The Group-Pampered Cub’s Thoughts Are Read, and the Capital’s Big Shots Chase After Her to Spoil Her
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Summary

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Fu Fu, the immortal First Witch of Hell and former Demon Lord, finds herself reborn as a human fetus in the body of Jiang Xiu, the wronged wife of Wu Xiong, the Zhongbo Marquis. Upon gaining consciousness, she discovers she is moments away from being killed by an abortion potion administered by her grandmother-in-law, Old Mrs. Wu, who believes the twelve-month pregnancy indicates a stillbirth or freak. Fu Fu violently kicks inside the womb, causing Jiang Xiu to stop the potion and go into labor. Born alive and silent, Fu Fu possesses the memories of the novel "Mirror of the Mortal Realm," revealing that her mother, Jiang Xiu, is destined to be manipulated by her husband and mother-in-law. Wu Xiong has secretly supported his mistress, Lin Shuang, for ten years, and their scheme involves poisoning Jiang Xiu’s children to ensure her compliance. In the original timeline, Jiang Xiu’s eldest son becomes brain-damaged, her second son is rendered mute, and she is eventually forced to raise Lin Shuang’s daughter, Wu Ling, who betrays the Jiang family to the Emperor, leading to their execution.

Jiang Xiu, who can hear Fu Fu’s thoughts, realizes the truth behind her children’s conditions and her own exploitation. She refuses to adopt Wu Ling, the illegitimate daughter brought into the household by Wu Xiong and Lin Shuang. When Wu Xiong attempts to seize household management from Jiang Xiu under the guise of caring for her postpartum health, she agrees but secretly transfers her dowry to her natal family. This move cripples the Wu household’s finances, as the marquisate’s lavish lifestyle had been subsidized by Jiang Xiu’s wealth for a decade. The household descends into chaos as Old Mrs. Wu and Lin Shuang spend recklessly while the public treasury runs dry. Simultaneously, Fu Fu’s presence begins to heal her brothers; Wu Zhan, the second son, regains his ability to speak, and Wu Che, the eldest, shows signs of cognitive improvement, shocking the Wu family who believed their disabilities were permanent curses.

Wu Ling, a transmigrator with memories of her past life, recognizes that Fu Fu’s survival has altered fate. Determined to reclaim her destiny as the "Auspicious Omen," she plans to use Wu Xiong’s birthday banquet to predict a military victory at the border, thereby securing her status and destroying the Jiang family. However, Fu Fu reveals that her eldest uncle, Jiang Huaian, has already been prevented from leading the troops due to Jiang Xiu’s intervention based on Fu Fu’s warnings. Without the true War God commanding the army, the predicted victory is impossible. Jiang Xiu, fully aware of the plot, decides to host the most extravagant banquet in the capital’s history, inviting all the gossiping nobles and members of the Jiang family. She ensures that the Wu family bears the entire financial burden, aiming to expose their bankruptcy and Wu Ling’s false prophecies publicly.

As the birthday banquet commences, the Wu household struggles to maintain appearances with dwindling funds and inferior provisions. Wu Ling, dressed as a divine child, attempts to deliver her prophecy of victory to the assembled guests. However, the narrative sets the stage for her humiliation, as the military situation has changed and her past-life knowledge is now obsolete. Fu Fu watches with satisfaction, knowing that the Wu family is building their own stage for destruction. The story follows the unraveling of the Wu family’s schemes, the redemption of the Jiang family, and the gradual restoration of power to Jiang Xiu and her children, guided by the demonic wisdom of her daughter.

Novel Items

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Pills
A poison disguised as a nourishing medicine that Old Mrs. Wu and Wu Xiong forced Jiang Xiu to drink during her third pregnancy, intended to kill the fetus. It was part of their scheme to eliminate Jiang Xiu's children.
Pills
Bitter, nauseating folk remedies that Jiang Xiu was deceived into drinking for ten years, supposedly to help her conceive healthy children. In reality, they were slow-acting poisons that caused her first child to be brain-damaged and her second child to lose their voice.
Item
The keys to managing the marquis household, which Jiang Xiu handed over to Old Mrs. Wu after refusing to adopt Wu Ling and Wu Zihua. This was a strategic move, as Jiang Xiu had been using her dowry to subsidize the household's extravagant lifestyle.
Item
Luo Zhen's enormous dowry carried into the Pei residence in a long procession. The sandalwood chests were trimmed with gold, with one chest worth more than half of Madam Zhou's entire dowry. The procession of box carriers was so long that Luo Zhen had already traveled a considerable distance before they finished exiting the Luo residence.
Item
A rare tea sent from Jiang Xiu's maternal family (the Jiang family). Wu Jiaojiao demanded access to it but Jiang Xiu refused, stating it was from her own family and she had every right to drink it herself.
Treasure
A magical mirror that Fu Fu previously used to view the future. Through it, she saw the Jiang family members beheaded and their heads hung on city walls, their faces turned blue and black from the wind.
Latest Release
DateGroupRelease
2026-08-11shanghai fantasy c12
2026-08-11shanghai fantasy c11
2026-08-11shanghai fantasy c10
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2026-08-11shanghai fantasy c1

