What Witch? I'm a Deadly Apothecary!

The protagonist resembles a human being. Unlike some books, they are either abstract and lacking in fundamentals, or they are just players.

First of all, there is basically no sense of refreshment. This is understandable. The setting is that there is no golden finger, which is the most common situation. But if this is the case, what is the point of adding a time-traveling character? The old lady at the beginning could only cheat the witch out of her money, but you would only be able to work part-time in another world? The setting suppresses the protagonist to the extreme at the beginning, but cannot rise up in just a few chapters, and there is not even a little bit of fun (if you think bullying a woman and two children who don't understand anything is fun, I have no idea), then I can only think that the tone of the book is not that desire is suppressed first, but suppression is suppressed... Secondly, the plot advancement is too forced and unnatural. For example, the idea of ​​helping the captain to sell the stolen goods and then doing it myself was very unexpected. I had worked for so long before and talked about the director's skills, but I never had an idea. After I had the idea, I used these to confirm my idea of ​​doing it... Another example is, after working with the witch, the place where monsters are cultivated was moved to the maze, and the locks of the original cellar were changed? Just lock it when you have monsters, but lock it when there are no monsters? Obviously there is no need to change the locks, but if the old lady secretly sees that there is no monster, doesn't she believe that the witch will not continue to do it? It must be locked to make the old lady think that the witch is not quitting, but that she doesn't want to cooperate and wants to go it alone. I know it's to advance the plot, but she can't be so blunt, right? Finally, if you eat ten mouthfuls of salt and then drink water, the water must be sweeter than sugar. However, do you have to take these ten mouthfuls of salt?

I don't particularly understand that the epoch-making metal fixed-loading ammunition appears so casually. This technology is already one of the most valuable skills mastered by the protagonist. It is too casual to just recruit a few craftsmen and steal the technology. Moreover, this confidential technology is only handed over to the craftsmen without describing the confidentiality work. How much risk will it cause as long as this technology leaks out? I don't want to think about it? The church turns a blind eye to the sale of magic elements, but the entire church will attack the firearms technology that poses a huge threat to extraordinary people.

Retreat later. The genius author opened her harem three hundred times. Are you planning to change it to a harem story later on? From now on, there will be no more magic potions.

It looks good, can you get more? As long as there is more, Wadasi

The writing is a bit dull. What I wrote before was fascinating, and the plot has twists and turns. Now I feel that I can read it to the end at a glance. There is no harem tearing part that I like, and there are fewer and slower. I feel that the rhythm of the long-term plot of The Warden is not well controlled. The author should optimize the outline during the Chinese New Year. I feel that I can write better. I will give you all my monthly tickets this month 🙂

The protagonist sells contraband. The official has found the approximate place where the contraband flows. You also know that the official is investigating. Then, with a crowd of people watching in the tavern, you just take out a large amount of coins. It's really amazing.     ，， There is also the plot of harassment in a tavern. Here comes the purely disgusting person. You don't really think it's cool to write like this, do you? (The following is purely my personal opinion, if you have any opinions, you are right) There are many logical flaws in the plot. You are a time traveler, and one of your most basic advantages is that you have a relatively wide range of cognition. If the author's time travel identity was not mentioned, I would have thought he was an aborigine. The protagonist's mind also comes and goes. Of course, the ideas in this book are still very interesting, the author's writing skills are also good, and the writing is smooth. My evaluation is a no-brainer, a time-killing masterpiece. Of course, everyone has their own opinions. You can try reading it. Maybe in your eyes, this is a very palatable book.

