I regret more is that Sora-chan leaves all Takasugi's thoughts about Tsuruko to the readers' interpretation. I can't understand it at all! ! ! It's so boring and hard to decipher! I can't do it! Maybe my understanding of Takasugi is not deep enough, and it is difficult for me to even guess the opponent's strategy progress bar. I just want Sora-chan to write a side story from Sugiko's perspective. Unfortunately, by the time I discovered this treasure article, it was already finished, and even the extras were finished (tears As we all know, Takasugi is very picky. Xia Chanjuan Takasugi felt Tsuruko's inner gentleness and life-saving grace, and listened to his concentration when he planned to establish the ghost army, which made him have an initial good impression of Tsuruko. He recognized Tsuruko and included Tsuruko in his circle, but he was still far from liking him. The Fireworks Scroll surprised me a little. Takasugi's strategy improved a lot, such as recognizing Tsuruko's voice, taking care of details so that Tsuruko didn't step on the conch, the you jump I jump incident, trust and protection during battle, and occasionally staring at Tsuruko. After all, after jumping for two years, Takasugi's favorability may have accumulated a lot - just when I thought so, the Flower Street Chapter immediately slapped me in the face (pop) Well, it's really loud. If you like someone, you won't go out of your way to do anything to make the other person misunderstood and unhappy. If Takasugi liked Tsuruko at this time, he wouldn't have gone to Hanagai even if he opposed Gintoki and pointed out the same wandering girl. Afterwards, he was jealous, so he showed weakness to Tsuruko, but it made me think that Sugiko liked her without knowing it? The phrase "Does it look good?" Has expressed Tsuruko's thoughts very clearly. Sugiko is definitely turning a blind eye on purpose, absolutely. Since the summer festival, the relationship between the two seems to have become closer. At the same time, the battle between Shiratori and Shiratori has become tense. Takasugi has no time to care about Tsuruko's thoughts, perhaps deliberately not to delve into it. Later, it was difficult for Tsuruko to ignore Takasugi's feelings. When she quarreled with Gingui, she always stood by him, and when she was training in a seaside village, she understood Takasugi and supported Takasugi unconditionally... Unlike Tsuruko, Takasugi's favorability seemed to be accumulated bit by bit. His affection for Tsuruko is very subtle: so far I only caught him letting Tsuruko lean on his shoulders in Chapter 37, putting a coat on the sleeping Tsuruko in Chapter 40, protecting Tsuruko from the tea house assassin in Chapter 46 (this is probably the time when Takasugi showed the highest affection), and then the sudden driving in Chapter 50! (Pupillary Earthquake At that time, I thought it would take a long time to finish the strategy bar. It turns out that Tsuruko's favorability level in Takasugi's heart was almost full, and I was slapped in the face again. I really can't interpret Takasugi's sultry psychology. (Crying Tsuruko knew in his heart that Takasugi liked him, and because he might not be able to grasp the present moment tomorrow on the battlefield, he obeyed, but he didn't understand how much Takasugi liked him. Regarding driving, I actually really wanted to strangle Takasugi to death. Chapter 50 was driving, and Chapter 53 Tsuruko and Hagi ran away, but occasionally they didn't confirm their relationship! They like each other and even drove a car once, but they are not lovers! Why didn't I say anything after a good night's sleep? I think Tsuruko can be willing, but Takasugi can't take it for granted. Even if it's because he can't make a promise, he shouldn't say nothing, right? When a one-night stand is resolved when two people are in love? Or maybe my understanding of this paragraph is wrong, and they have already acquiesced that the other party is a lover, but this is not clearly stated in the article? Gao He missed it, not because of external influence, but because of Gao Shan's choice. During the summer festival, when watching the plum blossoms in the seaside village, when Tsuruko was imprisoned, as long as there was a little response, even if he looked back for a moment - the ending would not actually be better. Takasugi's character is destined to never give up saving his teacher. Chapter 65: The anti-barbarian army has lost. They should have lost everything, including their companions and their original intention. With Tsuruko's efforts, the situation that was supposed to be a total loss ushered in a turn for the better, and Songyang returned! They made an emergency retreat with their remaining companions. The world line HE achieved by sacrificing only one person almost made me cough up a mouthful of blood (covering my chest) How does Takasugi feel? Painful? Do you regret it? I feel happy when I see him having a hard time hahaha (his leg was chopped off In the following ten years, did he ever think about whether he would seriously respond to Tsuruko if time came back? If Tsuruko had not left the Ghost Army and returned to Amaterasuin Naraku, Songyang would not have been saved, Tsuruko might have died at the end of the fight against the barbarians, and he would never be able to get rid of the nightmare of 519 forever. Assuming that Tsuruko lets Tsuruko survive after 519 like Joy 3, how could Takasugi forget his hatred and stay together forever? It's not Takasugi who would do that. If time could go over again... If time could go over again, I would have to