A Sequel to the Emperor's Legacy

After reading the last word of the last chapter, preferably at 0:00, it is the moment when the old day ends and the new day arrives. This huge and delicate story has given me too many shocks, including confusion that has yet to be completely analyzed, heart-wrenching sadness, sweetness from tossing and turning, tears in my eyes, and sighs about the impermanence and doomed fate of each paragraph (omitting ten thousand wet tissues here). I finished reading this novel at an important stage in my life, and even wrote a short song based on my crude knowledge of the text. And I am extremely sure that it must have left some imprint on my young mind, although at this moment I still don't know whether it will have some unknown impact on my life. As a creator, I think that writing such a shocking work in my lifetime is a real regret for an author. As a reader, the process of reading once made me feel unparalleled pain. For a month after reading the first part, I didn't dare to think about the plot in the article, and I didn't dare to read the second part. I even wished I had never added the words "Feng Huang's Legacy" to my reading list (of course this has nothing to do with my reading here). (My extremely tangled psychology in the first stage is not unrelated to my extremely fragile physiology), and it also created a history of staying up late for me. But now that I have read the full text, I would like to say that I still do not regret opening this work on that ordinary day, reading the first sentence, the first word of the first chapter, and then all the stories that followed. As I said before, I think this is a shocking work. I am shocked by the unknown origins of the two monarchs who are engraved in the annals of history, the unforgettable alliance and the eternal love that transcends time and space, and the destined and entangled love. I was shocked by how Xiao Heng laid down his butcher knife and became a Buddha immediately, vowing to fight all hells and fight through the world. I was shocked by Qin Zhuo's ability to lie down on firewood and taste nirvana without dying. As a father and mother, kindness leads to strength. I was shocked by Ajiu's innate compassion but ill-fated fate. After crossing the sea of suffering, he became stronger the more he broke. I was shocked by Ajitian. People who are sentimental tend to be tired and hurt, and unintentional assassins tend to be soft-hearted. I am shocked by the Qingyun ambition and green sorrow of the Qingmen descendants (except Zheng Su). I am shocked by the character and destiny of the lighting family. I am shocked by the disgusting nature of the parents' beloved son. My heart is bleeding, I am shocked that an officer and general can sacrifice their lives to protect their hometown, I am shocked that a loyal minister can serve the god and offer a heart of a jade pot, I am shocked that being hurt by love can be sadder than death, I am shocked that lovers who love each other are separated, and I am shocked that a red heart can illuminate all rivers. The author takes us to explore this secret history of the Liang and Qin Dynasties with a historian-like pen that traces the origins. He uses many symbols and metaphors to make the whole story full of mythical color and strengthens the sense of impermanence and destiny in each character's life. Yes, there is a sense of fate. I think this is a characteristic that appears more or less in every character throughout the novel. This inheritance and echo of fate exists in monarchs, ministers, teachers and students, in husbands and wives, fathers and sons, in the flesh and blood, in the past and present. It is about people and gods, like the past and present lives of placing one's body on a tree, like the beginning and end of the Empress Temple in Bailong Mountain, like the sacrifice to heaven in the Southern Qin Dynasty, and the belief in light. It is a quagmire that cannot be escaped even if it is struggled hard, and it is also a dreamland that is willing to be cut into pieces even if it is cut into pieces by a thousand swords. Every road here is bumpy, every river here is twists and turns, every wound here is profound, and every person here is alive. As a reader, I look at the eight joys and sorrows of the world from God's perspective. I see the joys and sorrows of each character, I see their vivid love and hatred, and I see them working hard to complete their life propositions. Today I still want to complain about their unfair fate, but I am also impressed by their unyielding souls. Regarding the ending, the author said it was an atypical ending, but for me, who was already scarred during the reading process, the lighting family of four were able to resolve most of their regrets before they died. They had a happy farewell of relief during their lifetime instead of a regretful and resentful farewell. Xiao Heng and Qin Zhuo stayed together sincerely and finally ended up together. After all, saying goodbye in love and never being separated after death can be said to be the same thing in life and death. They both used their own way to do everything for their children and finally left with peace of mind. Both Ajie and Aji have grown up to be independent. They both know that their parents are deeply loved, they are deeply loved by their parents, and their brothers and sisters support each other. Everyone knows that they are loved, and they also know that the person they love knows their love. To me, this is HE, not just, not reluctantly, but "just". Life and death are fateful, and everything in life can never go as planned, but at least everything has been done. There may be regrets, but I think there is nothing to regret. I said so much without realizing it. In view of my severe withdrawal reaction, I will probably not open this novel for a long, long time, but I think that probably a long, long time later, after I am more mature, after I muster up the courage to make up my mind, on an ordinary day, I will open this story that made me shed tears countless times, relive this history that may have been blurred to me at that time, and even review this long review. Will my soul still be so trembling and sad at that time? I have no idea. But now, I really want to end this long reading. I hope everyone in the story will be happy and healthy in the parallel world. Goodbye, see you later.