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The dialogue in this section is absolutely razor-sharp. Every conversation between Jiang Xiu and Wu Xiong reads like a fencing match where both are trying to land blows without showing the wound. Let me highlight a few exchanges that made me stop and re-read: Wu Xiong: "Between husband and wife, why be so distant?" Jiang Xiu: "Did the Marquis come today for Concubine Lin or for the birthday banquet?" In one line, Jiang Xiu strips away all of Wu Xiong's false concern and forces him to confront his actual motives. She's not playing his game of emotional manipulation. She's naming it. Then this exchange: Wu Xiong: "I know that in my heart." Jiang Xiu: "You want me to take charge of the birthday banquet?" She hears exactly what he's saying — four words: he wants to use her again — and she doesn't even acknowledge the emotional bait. She just pivots to the practical matter. But the real masterpiece is when Jiang Xiu turns his own words against him: "Didn't the Marquis say yesterday that Mother is toiling over household affairs and I shouldn't stand aside? I'm now willing to help with the preparations, which is already my utmost effort. But since I've handed over the household keys, I naturally can't use the household funds without authorization." She uses HIS complaint about her not helping as the justification for NOT spending money. It's so elegant it hurts. And then she tops it off with: "Otherwise, if word gets out, others might think I disrespect my mother-in-law, pretending to relinquish control while secretly holding onto it." She's essentially saying: if I spend money on this banquet, people will think I never actually gave up power. So I can't spend money. Logic so airtight he can't argue with it. And Fu Fu's inner voice? "Brilliant." Just one word. Perfect. The author's narrative voice also has this wonderful dry wit. When describing Wu Xiong's thoughts: "In the past, Jiang Xiu had always yielded to him. When had it ever been his turn to seek her out again and again?" This is the narrator gently mocking him while he remains completely unaware.
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This section is packed with symbolism that rewards careful reading. Let me unpack a few layers. The most powerful symbol is the old screen from the storeroom. It depicts the frontier — mountains, a lone city, battle flags, galloping horses. From a distance it looks impressive. Up close, the edges are worn. This is the Zhongbo Marquisate itself: a reputation built on appearances, held together by Jiang Xiu's dowry and management, now showing its cracks. Old Mrs. Wu's decision to display it anyway — "We'll make this banquet splendid!" — is the perfect encapsulation of the theme: the desperate performance of dignity when dignity is already gone. Then there's the concept of the "old almanac." Fu Fu says to Jiang Xiu: "Her little bits of future memories are now just an old almanac." This is the central thematic statement of the entire arc. Wu Ling believes her prophecies from a previous life give her power, but the world has changed. The border situation is different. Her uncle didn't die. Her predictions are useless — not because she's wrong, but because the context that gave them meaning no longer exists. This connects to a deeper theme about fate versus agency. Wu Ling thinks she's reading from a script. But Jiang Xiu is writing a new one. The contrast between Wu Ling's passive reliance on prophecy and Jiang Xiu's active strategic planning is the philosophical core of this section. The financial crisis is another layer of symbolism. The marquisate's inability to afford basic household expenses represents the collapse of a patriarchal system that always depended on women's labor and wealth (Jiang Xiu's dowry) but refused to acknowledge it. Old Mrs. Wu's anger at the diluted soup isn't just about food — it's about the humiliation of a matriarch who can no longer perform her role of generosity. And Fu Fu herself — described as "blessed with good fortune" by the Marchioness of Yong'an, but Fu Fu's own thought is: "I specialize in bringing misfortune to others." This inversion of fortune and misfortune runs through the entire text. What looks like blessing is curse, what looks like defeat is victory, what looks like prophecy is obsolescence.
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The worldbuilding in this section is so quietly devastating. You don't get fancy descriptions of palaces or battles—you get a list of people coming to collect debts. Huaxiang Tower. Silk shops. Medicine shops. Butcher shops. Taverns. The stables. The sewing room. Two shop managers from outside. It reads like a grocery list but it's actually a portrait of a household that has been living beyond its means for years, propped up entirely by Jiang Xiu's dowry. And the image of Old Mrs. Wu staring at that table piled high with bills—'sheet after sheet of black ink on white paper, like slaps to the face'—that's one of the most vivid financial horror scenes I've read. The Marquis household isn't just poor; it's performative poor. They're maintaining the appearance of aristocratic grandeur while the actual money ran out years ago. Wu Xiong's birthday banquet isn't a celebration, it's a desperate act of image management. And the front courtyard vs. side courtyard dynamic—the chaos in the front, the eerie quiet in the side where Jiang Xiu is just calmly reading her account books—this contrast tells you everything about who actually holds power in this house now.
