Harry Potter: I Am Legend

Among the dozens of HP fics I have read, except for "The Lion Throne" written by a Taiwanese author, which has been released by Eunuch, and is comparable, compared with this book, other books can be said to be worth mentioning. The advantages of this book lie in the following aspects. First, it is a detailed grasp of the character's personality. Whether it is the protagonist, the two heroines, or the villain, they are all portrayed in a very three-dimensional way, especially the transformation and struggle of the protagonist's personality, which gives a sense of growth. This is not easy, and it is especially rare to have this kind of skill in online novels. The second is the extreme restraint in the use of cheats. It is unrealistic for a person with ordinary talent to grow into a legend without cheats. Abuse of cheats often makes the twists and turns of the story extremely boring, especially in systematic novels. The nanny-like tendency of cheats makes people feel like children playing house. The author is able to balance the frequency of use of cheats very well and handles it very wisely. Third, the choice of era is very discerning. Compared with the Voldemort era, the wizarding world in the Grindelwald era may be the last elegy of the magical aristocracy in the true sense. The aristocrats in the Voldemort era are already confused zombies full of decay. They only know how to use violence and fear in vain to block the torrent of the era. It is really abhorrent, sad and pitiful. The two heroines in this book (I want them all. Jpg) are the epitome of the aristocracy's loneliness and final struggle. Grindelwald's emphasis on talent is a ruthless mockery of the aristocracy. Grindelwald is to the aristocracy what Napoleon is to the old French aristocracy. He will eventually break everything, but he himself is not the real new order, but can only lay the foundation for the new order. From this perspective, Voldemort was not even Louis Bonaparte, but just an ugly restoration of the old Bourbon aristocracy. And only in this cruel war can there be room for legendary heroes to grow.

This book is the most comfortable novel I have read in six years. It is not a HP fanfic, because it only borrows HP's world view, and the characters, stories, and even the world background are far from HP itself. The reason why the world is said to be different is because of the main tone of the world. In the end, what HP tells is an adult story about love, while this book seriously narrates the growth of the protagonist. The first few chapters are a bit cheesy, but the further you read they become more exciting. The story itself is attractive because you can't guess what will happen next. The reader can clearly know that the next turning point is approaching, but what the turning point will be and when it will be unknown. Another thing the author did quite well is the construction of characters. Everyone has his own image, his own thoughts, and his own story. Even the protagonist's roommate, an insignificant character, seems different. At the same time, the author's depiction of the environment and atmosphere is particularly vivid. Some passages even jumped out of the page, such as the first time the protagonist transformed into a thunderbird and descended from a high tower. And when the Dragon Training Team returns and looks at the crazy, irrational, ragtag Halloween dinner from the protagonist's eyes, the noisy atmosphere wraps people up and makes it impossible to escape. And what comes after the hustle and bustle is not quiet, but silence and loss. Finally, some personal opinions. I like this book because I resonate with the protagonist. Especially when it comes to stupidity, it feels particularly immersive when the protagonist escapes. Many HP fans are either pure romance or pure cool writing. This is not to say that both are bad, I also have favorite characters in the HP world, and I also have regrets. But sometimes fans should not just express their fantasies, but more importantly, express something if possible. Just being a fan, just a collision of multiple elements, cannot make people stop in front of the work for too long. Many times, many people think that online novels are just box lunches. I think so too, and it tastes delicious. But that doesn't mean the lunch boxes aren't made with Wagyu beef, abalone, and sea cucumber. Many times, what is really needed is just an idea, a desire to express. This is a good book and worth reading. Although the update is too slow, I hope the author can maintain the high quality.

I remember when I was reading A Mortal's Journey to Immortality, I was sure from more than 80 chapters that this book could make a god. Now I am also sure that the book I Am Legend can make a god, as long as I don't watch it too much! Put it up as evidence

