C / 形成兩個世界間張力的并非文本上的機(jī)械關(guān)系而是語氣的差異當(dāng)現(xiàn)實(shí)世界試圖從最直白的情感起始架設(shè)情境時小說世界卻以單刀直入的矯飾感果斷抽空了情緒的地基:一場拖沓而浮夸的死亡似乎輕松瓦解了“親情的套語就連地上的花朵都有種塑料般明艷的招搖感之后的大半程所做正是讓敘述不斷跳脫以達(dá)成網(wǎng)文的自我重塑:“小說時而抽離時而沉浸地觀看自身東北往事第二季使得現(xiàn)實(shí)的邏輯也變得渾濁從而迫使兩個世界之間滲漏的偶然性爆裂這條裂縫的擴(kuò)張為最終的中二亂斗提供了動力源:爽文不再是某種敘述模式的執(zhí)行者而成為一種破壞性的創(chuàng)造一種自主選擇的力量噴薄所以楊冪讓人覺得出戲原因大概就是她的表演始終缺乏一種潛在的幽默感以至于并沒有參與語氣的變化……
Scotty Doesn't Know Hey!!!!!! Scotty doesn't know, That Fionna and me, Do it in my van every Sunday. She tells him shes in church, But she doesn't go, Still shes on her knees, and Scotty doens't know, oh. Scotty doesn't k