Experimental Science

Intriguing plot… innovative concept… poor execution… but great music. This sums up for me the entire experience of watching this drama and why I rated it a 7. For more details, please read on…

LUCA: The Beginning is based on the premise of scientists creating a new species of mankind by integrating the DNA of several different animals that makes this breed of humans stronger, faster, more resilient to the ravages of time and nature, along with superpowers to boot. These experiments are backed by a shadowy entity, called “The Establishment”, with seemingly unlimited resources and broad influence that stretches far and wide into the upper echelons of government and subsidiaries in various industries. One such subsidiary fronts itself as a “Church” where its mysterious cult following is headed by a villainous woman who styles herself as the prophet for the second coming of “Messiah” – the new human hybrid. Enter Zi-O, the first of such hybrids.

The drama chronicles Zi-O’s journey from being a lab experiment to escaping the clutches of this cult while adapting and finally learning what it truly means to be human. Along the way, he encounters the intrepid policewoman Gu Reum, with whom he shares a connection to their past. Armed with the knowledge of the synopsis and having seen the captivating trailer, I started this show fully expecting a similar approach to Scarlett Johansson’s Lucy. It turned out rather differently, with mixed results.

The drama is decently-produced, reasonably well acted for the most part, but the plot and characters are quite inconsistently and illogically written. The special effects are nothing to write home about but generally well-rendered, in a minimalist manner, and mainly used to depict Zi-O’s electricity-charged superpower, and pyrotechnics for certain scenes. The production team is led by the hugely experienced director Kim Hong Seon, no stranger to dark thrillers, who helmed notable shows such as The Guest, Pied Piper, and Voice. The screenplay is written by Chun Sung Il, who mainly specialises in comedy with Chuno being the sole non-comedy tagged production in his repertoire of works. The cast contains a number of familiar faces the likes of Kim Rae Won, Kim Sung Oh, Kim Sang Ho, Park Hyuk Kwon, Ahn Nae Sang, and Jin Kyung. Look out for memorable guest appearances in the form of Lee Won Jong at the very beginning and Jung Eun Chae who had a more prominent role towards the end.

The drama starts out brightly at an engaging pace that’s filled with sporadic moments of thrills and intensity. Both leads’ backstories and shared connection are revealed little by little in every episode via numerous flashbacks. The tags for this show are spot on, where here we have mystery, melodrama, and romance in addition to the science-fiction and action. Watching this turned out to be quite an attritional viewing experience from around episode 3 onward and a pretty wild ride overall in what has been an emotional roller coaster, beyond what I had initially anticipated. It’s the kind of show where the good guys persistently get outwitted, take the (numerous) hits, fall down, get back up and repeat. Over and over again, like the wash cycle of a washing machine.

The scenario of our leads being incessantly chased by the same team of bad guys and the FL consistently getting beaten up and having her head bashed against the wall does get tedious up to the halfway point. As it turns out, for a normal female human without the additional exotic DNA, her skeletal structure is in no way less durable compared to the human hybrids because she emerges unscathed every time with nothing more than superficial wounds. As for the ML, given his inexperience in combat and lack of control over his superpowers, he ends up being constantly overpowered by the battle-hardened and ruthless professionally trained villains.

The pace slows down for three quarters of an episode just past the midway point where the FL temporarily ceases to suffer needlessly and, together with the ML, attain some much-deserved rest, among other questionable events that transpired. The momentum picks up again soon after and reached its zenith in the business end of the show where action, tragedy and more plot twists blended to produce the impetus for a thrillingly breath-taking and bitter conclusion to Zi-O and Gu Reum’s story arc as well as the overarching plot. Many viewers felt that the ending is an open one with a possibility of a second season but personally for me, it represented adequate closure where we allow ourselves to write our own epilogue to this whole affair.

I feel that the storytelling would have been more compelling with less episodes. The backstories and the plot set up dragged out more than was necessary, and included too much of the ceaseless running around and fighting (getting beaten up, more like) and meaningless sub-plots with unfulfilled romance undertones. Even with 12 episodes, certain character arcs remained unexplained and plot holes were littered throughout.

As far as the acting is concerned, Kim Rae Won and Lee Da Hee each gave a commendable portrayal of the main characters which were quite poorly conceived, in my opinion. The individual character development, (excessive) pain, and agony along with superfluous misunderstandings between them were frustrating. In particular the FL Ha Neul Ae Gu Reum (why they came up with such a long fictional name in the first place is beyond me) was written to be infuriatingly lacking in any common sense, or even the street-smarts as befits a police detective of her experience. This character continuously places her life and the lives of others in danger, and favours brawn over brains. The depiction of her taking on swarms of villains alone in unarmed combat throughout the entire show is utter nonsense and unrealistic.

The villains are an eclectic mix of characters. For me, Park Hyuk Kwon nailed it with his version of the unscrupulous and conniving NIS official Kim Cheol Soo. Whether as a protagonist or antagonist, he’s always enjoyable to watch due to his versatility and range. The award-winning Kim Sang Ho, as usual, is one of the best supporting actors in the industry. His characters are always layered and brilliantly portrayed, as is the case recently in Sweet Home and now here in this drama as the conflicted cop, Choi Jin Hwan. Jin Kyung’s cold blooded false prophet, Hwang Jung Ah, is rather theatrical and OTT at times but quite convincing especially when spouting sermons from the pulpit. Ahn Nae Sang’s role this time is a little more understated, as the lead scientist Ryu Joong Kwon. Kim Sung Oh’s Lee Son is largely one-dimensional with the stoic and cold exterior, except for that singular moment of tragic loss, a clichéd plot device, that he experiences towards the tail end of the show. Other than that, his main role is simply to inflict physical pain on others. Jung Eun Chae’s Attorney Jung is a scene-stealer, despite her limited guest role, and is actually rather fun to watch.

One of the very few pleasing aspects of this show which is done right, is the soundtrack. I thoroughly enjoyed every song in the album, in particular both the original and acoustic versions of the hauntingly evocative song, Your Eyes. Track listing as follows:
1. Sun Woo Jung A - Your Eyes
2. Jemma - LUCA
3. Lee Da Hee - Your Eyes (Acoustic)
4. KLANG - Gone

This show had so much potential to begin with, being based on a concept that is both innovative and refreshing. The entertaining and riveting start was unfortunately proven to be a false dawn. The production is hampered by the lack of quality screenplay and the resulting downward spiral of the storytelling finally culminated in a hugely incredulous and dissatisfying end.

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To love and be loved

The King’s Affection is one of three sageuk produced by KBS this year, following River Where the Moon Rises and ending right at the start of The King of Tears, Lee Bang Won. It is also one of eight sageuk set during Joseon Dynasty, as well as nine overall to be aired this year. 2021 truly has been inundated with a number of K-historicals and fans of the genre are all the better for it!

This firmly belongs to the fictional romance variety, the likes of Rookie Historian Goo Hae Ryung, Love in the Moonlight and the more recent Lovers of the Red Sky as well as the currently airing The Red Sleeve, albeit purportedly based more closely on historical records. The thing with romance-centric sageuk is that there is generally a wider scope of themes being depicted, in addition to the love story between the leads.

In this case, they include palace politics, melodrama, comedy and a fair amount of “fluffiness”, while commonly established tropes are added into the mix for good measure, comprising childhood connection, contract marriage, crossdressing or gender bender, found family, love triangle, and the star crossed lovers. So if you’re in the mood for a sageuk that isn’t too heavy in terms of historical accuracy or the seriousness of the politics but with enough light-hearted moments mixed with a dash of heart-wrenching events and a big dose of passionate romance, then this is definitely one to consider.

The drama tells the story of a pair of royal fraternal twins who switch places, with the female becoming the Crown Prince in her brother’s stead before eventually succeeding the throne, hence the appropriately given title for the drama. Along the way, the “King” develops affections for one of her subjects, amidst the intense political rivalries between various factions in the palace. Further complications arise to the already precarious situation in the form of dysfunctional family dynamics, forced marriages and murderous antagonists who are hell-bent on furthering their nefarious agendas.

The screenplay by Han Hee Jung, who previously wrote Gunman in Joseon, is adapted from the manhwa, Yeonmo (연모) by Lee So Young which was serialized between 2011 to 2014 and revolves around the fictional King Namjang but with references to real life historical figures from the late Yejong to early Seongjong era of the Joseon Dynasty. This is the first work from directors Song Hyun Wook and Lee Hyun Suk that I have seen.

Being a pre-produced drama that began principal photography in April, filming finally concluded in late November, halfway through the drama’s airing schedule, due to a number of delays caused by Covid infections to the crew and a fire that reportedly broke out at a filming set. Yongin Daejanggeum Park, the iconic MBC film set for historical productions, served as the primarily filming location along with several other famous landmarks and notable locales. These include Minsok Korean Folk Village in Yongin, Sangdangsanseong Fortress in Cheongju, Gwanghalluwon Ojakgyo Bridge in Namwon-si, Jeongseon-gun Doroni Pond (Gangmujang Pond), Itaesarangbawi Rock in Geochang-gun (Gangmujang Cliff), and Andong Seaside Film Set.

What I Liked

The production values are obviously very high and reflected not only in the nationwide filming locations but also the quality in terms of the visuals presented. In addition to the cinematic feel to the atmospherics courtesy of the excellent cinematography and post-production effects, the aesthetic art direction as well as the beautiful elaborately designed costumes certainly enhanced this aspect significantly as well. There is quite a fair bit of slow-motion immersive and “romance-themed” framing. I truly appreciated this approach to the visual language.

The direction as well as editing absolutely complements this aspect of the storytelling because the entire drama takes its time allowing certain key moments and scenes to breathe and leave a memorable impression on viewers. Although nothing to write home about, the action sequences and the choreography for the sword fighting appears quite decent for the most part and progressively intensifies as the story approaches the climax.

The grand scheme of the overarching plot and the conclusion. As soon as I had read the synopsis (which is rather spoilery, by the way), I knew that the conclusion to the story was going to be limited to only a handful of options, some of which probably would leave viewers somewhat distressed. Without spoiling it, I will say that the outcome of the story surprised me a little but in a good way. I also think that the drama ends as strongly as it starts, with episode 19 a particularly thrilling rollercoaster of emotions and adrenaline rush.

As far as the characterizations are concerned, the FL, her grandfather and the ML’s father stand out for me. Especially during the more serious segments of the plot development pertaining to the court intrigue. Each of them is extremely grey and buried beneath the many layers that they have embodied into their persona that sometimes I, as a viewer, become unsure of which mask that they put on is the "real" them. After years of pretending to be a man, the FL probably does not even know what it means to be a woman anymore, until her affections have been awakened by the very person whom she first developed feelings for, as a child. Physical attributes aside, her demeanour is utterly that of a royal Crown Prince.