The important work that has accompanied me this year is "Feng Huang's Legacy" with a total of 2.4 Million words. This is the first time in my life that I have followed a serial. It has occupied almost every late night of my life this year. This should be the most emotionally invested work in my reading career, and it had a profound impact on me this year. After "Serving the Emperor" was completed, I often thought that it was actually a very difficult work to be adapted into film and television. Its essence is entirely in the text, which is a unique quality of literature that cannot be replaced by other ways of expression. Just like only after a narrative of more than two million words, when Qin Zhuo returned to Bailong Mountain and touched the pine needles like a child's fingers, you can realize the long time missed and the irreparable intimacy cut off; you can feel the auspiciousness in the empty room at the end and enter the silence as vast and pure as moonlight. I would rather call it a poetic work than a novel. Although its story is thick and complex, and the logic of the plot is relatively complete, its essence is still poetic. This does not refer to the high-level poems, songs, and gorgeous diction written by countless authors throughout this book, but in my opinion, this is a long and eloquent scroll with sincere feelings as the image. What is really wonderful about it is that it is completely constructed with words, and the emotional force field with climax after climax completely involves the reader's emotions, making it impossible to escape. When you close the book, what stays in your heart for a long time is not the twists and turns of the story, but the poetic scenes and the resonance of songs one after another. Just like the belief in the God of Light with a Wu Chu temperament created in the book, this book is full of a thoroughly romantic temperament like Chu Ci, even though it is a realistic novel with a heavy topic. These two seemingly completely contradictory styles constitute the unique flavor of this book, which is an epic lyric poem. Its unique narrative sequence makes this a work that is often read and often new. It actually starts from the middle of the story, the middle returns to the beginning of the story, and the end of the middle, the peak of the protagonist's career and emotions, directly connects to the freezing point after the separation of the two sides in the lower part. If it is a narrative work, then when you read that grand "wedding", you will only feel a simple and monotonous sweetness and satisfaction, but you have already predicted their inevitable ending, and only then can you understand in the most perfect place that "the outlet of love is a wound, and the essence of love is pain." Only when you read where they come from after the highlights can you truly understand why they became who they are and the reasons for their choices. As for the story of the children in "The Sequel", the two children have completed their understanding of their parents' choices through their own life experiences, and continue to accompany and protect each other in the same position, which is another complete perspective. The carefully designed and subtle circular structure of the book will give you a new feeling every time you re-read it. You will suddenly realize the tiny prophecies that were deeply buried by the author that you missed when you first read it. At the end of the chapter, you will realize the cycle of destiny at the beginning of reincarnation and achieve a complete enlightenment. I once read a comment saying that I was constantly being spoiled by the author while reading this book. But I think this is precisely the most outstanding feature of this book. It specifically retains a "God's perspective" that is beyond the story when narrating, or I prefer to call it a "historical perspective." It stands at the time when all the characters have passed away, using the tone of a history book, calling them by their posthumous names, and telling the story of their ups and downs, entangled love and hate lives with the most indifferent calmness. That is the flavor of fate. When you stand aside from the fate and look down at the people who are struggling and running towards the destined ending without knowing it, what strikes you is the great compassion that arises spontaneously. When the price of love and joy has already been written, can people's blindness like a moth to a flame only be attributed to stupidity? However, the most touching thing about human beings is that they cannot control their own destiny, but they are willing to use all-out foolishness and bravery in exchange for a fire that can only burn for a moment. Monk Hongzhai, who appears throughout the book, is the embodiment of this perspective. His flashback prophecies and judgment poem in the final chapter create the atmosphere of a big dream in the world like "The Story of the Stone". The ethereal and ethereal atmosphere like Sanskrit singing that always hangs over the story is also one of the poetic qualities of the book. This is a work about ideals. "Abolition of the Emperor's System" is not a new and attractive gimmick in the introduction, but the most important character