distantUtopia
Guardians of the Ancient Oath
39 mensen vonden deze beoordeling nuttig
I waited and waited and waited for it to get better. It never did.
As a fan of Nirvana in Fire, I perked up when I saw that Leo Wu and Zhang Lingxin were both in Guardians of the Ancient Oath, and gave it a go.First Impressions (1-4):
The first few episodes were actually very promising. The machinations of the Yo Imperial Court contrasted well with the serenity of the Baili household, and Ming Ye Feng promised to raise big waves in the Wolf Tribe.
The cinematography is great in general, and the dim and gritty colour palette is also to my taste, as it speaks to a sort of realism and a lack of anachronism on the director's part.
Mid Season (5-33) Impressions:
This is where it starts to fall apart. The quality of the screenplay falls off a cliff (esp. the dialogue) and the generic/cliche storyline can no longer support the agonising pacing.
It just feels like people talk a lot without getting to the main point, and repeat themselves in general. Lareina Song parrots this line like a broken record across an entire arc of the drama: "If you touch him, I'll kill you!".
Leo Wu, Lareina Song, Karry Wang, and a full 80% of the other characters just aren't interesting to watch - the viewer can already predict what they will do and its incredibly boring to watch this occur, without any tension.
Props to Ming Yefeng, Baili Hongxuan, An Tingfeng, and Ling Jun, the only multifaceted characters, for painfully dragging the comatose body of the storyline forward towards the final arc.
There is zero humour in this drama, just none. Yuen Wah's Ji Qiu tries his very best but there's no straight man to match his absurdity - what a waste of this talented actor.
The active CG (the magic) is good in general, blends well into the scene and isn't poorly made. The passive CG is quite poor - the backgrounds of many Wolf Tribe wilderness scenes have been green-screened very obviously.
And could they stop blasting the main theme at full volume at every available opportunity, multiple times an episode? Did they commission ANY OTHER music at all?! Why is there no instrumental-only version of the main theme?
Final Impressions (34-45):
Episodes 34 to 36 were quite good, as the main characters finally start coming into their powers. This change of events wasn't to last though, as somehow the drama became even more boring after these three episodes than the episodes that came before them.
There is a confusing and haphazard introduction of the "ancient" characters, and because of the insistence of masking their faces and using three different names to refer to the same characters, viewers have no idea who is talking to whom.
Each of the very strong, very important-ish "Wu" disciples barely have 10 minutes to recite their entire lifestory: it is not odd then that all these new characters actually make the drama more boring - they just become repetitive obstacles for the protagonists to overcome.
It's not all terrible though; throughout the drama, you could say that Lareina Song had portrayed three different characters: the present, the past, and the "ancient". With each iteration her character became more interesting, and her acting talent more clear (I thought it was extremely poor in her first iteration, but I guess that was how it was written).
Ling Jun is also very consistent as the prime mover of the plot, but somehow Ming Yefeng became a stereotype of his own role, and Baili Hongxuan deteriorated to become a ranting and raving lunatic of a racist.
There is also an uncomfortable undertone of genocide/racism and sexism in the ending arc.
If a character is not a human, they should die [for the plot].
If a character is a woman who doesn't adhere to the Three Obediences and Four Virtues, they should die [for the plot].
If a character is a woman who is not a human, it's impossible that they could adhere to Confucian values and so they should die [for the plot].
Conclusion:
The very best dramas have likable heroes with depth, likable villains with depth, and likable side characters with depth. I find almost every character in this drama unlikable and one dimensional as written.
The protagonists on paper, Baili Hongshuo, Baili Hongyi, and Baili Haohe do not have sufficient agency in the storyline to be proper protagonists (Baili Haohe was a puppet both figuratively and literally: I dare say Karry Wang's role is not a real main character and only has top billing because he's famous/popular). None of the three have any motivation beyond what's been narrowly defined, are not complex, nor deep.
The final villain, on the other hand, has no real reason to be evil except for "it's the character's nature to be evil". What drives them? Evil. What is their hobby? Evil. Why are they fighting the protagonists? Because of evil muahahaha! Somehow this made perfect sense to the writers of this drama.
