I understand why so many people are skeptical about the plot or the castingโespecially when it comes to Lin Yi...but I think we're judging a story before it has had the chance to speak for itself. A lavish budget and impeccable casting have never guaranteed a memorable drama. Time and again, we've seen highly anticipated productions dissolve into mediocrity because the writing lacked conviction. (not an overdo shade)...Yet some of the most unassuming, modestly produced dramas have endured simply because their storytelling possessed sincerity and precision. ๐๐๐ช ๐๐ (็ซนๅทฒ) ๐๐๐จ ๐๐๐ง๐ฃ๐๐ ๐๐๐ง ๐ง๐๐ฅ๐ช๐ฉ๐๐ฉ๐๐ค๐ฃ ๐๐ค๐ง ๐ ๐ง๐๐๐จ๐ค๐ฃ. ๐ผ ๐ฃ๐๐ง๐ง๐๐ฉ๐๐ซ๐'๐จ ๐๐ง๐๐๐๐ฉ๐๐๐ฉ๐ช๐ง๐ ๐ข๐๐ฎ ๐๐ฅ๐ฅ๐๐๐ง ๐๐ค๐ฃ๐ซ๐๐ฃ๐ฉ๐๐ค๐ฃ๐๐ก ๐ค๐ฃ ๐ฉ๐๐ ๐จ๐ช๐ง๐๐๐๐: ๐ฉ๐๐ ๐๐๐ข๐๐ก๐๐๐ง ๐จ๐๐ฉ๐ฉ๐๐ฃ๐ ๐ค๐ "๐จ๐๐ ๐๐๐ก๐ก๐จ ๐๐๐ง๐จ๐ฉ, ๐๐ ๐๐๐ก๐ก๐จ ๐๐๐ง๐๐๐ง," ๐ฉ๐๐ ๐จ๐๐๐ข๐๐ฃ๐๐ก๐ฎ ๐ฅ๐ง๐๐๐๐๐ฉ๐๐๐ก๐ ๐ฅ๐ง๐ค๐๐ง๐๐จ๐จ๐๐ค๐ฃ ๐ค๐ ๐๐ซ๐๐ฃ๐ฉ๐จ...๐๐ช๐ฉ ๐๐ฃ ๐ค๐ช๐ฉ๐ก๐๐ฃ๐ ๐๐จ ๐ค๐ฃ๐ก๐ฎ ๐ ๐จ๐ ๐๐ก๐๐ฉ๐ค๐ฃ. ๐๐๐๐ฉ ๐ช๐ก๐ฉ๐๐ข๐๐ฉ๐๐ก๐ฎ ๐๐๐ซ๐๐จ ๐ ๐จ๐ฉ๐ค๐ง๐ฎ ๐๐ฉ๐จ ๐ฅ๐ช๐ก๐จ๐ ๐๐จ ๐ฉ๐๐ ๐ฌ๐ง๐๐ฉ๐๐ฃ๐ ๐๐ฉ๐จ๐๐ก๐: ๐ฉ๐๐ ๐๐ข๐ค๐ฉ๐๐ค๐ฃ๐๐ก ๐๐๐๐๐ฃ๐๐, ๐ฉ๐๐ ๐ฆ๐ช๐๐๐ฉ ๐๐๐ฉ๐๐๐ก๐จ, ๐ฉ๐๐ ๐๐ค๐ฃ๐ซ๐๐ง๐จ๐๐ฉ๐๐ค๐ฃ๐จ ๐ก๐๐๐ฉ ๐ช๐ฃ๐จ๐๐๐, ๐๐ฃ๐ ๐ฉ๐๐ ๐๐ช๐ข๐๐ฃ๐๐ฉ๐ฎ ๐ฌ๐ค๐ซ๐๐ฃ ๐๐๐ฉ๐ฌ๐๐๐ฃ ๐๐๐ข๐๐ก๐๐๐ง ๐ฉ๐ง๐ค๐ฅ๐๐จ. That's why I remain quietly optimistic. LXY's presence only strengthens that feeling for me. After all, even the most ordinary premise can become unforgettable in the hands of a writer who understands emotion, and actors capable of giving that emotion a living form.
