To be honest, before I decided to put pen to paper, I already knew that [Chapters 034–040] might not be well-received;

  —In fact, it might even lead some readers to abandon the novel.

  But despite that, I still wrote them.

  Because these six chapters are not only part of the story but also a record of my personal reflections.

  Sometimes, I find myself wondering, what does writing a novel truly mean?

  Is it about constructing a fantasy world full of adventure and excitement, drawing readers into it?

  Is it about telling a gripping story, making the readers enjoy the twists and turns?

  Or is it about expressing some deep-seated thoughts that can’t be easily shaken off?

  For me, the answer is all of the above.

  I could certainly make this novel revolve entirely around "entertainment," filling it with battles, level-ups, satisfying moments, and plot twists.

  But if I wrote it that way, this novel would simply become "a story anyone could write."

  —In In fact, one day in the future, AI might easily generate similar content.

  So, I want to write something only I can write.

  Because I don’t want this novel to become “something anyone can write.”

  I want it to carry my thoughts, even if not everyone accepts them.

  I’m not trying to promote any particular ideology, nor am I challenging anyone’s beliefs;

  —It’s just my reflections on certain events and phenomena in this world.

  I write them not to educate anyone, nor to persuade anyone.

  I’m simply organizing those complex, contradictory, and not-so-easily-resolved thoughts in my mind, weaving them into the story, making them a part of this book.

  In a sense, this is more like my personal essay, or even my journal.

  I could have chosen to write these thoughts in my personal notes, keeping them private, never letting anyone see them.

  —But I didn’t do that.

  In [Chapter-029.5], I once raised a question:

  With the continuous advancement of AI technology, AI can now write highly entertaining novels.

  Not to mention today's anime, movies, and games, which use more intuitive visuals and immersive experiences to constantly challenge the position of novels.

  So, what does the future hold for novels? What is the value of literature?

  My answer is:

  —Novels must do what other media cannot do in order to maintain their vitality.

  Let me first answer a question—

  What are the things that words can achieve, which movies, games, and other media find difficult or even impossible to achieve?

  In my view, the answer is threefold—

  —Words can carry a broader imagination.

  —Words can convey deeper emotions and thoughts, creating a stronger sense of immersion and empathy.

  —Novels, anyone can write.

  1. Words can carry a broader imagination than images.

  In movies, the characters, scenes, and atmosphere have already been carefully crafted by the director, actors, and art team. Everything the audience sees is a fixed, designed visual presentation.

  But words are different; they do not “decide” the images for the reader. Instead, they grant them freedom.

  In each reader’s mind, a unique scene will emerge, shaped by their own understanding and imagination, each with its own distinct color.

  Because of this, words offer a more subjective and deeper sense of immersion.

  They do not "define" everything; they do not limit imagination. Instead, they invite the reader to participate in the creation, allowing their thoughts to roam within the story, projecting their own world.

  Of course, I do not deny the importance of visuals.

  In fact, in this book, I’ve devoted a great deal of effort to depicting detailed scenes, trying to use words to shape the visuals I envisioned.

  But my goal has never been to make every reader see the same image.

  I am clear—

  —Every reader's experience is unique.

  Even if I describe it as accurately and intricately as possible, the images in the reader’s mind will still differ.

  For this reason, my descriptions are not meant to "present" a fixed image, but to "create" a space that can accommodate countless imaginations.

  What I am constructing is not the final draft, but an entry point.

  The final world will always be filled and shaped by the reader's imagination.

  At the same time, not all images are suitable to be described word by word.

  Some scenes, if depicted with precise language, would actually diminish their charm, limiting their meaning and making them overly concrete, thus losing their intended intuitive impact.

  But similarly, these scenes are often difficult to present through visuals.

  Because visuals are concrete and fixed, while certain images and concepts that transcend cognition cannot be confined to a single visual form.

  For example, the "indescribable horrors" in the Cthulhu Mythos.

  —Its true terror does not come from a clear face or a specific form, but from the "unknown" itself.

  If it were depicted in images, people would end up seeing a tentacled monster, a grotesque beast, or some visually disturbing, twisted creature.

  But once it is "visualized," it no longer remains "indescribable" but becomes something understandable.

  The terrifying thing, once fixed and shaped, becomes "known," and true fear arises from the "unknown."

  The power of words lies in their ability to avoid limitation—

  allowing thoughts, emotions, and atmosphere to build on their own, letting the reader glimpse horror in the unknown and feel an indescribable sense of oppression in the spaces left by the description.

