The throne of the hottest TV drama on iQIYI in 2024 has been updated once again, and this time it is claimed by the espionage drama “In the Name of the Brother”. Perhaps the initial audience was drawn by the refreshing combination of the lead actors, Qin Hao and Yang Mi, but after watching a dozen episodes, viewers were undoubtedly captivated by the solid performance of the formidable creative duo, director Zhang Li and screenwriter Wang Xiaoqiang.
In recent times, several period espionage dramas have emerged on the market, yet “In the Name of the Brother” not only airs simultaneously during prime time on three major TV stations, garnering widespread attention, but its online popularity continues to soar, fueling ongoing discussions and upholding the vitality of classic espionage narratives. A remark from a fervent viewer in the barrage succinctly encapsulates the audience's visceral experience: “Since watching this TV drama, I am always on edge.”
Despite the buzz surrounding topics like “Qin Hao taking on the challenge of portraying dual roles” and “Yang Mi's debut as a villain in a period drama”, “In the Name of the Brother” does not rely on these as gimmicks. Instead, it weaves a tale around espionage and underground clandestine activities, skillfully integrating elements such as undercover operations, espionage, intelligence exchange, solving cases, interrogations, and gunfights. Through its compelling plot, high suspense, rigorous logic, and intricate reasoning, the drama delivers a thrilling viewing experience.
For older viewers, this sensation is familiar, reminiscent of the hardcore approach embraced by numerous classic espionage dramas years ago. Furthermore, the creators have put considerable thought and ingenuity into the details and audiovisual presentation, rejuvenating the classic narrative of this espionage drama across visual, pacing, and emotional dimensions, aligning it more closely with the aesthetic tastes of contemporary young audiences. It can be said that “In the Name of the Brother” not only retains the core charm of period espionage dramas as a classic genre, but also keeps viewers engaged and anticipating new developments in the characters' fates.
Using stylized imagery to maintain narrative patience
The classic narrative of espionage dramas is characterized by its patience, as it involves the ultimate confrontation on the covert frontlines, requiring meticulous layers of setup and foreshadowing. The interconnectedness of details, whether within the same episode to keep the audience on edge, or across different episodes to captivate their interest for days on end.
In the past, when life was slower-paced and short video consumption habits were nonexistent, espionage dramas often employed a long-winded approach, drawing out a suspenseful plot over several episodes. Nowadays, short videos prioritize quick plot twists and lack the patience or perhaps the courage to weave a complex narrative over time.
This series demonstrates the essence of classic storytelling through the careful construction of suspense and the predicaments faced by the protagonist. Some dangers are resolved immediately by the protagonist, while others unfold over several episodes. For instance, in the fourth episode, Guan Xue (played by Yang Mi) tests Song Zhuowen (played by Qin Hao) with a homemade dish, the fried pork in scoop. Due to his lack of knowledge about the specific experiences Guan Xue had after being saved by his twin brother Song Zhuowu (played by Qin Hao) during their escape years ago, Song Zhuowen, driven by his instincts as an undercover agent, hesitates to eat the dish.
At the dinner table, neither Guan Xue nor Song Zhuowen mentions the fried pork in scoop, but the camera repeatedly zooms in on the dish, leaving a clear intention. Viewers jest in the comments: should he eat it or not? Guan Xue's suspicion and Song Zhuowen's caution play out during this meal, without an immediate resolution. Viewers are left with a visual enigma of the “fried pork in scoop,” continuing their journey of suspense.
At the end of the seventh episode, during a conversation between the two brothers, Song Zhuowu casually mentions his love for fried pork in scoop. The visual puzzle flashes back before the audience's eyes. With their understanding of Guan Xue's suspicious nature, viewers immediately realize that if Song Zhuowen does not address his oversight regarding the fried pork in scoop, his mission of impersonating his brother to get close to Guan Xue could be jeopardized.
