I've Loaded a Love-Life Montage

Nominally this is a youth romance novel, but essentially it is left to everyone to judge for themselves. The narrative will be as relaxed as possible, living up to the name of youthful love. The story structure of this book is fundamentally different from most other works on the same site and with the same theme. It is quite normal to find that the content of the story is quite different from what you expected when you first read it. It would be better if you still like it after discovering the deviation and continue reading. Using the island as the background can isolate the story atmosphere from reality without being too far apart, which is more suitable for the core theme of this book. The title of this book is "Revolving Lantern", hoping to evoke memories of love in your hearts. Although the purpose of light novels is to provide readers with relaxation, but from my own heart, I still hope that everyone can connect with me. Finally, be tolerant and thank you.

I would like to make a suggestion, if Fujiwara is not the heroine, you can reduce the impact of the protagonist on her love affair, especially the plot where the hero helps Nakamura pursue Fujiwara. A considerable number of people hate pimping Kewei deeply. It is definitely a poisonous point. Of course, it is just a suggestion.

Ⅰ. Introduction In love narratives, we are always accustomed to asking the source question: Is this love real? Where does it start? Is it pure? Behind this questioning is an obsession with "truth" - as if love can only be called love if it is born from pure nature and uncontaminated heartbeat. But the setting of "Revolving Lantern" pushes this question to the extreme: What if love is a "side effect"? If all the other person's emotions for you originate from an unexpected ability trigger, from the fantasy that was passively implanted when you broke into her memory - is this love still considered love? This is a fable about the "original sin" of love: when the origin of love is contaminated, is everything that follows true or false? The more complicated question is: if both parties invest real emotions in falsehood, if every temptation has to pay a real price, if the illusion itself becomes the ladder to reality - then, can we still use the binary of "true and false" to judge love? Ⅱ. The Other of Desire and the Appearance of Illusion Lacan proposed in his eleventh seminar: "Desire is the desire of the Other." This sentence points to the inauthenticity of love and desire - they do not originate from the natural emotions within the individual, but are constructed in the symbolic order intertwined with language, social norms, and family structure. We fall in love with someone not because the other person has some objective attraction, but because the other person occupies a special position in our fantasy structure. When we say "I love you", what we love may not be the real person, but the image processed by our own fantasy and carrying our own desires. The setting of "Revolving Lantern" reveals this hidden construction process. The male protagonist's ability makes "occupying a special position" no longer a metaphor, but a fact - he eats the hair and enters the memory, and then a side effect occurs: the other party sees him as the lover of his dreams. The cruelest and most honest thing about this setting is that it makes it impossible for us to deceive ourselves and others into believing that love originates from pure, natural, uncontaminated heartbeats. It tells us: All love has "side effects" - it's just that most of the time, we can't see the moment when it is implanted. (Everyone should be able to understand that maybe the Bai Yueguang you love is not actually her) Ⅲ. Kurosawa Ye: Reality growing from the illusion Kurosawa Ye's native family is not good, and there are already cracks in her symbolic order. The male protagonist enters her memory and fills in the gap - he becomes the "light in her life". But the male protagonist did something complicated: he created a false identity - "Tazaki Haruto", a fictional character who specifically pursues Kurosawa and admires her. He guided Kurosawa to communicate with this false identity, guided her to write a reply to "Tazaki Lover", and guided her to gradually build the ability to establish relationships with others. This is a dismantling of illusions, but done in a paradoxical way: using fiction to heal fiction, using illusions to guide people out of illusions. At the end of the fourth volume, she successfully gave Tazaki lover a reply in person. On the surface, it seemed that she was getting over her excessive dependence on the male protagonist. However, a key fact happened: although she could no longer rely on the male protagonist alone, she still firmly chose Ayumi Tazaki. The significance of this choice is decisive. Lacan has a concept called "traveling through the fundamental illusion". This means: realizing that the fantasy of loving dependence is just a fantasy, but still choosing to meet the real counterpart in this fantasy position. What Kurosawa Ye accomplished was this time travel. She knew that the implanted "light" was an illusion, and she learned social skills under the guidance of the male protagonist (through the fictional intermediary "Tazaki Haruto"). She could have tried to choose other people and other relationships - but she didn't. She traveled through the illusion, and then on the ruins of the illusion, she still chose to love that specific person. This "still choosing" is reality. Ⅳ. Shirakawa Saki: At the moment of jealousy, time travel begins Shirakawa Saki's story was originally trapped in a testing cycle. Her interest in the male protagonist originates as a side effect - he is implanted as an ideal figure in her fantasy. And her way of coping is to test: using test after test to test whether he is really worthy of