By doudou6 
This drama accelerates from the second episode. The plot is tight, the composition is exquisite, and there are no lazy or redundant shots.
Various analyses surrounding the show are emerging, with even a microscopic focus on Meng Yu’s Hermès bag.
However, the script is solid, with flaws but no major loopholes.
It provides viewers with a viewing experience that is rare in contemporary domestic dramas.
But it is not a sudden masterpiece; there are many excellent predecessors in domestic dramas to reference, yet it has been difficult to produce a high-quality one in recent years.
So, is “狂飙” (Kuang Biao) a masterpiece?
If it ended at two-thirds of its length, it might have become a work that leaves an aftertaste and aftershocks.
From episode 2 to episode 26 represents the upper limit this drama can reach.
In this segment, it tells the story of a fish seller rising to power and a group of police officers with light in their hearts completely failing.
The two lines intertwine, approaching the abyss of realism.
“狂飙” (Kuang Biao) has a clear three-act structure, with two true protagonists: An Xin and Gao Qiqiang.
These two characters are textual twins, without preconceived notions of good and bad people.
In fact, only the plot entangling them together is complete and has the function of reflecting reality.
The premise of starting both lines is that neither character can fully represent the power system they belong to nor be swallowed by the goals and tasks of their system.
Just as An Xin does not equate to the political-legal system, Gao Qiqiang does not equate to all organized crime.
The vividness of the characters begins here.
In the early stages, Gao Qiqiang integrates smoothly into the local underworld; later, as his power grows, he becomes increasingly out of control.
Even if he excels at using “techniques” to manipulate human evil, every day from being a fish seller to becoming an underworld boss involves learning how to open the gates of hell further.
But An Xin always lies low in the early stages, facing obstacles everywhere, being isolated and denied.
He clings to a faint light, which gives him the potential to become a sharp blade in later stages.
These twenty-something episodes occupy the first two parts of this drama.
Each part sees someone leaving; the greatest evil force remains unshaken while small characters are battered but find hope in despair.
Both Gao Qiqiang and An Xin lost their parents early and were marginal figures in their respective circles. Their loneliness and pressure have commonalities.
In the first part, Gao Qiqiang replaces Xu Jiang and acknowledges a godfather while An Xin and Li Xiang lose their mentor Cao Chuang.
The truth about Cao Chuang’s identity becomes An Xin’s main driving force for action in the second part.
Similarly, escaping his godfather’s suppression drives Gao Qiqiang’s actions in this part.
They confront each other head-on but both experience psychological patricide.
At the end of part two, Li Xiang and Gao Qisheng fall from a building to their deaths; both lose siblings simultaneously.
This signifies crises brought by “loss of confidence” and significant emotional trauma.
Li Xiang’s death makes An Xin reassess his sacrifices while Gao Qisheng’s death shakes Gao Qiqiang’s motivation for expanding power—family.
An Xin’s motivation is clear: “for Jinghai.”
Gao Qiqiang initially acts for his family like all gang bosses but ultimately does everything to protect his family and brothers.
Li Xiang and Gao Qisheng are worth mentioning characters.
Before their deaths in “狂飙” (Kuang Biao), an atmosphere of “accepting fate” was set up for both.
Li Xiang knew he would die; Gao Qisheng had his fortune told as if only this way could he accept fate.
Li Xiang’s death and his letter touched many viewers; his voice succinctly encapsulates harsh reality honestly.
Although redemption arcs make viewers understand Li Xiang better from a script perspective these deaths serve as tools.
First is Gao Qisheng’s death which is regrettable not because we pity villains but because he was unique—the only antisocial personality whose dramatic space suddenly vanished. He was pure evil next to Gao Qiqiang—a truly dangerous person compared to henchmen Tang Xiaolong & Tang Xiaohu or cold-blooded killer Lao Mo or thug Li Hongwei. His death shows how hard it is writing extreme evil fitting slower-paced later plots hiding such evil off-screen instead.
Comparatively Li Xiang’s death also damages plot balance since ideally An Xin & Gao should balance each other yet realistically can’t present equally vivid due largely differing roles allowing villains rich detail & nuance while upright cop role limits An’s personal stakes leaving him flatly idealized without relatable flaws or desires beyond duty making earlier duality dynamic crucial compensating deficiencies now gone post-Li leaving only shallow adherence official righteousness alone.
Without struggling peers like Li around supporting roles Zhang Biao/Yang Jian drift astray unchallenged while apprentice Lu Han potentially shines more given chance third act limited screentime instead Tham Siyan relegated martyrdom lines mostly unseen.