motivation. I have seen countless readers who are anxious for the protagonist. Many people ask why Xiao Heng has not succeeded in abolishing the imperial system for more than ten years. Many more people have given advice in the comments, guiding the protagonist on what policies to use and how to follow the laws of history to achieve reforms. However, this is not a cool story where the protagonist kills everyone. The author just provides a historical conjecture. The characters placed in real situations do not hold the historical panoramic map that has become a must-remember answer for the college entrance examination. He was just a blind traveler groping for an unknown path in the tunnel of history. An assassin from a lowly background, a farmer close to the land, without any political background or any political training, carrying out top-down reforms in an era where aristocratic families are rampant is nothing short of a fantasy. I even think that he was able to sit on the throne for more than 20 years after losing his core talents instead of being eaten up by the family. It is the halo of the protagonist. It took a total of seven generations to achieve the goal 120 years after his death. It is already a very ideal ending given by the author. Xiao Heng was destined not to succeed. The most common fate of enlightened people who transcend their time is to be regarded as madmen and heretics by everyone. And he himself knew that the only way for an emperor to kill the imperial system was to commit suicide. He was not afraid of death, and after paying an extremely tragic price, he chose to devote all his efforts to survive for a goal that was impossible to see realized. People outside the story are looking forward to an unprecedented victory, but Xiao Heng in the story has the determination of "I will have no self" and consciously embeds his life in the roadbed of history. This is not a leader who achieves success in one fell swoop, but a redeemer who carries all the sacrifices he has made on his shoulders. As Li Han said, he couldn't get over it, so I chose him. Reading Xiao Heng is an extremely heavy process, and his burden is as high as a mountain and as deep as an abyss. "Everything is uneven, so why should you suffer for yourself? You will be an inch taller and hold a tree in your hand until the end of time." The Jingwei who reclaimed the sea did not overestimate their capabilities, but they were also extremely heroic. "I wish to level the East China Sea, and my body and mind will not change. The sea will never be flat, and my heart will never be broken." Dedicating oneself to an ideal is extremely romantic. Yes, I experienced the passion of countless people with lofty ideals throwing their lives and blood in a Danmei work. What makes countless martyrs come forward is not only the distant righteousness of living and the people, but also the pure sweetness of being born and gaining meaning. I saw the ideal glow in the numerous new laws thrown out by Li Han, in Pei Lanqiao who broke through the old customs like a pillar of Gonggong, in Tang Huiluan who was as pure as jade and as heavy as a jade, and in the artillery that the magistrate of Juya lit up with his body, shaking the earth and shaking the mountains. Xiao Heng is a lonely, but not lonely martyr. Lou Chunqin said, people like this are protected, how come the world is not completely rotten? When gold and stone are at ease, they shine brightly in the dark. In troubled times and the end of the world, it is the best time to display heroic spirit. This is another work about love. The very interesting point is that this is a Danmei work with emotion as its core attribute, but it does not allow love to solve all problems. Love is so profound, but it still has to face many irreconcilable essential contradictions in identity, background, position, interests, and personality itself. Fairy tales always end with both parties living happily together, but this book begins precisely with what they will face after being together. It may be surprisingly unpleasant to read about a middle-aged couple's love-hate relationship, inseparable grudges, exhaustion from quarreling, and compromise for the sake of their children after divorce in an online novel. But the preciousness of love lies in the fact that it can remain firm despite being worn away many times. Qin Zhuo, who claims to be cold-hearted and profit-oriented, actually chooses Xiao Heng every time. They may not be able to live together, but he chooses to die together every time. Is giving Ah Jie the surname Xiao really just because of Li Han's political situation and out of a king's response to a crisis? At the deepest level, it is just a little evidence of the continuation of life and emotion at the time of life and death. I was shocked for a long time by Qin Shaoqing who turned around resolutely when the palace fell. The humiliation and burden that had been endured since the age of fourteen, the ten years of hard work, the unfinished mission of restoring the country and avenging his father, were all forgotten at that moment. He immediately looked at the slowly closing palace door and told Ziyuan to take care of his sister. The moment was as heavy as a thousand stones. "Love