that position. With each test, she paid a real price—her time, her emotional investment, her self-exposure. She is using something real to test a false thing. But the essence of testing is to keep your distance. As long as you are still testing, you will always stand outside the relationship and never have to face the question: Do I still love him if he is not perfect? The turning point happened when she got jealous. When she learned that the male protagonist went to a hot spring with another woman with a similar identity to her, her reaction was not to continue to calmly design the next test, but to kidnap him back to her home. The meaning of this action is decisive. Being jealous means that she no longer stands as a bystander. She was already involved, already cared about, and could no longer bear that he belonged to someone else. Taking him home means that she no longer uses "tests" to keep distance, but uses actions to declare: You are mine. Then she continued to test him. But this time the test was different from before. Before, it was to test whether he was worthy of the fantasy; this time, it was to force him to say those words - the words that could impress her, the words that could make her put down all her defenses. When he said those words, she was moved. Then, in the hot spring, she hugged and kissed him. Lacan would say that this is the moment of "traveling through the illusion." Through the illusion, it is not that the illusion disappears, but that you are no longer captured by it - or in other words, you choose to admit that the thing that captures you is an illusion while being captured, but you still choose to enter. The moment when Shirakawa Saki was jealous was the first time she admitted: I care about you. This care is not under my control or subject to testing. It happened. When she kidnapped him home, it was the first time she said with action: I want you. From now on, she may still test, still may doubt, still may retreat to a safe distance. But she has already tasted the real taste - that moment of embracing each other in the hot spring, the softness of no longer being defensive after being moved. She knew where the real entrance was. Ⅴ. Is false love considered love? Now back to the original question: If love begins with falsehood, is everything after that true or false? The answer given by Kurosawa Ye's story is: love is not determined by its origin, but by its unfolding. Even if love begins with the purest falsehood - the physical implantation of side effects - as long as in the unfolding process, the falsehood is revealed, spoken, and traversed, and then after the passage, you still choose to be together, then this love is real. The answer given by Shirakawa Saki's story is more dynamic: love can gradually become true in the process of time travel. Her feelings start from being both true and false, accumulating real elements in every price she pays, and growing real weight in every moment she is touched. When she is jealous of the male protagonist, when she is moved again by his words, she is already using her actions to define the nature of this love: it is not pure falsehood, nor is it a completed reality, but is on the way to becoming real. Lacan would say: Love in the imaginary world is falling in love with the projected ideal image, while love in the symbolic world is after realizing the impossibility of desire, still choosing to establish a connection with the other party based on language, commitment, and exchange. Kurosawa Ye has completed the leap from the imaginary world to the symbolic world. Shirakawa Saki is making the leap - she has already taken one foot forward, and she has been moved by reality. What she needs may just be more moments like this, more confirmations like this, until one day she can completely put down the test and say that "even if it's not perfect, I still choose." VI. Conclusion So, does false love count as love? Love is not an essence, but a practice. It's not defined by "origin", it's not defined by "purity", it's defined by process. Kurosawa Ye's love is love. Because she traveled through the illusion and then chose. Shirakawa Saki's love is also love - love in the making. Because she has begun to travel, has begun to let her real self be touched by the real other person, and has begun to allow the other person to enter her most private world. The male protagonist's love for them is also love. Because he changed from a spectator to a participant, from a person who knew everything was false to a person who was willing to believe that it might also be true. The setting of "Revolving Lantern" is an extreme laboratory of love. It brings that hidden "side effect" to the surface, so that we can no longer escape the truth: all love contains elements of illusion, and all love begins with some kind of "misrecognition." But its gentleness is: it tells us that illusion is not the end, but the starting point. The choice after traveling through the illusion truly defines love. And those who are passing through - those who pay the real price in the test, those who are still moved despite their hesitation, those with open hearts - they are also defining love in the way they are doing. Love is never pure. It always carries traces of side effects, always has false ingredients, and always has unspeakable impurities. But it is precisely because of this that the action of "still choosing" and the process of "traveling through" are so precious. This article is dedicated to all those who struggle with illusions. Dedicated to those who choose to love despite knowing the side effects. Dedicated to Kurosawa Ye and all those who, like her, travel through illusions and then choose. Dedicated to Saki Shirakawa and all those who are traveling through illusions like her. Dedicated to that thing that is never pure, but is always worthy of our pursuit. Dedicated to love.

