There will still be the usual updates for the rest of today.
At last, it's time for the end-of-volume afterword. To be honest, I'd wanted to say all this in the launch afterword, but I was afraid it would get too long and distract from the point of my bonus chapters, so I kept it to myself.
But in truth... there's a lot I want to say.
You can skip this end-of-volume afterword if you like.
You can go straight to the next chapter. It won't affect the important first-day subscription numbers, and there's nothing especially important I need to say, so I can really let loose.
The first half of this end-of-volume summary is about me, the author. The second half is about the novel's plot.
I spent a very long time carefully considering this book's narrative structure.
It can't be summed up by saying it's like a Japanese light novel or anything...
If we're talking about drawing inspiration, any book is really the result of thoughts shaped by inspiration from countless sources.
But what I've written is absolutely my own work.
I don't know whether other books on the market use this narrative style.
But I call it the Perspective Field.
It isn't limited to ordinary first-person or third-person narration.
Nor does it simply keep the focus on the protagonist.
Instead, the protagonist is at the center of a narrative field, and the story unfolds within the limits of what he can see.
You've probably noticed.
The narrative scope of this book has never strayed from Lu Cang's side. If Lu Cang can't see something, it can't appear in the text or the descriptions.
Either it's something Lu Cang took part in, or something he witnessed.
Within the range of what Lu Cang can see, I weave