Reviews

What happened?! Post-production crew working drunk is the only explanation!

Seriously, what happened ??? With the star-studded cast they had, all the production crew and project decision-makers should make amend ! I raise serious question on the sanity of the people who validated the post-production work done on this drama... So much was wrong that I will not go through one by one but still list a few (un)honorable mentions...

First, why make it so difficult to introduce characters and relationships ? Instead of laying out the story set up in the last episode, wouldn't those 5 minutes be more useful at the beginning of the show ?

Second, why bother speaking about 12 "angels" if the focus is on a unique protagonist : Taesan, chief tiger? Not even the most interesting character, you got around his personality in very little time and then it is only fights, grumbling, and being in leader mode but without any dialog with his team members.

Third, why are all of the fights scenes blurring together in a really uninteresting manner? The fighters have almost no specificity in their fighting style nor special power. The few elements that differentiate them are too little, very superficial and never explored in relation to the others...Snake cannot speak, Pig is hungry, Monkey is good willing idiot, Dog is people pleasing, Horse is a fighter... That's about it. How is the viewer supposed to care about any of those characters ?!

Fourth, why have a romance so bland and so late in the story that instead of being a motor for the emotion it feels totally devoid of meaning ? It lacked chemistry and it should have been set up much earlier to have any kind of pay-off.

Fifth, where did you use the budget? Certainly not on the writing team nor on the costume department. It was mediocre at best. It takes a very specifc kind of individual to manage to make Park Hyung Sik look bad...So congrats I guess for this "achievement"?! More seriously, there were a obvious lack of care on the costumes and styling department, with wigs that felt of very poor quality, white ghostly makeup not matching neck, and so on...I'm left to ponder if all the budget went on casting big names and publicity rather than anything else...

Unfortunately, casting cannot save by themselves a drama. Writing was bad but most of all the editing of the scenes, the fact that fights or emotional sequences were cut by other non-relevant scenes, the pacing and the way the story was organized : nothing worked !!! Even the acting of actors I like and find usually good was lacking and disappointing... Among the very unsatisfactory production and post-production, the saving grace was the soundtrack with the track Salvation that I enjoyed when played at the end of each episode, mostly because it is a good song but potentially also because hearing it meant the end of an episode...

I would definitely not recommend this. If you are looking for a great ensemble cast incarnating heroic characters and gripping villains, go watch Moving. Or even The Uncanny Counter. This is so full of flaws that I still cannot imagine how it was greenlighted as such !

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Tell Me What You Saw, because I’m still processing whatever that finale was.

“Tell Me What You Saw” is one of those dramas that had me conflicted from the first frame to the final credits — and honestly, that’s probably why it lingered. On the surface, it’s your classic OCN stew: gloomy visuals, messed-up villains, and a profiler whose trauma is practically a supporting character. But underneath the genre packaging sits a surprisingly messy meditation on ego, trust, and betrayal.

First off, the poster already had me side-eyeing. Why is everyone standing like they’re shooting a Vogue crime spread? The man spends half the series in a wheelchair, yet the promo pretends he’s training for a triathlon. A simple face-only poster would've worked. The disconnect is wild.

To its credit, the show came armed with a blur tool — thank you to whoever was responsible for sparing my retinas in the first half. You deserved a raise. But why did they suddenly stop blurring things in the second? Budget cuts? Lost the blur filter? And don’t get me started on that constant wind-turbine sound humming loudly and incessantly through every episode. I paused my TV multiple times thinking something was wrong with my house. Apparently not. Just the sound design gaslighting me.

Now on to the characters. Hyun‑jae was cool as hell in the beginning. He is the perfect encapsulation of this drama’s contradictions. Early on, he’s magnetic: the haunted genius weighed down by grief. But peel back the layers and his brilliance is welded to ego. Choosing to chase the killer instead of saving his wife was his defining moment. It was a damned‑if‑you‑do, damned‑if‑you‑don’t dilemma, but it revealed his priorities: justice over intimacy. And then he suddenly starts fighting like a ninja, climbing walls, roof-hopping like Spider-Man — only to completely choke in the finale when the guy who can karate-chop a dozen men can't take down someone tied up and half-dead. Make. It. Make. Sense.

