Summary

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Lin Jinyue, a history graduate student and aspiring novelist, wakes up in a mountain forest during a chaotic, war-torn era, having transmigrated into the body of a starving eight-year-old girl named Er Ya. She finds herself in the midst of a desperate family dispute where her new father, Lin Shucheng, is being pressured by the clan to sell her for twenty taels of silver to buy grain for his sick wife and son. The original host was destined to be sold not as a servant, but as food for a cannibalistic warlord, a grim reality that shocks Lin Jinyue. Just as the family prepares to execute the sale, Lin Shucheng, who has also transmigrated and recognizes his daughter in the child before him, violently intervenes. Armed with a shovel, he threatens to kill anyone who approaches, forcing his own father, Lin Youliang, to disown him and cast him out of the clan. Despite being expelled and stripped of all resources, Lin Shucheng refuses to abandon his daughter, creating an immediate rift between the loyal third branch and the rest of the greedy Lin family.

Lin Jinyue discovers she has brought her family’s modern Farm System with her, a golden finger that allows her to grow crops in accelerated time and store items in a spatial dimension. After treating her mother and brother, who were poisoned by insects during the escape, she reveals the system to her family. Realizing the dire political situation with Prince Jing’s army advancing and the capital falling to corruption, Lin Jinyue uses her historical knowledge to argue against fleeing north. Instead, she proposes a journey to Lingnan, a desolate region plagued by miasma but safe from the immediate threat of war. The family agrees, and they begin their arduous trek south, utilizing the Farm System to produce food and medicine while hiding their advantage from the other refugees.

As they travel, the family encounters the remnants of their village, now reduced to a desperate group of fifty survivors. When Prince Jing’s army approaches Nan’an County, causing panic and chaos, the Lin family hides in a cave with the villagers. Lin Jinyue negotiates a truce, allowing the villagers to join them on the condition that they sign a severance letter and agree to strict rules of conduct. The family’s survival depends on their ability to produce food and defend themselves, leading Lin Xueqing to construct crossbows based on Lin Jinyue’s memories. They successfully hunt game and raise livestock within the Farm System, gaining a significant advantage over the starving refugees.

Tensions rise when Lin Youliang and his branch of the family track down the group, attempting to claim resources and demand food despite having signed the severance agreement. Lin Jinyue and her father firmly reject their demands, rallying the other villagers who have grown dependent on the Lin family’s medical and agricultural contributions. The conflict highlights the brutal moral landscape of the era, where family bonds are tested by starvation and survival instincts. Lin Jinyue’s quick wit and the family’s newfound self-sufficiency allow them to repel the harassment, solidifying their position as leaders among the refugees as they continue their perilous journey toward Lingnan.

The story establishes a survival narrative where the protagonist leverages modern knowledge and a supernatural system to navigate the horrors of ancient warfare and famine. The core conflict revolves around the Lin family’s struggle to maintain their humanity and safety against both external military threats and internal familial betrayal. Lin Jinyue’s role shifts from a helpless child to the strategic mind of the group, directing her father and brother in resource management and defense. The narrative sets the stage for a long journey south, fraught with dangers from bandits, wild beasts, and the relentless pursuit of Prince Jing’s forces, while the family works to establish a secure haven in the miasma-filled south.

Novel Items

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Golden Finger
A supernatural system that accompanies Lin Jinyue after transmigration. It allows planting crops with time flowing five times faster inside, provides a storage space of about two square meters at low levels, and can produce items like eggs that can be taken outside. It is essential for the family's food security and survival.
Herb
A medicinal herb found by Lin Jinyue in the mountain forest. It is used for treating poisonous insect bites, which afflicted her mother and brother. She collects it along with other herbs to prepare medicine.
Herb
Another medicinal herb found by Lin Jinyue during her foraging. It is likely used for wound treatment or other medicinal purposes, as she stocks up on herbs due to the prevalence of snakes, insects, rats, and ants on the road.
Medical Tools
Used for acupuncture to put Ye Yunzhou into a deep sleep before surgery. Qiao Huan disinfected them after the procedure.
Food
Real chicken eggs obtained by Xue Ming from his internship at N2. They are extremely rare, not sold on the market, and can only be acquired through black market or personal connections. Chu Xuan and Xue Ming plan to cook them at home.
Tool
Used by Su Sanxian and Dazai to crush dirt clumps after hoeing. Dazai's small garden trowel shovel has its wooden handle snap off when he exerts too much force.
Latest Release
DateGroupRelease
2026-08-11shanghai fantasy c10
2026-08-11shanghai fantasy c9
2026-08-11shanghai fantasy c8
2026-08-11shanghai fantasy c7
2026-08-11shanghai fantasy c6
2026-08-11shanghai fantasy c5
2026-08-11shanghai fantasy c4
2026-08-11shanghai fantasy c3
2026-08-11shanghai fantasy c2
2026-08-11shanghai fantasy c1