Hoffa: Kind, emotionalBury the cat. [Brave] Live up to Voldemort. [Rationality] Refuse to cooperate with Voldemort. [Childish] Playing with Aglaia. Fighting with Aglaia. Buy all the snacks on the train. [Forbearance] I had a problem with Aglaia in my heart, but I still took the initiative to say hello. [Facial Control] Moreover, Irene is not pretty either...; She subconsciously observed Aglaia. [Passive] Will not take the initiative to improve Aglaia's relationship. [Essence] Sense of crisis Aglaia: "Gryffindor? Humph." The little girl shook her head from side to side as if she had heard something funny. The owl on her shoulder moved its head humanely along with her. [Arrogance] Watched Hoffa help her pack her things. [Confidence] Believe in your own speculation and speak out boldly. [Kick-sighted] Infer Hoffa's inner thoughts and the flight attendant's classification, [Show off your sharpness] Show off your knowledge in front of Hoffa. [Erudition] Recognize the origin of Hoffa's earrings. Interpret the horse characters. Advanced knowledge in potions. [Extraordinary origin] Familiar with the wizarding families of the British Isles and their family members. [Thinking Diligently] Have your own understanding of the four branches of Hogwarts. [Poor emotional control ability] Hoffa was so angry that he punched the table because he was in the same branch as her. [Lack of propriety] She deliberately replaced the fungi that Hoffa was looking after with a pot of piranha, hoping to make him look embarrassed. [Loneliness] Longing for attention from peers. [Disharmony with family] "He is my incompetent great-grandfather" [Weakness] Subconsciously rely on Hoffa when facing the German trio. [Essence] Desire for expression Miranda: This is a girl with a very elegant appearance. She has round eyes, fair skin, short black hair, gray pupils, and a slender figure. [Understanding] As she said that, she helped Hoffa open the curtain. He stood up and walked out of the car, leaning against the door. [Silence] Reading "War and Peace" alone in the carriage. [Individualism] A maniac who skips classes. Tom: A tall boy with black hair and handsome appearance. [Aggressive] A plate was placed heavily on the opposite side of Hoffa; "Your forehead heals very quickly, Hoffa." [Indifference to life] Killing cats and hurting others at will without any sense of guilt. [Emotional] He probably didn't really want to kill Hoffa. Tom's status in the orphanage was not high (it can be seen from the fact that he was assigned to the basement). With his status, he shouldn't be able to kill people at will without being punished. Therefore, it is more likely that pushing Hoffa off the cliff was just to make Hoffa lose his control, or it was just an impulsive act out of jealousy. [Revengeful] Hang the cat's corpse on the beam. [Aloof] A group of dishonest people. [Active] Slytherin social butterfly. [Rationality] Don't waste time on meaningless provocations. [Essence] Will to power. P. S.: First of all, let me explain that these are just my assumptions and there is no proof process. I hope all book friends will not take it seriously. Secondly, these are just my observations of the characters from the first volume. Finally, I originally made character cards for other characters, but those characters were either too mysterious or relatively uninteresting to me. So I deleted it.

Some of my understanding of this book and a brief review I saw many friends in the chapter comment area questioning why the protagonist is worried about World War II. In fact, there is a missing link in this setting that is not explained, that is, the war between Grindelwald and Dumbledore also started during World War II. JKR's original words are that when the war broke out in the Muggle world, an unprecedented war also broke out in the wizarding world, so the protagonist's worries are very reasonable. Grindelwald's power is probably still greater than Voldemort's. Unlike Voldemort's rule that relies purely on intimidation, Grindelwald's ideas are more feasible and more attractive, and he has a world-class prestige that Voldemort cannot match. I think this book has great potential among HP fandoms. First, the author does not use vulgar "aristocratic" settings, which is very down-to-earth; second, the power system in this book is reasonably controlled. Even if there is a system, there is no sign of losing control, which is not easy; third, the characters in this book are very vivid and have a strong three-dimensional sense. I speculate that the main plot of this book is about the battle with Grindelwald and the competition with Riddle. To be honest, I think the most difficult thing is probably to arrange enough plots. Because of the era setting, there must be a lot of original plots to fill in. This is a test of creativity and control ability. Many authors like to mix in other IPs. I do not reject it, but the selection of IPs and the way they are integrated will test the author's skills. I hope that the results of this book will get better and better, and I hope that the author can find fun in writing. Above.

