5
1
2
1
1
1
1
1
Shakespeare will happily explore and discuss this Odyssey of Fated Hearts with you
Buckle your seatbelts and get ready to sacrifice sleep, because Fatal Hearts is not an adventure for the faint-hearted! Themes are strategically layered and already unfolding as you hit the ground running, once the opening song finishes. Each development deliberately concealing twists and surprises is akin to swift sharp action unleashed from various angles by deadly weapons.
Within eleven minutes of the opening episode, you are immediately hurled into battles where survival and bloodshed are necessary. By the end of two episodes, intriguing court politics, carefully-crafted dialogues and individual clashing personalities might leave you wordless at the unveiled web of audaciousness and subtleties recalling at least two titular works and multiple characters by Shakespeare.
You are Feng Suige, a combat-hardened cunning prince of schemes with more than an axe to grind about a parent. And what could be better than your arch-nemesis recently falling into your grasp? Most-decorated general of the enemy kingdom who nearly killed you with one arrow, inflicted humiliating defeat upon you, costing Susha many of your fellow soldiers in the Battle of Pingling- Scores must be settled. Traitors must be rooted out. Intriguing cliffhangers at the end of every episode must be dangled.
Will you stay to understand a smile and song of a warrior who must deal with internal foes, while hiding his true heart? Episodes 3, 4 and 5 might make you gasp or crack up at the enmity altered by the dynamics between two headstrong leads, hellbent on winning in various ways and leaving their marks.
Meticulous details in the sets and architecture convey specific moods, intricate and eye-catching. Whether it is Ning’an Palace, Wutong Mansion, Yujing City, Zhengnian Villa or Rongyang Palace, each location is notably different. Costumes and detailing are gorgeous and well-tailored, especially the hairstyles, headgear and wigs for male characters. These details are crucial to elevating the feel of every scene. Each episode consistently spoiling the viewers with sumptuous grandeur or abject starkness recalls the prose of “Dream Of Red Mansion”, a classic where the furnishings, settings and features are lavishly described, providing a feast for the senses. Cinematography and colour palettes are skilfully rendered. The end result is to feel submerged in a soothing bath easing off the stresses of the day, especially where flashbacks are employed to tie-in to the present.
Feng Suige is no moping Hamlet, despite being understandably hurt in certain incidents. This Regent of Susha continuously demonstrates why he is unpredictable and difficult to handle. As courageous as Mark Anthony in “Julius Caesar” is when betrayal finally cuts too close to home, and he must deal with a situation centred on his father. Fu Yixiao is not a wealthy Portia restricted by an over-protective father. Our commoner heroine courageously wields her wits and strategies as sharply as she dispenses her words, constantly on guard despite being significantly disadvantaged within enemy territory. Even when deciding to honour a temporary truce with her arch enemy, she is determined to find out certain truths. Tropes are introduced, transformed and mostly well-handled.
Having read the novel “Yi Xiao”, I heartily commend the screenwriters and directors for their detailed understanding of the original material, as well as many changes instituted to improve almost all the characters and many relationships, while instituting layers and motives to villains to render all charactersas realistically as possible. Any retained incidents from the novel are altered in terms of timeline or context. All this is done while balancing certain themes and specific traits of specific characters from the novel. As an example, what novel-Fu Yixiao did in chapter 11 was instead given to drama-Xiyang to carry out in a later episode. Since I understood the context of that incident in the novel, this strongly adds to the plot plus characterisation of Xiyang.
This drama is divided into three acts. The pacing of the plot and subplots are balanced and well-controlled. You might guess some of the subplots, but there are many twists you will not see coming. Given how enemy kingdoms Susha and Jinxiu are intertwined because of the characters involved, two parallel main plots eventually emerge for the third arc. Shakespeare created plays richly layered with multiple themes and deft barbs. The screenwriters for this drama did a splendid job of crafting a similar odyssey.
What is a father? What is a mother? Are parents always supposed to be honoured with filial piety? How do you define filial piety? Is there a limit which would make someone snap? What are the traits necessary to be a capable ruler? If and when someone claims revenge, is revenge justified? How do you reconcile what you know, with what you see and experience? Can fate be defied? What is destiny?
Much of the ensemble cast delivers solid performances. The actors portraying Lu Ke, Yun Fang, Yun Qing, Hound and Cao Yuan as Feng Suige’s soldiers are pivotal in many scenes. Physician Ling and Auntie An are frankly endearing.
