POORLY DEVELOPED EPILOGUE...
The drama started strong, teasing us with an epilogue of the queen fighting and winning, setting the stage for a gripping conclusion. However, those scenes only resurfaced in the final moments of the last episode. It felt like the writers and editors were telling the audience: "Figure it out for yourselves, the clues are there."With a budget of 235 million US dollars, it’s clear the resources were meant to cover just 8 episodes. But the real problem was trying to fit everything into such a short span. This story clearly needed 15 or more episodes to unfold properly.
The writer overcomplicated the plotlines and ultimately failed to tie them together. In the end, many questions remained unanswered, and the resolution felt rushed and incomplete. It’s as if the mysteries and their solutions were brushed aside, leaving viewers disappointed with a poorly developed epilogue.
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SILLY? YES, BUT NECESSARY...
I started watching this drama with zero expectations. Honestly, the plan was just to kill some time, since it's just another high school Asian drama, right? But then, I found myself getting drawn in. Let me explain: Is the plot cliché and cheesy? Absolutely. Are some of the performances a bit over-the-top? Definitely. But despite that, it was executed so well, and it brought some genuinely valuable life lessons for today's youth—whether they’re from the East or the West.Special shoutout to Mikami Ai, who brought a great vibe to her lead role, and Terajima Shinobu, the veteran actress who played the principal. She gave us some tough love and real lessons about the pain and recklessness of youth.
Overall, the takeaways from this first season align with what Whitney Houston's song "Greatest Love of All" says: "Before you can love someone else, you’ve got to love yourself first. You’re your own priority." Also, getting hurt and going through tough times might suck at first, but those are rare and valuable lessons for growing up.
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The Fine Line Between Loyalty and Megalomania
Fans' opinions about the game deserve respect and recognition; after all, they have a long-standing relationship with this story, dating back to its very beginning. It’s natural for their evaluation to be more critical, as evidenced by the ratings throughout the mini-series on TVTIME. That said, as someone who has never played the game—though I was aware of its existence—I thoroughly enjoyed the experience of watching the adaptation. Amazon Prime Video deserves praise for its investment and the way it brought this narrative to life.Overall, the script was quite cohesive, despite leaning a bit too heavily on flashbacks. However, these back-and-forth moments in time ultimately converged on a central point, which helped offset that minor flaw. As for the plot, I have to admit I had already suspected that Nishikiyama was the "Demon of Shinjuku." It wasn’t exactly a shocking twist, but the development of his plan, born from the tragedy of his sister’s death, was compelling. It’s a plan tinged with both schizophrenia and megalomania, but it offers plenty of layers for those willing to look deeper.
The mini-series ends with a clear hook for a potential second season. However, given the critical feedback from fans of the game, I wouldn’t be surprised if it doesn’t continue. Still, if it gets renewed, I’ll be first in line to watch.
It’s also worth highlighting the technical excellence of the production: the set design, costumes, and overall atmosphere were flawless, elevating the experience to a visually stunning level. Even with a few missteps in the script, these elements helped solidify the adaptation’s quality.
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The drama was short, but it entertained me.
There isn't much to analyze about this drama, everything happened correctly and well-done. The CGI of the parasites was just good, nothing spectacular. The performances were good though, however, I found the acting of the actors as parasites to show that they have no emotional and facial expression quite hammy.In my view, it was a closed ending, but with a hint for possible continuation. To be honest, if there is a continuation, I will watch it; if not, that's fine too.
The drama was too short in my opinion.
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A waste of time
I'll be completely honest, the impression I have is that I've wasted several hours of my life on this drama. What a boring and bad story, and what was up with the CGI in the final episode? Did Disney produce this drama on a low budget or did they spend everything on Mackenyu's fee? This isn't meant to be a destructive criticism or anything, but Mackenyu's performance is below par. It's all monosyllabic acting with a very dictated script.I like some Japanese productions, but this one will be forgettable for me.
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How to ruin a promising drama.