The Left State Councilor, Han Ki Jae is a man who will stop at nothing to preserve his political powers, including his own flesh and blood. At times, the villainy of this character is truly awesome to behold. Likewise his retainer, the cold blooded and ruthlessly efficient Jung Seok Jo. If Han Ki Jae is Emperor Palpatine, then this man is Darth Vader. But beneath the facade of unrelenting malice lies a truly conflicted and tormented individual who knows deep down that he has sold his soul to the Devil.

The performance by all 3 actors for the aforementioned roles are the highlight of the drama for me. Park Eun Bin is absolutely phenomenal. This lady has so much potential given her track record for compelling portrayals in recent times, and her iteration of the gender bender is one of the best I’ve seen. Yoon Je Moon provides the perfect delivery of the antagonistic grandfather and politician of the Joseon court, where his subtly expressed passive-aggressive undertone imbues an added dimension to the depth of the characterization. Bae Soo Bin is much more action oriented given that he portrays quite possibly the best swordsman in the drama, Jung Seok Jo. In addition to the physicality and despite being a man of few words, the nuanced microexpressions on his face say it all, really.

Apart from the impressive trio, Bae Yoon Kyung’s Shin So Eun is noteworthy considering that she lacks screen time because she steals the scenes whenever she does make her appearance. I have to mention the child actress, Choi Myung Bin. Out of all the child actors I’ve seen this year, and there have been many, I do think that her portrayal of both Lee Hwi and Dam Yi is the best. Of course, at 13, she’s considered quite mature but her duality in depicting two vastly different characters, one of whom is male, sold it for me.

The soundtrack is very good, and I wouldn’t expect anything less. If there is romance involved, one can be sure that the music will no doubt play a major part in tugging at the heartstrings with emotional love ballads, of which there are plenty in this production. In this aspect, TKA definitely does not disappoint. My personal favourite is the main theme by LYn, which gets significant airplay via the infusion of countless MV scenes of the lead couple.

LYn (린) - One and Only (알아요)
Ro Woon SF9 (로운) -No Goodbye In Love (안녕)
Baek Z Young (백지영) - IF I
SUPER JUNIOR-K.R.Y. - Shadow of You (그림자 사랑)
An Da Eun (안다은) - I Believe
VROMANCE (브로맨스) - Hide and Seek (숨바꼭질)
Haeyoon (해윤) of 체리블렛 Cherry Bullet - Full of You (티가 나)

Room for Improvement

As much as I have waxed lyrical about the positives, TKA is not without its flaws but on the whole they aren’t overly detrimental to the storytelling. I think at times, particularly midway through the story, the fluffiness probably receives slightly more attention than is perhaps necessary. As a result, cuteness overload features prominently as fillers, where the leads behave out of character and out of place with the setting. Adorable but ridiculous at the same time.

Rowoon, portraying the ML Jung Ji Woon, has the physique to match the action scenes well. His chemistry with Park Eun Bin, as the only CP in the drama, is quite apparent and their scenes together are pretty convincing. My only gripe is the emotive aspects of his performance. Park Eun Bin appears the more superior performer and it truly does show, IMHO. The same goes for the other supporting cast of Nam Yoon Su and Choi Byung Chan as Lee Hyun and Kim Ga On respectively. I’m actually rather intrigued by the character of Kim Ga On, who I wish could have been more fleshed out because despite the potential of his backstory, his character arc never fully materialises into something more than the stoic persona throughout.

As far as the other supporting characters are concerned, Lee Pil Mo as King Hyejong, the FL’s father, appears somewhat inconsequential to proceedings before eventually becoming a mere plot device to the overarching plot. The character of the psychotic Prince Chang Woon who has a penchant for unmitigated violence, played by Kim Seo Ha, is clearly a cliche and written to be nothing more than an OTT antagonist. He comes across as a cartoon character whose only job is to provide angst and cringe. Meanwhile, Jung Chae Yeon has the unenviable task of playing the annoying airhead and occasional comic relief, Noh Ha Kyung. That said, the character is rather pitiful and I actually feel sorry for her in the end, which is a credit to the actress’ interpretation of the role.

Overall

The pros outweigh the cons, and I have absolutely enjoyed Park Eun Bin’s performance here. The story also provides an acceptable closure, much better than I had initially anticipated. The King’s Affection ranks as one of the better produced romance sageuk that I have seen this year.

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MDLers’ Choice Awards 2020 for Best Xianxia Romance, Actor & Action

With over 7K comments in the discussion board (setting a new MDL record at the time of writing), Love and Redemption is quite possibly the winner of MDLers’ Xianxia Romance of the year award for 2020, if ever there was such an honour bestowed by the panel of admins and as voted by MDLers themselves. And of course, our beloved Cheng Yi wins the Best Actor, Most Popular Actor and Best Kisser awards, among others I might have left out.

Why is there so much passion for this show? Because L&R is a binge-worthy narcotic that induces an addiction so severe that one becomes fully dependant and invested from the very first dose. Throughout the 59 episodes, I simply could not refrain myself from “chasing after the story”, just to bear witness to the trials and tribulations experienced by our main leads (Yu Si Feng and Chu Xuan Ji aka SF and XJ) amidst much traumatic physical and mental suffering (and no little amount of blood loss, voluntary or otherwise) in the process, inflicted upon themselves and even on each other. This powerful romance truly deserves multiple awards because it is all inclusive and literally no one is left out.

As with other fans of the show, we persevere through each and every episode with the faintest glimmer of hope, and against the odds of the deeply dreaded historical C-drama curse, just to see a happily ever after ending. When a show gives you butterflies in the stomach and myriad emotions, damn it you know it’s good.

Truth be told, technically it’s not the most perfect production (then again nothing of this mortal world is perfect, except maybe Cheng Yi's acting) – there are minor flaws in directing, editing, and cinematography. But without a shadow of doubt, full marks go to the depiction of the story and portrayal of the characters. The visual effects, CGI technology employed and martial arts choreography are among the finest, if not the best, seen in a Xianxia drama for a very long time.

Story:
I did not read the original novel, “Liu Li Mei Ren Sha” by Shi Si Lang, and simply went in with a clean slate and without any expectation, demand or bias. What I ended up with was a masterpiece of storytelling. To put it simply, at the heart of this drama is a beautiful story about a love so pure and strong that it defies all odds and conquers everything that fate throws at it, just for a chance to shape its own destiny.

As is customary of this genre, we have the usual setting of the 3 realms – the Heavenly court and its entourage of Godly Emperors, Demi-Gods and Immortals; the Mortal Realm with its various sects of cultivators and loyal followers and groupies; and the Underworld realm filled with Demons, Devils and generally every other plausible kind available. Within this universe lies our unassuming SF and XJ, whose love story unfolds across the 3 realms and transcends several lifetimes, in a long and arduous journey filled with seemingly endless challenges and obstacles.

Nearly every conceivable plot element, trope and the emotional highs and lows that one could ever wish for in a fantasy is present in abundance. Full-blown action from fierce battles fought out in epic proportions in the heavens and on earth, between every imaginable species of celestial beings and affiliations, with all manner of divine weapons and cultivated powers. Many action C-dramas pale in comparison to this spectacle.

The romance is simply off the charts and has the steamiest kissing scenes in any C-dramas that I’ve seen this year. Being nearly all-inclusive, you will observe multiple relationship angles involving fabricated/ forced/ infatuation/ manipulated/ unrequited/ tragic love, whether it be romantic, familial, bromance, sismance and even BL among various characters. Normal rules of engagement no longer apply as even gender associations extend to androgyny levels in both corporeal and ethereal formats. Not many romance dramas, regardless of genres, could hold a candle to L&R.

There is no lack of focus on supporting characters as everyone is given ample room to develop and showcase their own storyline. There is enough suffering, tears, torment and blood vomit to last beyond a single lifetime (or in this case 10 cycles). No shortage either in frustrating misunderstandings, heart-breaking betrayals, sheer mental anguish, broken oaths and promises.

Thankfully it’s not all doom and gloom. I didn’t have to look too hard to find some semblance of luminescence within the darkness throughout the proverbial tunnel where memorable but fleeting moments of pure unabashed and unadulterated innocent love between our hero and heroine can be observed. This is fine dining at a Michelin–star establishment rather than buffet at a fast-food joint, but trust me, the long-awaited dessert certainly provides for a much welcomed catharsis at the very end – the last 30 minutes of the finale episode makes everything worth it.

Acting and Cast:
As the ML, this show has potentially propelled Cheng Yi to celestial popularity levels. His portrayal of the much adored character of Yu Si Feng through his seemingly innate ability to emote convincingly and project poignant scenes of excruciating torment while shedding TONNES OF BLOOD AND TEARS has deservedly earned him legions of new fans, including yours truly. Yuan Bing Yan, who plays FL Chu Xuan Ji, displays the necessary depth in portraying the character’s growth, from a sensory-impaired and downright clueless young woman to a multi-faceted divine being of supernatural awesomeness. Perhaps at times Cheng Yi’s superior range and mastery of acting became too overpowering, but there is no denying the explosive chemistry between these two leads. The intense emotional connection that they share does indeed feel tangible and real rather than artificial and contrived.

There are several villains who dish out multiple levels of annoyance and angst. None more so than the top two of Hao Chen and Wu Tong. Without Liu Xue Yi, L&R would not be as satisfying (and torturous) as it had been. He brings to the table his version of Hao Chen, a complex and egocentric multi-dimensional piece of work who’s armed with a deep-seated sense of self-serving twisted logic that is borne of extreme bitterness and utter resentment. I doubt HC himself even realises that he is an actual villain because in his mind, he believes himself to be the righteous and spiritual holier-than-thou sacred existence while everyone else who does not share his convictions is almost certainly in league with the Devil himself. This is where the actor succeeds in his ability to consistently maintain the angst levels and turning it up a notch or two when the situation calls for it, throughout the entire show.

Huang You Ming plays the other villain, Wu Tong. It would be unfair to vilify WT as an outright villain because in a way he is a victim of circumstances that turned him into a sociopath. Constantly filled with contempt and uncontrollable rage, coupled with insatiable bloodlust for revenge, this is a deeply troubled individual who has no control over his own fetishes either. The actor’s looks, sadly for him but fortunately for us, projects the character’s vile vibes completely.

