The Cornflower Witch

I have read two hundred chapters so far, and it is really good. The whole book has a light feeling, very light, and gives people the feeling of walking in a garden. Overall, it is relaxed and relaxed. The author controls it very well. Encounters, events, etc. Are continued smoothly, and there is room between events. It can be said that it not only advances the main line but also keeps the entire narrative rhythm in a relaxed atmosphere. It is very good and suits my appetite. I didn't expect that the second book I read at Qidian would be so satisfying.

Watching the protagonist solve various orc problems in the Mage Alliance is like watching the students who are repeating their senior year in high school and start to study how to reform the education system every day. I feel an inexplicable anxiety (I have become a Chinese-style parent. Jpg) 😏 I have never read this author's book. What is the tone? Strength is the most important thing, right? It is not that difficult to build the promised utopia after becoming Si Chen. Why should you force yourself to study in depth in a field that you are not good at? Just like a person who is very good in science can cross over into digital, physical and metamorphic life (all transcendental aspects), he should also cross over into liberal arts, law and education (people's livelihood and social future). Yes, the protagonist is a genius and is fully capable of learning everything, but this will not only involve a lot of energy, but also create a habitual dependence on the protagonist. Isn't it ridiculous that in any field where the protagonist would give advice, he would always have a method? As long as everything is done based on what the protagonist does, why do other people need to think about it? Even Mao does not have first-hand social governance. At the same time, he has to solve bottlenecks when nuclear physics encounters bottlenecks... To be honest, the protagonist is concerned about the orcs. On the one hand, he is preparing for the third-order book. On the other hand, he may be doing social research to have a basic understanding of society. This is right. But you don't have to worry about it so much. Specifically, can't you experience it when you have high strength and seal cultivation? Belike cultivating immortality and refining your heart in the world of mortals. I still don't know why I lost my memory, and my mother in the first continent still doesn't know what happened. It can't be said that this little strength can't help, so don't worry at all and let mom survive on her own. Even if the protagonist is traveling and experiencing life, he can travel all over the seven continents. It is not a good experience to be involved in internal fighting on one continent and have to start over...

I started pursuing it when I was free to write "Not a Witch". At that time, I felt that this was the closest interpretation of swords and magic and pastoral epics in my mind. Although the taste of the Eastern Continent was not as good as that of the Western Continent, that book also made me a sticky reader (∀). When I was researching the Esoteric Cult, I would also watch some posts on site B and talk about multiple historical analyses, and I would always think that this new mysterious system would be very suitable for creation. Multiple histories, Si Chen's various complex relationships, mortals; naming; immortality; and traveling through the sky are all very suitable for Qingkong, who wants to write a narrative that is both ideal and easy to be too grand, so that the dullness that collapses in the later period should be filled with details, complete the framework, and stabilize the article, so that Qingkong will not start to collapse again in the later period (Resentment. Jpd) I personally think that the sexual orientation principles of the esoteric religion are in order The sequence is more suitable for Aozora's writing style, the sexual orientation is more mysterious but like water, and it is easier to blend into the sword and magic world view, while the sequence seems a bit stiff (ﾟﾛﾟ)｣. In short, I hope Aozora will not collapse in the later stage this time, and have a perfect ending. This is my first time writing a book review, and I have no experience, so please bear with me (Doge)

I hope the author 𣎴 will not waste the excellent world view setting, and there is no need to learn the so-called "shuangwen routine"