I still wonder why people are still digging graves. It turns out that the author revised the article and was tracked by Time and Space. The following content is only for the content from a few months ago. It no longer has much meaning. I originally wanted to delete it, but I feel that everyone has different opinions on reading the book. It is quite interesting. I just keep it as a joke for everyone. Emm I saw Chapter 28. At the beginning, the protagonist is a heresy inquisitor, but he did not use his rights to make profits before. The boss is greedy for you or not. How did you get here? He was still a commoner, and then obtained a channel to sell stolen magic through a grocery shopping mother-in-law, and went to track down the magic supply chain alone, and then found a witch for the protagonist. After the classic start, they negotiated to make magic together, and introduced some emotional lines such as the landlord's family, and then came the poisonous point. The witch before There has always been an unstable factor in the next family, that is, the grocery shopping mother-in-law, but the protagonist just ignored it. Then when this person started to come in and steal goods, he remembered, oh, there is an insider. Then the protagonist came to the door and gave him a small punishment, fined some money, please, this is a U-turn business, why is the protagonist so relaxed? Don't you want to be cured? How can you guarantee that this person will not confess? How can you guarantee that she is not lying? Didn't you tell your family? The safest way is to use the whole family, but until this person starts to become a high-density person and the protagonist thinks of silencing him, does the protagonist have any brains? In such a feudal, theocratic, lagging world, how can such a high moral level come from? -----Afterword There are always people who make excuses about the growth type and why there is still sand in the back. They simply don't understand the logic. The plot arrangement here can only show that the protagonist is completely dependent on the author for food. A person insults the protagonist, and the protagonist slaps the villain backhand, and then a strong person comes to support the protagonist. A person insults the protagonist, and the strong person supports the protagonist, asking the protagonist to slap the villain, and then the protagonist slaps the villain. The same plot lacks subjectivity and is completely non-enthusiastic. The protagonist can't seem to use his brain. He can only see that the author feeds him all the way. His immature methods do not mean he is brainless, and being passive does not mean he will grow up. Either ignore the person all the time, or give the protagonist the worst result. This person goes to inform, the protagonist encounters a crisis, and finally solves the problem through his own means, whether it is sand or bribery, this is called subjective growth. , Instead of arranging a plot kill, even the protagonist's entire process of killing her was full of forced nature. The old man chose to inform, so he had to be forced to kill her, which was full of hypocrisy Or if the protagonist is too lazy to change it, when the protagonist goes to investigate, the protagonist's expression After revealing the identity, ask the old man to report the heroine directly and delete the hypocritical plot. The protagonist will immediately feel dissatisfied and shame others. It is much better than this plot where there is no idea of ​​solving the problem at the beginning and is forced to solve it in the end, and the protagonist has no brain at all Some people think it is not a poisonous point. This is normal. The tolerance for novels varies. He is honey and I am arsenic. I will discuss the matter based on the plot. If you feel that there is a sentence in the plot I described that does not conform to the plot expression in the article, I will delete it immediately.

After reading the first volume, this book has been full of minor bugs, but the overall plot is pretty good. It doesn't matter if the protagonist makes mistakes because he has no experience. In reality, many successful people also rely on luck. This is not unacceptable to me. After reading the first volume, I ordered it all, but after reading the second volume, I probably won't read any further. First of all, I can't understand at all why he chose to fight against the Count for Weiss. The reason given in the book is to save the landlady, and only Weiss can prepare the corresponding medicine. But this reason seems completely untenable to me, because I don't understand why Weiss is irreplaceable at all. The protagonist can completely use the existing research results to find new researchers to study. After all, this medicine article does not give people the feeling of high-end. A wild underage witch can develop a medicine that can initially control the disease. Then use the resources in hand and the earl to find another person to research, or even find another witch. After all, the earl also has resources in this area, why not? After all, the count has been frank with the protagonist and only has conflicts with the Weiss family. The church and the Witch's side can be contacted. The content of the deal between the protagonist and the count is to protect the landlady. Coupled with the value of the protagonist, it is reasonable to ask the count to find someone to do drug research. And I don't understand why only Weiss can make this medicine. Your description of this medicine in the article is that a 16-year-old witch with little money can initially research the medicine that can control the disease, and Weiss also relied on Rena's preliminary research, so why can't someone else do it? The treatment medicines you describe in your article really don't feel technical. On the contrary, the protagonist made the worst choice. He directly chose to confront the count when the power he had accumulated was not strong enough. Moreover, even if he killed the count, he did not think about how to deal with the mess that followed. The count who won in the end also had the aura of the protagonist. When the protagonist makes such a choice, it gives me the feeling that either the protagonist Lu Bu is an addict and wants to fuck the earl, or else he has deep feelings for Weis and simply wants to save her. Even if one or two of these two reasons are stated clearly, I understand. I think that the early plots were based on Breaking Bad, but they failed to grasp the characteristics of their own different world and did not follow their own path. As a result, the plots were written a bit nondescript. That's it, I need to write a plot about rebelling against my boss, so I used a lame reason to make the whole volume collapse. Obviously, the pace can be slowed down, starting from the conflict between the protagonist and the count, and writing more plots in which the conflict between the protagonist and the count deepens, so that the protagonist has a reason to rebel; the emotional line between the protagonist and Weis can also be advanced to make the character of Weis truly irreplaceable. At the same time, the protagonist is accumulating food and slowly becoming king, accumulating strength, improving the success rate of the rebellion, and making more preparations for accepting the count's entire business. Writing more about it will really improve the perception. That's it. With a full subscription and two monthly passes, let me reward the story of the first volume and Rena's emotional line. The author will make good adjustments and I hope you will write better and better in the future.