I have finished reading the third volume, which is at Chapter 132 This book is very magical. It is especially like a classmate who usually does not post in Moments. If you want to understand him, you can only slowly increase your friendship. After reading slowly, you will find that he is not a one-sided stereotype, but a living, three-dimensional and complex person. I read this book at night every time. Before, I just passed it by in a blur. I could feel the details and foreshadowing of the book, as well as the environmental rendering atmosphere and delicate emotions, but I still passed by it. My tired brain told me that I didn't need to write down so much until I read the end of the third volume. Because of my poor memory and the fact that I had barely read any corresponding literary works, I had more and more questions, and many plot explanations There is no breakthrough point for the emotions released, that is, I can't find where they come from. However, the flow of these delicate emotions is not forced by the author, but each chapter and volume are superimposed and quietly enter my mind. They were released at the end of the third volume. However, due to my personal reasons, a funny phenomenon occurred: after reading this, I was deeply moved and my heart was deeply touched, but I forgot the source of these emotions and did not know why I was moved. So I looked for other people's interpretations, and then looked back for those impressive but vague details to look for the possibility of problems. The most, most, most, most, most problematic issue of emotional outflow that I can't find the source of is: Iroha Yue returned to China for a six-year appointment, and Tazaki Ayumi knew it in the first volume. Why was he not moved before, and was not deeply touched until he saw the note and heard the funeral march at the game? The following is my current interpretation of this issue First of all "Knowing" and "understanding/believing" are two different things. Tazaki Ayumi only knew rationally before that "she came back because of the agreement", but this may be just an abstract concept. What really made him "moved" was when he concretely and immersively experienced the heavy price behind this agreement and the execution process that lasted for six years. Secondly is the note. The content "I was dead six years ago..." Directly declares Iroha Tsuki's way of survival: going for an appointment is a burning moment, not a one-time decision. The timeline revealed by Iroha's mother shows that the Dublin match ends on May 16, and Iroha Tsuki gets on the plane on May 22. The first place in the international competition and the opportunity to debut were just around the corner, and she came back in six days. This "no hesitation" action turned the "promise" from a primary school student's words into a concrete sacrifice of giving up the golden starting point of his career. Isn't the best time to be spotted by an agency and debut after winning the first place in an international competition? Finally is the selection of "Funeral March". Irohazuki specially chose this song so that he could hear the "Heroic Polonaise" (her memory) when he entered, and then he played the "Funeral March" (for the promise of every moment of death). This is not a coincidence, it is a "dialogue" designed by her. So, Ayumi Tazaki was "not moved" before because the information was incomplete, or he may have been using other explanations such as "she is a trustworthy person" to digest this matter. But at this moment, through notes, song selections, and his mother's words, he was forced to face a shocking fact that could not be explained rationally: the cost of her return was far beyond his imagination, and it was completely unknown to him. "She's back" and "She gave up her first place in international competitions, gave up her chance to debut, and bought a plane ticket in six days just to see me". Together these interpretations are as follows: The former is fact. The latter is the price. What he knew before was: she was back. He even complained, "This person's breasts look like those of a primary school student." He didn't realize the magnitude of it. Because he never really believed it. Chapter 132 Caiyu's mother said something: "You are also a smart child, except that you can't tell the difference between you and Yue. ——Can't tell what? Can't tell the difference between "she may just come back by the