I want to add that the voice dubbers for Yu Si Feng and Hao Chen in particular, did an absolutely amazing job in adding the emotional nuance that brings to life the actors’ portrayals ever so vividly to the viewers.

The rest of the cast generally did pretty well too. Zhang Yu Si playing Chu Ling Long displayed a remarkable transformation from the spoilt princess persona to the role of an abuse victim struggling with PTSD. Together with Li Jun Yi, who plays Zhong Ming Yan, they both formed the second main couple in the show (among many other couples) and gave the OTP a run for their money in the pain and suffering stakes.

Did I mention this drama is filled with many charismatic and good looking male actors? In addition to Cheng Yi and Liu Xue Yi, we have Zhu Zi Xiao (Yuan Lang), Fu Fang Jun (Wu Zhi Qi), Li Xin Ze (Luo Hou Ji Du), Bai Shu (Ting She) and Zhou Jun Wei (Ruo Yu).

Overall:
Love and Redemption is definitely not light and fluffy (except for very few episodes). Make no mistake, this is as heavy and serious as it gets, and the drama is extremely adept at reducing viewers into emotional train wrecks. Mercifully, it did not take too long for viewers to get an overhaul. At least we got what we deserved – a truly happily ever after ending. I had thoroughly enjoyed this dramatic journey and I think you would too.

Thanks for reading :)

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Gloriously special indeed

I’ve watched quite a fair number of military-themed Chinese productions over the years which usually contain similar themes and DNA in the storytelling structure. For more recent productions, we will come across the usual suspects as far as the villains are concerned.

- Themes: New recruits’ coming-of-age at the military academy
- The DNA: think propaganda, jingoism, and a healthy dose of flag-waving at every opportunity.
- The usual villain: Being set in present times, these days its nefarious drug cartels and its associated shadowy crime organisations.

Glory of Special Forces contains the same blueprint as outlined above. But is it exactly the same as other military C-dramas or does it showcase anything new? More importantly, is it worth your precious time to check it out? My answer is a definitive and unequivocal YES. I daresay this drama is quite likely the best in the genre that I’ve ever watched, and then some.

The drama is adapted from the novel "The Special Kind of Special Forces” (中国特种兵之特别有种) written by Fen Wu Yao Ji (纷舞妖姬), a nom de plume whose actual name is Dong Qun (董群). He is an award-winning and renowned military fiction novelist who is responsible for the source materials that form the basis for the box office hits Wolf Warrior and Wolf Warrior 2.

Directed by Xu Jizhou (Rookie Agent Rouge) who also co-wrote the screenplay adaptation along with Feng Ji, notable for having written Ark Peace (headlined by Chen Kun), The Weasel Grave and Decoded (one of my favourite Republican-era spy dramas). Principal photography took place from April to December 2019. Yes, this drama had been in censorship limbo for quite a while before it was finally released. The main cast reportedly underwent actual combat training under the guidance of active servicemen, the result of which is quite apparent in terms of their physical appearance and overall stunt coordination in the production.

The soundtrack features a total of 4 songs specially composed for the drama, along with various patriotic music and the original score. Liu Yu Ning participated in the project as well by contributing 2 songs.

The Book of Life 生命之书 - Liu Yuning 刘宇宁
Looking Up at the clear skies 仰望晴空 - Liu Yuning 刘宇宁
Climb 攀 - Zhang Lei 张磊
My Pride 我的骄傲 - Jin ZhiWen 金志文

What I Liked

The character-driven narrative. Yes, it’s about an army recruit’s coming-of-age who goes through hardships during training to finally make it into the elite special forces team and bring justice to the bad guys. But this young man’s journey takes on a multifaceted approach that includes themes of dealing with complicated backstories, complex family, team and relationship dynamics, as well as combat-related PTSD, along with the thrills and spills of the action and adventure. Despite the lengthy 45-episode count, not once did I feel bored or disconnected because the content is engaging that covers a wide range of interesting subject matters while the storytelling is brisk and finely balances the multitude of intersecting plotlines therein. There is a noticeable absence of unneeded fillers that tend to plague C-dramas of this length, which is always very much welcome.

The scope of characterizations. Most dramas of this nature focus purely on the leads while everyone else is neglected - supporting characters and antagonists alike. Not this show though. Although the ML drives the drama, and magnificently at that with a depth of character and strength of conviction that shines through, the rest of the characters are afforded a certain extent of the spotlight which elevates them beyond mere one-dimensional caricatures or inconsequential afterthought. The mentor(s), families, comrades-in-arms, friends, and even the villains are able to breathe life to their presence as crucial elements of the story, each with their very own character arcs that interweave seamlessly into the overarching plot.

The authenticity in the depiction of the military aspects. I’m no military expert but from years of watching such content, be it Asian or Western, there is a marked deftness to the portrayal of the special forces’ operators. In terms of the intensity of the firefights, the brutal hand-to-hand fighting and the coordinated execution of the field missions. Likewise the hightech hardware, weaponry and gadgets showcased.

Another facet of the military life that forms the bulk of the story is the hardcore training. Now there have been many forms of military training showcased in various dramas, most notably the recently aired Operation: Special Warfare’s harsh “Shaolin-esque hell’s camp” where bricks are smashed on participants’ heads, among other things. How true that is, we’ll never know but in this drama there is no such brutality that beggars belief, which reflects a measure of realism felt from the scenes shown. That said, there is a scene involving breathing apnea for underwater training and carving chrysanthemums out of rice grains to improve calmness and shooting accuracy…

Finally we have the cast themselves. My personal opinion - this drama could possibly be the turning point in Yang Yang’s acting career. I enjoy watching him especially in the currently airing Who Rules the World. He is definitely leading man material who possesses the charisma to light up the screen. As the ML here, however, his overall performance is more than a couple notches above and quite possibly his best ever. The level of commitment in undertaking tough preparations to literally transform himself physically into a tanned lean and mean machine to fully convince viewers he is a bona fide special forces soldier. As if that isn’t enough, he goes on to display a complete spectrum of emotions in his acting. If you’ve ever wondered how a distraught, tormented and agonising Yang Yang looked like, you can see it all here.

Despite the FL billing, Li Yi Tong actually has a smaller role as a supporting character. Nonetheless, her character of a resolute military officer is subtle, nuanced and unobtrusive. The one character that impresses me tremendously is Jiang Lu Xia who plays sniper Guo Xiao Xiao. One of the best written and depicted female soldiers ever in a C-drama. This is not a pretty face that’s shoehorned into the role of a tough-as-nails female character - she really is the real deal. In fact, she used to be a national Wushu champion before becoming a star of the much-lauded Operation Red Sea. As for the rest of the supporting cast, they generally delivered a decent account of their respective portrayals.


Perhaps Could’ve Been Better

This drama is not flawless by any means but without nitpicking, I honestly do not have major concerns on the production quality or significant complaints on the plot, both of which have exceeded my expectations in general. However I do wish there had been more action in terms of active missions and actual operations to balance out the training scenarios, in addition to a stronger and more impactful ending to the story.

Not a popular opinion perhaps, but I also wouldn’t mind having light romance added into the mix as part of the ML’s development. Not too much but enough to depict a more wholesome emotional growth in an overarching side story and to flesh out the relationship dynamics between Yang Yang and Li Yi Tong’s characters.

Despite the obvious improvements in the portrayal of the antagonists in this drama, I feel more depth could have been written into the characterization and backstory to heighten the complexity of the storytelling as well as to avoid the pitfalls of merely resorting to unsound villains with psychotic tendencies as the go-to trope.

Final Thoughts

I have thoroughly enjoyed the best military-themed C-drama as well as Yang Yang’s best performance, to date. There is much to love about Glory of Special Forces and I’m glad it delivers despite the long wait and extensive running time. This is absolutely recommended viewing indeed.

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True North

For fans of the critically-acclaimed Kingdom series, this is a much-awaited production that has been a long time coming. Officially designated as a Special Episode and “Sidequel”, Kingdom: Ashin of the North is a feature length film that serves as the prequel to and the basis of the upcoming season 3 (as I understand it at the time of writing). For viewers who are interested in watching the entire series and have not seen the preceding seasons, I would advise starting off with those before embarking on this one. Both seasons 1 and 2 released only 12 episodes between them so it won’t take too long for viewers to get up to speed with the complete sequence of events.

The production team remains the same, with Baeksang-winning screenwriter Kim Eun Hee as the creator and showrunner, as well as the art direction and special effects crew. The only notable change from season 2 is that Kim Seong Hun, who helmed the first season, replaces Park In Je in the director’s seat. The franchise is developed by AStory while the production and distribution rights are retained by Netflix. Unlike the first 2 seasons which were filmed on location in Gyeonggi and North Gyeongsang Provinces, principal photography this time took place solely in Jeju Island.

In addition to the gorgeous panoramic vistas of the new filming locale, the overall tone is somewhat darker and more chilling, in comparison with the earlier seasons. Nonetheless we do get the exact high standards in production values and overall quality of the cinematography, set designs and, of course, the special effects encompassing the visuals and the zombie makeup, which is particularly praiseworthy. The action choreography and the stunts involving said zombies and humans alike deserve as much acknowledgment. The original score is composed primarily of dramatic orchestral music while the ominous BGM is generously applied throughout to great effect as well.

In case anyone’s forgotten, here’s a quick refresher. During the ending scene in the final episode of season 2, our protagonists Prince Lee Chang (Ju Ji Hoon) and Seo Bi (Bae Doona) find themselves in a creepy, dilapidated and seemingly deserted village in the northern borders while investigating the origins of the saengsacho, the source of the scourge that plagues their kingdom. Cue the dramatic entrance of a new character right before the end credits begin rolling - the mysterious female figure in a dingy room filled with chained up and boxed up creatures, presumably zombies. Who is she? Is she a villain who created or started the outbreak? Why is she smiling? Well, now we finally get the answers to all our questions and more.

She’s none other than the titular Ashin of the North and this special episode chronicles her origin story. From her humble beginnings, the calamitous circumstances that ensued thus setting off an irreversible motion of fate-altering events that kicked off in the North before eventually engulfing the whole peninsula of the Joseon Kingdom. Epic, cataclysmic, action-packed, thrilling, evocative, and incredibly brilliant. Kim Eun Hee has done it again and expanded on the original concept within the space of 90 minutes to set up a new direction for season 3. You’d expect nothing less anyway from the screenwriter who brought us Signal.