Soo‑young, on the other hand, surprised me. I thought she’d be a goody two shoes, stuck in the shadow of her mother’s death, but she grew into someone resilient and sharp. Her disbelief at the killer’s true nature mirrored mine — he was written so charismatic that even I caught myself shipping them for a hot minute. That betrayal hit hard, because it wasn’t just her trust that was manipulated, it was ours too. Watching her evolve from rookie to survivor gave the drama its emotional backbone, and by the end, she felt stronger than Hyun‑jae himself.

As for Leader Hwang—why is she alive while Detective Yang isn’t? Universe, we need to talk. She’s not corrupt, no, not like Director Choi or the Deputy Commissioner, sure, but her motives are questionable enough that I was grinding my teeth. That said, even if she didn’t say Han Isu’s name, that woman was doomed; the killer was forcing her hand from the start.

Speaking of the killer, he is the drama’s worst and most fascinating creation: a natural born psychopath who started young, gathered like-minded monsters, and perfected the art of guilt-weaponizing. He forced everyone to shoulder responsibility for choices that were never theirs. Even in the end, tied up like a discount Hannibal Lecter, he was still manipulating. Still blaming the world for what he chose to be. The show made him too charismatic for his own good. Charismatic enough that corrupt officers protected him, colleagues overlooked red flags, and even people who wanted him dead kept fumbling like they’d lost the plot. But here’s the problem: after all that buildup, the ending felt anticlimactic. Like, that’s it? After all that tension, they wrapped it up with a shrug and a fade-out?

So yes, the drama frustrated me. But it also entertained me, challenged me, and occasionally made me laugh in disbelief — especially when Hyun-jae launched out of his wheelchair like he was starring in an action movie no one else was watching. It wasn’t perfect, but it was layered, and it left me thinking long after the credits rolled. And apparently loud enough to haunt my living room.

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it’s cute but the ending was so rushed

The entire thing was not top tier or anything but I genuinely enjoyed it. I especially liked the way they portrayed the story, in the end the king was maybe bad, but even if he wasn’t he still would have been known as bad because that’s what the winner (prince jesan) decided. In the end, the ones who win are the ones who tell the story how they want. So I found that nice honesty.
Acting was good, both FL and ML played their roles really well for me.
The cooking aspect was enjoyable, I don’t know about other Kdrama watchers but maybe anime influenced me in this aspect so it felt like a slice of life cooking kdrama which made me unwind if anything.
However the ending… Ending it with “how he came to find me is not important cause now we’re together”..is very annoying. I don’t what happened with the production to want to wrap it up like that or maybe that’s how it was meant to be, but 1 more episode could have explained a few things, like what happened to his people who took over the palace? , like how he came to future? , and when he met her in the restaurant he was already well dressed in a normal outfit so how did that happen? , how did even find her?
So yea I enjoyed a whole 11 episodes of this, but the last part was so rushed it frustrated me.

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This series was absolutely wonderful — far above the usual fluffy BL shows. These two have genuine chemistry, and you can feel how comfortable they are with each other, which makes every scene flow beautifully. The result is a mix of playful moments, heartfelt romance, and love stories that feel real and warm.

The script has just the right amount of depth to keep you hooked without ever feeling heavy or boring, and the actors (meaning the full cast not just the 2 ML) bring it to life with a truly lovely performance. I’ll definitely be keeping an eye out for any future series they do together — I already know they won’t disappoint.

100% recommended: great fun, captivating from start to finish, and full of beautiful people from the 2 ML to the rest of the cast, with beautiful energy.

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Stellar Story, Mediocre Acting

I cannot lie, this was probably one of the best storylines we've gotten out of 2025. The setup, the twists, the outcomes, literally everything. A horror BL done right cause it doesn't center the BL and it works so perfectly for this. Khemjira is stellar, I was kept engaged despite my dismay of the runtime, and I was thoroughly impressed. Unfortunately, the acting is where this takes a large stumble for me.

Let's Dive In.

I liked that Khem and Paran are a slow burn. Not because it's my cup of tea, but because it works so well into the scheme of things with Paran being a shaman and not allowed to really fall in love, and then we steadily see him fall for Khem more and more. I'll be honestly, I was not impressed with that last NC scene. I think there's a certain point when things are dragged too long, and that was just tooooo long. I also kind of don't really see why Paran fell for Khem. I understand for Khem because, Paran is a fucking greek god, but outside of their past soul's love lives, I just don't see what about Khem is to fall for. The fact that he's making your life harder...?