It looks good. When I read the new chapter, I found out that the protagonist has been running a smuggling business. Is there a link to gain abilities later? After all, most readers still like the protagonist who combines great power.

Is the protagonist addicted to being Lu Bu? The prince also wants to be killed? If the prince is killed, can Lamia be killed too? Can you please stop being a double-standard dog? Just kill the men and keep the women?

After reading the free chapters, I didn't have the slightest desire to read on, and there was no point of enjoyment. I cycled repeatedly on the road of being stepped on and being stepped on. The male protagonist's combat power is as good as that of an adult banana in this world view. The reason for success is that the women who appear in this story all ask for 30 Tang poems and charity from others for taking a taxi from the left eye to the right eye. The male protagonist did not show any It belongs to the personal style of the male protagonist of a novel. If you replace the male protagonist with any moderately ambitious 21st century male who is healthy and has a stable job, the story will not change at all And the providential element in this story is converted into enough time for me to develop from a fertilized egg into an adult. A male marries a human female, gives birth to a child and raises him as an adult.

This kind of question seems to have started with the initial release of the witches, right? But at the beginning I had a logical question: How to manage the witches in the harem? The reason why the protagonist can take care of it is because society's acceptance of witches is too low, and witches have no safe place to go. What happens after that? The witch has generated real interests, and the interests are getting bigger and bigger. The protagonist's method of making a fortune and the subsequent maintenance of interests, can he leave the witch? It's simply impossible. But can the witch replace the protagonist? They are all avoided in the book, but in fact the answer becomes clear after a little thought: yes. When the interests they represent are large enough, a witch will have a great scholar to argue for her. No one will be able to get away with the interests anyway. Those who really can't get along will die, and the rest will get along. Then witches will no longer be witches, and it is not impossible for them all to become saints. This development is a natural unfolding. So does the whitewashed witch still have to rely on the protagonist? Obviously: no need. To put it bluntly, the male protagonist just took advantage of the fact that no one else in the society used witches at that time, but this kind of thing will soon pass with reasonable development. Yes, the protagonist still has the knowledge of modern people, but so what? Knowledge can be copied, spellcasting ability cannot, and the two cannot be exchanged. So, what happens after that? Will witches who already possess industrial crafting skills have to rely on the protagonist to maintain their value in the future? No need. Perhaps the protagonist can also "invent" many new techniques. But I still said: So what? As long as the protagonist is dead, the craftsmanship in the hands of the witches is the latest technology, which is difficult to surpass, and they will always maintain their advantage. Isn't it? Long-term monopoly of technology has happened constantly in the history of human society. New inventions may not be promoted without capital. This is not nonsense. So, how does this kind of protagonist control beings like witches in the future? Relying on previous favor? But the protagonist is no longer useful, and even the continuous changes in technology and production relations may not always be beneficial to the witch group, and may instead destroy their monopoly advantage. What will the witches do at this time? Women are creatures that are extremely adaptable to improvements in their own treatment. If they enjoy more, they feel that this is how they should be. Not to mention, it is impossible for witches not to know that their position in the chain of interests is irreplaceable at a certain technical stage. That is not self-righteousness, but that it really should be provided to some extent. At least their ideas will have this kind of practical support. So what? The witch who was so grateful to the protagonist one year and was so devoted to her the next year may feel that the protagonist is exploiting, deceiving and manipulating her. Then, they will take everything they do for granted, including killing the male protagonist. This is not ungratefulness, this is liberation, this is revolution, this is resistance to oppression. The protagonist saves them because they are capable and valuable. It is not that the protagonist is showing favor to them. They have worked for one or two years and the protagonist develops so fast and earns so much. Isn't this enough reward? Do you want to continue to dominate? Do you want to continue to order them? Old thief, you bullied me too much. This is the essence of female thinking. It is not derogatory or offensive. It is a natural law. It is caused by the feminine survival mode and has nothing to do with character and morality. Rely on the relationship between men and women? It's really funny. Do you guys really like to have sex in person? Are you willing to be one of a woman's multiple lovers? Especially if you are not incompetent and can be considered a talent. Don't you like it? It's impossible for that woman to like a man having a harem. They are all human beings, and their thoughts are the same except for the difference in hormones caused by the organs. There is no difference between the two. So, rely on the relationship between men and women to maintain the relationship with the witch group? How is that possible! No one can stand still. So, what to do? Unless the protagonist himself is also part of the chain of interests or even the order, he cannot be replaced. The irreplaceability is based on his own ability, not the order and social status. For example: the protagonist himself is the strongest spellcaster in this witch group and plays a key craft role. Without him, the benefits created by the witches' abilities will be greatly reduced. It is probably also necessary to add that the protagonist's spellcasting ability is very good. He is the best in the group. No one can beat the protagonist. In this way, the protagonist's position can always be stable. But I read it, and there are also articles on the Internet that think about this. It is written that the male protagonist's special ability cannot be bypassed by witches. Either he betrays and loses his own ability, or he cannot use his own ability, or he simply cannot beat them, and the protagonist is stronger than them. However, market acceptance is not much. I'm a little confused, why? Internet articles that take these factors into account and make arrangements are not as popular as those in the early stage of releasing the witches that do not mention how to restrain the witches at all. Why? Can anyone make it clear?

