The Goddess Emperor's Modern Counterattack

The protagonist Shen Lizhou (Yang Qingxi) is not an ordinary time traveler. She carries the memory of thirty thousand years of cultivation and the Empress of the Nine Heavens, but she has no spiritual power. Her "golden finger" is not the system or the space, but the vision, scheming, insight into the human heart, and understanding of the laws of heaven and earth honed over 30,000 years. This is an extremely clever setting. She can see the details of people at a glance - not because she can read minds, but because she has seen too much. Those micro-expressions, small movements, and flaws in speech and behavior cannot escape her eyes. She sees things and can solve the puzzle with just a few words - not because she knows the future, but because she has seen too many similar chess games and knows the outcome of every move. This kind of "dimensionality reduction blow" is not a crushing pleasure, but a silent wisdom that moisturizes things. But what is even more rare is that the author did not take this path into a simple "splendid article". From the small restaurant in Linjiang District in the first volume, to the business district of the provincial capital in the second volume, to the cross-border expansion in the third volume, to the nationwide expansion in the fourth volume, to Kyoto in the fifth volume, and retreating behind the scenes in the sixth volume, the protagonist has been growing, but has been "degrading" - not a decline in cultivation, but a decline in figure. She fell from the nine heavens to the earth. This process of "landing" is precisely the most moving part of this book.

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