brain" is an absolutely derogatory term in today's public opinion field, but pure love, love that transcends all material and interests, worldliness and rules, was once the liberating power of freedom and self-will in countless poems. What burns is fire. Qin Zhuo is so strong that it burns my own love, making me seem to see Liu Lanzhi who "went to the clear pond", Zhu Yingtai who "opened the coffin for Nong", and Du Liniang who fell in love and returned to the underworld after a dream. I don't know where the love started, but it goes deeper and deeper. The living can die and the dead can live. When Xiao Heng yelled "I still want to cut off the feudal vassal", Qin Shaoqing, who leaned down and paid homage and said "I am Qin Zhuo to the south, and I am willing to die for your majesty", could not help but shock people. He gave unconditional tolerance and support to ideals that were incomprehensible in his own position, just because it was the hard work of his lover, and it was love in its most magnificent and magnificent form. It's amazing that I saw an in-depth exploration of motherhood in a work about boys and girls. How does a child change the life of the mother and the operation of the family? The shame of having a child with a male body and gender inversion, the self-doubt of being used as a container for the child, and the humiliation of having a prince as a concubine are all sacrifices that come with being a mother. You can even say that Xiao Heng is a "vested interest" in this family who is sober and aware of his regrets. Xiao Heng's price is to pay for his ideals, while Qin Zhuo's price is to pay for his love. In other words, for this relationship, Qin Zhuo himself has become one of the prices for Xiao Heng's ideals that are destined to be unfulfilled, and the onlookers will not care about him, whether it is fair or not. If there were no children, separating when Xiao Heng ascended the throne might be the most rational and safe choice Qin Zhuo would make. But fate made him a mother. The piece of flesh and blood that grows out of his body will be the softest unbearable thing that cannot be let go of in his life. If the issue the author sets for Xiao Heng is to bear the weight of ideals, then for Qin Zhuo, it is how to become a mother. What makes me feel ironic and helpless is that during the serialization, I seemed to have seen the most realistic "motherhood punishment" in Qin Zhuo. Everyone expects you to sacrifice everything for your children, to let go of everything, to forgive everything, because you are a mother; and everyone expects you to do all this while still being a leader who is responsible and decisive. The protagonist of the second part of the story is replaced by Xiao Jie. The limitation of perspective prevents us from seeing Qin Zhuo's richest and most delicate emotional journey. In those few words that have become ordinary and laughable after time, I use my imagination to fill in the rest of Qin Zhuo's life. In the silent backside of the story, how he swallowed it alone, the bitter fruit of the cruelest joke played with him by fate in his body; how he dragged his body destroyed by pregnancy and digested the harm of that person for the purpose of preservation; how he wanted to bury what was cut off by that person's own hands and erased of meaning, for which he devoted his entire life; how he endured the long longing for a child, missed a child, and deeply owed a child. Qin Zhuo, who is in his twenties, can pull up the sunset, shoot arrows in succession, hang upside down immediately, plunder the formations vertically and horizontally, can speak with impunity, and manipulate people's hearts. But how can you ask Qin Zhuo, who is in his forties, to still shine proudly? He has beautiful hair on his temples and is covered with weather. Of course, Xiao Heng in this story will have many fans, and the pioneer who made a living for the people is of course a hero that everyone respects. However, I also feel that Qin Zhuo, who still dares to love with all his heart after enduring countless insults and teases, and who still has no regrets when he stands alone in the ashes of love, is also a hero with unparalleled tenacity. Fulfilling grand social responsibilities is as great as fulfilling one's own life proposition. Love should never be looked down upon, despised, or ridiculed. Love is the deepest courage. This is a work that combines the beauty of tragedy. Yes, many readers may be pained by such a dense display of tragedy, but suffering is the hotbed of literature, and tragedy is the noblest stage of human nature. "Asking you how sad you can be is like a river of spring water flowing eastward." The tradition of Chinese literature also abstracts sorrow, blood and tears into an eternal beauty. There are many heroic deaths in "Serving the Emperor", like Lu Sanchun who sang "The sun rises and the crops turn yellow" on the execution ground; like the loyal but slandered Duke of Mercy, who was pierced by thousands of arrows; like Li Daxiang who recited poems and drank wine on the long street; like Luo Henian who burned all his hatred in the fire; like Cao Qingtan who was betrayed and then used his life to protect his apprentice who met by chance... But I actually