Plot
The story revolves around the high school student Akira Nikaido, a typical slacker living a normal life. That is, until he meets the mysterious Shirogane, a man who suddenly appears and tells him that they have a destiny together. When Akira hears this, he is shocked and doesn't believe a word of it. Suzuno Aya, a friend of Akira, forgets something in the school one night, and asks Akira and Kengo to help her and go find it. He agrees, and while there, he gets attacked by a shadow monster. Shirogane convinces him that the balance between the human world and the shadow world has been distorted and that Akira must become a "shin"- a creature of the shadow world- in order to help restore the balance. But if Akira stays as a "shin" he will become a shadow himself, and normal people will not see him any more. Shirogane wanted to be with him and lied that if he became his shadow he will be seen by other people again. Soon after a person called "master" told Akira that he did not need Shirogane to become his shadow because he has an object that if he steps on it is will become his shadow,which made Akira angry at Shirogane. After, Akira notices that his friends Aya and Kengo could see Akira and Shirogane when they are "shin," so Akira decides that the two could join them and help Akira and Shirogane to get the balance back to normal. . .
Read more about this topic: Monochrome Factor
Famous quotes containing the word plot:
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“The westward march has stopped, upon the final plains of the Pacific; and now the plot thickens ... with the change, the pause, the settlement, our people draw into closer groups, stand face to face, to know each other and be known.”
—Woodrow Wilson (1856–1924)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)