Write a long review for this book. This is my first time writing it. It contains a lot of spoilers, so those who have not read the book should be careful. However, it is not so much a discussion of the plot and text in the book, but more of a personal elaboration of the literary themes expressed in it. Front Row Stacking: The reader has not read any of the versions before the revision, including Aya's transformation into a rabbit and Miranda's nightmare, so it is likely that this part will not be covered. I will elaborate based on the text content and volume number when I read it. At the same time, it contains a lot of psychoanalytic content. If you don't understand it, that's normal. You can continue reading or skip it. Is "I Am Legend" a good book? From my personal point of view, I would say, yes. The author uses a book to deeply explain and explore themes such as existence, desire, and meaning. But what makes me unhappy as a reader is that this book seems to have undergone a lot of revisions, resulting in a sense of separation and tearing from front to back. (For example, I didn't read anything about rabbits, but the image of rabbit Aya appeared inexplicably.) At the same time, the author himself also pointed out the problem of the stack of combat power collapsing too quickly. Other readers have pointed out that the plot is too heart-wrenching and abusive to the protagonist. Also, the original novelists probably won't like it. After all, Dumbledore doesn't have a high presence here, and he's not a glorious image. But this is not what I want to elaborate on. These can all be problems of the author's inexperience. What I want to say is the theme hidden behind the plot, the story. In the first volume of "Two-Face", the protagonist Hoffa meets the two heroines Aglaia and Miranda, and begins his life on the Hogwarts campus. At this time, what he pursues is safety, which extends to his crazy pursuit of power. Aya is also introduced at this time, as a stumbling block on the protagonist's path, trying every possible means to hinder Hoffa. Aya appears here as a so-called "unlikeable" character in the eyes of readers. What drives Hoffa at this time is his own survival instinct. He does not trust any "others" and believes that others are incomprehensible, unrecognizable, and uncontrollable. As Miranda said, he has no friends at all. This volume mainly discusses the pain caused by war, but the focus is never on war, but on pain and traumatic experiences. It was because of this traumatic experience that Grindelwald created Miller. For Miranda, Miller was her escape. She did not have to face the traumatic experience directly, but let Miller bear all this to maintain her symbolic order as a normal person (or normal wizard). Miller assumes the role of a phantom space into which Miranda invests her own traumatic experiences. So Miller is extremely powerful, because it (here Miller has not yet become a subject) has a piece of reality as its core. Reality cannot directly carry the real world, and all meanings and symbols will collapse. At the end of this volume, how does Hoffa comfort Miranda? He said, "Man lives in the present." On the one hand, this sentence talks about the issue of two deaths. The first is physical death, the second is symbolic death. There is a space between two deaths, and this space is the "death debt." A person dies, but his symbolic debt has not been paid off, so he will return to collect debts from the living. We must symbolize the traumatic event of death, incorporate it into the symbol system, and resolve the trauma so that the deceased can die in peace. The wizards who died in the war have been "collecting debts" from Miranda, because she still can't resolve their deaths in her heart, and she can't resolve them even if she keeps running away. Hoffa, on the other hand, gave her a solution. What this means is that meaning is constructed retrospectively, and only now can the meaning itself be confirmed. For example, if a person says "I want a glass of water", you will think that he needs to drink water and go and get him water. Then he says "No, thank you." You will think that he doesn't want it, so you stop taking the water, thinking that he doesn't need it. So does he need water? It cannot be confirmed until he pauses, which is that meaning is confirmed by reality. Similarly, past experiences have different meanings when recalled at different times, and the same thing may have very different meanings when recalled at different times. The core of the second volume "Half-Man King" is revenge. Aglaia's image here begins to change. She is no longer a stumbling block, but seeks the approval of the Big Other (the symbolic order). She initially regarded Hoffa as the Big Other's denial of her, so she frantically sought Hoffa's approval. But the Big Other will never give recognition, and no one will ever get a phallus. Aya herself knows that. She also said privately that she doesn't like those boring social interactions, because the recognition of any subject is not the recognition of the Big Other, and phallus does not exist at all. At the same time, Osivia, the senior sister of the Snake Academy, and Sybil, the biggest villain of the book, are introduced. They are both driven by revenge here. Osilvia wants revenge on the half-human king who killed her father, and Sybil wants revenge on the wizarding world that has sealed him for thousands of years. Frankly speaking, this volume does not have many themes that can be elaborated. It is more used to shape the characters and the subsequent transformation of Sybil. We will talk about it later. The third volume of "How to Train Your Dragon" has a lot worth talking about. The first is Grindelwald's past, his past with his teacher Fatir. Grindelwald and others used the "master signifier" of "ideal" (or changing the world) to replace all other signifiers, representing all subjects and talking about all discourses. But also because the master signifier stitches together all discourses, it is essentially empty. There is nothing beneath it and nothing exists. Fatir discovered this after experiencing a life and death decision. The master signifier does not express any meaning, so he chose Jacob when Jacob talked about his sister, abandoned Grindelwald, and abandoned the master signifier. Then, through the plot of the Aglaia family, the biggest motif in the volume "Nothingness" is officially introduced. Under Aya's arrangement, Hoffa experienced a series of realistic trivialities, paperwork, and meaningless parties... He wanted to escape from all of this and pursue what he really wanted; that is, he rejected the drive for endless repetition and pursued the desire itself. But he doesn't know, just as Sybil doesn't know in the end, that the essence of desire is "lack," or the nothingness that this volume talks about. Hoffa does not desire others. This can be seen after returning from the Dragon Taming Team, when he was forced to fight with Sherlock, but he had no idea why he wanted to fight. He does not belong to this era and does not understand the people here. All he pursues is desire itself. So in order to reject the drive and the interference of the Big Other, he turned everyone in the castle into animals. But desire itself is lack, nothingness, and non-existence. Desire can only be expressed as the object of desire under the construction of the Big Other. Hoffa seems to be pursuing excitement and adventure, but after one adventure ends, he will immediately start a new one. Desire itself is never satisfied; it only seeks new objects. He