Zhan Zhao Adventures (2026)

Tales of Friendship, Resilience and Hope for a Better World

Zhan Zhao Adventures is truly a fitting name for this drama. It starts with a journey and ends in one. The drama does not attempt to overexplain his past or make assumptions about his future but quietly acknowledges that it’s a small part of Zhan Zhao’s long adventures.

ZZA has a classical old school wuxia setting with a blend of historical elements. The storytelling is linear and feels grounded and realistic with lots and lots of intense and brilliantly choreographed fighting scenes. The story follows the journey of three strangers who accidentally met in the Jianghu and through many hardships and trials became each other’s closest confidants. The best part? We can see their stories unfold in front of our eyes and feel their bond deepen in real time. Their bond is not told through stories and flashbacks but seen through arguments, bickering, understanding and constantly having each other’s backs.

The lack of romance might be a dealbreaker for some but personally, it’s one of the best parts of this drama. The lack of romantic entanglements enables the story to properly explore the depth of the bonds between the leads and fully portray the beauty of platonic relationships. And the cast really did an amazing job portraying the nuances of their characters and relationships.

Honestly, Zhan Zhao has my heart. Unlike many people, Yang Yang’s portrayal of Zhan Zhao is my first introduction to this character and I’m already in love. Zhan Zhao carries so much depth and is so incredibly strong – not just in martial arts skills but also, there is incredible strength in his resilience, in his kindness, in his maturity, restraint and faith. His decision to not kill is not rooted in superficial principles but in the hope for a world where justice is equal for everyone and isn’t reserved only for people who can take it with their sword. It’s a decision he is forced to question again and again but still chooses it every time because no one person’s morals can be above the law.

Zhan Zhao is not just a typical good guy with idealistic principles, he’s exceptionally layered and feels so real. And I cannot praise Yang Yang enough for bringing Zhan Zhao to life. Zhan Zhao is good but not naïve - he understands the difficulties, he faces loss, he griefs, he gets hurt, he gets tired and yet, he endures, he gets back up and moves forward. His every action, small or big, is a testament to his strength, resilience and kindness. Stretched between the free-spirited jianghu and the suffocatingly bureaucratic court of law, Zhan Zhao represents the best of both worlds.

Bai Yutang’s headstrong and impulsive nature is a refreshing contrast to Zhan Zhao, and it was really fun to watch them bicker and try to navigate their different personalities. Their relationship dynamic has to be my most favourite part of this drama. Their characters are written really well and is one of the rare instances when developing the second male lead didn’t take away from the male lead but quietly elevated their character. It was fun to see Bai Yutang wreaking havoc and throwing tantrums, but it was also incredibly moving to see Zhan Zhao dealing with him with so much patience, maturity and kindness.

I also love how Huo Linglong’s personality matched both Zhan Zhao and Bai Yutang so well. She was always understanding of Zhan Zhao’s actions but also had a rebellious streak which complemented Bai Yutang’s impulsive nature. She is strong, perceptive and curious, and I think not having a love interest really allowed Linglong to be her own person and pave her own path; it gave her a chance to truly see the world like she always wanted and develop authentic relationships.

The pacing was more or less good even if I watched the first few eps in a somewhat lukewarm state but once I got hooked, it got better. The plot takes a little time to fully be grasped but is aptly tightly woven without any fillers. The writing is done well, and the drama did a good job of balancing the development of plot and characters so that it doesn't feel very plot heavy despite having many elements. The supporting characters are also written well and makes the story more fun and interesting.

Overall, this drama is definitely worth watching but may not be for everyone. If you love action with realistic fight scenes, mystery and investigation dramas with character-driven stories of friendship and growth and are willing to take your time to understand and appreciate the theme and depth of the characters and plot, Zhan Zhao Adventures offers a refreshing and grounded take to our regular wuxia dramas and is really a great watch.

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Purple Rain

Dusk settles with a tinge of red bleeding into the darkening blue skies, and purple rain weeps over the hilly, undulating landscape—foreshadowing bloodshed. On this rainy jiāng hú night, dangerous men seek libation and shelter from the storm at a remote inn, apparently at ease but with weapons close at hand. A harmless exchange rapidly escalates into violence—the loss-of-life-and-limb kind of violence—in the blink of an eye. Linglong, a young lady fleeing marriage and thirsty for adventure, bravely intervenes to rescue a mute boy and my dog. An inscrutable lone swordsman, his chiseled features half-hidden by a dǒulì (斗笠), watches impassively. When he enters the fray, he is at a disadvantage—injured and far from invincible. Yet the lithe, latent power and efficiency in his motions convey that he is still not to be underestimated. The stage is set, and the stakes are real. I was hooked—and not just because my dog opened the show.

