Hyperborea

Grazie, mi sembra che i sub siano solo in inglese, giusto?

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Finally, someone says what I was thinking. This drama is constantly praised as a masterpiece, and I genuinely don't understand why.

Unlike you, I didn't even feel the sexual tension everyone keeps talking about. The director relies heavily on close-ups, lingering gazes, and carefully composed shots to create the illusion of intensity, but for me there was very little substance beneath the surface.

Even the opening scene struck me as a rather weak and unsophisticated foundation for a story that many people call a masterpiece. If you've seen truly refined works in this genre, such as *The Lover* by Jean-Jacques Annaud, the difference in narrative and emotional sophistication is enormous.

To me, this drama feels more interested in exploiting sexual frustration and desire to attract a certain audience than in telling a compelling story. There are long stretches with almost no meaningful dialogue, very little psychological development, and characters who remain frustratingly underwritten.

As for Jerry Yan, I know this is an unpopular opinion, but I found his performance surprisingly passive and lacking intensity. His screen presence is undeniable, but charisma alone cannot carry a romance when the writing gives him so little to work with.

In the end, I found it visually attractive but dramatically empty. For me, it was a very disappointing watch.

Mi scuso se commento qui ma credo di fare cosa gradita nei confronti del lettore perché io ho avuto un'esperienza totalmente diversa, l'ho iniziato perché start up è uno dei miei kdrama preferiti, finale a parte, è nei miei top 4. Non ho trovato nessuna similitudine o filo conduttore. Innanzitutto è un mondo , quello di start up, molto più adulto, questa è un'opera teen , nella scrittura, nei dialoghi, nel modo in cui questi ragazzi crescono nel K&K. Se parliamo del fatto che si parla di realizzazione personale siamo d'accordo ma qualsiasi business drama o coming of age hanno questo messaggio, non solo questi due sicché... .
Anche la dinamica /triangolo è diversa, il modo in cui lui si innamora subito, vuoi paragonarlo a tong nian? Benissimo hanno entrambi un colpo di fulmine ma è diverso, lei lo vede e come una ragazzina perde la testa, lui la incontra, da adulto, in modo adulto e la scena è resa su una piazza a 4 incroci (che simboleggiano le possibilità della vita), in slow motion, con la musica va verso di lei mentre la guarda in un modo in cui ogni donna spera di essere guardata una volta nella vita da un uomo.
Li Xian, ottimo attore, non ha nulla di quello spessore, di quella tensione.
Carini ma non indimenticabili.
Ecco , volevo solo dire quello perché non vorrei che un altro fosse portato a iniziare questo lavoretto con aspettative di un lavoro più serio.

Hola! innanzitutto grazie per aver chiarito cosa non va del lavoro, ti ho lasciato un like perché è stata l'unica recensione davvero informativa sull'argomento, e sì anche io odio i flashback, ma ancor più le elissi, per esempio in perfect crown ce ne sono un sacco. Curioso che con tutti questi difetti tu abbia dato 8, io 8 lo do a opere a cui manca qualcosa ma non mi hanno mai annoiata e intrattenuta, con sceneggiatura forte e interpretazioni ottime. Ma forse usiamo un metro diverso.
Ti rispondo ad una riflessione perchè non sei la prima che leggo lamentarsi dello stile di Tong Nian, non l'ho apprezzato neanche in Oath o f love, dove interpretava una violoncellista ma non vestiva di rosa, tuttavia il taglio non le dona.
Io credo che sia stata rappresentata così per creare una dicotomia molto forte con lui: lui sempre di nero, scuro, torvo, anima nera e lei innoccente, romantica, sognatrice.Il rosa si usa per quello.
Inoltre la rende un personaggio definito e indimenticabile, io non mi ricordo come era vestita un'attrice x ma tu anche tra 20 anni ricorderai il personaggio di tong nian con le cuffie a forma di gatto.
Inoltre creare una dicotomia tra loro rende la coppia improbabile e memorabile. Spero di aver ricambiato il favore della recensione con la risposta. Grazie

We agree. This drama is full of inconsistencies, and the screenplay seems to suffer from cuts—at least I hope it's the editing, because so many transitions and plot developments are left unexplained. I had to rely on my own logic just to make sense of parts of the story.