⓪Mushroom Silk (original sexual phase, dissipated state) ①blazing sun (material level, rising wind season, scorching sun split, one of the upper three sexual phases, restraining sleep, nightmare, fog shadow, distortion, blood law ) ②Huiyue (Spiritual level, the main body of Huanyue, one of the three upper-level sexual phases, restraint Distortion, Death Ember, and Fog Shadow) ③Nightmare (Spiritual level, the mirror of Huanyue, restraintBeast fangs, blood law) ④Green Honey (basic aspect, plant recessive, legacy of Mushrooms) ⑤Beast fangs (beast recessive, restraint Castle) ⑥Castle (human beings One of the three sexual aspects, endowed by the school of royal power, the combination of territory and title, restraint Nightmare, Sleeping Winter, Mist Shadow) ⑦Blood Law (basic sexual appearance, recessive bloodline of living creatures, restraint Castle) ⑧Dragon Eyes (Dragon, Part 1 One of the three sexual aspects, restraining distortion) ⑨Snail Fish (aquatic and amphibian) ⑩Mist Shadow (spiritual level, the shadow of Huan Yue, Shen Wu Ji, restraining Beast Fang, Blood Law, was Huiyue , Blazing Sun and Castle are restrained) ⑪Vault of Sky (Wind Season, Trade Wind Season) ⑫Sleeping Winter (Material Level, Mist Season, Scorching Sun Split) ⑬Insect Moth (Insect, single body The strength is lower than other sexual aspects of the same level) ⑭Death Ember (material level, Scorching Sun splitting, restraint Green Honey, Blood Law) ⑮Secret Words (one of the three human natures, historical motto, given by the Candlekeep School) ⑯Distortion (pollution left by the impact of alien stars) ⑰Alien (remnants of extraterrestrial things, restraint Distortion) ⑱vapor (one of the three human natures, the power to reshape the world)

Forgot to cut off the references🤓{"NickName":"Blue Sky Movement","UserId":228901734}

Iona died too casually. This author seems to have a common problem in his works. On the one hand, the heroine basically lives a relaxed and happy life, while on the other hand, everyone else has their own difficulties and lives in dire straits. On the one hand, they hold high the banner of progress and equality, but on the other hand, they always reveal their worship of class, do not take human life seriously, and are immersed in grand narratives. In fact, according to the legend, I can still accept Tiya losing in the first version. People always make mistakes. Instead of the current assessment that disregards human life, the protagonist does not really exert any agency. It seems that she even feels that she deserves the depravity of her companions and does not care about it. It is very disconnected to watch.

The prototype is the painting of the teacher 'Towel Hat Cat Whale'

First of all, these speculations will raise the protagonist's background before amnesia very high, but as far as I know, the first two books written by Qingzora do not have a protagonist with a low background, so I think my guess is not particularly outrageous ( Conservative guess: The late eighth era, to the beginning of the narrative of this book Year 2145 of the Ninth Era of the Covenant. Why you guess so: The original content of Chapter 25: "In order to check the expansion of the Dragon of the Sun and end the too brutal "Catastrophe War", the goblin monarch made an agreement with a group of Sichen to divide the boundaries between mortals and upper-level creatures. From then on. The heavenly courtyard is separated from the earth, and no one can come and go at will. Only some passages and rituals can be opened. At the same time, the intensity of the war is limited, so that those mythical creatures that are beyond the imagination of mortals are isolated in the heavenly courtyard and can no longer interfere with the secular earth at will. " Based on this, two questions are raised: 1. The Dragon of the Sun sounds like something related to the two natures of Blazing Sun and Dragon Eye. Doesn't the remaining three natures of the upper level have nothing to do with the "Catastrophe War" in the eighth era? 2. The Elf Monarch was mentioned in the description of Xilu Tiya's talent in Chapter 2? , Obviously it is related to the Cuimi sex, so since it is the goblin monarch who comes to control the Dragon of the Sun, will the Cuimi sex also be related to the "Battle of Catastrophe"? It is "Huiyue" and "Cuimi", it looks familiar, right? Chapter 2 of the text, Xilu Tiya? Fate Card: [Sleeping Girl] 'You have lost the power of sexual appearance you once had. You can only guess from the silver vine frame that this power of sexual appearance may be related to the 'Huiyue' or 'Green Honey'. The past memories are deeply asleep. If you want to awaken that sleeping past, Go ahead, please start with 'Hui Yue' and 'Cui Mi'." This is an idea that has no evidence and even makes no sense, but why can't we assume that Xiludiya's amnesia and loss of sexual power are actually the sequelae of the "Catastrophe War"? In fact, it can be seen from the description of the talent that Sildiya's family is blessed by the Elf Lord. If the Elf Lord is closely related to this war, or even directly a party to the war, Sildiya herself is more likely to participate in the catastrophic battle. I don't think this conjecture is true. It's not unreasonable. Sildiya's destiny card can be related to two genders at the same time. Judging from the sixth-level androgyny class that appears in Chapter 36 of the text, Sildya's destiny card before she lost her memory is entirely possible to be the sixth-level androgyny class or above. The sixth level of the castle's gender means the founding level. Weiye, what about the sixth level of Huiyue and Cuimi? If it is even above the sixth level, it may be linked to a major historical period like the "Catastrophe War" (mainly because the high background of the protagonists in Qingkong's first two books gave me confidence) But there is a bolder guess: Regardless of the age before coming to this world, from the end of the Second Era to the present, the year 2145 of the Ninth Era This is even more crazy. It is purely a conjecture based on Silutia's other talent with less clear meaning: Star [Unknown Level]: You are not favored by the stars. You are not an original resident here, but an alien planet. But the strange thing is that you have been accepted by this world and become a part of it. Cherish this gift. The meaning behind this is far beyond your imagination. Alien planet, what does the alien planet have to do with the history of this world? >Original text of Chapter 19: "This era lasted for unknown years, until the alien star shattered the carcass of the world and came to the world." "The terrifying wound torn by the alien star made the world tremble, and countless firelights bloomed from the dark sky and sea, from which the original The light of the sky is the 'Scorching Sun' and the 'Fantasy Moon'." The original text of Chapter 25: The 'Scorching Sun' and the 'Fantasy Moon' were born in the third era, and they ended the second era of the unity of the sky and the sea, that is, the Qionghai Era. Therefore, that era when the sun and the moon shine together is called the 'Sun and Moon Era' (Chapter 2). Third Era). Then we can know that the alien planet shattered the entire world at the end of the Second Era and opened the Third Era... So combine this conjecture with the "connection of silk chords" at the end of Chapter 39, the accumulation of countless subtleties, the mother of life that changes the world, she will also go on the journey. Such a path." And the "Creation Witch" Sildya mentioned in the introduction, we may be able to draw the following ideas: Syldya came to this world at the end of the Second Era and destroyed the world, and finally embarked on the great journey of putting the world back together in the Ninth Era? (