way" and "she tried her best just to come back". Can't tell the difference between "the promise was said casually by an elementary school student" and "someone has burned this sentence as survival fuel for six years". can't tell the difference between "she keeps her word" and "she sacrifices" . From the moment he picked her up at the airport, he had been convincing himself with reasons such as "She just wanted to return to the country" and "The 50,000 yen payment shows that she has not changed." This was not indifference, but Tazaki Ayumu's values. So he understood the "promise" as a transaction. There was no need to feel guilty about the transaction. "The me of six years ago was dead... The me of yesterday was dead." " This is not keeping a promise, this is a sacrifice. Until the funeral march. She wore a white dress like a wedding dress and played the "Funeral March". —For whom to be buried? For every self who "lived until that second and then died for the promise" in the past six years. Until the mother told the timeline. Dublin ended on 5.16. She got on the plane on 5.22. The first place in the international competition was obtained At that moment, the agency would be waiting for someone to sign. It was the window of the pianist's life. It wasn't "by the way". It was not a "trade-off". At this moment, Ayumu Tazaki used his brain, which was much better than mine, to digest all the information that Cai Hazuki wanted to show him, and that he knew clearly. The third volume was touched. The above is my personal interpretation of the question "Iroha Yue returned to China for a six-year appointment, and Tazaki Ayumu knew it in the first volume. Why was it not until I saw the note and heard the funeral march that I was deeply moved?" One thing that makes me very aggrieved is that the author used a very cruel design in this novel: perspective monopoly. . All stories are unfolded by "distorted narrators" and "obscured truths", that is, the entire story is narrated from Ayumu Tazaki's perspective. This means that I know what Ayumu Tazaki knows, but I can't analyze what Ayumu Tazaki has analyzed but not said, so that I can't do what the author said, "There are always things that can only truly touch the heart when you discover them yourself." I can't do it like other readers. You can understand the meaning of everything by following it in order. For a science student like me, I can only analyze it by myself. But fortunately, I like the feeling of interpreting literature, and I like the feeling of listening to others sharing their reading experience. I usually haven't read a few literary works, and only wash them out in online articles, but this book has been slightly separated from online articles, giving me a sense of other possibilities in online articles. Literature is not like science, which is divided into right and wrong, right and wrong, and conclusions. After all, what literature presents is a story! There are a thousand Hamlets in the eyes of a thousand people (I haven't read Hamlet 🌚) I am very grateful to the assistant for this book. I feel that he is very serious about this book. When I was annoyed by questions in the early morning, he presented his point of view to me. There is a relevant content from Irohazuki's perspective, which I also find very interesting. About this book From the author's perspective! From the beginning to the end, he naturally hopes that readers will slowly uncover the story through details and foreshadowings from beginning to end, and experience the delicate emotions in it But from my point of view, I am too ignorant and my memory is not good. Words pass through my mind like a wind, and I cannot remember those touching details. However, through other people's interpretations and other people's thoughts, as soon as they mention a certain place, I will think of those details, which is good for me. It's a special feeling. I'm very happy to hear other people's feelings about this book, because the interpretation in my heart is originally a vague concept that cannot be condensed into the essence in words In short, this is both my interpretation of the problem and my understanding of the book. As I said, it is the product of a lot of confusion. I really don't want to feel the emotions in an ambiguous way. There must be deviations and errors in my interpretation, but I am satisfied with being able to write something on the white paper.