I enjoyed Jet and Charn a lot more than the leads. I liked that Jet realizes how beautiful Charn is after he gets wet and looses his glasses, and I just love Charn altogether. The topics that are brought up amongst them as they progress into a relationship are spectacular, give me more of that.

The plot was just splendid. The village, the people, the workings of the shines and the magic, the two little kids, Ramphueng. Like, wow, just so good. Obviously the CGI is a bit shit, but it's not so bad that I can't stay intrigued in the plot. We learn a lot of Thai culture which I appreciate, and I love that the longer I watch Thai BL, the more I pick up on the lingo, the honorifics, and I realized a lot of how that stuff worked in this. Bravo.

I won't lie though, this was entirely too long. There was no way I could watch this in regular speed, so each episode was watched in 1.5-2x speed, and it honestly felt like it was going a normal pace. There are moments, like always, that just aren't needed.

The acting...sigh. It's not so bad in certain part, but our main guy cannot cry for shit. You know those moment you can tell when someone is crying (real tears, red rimmed eyes, puffy cheeks, etc.) and then when someone put water drops in their eyes? Yeah... But it wasn't just Namping, I wasn't really impressed with anyone's acting outside of Firstone's acting. These guys are pretty new to this (Not Keng though, he worked with Jeff??? Jaw on the floor), so I'll give them slightly the benefit of the doubt.

Ratings:

Story: 9/10 - good and strong! Flowed nicely, some parts dragged a bit, but otherwise it was good. NAMMON.

Acting: 7.5/10 - Namping could be so good with just a little more practice, I wasn't impressed really at all with anyone's acting.

Music: 5/10 - didn't pay attention to it.

Recommendation Value: 7.5/10 - This might not be everyone's bread and butter. It's a little on the scary side, kind of traumatic, and lots of jump scares. But everyone needs to see Keng in a wet white long sleeve with a back tattoo, so go for it!

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It's okey, but it could have been better

Okey, so basically the series definitely did not meet my expectations. It was not great, BUT it was also not that horrible. It was mid. It's CH3 first Original GL and either they really didn't care, didn't want to spend money or they are just bad in making Originals. It's a shame that Lingorm had to face so much criticism because of the Directing and Bad writing.

The Story:
The idea Bodyguard and Singer was great, but they Storyline was at some point just to chaotic and all over the place. I was enjoying it until Episode 4, after that i got confused alot. In my opinion it was a mistake to change the main subject so often. The Start was good, we have those 2 little love birds meet and than split because of some circumstances, than they meet again and one is protecting the other from a unknown enemy. And that's what i thought would be the main plot for the series. Which made the most sense based on the Pilot and because it's about a Bodyguard protecting a Singer. But they just ended that plot after Ep.4 and started focusing on the difficult relationship between ayla and Tawan, than they mixed in the family drama, than they mixed in a second enemy who was family, suddenly tawan is working for her dad, ayla gets a kidney disease and happy end, like what? I get they wanted alot of plot twist to make it more exciting, but it was to much. The focus should have been on the unknown enemy, protecting ayla and the relationship. It should have been mixed well together so we walk in one direction with the story, instead of splitting the way and walk into 5 different plots who are not connected well.

Directing/writing:
Ney what the hell, i wish we could give stars for the Directing, cause mhhh no 👎 that was not good. The Directing was bad. I understood that her POV was that they just met again so they slowly build up their closeness but with a duo like lingorm you could have done so much better. It was just so much holding back. You can see in the behind the scenes how much more affectionate they are. The Cinematography had its good parts but also enough not so good ones. It was just underwhelming. Which was surprising since CH3 is such a big company. The dialogues...lets saye we had here and there some good ones , but there are also so many cringe ones, everything in between was neither great or bad. Even the actresses recognised how some dialogues are just a bit to cringe.

Cast/Acting:
Overall I'm okey with the cast, i think everyone fit their role perfectly. Kate and gang, the step mom did they job good. Same goes for the dad. But since they didn't have that much dialogue anyways you can't judge that much. Yes sometimes it was a bit much but that had more to do with Directing. Ling did her Job as the Cold one.Positive is that her eye acting was really good, it was like her eyes did a conversation without saying anything. For the angry tawan scenes: some scenes are good some a bit cringe and to much, which again is more fault how it was directed, but lings angry tawan sometimes felt a bit forced. For Orm she did her job as ayla Overall well, but also at some point her characters reaction also felt just a to much and forced. It was like trying to be cute while not wanting to be cute. Also her crying scenes, she had some really great ones and her dialogue on the rooftop, chef's kiss, but sometimes again, just forced, to much and cringe. It was just so much i couldn't take it seriously. Mainly the Dialogues and Directing really let them look bad cause they had just to do so many cringe scenes.