  Therefore, in my writing, I always strive to find a balance between "abstract words" and "concrete images."

  I neither over-describe, allowing imagination to grow, nor leave too much unsaid, to avoid making the situation hollow.

  My goal is to use words to guide and ignite the reader’s imagination, not to paint them a picture that has already been decided.

  2. Words can convey deep emotions and thoughts, creating a stronger sense of immersion and empathy.

  Movies, anime, games, and other media excel at portraying external emotions, but they struggle to truly delve into a character’s internal thoughts.

  In film and television, a character's emotions rely on the actor's performance, camera work, background music, and other external methods to be conveyed;

  and the audience can only infer their inner world through these external cues, unable to directly "hear" their thoughts.

  —But novels are different.

  The third-person or omniscient perspective in a novel allows readers to directly "hear" the character’s thoughts, feeling the logic behind the emotions, rather than just observing the surface-level emotional expression.

  A novel can simultaneously show both the character’s outward actions and inner turmoil within the same scene, without feeling jarring.

  The fundamental difference is this—

  Film "expresses" emotion, while the novel "reveals" thought.

  Films show the audience the character's emotions, but novels allow readers to directly enter the character's consciousness, immersing them in their thought processes and emotional conflicts.

  I believe this is the unique charm of novels and one of their most distinctive advantages over other media.

  —They can deeply and delicately depict rich psychological activities and complex thought processes;

  —While achieving this effect, they do not feel forced or disconnected.

  For this reason, novels can provide a higher level of empathy.

  They do not just let you see the character’s external reactions; they directly immerse you in the character’s mental world.

  You can feel how their thoughts surge, how their emotions intertwine, how their contradictions struggle.

  Even at the peak of emotional resonance, you will make decisions alongside the characters in the novel.

  This is not just “understanding” the character, but “becoming” the character.

  In that moment, the reader is no longer a "bystander," no longer saying, "I’m watching someone’s story," but instead, "This is my story."

  3. Novels, anyone can write.

  Perhaps, my view is wrong.

  Perhaps, my understanding is not entirely accurate.

  But even so, I still believe—

  The sense of immersion and emotional resonance that novels bring is their greatest and most unique advantage among all forms of entertainment media.

  Even if this immersion and resonance can be replicated, the barrier to creating a novel is far lower than for other media.

  —Novels, anyone can write.

  You don’t need huge financial investment, a team operation, or investor support;

  In fact—even if you can’t become a full-time writer, you can still write.

  But if you want to present the same sense of immersion and emotional resonance through anime, comics, or games, it means:

  You need the collaboration of multiple teams—art, music, animation, voice acting, screenwriting, etc. The costs are high, and the difficulty is immense,

  This content has been misappropriated from Royal Road; report any instances of this story if found elsewhere.

  —far beyond novel creation.

  The power of novels lies in the fact that their creative control is always in the hands of the individual.

  As long as there’s a story, as long as there’s an idea, as long as you’re willing to write—

  Even if it’s just a piece of paper, a computer, or a phone, it can become a reality.

  If you seek recognition from the market, you can write for the market;

  If you seek emotional resonance, you can write for yourself.

  —There are almost no limitations.

  No investors, no budget, no approval, no team constraints;

  The direction and meaning of the novel’s creation are always determined by the author themselves.

  Of course, whether you can write well is another matter.

  The core idea I want to convey is—

  Among all creative forms, novel writing has the lowest barrier to entry.

  As I write this, I suddenly realize—

  —Perhaps, novels aren’t something anyone can write.

  Because in this world, there are still many people who have never read a book or received a complete education.

  According to Wikipedia, the literacy rate for people aged 15 and above worldwide is 86.3%.

  In other words, at least 700 million people are illiterate, unable to even read, let alone write novels.

  —But the issue is not just about literacy.

  If we also consider those who can read and write but lack basic writing skills—

  Lacking education, lacking practice, lacking expressive techniques, and even lacking the freedom and time to create—

  —Then this number would undoubtedly increase further.

  Perhaps, not just 700 million, but even over a billion, two billion people—

  —They do not lack the desire to write, but rather, they have never had the possibility.

  I paused for a long while after writing this;

  I went to the balcony, lit a cigarette, and let the swirling smoke calm my mood, trying to sort through the tangled thoughts.

  4. The Rise of AI Writing and My Choice

  To be honest, I am not afraid of the rise of AI writing.

