1970s Real Heiress: Emptying the Family Hoard Before Heading to the Countryside, Chased by a Dashing Rogue

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Novel Info

Author:
二肥
Status:Ongoing

Summary

Feng Wan, a skilled chef from modern times, transmigrates into the body of an eighteen-year-old girl in 1975 China. She has just been returned to her biological family, the Shens, after being swapped at birth and raised in the countryside for eighteen years. The Shen family is deeply patriarchal and exploitative. Her father, Shen Baoguo, is a workshop supervisor, and her stepmother, Wang Xiulan, is scheming and cruel. The family had previously stolen Feng Wan’s mother’s pension and job quota, giving them to Wang Xiulan’s son, Jia Renyi. Now, they intend to send Feng Wan to the countryside to marry the eldest son of the Jiang family, a match arranged years ago, while simultaneously planning to marry the adopted daughter, Shen Mingzhu, to the disabled son of the logistics director in exchange for a permanent city job for their youngest son.

Upon realizing the family’s true intentions, Feng Wan refuses to comply. She confronts Shen Baoguo and Wang Xiulan, revealing that she knows about the embezzled pension and the coercion. Holding a kitchen knife, she demands a thousand yuan as compensation for eighteen years of upbringing and threatens to expose their crimes to the factory if they refuse. Terrified of losing their positions and facing legal consequences, the parents pay her. Feng Wan then severs all ties with the Shen family, signing a formal severance agreement. She also rescues Shen Mingzhu from a similar fate, convincing the timid girl to flee with her rather than marry the abusive logistics director’s son.

The two sisters escape to the home of Grandma Liu, a kind elderly woman whose sons are officials. While preparing for their departure to Heilongjiang Province, Feng Wan utilizes a secret Spatial Dimension inherited with her transmigration. This space contains a vast warehouse of supplies from her previous life, including food, clothing, and kitchenware, which she uses to stock up for their journey. She also secretly breaks into the Shen household and the logistics director’s home, stealing all their valuables, cash, and ration coupons, leaving the houses empty. She further retaliates by dumping the stolen trash and embarrassing items at the factory entrance, exposing the Shen family’s and the logistics director’s corruption.

Feng Wan also sells the job quota originally promised to her mother to Uncle Wang, a friend of her deceased mother, securing money and gifts for herself. She registers Jia Renyi and Shen Yaozu for countryside assignment, ensuring the Shen family’s sons face the same hardship they intended for the girls. As she prepares to leave, Feng Wan and Shen Mingzhu receive support from Grandma Liu and Uncle Wang. The story concludes with the two sisters ready to board a train to Heilongjiang, carrying their stolen wealth and supplies, leaving behind a ruined Shen family and a corrupt logistics director who are now facing police investigation.

Novel Items

Eight Immortals Table

Furniture

A lacquer-peeling table in the Shen family's main room where dinner remnants were left, including a bowl of noodles with a poached egg and sesame oil that Wang Xiulan had made specifically for Feng Wan.

Enamel mug

Item

A new enamel mug placed on the desk in Su Xiaoyin's prepared room by Yuan Songzhi.

Five-Drawer Chest

Furniture

A chest of drawers in the Shen family home containing semi-worn clothes and a small cloth bundle at the bottom holding ration coupons and forty-two yuan and eighty cents that belonged to Feng Wan.

Ration coupons

Materials

Coupons An Ruoyan needed for purchases but did not have, likely taken by Shi Meijiao for shopping. She bought some at the black market.

Kitchen knife

Weapon

Weapon used by Ye Wuyou to threaten Ye Dagen, thrown near his head.

Relationship Severance Document

Document

A document prepared by Feng Wan that Shen Baoguo signed and fingerprinted, formally severing all ties between Feng Wan and the Shen family.

