Sunbath12

Justice and Power

After witnessing the brutal massacre of his family and loved ones, Zhinu, the son of Kuai Duo, the Imperial Astronomer, embarks on a harrowing journey of seeking vengeance. Rescued by a mysterious masked benefactor and taken under the wing of some peculiar masters, he is trained in the art of strategy and deception and becomes Zang Hai. As he fatefully sets foot inside the Capital, he discovers the true price of vengeance. Will he escape the entangled web of spies and agents seeking power and a means to silence him forever?

Legend of Zang Hai is led admirably by Xiao Zhan, who puts forth one of his best performances to date as the vengeance-driven but conflicted Zang Hai, who deep inside bears an earnest heart and yearns for something genuine despite his years of learning to live a lie. He is surrounded by friend and foe alike, brought vividly to life by a large ensemble cast. Huang Jue as the Marquis is particularly noteworthy - the villain you can't help but want to watch more of. Liang Chao as master Gao Ming makes a poignant mark on the audience, particularly in his final moments. And Zhang Jingyi as the feisty princess of Dongxia gives another lovely understated performance, of which a highlight is a romantic boat scene with Zang Hai.

While Zang Hai's revenge story is complete, the world presented here is intriguing enough for another season or another drama exploring more regarding its more mystical and fantastical elements. But its realistic approach - the depiction of imperial government and its corruption and the very real complicated humans who make up such government - is what makes this drama really shine for me. Hoping for more dramas like this one who take the time to flesh out dimensional characters and probe deeper into questions about human nature, justice and the illusion of power.

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Finding light after a long dark

The world of Dahuang can be a cruel and harsh place, as royal cousins Xiaoyao and Cang Xuan learn bitterly at a young age. Orphaned, lost, and tortured for many years, XY eventually hides herself in the small Qingshui Town working as the town healer of sorts. Also orphaned and forced to live as a hostage in a foreign kingdom, CX spends his early life fending off his murderous uncles. Fate brings him to Qingshui Town disguised as a winemaker. He and XY eventually reunite, but will they be together forever?

In that fateful town, XY meets and saves the gentle Tushan Jing, who she calls Ye Shiqi. He too has his own tale of betrayal and torture at the hands of his half-brother Hou. Nearby is the enigmatic and seemingly harsh Xiang Liu, caught in his own struggle with his past and devotion to his adoptive father. These figures are forever intertwined as they are thrust onto a high-stakes adventure of fighting for a better, kinder future while at all times fighting for their own survival.

I would have liked to see season 2 first before writing this review, but at this point it may be a while before it comes out. As it stands, however, season 1 has a clear story arc focusing on XY and CX's endeavors to win the latter the Xiyan throne, so as a standalone season, it mostly works. There are a lot of other characters and themes that will need S2 to round out their arcs fully, particularly for TSJ, who ends S1 in a bit of a miserable state. I hope to write more about TSJ after S2, as he is one of my favorites. His kindness and genuine love for XY are a bright light in this often dark tale of very complex people trying to make the best of an unkind world.

The cast bring the story to life, and the writing is satisfyingly solid throughout the whole drama. No useless fillers or characters in this tale. Music and production are memorable, with the rare bits here and there of questionable CGI. Bring on season 2!

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A long good-bye

Adapted from a very long novel, of which only a small portion is captured here in this drama, The Immortal Ascension follows an ordinary mortal named Han Li on his journey of cultivation. Along the way, he encounters friend, foe and everything in between, as he discovers that seeking immortality and power is not even the half of it.

This is a world that builds slowly - perhaps too slow for some - but the climax and finale are thrilling enough to leave an indelible mark with just enough emotional weight and depth to carry the whole drama (or should I say, season). Certain aspects of the story and characters are a bit underdeveloped, but an adequate foundation is laid to build upon characters and themes in subsequent seasons - if only that were an easy task.

Just as Han Li says good-bye many times to several characters - many of them female admirers - we too as the audience must say a long good-bye until hopefully another season or two or three can hopefully be made.

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What endures

This is a great addition to the demon-hunting/solving cases genre, with some real attempts at probing some deeper themes and not just a light-hearted romance or adventure story. The first half of the show has a more eerie, creepy vibe that I found more interesting, while the second half did suffer a bit of being too long-winded and sentimental. However, overall, this is a rewarding watch for fans of the cast and period dramas in general.

