It’s really sad to say that I haven’t finished changing Chapter 279 yet...
First of all, the length of the second line of the dragon and the length of the third line of the dragon are almost the same in terms of word count.
The length of the second line of the dragon is about 550,000 words, and the length of the third line of the dragon is about 560,000 words.
There are three physical books of Dragon Third Line, and the number of words is more than twice that of Long Second Line, so in fact, I wrote Long Third Line while suppressing it.
I omitted, simplified, and adapted a lot of the original storyline of Ryu San. For example, I omitted the plot of Ryu San going up to the toy store to meet Zhen Zhen. I rewrote the hundreds of thousands of words in Ryu San at Genji Heavy Industries into a few chapters.
Let alone the dragon three times.
I deleted many of the plots that everyone had read through as soon as I could, and when I wrote them, I just changed them from the original text, which was not interesting and slowed down the pace.
Overall, I'm satisfied with Dragon's Third Line. At the same length as Dragon's Second Line, Dragon's Third Line involves far more characters than Long Two. This obviously creates a phenomenon, and the space allocated to each character will change.
Shao, far inferior to Chu Xia of Long's second line.
But there is no way around it. This is an online article after all, and there are many things that need to be chosen. If I really spread it out and write it, let alone whether I can write the corresponding effect, the overall length will be too long, plus
My update speed...don't mention it.
So although I talked about wanting to write a group portrait before, in the end I simplified it a lot.
I wrote about many characters in Ryu San Line, mainly the Genji brothers, Minamoto Chiaki and Uesugi Goe, Sakurai Akira and Miyamoto Mako, and Road E.
Caesar's transformation, Uesugi Koshi and Minamoto's daughter, Anger and Inuyama Ga, are all basically solved in one or two chapters, and there is obviously some importance in them.
Reminding everyone of the past is both a foreshadowing and a shortcut, so you can see that I almost didn't describe the transformation of Minamoto Naoko because it was no longer needed.
Character changes need reasons.
Rather than letting Lu Mingfei tell Yuan Zhisheng, I prefer Yuan Zhisheng to figure it out on his own. This is mainly because in my mind, Yuan Zhisheng would be more willing to believe what he finds instead of what others tell him.
I personally think that the strength of Lu Mingfei's words is far less than the status of "dad" in Yuan Zhisheng's heart.
There is actually a problem involved here. Everyone has a corresponding role image in their mind, which will be mentioned later.
I chose the setting of "collective restart", but unfortunately, in the original work, Minamoto did not discover Tachibana Masamune's true face from birth to death.
It's really outrageous to think about it. All the kindness the old thief showed in Long Sanli was given to Yuan Zhisheng. Even if I want to take this shortcut, I have to find another way.
So I took a step back and let Yuan Zhisheng see the causes of death of the three people around me.
If a person needs a reason to change, what other reason is better than protecting the important people around him?
I used several sentences repeatedly in Long Sanli.
For example: Each of us plays many roles in life, and these roles are either complementary or opposed to each other. At the end of the story, we always have to make a choice for those who love us and the people we love.
And this sentence describes more than just Yuan Zhisheng.
There are also Uesugoshi, Anger and Miyamoto Mako.
Yuan Zhisheng made changes for Sakura, Yasha and Crow.
Uesugoshi gave up the idea of leaving Tokyo because of Minamoto and the three of them.
Angers also gave up the possibility of killing Li Wuyue and rescued Inuyama He because of his words, "I am an educator, and I must make some changes for my students."
I asked the old man to say this sentence in Chapter 36, and then he really did it at the end of this volume.
Mako also gave up her dream of pursuing freedom for that boy. She became well-behaved and obedient and became a good child in the eyes of her teacher.
[Actually, the ones I am most satisfied with in the ending of Dragon's third line are Sakurai Akira and Miyamoto Mako. Let me change the ending line of Road Painting before talking about it. I have some ideas now.]