  AI can write smooth, highly entertaining novels, but it is ultimately not human.

  It will not be confused, it will not be contradictory, and it will not be lost in thought because of something that happened in reality.

  It can mimic human expression, but it cannot truly have its own beliefs.

  Because I firmly believe—

  If a novel is to have a soul, it must carry the creator’s thoughts, not just cobble together a smooth story.

  Perhaps one day in the future, AI will be able to think like humans.

  But even if that day comes, AI can only express itself based on its own experiences and values.

  At that point, it will simply mean—

  There will be one more novelist in the world, one more creator. What’s so frightening about that?

  There are so many novelists and creators in the world already, what difference does it make if there’s one more AI?

  So, I am not afraid of the rise of AI writing.

  Of course, I understand why so many people are concerned about the rise of AI.

  AI will take up part of the market, and some people will lose their jobs, income, and their way of life.

  This is not a hypothesis, but a reality, already happening right before our eyes.

  At the same time, I know that many readers do not care whether a work is written by AI, they only care about whether it is "good."

  This, precisely, is why AI can take up space in the market—because there is demand, there will be a market.

  I cannot stop the rise of AI, nor can I change readers’ preferences.

  But what I can do is change myself.

  In this era, what creative path have I chosen?

  The answer is clear—

  —I want to write works that AI cannot easily generate, works that even other creators would struggle to replicate.

  —My novels need to carry my thoughts on today’s society and my imagination for the future world;

  —My novels need to carry the emotions within me, as well as the "boring" fantasies in my mind.

  —At the same time, I must ensure that enough readers accept it and enjoy it.

  This is my choice, and it is the path I must persist on.

  5. The Content of [Chapters 034–040]

  So the question arises—

  What exactly is written in [Chapters 034–040] that requires me to explain it so much?

  The answer is simple—

  It carries my reflections on certain phenomena in today’s society.

  5.1 About War.

  I can firmly tell you:

  — I strongly oppose all acts of aggression and war.

  — No matter which country it comes from, even if it's my own country, I would oppose and condemn it without hesitation.

  I know that many people share the same opinion.

  But when I browse social media, I see a completely different scene—

  — Some people hold unrealistic fantasies about war.

  — Some talk about war with a lighthearted, mocking attitude, as if it were a video game.

  — Some even romanticize war, as if it were a heroic adventure rather than a bloody massacre.

  I cannot stop such remarks, but I can choose to criticize them.

  I hope to depict a "war that doesn't belong in the 21st century," forcing people to face the true face of war—

  — How it destroys humanity, and what it turns people into.

  War should not be beautified or fantasized.

  War is not an epic; it is an abyss.

  War means death, destruction, and displacement.

  War means family members torn apart, friends turned enemies, and children wailing amidst the rubble.

  War is never a stage for heroes, never the beginning of a legend, and certainly never a "historical moment" worth anticipating.

  What I hope to show in [Chapters 034–040] is—

  Not the outcome of the war, not the identities of the opposing sides, but the cost of war.

  5.2 About the "Messiah Complex"

  I'm not sure if "Messiah Complex" is the most appropriate term, but I can share the phenomenon I’ve observed—

  Some people complain online about working six days a week, only having one day off, working from 9 AM to 9 PM every day, with no overtime pay.

  Some people have drained their parents’ and in-laws’ life savings and taken on decades of debt to buy a home—

  only to find the housing project abandoned midway, with construction halted indefinitely.

  The buildings stand unfinished, uninhabitable, with no clear timeline for completion.

  As a result, they’re forced to keep renting while simultaneously paying monthly mortgage installments on a home that may never exist.

  But the key issue is—

  they silently endure, without truly fighting for their rights.

  I want to ask—

  —What is the point of venting emotions online?

  —Why not come together and fight for your rightful interests?

  —Do you expect others to fight the battle while you sit back and enjoy the results?

  I know that many people don't want to fight, but are afraid of failure and taking risks.

  But if everyone thinks this way and no one is willing to step up, then no one's situation will ever change.

  I also know that society may lack effective space for resistance, lacking legal protection and organizational coordination.

  So what? Just accept it because there’s "nothing"? Just resign to it because there’s "nothing"?

  If everyone thinks this way, then "nothing" will become the permanent reality.

  I know, reality is complex.

  But "reality is complex" cannot be an excuse for inaction.

  If everyone chooses silence for this reason, then reality will only become more complicated and harder to change.