I am seriously reflecting on what they did to this drama that had such a promising and interesting premise. Netflix should understand that the Western audience cares little about whether actor X or Y uses drugs or not. This kind of toxic and strange concern is something that affects Asian society. The intention to reduce Yoo Ah In's scenes harmed the flow of the drama and made the story lukewarm and even a bit boring.It was painful to watch these episodes. I had to watch them little by little. I think I finished these 12 episodes in 60 days or more. And this open, mediocre, and senseless ending? Due to the low impact and the protagonist's situation with Korean justice, the chance of a second season is zero.
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The stomach of Japanese politics.
The premise of the drama is very good and it is exactly how I think Japan and its politics and society are, where everything is appearance and the true war occurs behind the scenes in a fierce, discreet, and camouflaged way.As for the performance, Min Tanaka was masterful and managed to convince us that the power of the "owl" lies more in meticulousness than in the imposition of forces. On the other hand, his co-star, Mackenyu, had little screen time throughout the drama, but his performance was quite mediocre. I have said several times that it seems like he feels uncomfortable acting and speaking in Japanese.
Now, we wait for a hypothetical second season. The Japanese have a habit of leaving open endings and simply forgetting about the drama.
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A Korean work with Tarantino-esque signs
This is one of those dramas that were built piece by piece, a drama where there was care from the selection of the cast, as well as in the purchase of the rights to the Webcomic it is based on. The entire plot up to the final moment of the drama is well tied together, and everything that happened in the drama was developed meticulously by the screenwriter. We must note the well-directed scenes and the quality of direction and characterisation of all the characters.Choi Woo-Sik, although surrounded by some controversies outside of his profession, is a complete actor and knows how to convey the most varied emotions in a dense drama, but at the same time with a comedic and irreverent tone. A work that mixes murders, blood, and comedic elements, in proper proportions, strongly resembles Tarantino's films Django and Kill Bill, where violent humour and blood go hand in hand.
The villain Song Chon, portrayed by the excellent Lee Heen-Jun, was literally built with seven hands, the environment and the people around him made him into this bloodthirsty and ruthless monster. My favourite character was Roh Bin, also played by the excellent Kim Yo-han, who brought life and charm to a heavy drama surrounded by violence. He was another character who life and environment made become this way, a nerdy vigilante who loved Lee Tang fraternally until the very end. His death left me saddened, but I saw it as necessary for the direction the drama took.
Although the ending was slightly open-ended, I understand that the drama fulfilled its purpose and the story does not need any continuation.
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Do Potencial ao Desleixo: Um Drama que Não Convence
"Um drama com potencial que acabou sucumbindo sob o peso de seus próprios erros". Essa frase resume bem o que foi a experiência de assistir a esta produção. A sinopse prometia um thriller psicológico com camadas, mas o que recebemos foi uma execução que oscilou entre o clichê e o desleixo. Han Seok Kyu, um ator indiscutivelmente talentoso, foi completamente subaproveitado. Seu protagonista, ao invés de conduzir a narrativa, parecia ser conduzido por ela. Passivo, quase apático, ele frequentemente era eclipsado pelo elenco de apoio. Para um perfilador, sua falta de perspicácia em momentos-chave foi frustrante — a antítese do que se espera de um personagem central em uma história como essa.Já Noh Jae Won, como o inspetor Dae Hong, entregou uma atuação que me deixou dividido. Em alguns momentos, sua empatia era comovente; em outros, suas interações, especialmente com o garoto, pareciam desconfortáveis, até mesmo deslocadas. E o final? A revelação da verdadeira assassina foi uma piada de mau gosto: uma expressão debochada na sala de interrogatório e tudo se resolveu? Preguiça pura de roteiristas que claramente esgotaram sua criatividade muito antes do episódio final. Além disso, o arco principal pode até ter encontrado alguma conclusão, mas os secundários foram simplesmente abandonados. Min A foi morta por quê? Porque Kim Seong Hui precisava culpar o professor? E qual era o propósito disso? A lógica desses eventos é tão inconsistente quanto o roteiro que os sustenta. O professor, aliás, prometeu uma revelação que nunca veio. Estamos todos aguardando.
