In the year 2024, the espionage genre is experiencing a long-awaited resurgence. On one hand, the innovative spy drama “War of Faith” has just concluded with great success, while on the other hand, “In the Name of the Brother” is quickly taking the spotlight. Looking at the lineup, the director is Zhang Li, and the screenwriter is Wang Xiaoqiang, both of whom have produced excellent works in the past, with Wang Xiaoqiang excelling in the espionage genre. As for the cast, Yang Mi partners with Qin Hao, possessing both beauty and acting skills.
“In the Name of the Brother” is set in the puppet state of Manchukuo before the victory of the War of Resistance Against Japan, telling the story of Communist intelligence officer Song Zhuowen (played by Qin Hao) being mistaken as a savior by Guan Xue (played by Yang Mi), who is the head of the Special Service Department of the Harbin Police Bureau. Song Zhuowen, who is actually his brother Song Zhuowu, then infiltrates the enemy's ranks with a calculated plan. Thus, a grand drama of twin spies unfolds.
Familiar with Espionage Dramas
“In the Name of the Brother” exudes a sense of urgency from the very beginning. Guan Xue poses as an underground party member for a meeting, only to be exposed shortly after, leading to gunfights and arrests. Gunshots ring out, blood is shed, and tension quickly escalates. Simultaneously, Song Zhuowen, posing as a railway police officer but actually a member of the underground party, coincidentally encounters Guan Xue and is mistaken for her savior Song Zhuowu, successfully infiltrating the Special Service Department of the Harbin Police Bureau. Multiple scenes, multiple events intersecting in parallel, edited together to swiftly provide the audience with a multidimensional understanding of the plot. This visual style is quite characteristic of Zhang Li. For viewers familiar with the director, glimpses of his previous works can only be found in the black-and-white flashbacks.
Most viewers associate Zhang Li with serious dramas, especially historical ones like “Towards the Republic,” “Ming Dynasty in 1566,” and “The Road We Have Taken.” In terms of timeline, this drama aligns closely with Zhang Li's earlier expertise in modern historical subjects, making it easier to leverage. In recent years, Zhang Li's directorial works have mostly challenged the audience's preconceptions, demonstrating a strong innovative ability. Works such as the work-adapted “The Immortal Stone of Nirvana” and the workplace drama “Win The Future” show a strong sense of self-challenge in both theme selection and directorial techniques. Unlike historical dramas like “Ming Dynasty in 1566” with court intrigues, espionage dramas require a sense of urgency akin to the art of deception in warfare. One moment amicable, the next moment drawing guns in a commonplace occurrence.
Guan Xue is inherently suspicious, constantly testing Song Zhuowen. Yang Mi's portrayal of this weighty antagonist female character is outstanding, as she seeks to repay a debt of gratitude while verifying the other party's identity. During the initial banquet scene, she not only tests him herself but also brings her brother and colleagues, employing various tactics to ascertain Song Zhuowen's identity. The depth of this scene can be sensed through the performance, indicating the actors have delved into their roles. At the banquet, Song Zhuowen appears jovial on the surface, but his mind is racing, cautiously navigating the situation. Amidst the toasting, a hidden undercurrent of danger lurks, keeping the audience on edge.
The core atmosphere of espionage dramas lies in suspense. Why can Guan Xue impersonate an underground party member? What secrets lie behind the identities of the Song brothers, Song Zhuowen and Song Zhuowu? What mysteries are hidden within the Special Service Department? These questions are posed one by one and gradually answered, with new twists and turns emerging, keeping the audience on their toes. Zhang Li employs many observing in secret camera shots, often revealing actions from behind while one side is in motion, creating a sense of “praying mantis stalks the cicada, unaware of the oriole behind.” This aligns with the nature of underground work, and this voyeuristic perspective forms a crucial part of the plot's secrecy, enhancing the immersive experience for viewers. A familiar feeling of espionage dramas, yet an unfamiliar style of Zhang Li. It must be said that watching his dramas, filled with suspense and rapid pacing, is a first for the audience.
Setting Outstanding in Details
Qin Hao indulged in the drama in the play, as he portrayed two roles. Song Zuowen is steady and meticulous, while Song Zuowu is strong and combative. Despite wearing the same attire, through subtle gestures and eye expressions, the audience can clearly distinguish between the two characters. This not only made the audience marvel at the actor's performance but also admire the meticulous design of the script. In fact, the setting of twin spies is common in espionage dramas, often involving narratives of heroic figures or undercover identities. However, in “In the Name of the Brother,” a new twist is introduced to the conventional setting. The two brothers, Song Zuowen and Song Zuowu, one light and one dark, collaborate by sharing identities to accomplish their missions, reminiscent of the atmosphere in “Day and Night.”
