When Wang Hui was sobering up at the back door of the celebration banquet, he conveniently pulled back three "costume NPCs" who had been banging against the wall for half an hour. She thought they were actors who escaped from the script, but she found out that she was the only one in the world who could see these three people.
Xiao Yunzhi, who claimed to be the guard of Northern Xinjiang, the boy Afu, and the maid Atao said that they had walked a thousand years to go home, and stopped when they reached the end of the road, and bumped against the wall for a long time. With a tug, Wang Hui lost the "baggage" on their backs, and that baggage seemed to be directly related to whether they could go back - the lighter the baggage, the more relaxed the person; the heavier the baggage, the more curved the back. What affects the weight of the baggage is emotions.
The three ancient people just moved into Wang Hui's home. During the day, she dealt with colleagues who were trying to steal her credit. At night, she went home and faced three "curious babies" who were even afraid of the elevator. Ah Fu draws every day, and there are iron horses, candied haws, and Wang Hui in the paintings; Ah Tao uses a tablet to catch up on dramas, crying and folding clothes; Xiao Yunzhi plays chess with AI in the study, and can play until three in the morning without moving. Wang Hui thought this was just a limited-time voluntary labor, until she discovered that her room, where there had always been only the sound of footsteps, had turned into a place where someone was waiting for her to come home.
Hostas are old, people are new. When millennium obsessions collide with modern life, it is not certain who will cure whom.
Concept: Every piece of history was once lived by someone. Those people buried by time have not disappeared, but they have not yet met anyone willing to see them.