The actual protagonist of the entire narrative is An Tingfeng, and his tragic epilogue is ordained by karma. His character, and Ling Jun's character, have the only well-thought arcs from start to finish of this drama.
TLDR: Watch something else unless you are an idol superfan.
Vond je deze recentie nuttig?
A non-fanatic, realistic review of Fuyao: the excellent half, and Fuyao: the mediocre half.
A brief review of the drama "Legend of Fuyao". We will see familiar faces from Yang Mi's previous drama Ten Miles of Peach Blossoms in some of the leading roles, as well as the two Marquises from Nirvana in Fire in supporting roles again.Story Start - Synopsis:
Fuyao is a lazy but smart girl working as a serf on Xuanyuan Mountain. She's in love with her undecisive Eldest Disciple Brother, who recipriocates. Unfortunately, she is opposed by her arrogant Senior Discple Sister Pei Yuan (who also likes him) at every opportunity. The arrival of guests from Taiyuan Kingdom, the ambitious Grand Duke, Qi Zhen, and a useless/hidden-genius Crown Prince, Xuanyuan Min, stirs up some intrigue.
Episode 1-8: Xuanyuan Sect Arc
I feel it is a pretty good introduction to the drama. Xuanyuan Min in particular is a very watchable mystery that us viewers want to solve. This guy gets his flirt on so quickly playing around with Fuyao, their interactions are very entertaining.
Props to Xuanyuan Min, Qi Zhen, and the Saintly Doctor Zong Yue for carrying the first arc. Yang Mi is good when she's badass, and when she's melancholic, which is very little of this arc.
Episode 9-30: Taiyuan Kingdom Arc
The most interesting and entertaining arc of the drama bar none. Absolutely funny watching Xuanyuan Min as an incompetent wastrel of a king. The by-play between the four consorts is insightful too, especially when Noble-Consort Tang's true colours come out. The Xuanyuan Sect storyline comes to an end in episode 24 and is never mentioned again; I am so relieved. After having to suffer through Pei Yuan's cliché'd "petty woman", the competency of Liu Yi Jun's Qi Zhen is refreshing, just like Nirvana in Fire again!
Fight scenes are great too: two stand out for me, Fuyao and Xuanyuan Min's tag team fight (best in the drama), and Zhan Beiye's solo rampage.
Music in the Taiyuan Arc is the best in the drama. The melancholy of Zong Yue's theme is moving, and the epicness of Xuanyuan Min's ceremonial/plotting theme induces plenty of I-can't-wait tension in the listener. The best scenes are when we see Zong Yue and Yun Heng together; their acting really lets us feel the sincerity of emotions in the characters.
I do dislike the inconsistency of Fuyao's "Shattering the Nine Heavens" Swordplay. Isn't this supposed to be a top tier martial art? Fuyao can fight evenly against top experts, but lose terribly if more than 20 minions appear?
I also consider the end of this arc the end of Season 1 - The Excellent Half. What follows is Season 2 - The Mediocre Half.
Episode 30-35: Tianquan Empire Arc
It's a bit less interesting than the Taiyuan Arc, with most of the political plotting out of Wuji's control. I found Fo Lian devious and the Emperor serene. It's unexplained how Fo Lian knew to target Fuyao. Fuyao and Wuji's flirting come to an end when they have "...but I saw this happen" misunderstandings. Pingrong is one creepy dude, but he gets whats coming to him during the close of the arc.
I really like the portrayal of the Tianquan Empire in this arc. The prestige of the empire is so high that it doesn't need to rely on grandiose displays of power and rank at court. Instead, the Emperor is sort of honoured as a spiritual sage "Lordly-Father-Emperor" to his subjects. His hobby is literally medicinal alchemy. This sort of sagely court is rather rare to see in historical dramas.
Episode 35-41: Yao City Arc
As a general rule, I hate desert arcs in Chinese dramas. Deserts always come with an unnecessary long attempted crossing where the protagonists are out of water, injured, or lost. This is the worst arc in the drama, partially because of the above, but mostly because this entire arc is full of sub optimal decision making.
Example 1: If you can swat arrows from the air with your bare hands, please don't run while facing away from archers.
