The strongest magician who started as a hunter

During this time, I have been summarizing many of the issues that have arisen since writing this book.

I have privately communicated with many author friends and book friends. Now I would like to apologize to the book friends who have always supported me, and also share my personal views.

To sum up, the first problem with this book is that it is too open-ended.

The second problem is that I didn’t grasp the rhythm of the plot well.

Some people say that the protagonist learned the reversal technique too early, but that is not the problem.

First of all, in my opinion, having no lower limit without learning the reversal technique is not much different from sustainability most of the time.

After all, in the original work, when Gojo Satoru was still in high school, he could cast spells with no lower limit for several days in a row. When I first said that the protagonist could only cast spells for half a day, it was an understatement.

Then there is no lower limit to how many days it can continue to be opened. In this case, we want to take action.

Is it possible to arrange a plot where the villain and the protagonist fight for several days and then consume the protagonist to death?

It's so bloody.

In my opinion, what really determines the ceiling of the protagonist's combat power is not "He" or "Xu Shichi", but the unlimited limit from the beginning.

There is no lower limit, coupled with the six eyes and teleportation, even if the protagonist's remaining Cang, He, and Xu Shiqi are banned, it is impossible to be defeated in the Hunter World by just teleporting and punching.

Wo Jin's super destructive punch?

The protagonist stands and lets him fight for hours, and it is useless to hit him with tens of thousands of punches, because there is no lower limit - no injury!

Nitro’s Hundred Styles of Guanyin?

Still no damage!

Let alone a few hours, even a whole day of fighting is useless. The protagonist cannot even move his feet, but the protagonist can launch attacks at will during this period.

Ant King? Reborn Ant King?

Still no damage! The protagonist can even arrogantly pinch the ant king's neck. No matter how awesome the ant king is, he can't resist, because there is no limit to breaking the protagonist's hand before he can pull it away.

Of course, if you want to kill the ant king, just punching is definitely not enough. I just give you a preview of what might happen.

As for someone mentioning Nobu?

With six eyes and teleportation, Nobu can encounter real ghosts.

Or it could be a forced effect such as a curse, but the protagonist happens to have the ability to eliminate thoughts, so it’s not really that scary.

Note that the above situations are things that the protagonist can do without the inversion technique.

So you know why I said that reversal cannot be enabled, it has nothing to do with whether the combat power is broken.

Because in the first chapter, from the moment my protagonist came to the Hunter World with no limits, the combat power of this book collapsed.

Just to go back to the first problem mentioned at the beginning, the hang is too big.

Then comes the second question.

First of all, let’s look at the readers of my book. In addition to fans of Gojo Satoru, I believe that a large number of people are also fans of Hunters.

Readers who are familiar with Hunters should also be able to find that there are very few characters in the original work that can be truly considered villains.

There is no need to say more about the Phantom Troupe.

Next are the chimera ants, and the organization in the theatrical version that uses the power of resentment.

The rest are criminals, gangsters, perverts... and in my opinion, these characters can only be regarded as experience packs for the early stage.

So with so few villains, the pace of my story was too fast, and I ended up in an extremely awkward situation here.

To use an analogy, you can imagine that this book is like a two-hour suspenseful detective movie, which is divided into protagonists, supporting roles, villains, etc.

Then the movie gets halfway through.

Snapped!

The villain surrendered!

If the protagonist and supporting actors want to play out more than half of the remaining plot, the most likely way is to change from a suspense detective movie to a romantic comedy movie.

Of course, I can also choose to create a bunch of original villains to fill this gap, and then connect it all the way to the subsequent "Ant Chapter".

But like I said, the protagonist's ability is doomed to collapse from the beginning, even if the ant crisis breaks out.

If the protagonist wants to push it forward, it can only take a few chapters.

So I fell into a kind of confusion.

I’m confused whether I should cover some of the daily lives of Gon, Killua and other characters, and cover a dozen or even dozens of chapters to connect Ant Crisis.

However, I found that the protagonist's abilities were too incomprehensible, which made it difficult for me to develop the story, design, and arrange the characters.

I would like to ask, when the cursed spirits such as Clepsydra, Kagome and Makoto attack Shinjuku, does Gojo Satoru need to portray the scenes of supporting characters such as Maki, Inumaki and Panda when Satoru Gojo is present?

I don't think it's necessary. As long as Gojo Satoru is present, everyone else can watch and act as cheerleaders.

So how do you make a crisis look like a crisis, and an event be as full of ups and downs as possible?

The answer is that Gojo Satoru was not present.

In this book, if I want to make a crisis as interesting as possible, I think the best way to design it is to push it through the supporting characters.

The protagonist is not involved.

For example, if I want to write about the Geed organization, the protagonist may be drinking tea or sleeping when I mention it, but he is definitely not involved in investigating the affairs of that organization.

Because as soon as the protagonist comes, wherever Geed shows up, he can take everyone away in one second.

Hydrology, and then pick up the crisis, but you have to arrange the protagonist as a marginal and behind-the-scenes role, and write a bunch of supporting characters to do things and suffer.

I just rehearsed the follow-up like this in my mind, and I felt so confused that it was unimaginable.

During this period of time, I watched The Mechanic. To be honest, I gained a lot. Not only did I learn how to design ups and downs of the plot, how to do more things, and then arrange more roles for the characters.

But unfortunately, it is still difficult to use it in my book.

The protagonist has no room to grow. (Or maybe I didn’t leave much room for growth from the beginning)

There are not many enemy characters, and now most of them have been killed. The remaining ones are still dead when they show up, and they have no plot effect.

The plot line of the original work itself is not suitable to follow. Xiaojie and others can succeed in the exam chapter, but there is no need to participate in the arena chapter and Greed Island.

The only ant chapter that can be written is that if you want to write it with ups and downs and let the plot and characters that can originally shine radiate their original charm, you can't let the protagonist participate.

Write a plot that the protagonist cannot participate in.

It's a bit hard for me to accept.

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