choose between Tsuruko and my fellow teachers. If you cannot give up one side, you will lose both sides (a situation Gintoki Hijikata once faced). This is a dead situation. Is there no better way? Why isn't there a better way? Even if time goes back, he still can't save anything, so Takasugi hates his powerlessness even more. I regretted missing Tsuruko. Even if I try again, I may not be able to save anything, so Takasugi Kuro transformed into a 2.0 One-eyed flower butterfly, although it should not be as twisted as the original. In the following ten years, the person who recalled the murder with only the lower half of his face exposed was not Teacher Songyang, but Tsuruko (by mistake) The ending where Tsuruko must die cannot be broken, but her personal arc has been completed. Although this is the best ending, I still feel very sorry. So I opened the HE extra chapter full of resentment and wanted to see other options... After watching it, I wanted to chop off the hand that opened the extra chapter! What a pity! ! The HE extra chapter is more like a dream than another ending. The main story is progressing, and each character is growing and experiencing, but the extras are just Sora-chan filling up her regrets to satisfy the readers. The evidence is that the person who returns to Takasugi is not Tsuruko after ten years in 2.0, But Tsuruko during the period of fighting against the foreigners. At the end, he also specifically wrote, "How to distinguish whether this body is in a dream or reality." I understand, Sora-chan, please stop stabbing me (tears So this is a dream. A sweet dream of Takasugi Shinsuke. I want to see an alternative, not a dream. But if you think about it carefully, no matter what Takasugi chooses in the text, it will not lead to the ending of HE for all members. This half-HE and half-BE ending is already the best and most reasonable ending. I saw BE crying and begging for the HE extra episode. After watching the HE extra episode, I still feel that BE has a better ending. Today's readers are so willful (turn their heads) So in the end, I still prefer the ending of the main story. I'll just treat the extras as candy. Thank you for giving me candy. At the end of the text, Nobumu returns Tsuruko's letter to Takasugi, returns the lost property, and Takasugi also removes the bandage from his left eye. It would be nice to stop here. Thank you so much for writing such a good article (bixin In fact, I also want to read a few more chapters of Takasugi's suffering ten years later, preferably from the first point of view. It would be better if Takasugi continued to live in pain in the world without that letter after destroying the rotten world. Yes, I am the devil, who let him torture my crane son? As a digression, regarding the relationship between Hagi and Takasugi, the article did not mention how they reconciled, so I am a little curious. Lun led people to capture Songyang. Songyang's students all went to the battlefield, and many of them died. He was indirectly responsible. Considering that the successful establishment of the private school was due to the fact that the other party stepped back from the brink, he was able to reach a reconciliation with Yin Gui and others. However, Takasugi is an exception. The captain killed many members of the Ghost Troops on the fallen navy ship. He was not exempt from the blame. He was also related to Tsuruko's death. How to reconcile with Takasugi? For the sake of the teacher? In the original work, Takasugi killed Ouzhi to clear up any grudges before admitting the identity of the other senior brother, so should Ouzi get a knife from Takasugi? Well, actually Tsuruko is dead, and Yuki, who also committed a lot of crimes, is still alive, which makes me very unhappy, and I am venting my anger. Takasugi's sense of presence is sometimes offline throughout the article, and Yasha Juan directly becomes the invisible male protagonist. It is not so much a fanfic of Takasugi as it is a personal biography of Tsuruko in the context of Gintama. Although there are a few flaws, that's because "The Immortal" is obviously superior in comparison. I read the article in the reverse order. "Height Difference" is undoubtedly a rare masterpiece, especially when Sora-chan was still a high school student when I wrote this article, it shocked my jaw. I'm so happy to have discovered this treasure article. If a fellow fan asks about it, I will definitely recommend it - I can't be the only one who suffers abuse! By the way, my true love is Miss Yae. After reading "Height Difference", I will have a deeper feeling when I re-read "The Age of Immortality". Thinking about human nature created Kyon, Kyon created Amaterasuin Naraku, and Naraku created people like Tsuruko, we can better understand the darkness and sinfulness of Kyon, but he still fell in love with Yae; Songyang still had the courage to fight and love despite having such a dark past; and Yae still never left Kyon/Matsu even though he understood his dark past. When "The Never Die" is finished, I will expand it 360 degrees.

From Spider's Thread to Cat, Demon Slayer, and FF7, I've also read Gintama again. My wife's writing is great. Post it.

It's really good-looking. Is there any chance that Sougo will become the hero of one of my wife's articles? Want to see Dou's true feelings revealed?

Gaohe, post it! Post it! The kind that locks the key and I can't pull it out after swallowing it! I stayed up late to read the main text, and after getting up, I finished the extras. After reading it, I felt warm in my heart! Thank you Mrs. Hatsuna Sora!