Latest Release

Date	Group	Release
2026-08-11	shanghai fantasy	c10
2026-08-11	shanghai fantasy	c9
2026-08-11	shanghai fantasy	c8
2026-08-11	shanghai fantasy	c7
2026-08-11	shanghai fantasy	c6
2026-08-11	shanghai fantasy	c5
2026-08-11	shanghai fantasy	c4
2026-08-11	shanghai fantasy	c3
2026-08-11	shanghai fantasy	c2
2026-08-11	shanghai fantasy	c1

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Popular reviews

Dyalet Review ★ ★ ★ ★ ★ September 12,2025

I need to just sit with this for a moment because the candy scene in Chapter 7 is the kind of writing that makes you put the book down and stare at the ceiling. Feng Wan has just spent the entire night stealing from people who hurt her. She's covered in sweat and exhaustion, her hands probably shaking. She comes home, tucks her sister in, and then the next morning Mingzhu wakes up and sees her sister still asleep. Instead of waking her, Mingzhu goes out in a brand-new headscarf she's never worn before—because she's been so poor and controlled her whole life—and buys two meat buns for her sister. When Feng Wan finally wakes up and Mingzhu tries to tell her about the Shen family's misfortune, Feng Wan pretends not to know. She's protecting her sister from worry. And then she hands her a White Rabbit Creamy Candy and tells her to take care while she goes out to handle things. That candy. That single piece of candy. It's the most tender thing in the entire passage. Feng Wan could have given her sister a lecture, or a plan, or anything else. But she gave her candy. Because sometimes love isn't about solving problems—it's about making sure the person you love knows they're not alone. And Mingzhu's response—"Sis, you're so good to me"—with her eyes turning red. This girl has spent her whole life being told she's worthless, that she exists to serve others. And here's her sister, who has every reason to be cruel after everything they've been through, giving her candy and warm clothes and a plan for freedom. The emotional arc from the Shen family's cruelty to this quiet moment of sisterly love is devastating. I'm not crying, you're crying.

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AkutoSai01 Review ★ ★ ★ ★ ★ December 5,2025

That ledger is the symbol of everything in this chapter. It's not just evidence of embezzlement—it's a stepping stone. Grandma Liu thinks of it immediately as "the stepping stone for her two sons' promotions." Feng Wan uses it to expose corruption and gain favor. The Wang couple use it to repay a debt of gratitude. Shen Baoguo and Wang Xiulan lose everything because of it. And Feng Wan? She sees past the ledger to what it represents—the system that allows a logistics director to privately engage in speculation on the black market while ordinary people struggle for job quotas and ration coupons. The brown sugar water Grandma Liu makes is another symbol, smaller but just as important. It's warmth, care, the kind of thing you make for someone who's been through a shock. She makes it for both girls, not just Feng Wan, which shows she sees them as a unit, not individuals. And the address Grandma Liu leaves behind—that's a symbol of connection, of refusing to let distance erase relationship. The spatial dimension is the biggest symbol though. Feng Wan can carry everything she needs in it, but she still has to physically go to the post office, the department store, the supply and marketing cooperative. The ability gives her freedom, but she still operates within the world's constraints. She can't just materialize money—she has to withdraw it, hide it, explain it. The deeper theme here is about what we carry and what we leave behind. Feng Wan is leaving the city, leaving the factory, leaving the life she knew. But she's carrying relationships, skills, and a spatial dimension that will determine whether she survives in the countryside. The ledger opened doors, but it also closed them—for Shen Baoguo, for Wang Xiulan, for the logistics director's household.

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ShadowChief745 Review ★ ★ ★ ★ ★ January 30,2026

Okay so let me just say—Feng Wan is the most satisfying protagonist I've read in forever. The way she systematically empties out two households in one night? Chef's kiss. Chapter 7 is basically a full-on heist episode and I was literally bouncing on my bed reading it. What I love about the plot structure here is how it layers. You've got the surface plot—Feng Wan preparing to flee to the countryside with her sister. But underneath that, there's this whole parallel storyline of her dismantling the people who wronged her. The Shen family thinks they've won by forcing her into an engagement and stealing her job. Meanwhile, she's already three steps ahead, clearing out their entire fortune while they sleep like logs. The pacing is what really gets me. She doesn't just steal money—she takes the bicycle, the grain rations, the bankbooks, the gold bars. And then she dumps their broken trash at the factory entrance the next day so everyone knows exactly who did it. That's not just revenge, that's performance art. One thing that made me do a double-take: the Educated Youth Office scene where she registers both Jia Renyi and Shen Yaozu to be sent to the countryside. She's literally sending her own stepbrothers to hard labor while collecting their subsidy money. The bureaucratic detail of getting 460 yuan for it made me laugh out loud. This author understands how to make institutional systems work FOR the protagonist instead of against her. The only question I have is—what happens when the Shen family realizes they've been completely hollowed out? Because that reveal is coming, and I need to know how Feng Wan handles the fallout. The plot is building something really satisfying here.