Can I really be relaxed and happy this time? ()

The name cornflower comes from the Greek Kentaureion, which means the herb of Chiron the Centaur. Chiron was known for his wisdom. He was familiar with various plants and could use them to cure diseases. The ancestors of the Eastern peoples also brought back cornflowers when they brought back grain seeds. Its Chinese name originated from Japan. Because its petals shoot out in all directions like arrows and the entire shape radiates like a wheel, it was named "cornflower". The flower language of cornflowers mainly includes "meeting and happiness", "gentleness and loveliness", "seeing the light again", "elegance" and "auspiciousness".

I think the author wants to write that the protagonist keeps a low profile and plays the role of a pig and eats the tiger. But shouldn't there be a proper reason? Judging from the first volume, it is barely reasonable for the protagonist to disguise his appearance and say that he does not want to attract bees and butterflies. What role does it play to forcefully hide his combat power? Not to mention that An Luoer vest, it is completely redundant. Then in the second volume, since the protagonist has chosen to go to the shadow world, a place where major organizations select talents for the next step of development, and the competition for places is so fierce that an important supporting role died, which caused controversy, then isn't what she should do is to show off her talents to obtain resource tilt? You are talking about yearning for a peaceful pastoral life, so what are you doing here? Just this sentence made my impression of the protagonist drop sharply. It would be better to add an external force setting, such as being chased by something, so that the protagonist cannot show his face and attract attention.

After reading it, I suggest the author make the most of his strengths and avoid his weaknesses, and focus on fantasy stuff instead of writing about military and political stuff. In addition, there are too many places where inconsistent strength collapses, so it is better to make an outline For example, the camel picking up the students in the forest, even if the power of the whole world on the earth cannot reach a toe, it is many times higher than the train after the Mage Alliance. It will become very funny if the author talks about industrialization Another example is the Mage Alliance, which has three named ones starting at level 8, and four woodland players who are considered to be high-end players at level 6. Their strength has completely collapsed Or I can ask the author what level the camel, which is taller than the mountains, is? Can I use this thing as a carriage to fight black snakes in the forest and get a few sixth levels? These four sixth-level people were trampled to death by camels.