Music:
First of all, i like the 3 soundtracks. They are nice and i like to listen to them. BUT WHOEVER DECIDED TO USE LINGLINGS SONG FOR LITERALLY EVERY GOD D*MN SCENE NEEDS TO BE FIRED. What the hell was that? Using one song for literally every kind of scene was just a bad choice. Its just ruins the mood. They did it so well in the TSOU, so how come they forgot that you need fitting music for scenes to be delivered emotionally well. Music is so important in movies and series to deliver emotions and they did a exceptional great job in ruining it with using one song for everything.

Rewatch value:
If i ever get bored maybe, cause it does have some enjoyable parts in it, but i would not rewatch like 10 times in a row.

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the acting and rewatch value should have been a 10 but that damn second couple

I’m genuinely enjoying the story. The main leads are doing amazing and this character seems to suit them perfectly, inspector king i don't like you but it means you are doing a great job! shout out to the chaba ghost she is amazing, the real MVP.
The pacing is good, and the plot is actually engaging. But please, that second couple is testing every ounce of the patience I have. They bring nothing but bland chemistry feels like that rubbish northsonic all over again, giving us unnecessary scenes that interrupt the flow. how am i supposed to believe they are ex and apparently are still sleeping together but no ounce of chemistry or tension detected🤦‍♂️i am begging on my knees, can they get less screen time? Just let me follow the actual story without their constant dull interruptions.

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A very Chinese-flavour drama with eastern phylosophical ideas

WARNING: MAJOR SPOILERS -

This post is part of a trilogy where I analyse only the cultural and historical artistic aspects, as well as two Eastern philosophical perspectives with strong presence in the drama, without tackling other elements such as wuxia themes, Confucianism, sci-fi inspiration, and so on. The links to the complete three-acts review with images are in the comments.
By accident when adding this part, I erased the previous review :
NOTE: Although the story is remarkable, the execution and direction has flaws that impact the overall result, so the final score is a balance between the outstanding aspects of the drama rarely seen in any kind of drama or serie (that gives the extra points to reach the 8) with its flaws. Luo Yun Xi and Jeremy Tsu - outstanding.acting

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As we enter this THIRD and last ACT about Buddhism, the framework that gives structure to the whole story, it felt fitting to bring the classical theatre resource where a character steps in at the beginning to set the scene and offer context. Honouring that tradition, I’ll quote the answer that Mo’at gives to Jake Sully in the movie Avatar when he asks the Na’vi people to teach him their worldview and wisdom: “It is hard to fill a cup that is already full.”

This phrase didn’t just pop into my mind by chance. Buddhism is a philosophy and religion completely different from Western conceptions and beliefs, and since it sits at the heart of Shui Long Yin’s narrative, I tried my best to do justice to its principles. Although I kept things as concise as I could, this time you’ll need to be extra forgiving with me.

As actor Luo Yun Xi said himself (see ACT 2), Tang Li Ci seeks enlightenment. Let’s embark together on that search and see whether he attained what he was looking for, or if , at the very least, the journey was worthy.

Buddhism, the general framework

“All things are impermanent; they arise and they pass away.”

While Daoism is about finding harmony with the Dao, Buddhism is a path of understanding meant to transcend this world and the suffering inherent in it. It originated in India around the 5th century BC with Siddhartha Gautama who, after attaining enlightenment, became known as Buddha, or “the awakened one.”

The foundation rests on the Four Noble Truths:

1) Life contains suffering

2) Suffering has a cause (craving and attachment)

3) There is an end to suffering (nirvana and enlightment)

4) There is a path to end suffering

(NOTE 1 - Masters Puzhu and Fang Zhou // Although there is one “internal” path to end suffering, there are two “external” ways to walk that path. Puzhu represents the Buddhist archetype of the hermit who isolates himself from humanity and external distractions to walk the path. Fang Zhou represents the Buddhist archetype of the master who actively involves himself in worldly affairs with compassion.)

The ultimate goal is to wake up from the "dream" of cyclic existence, the Samsara, realising the true nature of reality. This is achieved by understanding and internalising several key principles:

Impermanence: All conditioned things are in a constant state of change.