As Murong Yao, Zuo Ye deserves a bigger role in future dramas for his depiction of being more than a filial son. This same recognition also applies to Qin Tian Yu, whose performance as the Emperor of Jinxiu is stellar. The Titans splendidly anchoring the supporting cast in micro-emoting and maintaining varying degrees of tension for their key roles are Zhao Bin, Eddie Chuang and Lu Xingyu as Emperor Feng Pingcheng, Prime Minister Zhuang and Murong Zhong. Due to these three veterans forming a crucial core across many episodes, the court intrigue and their impacts as fathers and leaders will capture and sustain your attention, while doing all sorts of oddities to your heartstrings.
Just as Liu Shishi nailed the badass attitude of a seasoned assassin at the top of her game, Li Qin spears the viewer with an unforgettable performance balancing fieriness, restraint and subtlety. Her intimidating icy glance and fearsome aura, combined with excellent fighting movements being deft and economically fatal, embody a seasoned warlord general as an almighty pain-in-the-ass against Susha publicly known as a formidable enemy for Feng Suige. If you want to recommend a female lead in a historical period C-drama as a convincing veteran of war to your military buddies, Li Qin is your practical go-to warrior queen who will also make you melt in later episodes. Also a sterling example of getting to the point and not accepting nonsense.
Can two enemies transform into good friends, resolve misunderstandings, become more than that? Improvements to a connection of two enemies agreeing on mutual usage develops naturally. It is a relief to have a mature couple able to communicate well and demonstrate strong partnership. Little details shared by our leads will soften your toes and bring a smile to your face. Possibly with a chuckle.
Buoyed by a mostly-terrific ensemble cast alongside an experienced leading lady who encouraged him with helpful tips as per the revelations of multiple BTS clips, Chen Zheyuan is the biggest pleasant surprise for me in this drama. I previously could not stand his acting, and I could never finish anything he starred in. Stylists adorned him with well-tailored robes and a well-chosen hairstyle for the wig. Chen Heyi also received similar love. Both actors have different physiques and when they are in the same scene, all that attention to tailoring differences for both actors plays a part in positive audience perception. Glad for the love by stylists and art directors showered on male characters in this cast! When a ML does not get such necessary attention, Jin Han in "Jun Jiu Ling" is an apt example of bad styling and hairstyles likely to throw viewers off and also affect the drama overall, even though he could act well and had enjoyable chemistry with Peng Xiaoran in that drama. I am generally immune to the aesthetic facial aspects of an actor, due to also enjoying plays in theatres where performance is everything eg. line delivery, stage presence and nuances, including knowing exactly when to exaggerate a specific line or words for delivery.
Chen Zheyuan's immersion in this role is laudably impressive, whereby the ruthlessness, cunning and tenderness of Feng Suige in facial expressions and body language is truly embodied. As a seasoned veteran of war and court intrigue, Feng Suige must be playful, arrogant, and ruthless by turns making him unpredictable, and hence deadly. Sharp quips mixed with heartfelt vulnerability never looked better. he doesn't always succeed in his planning, and he can make mistakes. His portrayal and appearance is truly a perfect foil and complement to Li Qin, whereby the chemistry between the leads is heartachingly sweet or sizzles to the point that I considered hiding my eyes more than once. Chen Zheyuan is responsible for the ADR of his character, and he should use his attractive deep voice for his future dramas. His performance snuck up on me especially with his voice, mostly-spot on line delivery plus enunciation, thus enabling Feng Suige to touch my heart and mind. I realised this only in episode 28.
Loftily imposing, Commander of the well-feared Feng Battalion who inspires constant respect and devotion from his men with his choices and actions of years, the Killer God of Susha is convincingly efficient and masterful in battle. His action sequences and combat moves are brutally sleek, especially when he uses his fists. He's a very handy warrior.
One of the best aspects of this drama is a refusal to over-rely on CGI camouflaging overly-simple wire work of limited moves, for fights and battles. CGI has been overused for many fights in many C-dramas after 2008 ("Dashing Youth" and the currently-airing "Dark River" are two of many examples), particularly in xianxia dramas. If you like watching kungfu or wuxia movies from the 90s and earlier decades, plus you also know your stunt choreographers alongside actors capable of martial arts (not just Jet Li and Jackie Chan)? To witness hard work and efforts of individuals in this drama is a huge welcome change from the usual C-dramas busting out too much showy emotionless CGI. The fight choreography is fast and furious, but at times could be minorly slowed down. And at times when it is intentionally slowed down, that slo-mo effect is not necessary. One could quibble that instead of using split scenes, being able to enjoy more of Li Qin and Chen Zheyuan during their fights filmed as entire sequences would have been a bonus because they are very natural in their movements (due to constant rehearsal and a lot of practice, according to one BTS clip). The fight choreographers needed more love. Ambushes and other combat situations are well-staged and executed.