I read this article carefully from beginning to end. The overall degree of completion is very high, the structure is complete, the emotions are smooth, and the writing style is quite comfortable. In particular, the temperament of Takasugi and Tsuruko's mood are well grasped. As a fan, the author can write such a complete and coherent story line, which is a very rare and highly respected creation in itself. It's just that my own reading point is different from other readers who prefer romance or sweetness. I am used to reading articles from the perspective of character logic, behavioral motivation, and the relationship between plot and characters. I am accustomed to reading from a perspective that is more serious about dramas and places more emphasis on character arcs and the rationality of the worldview. Because of this, during the reading process, I had several personal concerns and confusions that I wanted to explain clearly in a calm way. These are not criticisms, nor are they denials, they are just some structural contradictions and regrets that I, as a reader, have truly seen. 1. The "functionality" of Naraku's identity is slightly greater than the "intrinsicity" The setting of Tsuruko's Naraku Sanyu in the article has a very clear effect: Give her the ability to intervene in the later plot, and give her the qualities of calmness, killing, and city control. But from my personal reading, this identity serves more of a "background board" and "plot promotion" function, rather than a personality background that is truly in her blood. The impact, trauma, vision, and way of doing things brought about by Naraku's experience did not really reappear or penetrate each other in her later daily behaviors, reactions, and changes in mentality. Her background is gentle and restrained, so there is a feeling of "explanatory rather than symbiotic" between Naraku's identity and herself. For readers like me who care about the integrity of the character, it feels a little like she carries a label rather than a history. This is not a shortcoming, it is just a deeper fusion of my personal perception of "experience × personality = who she is now" when I read it. 2. The "psychological water level" in two-way relationships is not balanced The psychological trajectory of Tsuruko's line is clear: From being closed to being touched, from being confused to being deeply affectionate, from being lonely to being protected with your life. Her state of mind, her dedication, and her transformation can be truly read. But Takasugi's line has relatively less psychological presentation. A large amount of content can only rely on behaviors, events, and results to infer his emotional changes, instead of grasping his inner trajectory, recognition process, and subtle fluctuations. For readers like me who are accustomed to focusing on the unified logic of "psychology-behavior-results", I will feel that his sense of emotional grounding is slightly weak and the layers are slightly vague. It's not that the writing is bad, it's just that I personally would prefer to see the male protagonist's inner water level rise a little bit, rather than being forced to rely on readers to figure it out on their own. 3. The "sense of skipping levels" in an intimate scene may seem a bit abrupt from the perspective of the main drama. The intimate scene is one of the high points of the film's emotional weight, and I can understand its role. But from a drama perspective, once intimacy occurs, the weight of the relationship will really change. There should be some changes in the two people's relationship, mentality, tacit understanding, and sense of boundaries after becoming intimate. However, after the intimate scene in the article, the pace quickly cuts to the scene where the identity is revealed → farewell → death. The process of psychological acceptance and relationship upgrading has not been fully implemented. It makes people feel that the emotions are pushed to a high level, but they are not completely caught by the story itself. This will make a logical reader like me feel a little bit: intimacy is for emotional impact, not for the natural evolution of the character relationship. To put it another way: if it is not broken, the overall aftertaste may be more restrained and blank. This is a regret from my personal perspective, not Wen's fault. 4. The psychological process of Tsuruko's identity being exposed is slightly compressed and slightly jumped. I personally agree with the author's later explanation of the setting (Tsuruko was deliberately exposed and didn't want to drag others down). However, the psychological process presented in this text is relatively compressed and slightly skipped. From the moment she made up her mind → revealed her identity → was pushed away → went to die, In my opinion, this section lacks the layers of inner struggle, hesitation, weighing, and reluctance. The author writes quickly and I can read it quickly. This is not a problem with the text, but as a reader, I would like to see "how much weight is behind her decision." If it could be slower and more detailed, this character's arc would be more complete. Finally, I want to say the most important thing. These are the feelings caused by the different entry points of my personal perspective. They do not represent the quality of the article, nor do they represent the experience of other readers. It is inherently difficult to balance romance and drama perfectly. The author has worked very hard to balance it. The emotional lines, character lines, and plot lines are all indeed present and very solid. The reason why I say this is not to be picky, but because I watch it too seriously, too deeply, and care too much about the characters themselves, so I have these small, personal emotions. Thank you to the author for the story, and also thank you for your persistence in generating electricity for love.

Let me put it first: I only distinguish between dramas and romances based on proportion, direction and degree of influence. Before the formal analysis, I would like to make my judgment criteria clear to avoid absolute misunderstandings. I don't think: - The main drama cannot have emotional lines; ​- Romance can only be written about love; The real dividing line between the two is never the presence or absence of feelings, but the proportion, position and influence of feelings. My division method is simple: - If an interpersonal relationship/emotional line occupies a key proportion, nearly half of the protagonist's entire life line and growth line, and has a strong decisive influence, then the overall structure is biased toward romance; - If feelings are just a part of the protagonist's life, an experience, and an embellishment, and play a role in promoting, catalyzing, and supporting rather than being a decisive factor, then the whole story will be closer to the structure of a drama. Even in romance novels, the heroine can remain true to herself; even in dramas, the hero and heroine can have a heavy role. What really distinguishes genres is not how many characters appear, nor whether they are independent, but how deeply and proportionally another person affects the choice, shaping, and destiny of the protagonist. Using this standard to look at "Looking Back and Not Seeing the Height Difference" again, it still clearly favors a romance structure: The emotional line is substantial, profound and runs through the entire story, and is one of the core narrative driving forces of the entire text. It has the heaviness of a drama, the cruelty of war, and the