Karma: The law of cause and effect, where intentional actions shape future experiences.

No-Self : The perception of a fixed, independent "I" is an illusion.

Nirvana: The unconditioned state, the cessation of suffering and the end of the cycle of rebirth, achieved by disolving all harmtful states of minds

So, let´s walk this path through Shui Long Yin together.

Impermanence: life as a dream or the stage of a play // “All phenomena are like dreams” - Heart Sutra

Some of the comments regarding the ending of Shui Long Yin revolve around the idea that everything Tang Li Ci did seems meaningless because no one remembers he existed. Even worse, not only are all the bad omens now living good lives, but TLC has never even existed. Was the whole drama, and all the time and emotions invested by viewers, pointless?

In the drama, Tang Li Ci voices a similar distressed question during his dream coma, and Fang Zhou’s answer guides not only him, but us, along the Buddhist path...and might add, the drama.

(NOTE 2 - Zhoudi Tower // In the dream, Tang Li Ci is disheartened and defeated because Yique YingYang is already back after ten years, and he feels that all the deaths and efforts back then were meaningless. Fang Zhou, a Buddhist teacher answers: “Even if YQYY is alive, are all the people who were able to live and enjoy life during those ten years not worthy of that?” … “In this world, not a second of effort is wasted.”)

By this point, we already know there are three stories: the original timeline, where Ye Mo kills Tang Li Ci only to realise that without emotions the Holy Son isn’t perfect and can’t achieve immortality; the second timeline, the one the drama actually follows; and the third one, the new life we glimpse at the end, where Tang Li Ci is no longer explicitly present nor ever existed.

So? Which one is real? The first one we never saw? The second one we grew attached to? The final one we only catch a glimpse of? Buddhism states that just as our dream experiences are mere appearances of the mind, so too are beings, their environments, their pleasures, and all other phenomena. The strong theatre-stage effect of the drama (ACT 1) seems to work like a visual metaphor of this.

(NOTE 3 - Tang Li Ci’s dream in Zhoudi Tower // From a Buddhist perspective, this dream and Tang Li Ci’s confusion about what was real bring up the topic of phenomena as mere appearances of the mind.

This doesn’t mean those phenomena don’t exist; it means they don’t exist on their own, only in relation to the mind. We believe the only “real” timeline in the drama is the one we just experienced because we formed a connection with it. The others feel unreal because we didn’t immerse ourselves in them, even though, at the back of our mind, we understand they existed too - but only from the moment we are introduced to them, not before.

We can see this idea represented in different moments and ways throughout the drama, through both cinematic and narrative resources: the contrast between chaos and fighting versus the calm, quiet tea scene in the Buddhist temple at the beginning; the reality in which Liu Yan lived all those years, where Tang Li Ci is a murderer and the most despicable being, versus Chi Yun believing the marks of Yique YingYang are beautiful and enhance Tang Li Ci’s attractiveness.

(NOTE 4 - All phenomena are like dreams // The quiet calm of a tea ritual and a baby sleeping at a lakeshore versus the chaos and action-packed fighting in the temple’s front yard.)

(NOTE 5 - Matrix (1999) – iconic sci-fi movie directed by the Wachowski sisters // The best way to explain it is this movie

2. Karma, suffering, and samsara: Even things aren´t “real”, we still suffer...Why? How? // “If you know your own mind and develop it, you will become a Buddha; do not seek Buddhahood outside yourself”

Every sentient being wants to be happy and avoid suffering. We tend to think that the causes of happiness or pain are external, but Buddhism states they actually lie within our own mind.

The mind isn’t a material object or a by-product of physical processes; it’s an immaterial and continuous entity, different from the body. Every action we take leaves an imprint or potential on our very subtle mind, and in time, its corresponding effect will arise. Virtuous actions bring happiness; harmful actions bring suffering. This is the law of karma, and it affects all lives, constantly.

At the beginning of Whispers of Fate, Tang Li Ci already has a partial understanding of these ideas taught by his master, Fang Zhou, and he reflects with the monk on intention and karma. When he decides to enter the jianghu, he is, without realising it, following Fang Zhou’s path to end suffering through the worldly-affairs way. At that point, his obsession and his merely intellectual grasp of these concepts and teachings prevent him from truly embracing them, as he still doesn’t fully understand what that way means or how it works.