The main cast this time around is headlined by the wonderfully experienced and award-winning Jun Ji Hyun as the eponymous character. With a screenplay that is fully devoted to her character, she carries this show with consummate ease as she projects an aura of darkness and conviction alongside her dynamic range to breathe life into the mysterious Ashin. During a recent interview with Kim Eun Hee, she stated that the role of Ashin was written specifically with Jun Ji Hyun in mind, because of how impressive she had been in the films The Thieves and The Berlin File, incidentally both of which I had watched some time back. Although she is most well known for the dramas The Legend of the Blue Sea and My Love from the Star which established her reputation as a romcom specialist, JJH is extremely versatile and adaptable to diversely multifaceted roles than people give her credit for.

In any case, I thought she utterly nailed her portrayal here that enabled viewers to be engaged in the story and invested in her character’s journey of evolution. Acting chops aside, her action sequences are quite realistically executed as well. She appears very fit and certainly looks the part of a fearsome bow-wielding warrior. I think she has lost even more weight as can be seen in her recent photo calls promoting this show. Meanwhile the talented and prolific child actress Kim Shi Ah portrays the young Ashin while Park Byung Eun returns as Min Chi Rok of the Royal Commandery.

No amount of words will do justice to the spectacle that is Kingdom: Ashin of the North, because seeing is absolutely believing and there is much to be observed in this production indeed. The only downside for me was that it was too short - I wanted...no, needed more! 16 months was definitely worth the wait, especially now that we know for a fact there’s more to look forward to in the horizon. I only hope the wait won’t be as long.

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Brilliantly evolved

Season 2 is vastly different from season 1.

Although the main leads remain in place, the transitioning of an extended stellar cast to a distinctly more complex and elaborate plot distinguishes Lee Soo Yeon's follow up effort from the hit first season that took the world by storm back in 2017.

From the intense and visceral depiction of criminal investigation into corruption and scandals, the 2020 version has evolved into an in-depth study of a sophisticated web of corporate and political conspiracies intricately woven amidst the backdrop of judicial uncertainty and bipartisan face-off between the prosecutors and the police. This evolution, in my humble opinion, has been brilliantly done.

There is less action and much more dialogue, Hwang Shi Mok and Han Yeo Jin share less screen time together, and even their individual roles have been somewhat diminished by the presence of many new characters. However, in the grander scheme of things, the overarching plot is given so much more depth and significantly enhanced by the performance of the extended cast. To balance the slow-burn nature of the start, the business end of this season provides the dramatic closure that ties up all the loose ends and plot twist that viewers have been patiently awaiting the entire run.

We know all about Jo Seung Woo and Bae Doo Na, the quality of their chemistry never falters even in the face of reduced screen time. The debutants to the franchise have been immensely impressive. Jeon Hye Jin's Choi Bit is a display of empowerment and relentless zeal to protect what's at stake for the police force and for herself. Choi Moo Sung, I suspect, was entirely in character playing a version of himself. His brazenly supercilious Woo Tae Ha has such screen presence that dominated every scene. Yoon Se Ah, personally for me, is such a delight to behold. Her Lee Yeon Jae is the epitome of elegance and grace combined with a quiet resolve and shrewdness, as befits her role as the head of a chaebol. Lee Joon Hyuk returns as the opportunistic Seo Dong Jae. This time, he has a notable story arc that culminates in many viewers agonizing over his welfare.

Overall, Stranger 2 is a well developed production and fantastic addition to the hit franchise. Even though it may not hit the dizzying heights of popularity garnered by the first season, this drama still represents compelling viewing for the discerning viewers of this genre.

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History enthusiasts should not miss this

As the old adage goes, save the best for last. How appropriate, as this is the final drama that I’ve completed before 2020 draws to a close. Personally for me, I consider Qin Dynasty Epic as the best historical non-fiction C-drama production of the year. Aside from being extremely well made, there is simply no other similar non-fiction historical produced this year capable of competing with this drama. Hopefully this brief review provides potential viewers a general idea of what to expect.

This is a big budget production and it really shows. The high quality cinematic colour grading, exceptional cinematography and camerawork, elaborately constructed sets, lavish costumes, well-executed action choreography and battle scenes, as well as beautiful vast landscapes, among various other aspects. Principal photography took place at Hengdian World Studio along with gorgeous locales such as Nalati, Sailimu Lake, Changji, Wuerhe, Xiangshan, Duyun, and Xianju. It had been reported in Chinese entertainment news outlets that over 11,000 sets of costumes as well as 4,000 sets of armour were produced for this show alone. Everything looks visually stunning on a very grand scale.

This drama, the fourth and final series in the Qin Dynasty franchise, chronicles the humble beginnings of Qin Shi Huang, the first emperor of China, up to the point of unification and establishment of the first imperial dynasty of China, the Qin Dynasty (around 259 BC to 221 BC). The plot follows very closely the Records of the Grand Historian, written by Sima Qian, as I understand from more knowledgeable viewers on the subject matter. How certain events truly transpired, no one will ever know. But, at the very least, the major events recorded are generally covered, with some degree of dramatization as expected of a drama. It’s worth mentioning here that unlike the first 3 series which are based on the novel, The Qin Empire by author Sun Haohui, critics noted that the script for this latest instalment is not adapted from the novel.

The performance of the ensemble cast is nothing short of remarkable. Aside from Zhu Zhu, whom I’ve come across in American productions, I’ve never seen the rest of the main cast previously but their acting in this drama is testament to their immense talent indeed. The trio of Zhang Lu Yi, Duan Yi Hong, and Li Nai Wen are outstanding in their portrayal of the central characters of Ying Zheng, Lv Bu Wei and Li Si. For me, those three actors carried the entire show. In particular, Duan Yi Hong’s unique version of the complex character Lv Bu Wei deserves much praise. The huge supporting cast, especially the veterans, also deliver an impressive depiction of their respective characters.

The screenplay involving the numerous convoluted political power plays and complicated stratagems used in court machinations and on the battlefields is very cleverly written and deftly executed throughout the entire show. Nothing is ever as it seems and no character is above the use of tactical maneuverings to gain any sort of advantage.

However, the drama is not without flaws, the major issue being the casting of a 40-year old man as a 13-year old boy. I don’t think I need to elaborate more here. For a big budget production, this falls short of the required standard and therefore, a deduction of points for this glaring error of judgment.

In addition to that, certain dramatization of major events, particularly the story arc concerning the infamous pseudo-eunuch and the Queen Dowager, lasts longer than is perhaps necessary. As a result, other more meaningful historical events are not fully fleshed out or shown in greater detail.

Although 78 episodes represent a massive investment of viewing hours, Qin Dynasty Epic presents an utterly compelling insight and in-depth exploration into the origins of China's first imperial dynasty and the long and arduous journey to unification of the many splintered ancient kingdoms and vassal states. For enthusiasts of history, particularly ancient Chinese history, this is an opportunity not to be missed. Being the final installment of the highly successful Qin Dynasty franchise which started back in 2009, it might be a very long while before another epic historical production based on the warring states era gets commissioned, if ever again.

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Reunion at Ruyi Pavilion

2 years after the much loved Legend of Yun Xi ended, the gang got together once more to give us The Blooms at Ruyi Pavilion. This is a reunion of the cast and crew, comprising:

Director - Lin Jian Long
Screenwriter - Jin Yuan Yuan
Main cast – Ju Jing Yi, Zhang Zhe Han, Xu Jia Qi (Kiki), and Wang You Shuo
Supporting cast - Lu Xing Yu, Chen Jing Yu, Tan Li Min, Tong Rong Qin, Li Rui Chao, and Jin Xiang Dong, among the notable ones

Unfortunately, Merxat isn’t part of the reunion (which is just as well, since the SML’s character here wouldn’t have suited him anyway).

UNOFFICIALLY, this is the sequel to Legend of Yunxi about the reincarnation of Han Yun Xi and Long Fei Ye. OFFICIALLY though, The Blooms at Ruyi Pavilion is a totally different story - it’s apparently an extremely loose adaptation of the novel Chong Hou Zhi Lu (宠后之路) aka The Way of Favors by renowned web novelist Xiao Jia Ren (笑佳人). This drama is essentially about LOVE in its many incarnations – affectionate love, enduring love, familiar love, romantic love, playful love, obsessive love, self-love, and selfless love (also known as the ancient Greek’s 8 types of love). Included in the mix are subsets comprising the dreaded love triangle, and the most unusual of all, love gone horribly wrong (more on this later).

This concoction of love themes is set within the context of palace politics with an underlying conspiracy brewing throughout and, to some extent, an exploration of ancient jewellery-making and commercial rivalry between diverse jewellers, chief among them being Ruyi Pavilion (in addition to other “activities” it’s involved in) and Feng Lai Yi, the royally-commissioned supplier of palace jewellery. Although the synopsis says otherwise, I really consider these as mere side stories and plot devices that accentuate the main story, which really is all about LOVE through its assorted manifestations among the various characters.

This drama is largely character driven rather than concentrated on an intricately woven plot. The plot itself is rather straightforward and the so-called villains contained therein belong to the quite harmless category. I do appreciate its unique premise that centres around the fascinating concept of foreboding dreams, much like LoYX’s distinct focus on detoxifying poisons as a healing art. Sadly, this concept was not explored in-depth but instead only fleetingly referenced at the beginning of the show. This has led to much discussion on the cut scenes involving dream sequences (particularly in episode 1) in both the Chinese and International versions of this drama. The uncut version is available on cable subscription in certain regions and, having seen the deleted footage, I can safely conclude that it does not diminish the overall storytelling. As such, viewers can be rest assured to enjoy this drama with a peace of mind and without fear of plot holes to adversely impact your viewing experience.

This is a well made production with excellent quality art direction and cinematography. However, the editing is rather choppy which is made glaringly obvious particularly during scene transitions. For the most part, the wuxia action scenes have been superbly choreographed. Interestingly, these martial arts skills (particularly the Qinggong 轻功) feature prominently during courtship and dating scenes e.g. the dashing male protagonists holding the female love interest tightly in their arms as they gracefully leap across the night sky from roof to roof or to the top of the watch tower to gaze longingly upon the constellation of stars and even the floating Kongming lanterns孔明灯 (definitely more visually stunning and stylishly romantic when compared to using the clumsy step ladder). Without doubt, the martial arts choreography reached its zenith through the spectacular display of awesome swordsmanship by the main characters of Prince Su and Prince An during the night skirmish in episode 31.