A first-class writer, Nikkei online article, Ban, Sakurazaka, right? 😃

The cicada chirping outside the window was like a taut copper wire, vibrating continuously, almost piercing into the skull. Ayumi Tazaki was lying on the sofa in the living room of Fujiwara Mansion, staring at the stationary ceiling fan on the ceiling. The damn fan blades had not turned for three days. Ms. Fujiwara said she would find someone to fix it, but on this afternoon when even breathing was difficult, one couldn't help but suspect that those promises sounded as empty as the chirping of cicadas. The thermometer was placed on the coffee table, and the mercury column stopped steadily at the mark of early 40 degrees. Ayumi Tazaki remembered that the Meteorological Agency said that Tokyo would set a new record for the highest temperature in the history of observation today. He didn't mind being a witness to history, but he just hoped that the place to witness it would be in an air-conditioned convenience store instead of this wooden mansion built in the Meiji Era. Even the air is sticky. Every breath felt like swallowing warm jelly. He tried to close his eyes and take a nap, but the chirping of cicadas immediately took advantage of it - not just one or two, but an entire legion, gathering on the trees around the mansion, as if a commander named "Captain Cicada" was dispatching them to launch a general attack specifically on his nerves. Tazaki Ayumi opened his eyes and cursed silently at the ceiling. He thought of the assembly line of the Kawasaki factory and the never-ending roar of machinery. The chirping of cicadas is essentially no different from those noises. They are both proof of existence and remind you that time is crawling at the slowest speed. There were footsteps coming from the other side of the stairs. Tazaki Ayumi turned his head and saw Kurosawa Ye coming down the stairs. She was only wearing a set of underwear. Pure white, the style is very simple, not a sexy design, but under such light, in such a sultry afternoon, the body covered by the limited fabric looks particularly eye-catching. Her collarbone, shoulder blades, waistline, and those curves that were usually hidden by clothes were all exposed to the air without any defense at this moment. Her long hair lay a little messy on her shoulders, and a few strands stuck to her neck, probably wet with sweat. Kurozawa walked to the center of the living room and looked at him with his head slightly tilted, as if walking around in public spaces in his underwear was a natural thing. Tazaki Ayumi sat up. "Korano and Iroha both have things to go out. Miss Fujiwara was invited by Mr. Nakamura to attend a study meeting," he said, his voice was lower than he expected, probably caused by the damn weather (it couldn't be Kurosawaha), "There are only two of us at home now, so" Before the second half of the sentence about "paying attention to image" could be spoken, Kurosawaha's eyes suddenly lit up. She raised her hands, went around her back, and began to unbuckle her bra. "Wait." Tazaki Ayumi stood up. Kurozawa's movements stopped, but his fingers were still on the buckle, with pure confusion in his eyes. She thought for a while and said in her usual calm tone: "If it's your first time, I heard that you have to do it on the bed and clean it." After a pause, she added, "But if it's Ayumu's XP, it's acceptable here." Tazaki Ayumi walked over and flicked her forehead. Not light or heavy, but enough to make Kurosawa let go of his hand and cover the place where he was shot, showing a slightly aggrieved look. "Get dressed." He said. "Step?" "Because this is the living room." Kurosawa Ye was silent for a few seconds, seeming to understand the reason. Then she lowered her head and fastened the unfastened buckle again - her movements were as clumsy as wearing underwear for the first time. Tazaki looked away and heard a certain nerve in her head beating. "Why come down here in just your underwear?" He asked, returning to the sofa and sitting down, trying to sound like he was asking about the weather. "It's too hot." Kurosawa Ye came over and sat down next to him, getting close as a matter of course, with his arm against his arm. Her skin was cool, she had probably just come down from the shady second floor, unlike him, who had been roasting in the frying pan in the living room for half an hour. Tazaki Ayumi glanced at the thermometer. Forty-one degrees. "If it gets hotter, I'll get heat stroke." He said, "I'm going to make shaved ice." Kurosawaha blinked, as if processing the meaning of the word "heat stroke." The kitchen is on the east side of the mansion. The afternoon sunlight shines directly in, making it look like the inside of an oven. Ayumi Tazaki took out the ice cubes frozen last night from the freezer layer of the refrigerator - thanks to the power company for not abandoning this old neighborhood - and took out the manual ice shaver from the cupboard. This may be an old item left by Mrs. Fujiwara. The iron body is already somewhat rusty, but the blade should still be usable. He put the ice cubes into the container of the ice shaver and started to turn the handle. Creak, creak, creak. The sound of metal friction covered up the chirping of cicadas outside the window, and fine ice chips fell from the exit and accumulated in the bowl below, like a miniature snow. Tazaki Ayumi shook the handle, and suddenly remembered that when he was a child, he spent the summer in Ashikaga, and his mother