I donโt really know how to express myself well, but I enjoyed reading your comments today. We get a lot of haters…
Thank you for your message. Iโll definitely be around this page for quite a whileโฆI truly love this drama. Iโm always interested in seeing different perspectives, even when they contradict my own. And I really appreciate everyone who enjoyed this drama as much as I did; itโs always nice to share that enthusiasm with others.
Hey everyone ... I genuinely enjoy thoughtful debates, constructive criticisms, and layered discussions around storytelling. If anyone has controversial opinions, interesting interpretations, critiques, or unconventional takes on this drama, feel free to share them ... Iโd love to engage in a mature and intellectually grounded discussion about it.
Hey, your argument has a bit of a loophole. We already know no drama is objectively โ10/10,โ but people often rate dramas highly because of the experience they had while watching them. Ratings are emotional responses as much as technical evaluations. A high score usually reflects that, at the time of viewing, a large number of people genuinely felt the drama deserved that appreciation. So dismissing the ratings entirely ignores the collective audience response attached to it.
And regarding the โlustfulโ looks between Wuyi and Wanyang ... they are literally fox demons. Their characterization is supposed to feel seductive, manipulative, shrewd, and dangerously alluring. That discomfort or intensity is part of the role itself, not accidental acting. Fox spirits in classical Chinese supernatural literature are traditionally written that way ... charm is their weapon, performance is their nature, and seduction is often tied to deception and power.
As for the dialogue delivery you mentioned ... the โwhispering loudlyโ style is very intentional and actually part of this directorโs signature aesthetic. He uses airy, restrained vocal delivery to create an otherworldly atmosphere. And in this drama, it makes even more sense because most of the characters are not entirely human to begin with. Theyโre meant to feel slightly detached, uncanny, emotionally controlled, almost like beings existing half inside reality and half outside it. The vocal style contributes to that mood.
And honestly, at least in this drama, Ju Jingyi used her strengths well. The softer uncanny voice tone, controlled facial expressions, and restrained emotional delivery aligned with the exact kind of character she was playing. Instead of working against the role, her here in this circumstance..it aligned with her and the drama
Saying Veil of Shadows has โno plotโ feels less like criticism of the story itself and more like impatience with the kind of storytelling itโs using.
The drama is very obviously built on layers of classical Chinese literary and mythological influence. Its foundation pulls from Pu Songlingโs Strange Tales from a Chinese Studio, especially Painted Skin; stories that were never structured around fast-paced linear action, but around psychological duality, hidden identities, moral ambiguity, and the tension between what appears human and what actually is. The entire โveilโ motif itself comes from that literary tradition: masks, constructed personas, beauty concealing monstrosity, and emotional performance as survival.
On top of that, it borrows heavily from Shan Hai Jing mythology. Many of the creatures, symbolic archetypes, and supernatural politics arenโt random fantasy aesthetics; theyโre rooted in classical mythological frameworks where every being represents imbalance, desire, punishment, memory, or transformation. If someone watches it expecting straightforward western-style plot progression, theyโll miss that the narrative is operating symbolically as much as literally.
What makes the writing intricate is that nearly every character functions on multiple levels simultaneously:
* who they pretend to be socially, * who they emotionally are, * what mythological role they embody, * and what thematic conflict they represent.
Even side characters are rarely just โthere.โ Their choices usually mirror larger themes of identity fragmentation, obsession, loyalty, repression, or moral decay. The story constantly parallels characters against each other through doubles, masks, mirrored desires, and concealed motives, which is very characteristic of gothic Chinese supernatural literature.
And structurally, the drama relies on delayed revelation. Information is intentionally fragmented. Certain scenes only gain meaning retroactively once later truths are revealed. That isnโt โbad plottingโ; itโs nonlinear tension-building. The audience is supposed to question perception itself because the characters themselves are performing versions of themselves.