Zhan Zhao Adventures is a thrilling and atmospheric old-school mystery wuxia. The melancholic, rain-swept opening reflects the Chinese title 雨霖铃 / Yǔ Lín Líng (Rain Bells), a classic Song dynasty ci poem about Emperor Xuanzong's grief-stricken flight during the An Lushan Rebellion—of mournful carriage bells ringing in the rain, reminding him of his beloved consort Yang Guifei. In the context of the drama, it evokes the political intrigue and struggles Zhan Zhao faces as he weighs justice for his lost friend against duty, and the cost of being a hero in a flawed system. The drama is adapted from fanfic writer minifish's reimagining of the beloved classic Qing dynasty wuxia The Seven Heroes and Five Gallants (七侠五义, Qī Xiá Wǔ Yì), featuring the core heroic ensemble that helps Judge Bao fight corruption and solve cases. In minifish's alternate universe, Judge Bao remains firmly offscreen; the story hones in on Zhan Zhao and Bai Yutang's famous rivalry, sidelining and friend-zoning Ding Yuehua. The female lead, Huo Linglong, is a minifish creation.

This is an action-oriented, largely plot-driven story, and on those fronts, it delivers spectacularly. Zhan Zhao teams up with Linglong and Bai Yutang to unravel a deeply entrenched conspiracy that has spun a vast web of influence across jiāng hú's most influential sects and corrupted the nation's most important bureaucracies. Together, they must discover and disarm the Four Divine Lords, who each spearhead one leg of the conspiracy and operate semi-independently to avoid exposure. While this kind of court intrigue plot has been done before, and the final villain's motive lacks depth and gray morality, his power play is well structured to cover the crucial military, financial, civil, and martial aspects. Though not overly convoluted, some character digressions in the middle arcs distract from the overarching plot.

The action is the drama's strongest feature—old-school, classic martial arts choreography: grounded, fast-moving, fluid, and intense. Everything I expect of this genre and more. The sharp contrast between Bai Yutang's wildly aggressive, hard-hitting, and tricky combat tactics and Zhan Zhao's more restrained, composed, and defensive approach is immediately visible. Yang Yang's prowess and finesse at pulling off fantastic stunts himself in long, continuous fight sequences has won wide and well-deserved praise. I just want to highlight that Fang Yilun held his own in a way that also impressed me. Zhang Ruonan is the weak link, with her heavy use of body doubles and unconvincing, floppy, wobbly fight sequences. Less would have been more.

Where the narrative stumbles is in the character arcs—they are not that well written and weigh on the pacing of the plot. While I enjoyed the camaraderie and spirit of adventure among the trio, Linglong strikes me as a rather aimless character fleeing an unwanted marriage with no goals or motivations of her own. While romance shouldn't drive the plot in a wuxia, I wouldn't have minded if she tagged along simply because both her and Zhan Zhao's hearts were stirred. Bai Yutang is an opposite character to Zhan Zhao, whose core strength and fatal flaw is how he colors outside the lines. His is the more interesting role, and I would have liked to see more of his famous rivalry with Zhan Zhao before they fell into such an effortless bromance. Unfortunately, both his and Linglong's backstories are not that well told and are clumsily integrated into the middle plot arcs. The narrative fails to sell both Bai Yutang's connection to his brother and Linglong's to her aunt/gūgū. The supporting roles were mostly miscast—I could not connect the child actors with the adult actors' grief and devastation. The narrative digresses too long into their moping, Linglong and Yutang's conflict felt contrived, and the twists were overly convoluted in the Jin family/poison arc.

From the start, Zhan Zhao is already a fully realized character, so this is not about a hero's journey. The narrative heavily leans on the Chinese audience's deep familiarity with the character and only touches upon Zhan Zhao's origin story in the final arc, making his ethos difficult for international audiences to relate to. Yet the production's claim that only Yang Yang could have pulled off this role is no exaggeration. Beyond his ability to deliver technically flawless fight scenes, he simply looks the part of that solitary, chivalrous 大侠 (dàxiá)—the knight-errant who sticks to his ideals in the face of grief and extreme provocation. That said, while his acting continues to improve, Yang Yang doesn't quite convey the character's inner layers. This is partly a script issue, where too much lip service is paid to the ideal of legal justice as opposed to vigilante justice. It is all tell, not show. Judge Bao doesn't appear, so we never get to see Zhan Zhao's legal justice actually work onscreen. This leaves the false impression that justice was not served and the bad guys won. In this, the finale message left me even more confused—for it seemed to make the case for street justice instead.

All that said, I enjoyed the action-packed finale. Even though it wasn't the best fight scene, it was pretty damn good. There were some tears, some fears, its share of good and bad deaths, and a thought-provoking kind of justice. Most of all, it respects audience intelligence and is quite clear without quite spelling out everything.

Overall, this is one of the best classic mystery wuxias I have watched in years and deserves an 8.5/10 from me.

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