I have read all three of Aozora's books. Except for the first one, which I have not ordered in full, I have ordered all of the second and this one. First of all, I am very happy to see the changes in the author's mentality in these three books, which is a good thing. The content of the book can reflect the author's real situation to a certain extent. Although the three books have certain similarities in content and themes, they have different cores. In Not a Witch, the protagonist is an artificial human created by ancient humans. He has a distinguished identity and background, a certain ability to protect himself, and a major mission. However, these are not important to the protagonist. In this book, the protagonist passively accepts every change in the event. It is only the protagonist's ability that makes passive acceptance become a kind of confidence. In the end, the protagonist clearly understands his mission and accepts his fate calmly, but I think there should be a little unwillingness. In "Don't Want to Be a Witch", the protagonist possesses special abilities and has a declining family background. The unfortunate experiences in his childhood have led to a life of poverty, and he has become very introverted because of this family background. Under such circumstances, the protagonist still takes a step to change himself. Later, he meets a noble person who appreciates him, and thus discovers his own ability, which spreads from changing himself to changing everything. It seems good, but the protagonist's idea from the beginning was just to change his own situation. The subsequent changes in a series of events made the protagonist realize his own specialness and couldn't bear to see what he had experienced happen elsewhere. This is a change in mentality, from passive acceptance to wanting to take the initiative to change. This is a huge change. In this book, this change in mentality is further reflected. It becomes easier for the protagonist to accept his identity, and he is better able to make use of his identity. He accepts the add-ons to his identity more calmly, and participates in some things more actively. His own behavior style also becomes vigorous. Feng Xing, but occasionally he would argue that he was not like this 😁 I don't know the author's real situation, but from the changes in the three books, I saw changes. I saw the changes in the protagonist's personality, and also saw the change in the author's mentality. In my opinion, this is a good thing. As for some comments I saw saying that the story progresses slowly and the protagonist always has a calm and unhurried mentality, I have a different view on this. First of all, let's make it clear that the protagonists in the three books have one thing in common, that is, the protagonists are all immortals, and the most important thing for immortals is time. In this case, their views on things are different from others. Since I don't lack time, why should I be impatient, and why should I do things that are faster than haste. This kind of mentality will naturally make the protagonist neither impatient nor impatient, but it does not mean that the protagonist does not pay attention to some important things. It is more that he wants to be fully prepared to face the future, and it is enough to do what he can do well in the present. The above is my humble opinion. If there are any shortcomings, please correct me.

In the last book, Tilan did not show that she had color-level talent, which led to various tragedies later.

There are so many marines, there are monster spawners everywhere 😒

Qingkong, I beg you, don't let the protagonist get involved in things like founding a country all the time. The plot in Chapter 147 is too abrupt. Isn't the protagonist visiting a friend? Didn't she save the poor people who were kidnapped by the cultists? Why did you suddenly lead a bunch of remnants of your own country, remnants of conquered enemy countries, and a bunch of cultists on the battlefield and become sages who saved the country? What was the process by which enemy soldiers were defeated and conquered? He really just mentioned it and then gathered a team. In the last chapter, he decided to protect a small group of villagers. In the next chapter, he found that the leader of the cult summoned the evil god to make a big deal. Under God's will, he took the team that had just been assembled and had no coordination and rushed to the BOSS. The protagonist solved it with just one operation. It was just... A child's play to drive out the enemy who was about to destroy the country and rebuild the country? I know it is because of the special identity of the protagonist that he has attracted the help of level 6 powers, but I still feel that it lacks realism. If the previous daily life and farming plots are above 80 points, this plot related to war and politics can only be said to be hovering below the passing line. The previous plots and story styles can be said to be separated. The author also has an old problem. The protagonist's personality is super Buddhist. When encountering a conflict, it feels like the protagonist got involved in the incident through a series of coincidences and was pushed by God to the right place, got the right props, and solved the incident. After talking for a long time, I was actually poisoned by this paragraph but I didn't want to give up the book. Please come and tell me that there will be no such problems later, so that I can firm up my mind and continue reading.