love those farewells that are as light as spring water and as dark as green mountains. Like Meng Heng with only one closed door, like Brother Mei who buried his bones under the plum tree. I particularly like Xiao Jie's three love tragedies in "The Sequel", which are written in such an unconventional way. Approaching with ulterior motives, the wavering of sincere treatment, and the inevitable loss of the antagonism between stance and identity may be common, but after the truth hidden in the first-person perspective is revealed, the subtle intertextuality of the fate of the two generations of princes gives this story a long melancholy of "the pear blossoms are everywhere and the door does not open". The other two chapters are "unfinished". One ended when they were both naive and ignorant teenagers with undeveloped love. Their unexpected death solidified the trick of fate into regret that can never be repeated. It was the sadness of "we could have had a good start", and it was also the life of innocent people being crushed by the general trend. The other part seemed to have become a fait accompli, and they were in harmony, but in fact it still stopped at the threshold of love and politeness, so their tragedy ended before they finally understood each other's feelings and reunited. The general will not die on the battlefield and be shrouded in horse leather, but will fall into the unpredictable conspiracy and calculation. This kind of plot direction is of course "frustrating", but it also makes me feel that it is extremely ingenious. Absolute justice from the perspective of one party may be a bloody injustice to the other party. Unresolved hatred caused by unintentional mistakes turns out to be the most common chain in the world. And the unresolved relationship between humans and ghosts at the tragic end adds an unusually spooky and ghostly atmosphere to the text, which is even more surprising. Huang Shunchen, who had suffered the infamy of two ministers all his life, wrote in a letter to a close friend he had never met in his life: The river flows forever, and no one knows how sad I am. And I feel that reading the tragedy of "Serving the Emperor" also gave me the feeling of a great river. Is that just a tragedy? Life is just a drop of a mayfly in the river of history, but the brilliance that once bloomed briefly is already an irreplaceable wave that merges into this long river. This is a very "classical" work. His creative approach is ancient and serious. An online article is a complete presentation of the author's painstaking work and repeated revisions over four years, rather than the usual serialization and continuous writing, or even random laying out without an outline or plan, as is common today. It has a volume of 2.4 Million words, but it is actually very "dry" (the opposite meaning of "water"). For the sake of the rhythm of the plot, the author insisted on not expanding the branches that would actually be easier for readers to understand. This is a truly outstanding group portrait. It rarely adheres to multiple empathy. There is almost no absolute villain in the story. Even the few supporting characters have a full background arc. There is no black-and-white label judgment, but it faithfully shows the position of each party, allowing the characters to collide naturally with temperaments that fit their respective experience backgrounds. Behind a work full of emotions, the author is actually restrained and humble, and does not overstep the logic of the characters themselves. I call it "classical" because I think this book actually has a very pure "legendary" flavor. It writes about the everlasting and consistent feelings; it writes about heroic and slain martyrs (isn't Zhang Jixian a very charming "Biography of Assassins"); it writes about the roaring of the bamboo forest and the spiritual masters... What is the "legendary" flavor of Chinese classical literature? It is to condense the wonders that are different from everyday life, to paint the spirit of people with strange brushwork, and to praise the wonders of the world. Only the earth-shattering and heaven-shaking things are legendary, and the scorching beauty and fierceness are legendary. And "Feng Huang's Legacy" is a fascinating story that the storyteller would vividly tell in Goulan Restaurant. This is a work that is very easy to identify and belongs to the "Chinese Department" temperament. It's not just the author's profound skills in classical Chinese expression, but also the core of the character and the spirit of the work, which can make people think of classic images that emanate from too many classical literature, so much so that I have to lament how many scholars from the pre-Qin, Tang, Song, Wei, and Jin Dynasties the author has eaten. I am grateful to have encountered "Feng Huang" this year. It is a good story that I can savor and cherish again and again. That makes me, a "remnant" of the ancient reading era, still see people enjoying the pure joy of creation and persistently exploring self-expression in this fast food era. That is as precious as gold. Although it is the author's best work, it is certainly a work full of regrets and flaws, but I am still willing to give it my praise and sincerity.

