《像西线一样，里德利先生》（master ridley, play the western front）的本质是“家庭”和“战争”，但不要简单地概括成“大反派带孩子的故事”咳咳。本作向ray bradbury的名著《华氏四百五十一度》和陈秋野的橙光作品《潜伏之艰难抉择》致敬，特此鸣谢。作品（尤其是前期）包含技能养成，但这些仅占很少一部分——最重要的，永远是故事本身和人物们的想法。

※ 作品标签“橘光”的官方定义是“跟站内大部分作品情节调性，画面画风都不一样的优秀作品。”——不是“大橘已定”，不是“大橘已定”，不是“大橘已定”！！！_(:з」∠)_

【作品简介】
天才儿童贝尔蒙特同学被安排去担任贝查尔将军的小姓 (i.e. 包吃包住的实习生, mentee, protege, 未来亲信，#dauphin)，他觉得他俩大概四舍五入能算是一家人了。啊，还有西线集团军的其他军官们——四舍五入就像一个更大的家庭了嘛！大家都那么好！比他的父母好几万倍！但是，他最好的朋友——头铁queen双胞胎妹妹贝尔法斯特，觉醒度很高地意识到：贝查尔是个大坏蛋和没争议的超级反派；西线以及圣日那帝国推崇的一切、连同发动的战争都是不正义的；这些被她哥哥爱着的成年人们所拥护的理念都极端糟糕。

所以，到底同温暖和睦的西线大家庭一条道走到黑，还是跟掌握真理和正义的妹妹站在一块？因为是小孩子，所以不能全都要，必须做选择。——当然，贝尔蒙特会发现，即使是将军阁下那样的成年人，也不能全都要：他和他最珍贵的亲人、他的妈妈克拉丽丝女士，也曾经面对着理念的分歧……剧透到此为止，将军现在还不想讨论这个问题。无论如何，针对故事中围绕“家”和“国”展开的各种必然的和可能的矛盾，都要由你引导贝尔蒙特跟随自己的心来做选择。

这个故事里的大多数人，都需要被给予机会才能展现出他们美好的一面。贝尔蒙特的存在本身就是一个机会——某些人会抓住它，某些不会。反正，这不会改变大多数人都是反派的事实，也不会改变那句老话：“人们会忘记你说了什么，人们会忘记你做了什么，但人们不会忘记你给他们带来的感受。”

【重要的说明】
故事里面的几乎所有人都是反派，但他们在小贝的眼里都是美好的人。这首先是因为他们把小贝几乎当自己的孩子看待——大多数邪恶的人之所以邪恶，并不是因为他们不顾家，或者对自己人不好。其次，故事非常重要的主题之一就在于表达：对于孩子们来说，生活在被nationalism主导的国家里是一个糟糕的事情；他们往往没法和军国的主旋律切割开来，因为这些成年人是他们成长当中接触到的全部，也是切切实实对他们温柔、耐心、友善的人。几代成年人构建出这样的一个社会、让孩子们出于爱或忠诚想要努力跻身其中、在战争机器中找到自己的归属感，是可怕的事情。

【作品体裁】
bildungsroman - historical fiction* - young adult fiction (suggested for 14+)
* on the one hand, the creative imagination is compelled by its ethical-judicial involvement in historical time to bear witness against that time; on the other hand, it is conscious of its importance to do so. the witness role is not the role of the judge; it is the role of limited vision and power. but it is the only role possible, for there is no judicial sentence that can redeem the unspeakable situation. no matter how engaged and ethically committed literature is, the process of metaphorically displacing reality will inevitably raise the question of a conflict between aesthetics and ethics.

【群】
假如你喜欢（1）看攻略，看剧透（2）纠正错别字、不恰当的语法使用、学科知识错误（3）讨论关于故事的问题（4）have fun with this amazing cohort of my readers who genuinely care about people and stories and the skylines，或许你可以尝试加入916741079。请注明你的橙光id。

【关于标题】
“play the man, master ridley; we shall this day light such a candle, by god’s grace, in england, as i trust shall never be put out.”
“大丈夫志不可夺，里德利先生。今天我们要在英格兰点起烛天大火：上帝保佑，这火必将永远燃烧，不可扑灭。”
„spielen sie den mann, meister ridley; an diesem tag werden wir mit gottes gnade eine solche kerze in england anzünden, die niemals ausgehen möge.“

【制作团队】
剧本：德里之光
制作：法外之影
立绘：张思杰
黑白cg: 张思杰
彩色cg: 小左
封面：小左
诗歌朗读：德里之光
剧情顾问：chelsea r, isadora d, siobhan j, thomas “pye” q, lauren “tufts” m
军事顾问：孙昊宸，夏丞仪
生物化学顾问：poorlazycat，法外之影
原剧本同行审阅：陈秋野，法外之影，阿祺，宁，norah，小瞒，终途，浮世萦香

特殊音乐credit：
❀1.3 临行的雏菊 背景音乐：das lied
词曲：sagittarius 演唱者：德里之光
❀4.4 第四面墙——上帝视角 背景音乐：have you seen the meta ones?
词：德里之光 曲：where have all the flowers gone 演唱者：德里之光
❀4.11 客到与云齐 背景音乐：up the mayflower hill
词：德里之光 曲：valder fields 演唱者：德里之光
❀4.12 威廉六世女童联盟 背景音乐：work mode on!
词：德里之光 曲：fall of the magister 演唱者：德里之光

