it is time for the story to develop. We need to see some affection and love from Sidney towards Julien. We need to see some real action between them. This book has started to become boring because chapters repeat itself.
Good continuation............................... Good............... Next chapter................................... Good luck....... ................. .........................
I'll start with this: it is bad. I think I'm being pretty generous with my 3-star rating and mostly because it was not bad enough that I had to stop reading. It was good enough to kill time for someone who has read and watched so much media that it is difficult to find something that piques my interest.No element of the plot is original and nothing ever goes wrong for the main character. The protagonist of the novel he transmigrates to is short-sighted so he does most of the work for the main character, who is supposedly the villain of the story. I've read half of the novel already and the teased "shop" of the system is still locked meaning there is little point to the system he gets aside from the starter boons he gets. This novel could've been more interesting if the villain started without a system and had to work just a tiny bit harder to get what he wanted.
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Let's disregard the propaganda elements of this novel, and talk about the elephant in the room: character design.The protagonist is a robot. He has no feelings, emotions, or beliefs of his own. Events happen, and the MC reacts to them. People approach the MC, he replies back. The protagonist doesn't even move of his own accord! Everything he does is a mission, the only difference is who the mission is being issued by. Sometimes it's from the government, other times it's from the system. A shounen protagonist is more three-dimensional than this idiot.
I like the story background and MC. But the translation quality is not good. I reads like a machine translation. You can understand I, but it isn't a enjoyable experience.
Therefore, using the Handbook's limit for a short story of 15,000 words and Gardner's suggestion that a novella doesn't begin until the 30,000 word mark, I'm going to concern myself with these odd-duck works which fall in between 15,000 and 30,000 words -- according to my own painstaking calculations. I know these word counts mean very little to the typical reader, who will sense that a work is short or long or medium or very long or very short, but who won't think in terms of the actual number of words. So here are some commonly taught novels and a couple of frequently anthologized short stories: To Kill a Mockingbird (104,250 words), The Adventures of Huckleberry Finn(108,575), The Great Gatsby (47,104), Jane Eyre(191,500), "Bartleby, the Scrivener" (13,692), and "The Fall of the House of Usher" (6,710). In Gardner's novella range are books like Heart of Darkness (37,746) and Wide Sargasso Sea(45,499).
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