Robbing Tombs with One Hand and Taking Pulses with the Other: The Unhinged Empress Can Do It All

This is an ancient romance time travel novel. Time travel + strategy + archaeology + imagination, the heroine of the future queen does not love the emperor, but loves the prince! He relied on his superb medical skills to save people and seek imperial power. How will the love between the future queen and the emperor's uncle end? Let's see the author's explanation next time! Great story, finally caught up with the latest chapter!

It can be seen from the catalog how rich the story line is: the undercurrent of palace fighting and house fighting, the unexpected earthquake on the relief road, the thrilling game against the Japanese lackeys, the laughter in the harem, the affectionate confession of Monk Jingxuan... The strategic layout is interspersed with famous funny scenes, including brain-burning moments of "strategizing" and sand-carving plots of "BaGa BaGa", with a perfect balance of tension and fun. The author is not limited to the small structure of the harem, but expands his horizons to court battles and invasions by foreign enemies, making the heroine's "road to seize the throne" full of multiple challenges. Each chapter has new conflicts and new highlights, without any delay. What's even more rare is that the novel integrates multiple elements in a natural and fresh way. The archaeological (gold-finding) element adds a bit of mystery to the ancient background. The medical setting provides countless opportunities for reversal of the plot. The logic of the conspiracy line is not suspended online. The funny plot can accurately hit the funny points, avoiding the shortcomings of similar novels that are either too serious or too brainless. Whether you like anti-conventional female protagonists, power-playing games, or you prefer imaginative cross-border settings, you will find surprises in this book.

Looking for a Machiavellian ancient saying that is not depressing but enough to relieve stress? This book is definitely the first choice! It does not have the gloomy and depressing nature of traditional palace fighting novels. Instead, it perfectly blends plots of intrigue and famous funny scenes, making it easy and enjoyable to read. Feng Wan's acting style after her rebirth has a sense of joy. A series of operations after blowing up the coffin subvert everyone's understanding. The plot of using archaeological knowledge to expose the scam and using medical skills to "trick" powerful officials is both clever and funny. But despite the comedy, the logic of the plot line is also very solid. The competition for power in the court and the undercurrent in the harem are all laid out reasonably and with tension. The interaction between Feng Wan and Ling Wang is even more sweet. The cold emperor uncle meets the sassy heroine, which is full of contrast. The sweet interaction is interspersed with the power struggle, which not only relieves the tension, but also makes the relationship between the characters more vivid. The more you watch, the more you get addicted. This book is really suitable for reading slowly. The story has content and depth, and is not just for a moment of pleasure.

The plot of a good novel is like a well-designed maze game, with secrets hidden in every step. The author uses delicate brushstrokes to lay out foreshadowing, allowing readers to catch clues between the lines. When the mystery is revealed, those seemingly unrelated details suddenly connect into a dazzling pearl necklace, which is amazing. The tension of the plot lies in its unpredictability. Just when the readers think they have grasped the direction of the story, an unexpected turn overturns all assumptions. This kind of subversion is not a reversal for the sake of reversal, but an inevitable result based on strict logic, which makes people feel surprised and reasonable at the same time. The best plots often have room for multiple interpretations. The surface story is fascinating, and the deeper metaphors are thought-provoking. Readers can discover new details and connections every time they read it again. This characteristic of constant reading is the charm of a good novel.

This novel transcends the clichés of ancient sayings and is a kind of progress, a progress of romance novels. For example, this kind of setting: the now-classic male protagonist routine and the traditional HE ending: the male protagonist is determined at the beginning, two characters and two lines, all the members are supported, and the ending is successful. The core is: all the male protagonists are passers-by on the journey, and only the male protagonist binds the female protagonist from the beginning and travels with her all the way to the end. However, this novel does not have a traditional beginning-to-end ending where the male and female protagonists are bound together. The heroine of this article is Feng Wan. It is worthy of praise that the heroine's role is well created. She deals with people with different personalities. There are insidious planners, planners who plan every step, and guardians who are willing to sacrifice their lives, which creates her complex emotions of love and hate. She hates other people's conspiracies and pretense, and hates being coerced and used; but the fetters created by getting along day and night, and the sincerity and weakness occasionally revealed by the other party, make it impossible for her to completely cut off the entanglement. Obsession and resentment coexist, attachment and pain coexist, and it is difficult to let go. The emotional portrayal breaks away from the clichés of black and white. However, the male protagonists break into the heroine's life step by step according to the rhythm of the plot, leaving fetters in her different situations. This group of men who are deeply entangled with the heroine have different personalities and contain multiple complex personalities, abandoning the flat setting of affectionate tool men. Among the many male protagonists, all male protagonists die from injuries. Only the one who survives to the end and can accompany the female protagonist to the finale is the male protagonist. Everyone can have a fate, affectionate entanglement, and life-and-death bond with the heroine. They can love, protect, or hurt the heroine. Everyone is the protagonist in the heroine's life. There is no tool male supporting role. Whether they are supporting roles or protagonists, they all have their own highlight moments. In this novel, the selection of the male protagonist is very cruel: life or death determines the fate. The person who accompanies the heroine to the finale is the final orthodox male protagonist. The heroine sent away everyone who loved her and loved her. After experiencing the tragedy of everyone being separated and seriously injured, in the end there was only one person left by her side. The heroine is the most miserable person in the whole book. Along the way, she continued to experience partings, watched the bonds fade one by one, and swallowed all the regrets and pains alone; but she was extraordinarily lucky. People came to her at every stage of her life, including fake intrigues and entanglements, but also unswerving and sincere love, and she experienced all kinds of human emotions. Extreme suffering and rare preference were poured into her at the same time, making her character both gentle and tough, with weathered edges hidden beneath her softness. She watched helplessly as everyone who loved her, who had been attracted to her, and who had been with her died and was shattered one by one. She doesn't have a dedicated male protagonist, just a bunch of people who desperately protect her. She does not have the exclusive preference of a traditional female protagonist, a male protagonist who stays with her from the beginning, or a happy ending. Her pain was long and sober, and she hated herself for being powerless and could only watch the people she loved wither away. . But she is lucky, she has gathered the pure, hottest and most life-threatening love from others. A person who is utterly miserable, a person who is extremely partial, a person who is intertwined with love and hate for half his life, and who is hard to let go of for the rest of his life. But God did not let her end alone. After the troubled times were overturned, everyone was defeated, and love and hatred turned to dust, there was one person who survived all the disasters, bore all the scars, and stayed by her side. After Qianfan passed away and everyone withered, there was finally someone who would accompany her until the end. In the end, I hope someone can stay with her until the end. I haven't read the whole book, but I've read it, especially the middle and later parts. Although it's quite tragic, it's well written. Does it mean that writing a book really has to have a happy ending? As the plot develops, even though the ending of the novel may be tragic, as long as the characters and plot are well developed, there will be no problem. So I think this book deserves a high score. Of course, it has written so many chapters. The more words it writes, the more people will read it. Sometimes reading short stories is not as eloquent as reading novels.