(NOTE 6 - Tang Li Ci speaking with the Buddhist monk about intention, karma, and suffering. By entering the jianghu, he will come to learn and understand human emotions (hate, fear, love, obsession) and the deeper meaning of things, just as Fang Zhou told him many times.)

So, the world itself is the result of karma — the actions of the sentient beings who live in it. A pure world is the result of pure actions, and an impure world is the result of impure actions. Since all actions are created by the mind, all things, including the world, are created by the mind as well.

(NOTE 7 - Impermanence, karma, samsara // Every relationship and every character is shaped by karma and samsara. Hatred turns someone into an inherently bad person; attachment turns an object into something inherently pleasant and capable of making them truly happy. All mental afflictions work like this: they color reality with their own bias, and we end up responding not to what things truly are, but to the distorted version of them.)

While the body disappears at death, the mind - now called the very subtle mind, and without the memories of that life - continues to exist. Depending on the karma that grows, we reincarnate into a fortunate form (human or god) or an unfortunate one. We can’t choose; karma rules. This uninterrupted cycle of death and rebirth, without any freedom to choose, is called samsara.

3. The Path to Liberation from Suffering, and Enlightenment // “Samsara is like a wheel that turns through the force of contaminated actions performed by mental afflictions”

Mental afflictions such as attachment, hate, malice, jealousy, greed, and delusion are to the mind like clouds to the sky: bad habits that can be eradicated because they are not the sky itself. They are distorted perceptions that cling to things as if they had inherent or independent existence.

In the drama, this idea of clarity as the true nature of the mind is highlighted by Fang Zhou’s teaching: “Every person is born good” — which is also shared by Confucianism, by the way.

The strongest ignorance is the intuitive feeling that we possess a real and objective self that exists independently of other phenomena or things: the ignorance of self-grasping. Because we esteem ourselves so intensely, we feel attracted to objects and people that seem appealing, we desire to separate from those we dislike, and we feel indifference toward the rest. Therefore, attachment, hatred, and indifference arise. I’m sure you’ve already pictured countless examples from the drama while reading this.

Attention should focus on creating mental states that bring real happiness (love, patience, generosity) and also on letting go of mental afflictions completely by addressing their root: the mind’s tendency to cling to a fixed self. By tackling the causes of suffering within, external ones like illness or death lose their power to disturb us. This lasting freedom from mental afflictions and suffering is what Buddhism calls liberation, or nirvana. In other words, this is the path to truly freeing oneself from suffering.

There’s a sequence in Episode 2 that sums up everything above, so I’ll simply replay the dialogue, presented as a voice-over during the scene when Tang Li Ci is leaving the temple:

Tang Li Ci: “Masters and servants can turn on each other for money; brothers can betray and kill each other. In the end, the heart is the hardest to see through. Demons are everywhere.”

Monk: “Amitabha. Right and wrong, good and evil, they are just a thought apart. What you can’t let go is obsession. You’re very wise. You go through the sea of suffering by yourself. I believe you’ll eventually reach the other shore.”

** Some translation don't address the specific term "sea of suffering" but instead go for "salvation lies in your own hands". Although the essential meaning is the same, the second avoid the específico and direct reference to Buddhism - a bad take in my opinion as it's about Buddhist beliefs.

(NOTE 8) The path to liberation from suffering – The journey and the destination // From attachment to life, to the past, and to Fang Zhou, to loving new people and appreciating the human world and its beings, and ultimately managing to let go.

It’s worth noticing that, despite the different levels of wisdom each character had reached before the time reversal, almost all the villains’ endings carry a note of compassion. You might have thought “finally!”, but there certainly wasn’t a sense of “hate” or “I’ll wish you eons of suffering” left floating in the air.

Liberating only oneself from suffering isn’t the highest aim on the Buddhist path. Beyond wisdom, it’s kindness and love for others that form the true foundation for helping all beings reach the same state. Those who seek enlightenment do so guided by the mind of Bodhichitta: a mind that, moved by deep compassion, naturally wants to awaken in order to help all sentient beings directly.

The Buddhas are those beings that, having completely removed all traces of ignorance from their minds, have freed themselves from the dream of samsara and attained omniscient wisdom, along with the limitless ability to help others.

And with this understanding in mind, I hope you can find more meanings to the ones you´ve already found in Whispers of Fate. As for my part, the analysis of this trilogy has now come to an end.