While the ending may leave some dissatisfied, when considering this genre historically in Chinese literature and mythology, it is not a surprising one. It also matches the overall tone of the drama - hopeful yet always with a tinge of sadness. Bittersweet, as some would say. Such is life, and such are the lives of many in this show. Only love perhaps can endure all bitterness and heal all wounds, but it may take time or a lifetime to find such love that can overcome all.

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To be continued

While this is an entertaining follow up to season 1 of Joy of Life, the story and themes do not resonant as well this time around. There are simply too many threads and characters to follow that much of the season can feel like going from one plot point to another. The set up from the end of the first season is that the main antagonist for this season should be the Second Prince. And while the schemes and back and forth between Li Chengze and our lead Fan Xian can be interesting to watch, ultimately it all feels somewhat inconsequential since not enough time is spent on fleshing out our antagonist's character. He simply begins and ends this season the same person, and the audience does not learn any more about his motivations or see his struggles (if he has any). He, like the Eldest Princess, is simply crazy bad. Other characters are sorely underused such as Yan Bingyun or woefully underdeveloped (and unfortunately miscast) such as Ye Ling'er.

The more interesting character is that of the Emperor of Qing, Fan Xian's true biological father. I suspect (as I have never read the very lengthy novel) that he will be the main antagonist in the final chapter. Chen Daoming as usual gives a masterful performance of the very complex character who keeps his true intentions close to himself.

This is all not to say I did not enjoy season 2 - I certainly did. Some of my favorite episodes involve the Spring Exam and the downfall of Prime Minister Lin and the scenes Fan Xian shares with the emperor. The middle chapter of any story can be challenging to adapt. There is no real beginning or end, and I feel that lack of narrative focus when I watch this. Everything deeper was already said quite well in season 1, and I was hoping for its own story to tell in this season. I get the sense that this season is more of a set up for the final one to come, and hopefully we all get a satisfying conclusion.

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Bold, epic with a slight stumble to the end

There is a lot to love about this drama - it is epic in scope and dares to tell a complicated tale not only of love but also of friendship, duty to one's country and respect for your fellow man (or woman). Above all, it features many complex characters that develop throughout, notably several strong female characters including our fearless female lead, Ren Ruyi (played by Liu Shi Shi).

Ren Xin, a former deputy leader of the Scarlet Guards of the State of An, is framed for the death of Empress Zhaojie and forced to reinvent her identity as Ren Ruyi. While on her own quest to avenge the Empress, Ruyi comes across Ning Yuanzhou (Liu Yuning), himself also the former deputy leader of the State of Wu's Liudao Pavilion (a sort of spy organization not dissimilar to An's Scarlet Guards), who is busy trying to leave the world of court politics behind. They find themselves working together and join the diplomatic entourage bearing special envoy Prince Li (who is actually Princess Yang Ying in disguise) to An to rescue the Emperor of Wu.

While the story may sound complicated on paper, it is actually quite easy to follow and watch, a testament to the strength of the show's writing and performances. Particularly in the first half of the drama, with the entourage's long journey as the framework for the show, we get a terrific balance of adventure, exciting fight sequences and character development. Under Ruyi and Yuan Zhou's guidance, Yang Ying (He Lan Dou) transforms from cowardly princess to steely prince in what is to me the most satisfying and interesting arc of the entire show. Along the way, we also get to know NYZ's gang: the pretty playboy Yu Shi Shan (a hilarious Alen Fang), kind and cheerful Yuan Lu (Chen You Wei), stoic and loyal Qian Zhao (Wang Yi Zhe), and lover of all furry things Sun Lang (Li Huan).

At midway, the drama sags a bit when Li Tong Guang (relative newcomer Chang Hua Sen) meets up with the rest of the cast as his character devolves into an injured puppy in what is probably the least desirable arc of the show - his obsession over his former master Ren Xin. I would not have minded a few episodes of this, as I understand what the writer was probably going for. Having suffered a difficult childhood and losing his mother and master during his youth, I can see why he would latch onto his master at their reunion, but 10 episodes of this is overwrought and threatens to undermine his character's development from boy to man and from general to de facto leader of a nation. Fortunately, LTG's scenes with Yang Ying towards the end of the drama somewhat salvage things for me. But it is a bit too little too late.