First! Not satisfied! I am not satisfied with the ending of the wind and smoke and the separation of the old people! Is it wrong to want to reunite the whole family? No! I just like to see the bad guys get defeated and the good guys get a happy and cheesy ending [make me happy] The next one can be a bit sadder but have a happy ending! 🙏 Secondly, thank you for creating many round characters in the book. Some people are in trouble and yearn for the bright future, some people aspire to be in the temple and care about their flesh and blood, and some people are kindhearted and have never regretted it... Especially my favorite Azhuo, hahaha!!! Thank you for their company. Although it is a two-dimensional scene, the faint light on the grass and trees also leaves deep marks. Furthermore, I am extremely grateful to the author for his love and perseverance. It is really unthinkable to waste 2 million words in vain. Finally, I wish you, Yu Xin, your articles will become more mature and Ling Yunjian's writing will be full of creativity! I wish all the sisters a smooth, safe and joyful life, I wish the Southern Qin Dynasty in Daliang to be everlasting and have good harvests, and finally, I wish the family of four to laugh in the morning and dusk in the sky, and be safe and sound every year!!!

After the final exam, I'm here to leave a long review again. I started chasing Fenghuang when I got divorced, thinking about the ending of their relationship, and made up a lot of plots in my mind. When the sequel was really finished, I felt a sense of settling down, and found that I had been with Fenghuang for almost two years, and a kind of trance and melancholy arose spontaneously. There is a sentence in the postscript that left a deep impression on me: "My father has been reconciling with himself all his life." I think this sentence applies to everyone in Fenghuang, and it also applies to us in reality. Lao Xiao spent his whole life pursuing being a human being and reconciling with himself when he was a shadow; A Zhuo first reconciled with himself who was forced to make a living as a teenager, and then reconciled with himself as an abandoned "abandoned wife"; Ajie experienced the contradiction between the death of his beloved and the death of his beloved, and the contradiction between kindness and violence, from never understanding his father to becoming a father; Aji never believed that he was loved They do not understand the love of their fathers and become the heirs of Watch... They are not perfect, their original families are not perfect, and their endings are not perfect either, but each of them happily accepts this imperfection, and makes readers feel complete in this imperfection. This is not a kind of perfection. And I can see a kind of inheritance in it, the inheritance of love, the inheritance of ideals, the inheritance of love, an endless vitality, from monarchy to democracy, from exploitation to equality, as if the dimensional wall has been opened. This is no longer limited to simple love, making people wonder whether such people really exist in history. In fact, novels always label the ending as he/be/oe, but how can there be so many final conclusions in reality? Staying together when we were young may turn into mutual dislike, and people who have no results may still be fresh in our memories. As long as there are beautiful things in the process, it is a kind of beauty. From this perspective, although Ah Jie has been murdered since childhood, she is indeed a baby who grew up with a lot of love. By the way, in fact, what I felt most distressed about at the end of the sequel was A-Shuang. At the end, it was said that Guanyin was recognized as the Queen Mother, but it was not mentioned that A-Shuang (the nominal biological mother), could that mean that A-Shuang has passed away. Ah Shuang has followed Wenji to the north since she was a child, and then followed A Zhuo. In the end, she was willing to stay in Chang'an to take care of Ah Shuang. She was truly trapped in the palace wall for her whole life. In the end, she never saw her parents and Zhuo. Ah Shuang did not often stay in the palace when she grew up. Guanyin has Yuqing and her brother, but who does Ah Shuang have (I really empathize with the women in the palace in the feudal era) It's a bit long-winded, but thank you Lao Bai for bringing such a good work. See you next time~

Please give me a sequel. I also want to see Ah Ji's later life. Every time I think of him finally fulfilling Aye's dream, burying him and Lao Xiao together, and leaving him alone in Southern Qin, I shed tears [bursts of tears]

I want to see the lighting if line! Please🥺Parents love💓

Start a side story! Start a side story! Start a side story! Eat sweet, sweet, sweet! Modern if modern if modern if!

I originally thought about what I would write when I finished the first part, but I didn't expect that the second part would be so difficult. On the one hand, life sometimes comes to an end; on the other hand, happiness and prosperity end in one's body; both of them must come to an end. But on the other hand, there are always things in this world that do not stand by shape, act without relying on strength, exist without waiting for life, and do not die with death. Thank you for your hard work on these two million words.

Isn't this he? A very happy ending. The ideal will eventually be realized, and the feelings will be settled. They are separated, but they have each other forever. They are a happy family.

This series is over and my heart seems to have gone with it. JJ doesn't even want to open it anymore. I feel like I have no motivation to keep this app. One year goes by so fast, and I'm still immersed in the worries of graduation. This book has accompanied me through the sad time, the panic of graduation, and the boring days of World War II. Teacher Wuwuwu, I want you to update the article 😭 I will download it when you come back.