Xiang83

The Journey of Xiao Ming Ming as Xiao Qiushui:

After watching 40 episodes, titular challenges faced by our male lead encapsulates the transformation of a well-venerated 1980 wuxia novel incorporating clumsy ham-fisted insertions of modern transmigration ideas not in the novel. End result is a half-smouldering rainbow millefeuille cake of badly-botched icing atop layers of horribly questionable decisions during production and post-production by directors, at least one main screenwriter, and the post-production team.

Kudos to the choreographers for at least half the wuxia scenes which will naturally drain a gigantic portion of the budget, but could not save numerous issues plaguing this production, thus resulting in my heartfelt sympathies for the cast especially Cheng Yi.

For the first two episodes, camera work was languid, insufficiently varied, and insipid. These crucial episodes needed to convey a certain sense of unfamiliarity transformed into growing emotional intimacy and familial responsibility, exciting energy of the sect and household he found himself in, plus a sense of grandeur and urgency when the fight scenes with Feng Tianyi came in.

Xiao Ming Ming’s role is the most difficult and important to interpret for the first quarter of the drama, and certain nuances must be clearly conveyed through clever storytelling and intelligent editing. Specific directions needed to be given to the ML to nail the characterisation of a spoilt youngest son with notable inner workings eventually becoming the saviour of the pugilist world.

Scriptwriters and directors failed in these crucial aspects, which had me wondering why Cheng Yi was channelling at times Li Lianhua from “Mysterious Lotus Casebook” within the first five episodes of this drama. Xiao Qiushui needs to be wholly different from Li Lianhua for at least thirty episodes. A family meal demonstrating how Xiao Qiushui interacted with family members would give insight into good and bad aspects of his two brothers and save them from being one-dimensional victims of lazy writing, but also allow the ML to convey an inner monologue to the audience about a decision of recognising these strangers as people he will protect and honour as his own family and uphold their sect values for the sake of the pugilist world, even though this world confuses and unsettles him.

This would set a clear believable transition when Xiao Ming Ming from the modern era was not yet able to portray Xiao Qiushui as the leader he would eventually become, also helping viewers avoid the impression of Xiao Ming Ming unrealistically adapting without issues to a very different world.

These two crucial first episodes were further blighted by lighting and colour grading issues such as a flat midtone, resulting in green screens becoming obvious for certain types of scenes. Filters were overused, especially for Cheng Yi. The plot is not flowing coherently when one scene switches to a different scene. Too much music and unnecessary sound effects affected the emotional impact or energy or scenes. Main theme was overused until the final two episodes. Music cannot improve a problem with comedic execution eg episode 1, starting at 15:53.

Episode 3 is when Xiao Ming Ming’s arch-nemesis responsible for his fundamental emotional transformation enters the lives of the Shenzhou Sworn Brotherhood. Liu Suifeng’s story unfolds much more smoothly and strongly, in all its complex aspects and portrayal. Scenes not related to Liu Suifeng’s story demonstrate a fundamental problem of telling the audience what to know in a boring 1-2-3 manner or not having sufficient continuity, rather than creating an organic natural flow where one part of the story leads into the next stage with clear direction and purpose.

Characters needing more screentime were introduced and killed almost instantaneously or relegated to the sidelines, while certain characters should have their overall screentime reduced (Tang Fang and Qiushui’s two brothers). Reducing screentime does not mean a character’s complexity, importance and emotional connections to other characters cannot be conveyed.

This primarily depends on interactions with other characters and/or a specific short scene revealing a character’s motivations and values, to achieve similar objectives in clever storytelling and intelligent editing for the final results. There is also debate as to whether Xueyu, Tang Fang, Qiushui’s two brothers, and the Shenzhou Sworn Brotherhood should have been portrayed by different actors and actresses.

If I wanted a strong ensemble cast to match the stronger actors and elevate this drama, my answer is yes. However, given how poorly these characters were written and directed for this drama (unless you change all screenwriters plus directors early in the production stages or by the end of ten episodes), I do not want other actors and actresses to suffer what these actors and actresses did not deserve from critics for their hard-working efforts.

This drama does best when the transmigration elements are completely irrelevant.

Episode 18 was excellent. Emotionally rock-bottom after being wracked by all the losses he has had to witness and shoulder, Xiao Mingming realises the difficulty and responsibility of being Xiao Qiushui. No modern device or experience can prepare him for this episode. Qiushui has become completely fixated on Liu Suifeng in that kind of intense wuxia way (totally platonic) on a true rival and complete enemy. A vengeful unethical Liu Suifeng has poisoned him with unrelenting drive of zero mercy, playing a cat-and-mouse game to make Xiao Qiushui snap. Animosity and other emotions fuelling their duelling makes the excellent choreography even more unforgettable.

