An Elemental Mage Who Can't Use a Sword Is No Hero

I followed the update all the way until I finished writing the introduction. Wow, it's such a long introduction. Congratulations to the author for finishing Spreading Flowers. You can take a good rest for a while and think about how to present the rest of the content. Thank you very much for presenting such a good story, especially the last few chapters, which are heart-warming and sad to read. It's really amazing that a new author can write such a work all at once. When I was hiding the story, I couldn't use my brain. When I revealed the secret, I suddenly became enlightened. It was a very pleasant reading experience. Let's talk about the reading experience from a reader's perspective, hoping to bring some ideas to the author. Personally, I feel that some of my ideas will be shared by other readers, so they should still be of some reference value, above. When I saw Ye Qiu's letter, I was almost convinced by Ye Qiu and wanted to understand and sympathize with her and everything she supported. But when I saw her unlucky father's thoughts, I wondered if it would be better to make Wan Xiao a female. But for a villain with a male world view who failed completely in the end, I might as well make her a male (immature left and right brain fighting). I think that although Cui Hua and Ye Qiu are against the protagonist group, Cui has a eldest temperament, and Ye is obsessed with destroying the existing order, they are portrayed as three-dimensional and very charming characters. The point that reduces the attractiveness of their motives for doing things comes from speaking for their male elders. In the reader's mind, they are like: speaking for a male relative once, the favorability score is -1, and the favorability score of affirming the male elder's personality charm is -5. The author's great intentions are really obvious. These characters who enter the game/die as losers are designated as men, while the female villains/staged villains who have roles and abilities are designated as female characters. But it still makes readers like me feel strange emotions. I'm going to be a bit chatty here and try to briefly speculate on the reasons. My current standards for love-girl themes are: 1. All-female worldview/all-female characters, and the theme has nothing to do with sex war. It explores complex systems, human nature, and even aliens, as well as various themes that many authors want to express. Both the good and bad villains are cute and hateful, and there will be fans of the characters. I feel that the positioning of this book is more towards this, with a grand world view. In the early stage, I was often attracted by the grandly conceived history of the birth of Qiao Country and various interesting little details. In the later stage, I was attracted by various charming characters with difficulties and goals. Therefore, I feel that all the male characters who appear are very abrupt and awkward, and I also feel that the female characters who support them are weird. Out of kindness to the female characters, they will usually be more tolerant even if they show a preference for male characters. However, there is a kind of tolerance in it, such as the director of the orphanage where Bingge is in the opening chapter; complex male villains such as Wan Xiao appear when complex male villains appear. Is there a hidden story or plot point for a very complex character? Take a second look, and it's the male Yue who plays the role. Let's talk about the situation where the appearance of a male villain is unobtrusive and reasonable, that is, ② the main storyline of the sex war is a story where the protagonists are all women and the villains are all men. This kind of positive and negative stance is not linked to any personal values, likes and dislikes of the author and readers. It is simply a battle of positions. The male villain is destined to be flat and unmemorable, like the hand-torn Japanese in the anti-Japanese drama. I emphasize this point because it is difficult for readers to switch back and forth. When reading ① type articles, they will think about empathizing with everything, put themselves in the female characters' shoes, experience their origins and personality charm, and want to participate as much as possible in the author's settings and thinking about society. They want to feel them with love and empathy. All the male characters appearing at this time are forcibly pulling the readers out of the wonderful reading flow experience. When I read the ② type of article, I want to enjoy it, I want to fight for positions, I treat the enemy as ruthlessly as the autumn wind sweeps away fallen leaves, and I put part of my negative emotions into it. At this point, the love and empathy ① will disappear. When there is a male villain whose identity is ② but whose motivation is ①, readers need to constantly pull away from the article and think about whether they should adopt an attitude of empathy or hatred. This is where I am currently struggling with the play. It can be seen from this article that the author is very ambitious and wants to capture both ① and ②. It is very powerful, but it will make readers like me have the same mental journey as above. It even makes the author misunderstood to create a two-dimensional vicious female character and a complex male character. This is indeed a difficult point to balance, I'm sorry. I have a vague idea just for reference, that is, I can let the domestic plot bear the author's desire to express ①, and let the outside world bear the author's conception of ②. The author's thoughts on personal values ​​are laid out in the country of Qiao, and those who hold various positions and values ​​are all female characters; the battle of positions is completely left outside the mountain, and a massacre is carried out outside the mountain. Of course, this may cause the two sides to be too separated or seriously damage the outline, so it is just an immature idea 🍉 and the author should write according to his heart. It is almost equivalent to reading a questionnaire for readers ~

"Two men and one woman" is a big thorn in the side of the author~ One woman and two men

Bingge is a little troublemaker. He just committed a crime and started taking risks again. He is born with a life of adventure [caidog]

Teacher, I'm waiting for you to come back and update 🤩

The updates are so diligent. I look forward to revealing whether they will make a secret visit to the cabin to check on the gardener.

The magical world also has its own cyberpunk-style streets

Blind guessing about what a woman left behind is very useful

I was very moved after reading Zuo Hua. Is the plot line supposed to be heavy?

It's okay to see that Zuoyan is okay, children can grow up. She is as ruthless to Mingzhu's father and uncle as the autumn wind sweeps away fallen leaves. She is as ruthless to Mingzhu as she can figure it out one day and be a good comrade-in-arms. Looking forward to the beginning of school plot in the next chapter.

Wow, the annotations have a sense of history that this world really exists. Maybe it's because the text is so joyful, but when I read the annotations, I felt that things have changed a lot. It will definitely look super interesting to write a Qiaoguo history book sometime. Let me give you a small suggestion. In fact, when talking about giant turtles in the text, you can also use the annotation routine. Seeing that the two friends were deeply curious about the origin of the giant turtles, Mu Yuanzhi told the story of the mythical beast in detail, and then he could describe this paragraph in a canonical style~ (Of course, this is also a personal suggestion. I really like this style [cat head] when I see the annotations)