Dead Kid's Self-Salvation

My brothers.

The fourth chapter was released a long time ago.

However, due to some details, this short side story was delayed until now. I recently thought about it and decided to release this short side story in early July.

To be honest, this short side story can't really be called a side story.

At most, it can be said to be some minor revisions to the details. I'm writing this content to help you brothers get a general idea of the plot direction of the fourth chapter.

Alright.

Without further ado, the subsequent plot direction is in the content below.

Brothers can take a look and leave any comments with your thoughts. I will adjust the plot direction accordingly based on your suggestions to ensure the content is reasonable.

----Main Text----

July is different from other months; it is a timeline belonging exclusively to the Dead Kid.

The Dead Kid, or rather, the Lost Kid.

I've always believed that all despicable adjectives, such as inferiority, cowardice, incompetence, decadence, arrogance, dullness, self-negation, etc., can be used to describe the Dead Kid.

Or rather, the Dead Kid is inherently a collection of these adjectives.

Although I say this, I also firmly believe that the Dead Kid is the type of person among all personality types who is most likely to achieve self-awakening.

Therefore, the overall framework of this fourth chapter is: I have wrestled with my heart for a long time; one day I will shed the old shackles and become myself!??

To put it plainly, the central theme is: the self-redemption of a Dead Kid.??

----1----

Why bring up the term "Dead Kid"?

Lu Chen, or rather King Lingguan, at the current stage is, in a way, a Dead Kid – lacking confidence, cowardly, and without goals (Brothers, think about King Lingguan's identity. A limited-time, ten-day prize quiz for one spot.)

This fourth chapter revolves around self-awakening and what happens after self-awakening.

As the protagonist, Lu Chen clearly fits the personality of a Dead Kid as the timeline progresses.

However.

After all, he's the protagonist of the story. No matter how you write it, you can't write him as a scumbag, or the story will become unwatchable. Therefore, a supporting character needs to represent Lu Chen at this point, and that's where King Lingguan's role comes in.

Brothers, this is one plot development point. Now, let's move on to the second development point.

----2----

Since the Dead Kid is going to awaken, according to the usual pattern, there must be a catalyst at the right time.

This is the second point I want to discuss.

What is a catalyst?

It must be a great rise and fall!

When one has a weakness but is unaware of it, or when someone points out their weakness but they dismiss it, that's when a great rise and fall is most likely to occur.

What constitutes a great rise and fall?

A great rise and fall for oneself? That's definitely not enough. I've always believed that this level of ups and downs is far from enough to make an arrogant person truly achieve self-awakening.

So, what else?

Now, there's the point where one's own wrong decisions lead to calamities for those around them.

Similar situations have been written before.

Things like "killing one's wife to achieve enlightenment" or "killing one's child to achieve enlightenment" are demonic methods and not suitable for a protagonist.

There's also "slaughtering an entire clan" or "destroying an entire sect," which are awakening methods for disciples of the Daoist sect. Alternatively, there's "wife and daughter die, son and nephew die, brothers die," which is a type of awakening method where disaster affects loved ones.

There are many others, which I won't list one by one here.

The three types I just listed all involve the death of people other than the protagonist, and these people are very important to the protagonist's life.

Death of the body is far less significant than death of the heart.

This is the process through which most Dead Kids achieve self-awakening.

I had considered using a similar writing style before, but after much thought, I felt this might not be enough, so I decided to make it even more brutal.

For one person, it might be just a trace of pain.

But if the brothers and loved ones all die because of one event, one person's pain becomes a hundred people's utter despair.

If that's still not enough!

What if someone had specifically warned them about this matter not long ago, but due to arrogance, they didn't realize the danger in time?

If that's still not enough!

What if, after the great rise and fall, they are given a glimmer of hope, only to be told in the next second that this hope will soon disappear, or that it can only be obtained by the death of another person?

Is that enough?

I think that's enough.

After all, the human spirit is like a string, always having a limit. Once it's exceeded, it snaps. This is likely why a super good person's personality suddenly changes after experiencing such events.

So.

Before reaching the limit, we must give him hope, a period of relaxation, and let him pass this time of relaxation with hope.

