This section hits hard with the revelation that Xu Miaoyan isn't some innocent girl with a heart condition—she's a calculated impostor who wants Fang Qianxue dead so she can steal her Phoenix Maiden destiny. The twist that the grandfather's golden hairpin was sealing Fang Qianxue's fate, not just hiding it, adds layers to the political intrigue. I love how the plot weaves together multiple threads: the imperial decree banning fate exchange, the grandfather's protective measures, and Xu Miaoyan's knowledge of all this. The subplot about Lu Changqing wanting Dual-lineage Succession while still claiming to honor his vow is deliciously messy. And that letter from Fang Jue hinting that Prince Yong's treason case might not be what it seems? That's the kind of setup that makes me want to flip ahead and see what's really going on. The author is building a conspiracy that goes beyond just romantic drama—it's about power, legitimacy, and who gets to control destiny itself.
I need to talk about the ending of these chapters because I am not okay. We spend sixty-plus pages of these chapters watching people fight for their lives. Monsters, mutated dogs, retreats, injuries, a deal that could have gone horribly wrong. And then the author drops this: a man's body wrapped around a woman's, still embracing her even in death, his neck covered with countless bite marks. That's it. That's the emotional gut punch. No dramatic music. No inner monologue about love or loss. Just two dead bodies in a messy apartment, and the implication that he stayed with her until the very end, and the bites on his neck mean he was already infected and chose to hold her anyway. What makes this hit even harder is the contrast with everything that came before. Feng Moxi is all survival — cold, calculated, efficient. She collects rice and flour, she climbs buildings to escape monsters, she kills without hesitation. She's built a wall around herself to not feel anything, and that's how she's staying alive. But then she walks into this apartment and sees proof that someone chose connection over survival. That someone loved someone enough to die holding them. The author doesn't have Feng Moxi react. She doesn't cry or break down or even pause. She just... observes. And that restraint makes it infinitely more powerful. The strange breathing she hears at the end — is it a monster? Is it a survivor? Is it something else entirely? I don't know. But whatever it is, it's coming after a scene that just stripped away all the action and left us with something raw and human. This story is about apocalypse and mutation and crystal cores and broken swords. But at its core, it's about what people do when the world ends. Do they run? Do they fight? Or do they hold onto someone and not let go, even when the bites are coming?
I keep thinking about those five sacks of rice. They're not just plot devices—they're literally the weight of the village on people's backs. He Haiming makes them remove the sacks because the inspection is stricter this year, and he says five sacks is five hundred catties. Five hundred catties of rice that would've been handed over for nothing. That's not a small number in this world. It's the difference between meeting your quota and shaming your entire village. And Wang Shuning has to stand guard over them by the roadside like they're treasure or contraband. Meanwhile, Wang Juan's dad is inside the grain station eating lunch while villagers wait outside, and the whole system of grain collection feels like this enormous machine that everyone is trapped inside. The oxen having names—Maomao and Huohuo—shows how much these animals matter, how they're not just tools but partners in survival. And the fact that Guixi Village's men go to jail for fighting every year and get out quick because it's 'not a serious injury'—that's a whole commentary on rural justice right there. The rice sacks, the named oxen, the fake leg injury, the strict inspection—none of this is accidental. It's all building this picture of a world where everything has value and everything is fragile and one mistake could cost you.
The pacing in these chapters is absolutely ruthless and I am here for it. We start with the arrest, move to the mass grave, then cut to the farmhouse where the Shizi is fighting for his life — all within what feels like three days. The author keeps two timelines running simultaneously: the Jin family rotting in prison, and the Shizi barely breathing in some anonymous farmhouse. Every time we cut back to the prison, there's another crisis — An'an gets a fever, Jin Xue'er faints from hunger, the collateral branches start demanding things from Liu Suyi. And the death-simulating drug detail? "If the Shizi did not wake within three days, he would never wake again!" That ticking clock is woven into everything. The exile happens on day three. The Shizi is still unconscious. The tension between these two threads — will he wake up in time? Will the family survive the journey? — is almost unbearable. The chapter endings are brutal too. We leave the Jin family being dragged out into the glaring sun, and the Shizi still burning with fever. No relief. Just... forward. I couldn't stop reading.
There's a deeper current running through these chapters that I can't stop thinking about. It's about what we owe to the past—and what we're allowed to leave behind. Song Yunlan's entire existence in this story is built on the tension between her past life and her present choices. In her previous life, she chose Liang Bo. She gave him everything—her family's connections, her resources, her love. And what did he do? He resented her for it. The text says it plainly: "Enjoying her devotion while simultaneously resenting her in his heart." He hated being called a freeloader, yet he lived like one. He wanted her help but resented that she offered it freely. Now in this life, she's chosen Shen Zhiyan—a man who chose HER without hesitation, who saved Niu Dazhi's son and built genuine capital rather than borrowing it. The contrast isn't accidental. The author is asking: what does it mean to truly be chosen? To be wanted for yourself, not for what you can provide? The pendant Song Yunlan took from Bai Ruolian is another symbol I can't shake. It's a physical object that represents the transfer of power. Bai Ruolian feels uneasy about it even after getting what she wanted—marrying Liang Bo. Because she knows, on some level, that the balance of power has shifted and she's on the wrong side of it. And then there's the marriage itself—as both a literal plot point and a symbol. Liang Bo and Bai Ruolian are rushing to register because scandal forced their hand. Song Yunlan and Shen Zhiyan are being formally proposed to with silver bracelets and proper ceremonies. One marriage is born from shame; the other from genuine desire and family approval. The author doesn't need to say which is which—the details speak for themselves.
Five star fantasy romance that's very well written. Steady world-building. Love the interactions between the princess and the king and am looking forward to seeing how their relationship develops as the story progresses.
a great novel with a lot potential. keep up the good work
Love the novel hope it keeps going.??Don’t drop please ??.
I don't know why but i liked this novel.You should must try this.....
I hope this continues. It would be a shame if a novel as unique as this gets dropped or banned.
Chapters read: 36The beginning of the story felt like a twist of the Hunger Games on a larger scale, with different places and districts sending their young children. It feels like a world of survival of the fittest among mages where only those who show no mercy towards their enemies survive for long. It's definitely not a happy go lucky, magical unicorns and laughter kind of mage story.I like that Wizards, apprentices and those stepping into the wizarding world don't have to have a wand to cast spells. There are magic tools, but one's power is more innate and doesn't revolve around a wand. I enjoyed the story and binge read. Regardless of the review, do a taste test and see if the story is to your liking or not
bruh is this what we have becomebruh is this what we have becomebruh is this what we have becomebruh is this what we have becomebruh is this what we have becomebruh is this what we have becomebruh is this what we have becomebruh is this what we have becomeanyways story is good because... ykw