This review may contain spoilers
Masterpiece in story-telling, political intrigue, and acting
After watching Nirvana in Fire, it makes almost everything else hard to watch. It is indeed that good.
The first thing I notice about its writing that I find phenomenal is the script. The dialogue is natural and fitting for the time period. Many dramas (Joy of Life, The Untamed, The Long Ballad, etc.) will adapt their script to fit what a modern Chinese person hears perusing through a city. While that increases accessibility and makes it easier for me to watch half-heartedly, I think the script enhances the immersibility (obsolete English word when describing "obsolete" Chinese language) of the drama.
The second thing that I think is unparalleled (even in Korean, Japanese, and other C-dramas) is the storyline. There is an overarching goal— Mei Changsu's revenge for the Chi Yan Army— that holds together and is driven by all the minor subplots, giving the drama a sense of direction. Moreover, I find many Chinese dramas try to use "killing to silence (杀人灭口)" as the solution when confronted with political scheming; it solves the problem quickly but undermines the plot's complexity. Conversely, many of the subplots that are explored in "Nirvana in Fire" are moments or character decisions based largely on anagnorisis, symbolic meaning, and "exposure".
For this to be the case, Mei Changsu inevitably has to be a "cliche" genius. However, his character is lovable and fresh despite that for his reflections, guilt, and humanity that many strategists "are forced to give up." His relationship with the side characters are complex; they are not reduced to "everyone revolves around the protagonist" (besides Mu Nihuang, possibly, though I think her character gives Mei Changsu humanity). Everyone else— including the side characters— have their own complex motivations and personalities. They are not strategists just to introduce a "genius" into the plot; they are characters, which albeit not going through growth, chase their dreams and ambitions to their glory or demise.
Finally, I have to commend the performances in this drama. Victor Huang gave an impeccable Prince Yu (who is a complex and tragic character, though relatively unlikable), Liu Yijun brought the despicable Xie Yu to life, Ding Yongdai delivered a layered yet unpretentious performance for the Emperor, and Liu Min Tao brought to life the motherly (and impossibly intelligent) Consort Jing (who is also one of the better written female-characters in revenge driven plots, even when they're female led).
Nirvana in Fire does not have flashy CGI. The costumes aren't dripping with glitter and no one will vomit blood. However, there's still tension, restraint, humanity, everything you need in a drama despite that. Each episode builds upon the last. Sometimes, I find shows to be entertainment, and other times— like with Nirvana in Fire— I find them to be art.
The first thing I notice about its writing that I find phenomenal is the script. The dialogue is natural and fitting for the time period. Many dramas (Joy of Life, The Untamed, The Long Ballad, etc.) will adapt their script to fit what a modern Chinese person hears perusing through a city. While that increases accessibility and makes it easier for me to watch half-heartedly, I think the script enhances the immersibility (obsolete English word when describing "obsolete" Chinese language) of the drama.
The second thing that I think is unparalleled (even in Korean, Japanese, and other C-dramas) is the storyline. There is an overarching goal— Mei Changsu's revenge for the Chi Yan Army— that holds together and is driven by all the minor subplots, giving the drama a sense of direction. Moreover, I find many Chinese dramas try to use "killing to silence (杀人灭口)" as the solution when confronted with political scheming; it solves the problem quickly but undermines the plot's complexity. Conversely, many of the subplots that are explored in "Nirvana in Fire" are moments or character decisions based largely on anagnorisis, symbolic meaning, and "exposure".
For this to be the case, Mei Changsu inevitably has to be a "cliche" genius. However, his character is lovable and fresh despite that for his reflections, guilt, and humanity that many strategists "are forced to give up." His relationship with the side characters are complex; they are not reduced to "everyone revolves around the protagonist" (besides Mu Nihuang, possibly, though I think her character gives Mei Changsu humanity). Everyone else— including the side characters— have their own complex motivations and personalities. They are not strategists just to introduce a "genius" into the plot; they are characters, which albeit not going through growth, chase their dreams and ambitions to their glory or demise.
Finally, I have to commend the performances in this drama. Victor Huang gave an impeccable Prince Yu (who is a complex and tragic character, though relatively unlikable), Liu Yijun brought the despicable Xie Yu to life, Ding Yongdai delivered a layered yet unpretentious performance for the Emperor, and Liu Min Tao brought to life the motherly (and impossibly intelligent) Consort Jing (who is also one of the better written female-characters in revenge driven plots, even when they're female led).
Nirvana in Fire does not have flashy CGI. The costumes aren't dripping with glitter and no one will vomit blood. However, there's still tension, restraint, humanity, everything you need in a drama despite that. Each episode builds upon the last. Sometimes, I find shows to be entertainment, and other times— like with Nirvana in Fire— I find them to be art.
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