The audience for male-oriented dramas tends to believe in seeing is believing. They won't easily recommend a show or become fans of it just because it's based on a popular work or stars a well-known actor unless they've seen it with their own eyes. Recently, a lot of people have been enthusiastically recommending “Heroes” on social media, which premiered on Tencent Video and iQIYI on May 8th.
The series, created by Bai Yicong with directors Lou Jian (known for “The Imperial Coroner” with a rating of 8.0 on Douban) and Wei Lizhou (director of “Ultimate Notes” with a rating of 8.2 on Douban), focuses on a martial arts theme set in a tumultuous era. It features mysterious cases, legendary heroes, treasure hunting in chaotic times, and a strong sense of patriotism. Although it hasn't been rated on Douban yet, the word-of-mouth has been rapidly and positively spreading. Just four episodes in, Tencent Video's binge-watching audience rated it an impressive 9.2.
Discussions about the details of the drama are always heated, whether on social media platforms or in the comment sections of the two major streaming services. For instance, the real identity of Lin Anjing (played by Chen Siche) was guessed by viewers long before it was revealed in the latest episode.
Under the overarching theme of national salvation, “Heroes” skillfully integrates martial arts, legends, treasure hunting, and mystery solving; it not only delivers a thrilling story and three-dimensional characters but also maintains clear internal logic from three different perspectives. As viewers follow the series, they often find themselves silently repeating the latter part of the show's title, “A gentleman constantly strives for self-improvement.” With an immersive, exhilarating experience and a strong patriotic spirit, “Heroes” is a meticulously crafted genre piece and a standout original creation.
Three men, three perspectives
Just as “Chang'an” deepened people's understanding of Tang poetry, “Heroes” enhances the comprehension of the concept “a gentleman constantly strives for self-improvement.” Bai Yicong, as a screenwriter and producer, has adapted many novels featuring multiple main characters, such as Jin Yong's “Demi-Gods and Semi-Devils,” Nanpai Sanshu's “The Mystic Nine,” and Liu Cixin's “The Three Body.” This has given him ample experience in deconstructing and assembling stories with multiple protagonists.
In this original screenplay, Bai Yicong fully utilizes his skill in character development by dividing the theme of “constant self-improvement” among three different male leads, each presenting and deepening the theme from their unique perspectives.
Wang Jialuo (played by Pang Hanchen), a local constable also known as “Wang Dibao,” excels in tracking due to his keen observation of his surroundings. His dedication to apprehending criminals leads him on a thousand-mile chase narrative. Wang Dibao embodies a raw persistence, almost to a fault. While he claims to “establish heart for heaven and earth, and establish life for the people,” his personal limitations prevent him.
Wang Dibao is mostly accountable to himself, seeking only peace of mind, even if his justice is compelling, his perspective is ultimately too narrow. His forced shift from scholar to soldier due to the abolition of the imperial examinations adds a layer of covering his insecurities with his resilience.
Zhuo Bufan (played by Liu Yuning) has a broader perspective than Wang Dibao. His motto, “The sword faction exists only when everyone is present,” shows that Zhuo Bufan's perseverance stems from his responsibility towards the Rongtian Sword Sect, expanding his perspective to include the group. The audience learns through various characters about the sect's predicament: the former leader is dead, the sect has no reputation or funds, and their headquarters in Lengxi are rented out for money. To outsiders, they appear as a group of refugees.
This sense of responsibility weighs heavily on Zhuo Bufan, even obscuring his personal feelings. Whether becoming the greatest swordsman or serving the Prince of Qi (played by Liu Peiqi), Zhuo Bufan's actions are all aimed at strengthening the Rongtian Sword Sect. His perspective seems broader than Wang Dibao's, but his limitations are even greater. Wang Dibao is limited passively, whereas Zhuo Bufan imposes limitations on himself.
Irgen Gioro Mu Qing (played by Qin Junjie), known as “Men San Dao,” is even more complex. Formerly a royal guard, he now works for the Imperial Household and investigates major national security cases like “Prince Qi's conspiracy to rebel.” His perspective is the broadest, as he is responsible for the entire country; yet his perseverance is also limited because the corrupt monarchy he serves is not worth his loyalty.
After being pardoned, Men San Dao is briefed on the events of the past twelve years. His secondary education in history hits him in a new way as the series integrates black-and-white archival footage, intensifying the impact of these treaties of territory and indemnity on both the characters and the audience. This shock prompts an initial awakening in Men San Dao. The further he travels from the capital, the more he realizes how much the world has changed. In Shanghai's French Concession, he fully understands what “constant self-improvement” means. Previously, his status allowed him unrestricted access, but here, he is bluntly told, “The Concession is not our territory.”
When he uses his usual intimidating phrase, “Can you bear the responsibility for letting a royal criminal escape?” he is coldly rebutted with, “I don't have to.” After being advised not to offend the foreigners over a trivial matter, the once proud Men San Dao is left speechless, merely gripping his knife handle tightly. At this moment, every viewer will likely reflect internally, “A gentleman constantly strives for self-improvement.”
