Forbidden: Academy City's Substitute Messenger

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

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 ()

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.

Will survive

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?

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.

Personally, I feel that if this book had less sensational descriptions and awkward jokes, the results might be much better.

Everyone, in the Lifetime series, Super Gun 4 has been announced to be in production, and there is also a Forbidden Gaiden.

I have just read over a hundred chapters. Is this book about saving anime characters? The heroine was reborn once and did not care about herself at all. In the first incident, her eardrum was inserted, and in the second incident, she helped Misaka's sister from being penetrated by a steel bar. I can only say that the heroine is too brave. She really has no selfish intentions after being reborn. Doesn't she want to experience this world? I won't write everything about the theme of salvation in the future. Author, you can try to intersperse some daily life.

Chapter 3 persuaded me to quit. . . I can't understand it, it feels like I'm trying to make something mysterious

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

I couldn't figure out what the protagonist's abilities were, and at first I thought it was schizophrenia and she was having a meeting in her head, but then the girl with plain glasses appeared in reality, and she could be seen! He even has spiritual abilities. At that time, I wanted to complain that the girl with plain glasses and the heroine looked exactly the same. How would Aleister explain it when he saw the heroine. Later, Lao Ya didn't come to the door.

Do you have any recommendations for female protagonists about forbidden super cannons? I feel like there are very few.

It's easy for Accelerator to stop him, because Accelerator is too lazy to kill, and Sister Misaka doesn't know how to beg for mercy or be afraid. From Accelerator's point of view, it is at most the same thing as a brainwashing consumable that loses oneself. It is very simple for Accelerator not to kill Sister Misaka. If you risk your life to protect her, Accelerator will give up. Because killing Misaka's sister was Kihara's request, Accelerator had no obligation to cooperate. The question is how can you resist the plot rampage caused by Kihara Sudo. The second point is that it is said in the plot [Kamijo Touma is in the seventh district, it is difficult to guide him to the seventeenth district] What is so difficult about this? I happened to find his right hand, and then found out about the experiment, so I just asked Kamijou Touma for help. Claren does not have to complete the absolute ability experiment. He never stopped Kamijou Touma from saving people. I didn't forcefully hide the special features of Fantasy Killer. Are you afraid of a hammer? Also, I was speechless in the plot of the annihilation of Kihara's loser. At that time, the [power crystal] was still within five meters, and it was also annihilated. Aren't you afraid of losing its effect? No complaints, the author overthinks the complications surrounding the original plot line, but it's actually not that troublesome

Well, I think the protagonist's combat power is still too weak. I think we can make a fuss about the avatar aspect. Although the evolution of the avatar in the original work relies on insect arrows, well, in fact, there are more than these conditions. The avatars are all growth-promoting, and the protagonist's own spiritual growth and other aspects of growth will be fed back to As for the stand-in, although in the original work, it seems that the Love Train is almost in its final form, I think there is still room for improvement. It is also a product of the saint's relics. This requires a lot of imagination. For example, the power of this miracle, I think it can be easily done, as I think it will be done as As the protagonist grows, he should gradually be able to transfer misfortune. This thing can be controlled to a certain extent, and he can even transfer misfortune to the person he wants to designate. It is even more conceptual. At this time, it is a sublimation and evolution similar to that of Requiem, that is, it is not just about transferring misfortune, but It can divert various events that it thinks are unfavorable to itself. For example, if the protagonist is locked by Gangnir, but after the protagonist undergoes sublimation and evolution, he can directly transfer the locked target, and even directly seize Gangnir, because this weapon poses a threat to him. , And because this weapon is also a causal weapon, the ability of Love Train will directly change this fact, that is, it will directly capture him before he activates. Well, this is a very abstract thing, and I don't know how to describe it. In short, this ability has been sublimated to the conceptual level. It can reverse cause and effect, change things, and transfer all disadvantages. To a certain extent, it can be regarded as invincible, and can even counter the enemy. If you study in depth in terms of space, then I think you can consider banishing this skill. If I remember correctly, or not If I'm mistaken, there should be no parallel worlds in the original book, but phases, which are a bit like countless different timelines, or possibilities superimposed. I don't know what the parallel worlds in this book are. If they are parallel worlds in the true sense, then these parallel worlds The world was born because of the protagonist, so theoretically there should be no real demons in these parallel worlds, because the real demons only exist in the space where they can only stay. They have to downgrade to enter the physical universe. What if, the protagonist sets traps in other worlds. Alas, although I don't know what the magic is like in the original novel, but if we can create a formation similar to the one that can trap such downgraded demons, there are no demons in other parallel worlds, because according to the setting of the original book, demons can only exist in the hidden world, and only that place can accommodate their power. In this novel, that I think these extra parallel worlds are caused by the influence of the protagonist's ability, so there will be no existence at the level of the Demon God in those worlds, and the protagonist can consume the clones sent by the Demon God in this way, and it takes time for the Demon God to enter the physical world, so theoretically speaking, can the threat of the Demon God be eradicated in this way? I'm not very clear, so I can only put forward this idea. In short, the protagonist's abilities can continue to be developed, and there is still a lot of room for development. I think all book friends can use their imagination together.

