The Wind Blows from Longxi is an intricate ancient spy thriller that is not for instant gratification audiences. Its biggest hurdle are the first three or four episodes that are weighed down by the introduction of too many bearded and murky characters on both sides of the Shu-Wei conflict. Clearly even Lu Yang couldn't resist romance of the Three Kingdoms lore and goes down the rabbit hole of lingering on defining events and larger than life figures of the day that are peripheral to the otherwise tight plot. Past that, the storytelling simply immerses you in the lonely, tangled, nail biting, heartbreaking, cruel and utterly thankless world of ordinary spies, ants who put themselves in harms way to pave the way for great men to be glorified by history.

Recent adaptations of Mo Boyang's works have been orgies of high speed chases and thrilling action scenes that fall short on suspense and in delivering satisfying and convincing motives and twists. This is very much the opposite. The production values are movie like in quality but due to the shadowy palette, this is best enjoyed on a big screen. The camera is often very still and at times comes at avant-garde angles in low light that accentuates the clandestine nature of the interactions, of opaque motives and conveys a omnipresent sense of alone-ness, tension, ambiguity and danger. The action scenes are signature Lu Yang - impressively choreographed, blood thirsty, vicious and up close and personal in the critical moments.

This drama is set during Zhuge Liang's Northern Expeditions, a period of stalemate between Shu and Wei where neither side had a clear advantage or scored decisive victories. It is an apt setting for this kind of story because when the margins are narrow, intelligence and counter intelligence can tip the scales in either direction. The drama opens with Zhuge Liang's first (of five) Northern Expeditions, which was unsuccessful. This led to General Ma Su's decapitation for his failure to hold Jieting and Zhuge Liang's demotion. It allowed his political rival General Li Yan who advocated a Southern campaign against Wu instead of Zhuge Liang's Northern Expeditions against Wei, to gain power and influence. The Northern Expeditions took place in rather complex geographic terrain, where the timely delivery of military food provisions was challenging and made the difference between victory and defeat. That is broadly most of the historical background that is needed to understand this story. Of course Three Kingdoms buffs will be thrilled by the "drive-by" of many legendary figures on both sides of the conflict but the important characters in Ma Boyong's stories are always the little people or the ants.

The lines between fact and fiction blur as Siwencao, Shu's intelligence agency, suspects that compromised military intelligence had led to their defeat at Jieting. Siwencao hastily concludes that Chen Gong (Chen Kun), a Shu spy code name Baidi (White Emperor) under deep cover at Tianshui (a Wei stronghold) must have defected and sends Xun Xu (Bai Yu), Deputy Chief of Internal Affairs to deal with him. But Xun Xu is not convinced of Chen Gong's culpability; they are intimate friends, related by marriage. Together, they discover that the highest echelons of Siwencao has been infiltrated by Zhulong (Wax Dragon), a Wei spy. They can trust no one and go rogue with a bold ploy to lure Zhulong out into the open with Shu's crossbow design, long coveted by Wei. They are forced down separate paths that are fraught with danger, under resourced and alone with nothing but their absolute trust in and knowledge of each other. But nothing ever goes completely to plan and everyone has secrets. When the rubber meets the road, will they still have each others' back? How well can one really know someone? This also applies to Chen Gong's relationships with both Mi Chong and Guo Gang, which are as riveting and illuminating has his relationship with Xun Xu. After all, this is about two states at war with each other, there is really no good or bad or right or wrong side. All of the characters on both sides are patriots to their own cause; fascinating, layered, suspicious and disingenuous characters practiced in the art of deception. Were it not for an accident of birth, Guo Gang could well have been a Xun Xu to Chen Gong.

The role of such a cunning, duplicitous and morally ambivalent character such as Chen Gong must have been written with Chen Kun in mind. He dominates the screen in every scene and had my heart in my throat at his ability to turn around dire situations and the glimpses of his ferocious, raw pain and rage that is quickly disguised by indifference or conviviality. The wildness and the violence of his emotions when he takes revenge, where his veins literally popped out of his forehead is frighteningly intense and breathtaking. Bai Yu's Xun Xu is Chen Gong's conscience, a sincere and persistent truth seeker whose bottom line is not flexible. Xun Xu's most consequential mis-calculations are with those he loves best and his regret and unspeakable guilt and sorrow are among the most moving performances I have seen from Bai Yu. While Chen Gong and Xun Xu don't actually get that much screen time together, their screen chemistry is tangible and conveys a bond that transcends dialogue with undercurrents from their body language and their unguarded manner with one another. When Chen Gong starts to play a lone hand, Xun Xu senses it and their dynamics shift and become subtly more stilted, again showcasing the sheer virtuosity of their performances.

The most outstanding aspect of Longxi's storytelling is how masterfully the narrative builds up to the plot twists and the reveals. It is so insidious that by the time the reveals happen it is already sitting on the edges of my mind and thus seems to be organic. This is very compelling because I feel that I am part of the process, and underneath all the surrounding complexity the solutions are rather straightforward and should have been obvious. The characters are so fully actualised that their decisions are characteristic and the outcomes are inexorable. Unlike many other conspiracy heavy plots, this does not succumb to too many twists with overly convoluted or illogical outcomes.

The ending is gut wrenching and yet oddly triumphant and fitting. What is clear from the get go is that Chen Gong and Xun Xu are just expendable pawns caught in a high stakes game where they are besieged by both the enemy within and the enemy outside. As a result of serendipity and his own deviousness, Chen Gong is able for a moment, to seize control of the chess board. He plays the White Emperor's gambit, trading one life for three, empowers a righteous man and writes his own ticket home. His decisions are completely in character and in doing so, he finally articulates his own bottom line. But I won't lie, my first reaction to the ending was ".And that is why those dumb f*cks lost the war!" Because I am not sure the greater good was served. While one traitor is felled, the other villain with equally dishonourable tactics gets off largely unscathed and Siwencao remains a weapon that can be both used and abused. The age old question - "Who will spy on the spies?" remains.

While the start is dense and lacks finesse and the dialogue is on the heavy side, this is a drama that rewards the patient viewer. It is not a masterpiece, indeed many of the criticisms about accessibility and the dialogue that is heavily littered with modern phrases are more than fair. Yet I find the immersive storytelling, the suspenseful plot, the stellar acting and the unconventional camerawork immensely enjoyable. This is not something likely to enjoy mass appeal but for me, I would be surprised if I watch a better drama in 2022. I can happily give this a 9.5/10.