The FL Fu Rong is a character that’s supposedly written to be adorably cute, selflessly courageous, and intelligently bright. Whether intentionally or not, the character design did come across as somewhat immature and irrational at times, thus infuriating certain segments of viewers. However, seeing as all that’s well ends well, I have since resigned to the fact that the FL for this show is not written to be as consistently strong and intelligent as the character Han Yun Xi in LoYX. I’m a big fan of Ju Jing Yi and I thought she delivered what was expected of her, since actors can only work with what they’re given. The other aspect that bothers me somewhat is JJY’s heavy makeup and excessive red eye shadow (much like in In a Class of Her Own). I honestly hope that her makeup team would make the necessary adjustments to tone down the vampire with conjunctivitis look in her future projects. She did look much better in LoYX back in 2018 anyway, so sometimes less is definitely more.

On the other hand, I’m quite pleased with some of the other main characters. The ML Prince Su initially gave me Long Fei Ye vibes, the cold and stoic military man. He turned out to be much more that that - he gave us a nuanced display of emotive expressions and glimpses of a cheeky and mischievous side. Zhang Zhe Han has done a brilliant job here and portrayed probably his most endearing moment of the show when he cried his guts out in episode 21. That visibly touching scene truly tugged at the heartstrings and you cannot but sympathise with his insufferable plight. A masterclass in acting perfection indeed.

The highlight of the entire show is undoubtedly the delightful interactions and amazing chemistry between the OTP that’s reminiscent of their time together in LoYX. It’s as if they had stayed married and never parted ways since 2018. From their hilarious first encounter, to their eventual acceptance of each other as lovers and soul mates, and finally working together hand in hand to unravel the underlying conspiracy, their romantic development is somewhat slow burn this time but still evenly paced where they finally get together around the halfway mark. Although they encounter much adversity along the way, these are promptly resolved without the prolonged angst and the OTP’s many sweet moments throughout more than make up for those anxieties.

The SML, Prince An, is played by Liu Yi Chang in what is perhaps his first serious role as a “villain”, compared to his previous roles in youth and comedy dramas. As the “third wheel” of the low angst (and highly implausible) love triangle, he is perhaps the perfect example of how “love”, no matter how one-sided, can go wrong on so many levels – by being the only guy who has ever given away, willingly, the love of his life to another rival (considered to be his bitter enemy, no less) to be married. Such a magnanimous character indeed. His version of the lovelorn and vengeful antagonist who is seemingly motivated by familial piety and misplaced sense of justice is as feeble as the basis of his motivations. What started out promisingly in the first 5 episodes devolved into a depiction of an utterly unbelievable twisted psychosis of love sickness and vengeance.

Meanwhile, the second couple is truly a pleasure to observe. Portrayed by the exquisitely talented and gorgeous Kiki Xu and the undeniably charismatic Wang You Shou (with a really captivating voice), the supporting characters of Fu Xuan and Wu Bai Qi are one of the major compelling reasons that kept me watching this show. I honestly find their individual character growth as well as their emotional connection when they eventually got together to be extremely well written and remarkably depicted. How their entire story arc unfolded, is so believable and relatable without ever being contrived, cringeworthy or OTT. Fantastic portrayal and outstanding acting! At times, I do wonder whether Fu Xuan and Fu Rong are biological siblings for they seem worlds apart. Perhaps the screenwriters would know the answer to this.

There are side characters who compete for attention in annoying the heck out of viewers. None more so than the unholy trinity of the Emperor, the Marquis, and the Princess. The Emperor, played by Chang Cheng (who was much more pleasant in Love is Sweet), antagonises with his peculiar mix of incompetence and fanaticism in matchmaking his son with what he considers to be the “proper noble wife". Lu Xing Yu’s Marquis Zhang is the perfect example of the lousy parent. Even from beyond his grave, his villainy continues to cause much torment. The Princess of Xihe, Cui Wan is one of the most infuriating characters ever created for a C-drama. Jiang Shan’s portrayal of this idiotic, bratty and loathsome airhead leaves us all tremendously exasperated and literally gasping for air.

The OST for this show is truly exceptional. Comprising 5 tracks, 3 of which were sung by JJY while Kiki sings one track. JJY’s singing, as always is enthralling, much like her OST for LoY. Her rendition of the opening theme is particularly touching while the duet, Dreams Crossing is hauntingly enchanting. Kiki showcases her soulful side through her song, Deep Feelings. Track listing as follows:

古画Ancient Painting - 鞠婧祎Ju JingYi
芙蓉Fu Rong - 鞠婧祎Ju JingYi
梦渡Dreams Crossing - 鞠婧祎·霍尊Ju JingYi·Henry Huo
意浓Deep Feelings - 许佳琪Xu Jia Qi
祈愿Make a Wish - 孔肖吟Kong Xiao Yin

The Blooms at Ruyi Pavilion is, to many, a much needed “sequel” to the uncertain outcome of Legend of Yunxi. Although we were given alternate endings then, there was a feeling of unresolved emotions that needed a proper closure. Fortunately, the production team gave us a definite happily ever after ending this time. I believe fans of LoYX would probably savour this more than those who have not watched the “parent story”. There were many references that paid homage to LoYX in easter eggs such as the puppet show highlighting the story of Han Yun Xi and Long Fei Ye, as well as the “cold poison” that afflicted the MLs of both dramas. Having said that, I think this drama provides enough entertainment value for newcomers to the romance between Ju Jing Yi and Zhang Zhe Han, who also get the value-added second couple’s romance between Kiki Xu and Wang You Shou. Despite its imperfections and not surpassing LoYX’s overall quality of script and storytelling, I still had fun watching this show, and I think most viewers would too.

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Poetic Justice

Avalanche truly is an underrated gem and I’m so glad to have come across it right here on MDL. From the J-dramas I’ve seen recently, this one certainly ranks as one of the better productions and is fully deserving of more attention as well as international viewership. In fact, it probably should have its own slot on the major distribution sites such as Netflix or Disney+.

It shares a similarly-themed premise in the mould of Taxi Driver, Leverage, Bad Guys and many others, with a story that focuses on a team of vigilantes taking it upon themselves to deliver justice where the local enforcement and judiciary have failed. In this case, it gets a little more complicated than that. Although based on an episodic format, the separate cases that involve an unhealthy dose of social injustice are inextricably linked to the grand scheme of things - political conspiracy of the highest order where the upper echelons of the Japanese government are mired in corruption amidst the nefarious schemes of a powerful individual. The vigilantes are not merely performing good deeds out of the kindness of their hearts for they truly embody the spirit of Team Avengers, with a hint of subversion. As victims of conspiratorial collateral damage themselves, they are seeking to right the wrongs that had been inflicted upon them.

The drama is a co-production between Kansai Television Co. and reputable production house Tristone Pictures, and was broadcast by both Kansai TV and its affiliate, Fuji TV. It also represents a revival of Kansai TV’s “Monday Night 10pm serial drama” format, being the first drama to be aired on this time slot since 1996.

Avalanche is co-directed the cinematographer-screenwriter-director and multiple award-winning Fujii Michihito (Shinbun Kisha, Fuujinshi, 100-manen no Onna-tachi), the experienced Miyake Yoshishige and the young director Kento Yamaguchi. The story is based on the original screenplay written by Amane Marumo, Masaaki Sakai (Red Eyes: Kanshi Sousa-han), Aya Takei, Natsumi Kakesu, Michihito Fujii, Takeshi Aoshima (dele), and Kazuhisa Kodera (Shinbun Kisha, The Naked Director 2). The contemporary synth-pop rock theme song, also titled Avalanche, is performed by the Japanese 6-member rock band UVERworld.

What I Liked

In terms of the technical execution, this drama looks very much like a premium subscription network production rather than a free-to-air TV offering. The high production values along with the exceptional qualities of cinematic colour grading, direction, acting, art direction and set designs, cinematography, post-production editing, scene transitions, special effects, accompanying music score and action choreography appear very sleek and well rendered indeed.

From the storytelling perspective, this vibes very much like a US production, IMHO. The direct and no-nonsense storytelling approach, the thematic depth of the narrative and characterizations, the balance between slowburn intensity, high-octane action and delicately fragile moments, while even the conceptual visuals of the title sequence are all reminiscent of series like Homeland and The Americans. I was particularly impressed with the multiple plot twists towards the business end of the drama that were totally unexpected.

The cast performances in this production are top-tier. I was particularly impressed with Ayano Go and Kimura Yoshino who portrayed the leads, Habu Seiichi and Yamamori Michiyo respectively. Each character demonstrates a comprehensive gamut of emotional intensity while I also appreciated the subtly measured and nuanced manner of the depiction. You will not find any trace of hysterical over dramatic acting in this show, which is a huge plus point for me. The ever charming and versatile Watabe Atsuro stars as the antagonist this time and he convinces as the charismatic and suave politician, Oyama Kengo. Although credited as a supporting character with limited screen time, he certainly exudes a sufficiently villainous aura to make his presence felt.

Takahashi Maryjun as the ex-special forces operative Akashi Rina, Chiba Yudai playing the genius hacker Makihara Taishi, and Fukushi Sota’s Saijo Eisuke are the other protagonists that intrigued me with their rather significant character arcs in the story. I did find Yamanaka Takashi’s super efficient CIRO investigator Kirishima Yuji to be a very interesting side character as well.

What Fell Short

The conclusion to the story feels rushed and somewhat undercooked, IMHO. The wheels begin turning towards the final arc in episode 8 with a dramatic turn of events but eventually culminating in an unsatisfactory end for nearly everyone involved, including the antagonists.

Additionally, certain aspects of the crucial plot points appear surreal and ridiculous, particularly those involving the Prime Minister and his rather incompetent security detail. The Japanese head of state is in dire need of a qualified entourage of bodyguards if the depiction in this drama is anything to go by.

Final Thoughts

Despite the lacklustre ending, Avalanche remains overall a very well crafted and high quality production. A sequel is highly unlikely and perhaps not quite needed because the closure to the narrative is neatly wrapped up within this single season. As a one time watch, this was well worth the viewing experience indeed.

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Whodunit

Despite the rather unimaginative title, Who is the Murderer tells you exactly what this drama is about without the need to check the genres, tags or even read the synopsis. The thing with whodunits is the less you know heading into it, the better for your overall viewing enjoyment. In fact, I would suggest that you skip the synopsis entirely to avoid being spoilered.

What I did know beforehand though was that this drama is the third entry to iQiyi Mist Theatre’s Light On series for 2021. For the uninitiated, the Mist Theatre Light On series which was launched in 2020 focuses on high quality thrillers (typically crime) presented in short format (around 16 episodes or less). At least, that is the planning intent by the Chinese OTT provider. Unfortunately the first two offerings of the year, The Pavilion and Wisher, IMHO, didn’t live up to the high standards set as far as the quality of the screenplay is concerned and in comparison with some of last year’s higher-rated productions. The good news, however, is that Who is the Murderer finally broke that trend and turned out to be the best yet, of this year's batch. How the fourth drama in the series, Gold Panning, compares when it airs later this week remains to be seen.