powerlessness of the times, but these are all centered around the relationship between the characters, rather than the times pressing down on the characters. So it can be labeled as a drama, but it is still basically a romance. Therefore, some aspects of the previous comment may not be very clear. You can just read this one, because the previous long comment was also posted by me. But Jinjiang doesn't seem to be able to delete comments. It's very laborious anyway, and I still have something to add, so I posted another one, although the word count is a bit long. Let me give you a comprehensive explanation of my personal entry points and opinions: After reading "Looking Back and Not Seeing the Height Difference", my feelings were different from those of many readers. A word of caution: The following are entirely my personal reading preferences, entry points, and judgment criteria. They do not represent objective right or wrong. They only express subjective feelings, and are not intended to disparage the works, authors, or other readers' preferences. I must state something first: This is not a criticism or a denial, but a rational analysis based purely on my personal reading habits, entry points and aesthetic standards. This article has a high degree of completion among ancient fandoms. It has smooth writing, strong emotional appeal, non-OOC characters, and a good atmosphere in the late period of fighting against foreigners. It can be called a high-quality and classic in the environment of that year, and it is also the white moonlight of many people. But based on my current comprehensive standards, which favor realistic logic, spiritual core, and character three-dimensionality, it is still in the middle range as a whole, at best above average, and cannot reach the upper limit of "excellence" in my mind. The so-called "drama" label refers more to the tone than the subject. Below I will completely break down all the problems I saw in the article and why I gave it a "mid-tier" rating. 1. Let me explain first: I only distinguish between drama and romance based on proportion, direction and degree of influence. I don't think: - The main drama cannot have emotional lines; - Romance can only be written about love; The real dividing line between the two is never the presence or absence of feelings, but the proportion, position and influence of feelings. - If a relationship/emotional line accounts for nearly half of the protagonist's life line and growth line, and plays a key or even decisive influence, the overall structure will be biased towards romance; - If love is just a part of life, an experience, a catalyst, it plays a promoting rather than a decisive role, it is closer to the structure of a drama. The criterion for distinction is not how many roles a character plays, nor whether the protagonist is independent, but how deeply another person affects the choice, shaping, and destiny of the protagonist. Judging from this, this article is obviously biased towards the romance structure: the emotional line is substantial, runs through the whole, and has a profound impact, and is one of the core narrative driving forces. It has the heaviness and tragedy of a drama, but the background is still romance, and the times and wars serve more of the emotional atmosphere rather than structurally oppressive characters. At the same time, I don't think at all: writing about the macro era is more noble, and writing about personal emotions is lower. The two just have different directions. The subject matter does not determine the level, but the shaping determines the upper limit. 2. My core judgment criteria: Not being OOC is only the bottom line, and the three-dimensional character determines the upper limit. I adhere to the same set of standards for original works and fan fiction: - Not OOC = passing line, bottom line It is just a basic requirement and does not determine the upper limit of the work at all. - The characters are distinct, the character is tenable/the character is not broken = middle level/medium level It can make people remember the character and make people feel comfortable, but it is far from enough. - What really determines the upper limit: spiritual core + logical chain coherence + three-dimensional sense of character creation It depends on how the environment shapes cognition, how experience forms logic, and how choices echo the core. Finally, a high degree of unity among personality, experience, and cognition is achieved. (The above are only personal subjective and objective entry points and opinions, which only determine my personal preferences and interests. They do not require anyone to have the same idea/writing style, and there is no right or wrong. They are only for reference) Especially for doujins, the upper limit does not lie in replicating the character, but in two points: - Horizontal expansion: butterfly effect and reasonable extension in new environments, natural coexistence in new interpersonal relationships. - Vertical mining: Deep understanding of the spiritual core, touching the core logic and motivation of the character. It only sticks to "distinctive personality", which is considered middle-level at best for me. Not good enough. Of course, it is very difficult to dig deeply into the spiritual core vertically and test one's analytical understanding. Moreover, it must be integrated into the article and the plot must be natural, not like a paper. Especially writing a complete life line is extremely difficult. It is only used as a reference and not as a strict standard because it is not necessary. 3. Tsuruko: The character is distinct, but he only reaches the middle level and has not touched the upper limit of the core. This is my core feeling. 1. Naraku's setting is "explanatory" rather than "symbiotic" When I judge whether a character is three-dimensional, I attach great importance to the realistic coherence of the logical chain and the causal chain. It is best to achieve a two-way symbiosis and integration of experience and personality. The explanatory setting tends to explain the background one-sidedly, and it is difficult to support the deep character arc. Tsuruko has a very complicated past - Naraku. As Mitsuha Naraku, she has relatively high combat power and the ability to handle things. Otherwise, her status cannot be explained, and she must have seen the darkest and cruelest side of human nature. According to common sense, this experience will profoundly shape her thoughts, behaviors and bottom line. But in the article, Naraku's role is more explanatory and functional: - Explain why she is good at skills; - Explain why she can handle the task calmly; - Explain why she was indifferent to certain things in the early stage; - In the later period, it becomes a key node that promotes the turning point of the plot (identity exposure, saving Songyang, death). It was not truly integrated with her spiritual core. I couldn't see her struggle, pain, and self-denial during the Naraku period, nor could I see how she rebuilt her self-awareness, principles, and bottom line on the ruins after escaping. Naraku is like a "bad company experience after changing jobs", which proves "why she is like this", but does not become the root of "why she is like this". 