Remembering a famous saying is easy, but deeply understanding it from multiple dimensions requires a catalyst. Bai Yicong's design of three male protagonists for “Heroes” provides this. Each character has an inherent quality of self-improvement, yet their different social statuses bring different initial limitations. This makes them dynamic characters who grow through their experiences and encounters, ultimately breaking through their initial limitations to become stronger. This growth is what viewers anticipate, not just their expert confrontations but also their eventual collaboration. Only by following the series to its conclusion can viewers fully embrace the most comprehensive perspective, recognizing the true essence of “Heroes, where a gentleman constantly strives for self-improvement.”
Three factions, three tensions
“Heroes,” a male-oriented drama, does not solely focus on the conventional good versus evil narrative for its dramatic tension. Instead, by establishing three distinct factions, the series achieves a new level of integrated drama. Imperial Household Department, the most publicly known faction in the drama, serves as an extension of the imperial power. They are involved in a righteous quest to retrieve a stolen treasure map, which gives them the authority to label anyone as a traitor. While they appear to be supporting a faltering dynasty, they are, in fact, the biggest obstacle in the path of historical progress.
The Rongtian Sword Sect and its backer, Prince Qi, represent the semi-hidden second faction. Prince Qi's actions, “rebelling against the Qing dynasty for the sake of the Qing,” reflect that the time for change has come. Even he finds his methods somewhat absurd, yet he distinguishes between constitutionalism and democracy, one achievable and the other not, which dooms him to be the last struggle of the old forces. The Rongtian Sword Sect's intentions are the purest, easily manipulated by Prince Qi's promises. They do not observe the direction of the times but focus solely on the immediate goal – the martial arts secrets in the stolen treasure and a headquarters to rival Wudang and Shaolin. They are endearing yet pitiable.
The Japanese in the drama represent the most covert third faction, an external force that should not be involved. Their coveting of the treasure stems from pure greed. They do not hesitate to use despicable means and are unafraid to openly confront any other faction. The dramatic pull and subtle checks and balances among these three factions significantly enhance the viewing experience. The conflict between the Imperial Household and Prince Qi is an imperial court struggle. While Prince Qi claims to be saving the Qing dynasty, his personal ambitions remain hidden. Although the Imperial Household aims to preserve the dynasty, they are actually protecting their own wealth and status.
The Rongtian Sword Sect, acting on behalf of Prince Qi, disrupts the court struggle with their martial arts community tactics. In their view, even the Alliance and the revolution can be explained through the concepts of the martial arts world. They drag the Imperial Household into the mire of martial conflicts, forcing Men San Dao to rely on the strength of Wang Dibao, the lone hero from the lower echelons. As an external force, the Japanese see chaos as an opportunity to plunder. So far, they have not fared well in direct confrontations with other factions, but their covert operations are smooth sailing, making them the most dangerous and likely to disrupt the balance.
The interplay among the three factions is visually striking. With Tan Xian (played by Zong Fengyan) entering the scene and possessing the clue to the treasure, the three factions often share the stage, creating a tension-filled atmosphere that even completes a fascinating narrative loop. On a deeper level, this construction of the three factions, blends the drama of imperial court struggles, martial arts vendettas, and national salvation. This combination of causes and effects moving the story forward is immensely satisfying for the audience.
No Layout in the Waves of History
Unlike other dramas, “Heroes” does not spark discussions around typical themes like heroes, villains, schemers, or disruptors in its live comments. As an original series, it stands apart by forgoing the typical male-oriented narrative of leveling up through training, focusing instead on how the historical tides shape individuals. In that turbulent era, with progressive ideas emerging and the clash between old and new forces intense, it's challenging to clearly delineate right from wrong. Consequently, it's difficult to label the characters simply as good or evil. Faced with historical currents, no single individual is sufficient to be a plotter.
Whether on the front lines or behind the scenes, all can only strive to navigate through the fog before them with caution. The course of history is shaped by many coincidences and inevitabilities, making it impossible for anyone to see things in black and white. Most characters act from their perspective, upholding what they believe to be right, meaningful, and valuable.
The currents of history subtly guide all living beings towards the intended path, and the characters in the drama, major or minor, sooner or later, cross paths with those who are on the right side of history. These intersections spark brief moments that either quickly extinguish or endure and kindle further actions. A memorable character in this chaotic world is Tang Yu from the Rongtian Sword Sect, played by Tan Quan. His earlier awakening to progressive thoughts, even sooner than the three main protagonists, tragically leads to his death by Wang Dibao, who sees him as a murderer.
Observing the scene where Tang Yu is killed by Wang Dibao, we see Tang Yu on the left side of the frame and Wang Dibao on the right. This indicates that from the outset, the series was designed with audio-visual pre-design, embedding hints in the script to foreshadow the characters' fates.
A key aspect of this design is the positioning of characters within the frame. Typically, characters who are more progressive or likely to be progressive in the future are placed on the left side of the frame. Another design element is the play of light and shadow on characters. Those in brighter areas often have a more promising destiny, while those in shadow are generally more conservative.
Perhaps due to Bai Yicong's dual roles as screenwriter and executive producer, this advanced audio-visual pre-design is effectively implemented throughout the production. The audience is no longer just following the plot for the outcome but appreciating each nuanced phase of the journey. In a world where everything is transient and only human nature is eternal, every struggle and decision of the characters is compelling and visually impactful.