Principal photography for the drama began in August 2020 with Wuxi serving as the primary filming location and the setting for Haizhou City, both of which are located in Jiangsu province. The director helming this production needs no introduction for he is none other than Sun Hao, who famously directed the much-loved Joy of Life. The plot is based on an original screenplay by Chen Wei Han and Kong You You.

A neo noir psychological crime thriller focusing on the mystery of unsolved serial murders that span a period of 17 years, from 2000 to 2017. The plot revolves around three main characters - Leng Xiao Ping, the hardboiled Violent Crimes detective who is haunted by the past; Xia Mu, the promising young police recruit with demons of his own; and finally Shen Yu, the enigmatic psychologist with her own hidden motivations. All three somehow discover an inextricable connection to the unsolved murders.

What I Liked

This drama is slow burn yet gripping where the suspense never truly lets up once it grabs a hold of you. The pilot episode starts off very strongly with frantic action and extreme urgency that establishes the background of the mystery. From the second episode on, it eases into an engaging tempo where the story transitions into the present day. The plot features a number of unexpected twists that are smartly written and delicately revealed. Utterly surprising yet makes total sense, with neither the fanfare nor suspension of disbelief. I especially enjoyed the subtle cat and mouse games that ensues between the three characters.

The roles are very well crafted, where each of the three main characters is given much depth and complexity. Merely stating that they are extremely grey with many dimensions doesn’t do justice to the elaborate characterization. The same can be said of the other characters, whether in a supporting capacity or simply guest appearance. Not a single character appears out of place in this drama.

The acting well and truly breathes life into the characters without compromising the ingenuity of the design. In Zhao Li Ying’s second appearance this year since Legend of Fei and after the birth of her son in 2019, her portrayal of Shen Yu is perhaps one of the finest in her career. Nuanced, sophisticated, calculated, and profoundly complicated. This drama wouldn’t be the same without her masterful performance.

Likewise Xiao Yang who plays the detective, Leng Xiao Bing. Aside from the brief instances of levity, the level of street smarts that he infuses into his character is convincingly smooth. His version of hardboiled isn’t overly gritty and actually comes across as quite affable. My first time seeing Dong Zi Jian and his depiction of Xia Mu is quite interesting, to say the least. He manages to convey the necessary emotions in face of challenges that his character gradually goes through, in the course of the story.

The production design is top notch, in terms of the cinematography technique and framing of the visuals, as well as the art direction. I love the application of softer colour grading, as opposed to the typical edgy darker schemes of noir productions. Additionally, the flow of the storytelling is not interrupted by the infusion of flashback sequences and references to the earlier timeline.

As far as the music is concerned, I enjoyed Beethoven’s Moonlight Sonata during the stylish title sequence and the outro theme by Jin Minqi. Full listing as follows:

Moonlight Sonata
藏 Hide - 金玟岐 Jin Minqi
藏 Hide - 徐明浩 Xu Minghao
你看 Look - 金志文 Jin Zhiwen

What Could Have Been Better

In terms of the technical execution, the editing is somewhat inconsistent where certain scene transitions do not appear as seamless as it should to match the general quality of the camerawork.

The conceptual vibe of the storytelling is quite pronounced throughout the drama, which may compel viewers to strain their concentration in making the connection to certain plot points. This appears to be a stylistic choice rather than a deliberate attempt to dramatize the depiction of events. Sometimes it works and at other times, it becomes somewhat confusing.

As much as I have enjoyed Dong Zi Jian’s performance, I feel that his appearance does not suitably match his characterization at times. He looks more like a college kid than a promising police recruit or probationary detective. His mannerism as well as propensity to disregard authority and instructions are somewhat jarring compared to the other characters who appear more believable in their roles.

Finally, the ending. It did feel somewhat underwhelming. I honestly anticipated a more mind-blowing conclusion to the whole overarching mystery...

Overall

Notwithstanding the criticisms, Who is the Murderer represents a return to relative form of iQiyi’s Light On series and is one of the stronger C-drama thrillers to be released this year. It may not be flawless and while it doesn't end as strongly as it starts, I do appreciate the intricacies of the storytelling and the compelling performances of the leads, particularly that of Zhao Li Ying.

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Taken, Joseon Style

Hollywood has Taken with Liam Neeson. South Korea’s answer is Jang Hyuk’s The Swordsman, with a dash of Joseon thrown in the mix. And what a fantastic version this is.

This sageuk is about Tae Yul, Joseon’s arguably greatest living swordsman, who was formerly part of the royal retinue as the personal bodyguard of the previous King, who was subsequently overthrown in a bloody coup. Fast forward many years later after the revolt, Tae Yul is now retired from guard duty with a serious sight impairment, living off-grid in the mountain wilderness as the guardian of a young teenage girl. This is set against the backdrop of power transitioning from the Ming Dynasty to the Qing forces in Imperial China. The arrival of Qing emissaries to coerce the Joseon administration into offering money and female slaves sourced from the local populace, including the daughters of the nobles, as tribute to the new dynasty causes much consternation and dissatisfaction among the nobility and royalty.

All hell breaks loose when the young girl under Tae Yul’s care gets abducted and enslaved by the Qing slavers. This is when the “Taken plot” takes over with Tae Yul taking on all the villains and finally the showdown with not one but two major boss-fights, in a bid to rescue the girl.

This is a high quality production that’s quite decent in every aspect - direction, screenplay, cinematography, choreography, editing, and artistic set design - with many familiar faces, beautiful scenery of the countryside as well as the authentic setting of the era. The main characters and the central plot are well written but the major focus of the show is undoubtedly the action. The sword fighting choreography is absolutely outstanding and the action sequences are stunning to behold. The art of swordsmanship shown here is top tier and surpasses many other South Korean productions. Breathtaking, bloody, artistic, even poetic. Seeing is believing.

The character of Tae Yul is marvelously brought to life by Jang Hyuk. The expression, body language, dialogue…it feels as though this role was made exclusively for him that no one else could possibly portray. A man of few words where action speaks the loudest, this is a seasoned warrior who lets his uniquely-bladed sword do the talking.

The primary antagonist is played by the Indonesian martial arts actor, Joe Taslim, who injects a measure of sophisticated charm into the villainous and slightly psychopathic Gurutai, leader of the Qing envoy and cousin to the new Qing Emperor. His athleticism and way with the sword is fully displayed in the epic final showdown of the movie.

The supporting cast is a familiar one, with veterans Jung Man Shik, Choi Jin Ho, and Jang Hyun Sung portraying the nobleman, former King and chief of the King’s guard respectively. Kim Hyun Soo portrays the young girl Tae Ok and her experience shines through having started her career as a child actress over a decade prior.

The only criticism that I would level at this production would be the length - 1 hour and 40 minutes. The plot did get somewhat convoluted with certain flashbacks and side plots that could have potentially been fleshed out more, if the film had been slightly longer. The average K-drama episode is over an hour long so as a film it should have been made into at least 2 hours. As it was, the pace did feel rushed during the final arc, the conclusion of the story.

Overall, The Swordsman is one of the best action sageuk produced in recent memory that will, and should, serve as a benchmark for similar action-oriented films in the future for top quality sword fighting and action choreography, in the South Korean film and drama industry.

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The Unveiling

The direct translation and original English title for this production is The Black Sun. This probably refers to the solar eclipse in which the sun appears black. As far as this drama is concerned, it perhaps represents the metaphor where the truth is concealed, hence the befitting title of The Veil. Viewers will find that there is more than just the one piece of veil that covers the hidden truth; there are layers upon layers to be unveiled over the course of the drama, before answers to all questions are finally revealed.

The Veil is MBC’s 60th anniversary special drama with an enormous production budget of 15 billion Won. It is the first drama project by screenwriter Park Seok Ho, who had previously written miniseries for which she had won two MBC creative screenplay awards. The award-winning and prolific composer Kim Jang Woo serves as music director while the production is helmed by MBC’s inhouse producing director, Kim Seong Yong. Being a pre-produced drama, it wrapped up filming in August 2021 right before the lead actress Kim Ji Eun was diagnosed as Covid-19 positive. The drama had reportedly altered its airing time after 4 episodes in an apparent attempt to boost viewership as it was competing against SBS’s One the Woman in the same time slot. A 2-episode spin-off focusing on the backstories of characters played by Jang Young Nam, Park Ha Sun and Jung Moon Sung is scheduled to air by the end of October 2021.

From a technical point of view, the execution is excellent, which is to be expected considering the huge production budget. The standout aspects are the action choreography, stunt sequences and the special effects. From the very first minute of the first episode, the drama exudes Bourne Identity vibes in terms of the action scenes which the quality camerawork captures beautifully. I also noticed that the picture quality of the drama is noticeably different compared to the usual fare. The application of muted colour combinations and high contrast grading contributes to a somewhat subdued and desaturated visuals, which I suppose complements the overall edgy and gritty tone of the drama.

The story is set on the premise of South Korea’s National Intelligence Service (NIS) waging a war against a homegrown drug cartel with mainland Chinese ties. In the not too distant past, the NIS was always depicted as being engaged in espionage cat-and-mouse games against their North Korean counterparts. However, perhaps due to the current political climate, it is much less politically sensitive to cast drug lords as the primary villains, which is the case here. That said, other political affiliations do get their fair share of mentions - China’s Public Security Bureau and NK’s own intelligence outfit. Aside from the action scenes, the ML’s character development is reminiscent of Jason Bourne’s own character arc with the presence of the amnesia plot and his quest to regain his lost memories.

I went into this drama fully expecting a highly exciting and action packed thriller filled with explosive gunfights, slick unarmed combats, high-speed car (as well as speedboat and helicopter) chases and plenty of non-stop adrenaline-fueled agency and urgency. As it turns out, the focus of the drama is not so much on the action, which is still present but not as abundant as I had hoped, but rather on the cloak-and-dagger aspects of investigations into uncovering secret agendas amidst the convoluted internal politics of the clandestine organisation and its major players. A crucial plus point - depending on your standpoint - there is no romance involved in the story as far as the leads are concerned, which is just as well due to the limited duration of the drama. However, there are brief instances of misplaced humour involving primarily a certain data analyst co-worker. Sometimes I wish I could tell K-drama screenwriters directly to cut that crap out and just focus on being consistent with the serious and dramatic tone of the drama.