** Epilogue (closing and ending notes) ** - I´ve link the three parts completed with images in the comments to a better review

Whispers of Fate is a drama about loss, grief, and attachments; but at its core, it’s a story that reflects on and questions what it means to be human from a very Chinese perspective, rooted in China’s history while staying in tune with its present. We see that search in every character, although I want to highlight three.

Nothing in this world is perfect, and neither is this drama. It’s a complex and ambitious project with a distinctive Chinese flavour that can look ordinary and simple on the surface, yet be slow and fast-paced, common and uncommon, all at once. And when we bring in our Western viewpoint, shaped by a Judeo-Christian background or even a modern secular mindset, we really do need to empty our cups first.

For me, the beauty of Whispers of Fate lies in its distinctive Chinese aesthetics, but also in the way it blends Eastern philosophies into its storytelling. In a way, the original title “Shui Long Yin” and its literal translation “Water Dragon Chant” is the most fitting, as the whole approach of the drama reminds me of those apparently simple tales and legends through which ancient cultures and societies explained the world, what it means to be human and why we are here.

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LOVE IT

I seriously loved this K-drama, Spirit Fingers. It’s not just cute — it hits different. The love story of the main characters is so soft and emotional that you end up smiling like a sigma clown in love 😭💘. The vibes are perfect, the colors, the art, EVERYTHING.

What I liked the most is how the Spirit Fingers group feels like a real friend-family. When the characters meet, it’s so natural that you feel like you’re sitting right there with them, listening to their chaos and laughs. It gives you that warm “I belong here” feeling, and not every K-drama does that.

Honestly, if this drama dropped on Netflix, it would explode — like TOP 1 worldwide, no joke.
And bro… Jo Joon-young? The way he acts?? SO CLEAN. SO GOOD. He understood the assignment 100%.

I totally recommend Spirit Fingers if you want something wholesome, aesthetic, funny, and emotional at the same time. It’s the kind of drama that makes you feel better after watching it and stays with you for days But bro… I didn’t really love the ending. I wanted WAY more screentime of Ki-geong and Woo-yeon together 😭🔥. They barely showed them, and it felt like they rushed half of the webtoon into the last episode. I was like, “writers, are you okay in your mind??” 😭💀

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Typical storyline

Although I enjoy clichés and average storylines, this drama was somewhat boring and overstretched. It makes the drama appear to lack creativity, and the tension between the bullies and the victims is also too mild. It would have been better if the tension were a bit intense, and a new plot should have been introduced to make the series more interesting.

However, the cast was well picked as they played their roles perfectly, which was very fun to see. Also, the romance genre was like a relief pill for the audience as they go through the main plot. And obviously, I like Lee Jun Ho as his acting is very versatile and emotionally resonant, which makes the audience love his acting and as a person.

Overall, don't let this review stop you from watching the drama, as they are all based on my opinion. You should just go, watch it, and create your own view on this drama.

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One hot mess of a drama

This show has all the good elements of a fantastic drama : 1. Six childhood friends with deep bond who went through the challenges of growing up from primary school to their professional careers; 2. Strong camaraderie among neighbors; 3. Dysfunctional family with controlling and destructive parents; 4. Young and pure love that defied all difficulties; 5. Tragic past; 6. Global financial crisis. But it’s as if the script writer, the director and the editor quarreled and let each other run amok on the set and do their own thing to sabotage each other. There were so many disjointed scenes, back stories not explored, no character development on the supporting actors, inconsistent story telling. I was confused and couldn’t decide if this was a drama about life, coming of age, or just fluffy romance. Too many non value scenes like that ghost story in the FL’ s college dorm. I can’t believe they allotted 3/4 of the full episode for that! The messy flow of going back and forth on childhood stories were confusing and repetitive. And when I finally reached the end, I thought I was watching a fantasy fairy tale when their young selves appear talking to them. No wonder the rating was low and drop out rate was high. I rated this slightly above 7 purely because I’m a fan of ZLH AND ZJM. Sadly their flawless acting and strong chemistry were totally wasted.

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My brain is not braining

These are the types of shows I enjoy watching even if it makes me feel dumb. Some challenges were more interesting than others. I’ve always known korean education system to have strong math from all the korean classmates I’ve had through the years.

As a non-korean, I’ve always had the impression that SNU was the top university in Korea. It may have made me favor them unconsciously while watching. Also, they have starboy Hyun Bin and master strategist Dohyun. My fave genius duo.

Sidenote: I find guys good in math and strategy in particular very attractive.
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