2. Sufficient opinions, insufficient ideas; complete growth line ≠ three-dimensional life line I have always cared about the difference between opinions and ideas: - Views are external, judgments and attitudes towards people, things, and the environment; - Ideas are internal, they are cognition, thinking, bottom line, principles, and are the underlying logic that truly supports behavior. Tsuruko's external views are very fully written: how to view Naraku, how to view Nobunaga, how to view Takasugi, and how to view war. However, the internal thoughts, that is, deep cognition, self-stretching, and the game with the old self, are obviously less reflected in the article. Especially the awakening after Takasugi pointed out that he had "sung the wrong song", and the self-softening after being tempted, the two key transitional sections have been simplified, omitted, and even directly jumped in time. There is no struggle, no reflection, and no cognitive reconstruction. We only see the results, not the process. This leads directly to: - The "what it becomes" of the growth line is more complete. ​- The life line "Why did it become like this" is obviously weak. Tsuruko's growth line after fighting off the barbarians is relatively complete; however, due to the accumulation of events, the superimposition of stages, and the fusion of overlapping parts, it cannot be completely regarded as a complete line. Tsuruko's emotional line is of a higher quality than her growth line, because her transitional period actually does not have much impact on her emotional line, but it will affect her growth line to some extent, because it simplifies the process of psychological pull and touching thoughts. In fact, it is a transition that can better reflect the transformation of her personal growth and inner reconstruction, and it is not only the transition of her emotional transformation. However, the entire life line is not three-dimensional and only stays in the middle level. Because Naraku's past experiences have not been fully integrated, the fragmented memories reflect experiences, external views and understanding of Naraku's behavioral patterns. It didn't shape her, it didn't reflect her deep inner thoughts. I value the two-way symbiosis of experience and personality, and the reality of a coherent causal chain, but Naraku's background in the article is more functional and explanatory: It explains combat power, explains calmness, and promotes the plot, but rarely describes how it distorts, refines, and reshapes Tsuruko's underlying cognition. Her pull with her old self, inner reconstruction, formation of principles, and then transformation, the transition of self-transformation, are obviously insufficient in writing. Almost focus on reflecting the results of the transformation that have been formed The growth line looks at "what she has become." The life line looks at "why she became like this". The latter is precisely the weakest part of the article except for Takasugi's personal emotional line. 3. The growth line is a superposition of stages, and the life line has an obvious sense of rupture. The reason why Tsuruko's growth line is "complete" is because the stages are clear and the results are clear. But in my opinion, it is more like a superposition of staged events rather than a truly coherent integration of growth. Her life can be roughly divided into several stages: Naraku period → The stage formed after leaving Naraku and meeting the battalion commander → The transformation after meeting Takasugi → Finally dying Changes can be seen in each paragraph, and there are consequences. However, there is a lack of smooth and profound transition and integration between paragraphs. In addition, Naraku's experience has not really integrated into her spiritual foundation. The role is more of background explanation + plot promoter, rather than the underlying logic and inner foundation that supports her behavioral choices. Therefore, her growth is more like a patchwork of segments, with stages and a sense of partial integration, but not fully integrated. The lack of transitional sections further prevents these stages from being completely connected smoothly, so the life line shows a slight sense of fracture - you can see that she has changed, but you can't clearly see or explain how she changed step by step. As for how much you understand, it probably depends on your personal analytical ability. Looking at the growth line, the results are complete, but looking at the life line, the process is not coherent enough. So based on my feeling, Tsuruko's personal single love line ≥ her growth line > her life line > Takasugi's personal love line 4. Behavior-driven: Character background is far greater than spiritual core Readers' first intuitive impression of Tsuruko is often: "She is a gentle and kind person, so she would do this." This is character drive and character background (personality and behavior aspects) What I want to see more is: "What she experienced, what she understood, and what kind of cognition she formed, so she made this choice." This is the kernel driver. The most typical example is her attitude towards religious women. We can easily feel her gentleness and kindness, but the first and most intuitive reaction is still "This is her nature, she is gentle and kind by nature, so she does this." Rather than "She deeply understands pain because of Naraku's trauma, so she chooses to treat similar people in another way. She has experienced darkness, understands trauma, and formed cognition, so she chooses to do this." The support point lies in the character background rather than the spiritual core. This is why I always say: her characters are distinct and three-dimensional, but not "very three-dimensional". The supporting point lies in character, not core. Therefore, her character image is relatively vivid and vivid, but not "three-dimensional" enough; complete, but not "deep" enough. According to my standards, it is still mid-level. 4. The emotional line is complete but unbalanced, Takasugi's side is semi-solid, and the intimate scenes are abrupt The most fluent thing in the whole text is Tsuruko's emotional line, which is even slightly more complete than the growth line. But feelings are a matter between two people. They are their feelings, perceptions and touches, actions, and contributions to each other. Takasugi's line is severely weak and semi-absent. We can feel that he is special to Tsuruko from some details and behaviors, but readers can never see clearly: ·When did he start to be tempted; ·To what extent you are tempted; ·What specific touches did Tsuruko's dedication bring to him; ·Is he engaged in seeing people or seeing things from people? The psychological description is almost completely blank and can only be inferred through behavior, resulting in an obvious asymmetry in the emotional lines: Tsuruko is full and solid on the side, and Takasugi is vague and suspended in the air. If divided by level, Takasugi's emotional line completeness is even one level lower than Tsuruko's life line. Because of this, the intimate scene after drinking seemed particularly abrupt. - There is not enough progress ahead. There is no foreshadowing, the relationship is still vague and implicit, and it does not come naturally; - The meaning cannot be maintained after the incident. The relationship between the two has almost not changed since it happened, regardless of the qualitative change of the relationship or the inner change; - The function is only to give readers an intracranial orgasm. The lack of connection between the front and the back is the most inconsistent part of the whole text for my personal sense. Although Takasugi's regret for Tsuruko's death ten years later can be felt, due to the lack of early psychological foreshadowing, the overall story is still a bit rushed and the weight is not as heavy as