There are essentially 2 parts to the narrative; the first part concerns the flashbacks, backstories and process of unraveling the web of deceit while the second part sees a unified team fighting against a common enemy. Most of the action happens in the second part which begins from episode 10 onwards. The initial arc unfolds during the first 9 episodes, which I feel takes too long and becomes rather over complicated as well as convoluted than is necessary. In truth, the plot really is quite straightforward and the catalyst that triggers the entire chain of events comes across as somewhat weak, which is shown to viewers in the final reveal. Long story short, the psychologically-induced disorientation along with the long-winded mind games takes up the bulk of this 12-episode drama which, in my humble opinion, finally comes alive in the final 3 episodes despite kicking-off with a bang in the first couple of episodes.

This drama will most likely be remembered for Nam Goong Min’s dedication and commitment in preparing for his role as NIS super agent Han Ji Hyuk. He reportedly began training, via a gluten-free protein-enriched diet and 4-hour daily gym workouts that added 10 kg to his body mass, in January 2021 to transform into the powerful physique and achieve absolute conviction in the portrayal of the character. Additionally, he performs his own stunts in the brutal and savage fight scenes which further enhances the believability of the characterization. From the very first minute of his appearance, I simply could not recognise him both from the facial features (even after his character eventually loses all the facial hair) and the body language which have completely changed. This is not the NGM that we all remember. Amazing! Aside from the physical aspect, NGM also manages to showcase a nuanced depiction of the emotional depth written in Han Ji Hyuk’s character arc.

The main female characters are portrayed by Park Ha Sun and Kim Ji Eun, as NIS agents Seo Soo Yeon and Yoo Je Yi respectively. I think Park Ha Sun is quite compelling but, unfortunately, her character of Seo Soo Yeon is a wasted potential, for obvious reasons. Perhaps the character would be more fleshed out in her spin-off origin story slated for release later this month. On the other hand, I’m not so convinced with Kim Ji Eun’s character. Yoo Je Yi is more suited as an analyst rather than a field agent and even towards the end, is lacking in development. However, this is more an issue with the writing rather than the actress’ performance which is quite decent given what she had to work with.

As far as the supporting cast is concerned, the veterans impressed me the most. Jang Young Nam and Lee Kyung Young as Deputy Directors Do Jin Suk and Lee In Hwan respectively. Both these two experienced actors are no strangers to playing such powerful and authoritative characters, as can be seen from their past performances. Yoo Oh Sung who plays Baek Mo Sa feels somewhat more subdued and has very minimal dialogue this time around, although he still manages to expertly infuse his character with subtle shifts in aura and demeanour that fit the narrative.

The soundtrack features 4 OSTs while the dramatic score composed by Kim Jang Woo generally fits with the overall vibe of the drama.

요아리 Yoari - Reason
일레인 Elaine - Stay With Me
요아리 Yoari - Searching for Reasons Why
이정민 Lee Jung Min - Get Ya

In addition, Eric Clapton's Wonderful Tonight gets some significant airplay in the drama as well.

All things considered and truth be told, I had rather high hopes for The Veil because it has been quite a while since we had a proper espionage-themed drama the likes of the Iris series and Athena: Goddess of War. As fantastic as NGM has been, this drama falls short of my expectations. Fortunately, it does finish as strongly as it started which is the saving grace in the end.

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Yin Yang Guardians

Less than 2 months after the release of The Yin-Yang Master: Dream of Eternity, Netflix finally aired The Yinyang Master on 19 March 2021, about a month after its cinema release in China on 12 February 2021. For fans of fantasy in general, and Onmyōji in particular, Christmas has come early with two adaptations within such a short period of time.

Rip-roaring fun and excitement with almost non-stop action, fantastical depiction of supernatural beings with magical powers in an enthrallingly beautiful other-wordly setting, along with a group of adorable characters that anyone would love to root for. That’s my enduring impression of this film.

(Note: There will be some comparisons made between this film and Dream of Eternity in this review due to the shared premise and proximity of their release)

The Story

The Yinyang Master is adapted from the NetEase game Onmyōji, which in turn is based on the original source material, the novel series Onmyōji by author Baku Yumemakura.

The story is about the Yinyang Master saving the world from apocalypse by preventing the return of the demon lord from the spirit realm in which he is imprisoned. The plot is uncomplicated, the motivation behind every character's actions is clearly defined and the mission is straightforward - stop evil at all costs, even at the cost of lives.

Screenplays that are adapted from video games usually reflect the richness and intricate details of the game world, which is very much the case here. Every aspect of the storytelling is executed to near perfection, in my humble opinion. The inclusion of deeply layered characters, each with its own fascinating backgrounds, and the many unique and colourful creatures, monsters and “guardian beasts” blend seamlessly with just the right dose of suspense, thrill, action and emotions.

Interestingly, there are a few elements that evoke memories of Marvel productions. Rocket Raccoon’s doppelgänger makes an appearance, while the Yinyang Bureau’s teleportation vortex is similar to Thor’s Bifrost Bridge dimension travel. In addition to that, the cute creature Red Ghost looks like a cross between Hellboy and Maui (as attested by several other users as well). Coincidentally, Dream of Eternity also shared some similarities with the Marvel-verse, notably the “magic circles” used by Dr Strange himself.

At 113 minutes, which is about 20 minutes shorter than Dream of Eternity, and despite the quick pacing of the story progression, the film does not feel at all rushed. There are sufficient introspective and evocative moments that convey the emotional depth and the intended themes of certain scenes and character arcs to the viewers. Dream of Eternity focuses primarily on the four central characters and the themes of love, friendship and bromance (perhaps even BL undertones). The Yinyang Master, on the other hand, has a bigger cast of characters with themes of friendship, camaraderie and teamwork, as well as childhood friends to potential romance dynamics.

Production

The production values are obviously of the highest order because this entire film is stunning to behold. From the A-list cast, top-tier production crew down to the top notch set design, visual effects and gorgeous cinematography.

The cast is headlined by the supreme talents of the award-winning Chen Kun and Zhou Xun (which is more than enough to elevate any production, really). The production designer is the experienced Yoshihito Akatsuka who has designed the sets for renowned productions notably Babel, Kill Bill, The Flowers of War, and Shall We Dance, among numerous others. The music director involved is the legendary Shigeru Umebayashi, famous for Yumeji’s Theme, and composing music scores for Wong Kar Wai films, as well as the original Japanese Onmyōji films.

Principal filming took place at Hancheng Film and Television Base in Xiangyang City (unlike Dream of Eternity’s filming location at the famous Hengdian World Studios) and the visual effects photography employed the use of an IMAX full-frame camera, with more than 2000 visual effects lenses, and real-time visual effects synthesis, which apparently is the technology of choice in big budget Hollywood productions.

Acting

Chen Kun is undoubtedly a fine actor. He is good in any role that he portrays but I always feel that he’s made for dramatic roles in historicals. Likewise Zhou Xun, she is perfect for epic period productions. Together they make everything look great and I believe have the potential to save any poorly made production too. The way they convey their emotions through nuanced micro-expressions, and articulate the essence of every scene is beyond words. I particularly love Zhou Xun’s voice, with the deep husky tones projecting a subtle quality of intrigue that further enhances her already formidable acting range.

Chen Kun’s Qin Ming is very similar to his Ning Yi in The Rise of Phoenixes. Devious, cunning with a hint of mischief and a big dose of self-confidence. Mark Chao’s version is somewhat more pleasantly charming but less dramatic. In any case, I quite enjoy both versions. Bai Ni is a more understated supporting character but Zhou Xun expertly delivered this role with finesse.

The rest of the cast were decent in their portrayals, through the limited screen time that they were given. Qu Chu Xiao, of Bloody Romance fame, depicted a more cheerful version of Bo Ya (as opposed to Deng Lun’s stoic version). William Chan’s Ci Mu is commendable but nothing spectacular. I thought Wang Duo characterization in Dream of Eternity was more compelling, but they both had their bare chested moments in a similar capacity, which some viewers may enjoy.

Music

In addition to the wonderful music score composed by Shigeru Umebayashi (incidentally Dream of Eternity had its own iconic Japanese music director in Kenji Kawai), Yinyang Master has no less than 6 OSTs, including the superb rendition of Where You Belong by the remarkable Zhou Shen as part of the ending theme.

Track listing as follows:
1. "Promise 侍约" by William Chan
2. "Where You Belong 归处" by Zhou Shen
3. "Cross Together 同渡" by Jin Wenqi
4. "An Enemy or Friend 宿敌亲启" by Feng Qinyuan
5. "Against the Shore 靠岸" by Zhi Ma Mochi
6. "Someone in the Heart 心有所主" by Jill Yan Qier

The Yinyang Master is an amazing production that should not be missed, especially by fans of Chinese fantasy. In comparison with Dream of Eternity which is probably somewhat slower-paced, and perhaps more contemplative, this film is considerably less emotionally convoluted and forward-thinking in its execution. Each is great in its own unique way and for that they both get the same rating from me (their ratings on Douban are quite close, at 5.1 and 5.8 respectively).

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The Doting Wife

Not Rebel Princess, Monarch Industry, or Emperor Phoenix. The Doting Wife is the most appropriate name and should have been the official title of this long-drawn melodrama. After 2 months and 68 episodes, there can be no denying that although this drama is about Zhang Ziyi, it has nothing to do with her being rebellious (except maybe against her father), but rather everything to do with her being the loving wife who could “do no wrong” in an epic romance.

This production wrapped up filming in 2018 and is ZZY’s first ever TV series. She personally bankrolled this project and even had the final say on casting decisions. She recruited a renowned production team, some of whom she had worked with in the past, and they include the following:
Director – Hou Yong (Jasmine Women, Hero)
Art Director – Han Zhong (House of Flying Daggers)
Cinematographer - Philippe Le Sourd (The Grandmaster)

Long story short, this drama absolutely toyed with my emotions and in all honesty, I was left rather disillusioned by the end of it all. However, I attribute this towards my personal expectations instead of an objective evaluation which therefore should not detract from what has been a well-made production. For the most part.

The Rebel Princess is based on Mei Yu Zhe’s first novel, Imperial Industry which was published in 2007 and released in two volumes, Emperor’s Industry Parts 1 and 2. It tells the story of A’Wu, a prominent noblewoman of Shangyang County with royal blood flowing in her veins and who possesses all the wholesome qualities of beauty and talents befitting a highborn. These qualities would eventually endear her to a renowned military commander, Xiao Qi. Together, they would overcome all obstacles and enemies near and far as their love conquers everything in their way to establishing a new era of peace in the kingdom. Something like that, as I was given to understand having not actually read the novel.

