I Forged the Myth of Chapter 377 - 377 376. Who doesnt have a bit of a girlish he

??Chapter 377: 376. Who doesn’t have a bit of a girlish heart_1

Chapter 377: 376. Who doesn’t have a bit of a girlish heart_1

The battle continued, another Bandaged Person’s fight with the rcenary leader Shobu was filled with strength and grace, yet with the monster’s restlessness below their feet, no one could escape their fate.

Splash—

Defeated and falling into the water, Shobu looked at the light reflecting off the surface, she reached out her hand, but darkness enveloped her body even more.

In a mont, all the boats were consud by that naless darkness, sinking, and the eternal sea took over all of Mrs. ritt’s thoughts.

When humans find themselves in the deep sea, they are overlaid with both a sense of confinent and vastness.

In that pitch-black and gloomy world, unknown things stir, awakening humankind’s deepest fears.

And the vastness of the ocean, with all its hidden creatures, fuels boundless reverie and uncontrollable imagination.

Since ancient tis, the ocean itself has been one of mankind’s fears, deified alongside the heavens and earth.

Now, Mrs. ritt experienced it firsthand.

In an instant, she felt as if she was suffocating.

It was an indescribable sensation of blockage, as if the air in the projection room suddenly turned heavy like seawater, making even breathing difficult. Mrs. ritt involuntarily held her breath, feeling a stifling pressure in her chest, as her legs started to flail as if she was drowning.

In such a state, she saw a huge, unimaginable shadow rising from the sea floor; all those in the water, the fragnts of those boats, the shards of shells, everything seed like trivial, insignificant things.

Within that vast shadow, even death couldn’t claim eternity.

Those who fell into the water were shrouded in blackness, silently, with no one knowing what their final outco was. Were they torn and in agony, swallowed by the shadow? Dissolved, vanishing without a trace? Or perhaps they were transported miles away, safe and sound in the open sea?

The unknown is the greatest fear.

Mrs. ritt even felt the whole room darken.

The oppressive, stuffy air, like a ghostly presence of a damp early sumr in the south of France, crept into her lungs, like viscous glue, gradually clogging her airways, and with the clouds concealing the last shred of moonlight, the projection room plunged into darkness, where one couldn’t see their own hand in front of their face, save for the flickering light of the projection screen, illuminating the room.

There was silence, only the sound of so stray currents brushing past her ears filled Mrs. ritt’s body.

She stretched out her legs, gripping the armrests of the sofa tightly, with eyes wide open, her whole body resembling that of a drowning person, her complexion ashen.

Until, the cara angle was pulled above water, it was the protagonist’s face, pulling the cara’s perspective, dragging it above the surface.

Mrs. ritt thought the man looked quite handso for the first ti.

She realized it was the female lead Amber who was being pulled up.

Around were only the remnants of ships, with no trace of the unfortunate victims’ corpses floating on the water. Amber vomited a lot of seawater, lying on a plank, her body drenched.

Mrs. ritt noticed that the girl’s body, which had blackened because of the prayer she had used earlier, had now recovered. Moonlight spilled over the girl’s body, making her whole being shimr.

French cinema tends to focus on the beauty of a girl’s youth, and now, in the current scene, a chaotic sea, the possibility of a looming, vast shadow appearing at any mont, the cold moonlight within it, and the pure and unblemished girl create a scenario that would touch the soul of any viewer.

What comforted Mrs. ritt was that the Director hadn’t, like so traditional films, imdiately arranged for a love scene between the male and female leads. Instead, they drifted on the sea like survivors, intoxicated by the illusions reflected by the matches, and after drying their clothes, Amber cuddled up with the little dog and fell into a deep sleep, while the male lead gentlemanly stayed by her side.

So Directors like to use the Suspension Bridge Effect, typically depicted by a love scene before a big battle or a kiss after a crisis. Mrs. ritt thought that this basically showed a lack of understanding of how to depict emotions progressively and subtly, instead forcibly pushing two people together in such a manner.

At this point, in the interactions between Amber and the male lead, Mrs. ritt could see only a bewildered girl and a persistent rcenary, helping each other, struggling to overco adversity together.

The drifting at sea felt unsettling, but Doggo could still catch fish; they cooked over a fire on a wooden plank: the girl tasted inelegant food for the first ti, and the excitent and thrill after encountering the Island and the interaction on the beach cald the emotions of the audience.

Though a long and perilous journey lay ahead, and they were struggling for survival on a deserted island, for now, at least, the two had nothing else to worry about and were just with each other.

This feeling was very familiar to Mrs. ritt. After so thought, she realized that this was precisely the daily life depiction at which Island Country cinema excelled. Unlike Europe and Arica films that often have clear objectives or a sense of rhythm, many Island Country films simply portrayed the daily lives of the protagonists and their surrounding people, not boring or dry but through these details making the characters more fully fleshed out.

For many Europe and Arica art films, that ant truly artsy to the point of putting viewers to sleep with tangled neon scenes, montages, stream of consciousness, and actors with droopy faces, all nudging at everyone’s sleep nerves.

Mrs. ritt couldn’t help but feel a pang of lancholy when she saw this segnt of the story.

Because Amber was a girl who had been burdened with responsibilities since birth, possibly always growing up according to her family’s plans without any freedom of her own.

And now, without a doubt, she was experiencing the freest monts of her life.

How precious these monts were, Mrs. ritt understood well, because she knew that later in the story, they would surely continue their journey, eventually reaching their destination. The current freedom and comfort were just montary dreams, always awakening.

This contemplation of the fleeting nature of good tis was like a faint wine, just swallowed and already warming the heart.

Perhaps, this emotion is what is referred to as the sadness of things.

Even when she saw that the protagonists had found a pirate camp and could steal a pirate ship to continue their journey to the destination, Mrs. ritt felt a sense of loss.

Without a doubt, her heart was now entangled by the characters in the story, and she was completely imrsed.

Drifting at sea, arriving at Changfeng Island, pretending to be siblings to live on the Island, teasing the little girl, Amber talking about wanting to give up her responsibilities to stay there as a common girl, this segnt hit Mrs. ritt’s heart precisely, feeling like it was the warmth and healing she wanted, a coming-of-age plot with literary elents.

Even Lu Ban seed a bit handsor to her.

Who doesn’t have a bit of girlish fantasy?

If the story ended here, Mrs. ritt’s rational mind told her it would be imperfect.

But she hoped the story would end here.

However, the Director certainly wouldn’t be willing to let the story end so abruptly, and a twist occurred.