That's Just How the Villain Is

It was originally supposed to be a cool novel that was so exciting that it was so exciting, but it didn't have the expected effect. It didn't show off when it was time to show off, and the protagonist didn't play much when it was pretending. The protagonist was very worldly, even a bit obscene, and didn't have the enthusiasm of the male protagonist. Anyway, it felt average. However, I didn't find too many background themes like this, so if you are interested, you can read it as a recreational novel.

My evaluation is a masterpiece. The protagonist is a pure villain. In order to achieve the goal, he uses various means and often uses the big to bully the small. In the plot, he calculates this and that. If the calculation is useless, he will die. The protagonist is almost omniscient and omnipotent. The various methods of manipulating others let you know what a real villain is. The background and resources are not worrying at all. It can be said to be a pure and refreshing novel. There are too many names in the harem and I can't remember it. In the finale, it even closes the loop perfectly. There is no bad ending. It is really good.

He creates conflicts for the sake of conflicts. Every time he performs an ethical drama with Jiang Rushian and the Empress, he can't hold back. It's a scumbag, but every time I have to patch up the male protagonist's green tea behavior. Every time I see the male protagonist pretending to be miserable and then making the female protagonists feel guilty and tie them up, I want to laugh. There is a saying that I don't even look at this kind of moral kidnapping in reality. For a story with multiple female protagonists, the emotional rating is 0.

When I first read "This Is What Villains Are Like", I was truly amazed. The author reshapes the villain's image with "steadiness, hiding clumsiness, and careful calculation". The protagonist Jiang Lan travels through the book to be a handsome man in the prime minister's palace, but he uses his resourcefulness to break the situation and proves his way through luck. However, in the middle and later sections of the writing, fatigue gradually appeared. The rhythm of the narrative tends to be gentle, and the sense of a running account gradually emerges. Many of the foreshadowings and characters set up in the early stage are not concluded satisfactorily. For example, characters such as the "Queen" only have a few words in the final chapter, which is a bit disappointing. The emotional line is also a little thin, and the female supporting characters are mostly reduced to pawns to advance the plot. Although the protagonist acts step by step, he lacks a bit of human warmth, making it feel slightly alienated. Overall, this book is great for its novel concept and stunning opening, but it lacks stamina and ends hastily. If you want to try something new, you can read the first dozens of chapters to see its wisdom; if you want to be complete, you may fall short. Throughout the book, its most commendable feature lies in its re-deconstruction of the identity of "villain". Traditional villains are mostly superficial, either arrogant and domineering, or sinister and vicious, but Jiang Lan's villain has an almost cold sobriety. He fully understands the situation he is in. He does not complain about others or blame others, nor does he belittle himself. Instead, he acts like a chess player, turning everything around him into moves in the chess game. Seizing luck, intercepting opportunities, and setting up ambushes are not based on momentary will, but are based on a profound insight into the trajectory of destiny. This kind of writing method of "in the name of the villain, acting as the protagonist" is actually a clever breakthrough in genre literature. However, it is this ultimate rationality that eventually became the shackles of the work. When everything can be calculated, when all characters can be pawns, the text gradually loses room to breathe. Readers may be impressed by the resourcefulness at first, but over time they will inevitably become tired. The charm of Gein's literature lies not only in the exquisite layout of the articles, but also in the trembling and resonance of the subtle parts of people's hearts. This is where the book loses its balance later in the book. Although the protagonist climbs higher step by step, he is still far away from the fireworks of the world. His emotional world is like a frozen lake, with no ripples even if there are waves. The existence of the heroines is increasingly like decorations on the edge of a chess game. They are beautiful but have no soul. What is even more regrettable is the structural imbalance. The foreshadowing in the early stage is like a cobweb, which makes people look forward to its wonderful conclusion. However, in the middle and late chapters, the author seems to be unable to do what he can, and actually cuts out the complex and simplifies many branch lines. For example, the setting of "The Queen of Heaven" could have been a sublimation of the emotions and structure of the whole book, but in the end it was just a mirror image, and was only explained hastily with a pen of memory in the final chapter. This is not a fault of foreshadowing, but a pity for ending it. What readers lose is not a plot, but a sense of disappointment after their expectations have been disappointed. As for the writing style and rhythm, it's not all bad either! The motivation is far-fetched, and reading it is like watching a clumsy play, which makes people frown. This is not a lack of talent on the part of the author, but rather a common problem in long-form serialization where it is difficult to balance effort and rhythm. However, the flaws do not cover up the virtues. The value of this book lies not in its perfection, but in its attempt. It attempts to inject a hint of reflection on fate, questioning of identity, and praise of reason within the framework of genre literature. Although Jiang Lan's image has not reached the level of "flesh and blood" in the end, it is unique enough to leave a clear shadow in the forest of villain literature. He is neither a hero nor a villain, but a sober man who struggles to survive within the established script, a lonely chess player who acts as a villain to create the world. If we look at it in terms of writing, this book is like a long scroll of fine brushwork, with a delicate start, a slight sluggishness in the middle, and a hasty finish. If the viewer only appreciates the sharp opening of the book, he or she may admire its ingenuity; if the reader desires to complete the entire volume, he or she will inevitably feel regretful. However, literature is not a perfect art. There are choices and regrets in every creation. The regret of this book is the proof of its truth. Therefore, I think this book can be recommended, but it needs to be recommended by selected people. If the reader is resourceful, likes layout, and can tolerate the coldness of reason, then the first dozens of chapters will be enough to shock the readers; if the reader values ​​emotion, seeks resonance, and expects the characters to be full of flesh and blood, then it may be advisable to stop at the beginning and not force the final chapter. There is no fixed path to literature. Some people move people with their emotions, while others win with their wits. This book chooses wisdom and abandons emotion. Although it loses it in warmth, it gains it in sharpness. Its sharpness is enough to break the situation; its failure is also enough to warn people. Therefore, it is said: This book is like a sword, the sharp is at the beginning and the blunt is at the end. Those who use it well can take advantage of it; those who don't use it well may suffer from its bluntness. If you ask me whether I regret reading this book? No regrets. Because it once amazed me and made me think deeply. The value of literature does not necessarily lie in its perfection, but in whether it has ever stirred up a wave in your heart. This book has stirred up. Therefore, although I am sorry, I am still respectful.

104,9.2 It's okay. It should be interesting to read slowly. They are all big chapters. The author's writing style is better than most authors, and the descriptions of scenery, characters, etc. Are very artistic. However, the narrative is very colloquial. I don't know which dialect it is from. I am really not used to the word "zai". [Following Zai, cherishing Zai, always hiding Ling Zhuyun Zai, covering up Zai's true appearance] Logically speaking, the protagonist's armor should be quite strong, but in order to cover it up, it is not used, which makes it quite depressing to watch. Villain stories forcefully write the protagonist as a bad guy and the villain as a good guy. The tactics may seem sophisticated, but in fact they are just average.

It's really well written, and now I'll take a look at the duration

Overall, it's pretty good, but the emotional drama is a bit lacking.

I'd give it four out of five. The protagonist's character is too cold and his real interests come first, but there's nothing else that can be faulted.

Recommended, the emotional writing is very good, Meng Ning is really my favorite heroine, Chu Chan's personality changes are normal regardless of whether it is the original book or the protagonist's time travel. I won't spoil the other female characters. I took a look at the ending and other beauties wrote it all in a cryptic way. I have read more than a hundred chapters so far.

In fact, I don't even know how to describe the male protagonist. To say he is good is not enough. To say he is bad is not enough. I can only say that he should be a real person. Is it really okay if he keeps lying to the heroine like this? Is it really okay if someone exposes him?