Luo Song killed Zhu Guoliang, burned his body to eliminate traces, removed the card from Zhu Guoliang's cell phone and locked it in his safe.
Only seven hours after doing all this, Zhu Guoliang sent him a message - "Luo Song, if you kill me, I want your daughter to be buried with me!"
Intent: Female power and self-salvation.
Reader comments
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.
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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.
Li Ting is an out-and-out martyr, but originally she just wanted to live a smooth life.
Li Ting, a young boy who studies hard and is among the best in her grades, chooses freedom after being deceived into having no hope of getting into high school. After being repeatedly captured by leeches and brought back to the leech nest, the wolf cub Li Ting, who refused to admit defeat, bought his freedom with a kitchen knife.
In the years that followed, Li Ting seized every opportunity for advancement. She taught herself and learned fluent English. She seized the opportunity of her ex-boyfriend to learn programming, and used this as a threshold to master hacking skills. She was self-reliant, learned a driver's license, and also learned exquisite cooking skills.
Originally, the rest of the wolf cub's life would be boundless green fields. She could meet her sisters in life. When she has enough energy, she might become the next Teacher Wang. She would be a tenacious grass that will grow again in the spring breeze.
But hell is empty and demons are in the world. Luo Chusheng murdered Ning Ning, and Teacher Wang also chose to commit suicide out of the self-blame and pain of losing his daughter. Li Ting's fate changed since then.
If Teacher Wang had not committed suicide, Li Ting's fate might have been different. At least Li Ting would have had a home and a branch to rely on after leaving the leech nest. She would have completed high school with the help of Teacher Wang, and then graduated from college and even a master's degree with her own efforts. She would have a sister Ning Ning who loves each other. In the future, she will have many sisters Xiao Ting. How can I not hate her and not feel regretful.
Li Ting committed martyrdom and shouldered her sins alone. In her plan, she bore the hatred between Teacher Wang and Ning Ning alone, but she planned the rest of her life for Shanshan.
He mistakenly believed that he and Guo Guo had encountered a bear. Even though he was seriously injured, he chose to stay and confront the bear. It was hard not to cry when he coaxed Guo Guo not to look back and move forward.
Ah... I cried to death! ! In fact, Li Ting has always wanted to die, and he didn't dare to commit suicide while carrying the only person in the world who made him feel loved.
I really like this article. The author is very neat when introducing new characters. There is no verbose prefix, such as "xxx's wife xx". The person's name is written directly. The relationship between the characters is unlocked as the plot progresses. When I first read the beginning, I thought Yan was Luo's third...
It's so well written, really, so wonderful.
看得我都想买俩小蛋糕了[狗头]
It's very suitable for filmmaking. Overall it's quite exciting.
Updated just in time for the end of July, great [Star Eyes]
Is this the end? I feel like there's still content that hasn't been explained clearly!
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.
Li Ting is an out-and-out martyr, but originally she just wanted to live a smooth life. Li Ting, a young boy who studies hard and is among the best in her grades, chooses freedom after being deceived into having no hope of getting into high school. After being repeatedly captured by leeches and brought back to the leech nest, the wolf cub Li Ting, who refused to admit defeat, bought his freedom with a kitchen knife. In the years that followed, Li Ting seized every opportunity for advancement. She taught herself and learned fluent English. She seized the opportunity of her ex-boyfriend to learn programming, and used this as a threshold to master hacking skills. She was self-reliant, learned a driver's license, and also learned exquisite cooking skills. Originally, the rest of the wolf cub's life would be boundless green fields. She could meet her sisters in life. When she has enough energy, she might become the next Teacher Wang. She would be a tenacious grass that will grow again in the spring breeze. But hell is empty and demons are in the world. Luo Chusheng murdered Ning Ning, and Teacher Wang also chose to commit suicide out of the self-blame and pain of losing his daughter. Li Ting's fate changed since then. If Teacher Wang had not committed suicide, Li Ting's fate might have been different. At least Li Ting would have had a home and a branch to rely on after leaving the leech nest. She would have completed high school with the help of Teacher Wang, and then graduated from college and even a master's degree with her own efforts. She would have a sister Ning Ning who loves each other. In the future, she will have many sisters Xiao Ting. How can I not hate her and not feel regretful. Li Ting committed martyrdom and shouldered her sins alone. In her plan, she bore the hatred between Teacher Wang and Ning Ning alone, but she planned the rest of her life for Shanshan. He mistakenly believed that he and Guo Guo had encountered a bear. Even though he was seriously injured, he chose to stay and confront the bear. It was hard not to cry when he coaxed Guo Guo not to look back and move forward.
Ah... I cried to death! ! In fact, Li Ting has always wanted to die, and he didn't dare to commit suicide while carrying the only person in the world who made him feel loved.
I really like this article. The author is very neat when introducing new characters. There is no verbose prefix, such as "xxx's wife xx". The person's name is written directly. The relationship between the characters is unlocked as the plot progresses. When I first read the beginning, I thought Yan was Luo's third...
It's so well written, really, so wonderful.
看得我都想买俩小蛋糕了[狗头]
It's very suitable for filmmaking. Overall it's quite exciting.
Updated just in time for the end of July, great [Star Eyes]
Is this the end? I feel like there's still content that hasn't been explained clearly!