also used the hand-cranked ice machine to make shaved ice for him. The summer at that time was also hot, but not to this extent. The cicadas were noisy at that time, but not so noisy that people wanted to curse the cicada leader. He made three bowls. A bowl topped with condensed milk and sprinkled with some matcha powder - it was what Irohazuki bought last time and has been kept in the corner of the cupboard. A bowl is topped with homemade syrup, boiled with honey and lemon, the sourness is more prominent than the sweetness. There was nothing added to the last bowl, just a few pickled cherries, which was Hotaru's favorite way to eat it. He put three bowls of shaved ice on the tray and carried them back to the living room. Kurosawa Ye is still sitting in the original position, his posture has not changed, as if waiting for him to come back. Seeing the shaved ice on the tray, her eyes swept through the three bowls in turn, and finally stopped at the bowl of matcha. "I have heat stroke." She said. Tazaki Ayumi put the tray on the coffee table and sat down next to her. "Huh?" "People with heatstroke need to be fed." Kurosawa looked at him with eyes as serious as stating a scientific fact, "Feed me." Tazaki Ayumi stared at her for a few seconds. She did have a thin layer of sweat on her forehead, and her cheeks were a little redder than usual - but this was a forty-degree summer, and it would be abnormal not to sweat. He remembered the feeling of sweat running down his back when he was turning the ice shaver in the kitchen. "You can't eat shaved ice if you have heatstroke." He said, completely jokingly, "Ice is not good for your health." Kurozawa's expression froze. She looked at the bowl of matcha shaved ice, then at him, then at the shaved ice, and something in her eyes dimmed rapidly. She said nothing, lowered her gaze, stared at her knees, folded her hands on her legs, as quiet as a plant that had been transplanted indoors. Tazaki Ayumi sighed. He picked up the bowl of matcha shaved ice, took half a spoonful, and handed it to her mouth. Kurosawa Ye raised his head, his eyes brightened again. She opened her mouth, took the mouthful of shaved ice in her mouth, and then squinted her eyes slightly - this was her way of saying "it tastes good". She didn't say it was delicious, she just squinted her eyes. "Is it delicious?" He asked. "Yeah." She opened her mouth again. Tazaki Ayumi fed her spoonful after spoonful. The matcha powder is a bit bitter, but the sweetness of the condensed milk offsets it. The ice flakes melt on the tip of the tongue and turn into a cool liquid that slides down the throat. Kurosawa Ye ate very slowly, taking each mouthful for a while before swallowing it, as if he was confirming the taste of the ice and the texture of being fed. Halfway through eating, she leaned over. First her shoulders were against his arms, then the weight of her entire body slowly moved over, and finally she was almost lying half in his arms, her head resting on his thigh, her face raised, waiting for him to continue feeding. Tazaki Ayumi was stiff for a moment, but quickly relaxed. It's not the first time anyway. He had seen her not wearing pajamas when sleeping anyway. He continued to feed. In the bowl of syrup, Kurosawa Ye frowned after taking a bite - it was too sour. He had to put the bowl aside and replace it with cherries. When she ate the bowl of cherries, she would hold the cherries in her mouth first, wait for the ice to melt, and then chew them, making a slight crunching sound. In the end there was only one spoon left. Kurozawa looked at him, then at the last bite of shaved ice in the spoon, and then at him. Tazaki Ayumi thought for a moment and put the spoon into his mouth. The ice has melted a little, and the sugar water is mixed with finely crushed ice, giving it a light sweetness. He swallowed, put down the spoon, and looked down at Kurosawa lying on his lap. She was also looking at him, her eyes half-lidded, like a satiated cat. "Get up," he said, "I'll clean up." "No." "Why?" "I'm suffering from heat stroke." Kurosawa shrank into his arms and pressed her face against his belly, "It's cooler in Ayumu's arms." Tazaki Ayumi was silent for a few seconds, stretched out his hand, and put his index finger on the tip of her nose. Kurozawa's eyes immediately focused on that finger, becoming cross-eyed. "Tell me the reason," he said, "the real reason. If you lie, your nose will grow longer." Of course this is nonsense, but Kurosawaha doesn't know that. In other words, she knew it might be nonsense, but out of some principle, she chose to believe it. This is Kurosawa Leaf. She thought for a while and said seriously: "Ayumu's body temperature is thirty-seven degrees." Tazaki Ayumi was stunned for a moment. "It's over forty degrees outside." She continued, the tip of her nose still touching his finger, and her lips would lightly touch the pads of his fingers as she spoke, "Thirty-seven degrees is cooler than forty degrees. That's why Ayumu's arms are cooler." Tazaki Ayumi looked at her. He kept his finger on the tip of her nose and remained silent. Kurozawa blinked, looked at his face, and asked, "Has it grown longer?" Tazaki Ayumi put down his hand. "No." He said. Kurozawa's expression relaxed and he buried his face in his arms again. Tazaki Ayumi looked at the top of her hair, at the slightly sweaty hair, at the half of her exposed ears, and at her shoulders rising and falling slowly with her breathing. He wanted to