In addition, such as the metaphor of Amaterasu in the original work.
For Sakurai Akira, Lu Mingfei is Amaterasu; for Miyamoto Makoto, Sakurai Akira, who was willing to be severely punished by the teacher for her dream that year, is also a similar existence to Amaterasu; in addition,
Anger's congratulations to Inuyama also have this important meaning.
Long Sanxian writes about a lot of people, but over and over again, it seems like they are all writing about a few things.
I wrote about a lot of people in the third line of the dragon, but the number of words is actually not too many. If you spread out more than 500,000 words, there is definitely not a lot of space for each character. I also have to delete some of the setting space. The reason why I can write like this is,
It's also because this is a fanfic, and many of the characters are rooted in your hearts. If this was an original novel, then these characters would definitely appear extremely thin.
In addition, there are some things and plots that rely on inspiration. Inspiration comes from nowhere, and I can only do this.
Let’s talk about which chapters of this volume I like.
Needless to say, the emotional line of Lu Hui. I really like the ending on the Ferris wheel in Chapter 203. Corresponding to the overwhelming darkness on the seaside cliff, there is a bay of lights at the foot and thousands of lights in the distance.
I wrote this paragraph backwards and forwards.
In addition, Chapter 206 is the best two-way rush of Sakura.
Lu Hui's emotional line is different from Chu Xia's. Their emotional line is very thin. I mentioned it at the end of Ryuji. Because the character Eri Yi itself is very thin, it is very difficult to write. The main reason is that it is difficult to write.
It lies in "what should Eriyi do and what will she do when faced with one thing". This point is difficult to control. If it is not written well, it will be OOC.
As mentioned above, everyone actually has a "stereotype" of a character in their mind [I added quotation marks]. If it deviates from it, it will inevitably feel that this character is different from the character in my memory.
Among them, Eri is the best because she is too thin. This is my biggest feeling after writing Ryu's third line. The thickness of her image is not consistent with the role she occupies. I must explain the reason.
, it has something to do with this girl’s character and past. She and Natsumi actually form a contrast. Natsumi is a girl with a mysterious past, while Eriki is a girl with almost no past.
Many parts of it are just a piece of white paper. No matter what color you dye it, it may make people feel abrupt.
In addition, there is nothing in the past between Lu Mingfei and Eli Yi for me to deal with. If they really want to be together, it will just be Lu Mingfei taking her to play and go shopping. Such an empty love is too boring, so
In the end, I reminded Eriki of everything.
The fact that Hui Liyi and Lu Mingfei are together is not Lu Mingfei's choice, but Hui Liyi's own choice.
This is probably what I am most satisfied with about the road map.
Well... everyone said that the length of the road painting is short. This is mainly due to the limitation of the plot. I can't add plot for them in Long Sanli, so I will leave this part to the last volume.
Further back.
For example, at the end of Chapter 217, the priest prays for Uesugi Goe, Uesugi encounters Minamoto Koshio at the door of Inuyama's house, and Minamoto Koshio goes to see Uesugi, etc. These are all my favorite scenes.
In fact, there are several chapters in Dragon Third Line about Lu Mingfei's transformation.
When summarizing the second line of Long, I mentioned what I wanted to write about Lu Mingfei, so I won’t go into details.
I watched "Floating Home" a few days ago, and my feeling after watching it was still the same - people always have to say goodbye to the past and let go.
He is still growing, still transforming, and has not completely said goodbye to the past.
The chapter "Funeral" is his final farewell to the past.
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[Finally, let’s talk about Akira Sakurai and Mako Miyamoto]
"Funeral" is Lu Mingfei's letting go of the past and his farewell to the past.
The opening scene of Sakurai Akira in Dragon 3rd Line is a funeral. He walks the path he has walked over again and bids farewell to himself in the previous life.