Patience is key. While viewers may feel anxious and eager, the writers and Song Zhuowen must remain composed, as rushing can lead to grave mistakes. If Song Zhuowen had hastily tried to rectify the oversight regarding the fried pork in scoop, it could have backfired. In the eighth episode, Song Zhuowen cleverly averts a potential crisis by casually mentioning, while discussing losing his identification papers, “After getting money, I kept eating ried pork in scoop and got tired of them.” This move, for the viewers, is a delightful outcome of patiently waiting.
Both Zhang Li and Wang Xiaoqiang are experienced creators. Wang Xiaoqiang dares to write, while Zhang Li excels in directing, their collaborative synergy and creative consensus are remarkable. Director Zhang Li, with a background in cinematography, possesses a distinctive visual style. The meticulously recreated sets of the espionage department, Song Zhuowen's residence, Guan Xue's home, and various props tailored to the characters, along with the authentic period costumes, create a rich texture of the era, geography, and humanity.
Strategic framing, voyeuristic angles, and close-up shots significantly enhance the immersive experience of intellectual competition and perilous situations. The use of black and white imagery for brief flashbacks and black and white with frame skipping for distant memories not only supplements information but also intensifies emotional impact.
Director Zhang Li enriches the narrative with stylized imagery, enhancing the diversity of information, emotions, and logic, thereby expanding the audience's imaginative space and upholding the narrative patience of writer Wang Xiaoqiang. Faced with a cascade of mysteries, viewers need not rush to uncover answers but should patiently follow the perspective of the characters, savoring the intricate dynamics of the era's tumultuous currents.
New character triangle forms
The title of this drama emphasizes the era, which is reflected not only in the meticulous and rigorous costumes and set design but also in the ensemble cast. Spy dramas must have antagonistic character relationships that are vividly portrayed as a clear struggle between good and evil. The ways in which the protagonists and antagonists are portrayed can be innovative. You can have a lone hero or a dynamic duo; the main character can be an invincible warrior or have a vulnerable side.
An outstanding aspect of character development in this drama is the intense and conflicting dynamics at play between the characters: the righteous faction consists of the two brothers, Song Zhuowen and Song Zhuowu, representing the classic “one literary, one martial” archetype; while the villainous faction includes the intelligence officer Pan Yue (played by Zhang Zixian) and the action officer Hu Bin (played by Luan Yuanhui), forming another “one literary, one martial” pair.
Above these two pairs, there is the figure of Guan Xue, who holds absolute power within the Special Operations Department. She is both a reliance for Pan Yue and Hu Bin and a tool for Song Zhuowen and Song Zhuowu. Thus, around the Special Operations Department, the competition for intelligence, identity concealment, and counter-espionage tasks, these characters form a triangular relationship. The stability of this triangle lies in the interplay among the three points. The triangular relationships among the characters naturally enhance the dramatic tension. Each individual is striving to navigate their relationships while seeking liberation from the tension.
By splitting the main character into Song Zhuowen and Song Zhuowu, the drama avoids the stereotypical portrayal of a hero. Both brothers possess excellent qualities as well as weaknesses, allowing them to integrate into the overall ensemble. Song Zhuowen is a seasoned intelligence officer, observant and sharp-minded, able to quickly perceive dangers and exploit the enemy's weaknesses. However, living amidst a web of lies and constant life-and-death situations takes a toll on him. Despite his frequent smiles, the audience can see that he is not at ease.
Song Zhuowu provides a perspective of growth. Initially a maverick man, upon reuniting with his brother, he starts cooperating covertly while ensuring his brother's safety. His lack of meticulousness often leaves vulnerabilities that Song Zhuowen needs to remedy. In the future, he will undoubtedly mature into a more reliable comrade, bolstering the righteous faction's martial strength.
Guan Xue may appear as a master manipulator, but in reality, she is a refined opportunist shaped by years of experience. Her deep-seated hatred, cultivated through trials and disdain, has eroded her beliefs. In her eyes, only the natural order of power dynamics prevails, without considerations of justice. What she seeks is to imprint her scars onto others.