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Okay so let me just say this: the author is setting up a trap within a trap and I am HERE for it. Wu Ling thinks she's going to use her 'prophecy' about the border victory at the birthday banquet to cement her status as the Auspicious Omen. Classic move, honestly. She's basically trying to recreate what happened in her previous life—predict the great victory, catch the nobility's attention, rise in status. But here's the thing that made me literally slap my thigh: Jiang Xiu ALREADY knows this is coming. She's not trying to stop the banquet. She's trying to MAKE it happen bigger than ever, because the more people who hear Wu Ling's prophecy, the harder the fall when it turns out to be wrong. That is some next-level chess thinking. And Fu Fu? The little gremlin is just sitting there thinking 'they'll have to cough up all this money later' like she's running a loan shark operation from a diaper. The plot threads are weaving together so neatly—the dowry records, the birthday banquet, the border situation, Wu Ling's prophecy—and they're all converging on this one moment. I can already feel the satisfaction building. This isn't just a revenge story, it's a carefully laid snare and everyone's walking right into it.
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I need to talk about Lin Shuang because this woman is terrifying in the best way. On the surface, she's the perfect concubine—humble, self-sacrificing, always putting others first. She literally offers her own jewelry to pawn so the household doesn't lose face. She tells Wu Xiong to go coax his wife because 'between husband and wife, what grudges last overnight?' She's painting herself as the understanding, gracious woman while Old Mrs. Wu and Wu Jiaojiao are over here losing their minds. But that faint smile at the corner of her lips when Wu Xiong agrees to go coax Jiang Xiu? That's the smile of someone who already knows exactly how this will play out. She's not just a concubine—she's a strategist. And the fact that she's using Wu Ling's prophecy as part of her own plan? Wu Ling wants to catch a noble's eye, and Lin Shuang wants her own status elevated. They're aligned, but for different reasons, and that tension is going to be so fun to watch unfold. Meanwhile, Wu Xiong is just sitting there thinking he's the one making decisions when really everyone's using him. The man has no idea he's being played from every direction.
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I need to talk about the emotional core of this section because it's what makes everything else land so hard. Jiang Xiu's transformation from the woman who served tea and water to make sure Wu Xiong was comfortable, to the woman who sits silently while he fidgets and never once offers him a cup — this isn't just plot. This is emotional catharsis. Every reader who has ever been taken for granted is going to feel something visceral reading this. The moment that got me the most was when Wu Xiong realizes she hasn't offered him tea. The text says: "He had been sitting there for so long, and Jiang Xiu had not asked him once if he was tired, nor had she ordered anyone to bring him fresh hot tea. She simply held her newborn daughter, her expression indifferent, as if he were nothing more than an insignificant guest. This feeling made Wu Xiong extremely uneasy." His unease isn't guilt. It's the discomfort of a man who's lost his power over a woman who used to orbit him. And Jiang Xiu's indifference isn't coldness — it's the hard-won peace of someone who finally stopped trying to earn love from someone incapable of giving it. But there's also tenderness here. The way Jiang Xiu gently strokes Fu Fu's swaddling clothes. The way she tucks the baby in when Fu Fu gets sleepy. The quiet moments between them where Fu Fu's thoughts reveal she's not just a vessel for Jiang Xiu's schemes but a genuine companion. "Finally, things are getting interesting." — this is a baby who's genuinely excited to watch her mother reclaim her life. And Wu Ling's desperation is heartbreaking in its own way. She's an infant who believes she has special knowledge, who nests in Lin Shuang's arms and feels her "eyes brighten" when she realizes Wu Xiong will have to go to Jiang Xiu. She's trying so hard to be useful, to be the "Auspicious Omen," to earn her place. But the tragedy is that her prophecies are already obsolete, and she doesn't know it yet. The emotional arc here isn't about romance — it's about a mother and daughter choosing each other over a family that only valued them when they were useful. And honestly? That hits harder than any love story could.
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