A Certain Magical Index: The Stand User of Academy City

Starting Point, Magic Forbidden, still the heroine, so brave

I feel like few people are writing about Magic Forbidden fandom now. I have to keep up the momentum no matter what. This book feels very selective for readers. To have a good reading experience, you need to have read Magic Forbidden, not to mention the original work, at least the anime, and the JOJO comics. I suggest the author explain the ability setting more clearly, so that people who have not read the original work can also have a better reading experience. The introduction is really confusing for those who have not read it.

Many years ago, I read an extremely hard-core Magic Forbidden fanfic. 25~30% Of the content in it was about physics knowledge and stories about the world of physics. It was also very well written, and the transformation novel

I just finished watching it from beginning to end. For the sense of immersion and immersion in the story, I wanted to watch Red King several times but held back. Overall, I feel that the author's writing skills have improved at the beginning. I also hope that the author can continue writing and I like this work very much. However, as another comment said, there are still some problems in this work that need to be solved. I will take Araki's jojo as an example. 1. A lot of space and shaping are wasted in places that shouldn't be wasted, and it feels very obvious. For example, in the part about 5,000 mercenaries, a lot of space is spent on creating a role-playing mercenary. You can create supporting characters, you can also create enemies, but what is the point of spending a lot of space on creating a role-playing mercenary? Take jo2 as an example. This is like drawing more than ten chapters and shooting three or four episodes to tell what kind of character Smokey was who was saved by Er Qiao. This is obviously unreasonable. If you have this space to create a mercenary, why not leave the ink to the Misaka Mikoto that the author wants to portray? Or perhaps the writing is reserved for Ruiko Uiharu Kuroko, etc... Maybe the author feels that the Anbu War does not have these characters, but these can be handled through the author's design (this part will be discussed later). Creating a character must have a purpose and serve a certain task. Why did jo1 want to portray Uncle Qibelin? The creation of Qibelin first embodies the courage to face fate and death, embodies the human spirit, and also embodies the inheritance of this spirit (inheriting the ripples). Secondly, Qibelin is a very important teacher and friend of the protagonist Da Qiao. Finally, after Qibelin's death, Da Qiao gained spiritual and ripple growth, which also added some heavy "meaning" to the final dio decisive battle. There were so many people playing dio at the end of the first part, why not portray Stray and other ripple warriors? Jo2's portrayal of Shutroheim, Jo3's portrayal of Brother Shui, etc. Are all purposeful and meaningful, and they do not exceed the "length" of this meaning. Going back to this mercenary, he has nothing to do with the protagonist, although he does highlight the human spirit - but human beings face fate, "The hymn of mankind is the hymn of courage, and the greatness of mankind is the greatness of courage." This is the big theme of Jojo, and it is the golden spirit that Jojo wants to create throughout the whole story - fate, courage, and the spirit of the human group. Is this really the keynote of more than two million words in the author's story? I don't think so. This does not mean that all characters must have an "arc" in their existence. As long as there is a purpose, even if it is "cool" to show off, it is meaningful. Just like the vampire with a woman's face on the back in Dio Castle, does he have any personality charm? But he adjusted the atmosphere of the death of Abdel and Iqi in front, and the opening of the coffin also highlighted the oppressive feeling of Dio from the side, which was enough. I feel that for many of the author's characters, there is a bit too much emphasis on what happened to them and why they were like this, especially the characters introduced in the original novel. The same is true for daily plots. Usually daily plots are to give a breather to the tight plot, or to create emotional sweetness, or to set up a foreshadowing, etc., Etc., Etc., They also have a purpose, and the length cannot exceed the purpose. For example, Magic Forbidden was originally showing the relaxed and happy daily life of Sister Pao and Touma, but suddenly an airship appeared, and then asked Sister Pao to say a few words to bury the thread of the younger sister's chapter. Although I am not a screenwriter, nor do I write novels, in my career as a director, I have summed up something that I think is very important: "What happens is not important." "What happens to me is more important." How one thing affects the character is more important than all the strange things that happen. 2. The growth of the characters is somewhat stagnant, both mentally and physically. One's Punch does not focus on Saitama's growth, but the main tone of the story lies in the interpretation of the concept of "hero", in the comedy, in the joy of being invincible, and in the growth of other characters. In the Jojo series, the growth of the stand's ability is usually very little. For example, Jotaro learned a meteor finger stab in many episodes, and finally learned the world of Platinum Star. Another example is that Giorno only evolved with an insect arrow at the end. However, Jojo's first highlight is the battle of wits, and what stands out is the strange and interesting game of stand abilities. Moreover, his protagonist group usually has a lot of people, and it is biased toward group portraits. I feel that the author's role is a bit restricted by the framework of Jojo and the Magic Forbidden. Let's talk about ability growth first. From d4c to Love Train, in fact, the evolution of the avatar is like this. It ends all at once, so the protagonist's growth only takes this one leap. Magic Forbidden is not like Jojo. In the final analysis, the strength of Jojo's opponents is only the same. Problems can be solved through wits and different uses of abilities. Therefore, Jojo's growth usually comes at the end, whether it is Jotaro's Time Stop, Giorno's Requiem, or Xu Lun's Möbius Strip. Anyway, the story ends after growth, so the overall strength framework is easy to control. But the framework of the Forbidden Super Cannon is very different. It is difficult to keep up with the version without growing up, especially writing is difficult. I don't know what the author's current plans are for this direction. In fact, there are not many growths in Phantom Killing, but the starting point is very high. Although I said that I have read the Forbidden City, because Tai Chang is not particularly familiar with the story, I will not give any "cloud guidance". In terms of spiritual growth alone, after a story of nearly 3 million words, I feel that this work has not grown enough. Not only are there not enough protagonists in the author's works, not enough Pao Jie, not enough Yi Fang, not enough tears, it can be said that all the characters lack growth. In other words, it lacks personality charm. Let me briefly talk about it from a few perspectives. The most classic technique is to do it knowing it cannot be done. For example, the author originally asked the protagonist to participate in the sister chapter, saving the two sisters, but he did it even though he knew he would die. Let's not talk about the strength of the shaping, whether it is three-dimensional and perfect, but at least it has a kind of courage. But what happens after this? After owning Love Train, the author never let the protagonist participate in