There's something so cinematic about the way this scene unfolds. Chu Wanning riding the elevator up to the 22nd floor, still basking in the glow of her friends' envious messages, completely unaware that her empire of lies is about to collapse. The author paints her walking in with a bright smile, ready to deliver some flirtatious line, and then—bam—she sees Wen Zhiyu sitting beside Pei Yan like she belongs there. The contrast between the two women is so sharp. Chu Wanning in her designer clothes, performing confidence, and Wen Zhiyu in her quiet, unassuming presence, actually belonging. And then Pei Yan's line, delivered with such casual authority: 'She is my wife.' Three words that rearranged the entire power dynamic in the room. I also loved the domestic scene at the villa. The mother-in-law just... appearing in the living room like she owned the place, reading a magazine, completely unbothered. It felt warm and lived-in, like a real family home rather than some cold mansion. The detail about Father Pei sneaking alcohol behind his wife's back was such a small touch but it made the whole family feel real. And then the bedside cabinet moment—Pei Yan finding the lubricant, asking about her period with that deadpan expression, and Wen Zhiyu nearly tripping over her own feet. The author has this gift for making intimate moments feel both funny and tender at the same time.
There's so much going on beneath the surface in these two chapters and I can't stop thinking about the symbolism. Let me start with the teacup scene. Guan Wan swirling her teacup while discussing whether women can stand on their own—it's not accidental. The teacup is delicate, ornamental, something displayed. That's exactly how society views these women at the banquet. But then Ming Shu mentions widows who establish their own households, and suddenly the symbolism shifts. The teacup cracks. The author keeps returning to this tension between appearance and reality, between what women are expected to be and what they could be. And then there's the nameless young lady. She has no name in this passage, no family identified. She's defined only by her beauty and her invitation from the princess. What does that mean? Is she a symbol of possibility—a woman who exists outside the normal structures? Or is she a plot device, a wildcard in the political game? Even the folding fan snapping shut feels symbolic. That sharp sound marks the moment the male gaze fixes on her, and then the Fifth Prince's arrival shatters that entire dynamic. The banquet itself is a microcosm of the empire—beautiful on the surface, riddled with power struggles underneath.
I have to talk about the worldbuilding in these chapters because the author is doing something really clever with the setting. We're in what seems like a Chinese military compound during a somewhat ambiguous historical period—references to 'Comrade,' 'County Revolutionary Committee,' 'betrothal money,' and the supply and marketing cooperative all place this in a specific era, but the author never stops the story to give us a history lecture. The world is revealed THROUGH action and dialogue, which is how you do it right. The scene outside the compound is SO vivid. Lunchtime, workers returning home, family members and passersby stopping to watch. Li Guilan on the ground, hair like a bird's nest, waving a patched old jacket. Liu Laizi in a yellowed white undershirt. The crowd whispering. You can SEE this. I kept imagining it as a film scene—the wide shot of the gathering crowd, the close-up of Li Guilan's performative tears, then the parting of the crowd as Huo Zhixing emerges in his immaculate uniform. The contrast between the cold, controlled military space and the messy, emotional public spectacle outside its gates is brilliant. And the detail about how 'accusations involving morality and personal conduct were taken extremely seriously' in those days—that one sentence does so much worldbuilding. It explains WHY the crowd's opinion matters, why Li Guilan's performance could actually hurt Su Jiuyue, without needing a paragraph of exposition. The author also uses the mini theater scenes as a tonal counterpoint—breaking the tension with humor while still reinforcing the world (the military hospital, the old general, the director). It keeps the reading experience from becoming too heavy.