Also, even now, I am still wondering whether the world after my time travel is too old-fashioned.

I started chasing this book a long time ago. Although there were various minor problems in the early stage, they were all acceptable. I liked the setting of this book very much. Various avatars collided on the set of the Forbidden City or the Super Cannon, so I ignored some of the early problems until the Blue Blood chapter. I got tired of reading it and took a break for a while. I picked it up again a few days ago. When I re-read this book, I got tired of reading the Uncle Shui chapter halfway through. It was really tiring. Although I knew that the author wanted to suppress his desires first, as a reader, I only felt depressed, very depressed. The protagonist couldn't beat the depression of Uncle Shui who was being tortured all the time. As a result, I couldn't finish reading even though I knew there would be a little bit of excitement later. The combat power has not grown and I insist on participating in the Uncle Shui chapter, and the character's thoughts have not grown either. I decide that I want to be alone and not rely on Kamijou, but my defense is broken again. Either I will not participate in the Uncle Shui chapter, or I will fight to the death to show the consciousness of the protagonist, or I will rely on Kamijou according to the original work. It neither hints at combat power nor ideological awareness. There is a saying that says don't take on the porcelain job without that diamond. There must be strength and awareness. I was really tired after reading it. I really liked this book, but the two chapters, Blue Blood Chapter and Uncle Shui Chapter, were very difficult to read. If you want to rise first, you will be suppressed to death if you can't hold on.

