Hunter: Only I Awakened the Jo-Level Substitute

Stand-in: The good show begins [The plot thickens] The stand-in has self-awareness, a weird personality, and likes acting and directing. Spiritual traits: Have a strong sense of ritual and desire to perform, and a sense of alienation from reality. They usually show a desire to control details and a tendency to be paranoid. They believe that life is like a drama and desire to be a "director". External image: The shoulders are made of colorful disco flashlights, the eyes are cameras, and the appearance is black and white, resembling Chaplin in the mime image. It also has a muscular body similar to the main body. —————— Six-dimensional panel: Destructive power: C (ordinary person's punch strength) Speed: C (normal speed) Range: D (requires contact with the body and avatar to activate) Sustainability: ∞ (can continue to activate abilities, energy loss is almost 0) Precision: A (accurately control each performer) Growth: A (relying on ontological cognitive expansion) —————— Ability: Behind the Curtain (Behind the Curtain) Mark any object and the thing becomes: [Actor] The avatar leaves an invisible "spotlight mark" on people or inanimate objects by contacting them. The mark appears as a tiny spot of light, visible only to the Stand. —— When the actor is in place, the avatar will open: ["Stage"] A "stage area" with a radius of 10 meters needs to be created in the physical space. The field projects boundaries through the gossamer nightclub strobe-like energy (Theater Drapery) unleashed by the double. The stage area must be relatively closed (such as rooms, laneways, and carriages). When unfolding in an unobstructed open space, the stage boundaries will become blurred and the effect will be weakened. Stage effect: Strengthening psychological suggestion, manipulating boundaries... —— When the actors are in place and the stage is turned on, the performance begins. Effect 1: [Performance starts] The "performance" is guided by the avatar or the body: the marked "actor" is not completely controlled. The ontology cannot directly control the actor's thoughts or completely dominate his actions. —— Effect 2: [Strong Guidance]: The body can instill strong "situational cues" into the actors. Method: The avatar projects short behavioral instructions or emotional guidance (such as "Fear!", "Hug him!", "Pick it up!") To the marked person in the form of a "prompt board" (a text projection of energy embodiment). Effect: The actor will instinctively tend to execute the "script", but his own consciousness will still be retained. The stronger the actor's willpower, the greater his ability to resist suggestion (a key limitation of non-absolute control). —— Effect Three: [Prop Arrangement] The marked inanimate objects are counted as: [Props] The main body can precisely control its simple physical movement trajectory. For example: let the book fall "just in time" when the actor passes by, make the door open and close on its own, and let the stone "roll" to a specific position. Important limitations: Properties that cannot be given to inanimate objects and violate the laws of physics cannot be given. ———————— Ability expression form: Stage presentation: Things on the stage (actors, props) will produce slight but visible performance beam or particle effects when they move. Intense "performance" will even trigger short background sound effects (such as applause, nervous drum beats). These phenomena stem from the self-awareness of the stand-in, which increases the drama, but also exposes the boundaries of the stage (not special effects, but real energy interference).

The first few chapters are well written. If it doesn't collapse later, at least Sanjiang, and even Wanjun!