People also underestimate how much Guo Jingmingโs style influences the narrative construction. His stories tend to prioritize emotional architecture over conventional exposition. The visual symbolism, recurring motifs, dialogue rhythms, and aesthetic repetition are all part of the storytelling mechanism. The atmosphere is not decoration; it carries narrative information.
You absolutely can dislike that style. But saying it has โno plotโ ignores the fact that itโs drawing from centuries of literary traditions built around psychological concealment, tragic supernatural allegory, and layered symbolic storytelling rather than purely event-driven narratives.
this was my take after reading @NehaRakshitha opinion...
Am I the only one who thinks this is the best endingโand a happy one, too?
There were so many unresolved ties, intricate emotions, and years of buildup surrounding so many things for each character and their relationships. The ending felt like a fresh breezeโฆa chance to start over. For each of them to be where they truly belong, with the person they belong with. No lingering heaviness, no burdens,worries carried forward, just peace.
The fact that all the other dramas in this universeโฆ of Zhu yi were affiliated to youku and this one is iQIYI โฆ.i just hope it lives upto the expectations ๐ค๐ป
i need to rant again...he hit sml two times....in span of todays episodes...That old man is the embodiment of corruption and cruelty โ a volatile mix of violence and cunning, driven not by reason but by a deep-seated hunger for control. His actions are not impulsive outbursts; they are deliberate manipulations, orchestrated with a schemerโs patience and a sadistโs satisfaction. He hits, coerces, and provokes, using intimidation as a language and deceit as a craft. Every gesture, every word is calculated โ designed to inflict, to dominate, to humiliate.
Thereโs something disturbingly methodical about his wickedness, as if he takes intellectual pride in his own depravity. He disguises exploitation as authority, cruelty as discipline, and intrusion as concern. The way he stalks and preys on others isnโt just unethical โ itโs psychologically perverse, a violation of human dignity masked under false moral superiority. He operates in shadows, weaving lies like a strategist of decay โ manipulative, coercive, venomous, and utterly devoid of conscience.
At his core, he is not merely toxic; he is corrosive โ eroding the integrity of everyone and everything around him. Thereโs no empathy, only ego; no humanity, only hunger for control. A vile contradiction of intellect without morality โ articulate in speech, yet barbaric in action. Truly, a man rotten to the core โ a walking testament to how evil can wear the face of reason while committing the acts of monsters.
Why does the SMLโs dad get so violent? I honestly canโt stand him โ someone please give that man a name…
That old hag is a scheming, calculated, and venomously toxic creature โ manipulative, vindictive, and ruthless. Every move she makes is soaked in deceit and malice. A cold-blooded presence toxic, rotten to the core.
Why does the SMLโs dad get so violent? I honestly canโt stand him โ someone please give that man a name already. Heโs such a purple crowโฆ I donโt even curse, but the amount of rage I have right now is unreal...such a scum red carpet(๏ฝกโขฬ โค โขฬ ๏ฝก๊ฆ) !!!
First of all this jerk Pei doesnโt even know what's FL's feeling for him then how come this creep so confidently…
Itโs almost funny how delusional he can be at timesโby the time he decided to confess at a family lunch, the ML and FL were already in a relationship. The whole thing was just embarrassing.
My timing actually works out well. I have a few exams coming up, so Iโve paused at episode 15. Since weโre in a phase where episodes are coming alternately, it feels quite efficient. I can always plan a proper binge later.
A lavish budget and impeccable casting have never guaranteed a memorable drama. Time and again, we've seen highly anticipated productions dissolve into mediocrity because the writing lacked conviction. (not an overdo shade)...Yet some of the most unassuming, modestly produced dramas have endured simply because their storytelling possessed sincerity and precision.