anything beyond his ability. During the Daihasei Festival, the protagonist participated in the zombie Misakamon incident and relied on the Love Train to block the beam of light. He began to imagine the beast fighting for a second time. To be honest, it was crushing him. He even brought Kamijou Touma over to make soy sauce. This plot mainly focuses on a cannon to fight mosquitoes, and Touma's arrival is even more unnecessary. Why let Touma come? In reality, it would be normal to prepare a lot of hands but not use them, but there is no need to give this length in a novel, right? Secondly, what is the strength of this fantasy beast? So many lv5s are shot at the same time. The result will eventually be solved by the treatment procedure in the original work (I can't remember what it is called at the moment, maybe not this). What I want to express is not that fantasy beasts have many things to do, but isn't this the time when the characters grow, both in terms of ability and spirit? When you encounter an opponent that cannot be killed, you start to think about the nature of your abilities, think about solutions, and try. Isn't it an opportunity to grow your abilities? What sudden overclocking can make you temporarily use your own abilities from other parallel dimensions to perform combinations, or use abilities in other ways to design like Jojo? The author has the final say on how to grow, and what kind of intelligence, character, and charisma the protagonist embodies. But the author solved the problem using an original method, and the final result is- Who has grown up? No one grows. Let's take another example In the chapter of The Wind Ahead, a character is finally created and Love Train may not be able to defeat it. Behind the Wind Ahead is the Water Behind. What a great pressure and oppression, what a tense plot. Can the protagonist defeat him? He may not be able to defeat him even if he tries his best, but—— When the protagonist is at level 3, can he defeat one party with all his strength? It's not that the characters always think, "As long as Kamijou Touma attacks, everything will be fine." It's that the author always thinks, don't let the characters do things beyond their capabilities. The protagonist is always abusing food, how can he show growth? Is the Chairman's short recovery line important? Important. Is the chairman's order important? Important. When there is a great power beyond ordinary people, the story will always be limited, which is understandable. These are all kinds of things that happen, things are not important, things are not important, things are not important - What things mean to you is important. Can blindly following Aleister's orders add a hint of arc to the character? Does the protagonist have his own plan? Do you feel unwilling to do so? Do you have your own joys and sorrows? Even during the battle with the wind in front, when the protagonist received Aleister's text message, he struggled a little more and was more confused. Finally, he decided to face the wind in front and tried his best to fall down. Or, after growing up, he defeated the wind in front and lost the water in the rear, and then let someone else wipe his butt to activate the artificial heaven. It can also reflect the character's personality and reflect the character's growth. Or the protagonist plans in advance, makes various preparations, and pools the efforts of everyone to defeat even one unbeatable opponent, which can reflect the protagonist's IQ or other personality charm. Why does the author's protagonist just obey orders? Will the protagonist be directly obliterated by Aleister if he rebels once? These are things that the author can come back to himself In the Anbu War chapter, after fighting with the second child for so long, what the protagonist is thinking is, why doesn't Accelerator come, why doesn't Accelerator come. Rather, how do I win? Accelerator is here, can he win? Of course he can, that's what the original work says. But is this the image the protagonist should have? The key is that in the end, the protagonist really waits for one party to blow up the dick, and the protagonist plays a role in delaying time. Under what circumstances does it take time to write a character? That's when it's already a miracle that this character can stall for time. For example, if you ask Sister Pao to spank her dick until more than a dozen holes in her body are bleeding, and you still have to protect your sister or when you win a battle of wits as long as you stall for time. For example, if you don't know how to pause, you try your best to survive the five-second pause and then counterattack. When will the protagonist in the author's works truly reflect his own personality charm? Whether it is a virgin or a bad guy who is rotten to the core, whether it is a golden spirit or a dark will, or even a terrible obsession, now the protagonist is missing one thing - [core]. There is a lack of [core] that supports the character's behavior, growth, actions, and beliefs. 3. The common problem is that it is too limited by the plot of the original work. I said before that even if there is no Ruiko, Mikoto or Uiharu in Anbu War, the author can still shape them. For example, as long as light-side characters such as Ruiko Uiharu do not enter the dark side, these characters can participate in the scene only on the light side. In the original work, such as the encounter between Ruizi and Frenda. From a shallow and side perspective, it can be that a character participating in the dark war casually asked the light side character after encountering confusion, "What would you do if xxxx happened?", And then these characters expressed their thoughts using their own worldview, which became the final lead of the story. Such as the conversation between Madoka Shikame and her mother in Puella Magi Madoka Magica. From a deeper perspective, the plot can also be changed to a certain extent, allowing people who should not be there to appear there unexpectedly. For example, when Shirai Kuroko was experiencing various things, he accidentally recognized Takitsubo. Although he did not know what happened specifically, for various reasons such as protecting citizens, in the end Takitsubo and When Hamazura escapes, there will be a more exciting game, and even a preliminary "collision of ideas", such as Kuroko's absolute justice and the darkness of ANBU, etc. The author can control the degree to what extent, and finally how to make Kuroko break away from the incident and not be mixed up with the subsequent dark side events - these can all be rounded off. Even in the plot, the relationship between the character and the protagonist can heat up, create ambiguity, etc. I am not saying: it must be written like this, but I am saying that it can be written like this. How to arrange the plot and what purpose it serves depends on the author himself. For another example, how about shaping the relationship and relationship between the protagonist and his companions, as well as shaping other characters around him? You can create a protagonist who is too protective of his companions, takes on too many things, and then encounters an unsolvable problem. Unintentionally, first of all, the people around him notice the pressure and unnaturalness of the protagonist, and then learn the truth through various events, and then everyone spontaneously takes action for the protagonist, and finally helps the protagonist solve the problem together. In this process, there will be a lot of room for the characters' relationships, personalities, beliefs, and emotions. Probably that much. I still like this work, especially since there are very few novels about forbidden super guns nowadays, let alone female protagonists. I sincerely hope that the author can keep writing and write better and better