Cheng Yi is completely in his element throughout this episode. Embodying determination, rage, sorrow, despair, despondency, our hero does not have a single positive moment here. Your heartstrings will survive the melody of anguish triggered by his heartfelt understanding. Your neutrality won't survive until the end of this episode, if you must choose between Liu Suifeng and Xiao Qiushui.

Some wuxia concepts were thrown out the window within 21 episodes. Xiao Qiushui’s insufficient struggles in skill mastery plus incredible luck in obtaining the skills and power bestowed upon him made no sense. The all-powerful top pugilist Crazy Yan had once ingested the Infinite Pill. Despicable Shao Liulei possessing the Yang half of the Infinite Pill was introduced, only to be killed off quickly by a non-descript character after forcing Xiao Qiushui to swallow the Yang pill. Xiao Qiushui was saved from the effects of the Yang pill by the bite of a white serpent. Even though the "Yin" properties of snake venom is known in TCM (traditional Chinese medicine), that knowledge is not going to convince me Xiao Qiushui's woes from the Yang pill could be miraculously and permanently solved with one bite.

Once Shao Liulei was dumped from the drama in episode 21, I was convinced there were two MLs of equal importance: Cheng Yi and Xu Zhenxuan. ML levelling up with 60 years of internal energy and saved by a random snake bite was too much for me to swallow. In this same episode, we are introduced to Liu Suifeng's suffering and cause of loyalty, grounded in willingness to do anything and everything to get stronger and repay the debts to his benefactors. Engaging episode involving bad contrast decisions by the production team for the two MLs. The screenwriters, directors, and post-production team urgently needed to be replaced by this episode. This led to remaining episodes being put on hold, until enough episodes could be accessed together as a finish.

Episode 10 onwards is when Cheng Yi’s performance improved significantly, only to be continually plagued by unevenness of the first ten episodes whereby his portrayals of Xiao Ming Ming and Xiao Qiushui were not given crucial consistent directions needed from the Directors. Directors are responsible for fulfilling the creative vision of a drama or movie and in this case, there appears to be a disagreement during the process and at least one of them obviously had severe myopia. Xiao Qiushui’s character growth needed to be divided into four acts and Xiao Qiushui needed more scenes with specific characters such as Li Chenzhou included in this drama, which did not happen. Was Liu Suifeng originally supposed to have such an extensive role, and how does this extensive role benefit Fushanhai? Screenwriters, why did Liu Suifeng give up on his revenge? This change of mindset was not believable after episode 35, given the episodes that portrayed Liu Suifeng as an individual hellbent on his agenda and revenge for the sake of justice.

We have pugilist masters constantly channelling internal energy or skills to Xiao Qiushui. I could understand the Wudang and Shaolin masters doing so, given their plights. When it came to the eight pugilists transferring their skills to Xiao Qiushui in episode- Oh heck, I don’t feel like fact-checking this specific detail, because the story by this point was so uninspiring I could not care what happened to Xiao Qiushui, Tang Fang or any other characters in the drama including Crazy Yan. Xiao Qiushui’s fight with Crazy Yan was spellbinding, and Chi lam was under-utilised for this drama because his scenes also ended up on the cutting floor.

Episodes 34 to 40 are indescribable. I wanted Xueyu and Crazy Yan to have a story because they shared strong chemistry portraying a significant emotional connection in their few scenes together, only for them to be killed off in a lame fashion. Li Chenzhou and Zhao Shirong came to a sad end, which can also be interpreted as karma for all the evils carried out by the Power Gang. On one hand, I was touched to see Liu Suifeng and Song Mingzhu have a happy conclusion, but on the other hand I was puzzled as to why Liu Suifeng did not get retribution for all the evil things he had done. Why is the Power Gang excused for its evils by Xiao Qiushui? I am not even going to linger on the ultimate villain, because it is impressively mind-boggling as to how a noteworthy villain is rewritten into a generic forgettable character whose one standout factor is being icky to rouse your squash-the-predator-flat urge.

Too many production and post-production flaws from the crew result in one hyper-focusing on Cheng Yi, which means his ability to give a nuanced performance becomes unfairly lambasted in the scenes where the acting of his co-stars cannot rise to the criteria of a scene, such as the crying scene while Tang Rou was dying in episode 8.