๐๐๐ช ๐๐ (็ซนๅทฒ) ๐๐๐จ ๐๐๐ง๐ฃ๐๐ ๐๐๐ง ๐ง๐๐ฅ๐ช๐ฉ๐๐ฉ๐๐ค๐ฃ ๐๐ค๐ง ๐ ๐ง๐๐๐จ๐ค๐ฃ. ๐ผ ๐ฃ๐๐ง๐ง๐๐ฉ๐๐ซ๐'๐จ ๐๐ง๐๐๐๐ฉ๐๐๐ฉ๐ช๐ง๐ ๐ข๐๐ฎ ๐๐ฅ๐ฅ๐๐๐ง ๐๐ค๐ฃ๐ซ๐๐ฃ๐ฉ๐๐ค๐ฃ๐๐ก ๐ค๐ฃ ๐ฉ๐๐ ๐จ๐ช๐ง๐๐๐๐: ๐ฉ๐๐ ๐๐๐ข๐๐ก๐๐๐ง ๐จ๐๐ฉ๐ฉ๐๐ฃ๐ ๐ค๐ "๐จ๐๐ ๐๐๐ก๐ก๐จ ๐๐๐ง๐จ๐ฉ, ๐๐ ๐๐๐ก๐ก๐จ ๐๐๐ง๐๐๐ง," ๐ฉ๐๐ ๐จ๐๐๐ข๐๐ฃ๐๐ก๐ฎ ๐ฅ๐ง๐๐๐๐๐ฉ๐๐๐ก๐ ๐ฅ๐ง๐ค๐๐ง๐๐จ๐จ๐๐ค๐ฃ ๐ค๐ ๐๐ซ๐๐ฃ๐ฉ๐จ...๐๐ช๐ฉ ๐๐ฃ ๐ค๐ช๐ฉ๐ก๐๐ฃ๐ ๐๐จ ๐ค๐ฃ๐ก๐ฎ ๐ ๐จ๐ ๐๐ก๐๐ฉ๐ค๐ฃ. ๐๐๐๐ฉ ๐ช๐ก๐ฉ๐๐ข๐๐ฉ๐๐ก๐ฎ ๐๐๐ซ๐๐จ ๐ ๐จ๐ฉ๐ค๐ง๐ฎ ๐๐ฉ๐จ ๐ฅ๐ช๐ก๐จ๐ ๐๐จ ๐ฉ๐๐ ๐ฌ๐ง๐๐ฉ๐๐ฃ๐ ๐๐ฉ๐จ๐๐ก๐: ๐ฉ๐๐ ๐๐ข๐ค๐ฉ๐๐ค๐ฃ๐๐ก ๐๐๐๐๐ฃ๐๐, ๐ฉ๐๐ ๐ฆ๐ช๐๐๐ฉ ๐๐๐ฉ๐๐๐ก๐จ, ๐ฉ๐๐ ๐๐ค๐ฃ๐ซ๐๐ง๐จ๐๐ฉ๐๐ค๐ฃ๐จ ๐ก๐๐๐ฉ ๐ช๐ฃ๐จ๐๐๐, ๐๐ฃ๐ ๐ฉ๐๐ ๐๐ช๐ข๐๐ฃ๐๐ฉ๐ฎ ๐ฌ๐ค๐ซ๐๐ฃ ๐๐๐ฉ๐ฌ๐๐๐ฃ ๐๐๐ข๐๐ก๐๐๐ง ๐ฉ๐ง๐ค๐ฅ๐๐จ.
That's why I remain quietly optimistic. LXY's presence only strengthens that feeling for me. After all, even the most ordinary premise can become unforgettable in the hands of a writer who understands emotion, and actors capable of giving that emotion a living form.
And regarding the โlustfulโ looks between Wuyi and Wanyang ... they are literally fox demons. Their characterization is supposed to feel seductive, manipulative, shrewd, and dangerously alluring. That discomfort or intensity is part of the role itself, not accidental acting. Fox spirits in classical Chinese supernatural literature are traditionally written that way ... charm is their weapon, performance is their nature, and seduction is often tied to deception and power.
