Why didn't anyone like the sickly girls in real life?

The main reason why sickly characters in novels were more popular than sickly characters in real life was that sickly characters in novels were usually described as extremely dependent on others, delicate emotions, and emotional fluctuations. These characteristics usually gave readers a strong emotional resonance and a sense of immersion. In addition, the sickly character in the novel would usually be described as having some special ability or characteristic, such as having a strong willpower, superpower, etc. These characteristics would also make the readers more interested. However, no matter in real life or in novels, the act of being a sickly woman was not advocated and was in line with social ethics. In real life, if a person showed excessive dependence and possessiveness, it might be regarded as emotional control and bullying. This behavior would bring great pain and trouble to the dependent and the dependent. Although the sickly character in the novel could arouse the readers 'resonance and interest, it also had to follow the creation principles and norms of fictional novels. It could not be confused with reality and moral standards. Although the sickly character in the novel had a unique charm, it was not popular or advocated in real life.

😋For those who have unique tastes, I have two very good novels to recommend to you. The first book was " Invincible Without Cultivation ", a fantasy novel about the continent. It told the story of the protagonist being able to exchange various treasures for cultivation time, thus easily achieving invincibility. The second book was " Big Bosses in Love Are Always Adorable ", a modern romance novel. It told the story of the female protagonist being pestered by a big boss from the same school after her rebirth. The sweet and hilarious love story between the two of them. I hope you like these two books.

Fantasy novels usually contained a lot of complicated character relationships, worldviews, and plot developments. These elements needed to be adapted and deleted in animation production to suit the tastes of television or movie audiences. In addition, fantasy novels usually contain a lot of magic, martial arts, mythological elements, etc. These elements need to be reset and expressed in animation production to meet the visual needs of television or movie audiences. Fantasy novels often require a lot of time and energy to create, and readers usually have a deep emotional investment in the plot and characters of the novel. Therefore, animation may need to adjust the storyline and character settings to better meet the needs of the audience. Animation also faced some technical and cost challenges. For example, the production of animation required a lot of time and money, and it also needed to take into account the frame count, image effects, sound effects, and other factors of animation. These needed to be adjusted and optimized on the basis of traditional comics and novels. In summary, there are many factors to consider when adapting a fantasy novel into an anime, and a lot of adaptation and adjustment are needed to better meet the needs of the audience.

Anti-Qing and Ming novels had a relatively small audience, but it wasn't as if they didn't exist. This kind of novel usually involved historical, political, emotional, and other factors. It required the reader to have a certain amount of historical knowledge and cultural background. At the same time, this kind of novel also had a certain degree of challenge. The author needed to put in a lot of effort in the plot, character creation, and story development. To write a novel about the rebellion against the Qing Dynasty and the restoration of the Ming Dynasty, the author needed to have strong writing ability and creativity, as well as a deep understanding of the historical and cultural background. If the author could skillfully use the historical background and characters to create a novel with a compact plot, deep character descriptions, and fascinating story, it might gain a higher reader evaluation and reputation. Of course, it was not an easy task to write a novel about anti-Qing and reviving the Ming Dynasty. It required the author to invest a lot of time and energy in research and creation. If an author was interested in writing this kind of novel, he could start by understanding the historical and cultural background to accumulate relevant experience and continuously improve his writing level.

The reason why no one used Di Renjie was mainly because of his short attack range and lack of displacement skills. Moreover, among the archer heroes without displacement skills, his damage was not very high. His damage output was not high, his control ability was almost zero, and he had no movement ability or vision. His first skill dealt relatively low damage, and his second skill was pretty good at nullifying damage. However, the stun from his third skill could barely hit the enemy. In contrast, other archer heroes had outstanding characteristics and were easier to defeat Di Renjie. Therefore, Di Renjie was not very popular among the players.

Base novels were novels that revolved around the base. Such novels usually had elements of science fiction and fantasy. The base was a very important element. It could provide the base setting, technology setting, and character setting for the story. Although base novels were once very popular, with the continuous development of technology, people gradually realized some limitations of base novels. For example, as an independent location, a base usually required a large amount of resources and materials to maintain its operation, which was not possible in modern society. In addition, base novels often involved a large number of supernatural phenomena and magic, which were no longer accepted in modern society. To sum up, although base novels have many attractive elements, due to their limitations, very few people write base novels now. People preferred to explore more advanced technology and a more realistic future rather than going back to the past.

The courier service was an act of copyright violation. It meant that the copyright of the work was directly handed over to the courier service or other institutions for safekeeping instead of being authorized to the publishing house or printing house. This would cause the copyright of the work to fall into the hands of bad people, causing unnecessary losses. Although there were opinions that the courier station was legal, there were actually many problems. First of all, there was often no legal protection for the courier station to collect goods. It was easy to lose, damage, or tamper with them, resulting in copyright damage. Secondly, the courier station often did not pass through the collection, which was an act of copyright violation. In addition, the courier station could not guarantee that the copyright of the work would not fall into the hands of bad people, so there was a potential legal risk. Therefore, the courier station was a kind of copyright violation. Although it might bring some benefits in some cases, it ensured that the work was fully protected.

Tramp novels usually depicted homeless and destitute protagonists who were often in hunger, cold, loneliness, danger, and other predicaments. The audience for this kind of novel was relatively small because many people held a negative view of the image and behavior of tramps, believing that their behavior was irresponsible and immoral. In addition, homeless people usually did not have a stable job or residence, which would also affect the plot and character of the novel. In contrast, modern novels paid more attention to shaping the characters and plots, emphasizing the tension and conflict of the story. These novels had a wider audience, including people of all ages, and paid more attention to the plot and the development of the characters rather than just depicting a down-and-out image. To sum up, tramp novels had a relatively small audience in modern novels, and it was difficult to write stories that were attractive and intense. Therefore, modern novels such as romance, science fiction, history, and horror attracted a wider audience.

The Investiture of the Gods was an ancient Chinese mythological novel that mainly told the story of the rise of Jie School at the end of the Shang Dynasty. Jiang Taigong was the leader of Jie School, and the core of its teachings was the Investiture of the Gods. It was said that the list was written by Taishang Laojun, which recorded the locations and situations of all immortals, demons, ghosts, and monsters. In the novel, at the end of the Shang Dynasty, King Wen of Zhou, the leader of the Shang Dynasty, was killed by an immortal sent by the Tribe of Severity. King Wu, the son of King Wen of Zhou, inherited his father's throne and became the leader of the Tribe of Severity. Jie School rose up at the end of the Zhou Dynasty and fought fiercely with the forces of the Shang Dynasty and the Qin Dynasty. Because the content of the Investiture of the Gods had a strong mythological color and the novel had an important position in Chinese history, there were very few novels about this type in modern literature. Although the novel is still of great significance in cultural traditions, modern readers may have some difficulty accepting its mythological colors and historical background, so creators rarely choose this genre to write.

There were many reasons why no one read novels. The title of the novel might be one of the reasons, but it was not the only one. The titles of some novels might be too ordinary or vague to interest people. For example, some novels with titles like One Hundred Years of Solitude, The Kite Runner, Pride and Predict, etc., have been widely accepted and have profound meanings, so they may attract some readers. Some novels might not suit the readers 'tastes or the subject matter might not be suitable for the current reader group. For example, some novels might involve sensitive topics or subjects that might cause readers to feel uncomfortable or rejected. The title of the novel could also be a factor, but it was not the only factor. Other factors such as the plot, the image of the characters, the quality of the writing, and so on needed to be considered.