Community Reviews

Rating(4.2 / 5.0, 9votes)
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Okay so I need to talk about Lin Youliang because honestly my blood was boiling the entire time I read his scenes. This guy is the worst kind of relative—the one who only shows up when there's something to gain. Remember when he was cursing outside the cave? "It's all Third Brother's fault, that unfilial son." UNFILIAL. THE MAN WHO TRIED TO SELL HIS OWN GRANDDAUGHTER AND DROVE HIS BROTHER OUT OF THE CLAN is calling someone unfilial. The audacity is actually impressive in the most disgusting way possible. But what got me was Lin Jinyue's response. She didn't even flinch. She just looked at him and said, "Back then, you tried to sell me off and drove my father out of your Lin family. We've long since severed ties." Cold. So cold. And I loved every second of it. The real emotional core here though is the village chief's speech. When he threatened Lin Youliang with clan punishment—drowning in the pond—I actually felt a wave of relief. Not because violence is good, but because finally, SOMEONE was holding this toxic family accountable. The way the villagers turned on Lin Youliang together, the way they defended Lin Jinyue without hesitation... it showed how much the original host's family had been wronged and how the community had quietly watched it happen. And Lin Shucheng! Poor guy just transmigration-dazed and following his daughter's lead, but there's something really sweet about how he trusts her completely. He doesn't argue, he doesn't second-guess. He just looks at her and lets her handle it. That father-daughter bond, even if it's built on new memories, feels genuine. The original host's mother nearly died because the villagers gossiped about her acupuncture, and now those same villagers are the ones begging for her help. Irony is brutal but satisfying.
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The cave entrance description gave me actual chills. Let me paint it for you: small opening, only wide enough for two people, massive tree blocking half of it, vines and shrubs everywhere. You wouldn't notice it unless you were literally looking for it. And then inside? Spacious enough for forty people. This is the kind of detail that makes me believe in this world. But the real atmosphere builder is the chaos outside Nan'an County. Prince Jing's army approaching, people panicking, children getting trampled, Lin Youliang losing a shoe in the rush. The author doesn't just tell us it's chaotic—they SHOW us through specific, visceral details. A lost shoe. Blood on the father's feet. Dust from horse hooves thick enough to hide in. And then there's the whole concept of Prince Jing's troops treating captives as "two-legged sheep." Elderly men are poor quality meat, young women and children are prized. I'm not even going to process that on a literary level right now because it's just horrifying. But the fact that the author wove this into the worldbuilding so naturally—just mentioned as common knowledge among the refugees—shows how brutal this world is. Famine plus war plus cannibalism. This isn't a world where nice things happen to nice people. The cave itself becomes this temporary sanctuary, this pocket of relative safety where the real drama unfolds. The village chief pointing out they can see Nan'an County from up in the tree, Fugui keeping watch—these small details make the setting feel lived-in and functional, not just a backdrop. Also the Miasma in Lingnan being both a death sentence and a protective barrier is such a clever worldbuilding choice. Neither prince wants it, so it becomes the only safe haven. Nature as both enemy and savior.
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Okay so I need to talk about this scene where Lin Jinyue's family literally writes a Severance Letter in BLOOD because they don't have paper or pens. That right there tells you everything about how desperate they are to cut ties with Lin Youliang's family. It's not just a piece of paper — it's a statement. And Lin Xueqing's line, 'If anyone dares to scheme against my sister, my father and I will break their legs!' — directed straight at Lin Youliang — is honestly one of the most satisfying protective sibling moments I've read in a while. The way the whole family unites around this decision, the villagers siding with Third Brother, Lin Youliang being forced to press his fingerprints — it's a whole power shift happening right there. Lin Youliang felt 'utterly aggrieved' but honestly? He brought this on himself. The fact that he still thought the Severance Letter meant nothing — 'Did signing a piece of paper mean he was no longer Lao San's biological father?' — shows exactly why he's the villain. He genuinely cannot comprehend that his own family has moved on without him. Meanwhile, the contrast between Lin Jinyue saving Lin Sanya and her own granduncle trying to kowtow to her for half a flatbread — that's the kind of detail that makes you see the whole moral landscape of this story in one glance.