Mako Miyamoto is an original character. I really like the girl who turns her back to the burning world and sings an elegy to the sky and sea in the sea. Not only because she is a character I created, but also because of this scene.
They are so handsome, so I specially added space to describe their stories, which can be regarded as my own attempt and practice.
Mako is the opposite of Akira Sakurai.
In the same situation and the same world, Mako's optimism and Sakurai Akira's pessimism were completely opposite at the beginning.
And in the end, they both made some kind of sacrifice for each other.
They didn't necessarily love each other at that time, just because they were larvae who met in a dark corner.
Everywhere there are dark corners where sunlight does not shine all year round. Here, only green moss grows uncontrollably. Larvae who are accustomed to loneliness spin their cocoons alone here, but habit does not mean acceptance. Even larvae who are accustomed to loneliness are not willing to accept loneliness.
I will yearn for a day covered by sunshine, or meet another lonely larva.
In the third line of the dragon, based on certain ideas and circumstances of the original work, I introduced another opposite idea.
1. If a moth that has never seen the sun in its life will burn the whole world for a little bit of light, then a moth that is accustomed to warmth will choose to burn itself and light up the world in order to protect this warmth.
2. The greatness of Amaterasu is not that moths who have never seen the sun in their lives are burned to coke, but that even ants as humble as dust can shine brightly under Amaterasu.
In the final scene on the Ferris wheel in Chapter 3, 203, the cliff facing the sea in the original book was swallowed up by overwhelming darkness after the sun set below the horizon. But on the Ferris wheel in Tokyo Bay, even if the sun sets, there are still thousands of people under your feet.
The house was brightly lit, because Tokyo is a city that never sleeps. This time, Eriki was not swallowed up by the darkness. What she saw was a warm city.
I wrote something like this backwards from the original work. It’s not that I’m any good, it’s just that I’m thinking on the shoulders of old thieves.
Processing and originality are two different things.
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By the way, I would like to answer some questions. If you have any questions, you can leave a message here and I will reply when I see it.
For example, in this book, the [Emperor] controlled by Lu Mingfei is set to have absolute control over elements, and lightning is just a manifestation of elements.
at last.
The third line of Dragon is over, and you still think that I will kill you. This really makes me sad.
Glass mixed with sugar, no, there may be sugar mixed with glass, but there is no knife. If I really want to give an example, it would be something like Sakura in Chapter 206, which is the best, but at most this level.
Speaking of which, I mentioned before that I have already given you the finale of this book, which is the introduction before, and I later put it in the comment area.
last of the last……
Don’t wait for today’s update, it won’t be until noon tomorrow (dog head)
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Dragon Line 4 will be very different from Dragon Line 2 and Dragon Line 3. The difference lies in the expansion and supplement of the world view.
If the world view of the dragon clan is put into today's online writing environment, it is actually already weak. In addition, the old thieves are now ready to overthrow Dragon Four and start rewriting it. I am destined not to continue writing along the original Dragon Four and Dragon Five.
In fact, the original dragons, four dragons and five did not do much to deepen this world view...
So the next two settings will still be there, and they won’t be too little in terms of supplementing the world view. In addition, there will mainly be more daily life and stuff.
This seems to be all I can think of saying for now.
Summary: I wrote a lot of characters in the third line of Long, but the number of words did not increase much compared to that in Long 2. This is also the result of my choices. Generally speaking, I am still satisfied, and I gave these characters a different ending.
So let’s ask for something according to the final summary at the end of Volume 2 of Dragon and the old rules.
Well, just ask for a subscription. If you have the conditions, you can come to the Qidian main website for support.
It's okay if it's inconvenient. After all, many book friends are students, so there's no need to force this.
I started writing this book because I loved many of the characters in the book "Dragon".
The first order of this book was over 200, and by the end of the second line, the order volume had increased to over 800, and by the end of the third line, as of now, this book has officially become a high-quality product. Thank you for your support.
There will probably be no end-of-paper summary next time.