It's confusing, and after 32 episodes the central relationship never achieves the emotional payoff it should have. Overall, it's a complete mess.

The only point I was making was that I didn't think those comparisons really worked, but I understand what you were trying to convey.

The idea behind Fulaxida wasn't bad at all; it was simply executed poorly.

Just because it has "Fireworks" in the title doesn't mean it has to be connected to the other drama—after all, what sense would that make? That other show was about helping professions and served a propaganda purpose; it was riddled with medical inaccuracies and veered into melodrama with that terrible mother figure. Plus, the reason the male lead was so obsessed with the female lead was never even properly explained. Setting that aside, the other show was better made, though I personally preferred the acting here over that expressionless "pillar of salt," Yan Yan. Her character is much better here than there, BUT they are two completely different works in terms of quality, execution, message, and seriousness—comparing them makes no sense.

If you want to watch something a bit more avant-garde — and, in my opinion, almost a hammer blow to the Confucian system — try The Tale of Rose*with Liu Yifei. She is definitely on Yang Zi’s level.

I reviewed it and gave it a 9/10. It tells the story of a woman’s growth and evolution over a 20-year journey, along with the experiences and struggles of her family.

The whole cast is excellent, and the values explored in the drama move somewhat beyond traditional Confucian ideals.
https://kisskh.at/profile/ladytushan/review/444320

Thank you for your comment. I really enjoyed reading your point of view, especially because it comes from someone who has a direct connection with that culture. I’m sorry if my review came across as a criticism of Chinese culture itself: that was absolutely not my intention.

Actually, it is almost the opposite: I deeply love Chinese culture. This is not the first Chinese drama I have watched; on the contrary, I have rated many of them 9 or even 10 in my reviews. I consider China one of the most fascinating civilizations in the world: because of its antiquity, philosophical depth, art, traditions, and historical complexity. In some respects, I even find it more layered than Japanese culture or the more recent Korean cultural wave.

What bothered me about *The Heir* was not the celebration of Chinese culture. I have no problem with that at all — actually, it is often exactly what I look for in historical dramas. The issue for me is when the message ends up overshadowing the story.

I had the impression that, in this case, the events, many dialogues, and even the construction of the characters were often serving an idea that needed to be conveyed more than the narrative itself. I didn’t perceive only a desire to share a cultural heritage, but also a constant need to reaffirm a certain model of values. Even the choice of Yang Zi as the protagonist — an actress who is deeply loved and often perceived as a representative figure of China — reinforced this impression for me.

I agree with you that certain attitudes — the subordination of the individual to the family, certain female roles, the importance of sacrifice — are historically consistent. It would be false to portray a past era with a completely modern mindset. However, what made me uncomfortable was that, at times, I felt there was less of a critical perspective on those values and more of an idealization of them. Some ideas regarding women’s roles, for example, do not belong only to the past: they still exist today in many societies, not only in China. That is why I would have preferred more complexity.

I asked myself: in how many works do we find, with such frequency, folk songs, proverbs, moral statements about how to be righteous and honorable people, and constant references to duties and tradition? In the long run, for me, the line between cultural storytelling and an educational message becomes very thin.

Of course, this is only my perception. I also understand your point when you say that creators often have to navigate between creativity and censorship, and that perhaps some elements are included simply to allow the work itself to exist.

I deeply respect China. One of the authors who made me fall in love with this country was Tiziano Terzani, who lived there for many years, travelled through its provinces, and sent his children there to study. Through his writings, I discovered an immense China, full of contradictions, beauty, history, philosophy, and humanity.
Precisely because I love that culture, I also believe it is possible to discuss it with a critical eye. Every country has its lights and shadows. China has an extraordinary heritage, but that does not mean every aspect of its system should be idealized.

For me, art and knowledge should always preserve a space of freedom. When a story is born first and foremost as a story, it can move me deeply; but when I feel that it becomes mainly a vehicle designed to guide the viewer’s way of thinking, I struggle more.
And it is a pity, because *The Heir* had some truly beautiful elements, and precisely for that reason I wish it had allowed its characters and their contradictions to breathe more.

https://kisskh.at/profile/ladytushan/review/584348 translate with chrome or safari, o firefox.