This review contains spoilers for the previous book, please read as appropriate) This review is divided into a complaint section and a rational analysis section. Recently, it was added that Tilan died of the Saint of Rhythm Water. Her blood pressure skyrocketed and she was unhappy without complaining, so there was a complaint section. And because the author's writing is really good, and I like it very much overall, there is a rational analysis section (relatively). The rational analysis section will analyze and explain the keywords of the complaint section and analyze the reasons for the emergence of emotions. At the same time, we also welcome the guidance and discussion of book friends. Core point: The death of the protagonist cannot be casual Keywords: being slapped in the face, feeling of fragmentation Time to complain: Why is the protagonist so easy to slay, like a third-rate villain, unaware of the danger before it arrives? He has so much natural power that he can take big moves with his face, and dies after taking all the damage without responding. After s, the author is resurrected to continue the plot (Lolan died directly from the flash of the elf's wings, relying on the natural strength of the soul that will not naturally dissipate and the clock time to go back 10 seconds to resurrect, Tilan was washed away by the power of the original water, because the strong soul made the opponent's heart. Doubts are resurrected), every time I see a similar plot, my blood pressure will skyrocket, and I will quit reading other novels or watching videos and playing games. I have almost forgotten this plot, and I don't feel that I particularly care about it before I come back to read it. I have to say that the characters and world view created by the author are indeed excellent, and I feel that the author really likes the protagonist in the novel (the most critical factor), otherwise I would have run away early and made up for myself. . . Rational Analysis Section Being slapped in the face: A simple example: A is an ordinary outer sect disciple who obtained a secret method by chance. In the sect competition, he met the inner sect's chief disciple who was extremely talented. Although the chief had countless secret methods and talents, he thought he would lose without the innate secret method due to his high self-esteem. During the competition, he slowly attacked A with the most basic spells. Just when the chief (reader) thought he was sure of victory, A suddenly rose up and defeated the chief. The extremely talented chief didn't even know how he was defeated. If it hadn't been for the protective magic weapon given by the elders of the sect, he might have perished. At this point, the chief has lost face and cannot kill A, otherwise he will appear to be petty. It's a classic scene of pretending to be slapped in the face, but our lovely protagonist has become the target of the beating. Why doesn't this make people's blood pressure soar? This kind of plot shows that the protagonist does not have a correct understanding of his own strength and the strength of others, and is already in jail without knowing it... (Tilan seems to be really invincible? Is it because he is not strong enough to run around?... He went up and killed himself)  Sense of fragmentation: Let us observe the details of the work. Whether it is Luolan or Tilan, when faced with the opponent's special ultimate move, they did not even use defensive measures to reduce the impact of the opponent's ultimate move. The two generations of protagonists directly fell into a state of ignorance after taking skills, especially Tilan who woke up and did not know what was going on. In addition, some descriptions of "you have already fucked once" have always hinted to readers that if it were not for foreign objects or pity from others, the protagonist They are completely dead or severely injured and cannot come back in a short time. This has created an extremely severe sense of separation (the core point of the problem) from the incredible talent of the two generations of protagonists and the leisurely and complacent life state in which everything is under control most of the time (the core point of the problem). The casual s caused by carelessness makes those relaxed daily unhurried battles very ironic: Why are you pretending to be so fragile? Why don't you just stay and run around? If it's not the protagonist, I'm afraid it's already g. Ps: I hope the author pays attention to the relationship between the overall rhythm and part of the plot. When focusing on explaining a certain detail, it is easy to ignore the whole. After I turned back and read the book again, I fell into a limited perspective. Only part of the explanation was very reasonable. So why did I feel frustrated and angry when I read it the first time? It took me a long time to figure out the problem of the separation between the protagonist's daily life and death...                                                                          Like in the scene with Lorraine, I changed it to manually start the clock to look back, which can be regarded as saving myself by relying on my own sense of crisis, holding my destiny in my own hands, and enhancing my initiative. In Tilan's part, she directly changed the opponent's skill to a soul flushing skill. Ordinary people died because their souls dissipated. This way, the protagonist can verify his identity without dying, and it does not affect the plot at all. Why does he have to die? I wrote a lot, deleted a lot, and stayed up all night. Looking back, I saw what I wrote. Everyone just took it as a complaint.