No fim, o drama começou com uma boa premissa, mas terminou de forma desleixada e esquecível. É o tipo de produção que faz você questionar se o tempo investido realmente valeu a pena. Para mim, infelizmente, não sei o que pensar.
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Nem Ruim, Nem Marcante: Só Passou
Um drama modesto e funcional, que não tenta ser mais do que é — e talvez aí resida parte do seu charme. Ele entretém com certa leveza, ainda que tropece em passagens maçantes e escorregue no ritmo. As mortes de personagens secundários tentam evocar emoção, mas o impacto é limitado, talvez por falta de construção mais cuidadosa. No fim das contas, diverte o suficiente para não ser tempo perdido, embora fique longe de ser memorável.Sinceramente, está aí um drama, que não precisa de segunda temporada, está bom o que foi mostrado.
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Exijo a segunda temporada!
Um drama que, em sua essência, pode ser descrito como uma montanha-russa emocional. Com personagens cativantes, uma narrativa ágil e atuações impecáveis, a produção entregou uma experiência memorável. Dylan Wang, especialmente, se destaca – ele não apenas interpreta Xu Qi An, mas parece viver o personagem, com um carisma natural que domina a tela e faz cada cena sua brilhar. É como se o papel tivesse sido escrito para ele. A construção da trama também merece aplausos: os roteiristas arquitetaram uma narrativa que, mesmo em sua intensidade frenética, manteve coesão e propósito.No entanto, nem tudo foi perfeito. Entre os episódios 26 e 29, a história pareceu patinar em algumas subtramas desnecessárias, quebrando um pouco o ritmo. Ainda assim, esses deslizes não comprometem a grandiosidade do conjunto. O final, com sua abertura para especulações, deixa um gosto agridoce, mas também um anseio por mais. Será que Xu Qi An terá mais capítulos de sua história antes de 2027 (já que essa primeira temporada foi filmada em 2023) ? A possibilidade de uma segunda temporada é plausível devido ao sucesso de público e critica.
E, claro, o mistério em torno de Xu Qi An e o enigma sobre seu pai – ou quem quer que tenha assumido seu corpo – são ganchos bem trabalhados, que deixam o espectador envolvido mesmo após os créditos finais.
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Did Evil Win? Something to Ponder.
I have very mixed feelings about this ending. On one hand, it feels like the punishment wasn't harsh enough, but on the other, from a more realistic perspective, it was probably the most fitting conclusion.The judge committed atrocities, was directly and indirectly involved in numerous crimes, and played a part in this horrific chain of murders—ranging from children to the death of the officer he cared for the most. And in the end, the true villain, the one behind all this tragedy, got away with just a non-lethal gunshot wound to the chest. For a moment, I wanted to believe the judge had hidden the officer to deliver a checkmate, but that was just wishful thinking.
Both the judge and the mob boss faced their punishments. But was it enough? Some might say no, myself included. However, in terms of representing the harshness of real life, I think it was a fitting end. Did I sense a subtle hint of a second season in the final episode? Maybe. But honestly, it’s probably better to stop here. The takeaway is that trying to put out a spark from hell won't get you anywhere; we must face our mistakes and pay for them.
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Excellent synopsis, but poor execution.
First and foremost, it is necessary to say that Lee JunYoung and Lee JaeWook are among the pantheon of the best Korean actors in their twenties. It's even embarrassing to compare some actors of the same age group with them. That being said, let's move on to the final evaluation. So, does this mean that Tae Oh had no ulterior motive or hidden secret; he was just another one who wanted professional success and money in an honest way, and saw Kang InHa as the ladder to such goals? Confronted about why he did all that to Tae Oh, Kang InHa responded by saying: "I don't know, that's it, I guess it's because you were Tae Oh." That's what's called lazy writing and writers with little creative intelligence. The family's mother, Jang GeumSuk, was arrested for concealing a corpse. I was waiting for the episode to find out whose corpse it was. What's the story behind this? Was the butler also arrested? It was a mess and nothing was clarified. Our protagonist is beyond comments; we've already made enough comments about her during the drama.They turned Kang InHa into a monstrous psychopath who spares not even the relatives of his enemies, and it became clear that Tae Oh was an imaginary enemy he created. Also, that toxic romance between Tae Oh and HyeWon highlighted InHa's unbalanced emotions, and he felt betrayed and isolated. I'm not justifying, I'm just saying that the creation of the monster InHa became has shared responsibility with TaeOh and HyeWon.