First of all: This is not an absolutely objective evaluation or book recommendation, but I am just inspired by Chapter 559 (if you look at the table of contents, this volume is almost over, and I will go to Italy later, so I will make a staged evaluation). The current impression is good (out of a total of five stars, I can give it four to four and a half stars). I also hope that this book will get better and better, so I would like to make some suggestions here. 1. Ability growth: ① First of all, it must be clear that the protagonist's ability comes from the stand-in [D4C·Love Train], which is different from the ability users in Academy City. I believe the author is also aware of this. Therefore, the "clamping" of "D4C" and the "transfer misfortune" of "Love Train" should be emphasized, including the research institute attached to the protagonist when developing abilities (Aleister and Cannon Sister are aware of the abilities of the stand-in, so I think it is okay to reveal it to a few people in the institute), instead of focusing on lightsabers, light balls, and light speed kicks (not that it is not good to develop these abilities, but I think the protagonist pretends to be related to light on the surface) Guan's space system is LV5, but he must not forget the nature of his abilities). After a few chapters, the protagonist has a few more trump cards (for example: the enemy uses a disruptor to ban the ability, and the protagonist breaks through the restrictions at the last moment and temporarily loses his abilities. You can directly summon a substitute invisible to others to fight. Or you can use light to "clamp" and annihilate the enemy in an instant.) After all, the mechanism of [D4C] is quite powerful. If used properly, it can make a comeback like the President against Diego. But most of the time, the protagonist just thinks of calling himself in the parallel world and solving problems while chatting. ②AboutLove Train. I don't think it's okay if the light wall is broken by Fantasy Killer. After all, the light wall can be broken by the cavalry's maneuver. But I think the ability in this area can still be developed and grown. For example, when fighting Accelerator and Kihara before, they transferred misfortune to the designated person, and they have an ability similar to [Miracle and You]. During the battle, the protagonist can use this to transfer misfortune to the person attacking him, causing the opponent to fall into a torrent of disaster. This can be used as a "reflection" for one party, and depending on the situation of one party's battle, this "reflection" of transferring misfortune must be on top of the reflection of one party's [Vector Manipulation]. (If you think about it a little more, when you encounter an invincible enemy, the protagonist can open the wall of light to cover himself and the enemy within a certain range, just like [Field Expansion] or [Infinite Sword System]. The luck consumed to maintain this realm-like thing can be turned into misfortune and inflicted on the enemies in this realm). The protagonist can even go to the president to ask about the Golden Spin. After initial training, he found that he could not use it at all, and fell into an inner struggle. He felt that this There may not be a golden spin in this world, but the golden spin is successfully used in the end (after all, this light bomb seems to really be able to use the golden spin) ③Then there is the protagonist's light bomb "Eight-foot Stroke Jade" (it seems to be the name), which can imitate the rainbow catcher's water beads to form a net to cut through; or the protagonist deliberately hits the surrounding environment when fighting, and at the critical moment, these buried lights are directed over and hit the enemy like a trident carnival. Although it may not necessarily work, it can still make people hard to guard against. ④Finally, the protagonist can develop some derivative abilities, such as making himself optically invisible through light, etc. In short, the protagonist's own abilities and spirit still have a lot of room for growth. I also hope that the author can intersperse the main plot in his daily life, so that Fannie Valentine can become a person with a golden spirit after the president. "My heart and my actions are as clear as a mirror, and everything I do is righteous!" 2. Companion growth: ① President: I really hope that the President can provide some help in the future. Didn't the protagonist capture Azali's obsidian dagger (what kind of gun with a long name), use it to disassemble part of Kihara's driving armor and usurpation gun, and then give the other part to the people at the research institute for disassembly Solve the parts, and finally package the original parts, components, and raw materials to the president, and let the arms company try to research and manufacture them, and digest these things. We don't expect immediate results, but after the president settles down the company, maybe we can really get some results (perhaps the president will drive the Iron Man suit to help) ② Anbu Kuroko: At present, he mainly helps the protagonist to do normal black work Although Kuroko was given a psychological treatment during the Daihasei Festival, he may blame himself for his lack of strength in the later stages (Anbu war?) (Maybe he will think of his own lack of strength and did not save his sister). Therefore, an episode can be made about Anbu Kuroko improving his strength and calming his mind with the help of "psychological shackles", and finally relying on his own The obsession and quality were successfully promoted to LV5 (after all, Anbu Kuroko is really easy to go to Be, I still hope the protagonist can help more) ③ Uiharu and Ye Ye: These two people have grown relatively little. From the time I started reading to now: Uiharu seems to have grown up after being beaten by the protagonist when dealing with the "Shame of Kihara"; while Ye Ye grew up after being saved by the protagonist when he was in the Academy City. Other than that, there seems to be no growth. I think we can give some more plots to shape the character arcs later on, and we can also consider letting them break through independently instead of with the help of the protagonist. (Lord Lei collects urban ghost stories and checks surveillance in early spring. Basically, it can serve as an information point to collect recent information, while the complete set of books in the "space" provides a general direction.) In addition, there can be a short episode about how Lord Lei can finally distinguish which information (mainly urban legends) is true and which information is false through exercise and reading detective books. (Actually, I want to watch Detective Lei Ye) ④Pao Sister and Heizi: They are a relatively well-shaped couple. After all, the original work has spent a lot of time on shaping them, but I think they can also grow beyond their own limitations. (For example: when the protagonist is about to solve a certain problem alone, Sister Pao arrives telepathically through the train pendant, and maybe even Heizi follows (or maybe he arrives with the help of Heizi's space movement). Then Heizi says, "This is a special situation now, and... I don't force you 'ordinary citizens' to stop interfering") ⑤Other Fani: From this part, it can be seen that the author has put a lot of effort into writing descriptions, but I think other Fani are mainly just the protagonists who are incapable of doing anything, or can only provide help when they need to make plans. Assistance (When the protagonist's combat power cannot keep up in the future, the protagonist can go to other universes and find a useful enough Fani. After persuasion, the Fani chooses to fight side by side with the protagonist. The ability can be healing like Crazy Diamond, or more invincible like [ World] Such time-based abilities, or the powerful combat power of insect arrows) ⑥Other LV5: In fact, it doesn't matter if these are not described with much emphasis. After all, the main objects of description are limited, but from time to time, you can also talk about the interaction between the protagonist and them. (For example: Find the seventh person to practice your strength, use the speed of double A to fight with each other, practice hand-to-hand combat skills, etc.) ⑦ Touma: The original work basically established Touma's character, so it didn't focus too much on him. However, Touma's perseverance and spirit of "breaking illusions" can also affect our protagonist. When encountering setbacks, the protagonist may recall Touma's indomitable and desperate figure. 3. Other aspects: The main thing is to remind the author not to forget the foreshadowing and other things that have been laid before. Other than that, there should be nothing else. Finally, I will continue to read it. If I have any new ideas, I will comment below this post. If I see some unreasonable things in the future, I will also point them out.