Choppy editing and poor storytelling resulted in poor adaptation of the novel. A mess of subplots with too many loose ends and plotholes tying into the main plot lacking adequate deftness of interpretation and omissions from the screenwriters and directors delivered the overall fundamental and final blows to Cheng Yi’s Xiao Qiushui appearing inconsistent, including lines he had to deliver. Many of these lines were severely lacking in the richness and beauty of what could be conveyed in Mandarin from a wuxia novel. Seriously, find me something memorable or inspiringly noteworthy of his lines from the first twenty episodes in Mandarin. You'd have better luck fetching water with a sieve.

TJOL is literally the best showcase drama of how a ML’s portrayal of the key character and novel adaptation has been primarily botched by too many production issues and post-production decisions making me question the extent of the source material grasped by the screenwriters and directors, including the final choices of scenes to exclude or include for the drama.

By the time Cheng Yi walked off into the distance in peaceful white, I was relieved to see the end of this drama and him permanently free of an unsatisfactory ending. As to said ending, look at the scenes of Xiao Mingming before he finishes as Xiao Qiushui. “Vendetta of An” is a not-yet-aired drama that I believe will do justice to him, and I say this as someone who is not a fan of Cheng Yi but enjoyed seeing him alongside Joseph Zeng and Xiao Shunyao in MLC. I am also very relieved to stop seeing playing of the guqin being butchered by the likes of Sanchai.

All other criticisms pertaining to post-production issues being too numerous have already been touched upon, such as recycled costumes and too much applique on lightweight fabric resulting in cheap-looking wardrobes. All this, I place squarely on the shoulders of the production and post-production teams. Some people believe the cast is more important than the likes of directors, screenwriters and other crew members. I hold directors and screenwriters to be as important as the cast, which means I give them their due or otherwise.

Would I rewatch this? For the story of Liu Suifeng, yes. For the story of Xiao Qiushui and other characters? Only in the novel. In order to start and finish this series for maximum enjoyment, you have to know nothing about wuxia, or be a super-avid fan of one of the actors/actresses and/or watch everything while intentionally ignoring your inner critic.

That said, try watching this once. Any transmigration elements are alien to this world, the screenwriters were not up to the task in the writing of certain characters, and any irritating characters are part of Cheng Yi's journey to overcome as Xiao Mingming becoming Xiao Qiushui. There is always beauty to enjoy in a drama and despite flaws, you may find yourself inspired or thinking of details previously not considered.

If I were blunt about a title for this review? "Fifth Wall: How Cheng Yi's biggest obstacles in becoming Xiao Qiushui slammed into-"

This drama should have utilised the directors, screenwriters and teams of “Mobius”, “A Dream Within A Dream” or “The Tower of Whispers”. The camerawork and technicalities, storytelling, acting portrayals aided by excellent directing and riveting cinematography is much stronger in those dramas, and would have greatly benefitted this cast significantly needing strong specific directions for a very-complex plot and crucial characterisation layers.

For those who enjoyed this drama, that’s wonderful. For those who struggled to finish, I hope this summary helps you in trying for the finish line.

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Outstanding under-rated C-drama Of 2025: What It Means to Protect

How does one summarise a powerful litany of experiences and ideas, well-paced and masterfully conveyed by gripping performances in an espionage thriller of skilfully engaging camerawork, enabling you to feel as if you must navigate and survive a maze of threats, risks and circumstances? 17 episodes flew by. Suspense, intrigue, humour, tenderness… The simplest interactions and occasions can rouse your heart, shove your heart in your mouth, keep you riveted! I include vital history in my review, as to why 35 episodes of narrative excellence and strong plot-points are bolstered through award-worthy performances anchored by three leads and a fine ensemble cast. I heartily recommend this for literary discourse and/or anyone wanting to learn/refine the nuances of acting.

You do not need to know the background and settings of this Republican-era drama focused on espionage and the lives of spies intertwined with ordinary citizens, to enjoy this. Wars can be fought and lost or won with pen and numbers, moreso than guns and bombs. If you want to truly grasp the realism of this drama, here is the fundamental picture which affects how our characters make decisions throughout the drama:

In 1939, Shanghai’s International Settlement was an espionage hub for many powers such as the Japanese, Americans, British, Soviets, etc. The national government of China was the ruling party of Nationalist Kuo Min Tang (KMT) under the leadership of Chiang Kai-shek, recognised by Western powers. The KMT had an intelligence arm named Bureau of Intelligence and Statistics (BIS). In 1939, Wang Jingwei chose to establish a Japanese-backed KMT government in Nanking, deliberately splitting from Chiang Kai-shek’s government.