it should be. 5. The logic chain is occasionally weakened, key plot explanations are insufficient, and misunderstandings are easy to occur. I attach great importance to the logical chain of reality and the coherence of cause and effect. The overall logic of this article is smooth, but some nodes are obviously simplified and weakened. The most typical one is Tsuruko exposing his identity and Takasugi dealing with it. In the context of the times, the choice of Takasugi is actually relatively reasonable. It should have written a heavy feeling of "everyone is powerless in troubled times". However, due to the lack of inner considerations, overall balance, and helpless and limited description, and it is not clearly pointed out that Tsuruko deliberately exposed himself to avoid being implicated, it may end up easily showing a perception similar to "Takasugi's misjudgment leads to tragedy", which is close to a moral paradox-like misunderstanding. It is a pity. And it may make people feel that there are some routines and problems in ancient Chinese novels. Although from a sensory perspective, there are some striking points compared with other ancient Chinese novels, it is not a big problem. It's okay to leave blank space, but excessive blank space will make the character's logic semi-solid and not solid enough. 6. Character excavation: stop at the middle level, not deep enough and not three-dimensional enough I have always believed that not being OOC is just a pass mark, not a perfect score. A truly outstanding fan must explore the deep core of the characters and expand their character diversity and logical rationality. Hatsuna Sora's article is not OOC. Takasugi's character traits and behavioral logic are generally online, but the depth of exploration is obviously at the shallow and middle levels. Because it is more of a horizontal expansion, Takasugi's relationships with other people and combat methods at that stage were relatively easy to master at that time, but it was actually difficult for him to master the stage ten years later. It writes about experiences, opinions, emotions, and feelings, but rarely about thoughts, cognitions, bottom line formation, and inner struggles. Tsuruko's behavior is supported more by his character background, event promotion, and emotional tendencies than by deep, stable, and self-consistent cognitive logic. We can describe her as gentle, kind, transparent, and rational, but if we continue to ask "why she is like this", it is difficult to find sufficient support from the text. The characters stand up, but they don't stick to their bones. At the same time, this article was written earlier and belongs to the early period. In terms of logical presentation, psychological level, and character exploration, it is indeed not as mature and sophisticated as Hatsuna Sora's later works. There are some minor flaws of the times, which are normal. 7. Self-liberation and the meaning of life: it should fall into the core of cognition, not just the state of mind Many readers, including the author himself, will think that this article is about Tsuruko's self-search, self-acceptance and reconciliation. As well as the temptation and devotion to Takasugi in the middle, as well as the changes in the process, the focus is what Tsuruko gained when he met Takasugi chasing him. And not just feelings. I think for Tsuruko personally, the real meaning does not lie in gaining his affection, or the extent of their affection. For the character personally, this experience is meaningful, a destination, and growth, which is enough. I fully agree and do not deny its value. But my personal judgment criteria are very clear: True self-liberation, reconciliation, and redemption must fall on inner thoughts and spiritual core. A better mood and emotional relief are the results; I think emotions and personal feelings are closer to something instinctive, which may have some ambiguity in some situations. Thinking through, understanding, judging, choosing, and being self-consistent are the root causes. Because I have understood it clearly and figured out those things, I made the choice in a completely awake state. Cognition is the underlying logic, supporting everything like nerves and blood vessels. It is not separated from the emotional personality, but is a more inner and fundamental part. Whether a person truly liberates himself and accepts himself is absolutely related to his inner thoughts. Tsuruko's reconciliation in the article is more about the state of mind: She found care, gained warmth, remembered her original intention, and moved towards the ending calmly. Content that truly touches on cognitive reconstruction, logical closure, and core firmness only appears in small amounts at the end, and is absent for a long time in the front. Therefore, in my standard based on "kernel depth", it is at best mid-to-upper level, and overall it is still middle-level. The author does pay more attention to the emotional process (the focus is not on the emotions, but on the process, and the emotions are a turning point or a key node) and the meaning of her experiences growing up to the heroine's life, paying attention to what she chose, what she accepted, and what she gained. The author is really thinking, whether she is deciding on the person at the beginning, or the development process of the two people, or the story. When gradually creating, the author will think about what kind of things are meaningful to her protagonists, instead of just sticking to the value of emotional perfection to them. This itself is very clear and well done. But because many people's horizons are now broadening and improving, whether it is before or now, whether it is reading or creating. At least in terms of the meaning and value of the theme to the character personally, this is good. However, due to the degree of the environment and changes in people, its position may have been high in the past, but it may be medium now. But this does not mean that the value of this theme will be devalued. It's just that more people are aware of it, so it may not be as special and rare as it once was. There are also differences in personal opinions. Some of the situations in this article may be from mediocre to average, or at most above average. Because my aesthetic preference has been fixed, it can only promote or shape it, but it is difficult to change it in a general direction. Of course, it may be better for other readers. So I still say the same thing, many novels and movies may have thematic connotation, and they will generally express this theme regardless of whether it is shallow, medium or deep, but the key to determining the quality is the depth of your shaping of the theme. I have a point of view. Whether the ending of the story is satisfactory or not may not be particularly important to me. What I look at is the overall meaning of the expression, which feeds, influences, shapes, and promotes the individual, the era, and various factors. Whether that person's final outcome, good or bad, has a meaningful impact, it does not mean that it ends when he dies, but will it affect other people's concepts and internal thoughts, and whether it contributes to their spiritual core, and whether it is still conductive in subsequent events in the future. What I care about more is this. Of course, I will not use my opinions to frame anyone, nor who wrote it, or whichever work is not to my liking, it will be bad. I don't have this idea. But I pay more attention to whether these meanings are implemented into the spiritual core and whether they are supported by inner cognition. Different directions lead to different feelings. 