As Fu Yixiao and Feng Suige, Li Qin and Chen Zheyuan have delivered roles as iconic as this drama. I look forward to their future projects. A special shout-out goes to Xia Meng truly understanding her role as Feng Xiyang from start to end, portraying certain differences and similarities between novel-Xiyang and drama-Xiyang. Growing up as Feng Suige’s most precious sister, she is an over-sheltered princess accustomed to everyone indulging her whims and decisions. As Princess of Susha and daughter of two former generals who established the Susha kingdom, Feng Xiyang is not Ophelia. Her determination to insist on a certain matter with the Prince of Zhennan from Jinxiu is based on certain personal beliefs. One choice sets her on a journey with irreversible repercussions and implications, for the finale of this drama and two kingdoms.
This drama is not without its flaws. When considering the overall execution of this drama in all aspects, it becomes easy and necessary to put aside certain medical observations, which is also what I did for “Bon Appétit, Your Majesty” (otherwise the drama would have ended in two specific episodes). These directors who helmed "Story of Kunning Palace", "Moonlight Mystique" and "Ashes of Love" (all of which I dropped, due to multiple issues) have minimised bloat in the storyline and significantly minimised certain individual annoying habits, such as a specific car-in-strobe-headlights tendency at the most inappropriate times in SOKP (but this Chang'e-might-go-blind trademark rears its head occasionally in this drama). Certain other trademarks of each director also appear across various episodes. Can you guess which Director is responsible for different amazing profile angles of Fu Yixiao? Editing could have been smoother for the second half of the drama.
Chen Heyi as Xia Jingshi needed to combine the chameleon charisma of Iago with conviction of Macbeth. Visually, he fits the role. He succeeded with the latter, but is less successful with the former. It would have been possible to conceal any acting weaknesses, if the Directors had altered emoting in details needed for certain scenes.
OP song at the beginning is overused. Greater restraint with BGM for certain songs is needed, but that is on the Music Director. The wind machine works overtime, depending on which actor you like to watch. I was not happy with one novel character being greatly altered until inconsistencies of said character for this drama could not be reconciled by the writers, but it has nothing to do with any ratings for this drama.
I enjoyed the OST for the rich symbolism and imagery woven by the lyrics. Sa Dingding’s vocals will depend on your taste. Each song is akin to a mini-poem in itself. To finish, I provide the following links:
Changes between novel and drama (first 33 chapters versus first 16 episodes) and if you have questions, ask away: https://kisskh.at/discussions/768987-wan-xin-ji/145636-novel-versus-drama-differences?pid=3405970&page=1#p3405970
Why a specific arc is crucial after episode 28, including why Feng Xiyang, Feng Suige and Fu Yixiao are equally important at the ending: https://kisskh.at/768987-wan-xin-ji#comment-23851132
~*~*~*~*~
This is a timelessly rare historical period C-Drama heavy in action and multi-layered scheming, with the most fascinating twists and touchingly tender scenes of romance. The last time I was this engrossed with a historical period C-Drama was "The Empress of China", where scheming and story pacing with a strong talented ensemble cast had me hooked. Truly one for adults without dumbing down to the viewers, directors and screenwriters and cast members allow every character to reveal realistic motives and realistic flaws. Post-production is also admirable. Unfortunately as an A-Budget drama, they ran out of money for promoting this drama, but the end results are gripping and captivating. Did I mention the young male actors for Feng Suige, Xia Jingshi, Xiao Weiran, Feng Chengyang and Xia Jingyan are all at least 180 cm or taller?
If your occupation involves inner dealings of people (and how negotiations may or may not work out, due to mindsets involved), you know how people can be many shades of grey, both noble and ignoble and not always lofty or shallow in negatives or positives. All this is entertainingly fleshed out over 38 episodes. An additional 2 episodes for certain supporting characters plus the third arc would help. Best to meet these people through a drama as a viewer, instead of finding out in RL.
Shakespeare would have fun with this, while possibly inspired to devise a new play.