The positive highlight goes to the interpreter of Hee Joo, actress Choi Hee Jin, who had little screen time but was the only one who managed to connect with the audience. The moment of reflection was the suicide of now Baek InHa. I confess I was choked up.
Anyway, this drama came with high expectations and an excellent plot, but an execution to forget.
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Coreia, Onde o Ensino Médio é Pós-Graduação em Crime
É um tanto injusto colocar a segunda temporada lado a lado com a primeira. A original tinha o frescor da novidade, a surpresa de uma trama que surgia com vigor. Já essa leva recente mergulha com mais clareza na densidade do roteiro: bullying institucionalizado, laços forjados entre amizade e rivalidade, o submundo do crime juvenil coreano e, principalmente, o papel das escolas como palco e cúmplice da violência. O enredo se sustenta com firmeza, e os atores — talentosos, dedicados — entregam performances notáveis. Ainda assim, mesmo com todos os esforços de caracterização e maquiagem, há um elefante na sala: a idade. A maioria já passou dos trinta, e o salto geracional fica difícil de ignorar.Isso compromete a experiência? Curiosamente, não. Mas seria de bom tom, para a já ventilada terceira temporada, uma escalação que dialogue melhor com a faixa etária que a série retrata. Nesse ponto, a Netflix precisa calibrar a bússola. Quanto ao elenco, Park Ji-hoon repete o feito da primeira temporada com atuação segura, magnetizante — embora desta vez tenha que dividir os holofotes com Ryeoun, excelente como Hu Min. E tudo bem: há espaço para ambos. Mas confesso minha preferência. O Sieun de Ji-hoon é o eixo emocional e narrativo mais potente da série.
Se quiserem fazer um spin-off centrado em Baku, eu topo, assisto com gosto e critério. Mas se o que se busca é uma temporada de encerramento, que ela venha centrada em Sieun — porque, apesar das múltiplas camadas da série, é ele quem ainda carrega o peso do mundo nas costas e nos olhos.
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Clichê bem temperado ainda é um banquete
Num mar de produções que repetem os mesmos padrões — reencarnações, adultérios, viagens no tempo que não acabam mais —, às vezes emerge uma série que, mesmo cheia de clichês, consegue se destacar pela forma como os entrega. E este drama fez exatamente isso: foram 30 episódios que flertam com o lugar-comum, mas com uma execução tão redonda, um texto tão ágil e envolvente, que fica fácil relevar a fórmula. A protagonista HanYan, inclusive, é um sopro de novidade: nada de mulher frágil que sofre calada — ela manipula, articula, ataca, e não perde o sono por isso. A cereja do bolo, aliás, é o vilão Shi Yang, interpretado com uma sutileza ameaçadora rara: ele se disfarça de burocrata patético, mas age com frieza de executor.Claro que tem tropeços. O último episódio é praticamente um TED Talk sobre o óbvio, repetindo o que o público já entendeu há 15 capítulos. E o protagonista masculino... bom, ele parece um avatar bugado: não importa a emoção da cena, o rosto permanece imóvel, como se o Botox tivesse vencido o prazo de validade. A pasmaceira facial não é só dele, mas aqui ela ganha um destaque incômodo. Ainda assim, o conjunto da obra funciona bem e, para quem anda cansado de ganchos artificiais para temporada dois, o final fechado é um alívio. Ou seja: clichê, sim. Mas do jeito certo.
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