When the answer is gradually revealed, the most important question surfaces.

So Mrs. Katy asked directly: "What exactly happened."

"It is probably because of the last adventure." Danielle, a battleground girl who has "same-mind power" and has a "same-mind power" grouped with the "same-mind brain", has already thought of: "The adventure of "No one missing" in the traffic light splicing section has allowed the owner and our 72 sisters to obtain the high-dimensional ability of "time and space patches". This may be one of the (plot) elements that stimulate the similar and soluble "cross-plot fusion" of the large-scale "World War II plot fragments, time and space". The personal exclusive plot derivatives of the members of the Times, closely related to me, have further promoted the derivatives of the main line of "cross-plot fusion".

"I have always had a question." This time the female military doctor Carol Baker said: "The large-scale 'World War II plot fragments and space-time' that are happening similar and 'cross plot fusion'. How should those same characters from different 'World War II plot fragments and space-time' merge?"

"I understand what you mean." Battlefield girl Danielle patiently explained: "References to the same degree of mutual homotopics will enable the 'class unique ecosystem'. If it is the same 'character' under different time and space, it is very likely to be 'same-role Overwrite'. The coverage rule is to see the strength and weakness of the plot line of the individual exclusive branch of the same character in the corresponding plot time and space and whether the personal exclusive branch of the plot node is important. Simply put, it is judged based on the 'character importance' in the plot time and space. The coverage rules of the same character are similar to: 'protagonist' covering 'supporting role'; 'supporting role' covering 'super actors'. But it should be noted that there is a biggest premise. The level of the plot fragments where they are located. A level > B level > C level. And A⁺>A>A⁻, and so on."

"It doesn't seem to be complicated." Anneris Ackerman, a female star who has been busy filming "Good Women", understood first. In "The Great Battle", she is one of the heroines. Obviously, in terms of the importance of the plot line of the individual's exclusive branch, it must be better than the supporting actress who only has a few lines and several shots.

"There is another important rule to understand about our plot adventure." Battlefield girl Danielle looked around the sisters, and it was indeed time to briefly talk: "'The plot line accelerated and closed'."

As we know, "the accelerated closing of the plot line is a powerful rule that transcends the timeline." To give a simple example, the collision between the Milky Way and Andromeda, which originally took 4.5 billion years to occur in the real world, became 45 days or even 45 hours under the acceleration closing of the plot. It was like encountering a "plot kill", and there was no way to the rules in the plot world. So in the shelter high-dimensional world, the plot line comes from the timeline that is far stronger than the four-dimensional law.

In the adventure of Lord Lord "Return to the Sky", he once asked the sleeping giant Alicia, the housekeeper of the Ximu, who is the dean of the Tourist Mage Academy?

The butler told him that he was, the destined guardian of Hearthstone, the holder of the ring of life, the twins of fate, and the feather of the heron, Ms. Freya.

Wu Chen asked again, did Ms. Freya come with the gray people on the plane?

The butler replied again, yes, sir. Although it was not the same group, it was not far from the same place.

The "not far apart" mentioned by the female housekeeper here is the gap between the "before and after the plot line", which is absolutely inequality with the timeline in a simple sense. You should know that after Wu Chen completed his 5,000-year journey to the Nine Realms, the change of Asa's Divine Realm Palace and the change of ownership of the Silver Hall is at least 1,500 years later. However, the plot line related to Wu Chen's exclusive branch plot is just the next plot node. This situation is determined by the "drama line freezing" and "time horizontal axis difference" and "player intervention point".

Similarly, the "Plot Line Acceleration Ending" occurs after the restart of the "Plot Line Fixed-up" and starts with the "Player Intervention Point" and is derived from the plot between the two "Plot Nodes" before and after.

As the next important rule of "time side", "time horizontal axis difference" is an important calibration for players to travel through different plots.

Let me give you another simple example. The reason why the battle girl Danielle and her adventure team arrived in Ningxia, China in 1947 was to smooth out the "time horizontal axis difference" between the "B-level plot fragments of the Great Battle" and the "Mummy A-level plot fragments".