The writing, plot, and characters are all top-notch, and it's not too bad now. It's a great book.

I really enjoyed reading it😋 The protagonist has brains, a ruthless side but also the kindness of ordinary people, and the plot develops smoothly enough. I haven't seen a good book in a long time. I have found gold.

The plot is top-notch, it would be nice if there wasn't so much harem

It's a bit boring. Every time you have to kill someone with status in order to advance the plot. Isn't it appropriate to use the same routine three times in a book? The plot of killing the director and seizing the underground world for the first time is very exciting. Killing the earl a second time or seizing the rights to the underworld is no longer as exciting. Killing the Insect Princess for the third time just to get a communicator to hold an online meeting with the Queen of Aihe Country is too boring. You also made yourself hemiplegic. You don't think that the protagonist paid a huge price to feel better, right? It feels like it's going downhill since I accepted the count's underground world. The foreshadowing before slaying the witch was well written, but it got a bit boring when I got to slaying the witch, so I skipped the chapter. When I saw the main character going to the Queen's tea party even though he was paraplegic, I really couldn't help but want to complain. Isn't that how you push the plot? You laid the groundwork so badly for the witch-slayer to be paralyzed and disabled and pretending to be cool in front of the Queen. You don't think this is any fun, do you? Also, let me ask, which one are you going to kill next time to advance the plot?

What a stupid protagonist, I'd better serve tomatoes like this

As a time traveler, the protagonist really failed. After defeating the earl and becoming a viscount, you are already a lord. What did you do next? Oh, you have set a goal. Are you determined to become the biggest potion master in the empire? Damn, it's really funny. The memories of past lives, the experiences beyond the times, and the extraordinary abilities of this world can all be combined to produce incredible power. See what you have done? Facing the invitation issued by the Prophetic School, what is your attitude when you learn that the blessing of the Prophetic School can remind you of your memories? Lukewarm. Look at the mystery next door, what is the emperor's evaluation of this ability? "Holy shit, Niubi". It doesn't matter if you are a local aboriginal, you are a time traveler. If you travel to the future technological world, that's okay, but you are wearing medieval clothes! Tell me, why is your attitude so lukewarm? Then it comes to behavior. You can already control your own destiny to a certain extent, but you don't develop, or are you developing just to make yourself the biggest potion leader in the empire? When I traveled back in time to ancient times, I knew how to move things and knowledge from modern times, but you didn't know about it when you traveled back in time to the extraordinary Middle Ages? Sitting there, I had the feeling that I wanted to write something in-depth, but I also didn't want the setting of the time traveler to be too obvious and turn into a cool novel. To put it bluntly, Wenqing is suffering from a disease.

Can the author stop writing something about what kind of person the protagonist will be in the future? It's really poisonous. I've only read about 20 chapters and I've already seen it twice. In the past, it was a bit more fun to write like this for a novice, but now it's really poisonous to read this way.