During this time, the second Sino-Japanese War was ongoing. The Second United Front was a fragile alliance of necessity formed between the Chinese Communist Party (led by Mao Zedong) and KMT to resist the Japanese, a collaboration marked by mistrust and conflict. Japan participated in World War II from 1939 to 1945, as a member of the Axis which also included Italy and Hitler's Germany. In the mid-1940s against the Japanese, the war of resistance was not going well. KMT armies could only hold them at bay for a period of time before being ordered to retreat, or they would be crushed. Due to Chiang Kai-shek ordering KMT forces to retreat from the frontline, Communists who typically engaged primarily in guerilla warfare had to step in and mobilise the population behind Japanese lines, becoming the only power to fight the Japanese invasion and thereby growing exponentially with influence and power amongst fellow citizens.

During World War II, many Japanese soldiers were cruel and condescending towards citizens of many of those countries they invaded, including countries of South-east Asia and also within East Asia. Being brutalised, humiliated, and enduring the likes of starvation was the norm. Entire families were ruined. Being strongly anti-Japanese to the point of calling Japanese people all sorts of names and hating anything Japanese during those times was unsurprising and understandable, in countries such as Malaysia and Singapore and South Korea. The trauma is so bad that some survivors today cannot bring themselves to eat Japanese food or enjoy anything Japanese:

https://www.straitstimes.com/life/food/i-still-can-t-bring-myself-to-eat-japanese-food-how-wwii-shaped-the-eating-habits-of-a-generation

https://www.lowyinstitute.org/the-interpreter/ghosts-japan-s-occupation-malaysia

Not understanding how reviled the Japanese were amongst many countries suffering under Japanese occupation during World War II is to ignore a vital major portion of history which affects how people make choices in any country, including China. Repelling the Japanese and driving them out was a key desire of ordinary people. KMT's history of mistakes during this time included the New Fourth Army incident, KMT forces blockading areas run by the Communists and making skirmishes against Communist guerillas instead of fully coordinating against the Japanese invaders. This understandably drove people of multiple areas and countries to choose the faction(s) which they viewed as willing and able to protect them and stand up for them and get rid of the Japanese invaders.

It is against this backdrop that Gu Yangshan of BIS seeks Joseph Lee (a fellow mathematician who graduated from Oxford with him) aiding the Japanese in a special cipher system and codes creating ongoing consequences affecting certain warfronts. Ding Yi lives with a theatre troupe and as someone who isn’t part of the primary cast nor given the roles he seeks, decides to do more for himself outside the troupe by agreeing to a certain role that has him interacting with the Japanese while earning extra money on the side.

Ignorance and Intelligence clash and mingle in the first episode, with unavoidable consequences. Gu Yangshan and Ding Yi have very different personalities. Their interactions are never boring. Elvis Han Dongjun and Zhang Yishan are electrifying onscreen as individuals or together, be it restraint or anguish or wittiness or a myriad of moods shifting so quickly and naturally that Ding Yi’s awakening, growth and changes for the sake of self and country are organically charismatic. When the leader of the theatre troupe Xian Biyun is forced to step in, the dynamic duo’s realistically bumpy path of co-operation and disagreements is further enhanced by Zhang Tian Ai’s commanding participation as a capable female actress hiding a lot more than she appears to be.

The BGM is a feast for the senses when employed, such as Violin Concerto No. 2 in G Minor ie "Summer" from Vivaldi to start episode 3, where Gu Yangshan steals the opening scenes of the situation. Music does not overwhelm or interrupt vital moments of this drama, allowing performances to be vividly entrenched within your senses. The supporting cast splendidly rises to the occasion whenever they come on-screen.

In episode 9, Kenichi Miura as Takeda-san is a terrific nuanced villain creating tension that truly catches you off-guard. In episode 10, an award-winning performance of subtlety deftly segueing into emotions and rawness between Zhang Tian Ai and Roy Wang is etched into my memory: https://kisskh.at/753455-shou-hu-zhe-men#comment-23624462

In episode 11, Li Bo Yao as Tian Hao caught me for multiple reasons: https://kisskh.at/753455-shou-hu-zhe-men#comment-23625206

In episode 12, the mood changes. Ding Yi and Gu Yangshan’s brotherhood is wonderfully endearing: https://kisskh.at/753455-shou-hu-zhe-men#comment-23674228

Hongyu. Old Gu. Luo Han. Long'er. You won’t forget their names. There are so many moments and incidents throughout this adventure across the episodes I want to highlight, but must restrain myself. All I can say is that I have never been so touched and emotionally manoeuvred into feeling for all the three leads and supporting cast characters. A birthday celebration. Taking a photograph together. A hug. A promise. Honouring sacrifices.