Starting from Not a Witch, this is the first time in my life that I have seen a male novel with a female protagonist as the perspective. I was shocked and left an indelible impression in my heart. But it's very sad😔. The protagonist in the middle lost his memory and retrained, which persuaded me to quit. But it also made me get to know this author. I tried to read every subsequent book, but the chapters that I could persist in reading became less and less 😭. It was the feeling that you wouldn't be a witch until you read it for the first time 😆

The protagonist has just reached level 4 and is still learning and consolidating. Lin Di doesn't know that the protagonist can switch genders freely. According to Lin Di's secret method, he has to destroy his cultivation level before he can go undercover. I really don't understand why he does this? Did the protagonist offend the higher-ups in the forest?

With so much paving the way, how easy is it to hang up? The key is that I didn't feel anything when I watched her die. What's the point of writing so much above?

Cornflower Swan Orchid Golden Sunflower

The plot of Iona was still a warm and harmonious part at the beginning, and then suddenly there was a chicken-eating contest and a knife supporting role. It is not impossible to write this kind of plot, and this kind of behavior is also consistent with Iona's character and situation, but changing the writing style without foreshadowing will lead to a very fragmented look and feel. Another question: We need two people to work together to defeat the second-level ogre, and then kill the second-level ogre alone? Is this reasonable? I read the comment section, and it was revised three times. The scene where Iona won in the first version was indeed a hit in the online novel, but the current plot is even more of a mess. If this problem occurs, it feels like the outline was not written, otherwise this scene should have been avoided from the beginning. I have been thinking from the beginning that Iona has a strong obsession, and then it is written that their relationship has eased, and there is only one quota. How will the author deal with this conflict? It is impossible to suddenly change the writing style. I thought it was a bold person who specializes in challenging difficulties to show off his writing skills. I did not expect that he was simply incapable of handling it. Is there any more error like this? This kind of mistake is really undeserved. If there are more mistakes later, we can only discard them. I quite like the early plot of this book, but no matter how sweet the peach is, I can't accept the presence of bugs.

I feel that the restoration of the country is inexplicable

I hope [Cornflower Witch] will get better and better, more and more.