It's just not popular 😥

When I read it, I felt that the style was a bit familiar. It turned out to be the author of the warden book. I had also read the witch book on 🍍 before. It was very comfortable to read, and the rhythm was always good. In my impression, I finished the book without eunuchs and ambrosia.

I understand that making the protagonist more omniscient and omnipotent is indeed more in line with market preferences, but it is a pity... What initially attracted me was the protagonist's non-optimal choices and incomplete rationality. Many of the protagonists in Starting Point seem to have peeked at the script in advance, or play the game from a spectator perspective - instead of acting according to the real-time situation and their own personalities, they seem to follow the script step by step; or everyone is like Zhuge Liang, predicting everything, as if they are collecting Steam achievements. There is always a strong sense of distortion. In the first volume of this book, the protagonist will always make mistakes, and his mood will fluctuate accordingly, and he will be proud, regretful, and lucky. People will make mistakes, and they will make mistakes "knowingly", but they cannot always adopt the optimal solution. People will be embarrassed, distressed, regretful, and then continue to make mistakes - just like being upset after gaining weight but not necessarily able to lose weight, like a child doing homework in extreme pain on the last night but not necessarily correcting it next time. If you don't shed tears before seeing the coffin, you would rather comfort yourself with fantasy in regret, but you may not really learn the lesson. It is precisely because he has unrealistic illusions about the old woman that he would rather find 10,000 reasons than dare to take action, showing his immaturity; precisely because he is so scheming but almost loses Reina, and is so depressed after being forced to abandon his car to save the handsome man - these plots allow the story to unfold naturally like a picture scroll, rather than the planned operation of the program. So, when he was unable to give up Hexiu after struggling, and spent the rest of his life with Rena crying while hugging each other, the regret, self-blame and joy were so vivid, and this young man truly left a mark on people's hearts. But now looking at the back, the protagonist is becoming less and less recognizable. If the name were covered up, it would almost overlap with Edengalod...

Enter with caution, if you look at it with too much correctness, you may be poisoned and die.

It's also weird as written before. The protagonist always likes to dance on the tip of a knife. He can obviously just walk away, but he has to make love and justice more important, and then go for it. There is something even more stupid later on. The count is a leader of a force, but he actually goes on the field to fight against the enemy himself. The protagonist also fights king against king himself, and there is no escort or dead soldiers. It's getting more and more illogical, and it's almost a no-brainer. Later, there will be a harem story, which is not very interesting.

The protagonist is so awesome that I can't help but travel through time. After dozens of chapters, I was given a blessing ability, and then I was very frustrated and not at all happy. There is also the background setting. There is an extraordinary world. You are telling me about human rights. If the suspect is caught, there is no evidence to release him.

As mentioned, I took a quick look at the comment section on that list, and I can only say that they are basically all 💩. Damn, you did everything you could to feed me at seven o'clock💩

What you are selling is Mosu. Before you wanted to cooperate with the Witch, all the former collaborators of the Witch were arrested. Can you keep them? If the church is stricter, maybe the church is already quietly monitoring behind the scenes. But with local managers selling it out, the church is probably in ruins. Still waiting to be threatened, everything depends on luck. Secondly, the new breeding farm is a location that has been marked by the church. It is really just relying on luck and betting that no one else will check it. It's difficult to comment on waiting until the incident occurs to deal with it. You yourself said that you risked being burned to death, and ended up gambling here. Obvious hidden dangers are not eliminated. You don't need to watch the subsequent plot, various crises unfold under a series of coincidental (coincidental) circumstances. Then there are all kinds of luck to solve it. Leave a little tail, it will be very different

Oops, how can I put it this way? This book has a strong sense of immersion. If the magic potion in this book is adapted and changed into white powder. The protagonist directly becomes a certain leader. This is completely a substitute for a real story. Many times I marvel at the author's ideas. It's just hard to say how the plot will develop next.

You're already in Breaking Bad, but the main character is still a weakling. AK media has AK, and those who work in the underworld need to have force points. You are a poison gas bomber and you still want to play with others at the third level. Do you know what extraordinary means? Doing something obviously illegal at the entrance of an officially registered dungeon? The dungeon maze is just a background board. In that kind of industry, if you dare to touch purity when you first start, I can only say that you understand everything.