Then we have the final 6 episodes or so, which zoom by at a more frenzied pace, making one wish perhaps less time spent on obsessive LTG would have translated to a smoother build to the climax and a more satisfying conclusion. And while I enjoy Chu Yue's (and Chen Hao Yu's performance) scenes with Yu Shi Shan, from a writing standpoint the story did not really need her character in there to work. Personally, I would have liked the ending scene to have included YY and LTG instead. Looking at the narrative and characters, these two are the most affected by our main leads, and lacking a conclusion (or at least some kind of denouement) to their story is a disappointment.

Ultimately, however, the many merits of this drama outweigh the downsides, and this is one you do not want to miss for this year if only for the truly great creation of many strong, multifaceted female characters (including villains). If I had watched this before Story of Kunning Palace (to which I gave a 9), I probably would have rated Kunning lower, as this is by far the superior of the two recent costume dramas in terms of story, characters, performances and music.

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I enjoyed this one a lot when it came out in 2021. It's a great slow-burn romance, which might be frustrating to some because the leads do make mistakes initially. Their missteps threaten to undo their relationship altogether, but it's a journey worth watching as they learn to trust and love one another wholeheartedly. Additionally, great chemistry and acting from the leads, bolstered by a wonderful supporting cast and memorable soundtrack, help move the story along.

It's not all about romance - life for a woman in the Ming dynasty is hard. The opening shot of the 1st episode lays out one of these main issues/themes: the difference between the legal wife/children and the "illegitimate". This plays out throughout the whole drama, with some to tragic ends and others with heartwarming journeys of redemption and reconciliation. Highly recommend, also a great one to rewatch.

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Cycle of darkness

This is a remake of the French show La Mante, which I never had the chance to watch. Judging this drama on its own terms, it is a serviceable police procedural and psychological thriller, but neither sub genre is truly explored in a satisfying manner. In fact, the show manages to make the police team main cast very unlikable for nearly the entire duration. Whether it is a lack of leadership from the chief to some genuinely annoying characters such as detective Bae, the police team spend a large amount of time displaying unusual incompetence and illogical decision-making skills.

On the psychological front, there is an attempt to address the very real-world impact poverty and abuse can have on its victims, but I found it hard to connect with many of the characters emotionally - with the exception of perhaps Park Min Jae and of course our Queen Mantis herself, played with commanding presence by Go Hyun Jung. Unfortunately, I found the copycat killer reveal and story somewhat formulaic - I think trying to keep it a mystery box until the end without showing enough "clues" ahead of time made it difficult for me to believe it in the end. The set up of our male lead character was also lacking - I think if we were shown more of his youth/past and struggles with his hidden identity, I would have related more to him.

All in all, worth a check if you like the genre, but do not expect a truly gripping thriller. Also as a warning, there is plenty of gore and portrayal of abuse of many forms, including child abuse, so tread carefully there if that is an area of sensitivity for some viewers.

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Life imitating art

This wuxia and transmigration drama may look great on paper - solid cast, great choreography for the fights, and a transmigration storyline - but its execution is much more mixed. The use of transmigrating a character from modern day to ancient China is not a new story device, and here, it indeed feels stale and underused. I found that it did not add much to the overall storyline. If it were completely removed from the story - everything would have flowed just fine.

As far as wuxia goes, the story does attempt to bring out some classic elements - the brotherhood, the chivalry, and the search for a more just world, but not everything melds together well. For a whopping 40 episodes, it seems like not a whole lot is explored more deeply whether it is character arcs or thematic developments. For a cast featuring Cheng Yi at the helm and a slew of many other experienced actors, it is a bit of a wasted opportunity.

The fights are truly exhilarating - and it is still worth checking this out for this and for some great moments of drama scattered through the duration of the story. The soundtrack boasts a few great tracks from various singers, but the instrumental music is a hit or miss for me.