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The dialogue in this text is genuinely one of its strongest assets. Lin Xueqing's voice is instantly recognizable — blunt, protective, zero filter. 'If anyone dares to scheme against my sister, my father and I will break their legs!' That's not a line someone delivers after thinking about it for ten minutes. That's a kid who saw his sister distressed and immediately went to war mode. And then his casual 'How about snake stew for dinner? This snake should be edible, right?' after catching a snake and a centipede — the tonal whiplash is perfect. He's a wilderness survivor in a past life, and it shows in every sentence he speaks. Lin Jinyue's voice is different — more modern, more internal. Her 'this would shorten my lifespan' when her granduncle tries to make her accept kowtows is such a specific kind of panic that feels totally authentic. And Lin Youliang! Oh man, Lin Youliang's dialogue is the kind of self-justifying nonsense that makes you want to throw the book at him. 'Lao San, how can you be so unfilial? Watching your own father go hungry while you feast on meat and fish—how selfish!' The absolute audacity. The fact that he thinks a piece of paper severing ties means nothing proves he never understood his family in the first place. Jiang Yun's lines are quieter but equally distinctive — the practical, gentle mother who bandages rabbits and mutters 'thank goodness your dad and brother came through together' while doing it. Every character has a voice. That's rare.
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I keep coming back to the snake stew scene. Like, on the surface it's just — they found a snake, they ate it, whatever. But the way Lin Jinyue leans against the rock afterward, staring into space, and her dad immediately notices she's not okay and says 'Was the snake stew not tasty?' — that's a father who pays attention. That's love without needing to be dramatic about it. And then Lin Jinyue opening up about not being able to bathe for a month, the lice, the grime — she's this modern woman transmigrated into an eight-year-old body who's mysophobic, and she's just sitting there thinking 'I can't survive half a year like this.' I felt that. I genuinely felt her discomfort through the page. But what really got me was the Lin Sanya subplot. An eight-year-old girl almost getting buried alive because her family stole her food and decided she wasn't worth saving, and Lin Jinyue — who just barely survived her own situation — runs over with half a piece of flatbread to save her. These two are the same age and yet one is drowning while the other is trying to throw her a lifeline. The emotional core of this story isn't romance or drama — it's this fierce, messy, imperfect family choosing to protect each other in a world that wants to eat them alive.
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The cave scenes are honestly so vivid I could smell the smoke. 'The cave was dimly lit, but there were a few air vents. Lin Youcai and the others gathered the leftover firewood and lit a fire. As the flames brightened the space...' I love how the author uses light as a metaphor without being heavy-handed about it. This dirty, messy cave — where villagers previously took shelter during better times — becomes this temporary fortress. And then the centipede scene! Lin Jinyue screaming because something was crawling on her leg, Jiang Yun being too scared to touch it herself, Lin Xueqing casually catching both a centipede AND a snake like it's nothing — it's chaos and comedy and survival all at once. The contrast between the warm firelight and the cold reality outside (Prince Jing's army approaching, refugees starving, wolves and tigers in the forest) creates this constant tension. Even the foraging scene where Lin Xueqing pins a pheasant to a tree with a crossbow — 'With a whoosh, the wooden arrow flew out' — it's cinematic. You can see it. The author doesn't over-describe, which is exactly right for a famine-era setting. Everything is rough, improvised, and raw. That's the worldbuilding — not palaces and courts, but caves and crossbows and a Farm System that's the only thing standing between this family and starvation.
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