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Bianjing in the second year of Xuanhe's reign is a fading "Along the River During the Qingming Festival". Xu Chengye, who was waiting for an imperial edict from the Academy of Painting, was ordered to draw the "Picture of the Capital's Shape and Beauty", using gold powder and clouds to embellish the capital's prosperous past. However, Liu Ling, who grew up on the dock, grabbed his wrist and dragged him into the world on the back of the drawing paper - there were no fairy mountains and pavilions there, only the leaky shabby houses under the city roots, the frayed fingers on the grain boats, and the blood splashed when the horses were startled in the alleys. When the golden man's iron hoofs shattered the ice of the Yellow River, and when Qiu Jue's butcher's knife slashed at innocent people, the pen in Xu Chengye's hand could no longer draw only Ruihe. On the back of the white silk given by the emperor, he secretly traced the crumbling city walls and desperate sentient beings; between his power and conscience, he guarded a shady incomplete manuscript. This is a game about forgetting and remembering. When a city is broken, it can be remembered with paintings; when a dynasty is lost, it can be guarded by its soul. When Zhao Ji's thin golden body shines in the history books, Xu Chengye just wants to tell future generations: In Bianjing that year, in addition to auspiciousness, there was also wind and snow.