For example, single

Author: Eyeless
Publisher:
Publishing Date: Not available
Features: The story of four people isn’t much to talk about. What can we do? Nothing could be more bizarre or moving than a play, or more captivating than a story. It’s just back and forth—love you, don’t love you, love him, he loves her, or at most, he loves him. In the end, it’s still love or not love, not love or love, love what you don’t want, or want what you don’t love. Written in words, it looks fake. The "we" in the story is growing. This growth is like a vine plant, starting from the same root, winding and twisting, climbing, toward all sorts of possibilities. The older it grows, the more lonely. We separate and reunite at the distance, loving and being loved. Three stories—just three fleeting moments glimpsed by strangers: What Kind of Feeling: Xiao loves Lei, An loves Mang, Lei loves An, and does Mang love Lei? A tangle of four people, starting with a play and ending with the same play. Knowing whether to love or not, it can’t be more bizarre than a play, but like a child or a patient, they plunge in without thinking clearly. For Example, Single: Lovers are separated by time and the ocean, while memories between people are dissolved by their entanglements; Come, Let’s Tell a Story: The story of Lola and Zika. Twin siblings grow up relying on each other, but every moment, they are still solitary. When one person tells the growth of another, they can only be helpless bystanders, watching others’ stories as if they were happening to themselves. Eyeless uses a peculiar line-breaking style to highlight the rhythm of the text, expressing emotions through rhythm. Shorter, longer, faster, slower—like the different glows of youth. The light is pure, and the rhythm makes the reader feel that the one telling the story is themselves. Look forward, look backward, look deeper, look in all directions. Readers can’t easily escape until they start imagining their own youth and growth.