I Really Don't Want to Be a Gangster.

There is no way out for the system text. Let's cut it off.

Regarding the follow-up question, you focused your perspective too much on high school. Then there will be a problem. For people who have gone to high school or college or are already working, they have no good impression of high school. And you focus your perspective too much on high school, which is one of the reasons that makes it more difficult for readers to follow. Therefore, you should quickly break away from the high school environment and let readers go directly to college, and everyone's favorable impression of college is far greater than that of high school. And if you read a lot of novels, there are actually some that are about urban rebirth universities, but you will find that they rarely write about things in the university. Instead, they focus on society, such as making money. Of course, those are not systematic novels, and they may not be the same as yours. So for the fun points of your book, my suggestion is to start from small to large. For example, if your system can be bound, then you can bind from high school to college, and from a small identity to a big identity later. For example, in universities, you can even be bound to a counselor, and later on, you can be bound to a female executive in the company, after you work. Later, you can bind the female person in charge of a listed company or a female celebrity. Through constant collision with them, this is the core of your coolness. And another point is that you bind the people too quickly. For a female supporting character, no one knows much about the people you bind, and they quickly move on to the next one. I don't think this is particularly right. You must take it as a principle to get this one, and then bind the next one. Then it is very likely that it will be written with multiple female protagonists. But in my opinion, it is inevitable for a novel or system like yours to have multiple female protagonists. In other words, the core selling point of your novel is to collide with multiple female protagonists through the system, and have them fall in love with you as the ultimate goal. To be honest, there is nothing innovative about this selling point. So come on. If you want to say, I wrote this system just for the collision or the fun between them, and I didn't mean to write multiple female protagonists, then my evaluation is, you should not write such a system, you have to change your system. Because as long as there is such a system, it is difficult not to say that writing multiple female protagonists is the ultimate goal or goal. These are just some of my humble opinions. If you are willing to listen, just take a look. If you don't want to listen, forget it.

I'll tell you the truth, the plot is too cliche and it's too embarrassing to watch.

The sense of immersion in the opening chapter is very poor. The reason why we write urban articles is to solve the problem of readers' sense of immersion. And you made it very unclear at the beginning of the chapter. You didn't explain whether the protagonist traveled through time or not. It's a system right up front. Although the pace is fast, the problem of sense of substitution has not been solved. There is also the issue of the opening location. My suggestion is to specify a province or a city. In this case, it is a common practice in urban articles and will give readers a more immersive feeling. As for the opening Chapter 1, my suggestion is to change the settings, finalize the identity of the protagonist who has traveled through time, and then let him bind to the system. If you feel that writing this way is not good, then you need to finalize the location and time. For example, at the beginning of the chapter, which location is it, and it must be written clearly. What year is this? Is it the current year, or is this something that happened in the past. If things are happening now and you want to increase the sense of immersion, it would be best to start with a protagonist reading a novel and then want to gain the ability of the system. This will also solve the problem of sense of substitution. And you come up to a certain high school, and then two people are having a conversation there. Readers will be very confused, what on earth are you writing? I don't know anything about these two people, so I won't be brought into the perspective of the protagonist. This can have a very divisive impact. It seems like the two people you wrote about have nothing to do with me. You see, even if it is not an urban novel, many fantasy novels will mention that the protagonist has traveled through time. Although this time-traveling thing does not give him any competitiveness, or it does not give him any golden fingers in this world, such as the so-called Douluo Continent. Is it difficult for you to remember whether he has traveled through time or not? Or whether time travel is not important to the protagonist itself, but it is very important to the reader. This is the issue of sense of agency that I want to talk about. I'll take a look at the others.

Didn't you say 1 million words? Why does it show only 100,000 here?