  What I’m saying here is not an action guide or a solution, but a way of thinking, an attitude, and a belief.

  —Don’t wait for a savior. Don’t place your hope in others, but actively fight for your own rights.

  —Find more like-minded people and let individual voices merge into a true force that can change reality.

  —Resistance is not easy. Along the way, there will be obstacles, troubles, and even threats to life.

  —It is because of the difficulties that we should be even braver to step forward, unite, overcome everything, and create a better future.

  Fighting alone may seem hopeless;

  But if we don’t even try to unite, then the possibility of hope doesn’t even exist.

  Change has never been easy, but the hardest part is always taking the first step.

  5.3 Why I Criticize "Social Darwinism"

  Relevant content will be expanded upon in [Chapter 034.5].

  Note: [Chapter 033.5] was actually written temporarily before [Chapter 034] was published, so it is later in time than [Chapter 034.5].

  5.4 Why I Take the Values Portrayed in My Novel Seriously

  

  This part will also be presented in [Chapter 034.5].

  5.5 About "Having the Ability, Yet Choosing Inaction for Various Reasons"

  In the following chapters, Elo will face a core question: "Should I draw my sword?"

  In this process, I show the reasons why Elo chooses not to draw his sword, but that does not mean I agree with his decision.

  In fact, I aim to criticize Elo through his choice of inaction.

  Criticizing his silence, his hesitation, and his position as a bystander.

  The core of this criticism will be concentrated in [Chapter 038.5].

  This chapter is not part of the main story but is written as someone's "diary."

  Of course, criticizing Elo is insignificant—he won’t be happy or upset because of it.

  The key question is—what do I hope to express by criticizing Elo?

  —They possess great power, they have the resources to change the world;

  —They could lend a hand, stop the suffering, and prevent tragedies from happening;

  —But they don’t.

  They are not powerless; they are merely skilled in calculation, weighing gains and losses, assessing risks, and considering returns.

  They know that if they act, perhaps it could end everything, but they fear the price they might have to pay.

  So, they choose to wait and watch—

  —Choosing to maintain controllable chaos;

  —Choosing to let time wear down the crisis;

  —Choosing to act only when the situation becomes favorable for them.

  They could be—

  A single person, a group, a company, an organization, a country.

  Of course, they could also be—The United Nations Security Council.

  In some major events, such as the Russia-Ukraine conflict or the Gaza ceasefire, the United Nations Security Council has been paralyzed for a long time.

  It was originally established to maintain world order, but when it was truly needed,

  —It fell into an endless deadlock due to the veto power, becoming little more than a decorative body.

  Therefore, I support the reform of the United Nations Security Council.

  This is not to weaken the influence of any one country, but rather to hope that through reform—

  We can make the international community more orderly and make our world a better place.

  6. Why Shape Elo This Way at This Stage?

  [Chapters 034–040] showcase not only Elo’s stagnation;

  but also his struggle in the loneliness of the journey, and the process of him losing himself along the way.

  He is not powerless, he is not ignorant, and he does not choose silence because of personal gain.

  Rather, it is because—

  —Your sword must not be drawn for suffering alone.

  —Suffering can be a reason, but it must never be the whole meaning behind your blade.

  —There must be an emotion you cannot ignore in order to draw your sword.

  But it is this very line of thinking that makes Elo silent, hesitant, and even unpleasant.

  Readers may not like this version of Elo, and even I myself would not like him.

  However, at this stage, I must have him go through this "stagnation" in his journey.

  Because—

  I want to show a possibility.

  If Elo embarks on the journey alone, if no one is pushing him forward—

  —What would his journey look like?

  The answer is—long stagnation.

  The vast majority of the time, he will not draw his sword proactively;

  He will only act when faced with emotions he cannot ignore.

  But even then, even if he draws his sword, even if he intervenes in the fates of certain people—

  —He still won’t be happy. He will still live with vexation.

  He is not a hero, and he does not want to be one.

  He yearns for freedom, for control over his own life,

  But when he truly has all the freedom he desires, he finds himself trapped in deeper loneliness.

  He thought he was searching for some kind of meaning, but after observing from the sidelines again and again, he realizes—

  —He doesn’t even know what he’s looking for.

  If no one is pushing him forward, he will only be stuck in this vicious cycle.

  I certainly know—

  A protagonist who stagnates, hesitates, wavers, and refuses to draw his sword may appear hypocritical, evasive, even—cowardly!

  If I truly shape such a protagonist—this book would be a complete failure.