“Beloved” was an enthralling crime-thriller cemented with vital psychological issues. “This Thriving Land” carved an indelible mark into my consciousness. “The Guardians” will rob you of words and haunt you into seeking language for your story experiencing its depths of beauty and pain and joy. You may find yourself wanting to adapt traits or mannerisms of Charlie, Ding Yi’s evolving Li Yue Se, Xian Biyun’s careful blend of strengths utilising feminine finesse and flirtation and firmness, and more.

Directors Yang Wenjun, Shi Luan, Yuan Yuchen and the main screenwriter Zhang Ji deserve to be toasted with the finest wines. They should win at least one award from one of three prestigious award ceremonies, due to their skilful surgical precision and balance in script and directing to reel you in, hook your emotions and arrest your mind. Themes are revealed with precision, lessons nailed without mercy. Internal foes and external enemies are deadly. Underestimation is costly.

Zhang Yishan is an outstanding actor who sets the bar, Elvis Han Dongjun tops it, Zhang Tian Ai matches Elvis Han, and then Zhang Yishan surprises you again (and not just because he plays more than one character). All of them deserve more lead roles and exposure in other genres of C-dramas. These main leads complement each other very well, undeniably captivating when solo yet able to further elevate each other in shared scenes. Whether together or apart, you can feel their bonds. You will live, laugh and cry with them. You will not expect the ending.

I promise your heart will get a workout like no other, discovering an extensive vocabulary of emotions for many unexpected situations and people. A smile. A bullet fired. Amidst debris and joy, the bittersweetness of survival and winning while losing, and vice versa. Humbled. Aching. Relieved. Gut-wrenching. Uplifting. Negotiate and navigate, to survive. Impossible to let go.

This is a masterpiece comprising twists, turns and dialogue further augmenting the character portrayals prepared to unexpectedly stun you. Selected music used throughout this drama and not part of the OST are sadly not collected into an album. OP is excellent. ED embodies the setting and spirit of all who exist in this drama. Sterling efforts of cast and crew solidly ensure the three Cs of laudable camerawork, cinematography and chemistry are timelessly preserved.

As to thoughts of fellow MDL viewers, I’d like to share Alien’s feelings and observations: https://kisskh.at/753455-shou-hu-zhe-men#comment-23908494

Each lead carries growing burdens and responsibilities. They can make mistakes which others pay for. Each of them desires to make everything work, for those they value and those they want to keep safe. They do not want to lose themselves. And yet… Duty. Country. Circumstances shape choices and convictions. And sometimes, you choose because you must, not because you want to. You don't have to agree with their choices. You are here to understand how and why things start and end.

The historical backdrop I highlighted plays a significant part of this story realistically influencing decisions, especially if you watch this not understanding anything about the KMT and CCP and World War II, and hence ignorantly label this drama as "propaganda" when people wanted to live and save their loved ones and get rid of the Japanese invaders starving and humiliating them, and would naturally be affected by changing circumstances to choose the faction(s) that could achieve all those.

I usually do not like Republican-era dramas. When I finished episode 35, all I could think was: I'll have to figure out how to retrieve my heart another day. That song which plays at 13:56, the camerawork for Ding Yi and Gu Yangshan and flashbacks until 17:15.... Perfection. Then flowing again into the tension and flow of this drama... The acting of Zhang Yishan, Elvis Han and Zhang Tian Ai is fantastic. The dialogues in this episode are amazingly maintained, even with the supporting cast. And at the end... I'm not even sure how I'm going to write a review for what I have watched. What an experience. At this point, still my C-Drama of 2025.

The incredible unforgettable《無數》(Countless) by 薛之謙 (Joker Xue) is perfect for 13:56 to look back at everything (the translation matches the sentiment, and this is a great song) pertaining to the life of spies and/or patriots:

“There’s a place that’s real
With colours only some eyes can see
Where nobody has any pockets
No need to carry anger or sorrow
Please tell me you really exist
Crossing mountains and rivers to restart everything
Please grant me a life of freedom and ease
and end this goddamned trading game!

During countless times of sinking lives
Why does a ship still arrive from distant tides
Carrying a truth as simple as a child
Showing justice wrought with bare hands
In the countless times I have sunk
willing to bear the criminal names of courage
In all my countless failures
Why do you still journey through storms with me
In a parallel story I will never let you down
What can I use to prove I exist?”

You make a choice, you live your convictions, you save lives, and you change history.
Others will not know you exist.
But we will remember.

This is the story of such men and women: The Guardians.

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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!

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Everyday lives are worlds of scars and stories that collide in unexpected ways, to create-

A case in "Beloved" unfolds simply enough in episode 1, where Captain Zhou must investigate and solve a mystery involving Qu Tong and her husband.