fell into the dilemma of never being able to satisfy his desires, so he developed empathy. He believed that Dumbledore in the original work was omniscient and omnipotent. He desperately needed Dumbledore's help in telling him how to deal with desire itself. So when Dumbledore said, "You didn't take care of them." "You should be more free." Hoffa collapsed. Through empathy, his own unconsciousness projected onto Dumbledore denied himself. His own unconsciousness told himself that "there is no solution." Desire, lack, and nothingness directly crashed into reality, and in the plot, he became a super monster like the "Dragon of Nothingness." Hoffa faced his own reality, and the direct result of doing so was madness, so he chose to seek death. Aglaia then jumped to save Hoffa's body, but it was Hoffa's spirit that needed saving. What Aya does is to help Hoffa reconstruct the symbolic order between reality and the real world, but the author's description here is indeed puzzling and sighing. I can see that the author wants to introduce a "maternal superego" here to accommodate everything about Hoffa, but his writing power is limited. Oh, it is worth mentioning that Aglaia was murdered by her father Fatir because of Grindelwald at the end of this volume, which we will talk about later. In the fourth volume "The Arrow of Time (Part 1)", because of Dumbledore's abandonment, Hoffa left school, met the Virgin Chloe, and discovered that she had the ability to travel through time, so he came up with the idea of ​​resurrecting Aya. Dreams were triggered while escorting Chloe. What is reflected in dreams is the human reality, closer to traumatic experiences and desires themselves. So in the story, dreams have power. They have the power of the heart. The stronger the heart, the more powerful the dream. The battle with Mann and the subsequent time travel all showed the same theme. The effect precedes the cause, and the effect retroactively creates the cause. Chloe needs magic power, so Hoffa in the past will be stolen by herself; Mann knows that he will die, so he is killed by the black mistletoe dropped by Hoffa in the past; Hoffa will return to the past fifty years later, so Sybil will be killed by Hoffa in the future. The cause is produced retrospectively through the result. Of course, we cannot change the actual existence of the past, but we can change the virtual dimension of the past, even if this is manifested by changing the past. Love is like this. When I fall in love with you, it feels as if I have always loved you before, as if our love is destined. In the fifth volume, "The Arrow of Time (Part 2)", Hoffa was sent fifty years into the future, to Harry's era. The people from the future want him to go back and kill Sybil to complete the time loop. This is the effect before the cause. For Hoffa, he knew that Sybil was dead and the world had become like this, but this did not happen to him. An interesting motif here is drive. Hoffa went to the mysterious realm of death to retrieve Aglaia's soul. Everyone here is pursuing excitement for their own pleasure, but all their actions are just the cycle itself. It's like Sisyphus pushing a rock up a hill and letting it roll down again, over and over again. Sisyphus took pleasure in this repetition, and so did everyone else, and this is drive. Hoffa was already trapped in the drive, and Aya told him that she had been through the cycle six thousand times and had seen him repeat it six thousand times. As we said earlier, Hoffa hates drive so much that he wants to escape from this drive cycle. Here we want to talk about Grindelwald. Grindelwald believed that the real world was just another dream, so he wanted to free everyone. He believes that reality is false, but he replaces this falsehood with an essentially empty "master signifier" and replaces a falsehood with a falsehood. This is really far from the fact that Sibyl replaces the falseness of reality with the reality of dreams. As far as narrative is concerned, the author uses a quite clever plot to break out of this drive cycle, where the effect precedes the cause. Aya was finally resurrected by Hoffa in the future, but Hoffa had to go back in time to complete the construction of the cause. The narrative of the sixth volume "Heart Stone" is really confusing. The missing plot I read is that Hoffa was designed by the God of Nightmares, fell into an endless dream, fell under Miranda's offensive, married Miranda and had children. Hoffa broke away from the dream and felt endless guilt about Aya, so he maintained an ascetic life. The content of the text is that Sybil caused the magic to begin to decline, and Miranda took Hoffa back in time to search for her memory. Hoffa fell into pain and struggle after recovering his memory. On the one hand, he promised Aya to go back, but on the other hand, he betrayed Aya to be with Miranda. He had feelings for both of them, but could not respond to either party. The next long plot is the story of Hoffa accepting his two relationships. Not only can he respond to one relationship, it is the shackles of the big other, so he gets rid of the laws and disciplines, becomes spiritually enlightened, and has boundless power. The final showdown between Hoffa and Sybil is actually about the degree of understanding of desire itself. The God of Nightmares has set up a never-ending cycle of dreams, in which you will endlessly encounter the object of your desire. Sybil simply did not understand that the essence of desire is lack. He just set up an object of desire to "go to the apex" and obtain endless POWER. So he set up one apex after another, went to farther planets, ruled the world, established a model to describe everything, and gained more knowledge... After an object of desire is completed, he immediately looks for the next object, but the desire itself cannot be satisfied, because the essence of desire is lack. As for Hoffa, the objects of his desire are Aglaia and Miranda. He cannot be satisfied in the fantasy, and he is looking for his own desires. And it is precisely the lack of satisfaction that causes the realization of desires. The realization of desire is not because desire is "completed" and "satisfied", but because the lack of desire itself reproduces. Hoffa created an illusion. He prevented himself from fulfilling his desires. This state is "scarcity". He caused himself to multiply scarcity infinitely, and scarcity is the root of desire. The "anxiety" about desire is also here. What causes anxiety is not the object of desire, but that we are too close to desire, lose the lack, and lose the desire itself. Finally, the author wants to talk about an interesting issue. In my opinion, Aglaia's resurrection may be in line with the readers' wishes, but it is probably not what the author originally wanted to express. Hoffa loves Aglaia, not because of his attributes, but because he loves the unfathomable unknowns in her, and loves what she possesses that cannot be expressed in words. This is why the idea of ​​a parent cloning a child once they have lost it is so revolting. If parents are content with this, their love for their children is not real love. Even if you can recreate an individual with exactly the same attributes as before, you can't create the unfathomable little object in her! Of course, literary works and the magical world do not have to be so real. After all, magic itself is the power of the heart. Maybe the soul in the story is the literary expression of the small object here. The characters are all too bitter, and some sweetness should be retained.

