OVERLORD

"OVERLORD" is an anti-routine, different world, Long Aotian's light change, which integrates funny, adventure, combat, pretending, black residue, and contrasting cuteness.

The plot follows a group-like drama mode. There are many branch lines. Although they seem to be scattered together, each branch line has a very detailed description, which lays the groundwork for the subsequent plot. And these side plots have played a role in shaping and enriching the characters.

When it comes to characters, it is undoubtedly the best place for OVERLORD. The characters in the play are rich, with distinct personalities, full of characters, layered, and reasonable behavior. So far, there has been no collapse of the characters. All these are due to The author's understanding and control of the character, as well as the shaping of the pen and ink.

The author attaches great importance to the shaping of marginal characters, and the author's emphasis on one or several marginal characters can be seen in each plot. These marginal characters are equivalent to the tone and background of a painting. They greatly enrich the color and temperature of the work, make the story more vivid and concrete, and at the same time allow the audience to feel more of this different world. Realism and presence.

Through the perspectives of these characters, we can see all aspects of the world more clearly and comprehensively. We can stand on different angles, stand, and think about different aspects of different problems with different people’s ways of thinking. Discover more details and fun.

In "OVERLORD", each marginal character can be regarded as an independent individual. Because the author made them plump and three-dimensional, so that they basically have their own independent thinking and values, not just to highlight the protagonist and promote the plot as a puppet.

It can be said that it is these rich, interesting and three-dimensional characters that inject vitality into the work, let the work get rid of the emptiness and bring vitality, and also create the charm of the work and support this grand world view.

The rhythm of the first season is also well controlled, and the overall is relatively comfortable and smooth. There are primary and secondary plot arrangements, and the weight of primary and secondary is better than good. As for the poor production and some small bugs in the plot, I don't think it hurts.

If there is a problem, I think the first season is mainly about the plot itself and the atmosphere. The plot itself is not too hard. It touches everything a little, but nothing goes deep. Although some parts are very scary, the whole is still like a running account that conforms to certain logic and rules. The atmosphere is also done in general, there is no sense of substitution, although the characters are well portrayed, but most of the time it still looks like a family. However, on the whole, it's still relatively cool to watch. After all, it's a different world. It was originally to watch Gu Aotian and pretend to be forceful.

All in all, "OVERLORD" as a whole is still a very good novel of another world, and its most powerful part is its character shaping. It is precisely because of these rich three-dimensional characters from different groups that I can appreciate and appreciate the various landscapes of this wonderful and different world to the greatest extent possible through their perspectives.