8. Regarding the historical positioning of ancient Chinese literature: classics back then ≠ excellent now Finally, let me talk about my overall views on this type of ancient masterpiece: - It is indeed high-quality, highly finished and a classic in the environment of that year; - Judging by the standards of the year, it can be considered quite good; - but with now broader, deeper, more stringent comprehensive standards. Because the public's preferences and standards are changing and moving forward, now we no matter read articles, watch movies, TV shows or animations. It not only focuses on the emotional development of the two, but also other embodied themes or realities, as well as personal shaping, spiritual core, era and people, people's position in the era/events and what they did, personal progress, self-salvation, choice, spiritual core, etc. The emotional relationship of the characters may be a bonus, but it also depends on the depth or complexity of the expression, but it is not necessarily an absolute definite score. Therefore, this article only reaches the middle level or a little above the middle level. I do not advocate using current standards to harshly criticize ancient works, because the situation is different, and the public preferences, the focus of creation, and the needs and preferences of readers in the two environments are also different at that time. But I don't think that "good" back then can be directly equated to "excellent" today. - Distinctive characters ≠ three-dimensional; - Complete growth line ≠ Deep core; - Strong emotional contagion ≠ Solid logical chain; - Old classic ≠ ceiling. In my case, its current positioning is: The look and feel is comfortable, overall it's okay, it was excellent back then, but it's okay now, at best it's good, but it doesn't reach the upper limit of excellence. Because if we only use the past standards to frame it, it will actually be difficult to break through now. Therefore, no matter what it is, whether it is the past, the present, or the future, it is only a frame of reference for comparison, and there is no absolute standard. Especially those works in the past that are improving compared to the current ones Many readers at that time valued emotional tension and emotional investment more, but the standards of modern readers are more comprehensive and in-depth. Emotion can be part of the story, but it cannot be the whole story. 9. Summary: Different directions, different standards, no high or low, only different tastes To summarize my overall judgment on this article: Advantages: - The level of completion among ancient romance fans is extremely high; - The characters are not OOC, have a unified background, and have a distinct temperament; - Strong emotional rendering, smooth emotional lines, and complete growth lines; - The ending of the main story fits the character and has enough personal meaning for Tsuruko. Disadvantages in my eyes: - Naraku's experience has strong functionality but insufficient integration; - Little exploration of internal thoughts, cognitions, and core; - The key transition sections are simplified, and the three-dimensional sense of the life line is insufficient; - Takasugi is mentally deficient and has a semi-solid emotional line; - Some logical links are weakened, and some plot explanations are insufficient; -The overall depth remains at the middle level, not reaching the upper limit of excellence in my opinion. But I emphasize again: This is entirely a difference caused by my personal entry point, preference, and judgment system. It does not mean that the work is not good, nor does it mean that other readers' liking is unreasonable. Because I think many people now evaluate a work mainly based on the following points of view. The basis is determined by objective factors, that is, what theme the work embodies and the depth of its shaping. The degree of its expression is objectively high, as well as its advantages, whether it is emotional atmosphere or deep shaping. And it may have some minor flaws or even problems. Personal preferences and entry points determine the direction of observation or evaluation, that is, as I mentioned before, internal thoughts and external views, as well as personal experience, personal cognition, and personal thinking. These are almost all different from person to person, so it is normal for everyone to have different opinions. I think this is not a point worthy of debate or quarrel, because there is no right or wrong in it, and no one has more right or advanced ideas than others. At most, it's just an objective degree of depth. Writing about times is not necessarily high-level, and writing about emotions is not necessarily low-level. The subject matter does not determine the quality, the shaping determines the height. This article has done a good job on its track, it just hit the spot and didn't poke me. I respect the author's creation and everyone who likes it. This is just a romance fanfic that doesn't meet my personal standards of depth, but is still excellent. So my point of view can actually be used as a reference based on personal circumstances. If our feelings are different, you can just take a look. If there is something similar or something that makes you think, you can also discuss it. And I think if I give a rating, this movie might be a three-star for me, because what I care about, as I said at the beginning, is different from the author's direction and method of writing. Of course, this is a matter of preference and entry point between the two of us. There is no one who is right or wrong, who is superior or inferior, or who has problems. But this happens to determine my personal interest level, so it is impossible for me to give a high score. However, I can also clearly see the advantages of this work, and there are some good aspects. Although the environment is different from ten years ago, some of its values ​​may not be as deep in depth. Considering the situation ten years ago, it is not meaningless. So it is even less likely that I will give it a low score just because of entry point and preference. That is even more impossible. So if this article arouses your insights, inspires your feelings, and makes you gain some insights, then it is meaningful to you personally and it is also a very good article, so you don't need to care about some of my opinions and opinions. What you like is what you like, and you have every reason to like it as much as you want. If my comments arouse your thinking, you can also refer to it based on your personal situation and personal thoughts, or think about it. After all, everyone reads articles because they like it, want to read it and get something valuable, or have some insights and feelings. It's just that many people have their own preferences, and what they care about varies in degree. Therefore, there may be different conclusions and opinions.

Ah, I was halfway through Gintama and had no motivation to read the novel, only to find a fairy wife. Originally, he had no feelings for Takasugi, but his wife Amway made him angry, so he pursued Gintama again and looked forward to Takasugi's appearance. After finishing it, I felt even more deeply how magical my wife is! I used the words of someone who recommended this novel before. My wife is like a Bodhisattva. After writing it, she will save all sentient beings. It's so good! ! ! ! !

It's really a blessing to be able to see such an excellent work after so many years...