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Sabarothzarkieluw7 Review ★ ★ ★ ★ ★ May 6,2026

The atmosphere in these chapters is SO specific and I'm here for it. We're firmly planted in what feels like 1970s China, and the author doesn't just tell us the time period—they make us LIVE in it. Let me paint you a picture: Feng Wan sneaking through a hole in the wall of an abandoned warehouse, checking outside twice before darting down an alley. The Shen family's courtyard, dark and quiet, everyone sleeping like logs. The logistics director's house in complete uproar because his son has food poisoning, doors flung open, the whole household in chaos. These scenes read like film frames. I could see the lighting, the shadows, the tension. The detail about the enamel mug Shen Mingzhu is clutching? That's such a period-accurate touch. The White Rabbit Creamy Candy. The grain ration books. The supply and marketing cooperative. These aren't just props—they're the texture of a world that feels lived-in and real. One scene that stuck with me: the morning after the heist, when Shen Mingzhu goes out to buy buns and overhears neighbors gossiping about how the Shen family and logistics director's household lost everything. The whispered rumors about "heavenly punishment"—this is such a brilliant way to show how the community processes the event without anyone directly connecting it to Feng Wan. The atmosphere of suspicion and superstition in a society that officially rejects both is deliciously layered. And the ending of Chapter 9 with the broken pots and underwear scattered at the factory entrance while workers in their shift change stare in confusion? That's cinema. That's the kind of scene that stays with you.

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Asarr Review ★ ★ ★ ★ ★ March 21,2025

This chapter is a masterclass in pacing because it does three completely different things and never lets up. It starts with a discovery—Feng Wan finds a ledger, shows it to Grandma Liu, and the old woman's reaction is immediate: her face darkens, her steps are unsteady, she leaves without explanation. That's a hook. Then it pivots to warmth—the Wang couple visiting, the money exchange, the goodbyes with Grandma Liu. It slows down just enough to let us breathe. And then—bam—Shen Baoguo and Wang Xiulan are taken into custody. The police show up, they're escorted to the station, the logistics director's family is arrested. All in a few paragraphs. The chapter doesn't linger on the arrest because it doesn't need to. The consequence was always coming, and the speed of it makes it feel inevitable rather than rushed. Then it pivots again to preparation—the shopping, the money withdrawals, the stockpiling before winter. This is where the pacing gets really interesting because Feng Wan is moving with such purpose now. She's not discovering anything new, she's executing a plan. The two hours darting around the southern part of the city, emptying the Shen family savings, pretending to help an old lady to buy time—these scenes have a different rhythm than the discovery at the beginning. They're methodical, almost clinical. And the chapter ends not with a cliffhanger but with a quiet moment: the two sisters returning home together after buying headscarves and cream. No drama, just the calm before they leave for the countryside. The structure mirrors Feng Wan's emotional arc—shock, warmth, justice, preparation, resolve.

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Tsukasa0pBp Review ★ ★ ★ ★ ★ January 14,2025

The dialogue in this chapter is deceptively simple. On the surface it's just people talking—Aunt Wang offering money, Grandma Liu giving advice, Feng Wan spinning lies to Shen Mingzhu. But listen closely and every line reveals character. Aunt Wang's line about not taking the job quota for free because she'd have no face to see Feng Wan's mother—that's not just plot, that's a whole moral code in one sentence. And Grandma Liu calling Feng Wan a "little rascal" when she realizes the girl didn't think to ask for an address? That's affection, not criticism. The narrative voice is also doing heavy lifting here. When Feng Wan lies about helping an old lady to the hospital, the text says: "Having spent so many years as a workhorse in modern society, she could now spin lies effortlessly without even needing to think about what to say." That's not just description, that's commentary on how survival changes you. And the line about Shen Mingzhu's palms sweating holding money for the first time—that's not dialogue, that's narration that feels like dialogue because it's so specific. The clerk at the post office nearly calling for the supervisor when Feng Wan withdraws two thousand yuan? We don't hear the clerk's words, but we hear the implication. The author trusts us to fill in the gaps. Even Feng Wan's casual excuse to Shen Mingzhu—"Oh, I ran into an elderly lady who wasn't feeling well"—has a rhythm that feels exactly like something a quick-thinking eighteen-year-old would say. No theatrical pauses, no dramatic delivery. Just words flowing out because she's practiced at this.

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