During this period of relaxation.

The Dead Kid will inevitably do some thinking, their mood might be helpless, and their heart filled with bleak scenes.

At this time, a substance with vibrant colors needs to appear amidst the bleak scenes.

This is what's called self-redemption.

It can be external or a self-created fantasy, but its effect must be to help the Dead Kid calmly get through the period of relaxation.

At this point, the singularity of the event arrives.

At the critical moment, external force is needed to destroy this vibrant color in the same way. However, this external force must be something the Dead Kid can just barely block. This is the so-called self-redemption.

Therefore.

Whether it's external force or self-created fantasy, the underlying logic is the Dead Kid's self-redemption.

Brothers, these are two plot development points. Next, let's discuss the third development point.

----3----

No matter what happens, there's always a cause, process, and result, right?

The cause is the Dead Kid's essence, the process is the Dead Kid's self-redemption, and the result is inevitably the Dead Kid's completed self-awakening.

A Dead Kid who can achieve self-awakening is called a protagonist. One who cannot is a villain.

One method, two different outcomes.

This immediately establishes the conflict between the protagonist and the villain. The villain's badness must have a reason, and it must be the opposite of the protagonist's actions. This is why the villain deserves pity.

After achieving awakening, the Dead Kid will strive to rise. At this point, they can no longer be called a Dead Kid but should be referred to as the novel's protagonist.

That's all for the third point.

The development after self-awakening falls into the category of "cool text" tropes. Revealing too much would diminish the satisfying moments, so I won't elaborate further. If you have any preferred genres, feel free to suggest them, and I'll do my best to accommodate.

Brothers, these are three plot development points. Next, let's discuss the fourth development point.

----4----

The fourth development point will outline some of the story's key events.

These are currently for reference only.

1.

[Twelve Heavenly Imprints, Battle of Sacrifice]

Much has been foreshadowed in the previous chapters. The Battle of Sacrifice will soon occur.

Nantian Wan'er is Lu Chen's last shred of gentleness. Therefore, sacrificing Nantian Wan'er will undoubtedly have a greater effect than sacrificing others. Thus, Nantian Wan'er's sacrifice will be the fuse for everything.

2.

[Chen Tingting!]

A new character will appear with Nantian Wan'er's sacrifice. (You can guess her specific identity. Similarly, there's a ten-day prize for guessing correctly.)

3.

[Lu Chen's Daoist magic is nothing special!]

When this sentence appears, it will be close to the beginning of the Battle of Sacrifice.

4.

[The kindness of that day, the consequences of today!]

The second person is sacrificed, further initiating the sacrifice process. Other plot developments will follow, but I won't go into detail now.

5.

[Puppets controlled by the masses, the singularity of the Golden Age]

This point involves too many subsequent plot details, so I cannot reveal too much. However, you can ponder the meaning of this sentence. This point will officially debut in the next chapter.

6.

[The courage to face a hundred against one surpasses the strength of facing one against a hundred.]

Facing a hundred requires courage, but facing one against a hundred also requires courage. This is a turning point in the Battle of Sacrifice.

7.

[Tracing back through time and space, can the direction of historical development be changed?]

This is the conclusion of the Battle of Sacrifice and will introduce a new writing technique. I'm only recording it now. You can guess whose storyline this is.

8.

[A flower in a dark world]

Dead Kid's self-redemption, enough said, enough said.

9.

[Noble Families and Commoners, The Ultimate End of All Things]

The Dead Kid's development after self-redemption will, after all, involve repaying grudges and returning favors. Therefore, from this point on, it's no longer child's play, but the debut of a new world and a new stage.

10.

[Female Cultivators are never subordinates; we also need freedom. No freedom, death!]

New storyline.

It will begin around the time of the Battle of Sacrifice, a product of the Dead Kid's self-redemption. The timeline might be a bit later.

There are still many plot points, but I can't say more here. If I continue, this chapter might be entirely revealed, hahaha, my apologies, brothers!!

This is a small side story.

That's about all there is to it. A small side story, a small side story, a small side story. So, today's content ends here.

The Dead Kid's redemption.

Please look forward to it.