Seeing the water behind, the protagonist's front and back characters simply exploded. Protagonist background: The President's Skin, the Traveler Intelligence Man, the 501 Troop Commander, the Chairman's Black Gloves, handles countless dirty jobs, the Guardian of Academy City, killed 5,000 invading mercenaries at once, faced the wind ahead, solo Accelerator, went deep into the dark side of Academy City, and experienced several big scenes. Actual performance: There is almost no tactical planning. I have no idea that I can have any means to break the defense of the rear water, and then I dare to reduce my own combat power and ban Kamijou Touma. I feel that the time traveler follows the original route and is no different from a salted fish. Then, he was hit by the water from behind and relied on the Love Train to defend. However, because the Love Train had too many misfortunes in its transfer, he felt that there was no hope of winning and breaking the defense in place, so he turned off the Love Train and waited to die. Then, Amakusa's teammates came to rescue him, and his good friends came to rescue him. He was dead and injured, and he was still in isolation, feeling that he was a useless person who couldn't do anything. Come on, author, come out and see for yourself whether your previous and later characters are a logical explosion? You never thought about how to break the defense before fighting? You have no information? It's not like you've never seen Shenyou's combat power, and it's not like you don't have information about time travellers. Can your few light bullets and lightsabers hit the water in the rear? Why dare you ban Shang Jiao? If you take another ten thousand steps back, it would be difficult to tell the chairman bluntly that you can't beat him? There is nothing wrong with what the water in the rear is saying. If you don't have the confidence, why would you enter the battlefield? If you can't beat him, then you can just give up and wait to die? There are so many real battlefields in history where there are fewer enemies and more enemies than desperate battlefields. Is it possible to stop fighting? Do you think the cost of ability is unbearable? Then what beliefs did you hold on to enter the battlefield? You don't even have the mental construction and firm belief to shoulder the responsibility by all means, so what are you doing here? Dozens of Amakusa-style outsiders who frankly have nothing to do with you in Academy City are willing to stand up and take bullets for you to delay your time, knowing that they will die. How come you are so heartbroken while playing a value game here? Is this the reaction that the protagonist's previous character should have? To be honest, I would rather you try your best to stand and be beaten by the water from behind than to be here crying and complaining about yourself. To be honest, the current protagonist, apart from being a stand-in, has no resemblance to the president at all. What is the most eye-catching thing about the president is his unparalleled firm belief. What about the protagonist? The defense was broken as soon as I hit him, I was really speechless.