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Ahead of the times

Adapted from the novel of the same name (大生意人), this drama ambitiously tries to cover a lot of ground and time in only 40 episodes. Having not read the novel, I can judge the drama on its merits alone. And there is certainly a lot to admire about this lavishly produced period drama set from the Taiping Rebellion during the Qing dynasty all the way to the early days of revolution before the Republic of China. Shot on location for the most part with a generally naturalistic and accurate-to-history approach to costumes, makeup and styling, Legend of the Magnate is a welcome break from the manicured and somewhat derivative idol period dramas coming out of Chinese drama land these days. Performances are also more raw (everyone is using their own voice here too as far as I can tell) and real, with some very moving sections of the story.

The story starts off with a bang in the frigid cold of Ningguta as Gu Pingyuan makes a thrilling escape from exile. From there, the story slowly begins to lose focus as more and more strands of storylines are introduced, making it harder on the audience to connect emotionally with every strand. Some storylines were more effective for me than others. Whether you agree or not with the romance, the Li Cheng and Bai Yimei storyline was striking for me. Serving tea to Empress Dowager Cixi - while completely farfetched - was also thrilling. Unfortunately, the latter part of the drama had some of the weaker storylines. The British characters were not developed enough to make me feel much by the time the last couple episodes came along. Female characters that were so impactful and gripping to watch (Ms. Su and Chang Yu'er) in the first half have less to do in the latter half.

All in all, this is worthy period drama to catch if one appreciates a more grounded production with a generally more well-written script (with better dialogue and performances than the usual idol dramas of today). But this story could have either been expanded to allow for better development of certain storylines or eliminated sections that did not elaborate on the core characters - some of whom I feel were underused by the latter third of the story.

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Learning to live

This drama has all the main elements of a typical romantic comedy, but it covers topics you may not expect to find. Overcoming a learning disability, navigating social norms and when life collides with them, and dealing with difficult family relationships are some of the main themes we get to dive into. Some moments are a bit over-the-top, and some story elements remain underdeveloped, but it's an overall pleasing watch compared to many rom coms out there.

At the story's heart are two seemingly very different people from very different walks of life who connect deeply with each other - brought to life by Kimura Fumino and a surprisingly compelling Murakami Raul Maito. Bolstered by a strong soundtrack and a memorable supporting cast, this is one drama to check out this year if you love romantic comedy but with a poignant message (or several) attached to it.

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I've loved you for both lifetimes

This is a great romance drama - and it's been a while since I've watched a Japanese one in this genre that was so satisfying in terms of writing and chemistry. I have not yet watched the Korean original, but this one is an enjoyable watch from beginning to end, with a love story that has poignant moments and good old palpable romantic chemistry between the leads. The rebirth and psycho thriller elements involving the antagonists are well-incorporated into the story - just don't expect anything super extraordinary there in terms of writing. At least there is an attempt to make the villains more dimensional than most idol dramas. Definitely on the of the best for me this year in terms of Asian dramas.

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The strength of women

One story split into two parts, this second half that follows Flourished Peony suffers somewhat from contradictory draggy parts and underdeveloped plot lines for an overall uneven effect. The production quality and performances are the same as the first part, but the defects in the story writing become more apparent here. The drama is blend of a serious historical drama with more idol drama elements, and while it may work for some seeking a story about women empowerment, the sometimes lack of realism made it hard for me to fully enter into the drama. Mudan is simply too capable and strong to believe, and blending her story with Jiang Chanyang's more political story elements is a bit awkward at the end, becoming a bit preachy and sentimental.

However, Yang Zi, Li Xian and the rest of the cast put up some great performances throughout, making it worthwhile to finish this story. It is in the more domestic, intimate scenes between characters that this drama really shines. The costumes and sets are lush, and a pretty solid soundtrack accompanies in the background.

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Love and revenge

This is a very watchable short drama with a very straightforward story but done well with its limited budget. A satisfying revenge story with characters you can care about coupled with a romance that is done quite tastefully and actually has some palpable chemistry - these are elements that even standard-length period Chinese dramas often fail to achieve.

Cristy Guo gives a solid performance as the complex Mo Qingchuan, and Zhou Zhan is perfectly cast as the younger Xia Qiguang, who makes a great counterbalance to Qingchuan's character with his earnestness and unyielding faith in a just, brighter world.

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