push her away. She should be pushed away. In this posture in the living room, if Kongo or Iroha suddenly come back - His hand raised, fell on her hair, and rubbed it gently. Kurozawa let out a contented sigh, like a cat. The cicadas are still chirping outside, each sound louder and louder than the last, as if the heat of the entire summer is condensed in the endless chirping. But Ayumi Tazaki suddenly felt that those sounds had become distant, no longer the copper wires piercing his skull, but some distant background sound that had nothing to do with him. Kurosawa Ye's breathing gradually became longer. She fell asleep. Tazaki Ayumi looked down at her. This was not the first time he saw her sleeping face, but it was different now. She was in his arms at the moment, in the sweltering afternoon, in the living room of this old mansion with no air conditioning, a broken fan, and the deafening chirping of cicadas. He thought of his mother when she was making shaved ice in the kitchen just now. He couldn't remember his mother's expression when she was making shaved ice, but he remembered her shaking the handle when making shaved ice, the squeaking sound, and the feel of the shaved ice melting on the tip of his tongue. My mother in the hospital will definitely not be as hot as she is here in the mansion, so she may not be able to eat the shaved ice her father prepared for her. I don't know when my mother will be able to eat shaved ice. The light outside the window gradually slants westward, changing from direct sunlight to slanting light, casting long light and shadow on the floor. The temperature was still around forty degrees, but he couldn't feel the heat anymore. Kurosawa Ye fell asleep quietly in his arms, breathing so lightly as if he didn't exist. Tazaki Ayumi closed his eyes. Tiredness comes up like a tide, not the kind of irritable tiredness that is driven away by the chirping of cicadas, but real, soft tiredness that can sink. He put his hands on her hair, rested his chin on his chest, and fell asleep in an uncomfortable position. Before falling asleep, he thought vaguely: He might really get heatstroke this time. But it doesn't matter anymore. Because Lao Xing kept delaying the update, I had no choice but to hand out candy to Ayumi Tazaki and my senior sister 🙂

Let's talk about the current situation of young people with the heroine. And, I recommend this novel. Disclaimer: The following is purely my imagination. Black and white colors should be regarded as the most popular representatives of the early days of youth. In fact, emptiness is also indispensable. But Sora is probably the more popular choice for young Japanese readers nowadays. Black's plot is not overwhelmed by being disrupted by White. The author has done a good job of balancing it. If you disrupt me, I will eat more. Cai I saw Chapter 30 and haven't exerted my strength yet. Sora seems to be another independent plot line, telling a completely different story. Bai, I mainly want to talk about Bai. Shiro should serve as a flashpoint for many readers, even though this type of character was popular in the past. Today's readers seem to be particularly low in their acceptance of this type of character, and they always say it is 🐢. When Riqing first became popular, there were not so many dissatisfied people. In the early days, Riqing was an extension of the love market to various XP fields. The design of the heroine with a unique personality makes the novel lively and breaks away from facial expressions. When Nikkei became popular and then declined, we have to mention the classic of a certain crow. The collision of the two main heroines is like the collision of Nikkei's market trends. I won't explain too much here to avoid causing controversy. The result is that the characters like Mei Ji are liked by a lot, but also disliked by a lot. In order to avoid being ruined, Japanese writers began to curb the writing of character personalities and avoid extremes. It's hard to say whether this choice is right or wrong, but the Nikkei market is indeed in decline. Many authors choose to switch genres and close their books. Nowadays, the characters in the works are stereotyped, and readers do not accept extremes. They "complement each other" and swoop together, and no one cares about them. The author is probably not a new author. He has opened a new account. He can definitely be called a hexagonal warrior among Japanese authors. Let me talk about the points that I care about 1. The author did not express his own emotional point of view in the article. The kind of author who talks to you through novels every day is really terrible. 2. There is research on Japan's corresponding background. Of course, it may not be particularly rigorous. However, it is definitely considered superior among Nissara. After all, we are not looking at a Japanese life guide. Many novels are written like traps. 3. The male protagonist is a weakling. I can only say that it is too classic. Watching the male protagonist being kneaded by the female protagonist in the early stage is definitely a highlight of Riqing. Finally, let me explain that I have only read Chapter 30, but because it is rare to encounter a good book, I rushed to write this paragraph. I will not classify it as a book review, it is only used to express my emotions . I don't know the level behind it yet, but even if there are only 30 chapters, I still recommend readers who like the ancient light mode to read it. You can't go wrong.