Enjoy the adventures! Prepare the snacks! Eat dinner first! Potentially have towels on standby! Get ready to rejoice, fume, swoon, marvel, mope, and be surprised at emotions evoked by hearts that you are fated to connect to!
Within eleven minutes of the opening episode, you are immediately hurled into battles where survival and bloodshed are necessary. By the end of two episodes, intriguing court politics, carefully-crafted dialogues and individual clashing personalities might leave you wordless at the unveiled web of audaciousness and subtleties recalling at least two titular works and multiple characters by Shakespeare.
You are Feng Suige, a combat-hardened cunning prince of schemes with more than an axe to grind about a parent. And what could be better than your arch-nemesis recently falling into your grasp? Most-decorated general of the enemy kingdom who nearly killed you with one arrow, inflicted humiliating defeat upon you, costing Susha many of your fellow soldiers in the Battle of Pingling- Scores must be settled. Traitors must be rooted out. Intriguing cliffhangers at the end of every episode must be dangled.
Will you stay to understand a smile and song of a warrior who must deal with internal foes, while hiding his true heart? Episodes 3, 4 and 5 might make you gasp or crack up at the enmity altered by the dynamics between two headstrong leads, hellbent on winning in various ways and leaving their marks.
Meticulous details in the sets and architecture convey specific moods, intricate and eye-catching. Whether it is Ning’an Palace, Wutong Mansion, Yujing City, Zhengnian Villa or Rongyang Palace, each location is notably different. Costumes and detailing are gorgeous and well-tailored, especially the hairstyles, headgear and wigs for male characters. These details are crucial to elevating the feel of every scene. Each episode consistently spoiling the viewers with sumptuous grandeur or abject starkness recalls the prose of “Dream Of Red Mansion”, a classic where the furnishings, settings and features are lavishly described, providing a feast for the senses. Cinematography and colour palettes are skilfully rendered. The end result is to feel submerged in a soothing bath easing off the stresses of the day, especially where flashbacks are employed to tie-in to the present.
Feng Suige is no moping Hamlet, despite being understandably hurt in certain incidents. This Regent of Susha continuously demonstrates why he is unpredictable and difficult to handle. As courageous as Mark Anthony in “Julius Caesar” is when betrayal finally cuts too close to home, and he must deal with a situation centred on his father. Fu Yixiao is not a wealthy Portia restricted by an over-protective father. Our commoner heroine courageously wields her wits and strategies as sharply as she dispenses her words, constantly on guard despite being significantly disadvantaged within enemy territory. Even when deciding to honour a temporary truce with her arch enemy, she is determined to find out certain truths. Tropes are introduced, transformed and mostly well-handled.
Having read the novel “Yi Xiao”, I heartily commend the screenwriters and directors for their detailed understanding of the original material, as well as many changes instituted to improve almost all the characters and many relationships, while instituting layers and motives to villains to render all charactersas realistically as possible. Any retained incidents from the novel are altered in terms of timeline or context. All this is done while balancing certain themes and specific traits of specific characters from the novel. As an example, what novel-Fu Yixiao did in chapter 11 was instead given to drama-Xiyang to carry out in a later episode. Since I understood the context of that incident in the novel, this strongly adds to the plot plus characterisation of Xiyang.
This drama is divided into three acts. The pacing of the plot and subplots are balanced and well-controlled. You might guess some of the subplots, but there are many twists you will not see coming. Given how enemy kingdoms Susha and Jinxiu are intertwined because of the characters involved, two parallel main plots eventually emerge for the third arc. Shakespeare created plays richly layered with multiple themes and deft barbs. The screenwriters for this drama did a splendid job of crafting a similar odyssey.
What is a father? What is a mother? Are parents always supposed to be honoured with filial piety? How do you define filial piety? Is there a limit which would make someone snap? What are the traits necessary to be a capable ruler? If and when someone claims revenge, is revenge justified? How do you reconcile what you know, with what you see and experience? Can fate be defied? What is destiny?
Much of the ensemble cast delivers solid performances. The actors portraying Lu Ke, Yun Fang, Yun Qing, Hound and Cao Yuan as Feng Suige’s soldiers are pivotal in many scenes. Physician Ling and Auntie An are frankly endearing.