This book is one of the best novels I have ever read on Qidian. It is also the best of its kind. It even surpasses online novels and is worth reading word for word. The author has really worked hard. I have been chasing books for a long time, and every story moved me, but I did not contribute much to this book because I am really not used to voting for books that do not have outstanding results. I will change it because I am afraid that such a book will be buried and forced to eunuch. If you don't make your own choice, are you still yourself? This is the deepest imprint I felt in this book. I didn't understand it, but I know: Be yourself, change from passive to active, and still be yourself. It's over, finished watching, let's go, let's meet again somewhere. I wish the author better success in his next work.

A book friend said that The Arrow of Time has the charm of a top-level outline. I couldn't agree more. Some people say that the protagonist has a low sense of existence, but I think each volume can be said to have a different protagonist and supporting role (the span between each volume is very large) It has been a long time since I read this book. Looking back from the back, my favorite is the first volume. Of course, it is also the volume that has been criticized the most. Personally, I feel that the characterization of the characters in the first volume is very profound. Compared with the later chapters, the character growth is very obvious. So much so that Hoffa had to make some difficult choices The first volume gave me a very peaceful feeling. The three people were noisy and helped each other grow in the end. As a reader, I was happy for them. And finally, I have always wanted to ask why rabbits are called rabbits.

There is no doubt that the legend is a masterpiece! When you look back at Legend 10 or 20 years later, you may have a lot of feelings. What remains unchanged is that you like Legend. Legends are stories that can stand the test of time. Will you remember their stories in the future? Maybe you might forget it? , But I won't forget it. Hoffa, Aglaia, Miranda, three people and legends that will never be forgotten.                                                                                                                                                                                                                                   Because

I drew the Hoffa in my head. I'm really sorry that I read this novel on another platform. This is really the White Moonlight in my Harry Potter fanfic derivative. I like it so much... I came here to refill the ticket. I don't know what to say but I really like it (the drawing skills are not very good, so please don't criticize the drawing if it is obscene). Eat Hoffa (angry painting)