Evaluation: The setting is novel, the routine is old-fashioned, the writing is good, and it is above average. I have finished reading it now. Here are some thoughts after reading it. As an old bookworm, my taste in reading has become more and more picky, and there are very few books that can catch the airwaves. The first chapter of this book has a very attractive plot, and the subsequent plot is slightly but smooth. The writing does not look like a newcomer at all, it is very mature and interesting. After reading all the chapters so far, I found that the author has an obvious flaw in the characterization: What does the heroine look like? From the beginning to the end of the third chapter, there is no written description that positively describes the appearance of Shirakawa and the senior sister. Even the description of the clothing characteristics is lacking. The entire process is full of verbal dialogue to highlight the characters. Secondly, there is another plot point (in my personal opinion): the male protagonist learns that the system can make the female protagonist (mainly a senior) fall in love with the male protagonist. The male protagonist feels guilty about this and agrees to collect money on time when dating the senior. Is this portraying the male protagonist as too money-hungry? Moreover, the current portrayal of the male protagonist does not have too distinctive and outstanding characteristics. It is difficult to see what can attract the female protagonists besides his handsomeness and good grades. The above are just my personal thoughts. I couldn't help but write it down after seeing someone who can catch the airwaves so well.

After being a Akatsuki for a while, I read through the first three volumes after reading the middle of the fourth volume, and found many details that I missed due to many stereotypes in the first reading. I can't help but sigh, the first impression, namely visual perception, really affects a lot of things. Just get to know Ruo Zuotou first, and then watch The Secret Life of Pets and it will always be hard to hold back. That's why I wrote this post. There are two points that will greatly affect the perception when reading the first volume - The first is the narrative perspective. This book strictly implements the literary principle of "showing rather than telling", and it is psychological realism, so no description or narration is from the perspective of the male protagonist. It's okay to be skeptical about the unreliability of narrative perspective. The second is Nichiru's character design. As Nikkei has developed to this day, there are many labeled characters. The author also deliberately uses labels to shape the early image under the premise of "I am writing youth literature, and readers will believe that the characters are complex and three-dimensional enough." But this is an online writing platform. When everyone sees the labeled classic characters, they really think it is like that. In short, please believe that every character in "The Revolving Lantern" is complex enough and three-dimensional to the point where it cannot be understood thoroughly even if it is over-interpreted. I hope you all enjoy watching it~٩(๑^o^๑)۶

To be honest, I was really a little disgusted when I tied up the protagonist for free, but because the book reviews were very good, and there seemed to be deconstruction in the back, I still planned to read it 😐. But I have to say that even if my perception of the dialogue changed later, I would still be able to read the rest. I think there must be many people who saw those few abandoned books. Regardless of whether it is reasonable from Bai's point of view, telling me that Bai's revenge is morally okay, but most readers have "double standards" and will subconsciously substitute the subjective creature of the protagonist, which is a normal approach. Looking at it from another angle, your girlfriend had her hair eaten by a man, and now she wants to use her family's power to crush him. The reader will feel that she is doing the right thing, because doing so is self-interested and the power is on her side. But it is normal for a person to feel unhappy when faced with a powerful force forcing her to do so, regardless of whether she is righteous or not. There is no need to talk about the speechless argument that reading online articles leads to degradation. So from a performance perspective, this beginning is really a bit disadvantageous.