Here, identity becomes the driving force behind the plot. Unlike the typical impersonation seen in espionage dramas, where two vastly different personalities must deceive cunning enemies, the difficulty level increases exponentially. Moreover, the plot arrangement of one causing trouble while the other fixes it enhances the watchability of the series. It is foreseeable that the issue of identity will inevitably become a bombshell; however, the audience remains uncertain as to when it will detonate. This tension is maintained throughout “In the Name of the Brother,” showcasing the skillful storytelling of the screenwriter, Wang Xiaoqiang, who was already renowned for espionage dramas.
In 2016, “The Chaser” made its debut, narrating the story of an underground party infiltrating the Military Statistics Bureau, risking exposure to accomplish their mission. The unique structure and lifelike details became the trademark style of Wang Xiaoqiang's subsequent espionage dramas. In 2018, “Mask,” set in Northeast China, depicted the story of a Military Statistics Bureau spy who defected from the shadows to the light in 1948. Apart from the usual intense conflicts and plot twists, there were numerous introspective moments focusing on the inner struggles of undercover agents. “Enemy” in 2021 took a more unique approach, portraying spies who landed in mainland China from overseas, adding strong anti-espionage elements. The series vividly depicted the chaotic life of middle-aged spies, offering a fresh perspective in espionage dramas.
With these preceding works, upon viewing “In the Name of the Brother,” one can perceive Wang Xiaoqiang's deeper exploration of espionage dramas. His pursuit is evident in the innovative twists on the conventional tropes and the meticulous attention to detail, allowing the screenwriter to delve into new boundaries of espionage dramas. Espionage dramas particularly emphasize information density, requiring cleverly laid clues and hidden agendas. In this series, Wang Xiaoqiang meticulously weaves a narrative around details, creating a rich atmosphere.
At the beginning of the series, Guan Xue's exposure was triggered by wearing a wristwatch, leading to the arrest of the underground party's elder, Lao Duan. Even after capturing him, Guan Xue remains haunted, questioning how she was exposed. Song Zuowen's habit of carrying a pen in his chest pocket later becomes his weapon for saving lives, almost exposing him as well. This recurring detail in the progression of the plot reaffirms the essence of espionage dramas, where “the devil is in the details.”
The Evolution of the Cdrama Genre
In the days leading up to the broadcast of “In the Name of the Brother,” another espionage drama titled “Shooting Stars” also aired, creating a lively competition with the same theme and time slot, which was particularly exciting for espionage fans. Furthermore, there are currently over a dozen upcoming espionage dramas in the market alone, indicating that a great year for espionage dramas is approaching. Among this diverse array of espionage dramas, there are some common characteristics that hint at the new trends in the evolution of this genre.
One major trend is the faster pace. Compared to previous espionage dramas, there is a significant increase in the quick resolution of issues in addition to the long-standing suspense. The protagonists are constantly tested, and through this fast-paced plot progression, their characters become more vivid. In “In the Name of the Brother,” the differences in the personalities of the two brothers are established through their different reactions during crises. Such changes are closely linked to the audience's preferences. Long-term groundwork is necessary, but there is also a need for more immediate rewards, reflecting the new changes in the tastes of young audiences who have been influenced by short videos. Providing viewers with more immediate excitement, cramming in more twists and mysteries within limited episodes, and winning over the audience with high information density will become a new challenge for the market of espionage dramas.
Another major trend in espionage dramas is the refreshing perspectives. The perspective here can be related to the theme or the characters' identities. A very innovative aspect of “War of Faith” is its financial theme, which is a new addition as previous espionage dramas lacked portrayals of financiers. Introducing new themes helps in overcoming audience fatigue. This trend is even more pronounced in upcoming dramas, such as “Po Xiao Shi Fen” which sets the story in a location across the strait, and the protagonist of “Lost Identity” is an amnesiac.
The novel approach to identities also brings new possibilities to espionage dramas, as writers are no longer satisfied with depicting military intelligence, central intelligence, or Japanese agents. In “In the Name of the Brother,” there are pseudo-Manchurian special agents, in “Shooting Stars,” there is an undercover police officer, and in the upcoming espionage drama “A Lonely Hero's Journey,” the lead actor, Zeng Shunxi, even plays an architect. Additionally, there are works such as “A Panorama of Rivers and Mountains” by Wang Juan and Jin Haishu, “Dark Night and Dawn” by Weng Liangping, and even another work by Wang Xiaoqiang titled “Tug of War.” According to available information, these upcoming dramas more or less confirm this trend.
Therefore, in this flourishing year of espionage dramas, the success of “In the Name of the Brother” will depend on the development of the subsequent plot. As an audience member, one eagerly anticipates whether director Zhang Li can deliver a substantial masterpiece in the espionage genre.