Example 2: If you have a secret but amazing plan to beat the enemy army, please tell someone. Literally anyone is fine as long as you think they are not a traitor.
Example 3: If you are a garrison commander, please shoot arrows at the giant army which you are sure is hostile, not at one person running away from the giant army who you think might be hostile.
Example 4: If you are severely injured to the point of dying, please don't run into the uncrossable desert to find your friend.
By the way, this is the third arc which ends with Fuyao getting saved by a man. I don't see in which way she is a "Legend".
This arc contains one great fight scene: the second fight in the Heirong Encampment. It still doesn't makes up for the terrible writing for this arc. Now that I've written all this out I feel like I should decrease my score for the drama.
Episode 42-53: Tiansha Arc
Oh look it's good again, though I still don't like the Zhan Beiye and Ya Lanzhu storyline that much. I wish he would stop singing his lonely wanderer wilderness song; it is very depressing. The scenes with Zhan Beiye in the cursed wilderness are long and draggy, and an entire episode was wasted in the forest. Ya Lanzhu grows on you in this arc though; Episode 52 in particular is hilarious. Zhan Beiye's martial arts master is one funny dude.
The plot against Zhan Beiheng was well played, but I felt like the Tiansha king gradually lost his cunning through the arc. Fuyao's sycophantic True Martial General was well portrayed. Fuyao and Wuji are now in the lovey-dovey confidiant stage of a romantic drama, there is much less entertaining flirting to be had.
The Taiyuan arc resurfaces again, and is concluded in standard Mainland drama tragic style. Still the best arc in the drama; it is fantastic to see Zhong Yue and Yun Hen's frustration and despair acted out so well. I was slightly disappointed to see that water bending didn't come up again, and that no other country had their own element to bend.
Fight scenes that stand out: the Heavenly Gate Abyss fight and the General selection competition.
I liked the steel armour of Wuji's army, very restrained, but disliked his personal white paper-mache armour. The deux ex machina teleporting magic hamster is also ridiculous.
Episode 53-59: Xuanji Arc
Significantly better than the previous couple of arcs, this is probably the second best arc in the drama. The arc starts off with a great fight in Episode 53. The eldest Royal Daughter is such a dear, falling in love at first sight. Unfortunately, happy times end with the reappearance of the second Royal Daughter Fo Lian. Her mother, the current female King of Xuanji, is a pretty charismatic character much like Fo Lian the first time we see her.... but we all know: as mother as daughter.
Xuanji's matriarchal society and government is a refreshing look on different cultures, and its definitely not one that has a lot of exposure in previous Chinese dramas.
Fuyao's decision making process continues to stymie, all the way from deciding to start a dangerous, immobile activity as potential enemies close in, to accepting gifts from people who've tried to kill you, to immediately giving up every time someone frames you for something.
Episode 59-64: Tianyuan Redux Arc
Wuji has to go to war, while Fuyao finds that the Emperor is not who he appears to be. Tragic dude, the Emperor, but his willful insanity is kind of understandable. We finally find out the backstory of the crazy Lady Xuanyuan back in the Taiyuan arc too!
I did not much like the big fight in Episode 62, it was very mechanical compared to previous fights.
All I can say about the ending of the arc is... its very Chinese.
Episode 64-66: Ancient Firmament Arc / Ending
Only one and a half episodes for Ancient Firmament?! This might be cutting it a bit short. Lets start off with the four elders of the sect trying to reinforce the seal of Di Feitian, which doesn't go exactly as planned. Next, Wuji forces his way into this religious cult waving a sword like an idiot, which doesn't go as planned either. I have a newfound appreciation for Xuanyuan Min (or whatever her real name is); she's a great girl, so true to her love. Seven too, so earnest.
Fuyao will Fuyao till the end, at least until the person who we know is really evil suddenly reveals the evil plan and backstabs everyone in order to revive Di Feitian anyway. Then, the power of love.... sort of does something....
The final ending looks like it's Ending A, but upon closer inspection on the dialogue appears to be Ending B. I wish it was actually Ending A, since the ending shots of the city devoid of people is pretty damn creepy.
Vond je deze recentie nuttig?