This drama is a crime thriller with strong psychological underpinnings. The life of each character is revealed organically through their interactions and memories. Director Mao Kunyu wants you to figure it out for yourself with deft camerawork and clever cinematography showcasing rawness and grit, and experience what he feels for each of his characters in a story comprising stories which lives and breathes through past and present interactions.

The main cast and supporting cast turn in compelling strong performances, including the cast in guest roles. Solid performances by Luo Jin and Yin Zhusheng makes one think of still waters running deep, and the actresses are just as compelling in their roles. Chen Jin and Ai Liya touched many emotions as two very different mothers of two characters conveying how love influences and compels these mothers to choose what they do, where elicited emotions were positive and negative as intended.

Yu Nan as Captain Zhou is stoic, sympathetic, tough and carries her own issues. Is Qu Tong misunderstood? Is Qu Tong responsible? What happened? The tops are spinning. Which tops will go awry, and which remain upright?

The OST of four songs is perfectly matched to the drama. The music for《陀螺》Spinning Top by folk singer 万晓利 makes you feel as if you want to relive halcyon days of past and bring them into the present with you, but listening to the lyrics will give you something more. The ending song《达摩流浪者》by the same artist is a soulful song from the 2006 album 《这一切没有想象的那么糟》, encouraging you not to lose hope on the path that you walk, and not to stop. A live performance of《 达摩流浪者》by Wan Xiaoli in 2018 captures the essence of what it means to live, and to keep reaching for the sun which will come out one day after the storms and dark clouds have had their say. Excellent choice for the start and end of this drama unveiling the creations and processes of trudging through a riveting landscape of darkness, suspense and scars, from the eyes of different people more fortunate or unfortunate than the viewer. Two more instrumental songs for this drama are also by Wan Xiaoli.

If you want to indulge your investigative abilities, pay attention to episode 1 with the eyes and emotions of a detective.

In short, WATCH THIS and you won't regret it. The case has many twists and bends more intricate than any spinning top. This gigantic topper of a case contains many spinning tops, and is so much more than an investigation. The angles of the human psyche revealed in every episode will make you think and ponder what it means, to be human and how to deal with suffering and wounds. The human condition is simultaneously resilient and fragile, and you will come out with a different sense of what it means to look at a stranger walking past you, as a fellow human. We each compose our own stories and although we cannot control everything including unfairness or horrible things unexpectedly happening, we can steer our ships to better shores as much as humanely possible. Without jumping too hastily to conclusions. A new day will come. And you'll want to get there with those who care for you. True love triumphs, in all the ways that is quiet, heartfelt and teary.

Ps. Never underestimate the power of a hug or wanting to be hugged. Go make someone's day!

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Guo Jing Ming’s ambitious tribute to Tsui Hark: How did it turn out?

Having watched it fully and then rewatched this more than six months after it finished airing, I suggest this method to balance utmost enjoyment alongside addressing any quibbles: Absorb at least twenty episodes of what unfolds with no expectations while revelling in the cinematography, intricate embellished costumes, gorgeous BGMs and lush sets accompanying an interesting group of humans and demons. Utilise patience for at least twenty episodes even when noticing any plot-holes, characterisation issues, and details clashing with each other within the first four episodes and beyond.

Tsui Hark’s movies and certain fundamental concepts (1993 Green Snake and 1983 Zu: Warriors From The Magic Mountain) have clearly impacted this drama. At 27:21 for two seconds of episode 30, a certain visual is literally inspired by the final scene of the movie Green Snake. Karma, debt, and consequences are inevitable and unavoidable, given the two movies being referenced in homage to define this world of demons and humans.

Despite the burdens and responsibilities each individual carries, there is humour and camaraderie amongst the team. As the story progresses with each new demon the team meets across twenty episodes, a sense of inevitability is accompanied by hope that goodness will prevail and the team will overcome every challenge.

Drawing on the Classic of Mountains and Seas, Guo Jing Ming (GJM)’s efforts and dedication to exploring emotional ties and repairing relationships between humans and demons are as laudable as his attention to utilising that particular source to create the world of FoF. His flaws pertaining to self-indulgences for certain characters and sub-stories result in the opposite effect equivalent to the game of Battleships blindly sinking vital boats, thereby marring what could have been a unique timeless drama of humans and demons as friends, enemies and more.