The conflict layers in this passage are stacking up beautifully and I am not ready. On the surface, we have the obvious love triangle — Xie Yanqing is clearly possessive and jealous (that death ray gaze when He Chuya touches Shen Jiaojiao's hand? Chilling), while Wen Shanyi is methodically positioning himself as an alternative. But the business stakes are equally compelling. Shen Zhenghao is desperate — his hotel is struggling against the Imperial Court Hotel, he needs Wen Shanyi's investment, and he's trying to use his daughter as leverage. The fact that he previously called Shen Jiaojiao to pressure her into having a baby for the Xie family shows how transactional these relationships are. "Old-money families prioritized profit above all else" — this line alone tells us everything about the world's rules. And Wen Shanyi's response to the investment request — agreeing "without hesitation" — is either genuine generosity or strategic positioning. Given that he's the rival CEO to Xie Yanqing, is he helping the Shen family or undermining the Xie family? Both, probably. The personal stakes for Shen Jiaojiao are enormous. She's trapped in a loveless contract marriage, her father is using her, and now two extremely powerful men are circling with very different intentions. Xie Yanqing's coldness versus Wen Shanyi's growing warmth creates a genuine dilemma — not just romantic but survival-level. What happens when these two conflicts collide? Because they will. And when they do, Shen Jiaojiao is going to need more than a pink dress and a sweet fragrance to navigate it.
The pacing in these chapters is absolutely ruthless and I mean that as a compliment. Chapter 24 starts with a casual encounter — two girls talking about a watch, seemingly light conversation. But within a few paragraphs, the tension is already there. Lin Kexin's voice growing louder on purpose, the educated youths gathering around, Liu Xuewei's face going pale — it escalates so naturally you don't even notice the speed until you're already hooked. Then Chapter 25 shifts gears completely. We go from public confrontation to domestic investigation. Old Madam Jiang counting her money three times — that repetition is genius pacing. It slows us down at exactly the right moment, making us feel her growing dread. And then BOOM, she's bellowing in the courtyard. The chapter ends with Weijie being dragged back and the name "Liu Xuewei" spilling out. Chapter 26 picks up immediately with Lin Kexin dragging Yunying to watch the show. No breathing room. The author doesn't let us settle. Every scene ends on a note that demands the next one. The only moment of real deceleration is Lin Kexin and Yunying's quiet conversation where they predict Liu Xuewei's move — and even that feels like tension being coiled tighter, not released. This is how you keep someone up past midnight.
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Hi, Author here...I'm writing an honest review here. This is my third work, and to be honest, I wrote this novel as just a fun and relaxing debauched vampire novel because of my liking for MVS. There's nothing much to expect from it for the plot maniacs. It's written in the first person pov, so it might be a little weird when reading it. furthermore, the plot progression is super sluggish (remember, I wrote it for fun.)And lastly, I can guarantee you good mid-tier grammar that won't make your brain steam.
I've only read a few chapters so far, but from what I see this novel has a lot of potential, good writing, and sweet dialogue so far, author please keep up the good work, I really hope you can bring out the potential of this novel ???
I haven't read a novel that has made me laugh this hard in a long time. not since I read Young Masters POV. honestly, peak comedy. my only complaint is that, though the writing quality is good, the story's structure is... how should I say this... somewhat feels incomplete. what do I mean? u might wonder. the first-person POV is not giving the story enough depth. the story focuses too much on the main character's POV, and in doing so, it makes other characters lack depth and makes the story bland. like now in his class, there are only 7 main students, and the more u read into the story, the more u will start to believe that there are only 7 students in his class. I mean, at a point during the survival camp arc, he completely forgot to add Garrick and Cassandra and added them to some chapter layer as if they were there from the start. and that's the main cast. moving to other characters unless he's talking to them or mentions them, we know next to nothing about their lives or what they are plotting. plus foreshadowing doesn't work well with first-person POV, that's why authors third person and other povs, to add more depth into their novel's world and give the readers something to look forward to. I hope the author will address this issue, and trust me, the novel will become one of my favourites. for now, though it's really funny, I won't call it a really good novel, Average at best, but has potential. it's still early for the author to fix this problem.
So far absolutely amazing I love the world and fight scenes. Its really well made I think sometimes the chapters are kinda short though thats my only complain though
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