诗歌credit:
❀路线1 early farewell 结局a 维克菲尔德街
1. crossroads 作者：德里之光 朗读：德里之光
2. neither here, nor there（选段）作者：weronika b、linda k、德里之光、jasper s和nadia m-l 朗读：德里之光
❀4.13 back to work!
3. untitled 作者：andrej hočevar 译者：kelly lenox 朗读：ivana m
❀5.3 darkness and the way we are
4. nightmare 作者：德里之光 朗读：德里之光
❀5.9 run, my clever boy
5. planes, trains, automobiles 作者：德里之光 朗读：德里之光
❀5.10 棉花糖热巧克力
6. mirror 作者：德里之光 朗读：德里之光

作品任何配乐中演唱者的音色、或者某些诗歌中朗读者的音色，都不被视为任何角色的音色。歌词才是最重要的！


【作品道德观】
1. 作品采用角色主观叙事。（就是，它其实是character subjectivity，而不是narrator subjectivity。）囿于角色视角、立场与圣日那帝国的价值观，叙述中不可避免地含有对战争等一系列不义行为的美化。同时为了致敬剧情顾问组，一些士兵以他们的名字命名；作品中的后设角色曼和爱德怀斯由小瞒和德里之光客串，但以上这些角色、连同作品中任何其他角色的立场，都与我们本人现实立场无关。
2. 作品是亲情友情向，只出现了四对恋人。制作团队欢迎读者按需自（乱）行（组）想（配）象（对），但以下推断不被鼓励：（1）将任何有血缘关系者视为拥有暧昧关系（2）将任何18岁以下的角色和任何成年角色视为拥有暧昧关系。
3. 作品中出现的人脸（例如囚犯身份信息表上的照片）都来自https://thispersondoesnotexist.com/ 。这是一个由ai随机生成人脸的网站，因此，这些脸都是在现实生活中不存在的。作品致力于不侵犯任何真人的肖像权。

【作品数据】
“尽量……不超过……五百万字吧。应该不会的……？”德里之光不太自信地笑着说。

【作者的废话】
you think you know a story, but you only know how it ends. to get to the heart of the story, you must go back to the beginning.

children are socialised to repeat the patterns of the adult world, a process that has led authoritarian societies either to coordinate childrenpolitically or to eliminate them as a threat.

孩子们代表无限的可能性。我们可以在他们身上投射自己的心愿、渴望和恐惧。监护人们总是这样做——但社会也是如此——试图在孩子身上找到对未来的希望。孩子们让成年人有机会展现自己的权力：他们通过这些年幼的滤镜来定义另一种自己。人们总是说做孩子很容易，但往往他们需要做的选择和决定比成年人困难很多，而且还对此不自知。if in every child there is an adult trying to get out, equally in every adult there is a child trying to get back.

we root for a character because the odds are stacked against them. 我们对人物的百般注解和识读，并不构成万分之一的他们，却是一览无遗的我们。

i told my version of the western front stories - faithful and invented, accurate and dismembered, shuffled in time. i told myself as hero like any shipwreck story. it was a shipwreck, and me thrown on the coastline of humankind: it’s not always altogether human, but sometimes - believe it or not - it could be kind.

it took the war to teach it, that you were as responsible for everything you saw as you were for everything you did. the problem was that you didn’t always know what you were seeing until later, maybe years later, that a lot of it never made it in at all, it just stayed stored there in your eyes.

the arts of tragedy are much concerned with the difficulties and possibilities of justice, truth, and reconciliation. we might reflect further on ‘resolution’ and ‘resolve’, words with a wider range of meanings than ‘reconciliation’ and ‘reconcile’. but in “master ridley, play the western front”, there can be no resolution. all we could ask for is reconciliation, is a promise - though very likely accompanied by many sighs - that the ones you love and the ones you seek love from will understand, forgive and still love you after you’ve made that difficult choice.

总有一些无由而来的微妙联系，是很令人难过的。

if i walk back to the hurricane that storms, would you heal?

real true hope isn’t the promise that everything will be alright - rather, it’s the belief that the world has so many strangenesses and possibilities that giving up would be a mistake.

what is considered important in retrospect is not necessarily the same as what was considered important at the time the events took place. 如果有一天你再想起我的话，希望想起的是我的笑容。

i won’t remember every drop of rain, or ray of sunshine, but i do appreciate them all.

we view the spectacle with godlike indifference because we all know how the story ‘must go’: it’s fated, it’s written. but we also view the spectacle with humanpassion because we identify with the characters who are making the story happen ‘very now’ (as iago puts it), and who might, just might, make it happen differently this time.

when we take his hand as we read, he is not locked in anymore. and neither are we. once we have accepted the story we cannot escape the story’s fate.

we too are another story. not caught, not confined, not predestined. this is the tragic plane: unequal. selfish. aggressive. deceitful. biased. ruthless. unfortunate. but that wouldn’t make it tragic. it’s tragic because there is also optimism, bravery, forgiveness, trust, respect, love and sacrifice.


你看，最后困住我们的是爱，不是国家，也不是战争。




【非常合适的歌词 - 来自于it takes a lot to know a man】
it takes a lot to know a man
it takes a lot to understand
the warrior, the sage
the little boy in rage
it takes a lot to know a woman
a lot to understand
what’s humming
the honeybee, the sting
the little girl with wings
it takes a lot to know a man
a lot to know, to understand
a father and a son
the hunter and the gun
it takes a lot to know a woman
a lot to comprehend
what’s coming
the mother and the child
the muse and the beguile
it takes a lot to give
to ask for help, to be yourself
to know and love what you
it takes a lot to breathe
to touch, to feel”