As Murong Yao, Zuo Ye deserves a bigger role in future dramas for his depiction of being more than a filial son. This same recognition also applies to Qin Tian Yu, whose performance as the Emperor of Jinxiu is stellar. The Titans splendidly anchoring the supporting cast in micro-emoting and maintaining varying degrees of tension for their key roles are Zhao Bin, Eddie Chuang and Lu Xingyu as Emperor Feng Pingcheng, Prime Minister Zhuang and Murong Zhong. Due to these three veterans forming a crucial core across many episodes, the court intrigue and their impacts as fathers and leaders will capture and sustain your attention, while doing all sorts of oddities to your heartstrings.
Just as Liu Shishi nailed the badass attitude of a seasoned assassin at the top of her game, Li Qin spears the viewer with an unforgettable performance balancing fieriness, restraint and subtlety. Her intimidating icy glance and fearsome aura, combined with excellent fighting movements being deft and economically fatal, embody a seasoned warlord general as an almighty pain-in-the-ass against Susha publicly known as a formidable enemy for Feng Suige. If you want to recommend a female lead in a historical period C-drama as a convincing veteran of war to your military buddies, Li Qin is your practical go-to warrior queen who will also make you melt in later episodes. Also a sterling example of getting to the point and not accepting nonsense.
Can two enemies transform into good friends, resolve misunderstandings, become more than that? Improvements to a connection of two enemies agreeing on mutual usage develops naturally. It is a relief to have a mature couple able to communicate well and demonstrate strong partnership. Little details shared by our leads will soften your toes and bring a smile to your face. Possibly with a chuckle.
Buoyed by a mostly-terrific ensemble cast alongside an experienced leading lady who encouraged him with helpful tips as per the revelations of multiple BTS clips, Chen Zheyuan is the biggest pleasant surprise for me in this drama. I previously could not stand his acting, and I could never finish anything he starred in. Stylists adorned him with well-tailored robes and a well-chosen hairstyle for the wig. Chen Heyi also received similar love. Both actors have different physiques and when they are in the same scene, all that attention to tailoring differences for both actors plays a part in positive audience perception. Glad for the love by stylists and art directors showered on male characters in this cast! When a ML does not get such necessary attention, Jin Han in "Jun Jiu Ling" is an apt example of bad styling and hairstyles likely to throw viewers off and also affect the drama overall, even though he could act well and had enjoyable chemistry with Peng Xiaoran in that drama. I am generally immune to the aesthetic facial aspects of an actor, due to also enjoying plays in theatres where performance is everything eg. line delivery, stage presence and nuances, including knowing exactly when to exaggerate a specific line or words for delivery.
Chen Zheyuan's immersion in this role is laudably impressive, whereby the ruthlessness, cunning and tenderness of Feng Suige in facial expressions and body language is truly embodied. As a seasoned veteran of war and court intrigue, Feng Suige must be playful, arrogant, and ruthless by turns making him unpredictable, and hence deadly. Sharp quips mixed with heartfelt vulnerability never looked better. he doesn't always succeed in his planning, and he can make mistakes. His portrayal and appearance is truly a perfect foil and complement to Li Qin, whereby the chemistry between the leads is heartachingly sweet or sizzles to the point that I considered hiding my eyes more than once. Chen Zheyuan is responsible for the ADR of his character, and he should use his attractive deep voice for his future dramas. His performance snuck up on me especially with his voice, mostly-spot on line delivery plus enunciation, thus enabling Feng Suige to touch my heart and mind. I realised this only in episode 28.
Loftily imposing, Commander of the well-feared Feng Battalion who inspires constant respect and devotion from his men with his choices and actions of years, the Killer God of Susha is convincingly efficient and masterful in battle. His action sequences and combat moves are brutally sleek, especially when he uses his fists. He's a very handy warrior.
One of the best aspects of this drama is a refusal to over-rely on CGI camouflaging overly-simple wire work of limited moves, for fights and battles. CGI has been overused for many fights in many C-dramas after 2008 ("Dashing Youth" and the currently-airing "Dark River" are two of many examples), particularly in xianxia dramas. If you like watching kungfu or wuxia movies from the 90s and earlier decades, plus you also know your stunt choreographers alongside actors capable of martial arts (not just Jet Li and Jackie Chan)? To witness hard work and efforts of individuals in this drama is a huge welcome change from the usual C-dramas busting out too much showy emotionless CGI. The fight choreography is fast and furious, but at times could be minorly slowed down. And at times when it is intentionally slowed down, that slo-mo effect is not necessary. One could quibble that instead of using split scenes, being able to enjoy more of Li Qin and Chen Zheyuan during their fights filmed as entire sequences would have been a bonus because they are very natural in their movements (due to constant rehearsal and a lot of practice, according to one BTS clip). The fight choreographers needed more love. Ambushes and other combat situations are well-staged and executed.