Anyway, it's up to you. I just thought it was fair to let you know. You dropped it because of issues that are no longer there, so I simply wanted to encourage you to keep watching. But of course, do whatever you think is best.

I'm writing to reassure you: there are scenes on Weibo, which unfortunately I can't find anymore, showing them in wedding clothes. He really does come back, they get married, and even in the novel the drama is based on, Li Zhen marries her childhood friend and they live together. I think that final caption refers to the Zhen ink industry, or it's simply been mistranslated.

Even in *The Double*, the alternative ending showed them living together.

That said, I agree with many points in your review. I found the plot boring and repetitive, and the drama felt propagandistic to me, almost like a state propaganda production. I'll explain everything in my own review. If you're interested, you can translate it into English using Chrome or Safari.

I'm also not convinced at all by the historical accuracy.

As for the writing, in the scene where the ink catches fire, Li Zhen's father had a candle right next to him, and there were other lit candles around, so the obvious assumption was that this caused the fire.

There are many other aspects that feel forced. Cause and effect are constantly bent to serve the narrative goal. The screenplay feels forced.

The family is dysfunctional to the extreme. It would have been nice to see Li Zhen free herself from that environment, but that would represent a value outside the ideology the drama promotes, so it couldn't happen.
I'm also not convinced by the historical authenticity. Some details completely took me out of the story. Two female characters in particular—the Yan family woman and Qi Ci's sister, the merchant—have long almond-shaped nails with gel polish and nail art. Many of the actresses appear to have a natural look, but they're clearly wearing makeup, and some have obvious cosmetic enhancements with fillers. Casting actresses with more natural features would have helped. For example, Qi Ci's sister looks like she has filler in her cheeks and lips. Their beauty feels very modern and artificial.

I also don't think the costume quality is consistently top-tier, especially when it comes to the nobility.
The male lead has incredibly little screen time. I honestly think he appears for about twenty minutes in total across roughly thirty-five hours of content—and I'm probably being generous. He actually spends more time with the Sixth Uncle, with whom he develops a family bond that, at times, I found more interesting than his relationship with the male lead. That's a shame because Elvis Han isn't just another idol chosen for his looks; he's a professionally trained actor who deserved much more screen time. Maybe that's exactly why they cast him. Someone like Xiao Zhan would never have accepted a role with only twenty minutes of total screen time in an entire series.

I understand what they were trying to do, but they maximized the female lead at the expense of everyone else, making the other characters look incompetent and ineffective.

I totally get what you mean. I'm finishing it with some effort myself, but I can tell you that things finally start to move around episode 28.
Without spoiling too much, the family finally begins to come together after yet another hardship. Li Zhen then leaves on a journey to expand the Li business, so the family takes a back seat for about five or six episodes. The story gradually shifts from being almost entirely about ink-making to focusing more on the conflict with the Tian family, with the help of the Luo faction (not all of them are dead 😉).
I'd say give it another chance and let me know what you think. I'm curious to hear whether your opinion changes by the end.

This only reinforces my impression that this drama is essentially a piece of state-approved cultural messaging. How many times do we hear words like "upright" and "honorable" throughout the series? Romance is treated as something secondary, while the real priority is achieving one's goal, sacrificing yourself for your clan, feeling ashamed if you fail to reach excellence, remaining focused and emotionally restrained, and ultimately celebrating Chinese cultural achievements. The entire drama revolves around preserving traditional values, protecting them from the influence of modernity, and presenting them as a moral ideal.

In that sense, cutting the wedding scenes actually makes perfect sense. Romance was deliberately pushed aside because it wasn't the message the drama wanted to emphasize.

And who better than Yang Zi—often regarded as one of China's representative actresses—to lead a project like this? I love Yang Zi, but in my opinion, the script suffers from serious writing problems. Unfortunately, all of that ideological messaging came at the expense of pacing, character development, and emotional payoff.

... so my advice is to start another drama that you genuinely enjoy, and just watch one episode of this one every now and then until you finish it. I think you'll enjoy it much more that way. It does improve a bit later on, but it's still a slow burn. At least you won't feel like you're forcing yourself through it.

I actually agree with you. That's one of the biggest frustrations with this drama. Li Zhen and her family keep getting humiliated over and over again, yet they always return to the main family and tolerate the abuse as if it were their duty. After a while, it becomes exhausting to watch.