Requesting a book It's an old novel for more than ten years, right? The heroine seems to be Misaka Mikoto, who knows how to electromagnetic cannon The male protagonist can manipulate flesh and blood bombs

All I can say is that Klaas is awesome. There have been so many resets in the past. I even think you can open a new one.

I haven't watched it for a long time. The last time I watched it seemed that the plot was about the protagonist going to Venice to fight battleships. Looking through the latest chapter, the fire on the right appears. Is this a 3rd battle?

The Blue Bloods chapter is just disgusting stuff and a waste of money.

The author uses voice input, why are they used like this? The usage of these two is always wrong.

So the question is, why can the dark side have nothing to do with the Force?

As for the Operation Handcuffs chapter, the whole process was planned by the villain. The protagonist, like an arrogant landowner worth 2,580,000 yuan, entered the front door with a group of people and then obediently talked to the front desk and threatened for a few minutes, and asked the front desk to lead him upstairs and open the door. Aren't you a secret force? Just go into the hotel and ask the front desk to show you the way? How many people will see it? Why can the villain predict the arrival of the protagonist in advance by simply controlling the monitoring room? Couldn't Unit 501 even seize the surveillance of a hotel before taking action? What about your technical and physical means? Only four people are on duty on the first floor of the defense line? Is this not Academy City? Aren't people with superpowers included in the imaginary enemy range? Can four people fight? To put it bluntly, you can't predict that the other party has superpowers. Then through the violin Ansel has already known the fact that the other party also has a magic violin. Didn't you consider the possibility that four people with zero abilities can't defeat magic? And aren't you a space user? Why do you have to walk through the main entrance with a bunch of people and have to confront the front desk for several minutes? Do you want to slowly let the front desk take you upstairs? In the end, the person who failed in the operation was not caught, and four teammates died on the first floor. Well, the protagonist's heart sank when he knew it. The protagonist is no longer an ordinary student. He has experienced the ANBU war and killed 5,000 mercenaries. You are not a young lady who plays house in Tokiwadai. How can you be so arrogant and then die violently with a single move? Isn't it too dramatic?

I've been catching up on the latest intermittently, it's really slow.

Does the author have any previous works?