The relationship progression was mostly believable when considering the characters involved, but it could've used a bit more backing in the story. It makes sense logically that since Fu Lingyi had what appeared to be a deep hatred towards Yue Jin, Yue Jin would be very biased against believing that Fu Lingyu truly loves her, especially with the testing that Fu Lingyi does at the start. However, it would've felt more solid if we had gotten a bit more of Fu Lingyi actually demonstrating unusually high amounts of hatred for Yue Jin. In comparison, the worry about Fu Lingyi finding out she had kept her memories from the start may be a more silly worry from the outside, it's backed up by how much Fu Lingyi gets unhappy with Yue Jin for hiding things from her in the story.

Having the backstory split up into parts was a decent pacing mechanism and worked to integrate it into the story somewhat. However, sometimes the backstory is just inserted when the characters have a free moment rather than truly being integrated and triggered by related events. An example of integration is when Fu Lingyi stroking Yue Jin's head transitions from the memory of Yue Jin having her head stroked when she was picked up in the past. This sort of thing helps to make the backstory feel like it naturally comes up in the plot rather than being forced into the story. On the other hand, a lot of the backstory blurbs near the end of the book feel very forced. Many of these scenes are effectively introduced with "I know what happened, let me tell you", followed by a short comprehesive overview of past events, which feels awkwardly inserted for the sole sake of advancing the plot.

There are also events in the book that feel like they were resolved oddly. Sometimes, these are moments where the author chooses to advance the plot via comedy in a way that might not be expected for a more plot-focused scene. These are fine and a reasonable path for a book to take. An very cut-down description of an example is when a subvillain is about to silence the group, and the junior sister comes in. Instead of trying to take control of the situation in any way, the hidden villain is continually interrupted by the others talking and ends up stalling the scene until proof is given that exposes the villain, and only then does the scene really advance. The comedy does enough to smooth over the suspension of disbelief, and alters the tone enough that the scene works.

On the other hand, some scenes don't have this excuse. In general, a lot of the later scenes to do with the fortune telling sect leader associated with the Heavenly Dao feel like awkward ways to just push the plot forward and don't have enough distraction to hide it. This is where a lot of the problematic backstory blurbs come in, and in general while the "Heavenly Dao is mysterious, can't say everything" excuse worked well enough early on as a comedic limitation for the fortune telling characters, it was starting to wear pretty thin by the end.

In general the side characters also suffer from these problems. The side-CP did not get nearly enough to really flesh out the characters and ended up feeling like they didn't justify their screentime, even with the dedicated extra chapters. The fortune teller felt way too much like just a plot device. The demonic sect in general felt a bit flatter than it seemed like the story was intending, considering the occasional reference to deceased members. Finally, the villains were either completely flat or all their personality came from singular backstory blurbs.

After gaining her powers back she comes and takes FL as a hostage and imprisons her which is typical of obsessed lovers however FL makes her do loads of cutesy things like cook food and give her a massage and constantly makes her flushed and stutter due to her shamelessness where MC is just a little shook

the memory loss was brought again by MC so late into their relationship like you didn’t need too plus I did wish the reveal of MC being FL long lost playmate was also done faster