I'm still continuing because I've read that the second half gives Li Zhen a proper redemption arc, and she eventually rises above her enemies. So that's what's keeping me going.

As for the romance, don't expect much more. It's minimal throughout the series, and the ending is quite open in terms of the relationship.

But don't give up on Yang Zi because of this drama. In my opinion, this is objectively one of her weaker projects. If you want to see her at her best, watch Lost You Forever, Ashes of Love, or Flourished Peony—those are masterpieces. The Oath of Love is also a wonderful drama and showcases much better why Yang Zi is considered one of the finest actresses of her generation.

Trust me, for once the rating is actually fair: it's between **7 and 7.5**. I'm an honest reviewer. I love Yang Zi, but I don't rate dramas based on how much I like an actor or actress—I rate them based on their overall quality. And unfortunately, this one is genuinely lacking.

It has nothing to do with The Double. That is a pure revenge drama, even if the revenge ultimately succeeds because it serves the Emperor's political interests, who makes it possible by protecting and supporting the protagonist through Duke Su.

The Heir, on the other hand, is essentially a 32-hour story about ink-making. Yes, there is a revenge subplot, but it isn't carefully planned or developed episode by episode. It stumbles forward, almost by chance, and in the end it feels more like karma than justice.

The visual style is completely different as well. The Double is highly stylized, relying on close-ups, slow motion, bokeh, soft-focus shots, and a very cinematic aesthetic. The Heir uses a much more traditional and restrained directing style. The cinematography is clean, orderly, and calming rather than visually striking. They really have nothing in common.

If we're talking about Flourished Peony, then I can agree with the comparison in terms of its feminist themes. However, that is a drama of a much higher caliber. It is an outstanding portrayal of the Tang Dynasty, with exceptional performances, a superb soundtrack, and a story that is far richer and more layered.

I completely agree with you about one thing: Yang Zi is on another level. In my opinion, she is a far more natural and believable actress than Zhao Lusi. Part of that may come from her background—Yang Zi has been acting since childhood and received formal training at the Beijing Film Academy, whereas Zhao Lusi followed a different path into acting. Zhao Lusi is talented, but I often feel she overplays facial expressions, making some emotional beats look consciously performed rather than genuinely lived.

That said, calling The Heir a masterpiece is, in my opinion, almost blasphemous. I love Yang Zi, but this is not one of her best projects. The screenplay has many implausible choices. Just one example: after Sun Baiyi is exposed for leaking the ink formula, the apprentices demand Li Zhen be expelled from the workshop. Two episodes later, those same people petition for her return simply because she created a medicinal ink and opened her own shop. What fundamentally changed? The transition feels forced rather than earned.

A great screenplay makes character progression feel inevitable and natural. Here, many developments happen because the plot needs them to happen.

The costumes are beautiful, but hardly "masterpiece" level. Have you watched The Rebel Princess or Ming Dynasty? Calling The Heir visually perfect does those productions a disservice.

The structure is also repetitive. The male lead gets surprisingly little screen time across 32 hours, the revenge arc is underdeveloped, the political intrigue lacks complexity, and the grandmother relationship echoes The Story of Minglan without reaching the same emotional depth.

In the end, The Heir feels less like a historical drama and more like a docudrama about ink-making and a dysfunctional family. I admire its celebration of traditional Chinese craftsmanship, but for me it sacrifices storytelling, emotional payoff, and pacing in the process. As someone who genuinely loves Yang Zi, I still have to admit that this project simply didn't live up to her talent.

This drama had the potential to become a compelling historical revenge drama, but it loses momentum under the weight of its own message. The story spends far too much time focusing on ink-making, family business, and repetitive moral lessons, sacrificing character development and emotional engagement. The pacing is painfully slow, with many episodes feeling stagnant rather than progressive. The romance lacks enough screen time to create a meaningful emotional payoff, while the revenge plot unfolds far too late. Several character decisions feel driven by the needs of the plot rather than believable motivations. Although the production design, costumes, and Yang Zi's performance are solid, they cannot compensate for a screenplay that often prioritizes didactic themes over storytelling. Beautifully made, but ultimately exhausting and surprisingly dull.