Japanese Entertainment: A Glorious Comeback

I feel that being an author is better than being an idol. Japanese idols are really worthless. What they like are entrepreneurs, writers, celebrities and so on. Idols are basically entertainment. Watch any variety shows that torture Japanese idols. You can do whatever you want, without caring about what they think!

If you take a shower, you'll definitely get there.

Sister Quan Shui, isn't she good?

The identity of the protagonist, whether he is a great writer, an upstart on the Internet, or a table tennis general, is definitely not something anyone can decide at will when they are put together in Japan. But look at the protagonist when facing Johnny and other companies. It is difficult to see the change in status, as if there is no change from before, it seems to be forcibly lowering the status. The plot becomes monotonous and has no ups and downs. There's nothing refreshing about it, it's tasteless and it's a pity to throw it away.

You want the male protagonist to pursue her, author, are you serious?

When writing about South Korea and Japan, it is best not to make the protagonists idols, actors, singers, etc. These people have very low mainstream status in both countries, and are worse than some bank or multinational company executives.

Will the author consider Akina Nakamori and Shizuka Kudo for the next book?

When you were 14 years old and wrote White Night Walk, you will know how poisonous it is.

I don't understand why the protagonist compromises everywhere? He has obviously grown up, gained various status bonuses, and gained fame and fortune. He has become a writer and an Internet mogul, but he is still being bullied, still compromising, and when he comes back, he still uses the excuse that he cannot waste his imagination. This is disgusting. Isn't it just to live a happy life while working so hard? The money is enough to spend a lifetime, the fame has shocked Japan time and time again, and there are still painful compromises. I feel that the protagonist is the author's tool. You have to clear all fields, film documentaries, singers, idols, study, dominate the Internet, be top-notch in various identities, and become an all-round master. . . More importantly, in order to speed up the protagonist's pleasure of success, the author desperately tries to trick the protagonist into doing whatever he wants. What others have to learn and specialize in their whole life, the protagonist will be at his peak as soon as he debuts. There is no need to learn the director's position or anything like that. . .

The role of the protagonist's father is so poisonous to me, is it disgusting to write? Just write about Japanese entertainment, why are you doing these bloody plots?