As for the dialogue delivery you mentioned ... the โwhispering loudlyโ style is very intentional and actually part of this directorโs signature aesthetic. He uses airy, restrained vocal delivery to create an otherworldly atmosphere. And in this drama, it makes even more sense because most of the characters are not entirely human to begin with. Theyโre meant to feel slightly detached, uncanny, emotionally controlled, almost like beings existing half inside reality and half outside it. The vocal style contributes to that mood.
And honestly, at least in this drama, Ju Jingyi used her strengths well. The softer uncanny voice tone, controlled facial expressions, and restrained emotional delivery aligned with the exact kind of character she was playing. Instead of working against the role, her here in this circumstance..it aligned with her and the drama
The drama is very obviously built on layers of classical Chinese literary and mythological influence. Its foundation pulls from Pu Songlingโs Strange Tales from a Chinese Studio, especially Painted Skin; stories that were never structured around fast-paced linear action, but around psychological duality, hidden identities, moral ambiguity, and the tension between what appears human and what actually is. The entire โveilโ motif itself comes from that literary tradition: masks, constructed personas, beauty concealing monstrosity, and emotional performance as survival.
On top of that, it borrows heavily from Shan Hai Jing mythology. Many of the creatures, symbolic archetypes, and supernatural politics arenโt random fantasy aesthetics; theyโre rooted in classical mythological frameworks where every being represents imbalance, desire, punishment, memory, or transformation. If someone watches it expecting straightforward western-style plot progression, theyโll miss that the narrative is operating symbolically as much as literally.
What makes the writing intricate is that nearly every character functions on multiple levels simultaneously:
* who they pretend to be socially,
* who they emotionally are,
* what mythological role they embody,
* and what thematic conflict they represent.
Even side characters are rarely just โthere.โ Their choices usually mirror larger themes of identity fragmentation, obsession, loyalty, repression, or moral decay. The story constantly parallels characters against each other through doubles, masks, mirrored desires, and concealed motives, which is very characteristic of gothic Chinese supernatural literature.
And structurally, the drama relies on delayed revelation. Information is intentionally fragmented. Certain scenes only gain meaning retroactively once later truths are revealed. That isnโt โbad plottingโ; itโs nonlinear tension-building. The audience is supposed to question perception itself because the characters themselves are performing versions of themselves.
People also underestimate how much Guo Jingmingโs style influences the narrative construction. His stories tend to prioritize emotional architecture over conventional exposition. The visual symbolism, recurring motifs, dialogue rhythms, and aesthetic repetition are all part of the storytelling mechanism. The atmosphere is not decoration; it carries narrative information.
You absolutely can dislike that style. But saying it has โno plotโ ignores the fact that itโs drawing from centuries of literary traditions built around psychological concealment, tragic supernatural allegory, and layered symbolic storytelling rather than purely event-driven narratives.
this was my take after reading @NehaRakshitha opinion...
netflix made a singles inferno edit of this drama..admin so creative fr..
Check this out yan xiao and mu tian ji.. might collaborate in a new projectโฆ
Thereโs something disturbingly methodical about his wickedness, as if he takes intellectual pride in his own depravity. He disguises exploitation as authority, cruelty as discipline, and intrusion as concern. The way he stalks and preys on others isnโt just unethical โ itโs psychologically perverse, a violation of human dignity masked under false moral superiority. He operates in shadows, weaving lies like a strategist of decay โ manipulative, coercive, venomous, and utterly devoid of conscience.
At his core, he is not merely toxic; he is corrosive โ eroding the integrity of everyone and everything around him. Thereโs no empathy, only ego; no humanity, only hunger for control. A vile contradiction of intellect without morality โ articulate in speech, yet barbaric in action. Truly, a man rotten to the core โ a walking testament to how evil can wear the face of reason while committing the acts of monsters.
Idk if itโs too early for this take~
But till now I kinda .. agree a little bit..
hope there is a character development arcโฆ