Brother always has flesh and blood, affection and righteousness. He is really a good security guard. He doesn't eat three meals a day, and he is unhappy every day.
The logic of the big heroine written by the screenwriter is too far-fetched, right? My son is dead, so in order to prevent him from turning white, I have to release monsters and use their radiation to help plants grow? I wonder if she can't pay with Alipay and collect energy to plant trees in the ant forest? I think the cost may be small, the success rate is relatively high, and the risks are controllable. The result is so big that I have no confidence to try it first. Anyway, it is too far-fetched to the point that I directly ignore the motivation of the plot.
If the monster fights, it's okay.
What I can't bear to look directly at is that it is the best solution for the army to clean up the monsters. The king's organization is really a scam, the blockade can't be locked, and the management is full of loopholes. It should be an interest in monster observation. group.
Again, this plot logic problem is too big. The logic of promoting the plot of the heroines is really unreasonable, and it is difficult for the actors to pretend to be reasonably involved in the performance.
I want to do it!
Everything is under control!
what you said won't happen
Oh shit, it really happened
Hey, I don't want this to happen
Ah, I have to leave beforehand
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