This time travel strategy book is so appetizing! The heroine doesn't play by the rules, but refuses to be a queen but wins the throne with wisdom. The plot of rejuvenating the country with science and technology and strengthening the army with firearms is very innovative. There are also famous scenes of multiple kings competing to enter the harem. The rhythm is tight and exciting, and the more you watch it, the more exciting it becomes! The emotions are on point and the plot is compact!!! 👍👍👍👍

Archaeologist Feng Wan once traveled through time and became the Queen of Huaihe. Others were vying for her favor, but she just wanted to escape from the harem in a fancy way! From the shocking incident in the ancient tomb to the deep palace dealings, she relied on modern thinking to criticize the concubines and play tricks on the imperial doctors, causing chaos in the palace, and even made the cold and cold emperor look at her differently. The pace of the plot is so fast, the heroine is neither pretentious nor romantic, the palace battles are full of jokes, and the contrast between the emperor's aloofness and coolness is even more adorable. The more you watch, the more you get addicted! However, after the emperor officially appears and the emperor's character is established through the above details, his real name is naturally introduced, and the subsequent text is referred to by his real name, which is consistent with the identity of the character and does not appear to be obtrusive. Separate the chapter number and title with a space, such as "Chapter 1: Terror in the Tomb". The format of "Chapter It also avoids the accumulation of large paragraphs of text and improves the reading experience.

This novel is as natural and smooth as flowing water, and there is elegance and calmness between the lines. The author's writing is light but powerful, and each sentence is like carefully polished pearls, strung together into a shining necklace. The rhythm of the narrative is just right, sometimes like a gurgling stream, sometimes like a rushing river, but always maintaining a harmonious rhythm. The choice of words and sentences is particularly exquisite, neither too gorgeous or artificial nor bland. The metaphors are novel and appropriate, and the descriptions are delicate and vivid, making people feel as if they are actually there. The dialogue design is even more ingenious, which not only promotes the development of the plot, but also naturally displays the characters' personalities. The most rare thing is that such beautiful writing does not take over the main focus, but perfectly serves the story itself, allowing readers to enjoy the beauty of language while being more immersed in the plot. Such superb writing skills are really impressive.

The setting of this novel is really amazing! It completely subverts the traditional female channel time-travel formula, using the trio of "archaeology + strategy + imagination" to sing a passionate hymn of female independence. The heroine is no longer a pawn in the harem battle, but jumps directly out of the chessboard, changing the status of "queen" from a target to an option, and even shouts the bold statement "I want the throne, and the queen will take it all." This change of stance from "being chosen" to "I want it all" breaks the traditional settings of gender and power. The addition of archaeological elements is even more wonderful, allowing the heroine to not only rely on modern knowledge to reduce dimensionality, but also seize opportunities by interpreting cultural relics and solving historical mysteries, adding a profound foundation and unique interest to the power struggle. The most attractive thing about the work is that it is not a simple "cool article". The process of the heroine's pursuit of the throne will inevitably be accompanied by thrilling court games, balance of forces and system reforms, which require extremely high political wisdom. And her subversive idea of ​​"collecting all" of the harem is by no means a simple collection of emotions. It is more likely to be a challenge and reshaping of the old system. It contains the collision of modern thinking and ancient rules, as well as the handling of multiple relationships such as female friendship and political marriage, showing great narrative tension and profound humanistic thinking. All in all, this is a masterpiece that skillfully combines anti-routine spirit, rigorous tactics, historical heritage and modern consciousness. It not only tells about counterattack, but also explores a new possibility: when a woman holds supreme power, how will she define her own world and write history different from the past. Such an imaginative work indeed brings an unprecedented reading experience.

The story is novel, an ancient romance novel that combines archaeological exploration and palace intrigue. With time travel, intrigue, archaeology, and imagination as its core tags, it unfolds an ancient survival game that subverts tradition through the unique perspective of a modern woman who travels through time and becomes a queen. Breaking through the traditional framework, the main and branch characters are clearly and vividly created. The organic combination of long-term planning based on the traditional text breaks the traditional text framework, expands the narrative dimension, and achieves breakthroughs that open up a new dimension for this type of subject matter. The plot density is high, the logic is self-consistent, the plot is compact, the climax is sequential, and the output is satisfying. The macro-background innovative work is worth recommending to readers for its solid details and sober wisdom.