@? (This long review is transferred from my lof, I am here to contribute. Jpg) ? Unexpectedly, it was a long review of "Looking Back and Not Seeing the Height Difference". ? Well, actually, it was an idea that suddenly came to me when I was painting the bed sheet in Jinsuke's color in the Yae He Tu - Do you want to read "Return" again? So after I finished drawing the congratulatory picture, I read "Hui" again. In fact, this is my second time watching "Hui". The first time I watched "Hui" was from the column after seeing "The Old Man" on the list, and then I finished watching it. When "Returning", the author's sentences still have the repetitive modal particles and complaints that are characteristic of Gintama anime. When "Old", he can retract and retract them freely, which is a great improvement. Yeah, that's not to say there's anything wrong with having strong anime features, but novels are different from anime's intuitive expression after all. The advantage of novels is that they can use environment and side descriptions to exaggerate the atmosphere (don't scold me if I say something wrong, my literary level may have stopped at the college entrance examination, and then I turned into a boring engineering dog). But it is obvious that in "Old" the author has been able to grasp the distance between the novel and the animation. ? Alas, the main content of this review is still "Hui". It is no exaggeration to say that I cried until midnight when I first applied it. The depressing feeling surrounded my whole body in 3D. I agree with the author's point at the end. The HE extra chapter can be said to be a... Failure, which may be a bit unpleasant. Tsuruko will always live in Jinsuke's memory, so this story is perfect. If a dead person cannot be resurrected, how can a broken mirror be restored? When a person chooses a path at the fork in life, the other paths can only be seen from afar. There is no save point in life. ? HE Extra, I think it's more appropriate to think of it as Jinsuke's dream. I want to redeem myself, I want to have a chance... I want to know what kind of future I would have with Tsuruko if possible. It would be nice if possible. This time I will definitely convey my feelings to the person I want to convey them to. This time I will definitely be able to say "very beautiful". This time I will also be able to promise again "Let's go to the next summer festival together". However, however... ? ? Let's go back to the topic of the long review. The killer is disqualified. This is my main impression of Tsuruko when I watched "Return". To be honest, my favorite and least favorite part is the part where Tsuruko goes alone to assassinate the enemy Wolf Head Commander. The most impressive thing about this scene is the weakness of human nature. As Naraku's killer, Tsuruko can be trained to completely eliminate any negative factors that may affect the mission, but Tsuruko will compromise on his own weaknesses. Throughout her life, she started out just to get praise from her teacher. Her admiration for her teacher made her work hard until she was ranked among the three nobles. But because of a specious scene during the mission, he gave up his mission and became confused. ? It can be said that Xin's motivation for becoming a killer is wrong. She escaped from Naraku and became Tsuruko just to release her nature. Why is that part the part I hate the most? Because when I finished reading that part, I found that in that case, I would choose to kill the enemy commander without hesitation. I could sacrifice these things that have nothing to do with me for the sake of justice. Too cold-blooded. But Tsuruko is not. Her humanity is too heavy. The starting point of her life is "mother", so she can't do anything and struggles in the quagmire of human weakness. ? But this is the characteristic of Tsuruko. If she didn't have such humanity, then she would be a perfect killing machine, but then there would be no such story, and she would not meet Jinsuke and fall in love with him. In Amaterasu-in Naraku, the three "Naraku disqualified" are all like this. Songyang, Hao, and Zhen all left Naraku because of their own weakness. In other words, they escaped from Naraku because they had human nature, and their contradictory personalities caused their unfortunate experiences. But human nature is the shining, brightest and most charming part of them, even if it will only cut themselves black and blue for the killers. ? I think Tsuruko was crying when he assassinated the Wolf Head Commander, even if he didn't really shed it. What was she thinking during the assassination? The things that are obviously used to settle down and live are abandoned by oneself, and the things that are obviously determined to be abandoned are the only way to survive in the end; the victory is obviously within reach, but it is blocked by useless emotions and useless self-ah, why are people in this world always so sentimental and troublesome? ? The world is safe and secure. ?? The same is true between Tsuruko and Jinsuke. It's within reach, but no one dares to reach out. Tsuruko has no reference at all, has never seen what love looks like, doesn't know how to do it, and is timid, so she doesn't dare to reach out. As for Jinzhu, I am afraid that he is relatively slow and focuses on the war against the foreigners and rescuing the teacher. He also feels that he is in danger and wants to escape. I think Jinsuke's avoidance was really obvious when his back was always turned to the emperor, but he didn't expect that this would be the last time... ?? Tsuruko's love for Jinsuke was not very pure at first. I think Yu Tsuruko's feelings for Jinsuke started from empathy. The teacher is of great significance to Hezi. Jinsuke, who intends to save Songyang, seems to Hezi to be looking at his other self. Because of the similar mood (and beautiful face), Tsuruko paid more attention to Jinsuke. Coupled with the fact that Jinsuke and Amaterasuin Naraku have completely opposite qualities, it is normal for people who are not completely separated from Naraku to be attracted to him. Even until death, this empathy did not disappear. Instead, it became more profound because of the death of his teacher and the regret that he could not die - so much so that until his death, Tsuruko believed that as long as Songyang returned to Jinsuke, he would be happy... No matter what Tsuruko is like, whether he survives or dies... ? This is another cruel point. Tsuruko thought that what he did was right, and Jinsuke would be happy for Songyang's successful rescue. However, he did not know that it was the fact that Tsuruko sacrificed his own life in exchange for Songyang's return that caused Jinsuke to fall into Naraku (hell). Why can't I do it faster? Why would you use this method? Why do you want to die? My thoughts and everything I have are not available in time—— ? The core of the tragedy between the two lies in the inability to communicate. As long as one person can say just one more word, this tragedy can have a chance to be reversed. It's a pity that these two newbies in love don't understand. However, in the HE extra chapter, Jinsuke finally wakes up in time, but what's the use? Tsuruko in this world will never know. ? ? I like the last extra chapter (actually Chapter 84, I misremembered). At least it has solved some of Jinsuke's regrets in this world, so this article seems even more cruel. Let me sum it up in one sentence - I didn't know I was a guest in the dream, and I was greedy for pleasure for a while (a little bit unlucky? It doesn't matter, just understand it). ? ? In fact, I have finished most of the "Return" greeting picture. I still need the background and clothing details, but the accompanying text, character settings, and background settings are all done, and I should be able to finish it tomorrow or the day after tomorrow (I don't know how to be a pigeon...). You can tell the story in advance. The name is "New World - Summer Festival", the text is from Tsuruko's perspective, the BGM and perspective are from Jinsuke's perspective, and the theme is from the original world of "Return". It sounds like a big knife, right? But I'm sorry, my knife will only grow longer when I pull it out (laughs)~ ?? Finally! Once again, I would like to express my gratitude to the author for being able to produce such an excellent work! ! ! Like it very much! ! ! My love is given to you, and my tears are also given to you! ! ! Compare your heart~