It's funny, an author cannot face up to his own shortcomings, his logic is confusing, and his characters are broken. How many inter-chapter comments say this, and you still doubt that the readers understand, so you delete the comments The first book I wrote did not want to improve myself, but I felt good about myself and learned to be like a squid. Ask yourself which of the points I mentioned is not your problem?

I have read about 950 chapters so far. Since meeting the chairman, the protagonist has become completely tool-like and lacks subjective initiative. Every time, it is "the chairman gives orders" → "the protagonist utters two sentences" → "the protagonist goes to work" → " I spend a lot of space writing about the protagonist "killing mosquitoes with a cannon", and there is no resistance or any psychological fluctuations. At most, he will make a few remarks, say a few bad words and make a few jokes, and then go to work honestly. Even the subjective initiative of the psychological shackles is stronger than that of the protagonist. It seemed to be said before that the reason why the protagonist failed was because he knew that the world behind would be destroyed and there was nothing he could do about it, so he took action. But will the protagonist really be willing to be a pawn and be used to death? I was a little excited when I saw the protagonist snatching the satellite debris, thinking that the protagonist was finally going to accumulate strength under the chairman's nose. But after snatching it... It seems that the only effect is to make a few toys? By the way, let's talk about the social circle. The protagonist's social circle seems to be nailed down to Misaka Mikoto, Kuroko, Uiharu, Ruizi and a few other limited people. There are no more people in hundreds of chapters. Brother, the name of your book is "Magic Forbidden". Why do you think it would be more reasonable to change it to "A certain subject" according to the space allocation ()

Will survive

How do you fight when your combat power increases in the later stage? Should you go to the parallel world to find insect arrows or go to heaven? Otherwise, even illusions can break the love train. In the later stage, you have to fight with the head.

Have you ever been a stand-in messenger? A bunch of stuff written randomly, taken for granted.