9. Martial Monarch
Rias: I-I understand…
"Before I arrived at the meeting exchange point I heard him flaunting how he had made a connection with a rich merchent and sell it to him for double the prize and how he was going to deal with us after making the exchange. Did you seriously thought that they would be able to beat me so hard without any one them being killed; I just had to act like a weakling in front of him so that he can come closer to give a punch or two to satisfy his ego. That is when I tusseled with him a little and took what I needed. He must be pucking more blood now than I had blead because of him"
WARNING⚠️⚠️⚠️..
He skimmed through the pages as he reached the page that had Hermione's name on it. It showed:
"What?"
"Something tells me that you're not exactly here to comfort me, now are you? Just get on with it. No one likes a man who's too secretive," she stared at him in earnest, and pursed her lips when she noticed the concern in his bronze-coloured orbs. "Nor one that's a busy-body."
It stopped right in front me. This car stopped so close to me. What this bastard driver thinking? Is he going to kill me. Lord can't you just spare me from all troubles!
Okay, let me just say this upfront—this premise is absolutely genius. The protagonist transmigrates into a novel and realizes she's not the heroine, not the love interest, but the TRAGIC SISTER-IN-LAW who exists solely to be exploited. And the best part? She remembers the entire plot and decides to flip the script from chapter one. The setup is deceptively simple: a woman in 1978 China wakes up in the body of Jiang Nan, who just lost her baby because her spoiled nephew set a firecracker in a little girl's pocket. The original Jiang Nan would have groveled, returned to work early, and spent the next decade being drained by her in-laws to support the glamorous widow heroine. But our protagonist? She's had enough. What I love most is how the plot immediately establishes the central conflict—not some grand adventure, but a quiet, domestic rebellion. The heroine Cheng Yixin shows up with twenty yuan and a performance of concern, expecting the old Jiang Nan to guilt herself into working. Instead, she gets a receipt. A literal, itemized receipt. "Your brother bought a down jacket identical to Zhou family's little girl's, plus postage: 37.9 yuan. The apology visit to the Zhou family—fruit, milk powder, canned goods, tea, and tobacco: 32 yuan." This is the moment the entire story shifts. The plot isn't just about surviving; it's about financial warfare waged with a calculator. The foreshadowing is also brilliant. We're given the entire tragic backstory of the original Jiang Nan in one massive exposition dump, but it works because it's filtered through the protagonist's reactions. We see the future betrayals—the husband's emotional affair, the son's selfishness, the in-laws' contempt—and it makes every current interaction feel loaded with dramatic irony. Every polite smile from the mother-in-law, every concerned question from Cheng Yixin, carries the weight of knowing exactly what's coming. The plot also plays with a fascinating meta-layer. The original Jiang Nan apparently recognized the drama within her memories, which means she knew her fate and chose to endure it anyway. That adds a layer of tragedy that makes the protagonist's rebellion feel even more necessary. This isn't just a woman escaping a bad situation—it's a woman freeing another woman from a fate she saw coming and couldn't prevent.
Therefore pulled her close to my arm.Then, hoping to calm the little one,she asked,"Where is mama is she lost"
She felt at peace underwater. No one was going to harm her in here. She waved at the fishes as she swam past them.
Chacha:"ok aku otw"