These combined results will keep you eager to continue after 10 episodes, or dropping it before you finish episode 6. You'll survive and enjoy all of it, if you turn off your inner critic. If you don't turn it off, you'll still survive wonderfully if you intend to write a humorous dissection of what did not work. Wordplay in mandarin is hilarious. Wordplay in the bonus episode is anything but hilarious. Fight scene choreography is mostly enjoyable, some fights downright spell-binding such as in episode 8 being heartrending and gorgeous, but at times not lethal or urgent enough and hence unable to convey necessary impact such as parts of the final battle. Over-usage of music for some scenes was unnecessary. Silence would have deepened the emotional impact of certain scenes. Filters for flashbacks were inconsistent. That inconsistency is not GJM's biggest issue for this drama.

Being character-driven means the plot is as coherent as the puzzle of you trying to figure out how and why obstacles pop up as challenges to the team. Don't think too hard and let things unfold, flowing with the episodes and practising the patience of possibly developing sagehood.

You will definitely find something to like about this drama. Whether you can finish depends on your personal capacity for the constantly-shifting promise which this character-driven drama presents: Distinctly gorgeous visuals and presentation and costumes, under-developed arcs, over-wrought tear ducts, and a FL whose characterisation and overall final edits for the drama is insultingly disrespectful to her efforts as an actress.

For the original story, four writers including GJM were involved. For the directors, three directors including GJM were involved. Six people were involved in the screenwriting. The final decisions can be attributed to GJM. After considering all this while watching, please go with the flow and make your own decisions.

As to how two Tsui Hark movies defined certain fundamentals and details for this drama pertaining to karma and debts and inevitability (or the casting choices plus script choices and issues with the storyline): I do not want to include spoilers in this review, and only in a comment -> https://kisskh.at/755301-the-story-of-mystics#comment-22919316

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White Snake and Green Snake: Retelling of a classic by a Master Fimmaker of Hong Kong cinema

If you grew up with the classic legend of Madame White Snake, Tsui Hark’s vision here is a refreshing arresting remake of that story involving the same characters. Based on the post-modern take of author Lilian Lee with the same name for her novel, the movie explores contentious themes and makes one consider humanity more deeply.

Two snake spirits in the Southern Song Dynasty finally leave the purple bamboo forest to live as humans. When seen through the eyes of Green Snake in this movie, certain deviations from the classic legend become understandably natural. Fat-hoi is not an old monk but a young handsome man who has become one with Buddha. Scholar Hsui Xien of the West Lake has two flaws which become impossible to ignore by the end of this tale. Green Snake and White Snake as individuals and as sisters are the pivotal relationship affecting their choices, once a certain conflict becomes unavoidable. Changes in the two main male characters contribute significantly to improving the plot and lessons of this retelling.

Tsui Hark also brings to life important elements and dimensions to the supernatural spirits (妖) and humans (人) in this movie, whereby knowing the differences and fundamentals for the four classes of 神人鬼妖 is necessary to understanding Fat-hoi's perspective in what he chooses to do within the first 7 minutes of this movie. Being human does not equate to being more morally righteous. An animal spirit cultivating and learning to be a human is about accepting what to do with limbs you are not used to, understanding emotions, seeing different perspectives from a very different world, and trying to decide how to act like a human. Humans do not necessarily understand emotions better than animals or supernatural spirits, especially love pertaining to different types of relationships.

In this wonderful retelling to transform what I grew up with, the relationship of White Snake and Hsui Xien finds a natural outcome. The relationship of changes between White Snake and Green Snake also intersects with that outcome, understandably through Green Snake making certain choices due to circumstances beyond her control but she must face. Who is the wiser sister? Were Hsui Xien’s choices correct? Is fate fair to all of them?

Karma and debt reach an understanding in poignant consequences and self-realisation. With limited screentime, Tsui Hark remarkably weaves and demonstrates the flaws and perspectives of relationships between Green Snake and White Snake, White Snake and Hsui Xien, Hsui Xien and Green Snake, plus Fat-hoi and Green Snake. Each character manages to grasp epiphanies, but at what cost?

Tsui Hark is a very talented storyteller and does not shy away from demonstrating certain elements and rawness, be it ugly or flawed or pitiful or enchanting. His grasp of the classic legend plus Lilian Lee's version, while deftly incorporating various topics such as Taoism, Buddhism and Chinese mythology is what enables this masterpiece. The end result is a touching unforgettable story of what could have been and how to look back at what has gone before. You, the viewer, are there in the moments with the characters and yet, you are not visible to them. There is no over-acting. The main cast and secondary characters have brought to life a story that would be portrayed exactly in this manner, if it were true in those times.