As her mentor Jin Qingyuan (played by Sha Baoliang) reminds her, Guan Xue must never lose her “vigilance” and “desire for control.” Having chosen to rely solely on herself, she cannot afford to be swayed or influenced. As the head of intelligence operations, Pan Yue excels in the philosophy of the workplace and the art of survival through deception. His deliberate speech conceals razor-sharp ideas that strike at the heart. He suppresses his emotions and withstands pressure. His occasional bursts of neurotic behavior make him a danger to both sides. Hu Bin's logic is clearer; torn between duty and pleasing his loved one, he willingly becomes Guan Xue's blade. Focused on the present without considering the future, his true nature is evident.
“In the Name of the Brother” does not delve excessively into the evolution of individual characters. Such drastic shifts in alliances and loyalties may provide excitement but could dilute the inherent conflict in classic narratives, reducing the intellectual challenge between the opposing sides and diminishing the audience's anchor for reflection on the entire drama.
The complexity of human nature and the cruelty of the era are embodied collectively by a diverse array of characters in this drama. Whether it is the righteous Song Zhuowen and Song Zhuowu or the villainous Guan Xue, Pan Yue, and Hu Bin, they all act for their respective groups while harboring personal ambitions and concerns.
Within the triangular relationship, the characters' intertwined struggles with personal secrets create a tense atmosphere that keeps the audience on edge in every scene. The constant probing and careful maneuvering allow the characters in the drama to break free from the confines of traditional storytelling, offering a fresh and dynamic portrayal.
Deepening classic themes to unleash their charm
Period espionage dramas have always been a fertile ground for the birth of excellent national dramas. With many masterpieces already established as classics, the industry is constantly seeking innovation. The current consensus in the industry is that the new generation of espionage dramas must capture the youth market. While forcibly introducing foreign elements can bring freshness and new topics, it can also dilute the charm of classic storytelling, turning period espionage dramas into a mixed genre that is neither truly period nor espionage. This outcome is likely to alienate the older generation of viewers of this genre while failing to attract the new generation of viewers.
For many years, Straw Bear Entertainment has been strategically positioning itself in multiple fields, adhering to a creative approach that delves deep into classic themes and storytelling styles. Works like the fantasy epic “Legend of Zu Mountain” and the legendary narrative “Impossible Mission” have successively become the annual ratings champions. The modern revolutionary drama “Belief” received a nomination for the Feitian Award for “Outstanding TV Drama”.
These series have utilized contemporary audiovisual aesthetics to complement classic storytelling, not only allowing the older audience to rediscover the familiarity and warmth of genre dramas but also captivating the younger audience. “In the Name of the Brother” has achieved a similar effect, reaching a wider audience more effectively. By enlisting the award-winning screenwriter Wang Xiaoqiang as the lead writer, Straw Bear Entertainment has returned to the roots of classic storytelling from the inception of the script.
With a clear focus, Wang Xiaoqiang has conducted profound explorations of the era and characters, while director Zhang Li has stylized the visual and rhythmic aspects, sustaining the vitality of period espionage dramas, revitalizing their expressive power, and maximizing the appeal of the genre and themes. This approach not only retains the traditional audience but also significantly expands the new audience base.
Upcoming works from Straw Bear Entertainment include the suspense drama “Drifting Away,” directed by Cao Kai and starring Guo Jingfei, Wang Qianyuan, and Zhao Jinmai, adapted from Chen Ping's novel of the same name. The series, centered around a dismemberment case, delves deeply into the complex inner demons each character faces across different periods while adhering to classic detective storytelling.
Another upcoming production is the urban suspense drama “What a Wonderful World,” directed and written by Xu Bing, starring Zhao Liying and Yin Chang. This series introduces the high concept of “multiple worlds” into classic suspense storytelling, raising high expectations with its conceptual poster. It must be said that by delving deep into classic storytelling and unleashing the allure of its themes, Straw Bear Entertainment is embarking on a path that resonates more easily with audiences and the spirit of the times.
