Pirates: The Salary Is In Place, The Four Emperors Are Kicked Out

I was already going to code the manuscript of Chapter 3, but when I saw the comments of two readers in the background, I really felt that there was something I wanted to talk about.

The gist of it is that I don't quite understand why I arrange for a villain to pretend to force a whole chapter, don't talk about the content, don't want to watch the miscellaneous fish make nonsense, I am drunk and I am alone and so on.

The following is what I want to say, to discuss with you the issue of water and water in the plot:

First, Marine's current actions and plans, I can't directly write xx today and xx tomorrow, right? Everything has cause and effect and complete logic, right? Since Porusalino proposed a plan to be implemented on The fish men island, and Marine is also ready to implement this plan, there must be preliminary work, mid-term implementation, and follow-up effects. The slave trader itself is an important entry point, because one of the main contradictions between The fish men island and human beings is slaves. This is an important part of the battle of public opinion, the preparatory battle, and the logical plot. Do I have to write and destroy the xx slave market with such content? But there is no such thing as destroying the xx slave market in the pirate world, because it is legal. Or do you think it is more reasonable to say that there is no need for slaves to cut in, Marine directly moves in, and The fish men island cheers?

Second, the Sea Circle Calendar is at the end of 1502. It has been 1500 years since the last big plot brought Robin back to the headquarters. In two years, do you have to explain her changes? Should I explain her relationship? Going on a mission with Rosinante, is that a side profile? Could it be that I want to leave this kind of character alone and treat it as a passerby who has lost the harem? Dr. Vegapunk went into Marine, right, he studied pacifists? Did you study the lineage factor? Is he such a flat character? Personally, I think it is reasonable and necessary to explain that he made a mermaid thruster, in order to facilitate Marine's actions on The fish men island, as well as the new scientific research results. What's more, Rosinante is also a person who has spent a lot of writing in the early stage and played an important role in my outline. Does his actions, words and deeds reflect his current situation, and he is a former Celestial Dragons from Porusalino. What changes do you get? Or do you not need this description, just skip it? Directly after dozens or hundreds of chapters to show that Rosinante is firmly opposed to slaves?

Third, the specific situation of the Whitebeard Pirates, such as the prohibition of slaves and drugs on the site, how Whitebeard and his Pirates formed an alliance, how to form an alliance, how the Whitebeard usually operates, the main problems and What is the action? These are official settings in themselves, but in fact, manga and anime show very little content. How many fan fictions will be written? Or is it that when Roger died, the whole world went looking for treasure, and no one had any other ideas, no one had any other ambitions, right? From the very beginning of this book, the tone I set for this book is to try my best to show a pirate world with a logically self-consistent restoration setting, which is also a good point in my opinion. Without these contents, is it possible to fight if you want to, and always show the stereotyped image of the plot timeline? But I'm only in 1502, 18 years before Luffy goes to sea. And it's still the same sentence, I have a story line and a timeline. If I do a thing, there will be a b, and a follow-up c - there is a description in the anime that Whitebeard lent the flag to The fish men island, right? Could it be that I suddenly borrowed it one day? It's like having a fight all of a sudden one day? Can everyone borrow?

Maybe some colleagues are like this? Is this how things like this happen? But this book hasn't been since the beginning. I wrote the story of Teach and Saatchi before, interspersed and written in the middle. In fact, many of the content are dialogues, and then the exchanges between the subordinates, maybe it is quite "water"? But this is the plot, according to the official settings, a lot of things that are not shown in the anime are explained. Why did Teach kill Thatch, not only because of Devil Fruit, but also because Thatch had discovered Teach's secret; why was Thatch and Ace so close? Because Ace ate the Mera-mera Fruit that Saatchi wanted the most, and could help Saatchi's cooking the most; why did Blackbeard give the transparent fruit to Shiryu of the Rain? Not only because the fruit was delivered to the door, but because the transparent fruit was not very meaningful to Blackbeard in the first place; do the pirates get paid for killing the pirates? Yes, the specific method is to deliver Marine through an intermediary; apart from the captains, does the White Corps have other outstanding roles? Yes, there are intelligence personnel like think tanks... A lot of information is in these contents that some people may think water.

Fourth, what's the point of this so-called little guy - he can betray Whitebeard, contact Kaido, and contact BIGMOM. With such a plot arrangement, is he a little guy? Who was the last person to betray Whitebeard? What sparked Summit War? Who was the last person to go wrong with the Kaido deal? What's behind? With Whitebeard's character, his subordinates betrayed, and with Kaido's character, the deal failed, isn't this arrangement obvious enough? You should be able to see the completeness of anime and manga, right? Take a step back and say, don't look back, even go forward - I specifically stated that this person loves money very much. Before him, I focused on the description of the Golden Emperor Taizolo, the big boss in the theater version. This relationship is obvious enough. I can't really put out the outline directly, right? I'm writing novels, not serving dishes, not to mention serving dishes one by one.

And the so-called pretentious content - some readers are probably unfamiliar with the pirate plot. Many settings of this character are basically taken from the original plot, which is a pieced up character, including his speech, many of which are It is similar to the original line, so many people will smile knowingly after reading it. Moreover, for any character on the stage, even if he only appears for one second and only serves the plot for one second, his speech and actions must be in line with his character. If it is said that for the so-called "no water", the character is turned into a purpose-oriented speech machine, only talking about dry goods, he has no character, only action and speech, then do you think it is interesting to read?

In other words, as a slave trader to be described, for the so-called "no water", don't write that he has subordinates and a secretary, and let him pick up the goods himself? Instead of writing about his appearance, just write about who this person is? Instead of writing about his receipt and inspection, his performance, just write that he paid for the goods and left? Instead of writing about his motives, his actions and thoughts, he directly wrote that he betrayed Whitebeard, the strongest man in the world, and engaged in slave trade? I am afraid that such a character is not only flat, but also has a problem with his brain?

Fifth, it’s a commonplace point. My timeline is very advanced. In 1502, even if I want to write about the big man in your eyes, he has to be born. I can’t jump directly to 1520, right? Then can't write 100,000 words? And in the 18 years before that, the characters I used to promote the plot and describe it couldn't always be the big characters who had already appeared, right? And to put it bluntly, even in the previous Golden Lion chapter, some readers felt that this person I wrote too much Golden Lion. He is a character that only exists in the theatrical version, because he has not seen it, so he thinks it is unnecessary. .

I also want to write about characters, big figures, and big events—but, in Sea Circle Calendar 1503, which is the next year of the current story, the four Sanji brothers and Zoro were born. Including the Crocodile challenge to Whitebeard that I wrote ahead of time, which was also in 1503. I can't possibly write that Luffy traveled through time and came to this point in time, or that Porusalino just slept and Luffy got the onepiece in 1523?

Sixth, the author can clearly see the follow-up and data in the background. How many people are willing to continue to follow in 24 hours. To put it bluntly, the data represents the majority of readers. It is impossible for me to take care of everyone. I am responsible for most of them. manner. As far as the current situation is concerned, this fanfiction has not yet been written about Luffy going overseas. There are still many people who support it, and it is gradually increasing. Thank you!

By the way, many chapters ago, I brought a debut character baby5, how many people still remember it? Is this character more well-known? I have a lot of plot arrangements for her follow-up. Should I explain her situation in a few words from time to time? Or do you suddenly bring it out and let her do things? Or do you want to write a little bit about her growth experience? Or if we don't write it, should this character never appear on the stage? Want to hear your thoughts.