The soundtrack is a wonderful accompaniment to the scenery and story, lyrics rich in meaning. The art director, martial arts directors, and production sound mixers have helped to breathe life into a tale that I did not know I wanted for Madam White Snake (but I had always wanted a different version more encompassing and different for characters such as Green Snake), until I saw this in the late 90s..Tsui Hark allowed the main set to be wall-less. Gauzy fabrics were utilised. The art director and costume designer understood what he was going for. To portray the flowing changes of mood and atmosphere within the abode where the two snake sisters live including sensuality, the residence was based on Tang Dynasty and Song Dynasty paintings, corridors and columns and gauzy fabrics able to create the necessary changes as per the story.

Peking Opera’s lead female role Qingyi was central to the clothing and costume designs for the two sisters. The actor for Hu Hsien was also trained in classical Peking Opera.

The English subtitles are very decent.

That said, the sets may have aged poorly if you expect the standards of modern special effects and technology. These sets capture a specific timeframe of nostalgia and beauty for me, and can be revisited in 4K restored version of the movie. Joey Wong embodies Bai Suzhen for Lilian Lee's novel brought to life, by turns innocent and wise and seductive. Maggie Cheung as the younger snake sister is transformational, aptly portraying Green Snake's learning, temper, bluntness, and attempts at being a proper human.

The impact of this iconic movie by Tsui Hark can be seen in the dramas of certain producers such as Guo Jing Ming, whereby a certain scene in episode 30 of the 2024 drama Fangs of Fortune is literally inspired by the final scene of this movie. There are other elements of this movie also inspirational and seen in that drama series, but that is not the point of this review.

Tsui Hark’s works such as the 1983 Zu Warriors From The Magic Mountain and the 1992 New Dragon Gate Inn always contain vital lessons and elements guaranteed to make you think, haunting you long after the credits have rolled. This love of labour is no different, as seen in the final twenty seconds of the movie.

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Relish second chances and relationships, and don't forget the family!

From Episodes 1 to 15, this comedy-drama with a large chunk of romance is light, fun, yet realistic and plays out like a delightful puzzle connecting many hearts while hopefully inspiring viewers to study hard, cherish relationships and patiently consider the factors which influence personal choices. What if you had a second chance to change what you once did in school, for a future in university and beyond?

Gu Xuejiao decides to take charge of second chances and embrace certain changes. Along the way, our lovable heroine's story interweaves and unfolds alongside the stories of her brother, her choice of tutor (Lin Zhihua), and certain friends including those who are not kind to her. Adapting a novel to screen isn't easy for multiple characters necessary to each other, especially with only 23 episodes. However, screenwriter Lan Baise and Director Cai Cong keep a streamlined focus on character development and relationships while incorporating plot devices alongside engaging wordplay. Peanuts are heartwarming positivity. Coding takes on a completely new meaning when verbally discussed. Finding friends to rely upon, sharing camaraderie and jokes and more- This drama might give you ideas and courage in overcoming obstacles.

A crucial factor for this drama involves the different parents of the five characters with the biggest screentimes in this drama, whereby these parents leave their impact on those children and in turn, also influences individuality of each character when it comes to relationships. Across 15 episodes, why each of the five characters turned out the way they did or once made specific choices will become clearer. Gu Xuejiao and Gu Mingze are fortunate in ways which the likes of Lin Zhihua and Zhou Shiyun are not. One specific relationship might make some viewers question why it even happens. Second chances take time depending on emotional wounds, and some people need more time than others... Especially when you consider the kind of parents you might be fortunate to have versus the parents which children don't deserve to suffer or be controlled by.

Sun Zhenni is happily relishing this role whereby she is not afraid to be whatever her character needs (reminding one of Carole Lombard from the Golden Age of Hollywood), and shines as Gu Xuejiao in a naturally expressive manner wielding delicate restraint in selected moments. Chen Jingke is the perfect foil and might make you see spectacles in a totally different light. "Relish" is the keyword here, whereby the cast is clearly having a blast acting out their individual quirks and emotions in this drama. Their synergy flows, and the end result is fresh while not taking itself too seriously with just the right touch of exaggeration or subtlety where needed, while aiming to address life through different perspectives with different personalities.

The full OST of 21 songs encapsulates a slice of time in life, whereby you will want to enjoy halcyon days and achieve your goals and be in school again... Breathing in the perfume of possibilities and romance amidst a fresh field of flowers or bouncy summer humidity. 《无效》 by 孙郎朗Billy is the rap song that might have you bopping along mentally, spreading good vibes. Wanting good things to happen to everybody is a noble kind aspiration to share via a drama. Will the characters leave you wanting to have good things happen for others, making good on second chances? All I can say is... Peanuts.

花生花生好事发生!

ETA: For the remaining eight episodes, currently no comments.

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