  So, I do not intend to keep Elo like this forever.

  I am merely showing the possibility of “stagnation” at the start of his journey.

  Why?

  —Because only through experiencing loneliness can he understand the importance of “companions.”

  —Only through stagnation can he appreciate the meaning of moving forward.

  Elo is not incapable—he is simply missing a crucial presence.

  However, not just anyone can become his companion.

  To earn that place beside him, one must meet several conditions:

  They must know him well—understanding both his resolve and his hesitation.

  They must be unwavering—able to keep moving forward even when he falters.

  And above all, they must be close—so close that even if they go against his will, he won’t push them away.

  —Close enough to leave him no choice.

  Even if he denies it with his words, in his heart, he has already silently agreed.

  Only someone like that could walk by his side.

  To give him a push when he’s stuck, to pull him forward when he tries to retreat.

  And when he’s crouched down, lost in his loneliness—

  —to just kick him hard,

  frowning, eyes sharp, and say without the slightest courtesy:

  “What are you spacing out for? Time to go.”

  Because this isn’t the relationship between protagonist and side character; nor between hero and follower；

  —It’s something more.

  They are siblings. They are family.

  They are lives bound together by fate.

  —That’s why the title of [Chapter-033] is *"Running Away from Home."*

  —Because he has always wanted to leave everyone behind and walk the journey alone.

  But he will eventually understand—walking alone just doesn’t work.

  He thought he could face the world alone, but the world won’t let him.

  I did not create an "incapable" Elo just to make others "shine."

  I simply want to express—

  —The journey should not be solitary, and he should have someone worthy of trust, someone he can rely on, to walk by his side.

  He needs at least one person,

  Someone who is always there beside him;

  Someone who can share the joys, sorrows, and partings of the journey with him.

  I believe that even if Elo knew my decision, he would choose to agree.

  Because the purpose of all this is not to create an “imperfect protagonist,” but to showcase the connection between people,

  —To showcase something called “emotion” and “love.”

  So, he actively gives up the perfect protagonist image and chooses to become imperfect.

  Because in this world, there is something more important than “perfection.”

  That is—love.

  Conclusion:

  I can roughly guess—this novel is not very popular.

  And this is the path I chose for myself, no one forced me to write something that doesn’t meet market expectations.

  But even so, I can’t help but hope:

  I hope it will be seen by more people, understood by more people.

  Even if only a few people are reading, a few people are willing to stay, It makes me feel—continuing to write is meaningful.

  Sometimes I wonder, am I being too stubborn? Should I give up?

  But writing this novel truly makes me happy.

  Not the kind of happiness from “being recognized,” but a quiet, pure kind of happiness.

  It’s like I can temporarily forget reality, turn the thoughts in my mind into a world, into characters, and watch them live on step by step.

  Maybe some people think I’m resolute.

  But the truth is…

  I’m really not that resolute.

  There are so many times I hesitate, doubting myself—

  wondering if I’ve gone the wrong way,

  wondering if I’m just talking to myself.

  So I want to take this chance to say a few words—to myself:

  "Yes, money matters. But in this world, there are still things worth holding onto, even if they bring you nothing in return."

  "You should be like the characters in your story—no matter what lies ahead, be it triumph or ruin, never betray your beliefs."

  "So what if you can’t become a full-time writer? As long as you can still write—

  even just one hour late at night—that’s already enough."

  "Even if no one reads it, it’s okay. You've already found a joy in creating that nothing else can give you."

  "And even if, in the end, you’re the only one reading it—so what? Think of it as a love letter to yourself."

  "Keep going. Believe in yourself. Even if things don’t turn out the way you hoped, don’t betray that love."

  And at the same time, I want to take this chance to say something to Elo:

  "Go ahead, young man—wander, hesitate, and be lost."

  "It’s okay to doubt, to be weak, to question the world, to question yourself."

  "And then—pick up your sword, mount your horse, carry your love, and move forward with courage!"

  "Sometimes, you won’t even know what you’re fighting for. Sometimes, you won’t be able to tell right from wrong."

  "But so what?"

  "Right and wrong, good and evil—they were never what truly defined everything."

  "What matters is—whether you’re willing to hold onto something you believe in, whether you can make it all mean something."

  By the time I finished writing this, I couldn’t calm down.

  So I stepped out onto the balcony and lit a cigarette.

  The wind was sharp and cold, the smoke harsh and bitter—

  but the sting… somehow made me feel a little more awake.