As Fu Yixiao and Feng Suige, Li Qin and Chen Zheyuan have delivered roles as iconic as this drama. I look forward to their future projects. A special shout-out goes to Xia Meng truly understanding her role as Feng Xiyang from start to end, portraying certain differences and similarities between novel-Xiyang and drama-Xiyang. Growing up as Feng Suige’s most precious sister, she is an over-sheltered princess accustomed to everyone indulging her whims and decisions. As Princess of Susha and daughter of two former generals who established the Susha kingdom, Feng Xiyang is not Ophelia. Her determination to insist on a certain matter with the Prince of Zhennan from Jinxiu is based on certain personal beliefs. One choice sets her on a journey with irreversible repercussions and implications, for the finale of this drama and two kingdoms.
This drama is not without its flaws. When considering the overall execution of this drama in all aspects, it becomes easy and necessary to put aside certain medical observations, which is also what I did for “Bon Appétit, Your Majesty” (otherwise the drama would have ended in two specific episodes). These directors who helmed "Story of Kunning Palace", "Moonlight Mystique" and "Ashes of Love" (all of which I dropped, due to multiple issues) have minimised bloat in the storyline and significantly minimised certain individual annoying habits, such as a specific car-in-strobe-headlights tendency at the most inappropriate times in SOKP (but this Chang'e-might-go-blind trademark rears its head occasionally in this drama). Certain other trademarks of each director also appear across various episodes. Can you guess which Director is responsible for different amazing profile angles of Fu Yixiao? Editing could have been smoother for the second half of the drama.
Chen Heyi as Xia Jingshi needed to combine the chameleon charisma of Iago with conviction of Macbeth. Visually, he fits the role. He succeeded with the latter, but is less successful with the former. It would have been possible to conceal any acting weaknesses, if the Directors had altered emoting in details needed for certain scenes.
OP song at the beginning is overused. Greater restraint with BGM for certain songs is needed, but that is on the Music Director. The wind machine works overtime, depending on which actor you like to watch. I was not happy with one novel character being greatly altered until inconsistencies of said character for this drama could not be reconciled by the writers, but it has nothing to do with any ratings for this drama.
I enjoyed the OST for the rich symbolism and imagery woven by the lyrics. Sa Dingding’s vocals will depend on your taste. Each song is akin to a mini-poem in itself. To finish, I provide the following links:
Changes between novel and drama (first 33 chapters versus first 16 episodes) and if you have questions, ask away: https://kisskh.at/discussions/768987-wan-xin-ji/145636-novel-versus-drama-differences?pid=3405970&page=1#p3405970
Why a specific arc is crucial after episode 28, including why Feng Xiyang, Feng Suige and Fu Yixiao are equally important at the ending: https://kisskh.at/768987-wan-xin-ji#comment-23851132
~*~*~*~*~
This is a timelessly rare historical period C-Drama heavy in action and multi-layered scheming, with the most fascinating twists and touchingly tender scenes of romance. The last time I was this engrossed with a historical period C-Drama was "The Empress of China", where scheming and story pacing with a strong talented ensemble cast had me hooked. Truly one for adults without dumbing down to the viewers, directors and screenwriters and cast members allow every character to reveal realistic motives and realistic flaws. Post-production is also admirable. Unfortunately as an A-Budget drama, they ran out of money for promoting this drama, but the end results are gripping and captivating. Did I mention the young male actors for Feng Suige, Xia Jingshi, Xiao Weiran, Feng Chengyang and Xia Jingyan are all at least 180 cm or taller?
If your occupation involves inner dealings of people (and how negotiations may or may not work out, due to mindsets involved), you know how people can be many shades of grey, both noble and ignoble and not always lofty or shallow in negatives or positives. All this is entertainingly fleshed out over 38 episodes. An additional 2 episodes for certain supporting characters plus the third arc would help. Best to meet these people through a drama as a viewer, instead of finding out in RL.
Shakespeare would have fun with this, while possibly inspired to devise a new play.
Enjoy the adventures! Prepare the snacks! Eat dinner first! Potentially have towels on standby! Get ready to rejoice, fume, swoon, marvel, mope, and be surprised at emotions evoked by hearts that you are fated to connect to!
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