Old Gods, Tommy Guns, and Prohibition

This is wishful thinking about painting. Many people believe that they can become famous simply by traveling back in time and copying the works of random masters. Many urban romance novels suffer from this problem; it's like bringing modern clothing designs back to ancient times. The ancients won't think your designs are great; they'll just think you're a fool wearing outlandish clothes.

Chapter 5: Suddenly Driven by Lust?

The biggest problem with this book is that it likes to forcibly extend the lives of its opponents. It made the same mistakes during the free period and then made them again after the book was released. It can control others at will but just doesn't kill them and just plays around, which is a waste of my subscription.

The beginning and release were actually alright. However, it started strong but ended weak. It had an unhealthy, overly sentimental feel. Wasn't this supposed to be a wish-fulfillment story? The protagonist gets constantly crushed.

The premise of a mafia family developing under a Prohibition-controlled world, with a touch of mystery, is quite good. Having read up to chapter 60, I have a few points that I find problematic: First, the protagonist's assumptions about painting, believing that copying a few famous paintings makes him amazing and that he can paint anything he wants. Does he not know that Van Gogh died poor?

The plot involving copying paintings is truly speechless. When did "art" have standards for judgment? Isn't the biggest use of famous paintings for money laundering?

The plot is engaging and captivating, but there's one major flaw. If this flaw doesn't reappear later, it'll be on its way to becoming a top-tier story. But author, please stop with the hindsight bias! The initial plot was quite good; I was anticipating how the protagonist would resolve the crisis. Then, without any foreshadowing, you just give the protagonist a cheat code right there.

The protagonist attracts trouble wherever he goes, never finding a moment's peace. The depiction of making money is too crude, considering there are so many ways to make money in this turbulent era. The portrayal of the Godfather is also too shallow; the protagonist has to handle and arrange everything himself, like a constantly running high-level office worker.

The idea of ​​a bunch of gang leaders rushing to the front lines in the Saint Quantico incident is utterly absurd and illogical. If bootlegging was poisoned and the perpetrators were framed, wouldn't the gangs' usual approach be to deal with the scapegoat first, then issue a denial or create new conflict to divert attention?

In these two latest chapters, the tax bureau, as you've portrayed it, doesn't seem like a tax bureau at all; it's more like a secret service. Their audits rely entirely on reports, and you use this to give the protagonist room to manipulate the numbers on the reports using his "new" real name. That's incredibly strange.