A Drama with Exceptional Worldbuilding and Real-World Resonance
I don’t know how to express my satisfaction with this drama. A Moment but Forever (AMBF) has exceeded my expectations and could potentially set a new direction for xianxia (Chinese fantasy) in the future. I enjoy the story so much that I can overlook its somewhat low production quality. The story is truly a gem.
AMBF shows strong points in its story, acting, and music. The OST and BGM are beautiful and add depth and nuance throughout the story. The performances of the male lead (Liu Xueyi) and female lead (Tiffany Tang) are flawless, full of subtlety, emotion, and chemistry in every on-screen interaction. They are truly talented actors who portrayed Yuan Zhong and Ji Tanyin wonderfully. I can overlook the occasional odd styling choices because the characters are so captivating to follow. The music and acting are perfect, but the most important thing we have is the story.
Xianxia is famously known for its tropes in Chinese dramas. Since Three Miles of Peach Blossoms (2017), we’ve been endlessly served stories revolving around “three lives, three worlds,” the power of love versus dark evil, and the same old plots of godhood, tribulation, and rebirth. This has made xianxia—stories of gods and goddesses—feel increasingly repetitive and lacking in creativity. AMBF arrived this year like a breath of fresh air because, for the first time, we get a story told from the perspective of mortal humans. AMBF explores the struggles of living as mere mortals in a world full of danger. I’m surprised by how relatable and relevant it feels.
AMBF explores a wide range of issues. We are presented with philosophical debates on whether humans are inherently good or evil, the origins and nature of evil and sin, the power of unconditional love, the acceptance of life as it is, the meaning of life, and—most prominently—death, as well as the struggle for peacebuilding. The discourse on death is particularly compelling, as it is mentioned and emphasized several times as a defining attribute of humanity. Death is inevitable and might be seen as a human weakness compared to demons, immortals, and gods. However, the existence of death becomes a source of "soft" power, pushing humans to grow wiser and build lasting, prosperous civilizations.
Because death is an undeniable fact, humans do not obsess over it; instead, they strive to live as fully and meaningfully as possible. They are not consumed by the pursuit of longevity like immortals who desperately seek eternal life, nor do they exist idly like gods, who, without struggle, risk becoming stagnant and purposeless. By weaving death-related themes thoughtfully into the narrative, AMBF avoids the typical tropes of rebirth and reincarnation. Instead, it offers an empowering story about coping with loss, focusing on how to move forward rather than wishing for a lost loved one to return miraculously.
Another aspect that makes AMBF especially fascinating is its incorporation of both hard and soft science into the worldbuilding. Believe me, this is extremely rare in xianxia, which typically relies heavily on magic. Worldbuilding is usually the weakest aspect of xianxia because we’re so accustomed to the same templated elements: a heavenly kingdom where most of the characters reside and a mortal world that serves merely as a place of tribulation and a stage for conflict. There’s often little exploration of what truly constitutes their world.
In AMBF, each place is explored in considerable depth, especially the human world: its structure, history and lore, culture and customs, civilization, technological blessings, and even the mundane details of daily life. Common people play a significant role in the story, not just as background figures or cameos, but as integral parts of the narrative. Through them, we gain a real sense of how this world is built and sustained. It is really a hidden gem, a fantastic creativity.
I really hope many people will take a look at this drama and enjoy how seriously excellent it is. I hope, maybe, there will be a remake with better production quality in the future, to make it a bang for a greater audience. Really, really wish for that.
AMBF shows strong points in its story, acting, and music. The OST and BGM are beautiful and add depth and nuance throughout the story. The performances of the male lead (Liu Xueyi) and female lead (Tiffany Tang) are flawless, full of subtlety, emotion, and chemistry in every on-screen interaction. They are truly talented actors who portrayed Yuan Zhong and Ji Tanyin wonderfully. I can overlook the occasional odd styling choices because the characters are so captivating to follow. The music and acting are perfect, but the most important thing we have is the story.
Xianxia is famously known for its tropes in Chinese dramas. Since Three Miles of Peach Blossoms (2017), we’ve been endlessly served stories revolving around “three lives, three worlds,” the power of love versus dark evil, and the same old plots of godhood, tribulation, and rebirth. This has made xianxia—stories of gods and goddesses—feel increasingly repetitive and lacking in creativity. AMBF arrived this year like a breath of fresh air because, for the first time, we get a story told from the perspective of mortal humans. AMBF explores the struggles of living as mere mortals in a world full of danger. I’m surprised by how relatable and relevant it feels.
AMBF explores a wide range of issues. We are presented with philosophical debates on whether humans are inherently good or evil, the origins and nature of evil and sin, the power of unconditional love, the acceptance of life as it is, the meaning of life, and—most prominently—death, as well as the struggle for peacebuilding. The discourse on death is particularly compelling, as it is mentioned and emphasized several times as a defining attribute of humanity. Death is inevitable and might be seen as a human weakness compared to demons, immortals, and gods. However, the existence of death becomes a source of "soft" power, pushing humans to grow wiser and build lasting, prosperous civilizations.
Because death is an undeniable fact, humans do not obsess over it; instead, they strive to live as fully and meaningfully as possible. They are not consumed by the pursuit of longevity like immortals who desperately seek eternal life, nor do they exist idly like gods, who, without struggle, risk becoming stagnant and purposeless. By weaving death-related themes thoughtfully into the narrative, AMBF avoids the typical tropes of rebirth and reincarnation. Instead, it offers an empowering story about coping with loss, focusing on how to move forward rather than wishing for a lost loved one to return miraculously.
Another aspect that makes AMBF especially fascinating is its incorporation of both hard and soft science into the worldbuilding. Believe me, this is extremely rare in xianxia, which typically relies heavily on magic. Worldbuilding is usually the weakest aspect of xianxia because we’re so accustomed to the same templated elements: a heavenly kingdom where most of the characters reside and a mortal world that serves merely as a place of tribulation and a stage for conflict. There’s often little exploration of what truly constitutes their world.
In AMBF, each place is explored in considerable depth, especially the human world: its structure, history and lore, culture and customs, civilization, technological blessings, and even the mundane details of daily life. Common people play a significant role in the story, not just as background figures or cameos, but as integral parts of the narrative. Through them, we gain a real sense of how this world is built and sustained. It is really a hidden gem, a fantastic creativity.
I really hope many people will take a look at this drama and enjoy how seriously excellent it is. I hope, maybe, there will be a remake with better production quality in the future, to make it a bang for a greater audience. Really, really wish for that.
Was this review helpful to you?