State your point of view: Although this matter itself should be treated coldly, many meaningless topics and blind subjective assumptions surround this matter, and many signs in the original text that indicate this ending are ignored. So we need to be clear about what the truth is again, instead of just casually echoing it without distinguishing between right and wrong. (Fact: The ending of the outline comes first. The first two versions do not occupy the dominant position. The latecomers should look like latecomers.) Now the several factions in the discussion are divided as follows: ① Ostrich faction: believes that the first two versions are correct and reasonable, but denies the author's description of the current original version in the outline. (The following remarks: Did you just guess the outline?) It is a complete denial of the established facts and an ostrich-style act of pretending to be deaf and dumb. There is no need to describe this in detail. People who pretend to be asleep will never be woken up. ② Non-logical faction: believe that the first two versions are more reasonable than the initial outline version, and deny the role of combat logic (attribute restraint and talent strength gap), the protagonist's subjective initiative and distorted aspects in it. The price that Iona has to bear can be greatly reduced, and the close relationship with the protagonist Ti Ya and Iona's obsession can be used to force the moral kidnapping of the protagonist Ti Ya. He completely ignored the moral flaws between himself and the Jinmi Dynasty and the confrontation between the Yinhui Church and the Jinmi Dynasty. (A classic example is a certain post that "should have detailed outlines", which is a fight between the left and right brains and double standards. On the one hand, they believe that the woodland assessment is indifferent to human life, but on the other hand, they ignore Iona's use of twisting rituals to turn herself into a time bomb, and shift the responsibility for Iona's fall to the master. Jiao Tiya did not propose a method to solve the distortion and alienation. It is a good explanation of the resolute and non-internal handling method of "the blame is thrown away quickly") ③Personal charm school: Iona's image is well-shaped, so she should not die in the forest assessment. This is a fundamental mistake in the causal relationship. First, whether the character is well-developed has nothing to do with whether she can have a good ending, and the close relationship with the protagonist cannot completely affect her own ending (the Butterfly-Winged Black Sun in the second book is an obvious example). This has been proven by numerous tragic protagonists and supporting characters throughout the ages. Second, this view itself is wrong. Extremeness does not mean creating fullness, and fullness is not a concept that can be compared with other supporting characters. If a person's image is completely defined by other people, then the person himself has no value. Moreover, the author did not use extreme characterization in his first book, but he still created distinctive supporting characters. I haven't seen the original text and Iona's character analysis and Iona's use of the twisting ritual may lead to the same ending as the first book Backlighter and the second book Dark Sun. The behavioral logic is completely extreme. ④Instigator: This is the origin of all disputes, and now I choose to remain silent. It was they who promoted the emergence of the first two modified versions with problematic logic, which led to the subsequent rhythm. They themselves are the previous rhythm, and there must be a cause and effect. Originally, the outline version appeared smoothly, but now it has become a version full of rumors and even its initial status is not recognized. It can be said that people from this group are indispensable. (I have also seen related comments: It is too easy for the protagonist to win smoothly like this.) Most of the comments about this faction have been eliminated, but it is also because they have gained a lot of benefits from this dispute. They don't have to end up personally and sit back and watch other factions fight. Of course, delusional restoration is impossible. As for which faction I belong to, the above 1-4 factions are all the targets of my criticism. I only firmly believe in the facts presented in the original text, and there is no behavior to protect the author. I even questioned the author when he chose one of the two endings (this is the sentence on my avatar homepage now: "The fear of suffering is worse than the suffering itself. Once you make a decision, you will actually fall into a huge torrent, which will lead you to a place where you make a decision. Time to go somewhere you never thought of. "This is to remind the author to stick to the original choice.) After the discussion of the faction speech, I will explain my own point of view and attach a screenshot of the original text (this point of view has been posted twice): Iona is a person with no retreat. Although I sympathize with her, I do not approve of her mentality and methods of becoming stronger, and the stereotype she created is very profound, which fundamentally cuts off her development potential. 1. She has a strong aristocratic complex and can never accept the shame of being reduced to an ordinary person. She was not used to studying with other people. 2. She has a strong mentality of admiring the strong but not pitying the weak. This is the same as her aristocratic status, and she often treats other people condescendingly. Later, she just treated Ti Ya differently, but it didn't mean that she put down her attitude and learned to handle interpersonal relationships correctly. There was no change in her treatment of other people. Two people like this will never come together. 3. She has a tendency to go to extremes before the assessment and forcibly improves her personal abilities. She cannot accept the fact of failure during the assessment. She self-consciously believes that the only way to go is to enter the forest. The result was that she was excluded, which also paved the way for her later choice to resort to distorted power, which was not completely unstable and harmed herself and others, just to win. 4. Her appearance means that the confrontation between the Yinhui Church and the Jinmi Dynasty has officially re-entered the history. What has been done must be done again, and what has been done must be done again. The Golden Honey Dynasty's abuse of twisted rituals failed to stop the Dragon of the Sun, so Iona used this as a backdrop for the recurrence of tragedy. To sum up, a person who acts in extreme ways and cannot get out of the shadow of the past is not worthy of talking about growth. Exaggerating her role cannot change the objective facts. If she wants to change her destiny, she should learn to change her extreme self-attitude, truly accept herself and live in the present instead of allowing herself to self-destruct in order to achieve the desired results. Of course, in the end, the skills were still insufficient and the distortion was too profound. If Huiyue had been stronger, there would have been no need to end his sins with death.

After reading a bit, this book lives up to its ranking Some of the plots made me frown.

Alas, this book is really good. At least before I went to the Mage Alliance, I basically didn't skip it. But after I went there, I basically only read the chapter names. I don't know why the author arranged it this way. Cuimi is obviously already at the fourth level. Wouldn't it be better to learn the Hui Yue phase and then integrate it at the fifth level? Why do we need to arrange to go to the Mage Alliance? We have to learn from scratch. It feels like recreating the forest land, but it is also very impetuous. It completely loses the sense of solidity in the forest land, and the daily routine of farming is gone. It is really uncomfortable.

The plot behind it is too fragmented

"The Demon" depicts an epic world that gradually unfolds, and "Diva" has self-identity. But now that I've seen this book, I feel it's a little too bland. The supporting characters are like tool men, and (as for my group drama) the plot is also a cycle of "accepting the task - completing the task". Mainly, it's hard to feel her choice, more like being pushed forward, more like simply recording the moment. Blue sky, nya, come on, nya, but this book really doesn't feel good, nya😵 There is too little connection between the plot before and after, and there is no sense of expectation at all.