In essence, the four-dimensional plot time and space have their own relatively independent time axis and space axis. Simply put, in 1947, it was also possible to "align" the "time horizontal axis" of the two plot fragments of time and space. It is the "player intervention point" that just catches the precursor of "stage plot harvesting" - the "plot line acceleration convergence" stage (tsk tsk, so you are the peak of your imagination).

"Once the 'same-character coverage' is completed, all related branch plot lines will be derived by themselves. The similar and soluble 'cross-stories and space-time' has only one 'same-character'." Battlefield girl Danielle gave the final conclusion: "From this new 'same-character plot point', not only the past memories of the people in the play, but even the past experience will be 'same-character'."

"I understand." The first person to react was the female star Anelise Ackerman: "In other words, the No. 2 character in the Third Reich that Lisa interviewed was actually Joseph Goebbels, the Minister of Propaganda after "same character coverage."

"So I'm curious, which plot fragment time and space of this propaganda minister, Joseph Goebbels, came from after the "same character coverage"?" Mrs. Katy had figured it out.

"Look at it." The female reporter took out a washed interview photo.

"Ah. 'A-level plot fragment of inglorious bastard A⁻'." Danielle, a battlefield girl who did her homework when she came, saw through it at a glance.

This chapter is not over, please click on the next page to continue reading! "So, I remembered it. In the original plot of "Inglorious Bastard", this second-person in the Third Reich made every effort to shoot a World War II film called "National Glory". It tells the story of a Nazi hero sniper." Female guerrilla Irene is also a member of the Times Relatives and Friends Group who completed the "0326 Star Cube Base Personnel Residence and Return Process", and obviously he will spoil it in advance.

"From "National Glory" to "Battle of the Great" is also a plot that is inherited."

"More than that." As he said that, the female reporter took out the interview notes again: "Look, when it comes to happiness, this second-person from the Third Reich waved his pen and added the prefix to "The Great Battle": "National Glory: The Great Battle."

"Oh my God, it's simply." The female director Leni Rivenstale, who had been listening quietly, couldn't help but exclaim.

In addition to fighting the "enemy", "anti-Semitic" and "beautifying the Aryans", Nazi ideology films also have an important role, which is to show the greatness of the Germans, the greatness of Hitler and the correctness of the Nazis. For example, the films such as "Ruler" and "Korberg" filmed by Veit Harlan, the director of "Jewish Seus", directly apply the characters to Hitler and the enthusiasm of the people to participate in the exhibition. In "Ruler", he used the mouth of the protagonist to express his admiration for Hitler: "A genius leader does not need any mentor to direct."

For example, the director Karl Ritter, who has filmed "Patriot", "Blue Cross" and "Red Horror" clearly regarding the missionary role of the movie. He once said: "The road of German film will not be compromised. The conclusion is that every movie must be committed to serving our community, nation and our future."

In 1934, the Nazis passed the "Film Law", which stipulated that the official must participate in the entire process of filming from the film script to the selection of actors, in order to "prevent the plot themes that deviate from the national spirit at that time." In 1936, Nazi German Propaganda Minister Joseph Goebbels banned film criticism on the grounds that it "displays the character of Jewish people." Movie reviews were redefined as "film observation" and became a vassal of the propaganda department's instructions. From then on, Goebbels officially became the highest producer and director of the Third Reich. Even though only one-sixth of the total films had Nazi ideology and fascist content, all the films shot during this period were officially censored.

Joseph Goebbels, the second-person figure of the Third Reich, understood the importance of pure entertainment films to the people, so in that era, only a few movies were completely "political propaganda films". Information shows that between 1933 and 1945, Nazi Germany shot a total of 1,097 movies, about 180 of which were fascist content and were banned by the Allied forces. The others were entertainment films and commercial films, and did not have any political propaganda content. However, those "political propaganda films" were important evidence of Goebbels and Nazi Germany.
Chapter completed!