The drama pretty much plays out the general plot of the source material but with some deviation in the characterization of the main protagonist, according to viewers. Mei Yu Zhe (aka Amei) is a popular contemporary novelist who is famed for being the “Love Queen” of romance fiction.

Production, direction, art direction and set designs, costumes, cinematography, and sound editing:

The technical aspects are done to near perfection. This is a big budget production of the highest quality filled with a brazen display of grandeur and opulence. Every detail shown is gorgeous and visually stunning. The architecture of the palace and mansions, the lavish interior settings, and intricately designed luxurious costumes for the nobles. The cinematography comprising the effective use of interior lighting, exquisite camerawork and framing of many pivotal moments beautifully capture the essence of those scenes, which are further enhanced by the impeccable sound editing and accompaniment of orchestral BGM.

It’s worth mentioning that discerning and keen-eyed viewers have taken note of anachronisms that were present in the drama. In particular, the design and tailoring of certain costumes worn by A’Wu, among others. The more obvious one would be the Game of Thrones-inspired black armour worn by Xiao Qi’s battalion which simply couldn’t have existed in Imperial China. Although this is a work of fiction, I speculate that the drama is set during the Northern and Southern Dynasties, a period of internal political strife and wars between the central plains and the northern invaders. The scripted dialogue did quote Zhuge Liang after all from the preceding era of the Three Kingdoms. However, I shall suspend disbelief and accept the costume designers taking liberties on this aspect.

It has to be said that the drama progresses at a very uneven pace that corresponds to several major story arcs. The first 20 episodes were very engaging and fast paced. Subsequently after that, the drama slowed down with intermittent dramatic moments and minimal action of note, spread over the course of 30 episodes before slowly picking up the momentum again. The final episode was truly thrilling, but felt rushed, with many shocking twists crammed into a space of 45 minutes.

Acting and cast:

With the exception of the minor supporting cast, the leads and a number of the main supporting cast gave a decent account of themselves.
The legendary Zhang Ziyi needs no introduction, where her list of achievements speaks for itself. She makes the transition from the big screen to the small screen seamlessly and the quality of her portrayal of A’Wu remained steadfast throughout, although towards the latter stages of the show I wished she had injected a bit more intensity and variety in the character’s expressions. The major qualm lies in the fact that at the age of 39, she played a 15-year old character at the very beginning. Nobody, not even her, can pull this off. Fortunately that story arc did not last long so all is forgiven once her character matures into adulthood.

Zhou Yi Wei was handpicked by ZZY for this starring role and we finally understand why. His phenomenal depiction of the stoic but hopeless romantic Xiao Qi has set many viewers’ hearts fluttering. Despite not possessing the effeminate looks and rabid popularity of boyband idols (which is a good thing, in fact), this is a real actor with a mature charisma that makes his version of the ML appears every inch the real life ancient general. His scene-stealing presence is no doubt cultivated by the immense talent that he has, as can be seen in his previous works in Tribes and Empires: Storm of Prophecy, and many others in his ever growing portfolio.

As for the supporting cast, I have thoroughly enjoyed watching Yu He Wei and Angie Chiu who portrayed husband and wife, as well as parents to A’Wu. These 2 veterans have been consistent for many years and their experience is extremely telling, particularly He Wei’s Wang Lin in the way he sold his performance to me. Yuan Hong was fun to watch with his Helan Zhen. Admittedly midway through I started to take him less seriously as a result of watching him in Blessed Girl which was airing concurrently.

In contrast, I wasn’t really invested in Yang You Ning’s portrayal of Zi Dan, as I felt his acting and expressions were somewhat mono-dimensional. Likewise Liu Duan Duan’s Song Huai En, the portrayal lacks the sufficient depth heading towards the bitter end. The weakest performance has to be from Zeng Yi Xuan as Wang Qian, A’Wu’s treacherous cousin.

Screenplay and characters:

Whether it is the source material or adaptation, or perhaps both, the way the story unfolds does not entirely meet my personal expectations. I went into this show anticipating something akin to Nirvana in Fire and The Rise of Phoenixes with heavy focus on clever political machinations and multifaceted power dynamics. I realise now that the core of the story is essentially about romance, jealousy and betrayals. Rather than a political drama with some romance, it is the other way round – an almost theatrical romance with some politics as a side story.

There is more than enough love, lust and toxicity to go around with every character in its multitude of forms. The non-exhaustive list includes attempted rape, sexual assault, three men pining for the same married woman, women pining for married men, the murdered lover, attempted drugging, forced contraception, pregnancies and miscarriages, child abuse, estranged marriages, forced marriages, secret affairs, old flames... And this is before we even get to the regicide, patricide and fratricide. Although this isn’t exactly my cup of tea, I have to acknowledge its single minded tenacity in defining for viewers the true definition of melodrama, complete with vicissitudes and histrionics.

The main characters are generally adequately written. A’Wu arguably does display traits of a Mary Sue, albeit a flawed version within this context. The author was perhaps attempting to showcase the character as virtuous, morally upright and principled but the character comes across as aloof and self-righteous instead. Meanwhile Xiao Qi is the shining example of the ancient heroic general and the perfect gentleman. Wang Lin, as the Prime Minister, is a character I particularly relished. Although an antagonist, I thought the character was worthy of a better ending than the one that befell him.

However I found it somewhat unconvincing and ludicrous how certain characters experienced sudden shifts in personality and motive towards the second half of the show. Song Huai En suddenly had his “head turned” having experienced confusing visions/ dreams of A’Wu. Helan Zhen, the imposing grassland warrior and mortal enemy of Xiao Qi, despite having his limb chopped off and falling thousands of feet off a suspension bridge only to survive to challenge for A’Wu’s affections. There are several other examples of irrational out-of-character behaviours but I shall end my nit-picking here before going overboard.

Action choreography:

This is primarily a historical with minimal wuxia elements, and therefore the action sequences are more grounded and less spectacular, which is the case with the sword fighting sequences. The action is instead predominantly focused on battles between opposing armies and on sieges laid on castles along with the use of catapults, chariots, war horses and other armaments. The battle scenes are fast, furious and frantic.

However the CGI utilised for the visual effects is not exactly the best in the genre and it has to be said that the camerawork for all battle scenes is average, with the typical reliance on repeated sudden zoom shots and unsteady pan shots while accompanied by dramatic sound effects. The coordinated stunts of soldiers engaged in fierce combat appear contrived, with only a handful of stuntmen performing the actual fighting. The armour worn by the soldiers appear obviously ill-fitted, especially the oversized unconventional helmets worn by Xiao Qi’s men, as opposed to those used by the palace guards and imperial soldiers.

Music:

The OSTs are one of the best ever composed for a historical drama. I love 3 tracks in particular. The beautiful opening theme Ode to Shangyang, the powerful ending theme At All Corners of the Earth which was performed as a duet featuring two men (most people were unaware that the”female” voice belonged to Zhou Shen), and the hauntingly evocative Hope For which slowly builds up to a climactic end.

Full listing as follows:
Ode to Shangyang (上阳赋) - Tan Wei Wei (Opening theme song)
At All Corners of the Earth (天涯尽处) - Hu Xia & Zhou Shen (Ending theme song)
Love in This Lifetime (爱于此生) - Elvis Wang
Looking Into the Distance (遥望) - Zheng Yun Long
Lonely Heart (孤心) - Shuang Sheng
Tomorrow (明夕何夕) - Mei Xi
Hope For (盼) - Claire Kuo

Overall:

Objectively speaking, The Rebel Princess is undoubtedly a beautifully-crafted drama. The execution of most aspects is done to near perfection. With the exception of the story, which I feel is overly melodramatic. The genre “Life” should not be tagged to this drama, because the depiction is larger than life and too heavily romanticized to be realistic, even as far as historicals and palace dramas are concerned. Despite my reservations, however, this drama is still worth a watch if you can spare your time for 68 episodes.

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Finding Yourself

Aristocrats tells the story of two women from different social classes, family backgrounds, and outlook on life who embark on a journey of self-discovery and finding their place in the world, amidst the constraints of familial expectations, gender discrimination, class system and traditional values that are deeply ingrained in Japanese society, particularly amongst the upper class or, in the context of the film, the aristocrats.

Based on the novel Ano Ko wa Kizoku by award-winning author and essayist Mariko Yamauchi, which was serialised in the monthly magazine Syosetsu Subaru in 2015 and published as a book in 2016. Yukiko Sode, who is a notable indie-film director, wrote the screenplay adaptation and directed the film. Yasuyuki Sasaki serves as cinematographer while Takuma Watanabe composed the original score. Aristocrats had its world premiere at the 33rd Tokyo International Film Festival in 2021.

What I Appreciated

The character-driven and female-centric narrative is told from the perspectives of the two women, Haibara Hanako and Tokioka Miki, structured in a converging parallel plot format. Certain flashback sequences are involved but, for the most part, a linear storytelling approach is adopted which preserves the overall cohesion and coherence of the multiple POVs. A number of themes concerning conservative social constructs, narrow mindsets and stereotypes are manifested while the concepts of marriage, friendship and love are also explored to a certain extent.

Running at just over 2 hours, this film covers quite an extensive scope but gives the impression of taking its time to allow the various elements to breathe and gradually sink in. Nothing ever feels rushed or abrupt as the tempo of the storytelling remains delicately poised all throughout. This aspect is complemented by the equally subtle cinematography technique that renders a series of exquisitely framed moments. A more subdued colour grading is employed with a slight textured effect that filters the warmer colour palettes. The gently imbued orchestral accompaniment that induces an introspective mood provides the finishing touches to the end product - a motion picture that showcases visual aesthetics and technical artistry.

Where the production truly shines lies in the exceptional cast performances, particularly that of the main leads. Kadowaki Mugi and Mizuhara Kiko are hugely impressive in their respective portrayals of Haibara Hanako and Tokioka Miki. Understatedly emotive and compellingly nuanced, these two fine actresses certainly possess the gravitas to utterly enliven the entire film with their commanding screen presence. My only qualm is that I wished both had more scenes together.

Final Thoughts

Aristocrats, at its core, represents an in-depth character study of the internal struggles of two young women against the backdrop of a deeply traditional society amidst the hustle-and-bustle of cosmopolitan Tokyo. It is bittersweet yet inspiring and the story eventually ends on a high note which provides a fitting closure where both leads finally discover their true worth and find their place in the world. This has been a truly evocative viewing experience.

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