Painted Rivers and Lakes (Bad People), a flagship Chinese donghua by Ruosen Digital, has long been a beacon of excellence in the animation world, captivating audiences with its intricate blend of martial arts, political intrigue, and richly drawn characters. Since its 2014 debut, the series earned accolades for its storytelling, with seasons like the fourth and sixth achieving stellar 9.0+ ratings on Douban, China’s leading review platform. Yet, Season 7, which aired in 2025, marked a dramatic fall from grace, landing a series-low 7.1 score and igniting a firestorm of fan criticism. Labeled a “reputation crisis,” the season’s missteps dubbed the “Seven Deadly Sins” range from inconsistent plot devices to a sidelined protagonist and an unresolved central mystery. This article Analysis delves into why Painting Rivers and Lakes Season 7 faltered, exploring its narrative flaws, character betrayals, and glimmers of potential, while looking ahead to the franchise’s future with Season 8.
Painting Rivers and Lakes has been a cultural juggernaut, redefining Chinese animation with its fusion of historical Tang dynasty elements and fictional martial arts epics. Characters like Li Xingyun, the reluctant hero, Ji Ruxue, his loyal companion, and Zhang Zifan, the strategic ally, became icons, their arcs blending action with emotional depth. The series’ meticulous world-building, vibrant fight choreography, and sharp dialogue earned it the moniker “ceiling of Chinese donghua.” Earlier seasons, particularly the fourth (9.2 on Douban) and sixth (9.1), set a high bar, balancing complex narratives with character-driven drama.
Premiering on March 27, 2025, Season 7 promised to elevate the stakes with the Desert North arc, introducing new characters like the enigmatic Saint Duokuo Huo and the mythical Jiugai realm, a supposed utopia free of conflict. Fans anticipated a continuation of the series’ signature blend of intrigue and action, with Li Xingyun at the helm. However, the season quickly unraveled, plagued by inconsistent storytelling, pacing issues, and character arcs that alienated its core audience. The backlash, evident in fan comments and Douban reviews, highlighted a disconnect between expectations and delivery, setting the stage for a deeper examination of the season’s flaws.
The Ba Ling Stone, a pivotal artifact, was introduced as a catalyst for unlocking a character’s latent potential. In Episode 8, Li Xingyun used it to awaken his “Heart Gang,” a spiritual force that enabled him to defeat the formidable Bali Shenyu. Yet, by Episode 11, the stone’s function inexplicably shifted to a generic power amplifier, allowing Ji Ruxue to overpower Ao Gu, a warrior of comparable skill. This inconsistency disrupted the series’ established rules, confusing viewers and undermining the narrative’s internal logic. The sudden change felt like a plot convenience, eroding trust in the story’s foundation.
Painting Rivers and Lakes once thrived on a clear martial arts hierarchy, with characters like Li Xingyun at the Great Heaven Position and Ji Ruxue at the Middle Heaven Position. Season 7 upended this structure. Ji Ruxue, after mastering the Jiuyou Xuantian Divine Technique, matched Ao Gu, the Desert North’s top fighter, despite their prior parity. Meanwhile, Li Xingyun, a top-tier warrior in Season 6, struggled against minor Desert North soldiers, even resorting to a desperate cliff jump to escape. This reversal not only contradicted character progression but also frustrated fans who valued the series’ consistent power dynamics.
Character consistency, a hallmark of earlier seasons, crumbled in Season 7. Ao Gu, previously a naive martial enthusiast who valued honor over bloodshed, transformed into a ruthless killer, slaughtering her people to maintain her Desert North supremacy. Fans dubbed her “Jack the Ripper,” a stark departure from her Season 6 persona. Similarly, Jiang Chen, the Corpse Ancestor, shifted from a playful ally to a manipulative figure, coercing others into practicing the dangerous Jiuyou Xuantian Divine Technique, even targeting allies like Hou Qing. These abrupt changes felt unearned, stripping characters of their depth and alienating viewers.
Li Xingyun, the heart of Painting Rivers and Lakes, was inexplicably sidelined in Season 7. Once a dynamic leader, he was reduced to a reactive figure, often shouting “Corpse Ancestor” or expressing curiosity about Jiang Chen’s actions without influencing the plot. In the finale, he was wounded by a possessed Jiang Chen and mocked by Duokuo Huo for his weakness, further diminishing his presence. This marginalization clashed with fan expectations for a protagonist-driven narrative, leaving many feeling that Li Xingyun had become a “tool” rather than a hero.
The Bali brothers, Shensu and Shenyu, were introduced with an aura of menace, their mysterious buildup suggesting formidable antagonists. Yet, their defeat by Jiang Chen in a matter of moments rendered them forgettable. Lacking depth or meaningful motivations, they served as mere pawns for the Desert North’s broader schemes. This failure to craft compelling villains robbed Season 7 of the tension that defined earlier seasons’ iconic adversaries, like Li Siyuan.
Painting Rivers and Lakes has long excelled at weaving emotional connections, particularly between Li Xingyun and Ji Ruxue. Season 7 faltered here, with their reunion lacking warmth or chemistry. Ji Ruxue’s emotional response to a hairpin, linked to her past, outshone her interactions with Li Xingyun, suggesting that an object held more significance than her love interest. This disconnect, coupled with underdeveloped romantic arcs, left fans yearning for the heartfelt moments of prior seasons.
Season 7’s pacing was a major point of contention, with nearly half of the 40-minute finale devoted to flashbacks. Jiang Chen’s revisitation of her past with Si Yudan, a Feather Spirit tribe princess, dominated Episode 12, recycling scenes from Episode 7 with minor alterations. These prolonged sequences slowed the narrative, delaying climactic resolutions and frustrating viewers eager for new developments. The reliance on filler content felt like a stalling tactic, undermining the season’s momentum.
Jiugai, billed as a conflict-free paradise, was the narrative linchpin of Season 7. Jiang Chen’s quest to open its gates, driven by a promise to Si Yudan, fueled her actions, from her deal with Duokuo Huo to collecting the Ba Ling Stones. Fans speculated about Jiugai’s contents, with theories ranging from a longevity drug tied to Yuan Tiangang to an empty illusion born of wartime desperation. Yet, the finale offered no answers. The gates opened briefly, revealing a dark void, before Jiang Chen, possessed by Duokuo Huo, emerged without entering. This lack of resolution turned Jiugai into a narrative dead end, leaving fans feeling cheated.
Beneath its surface, Jiugai carried philosophical weight, symbolizing the release of obsession and the pursuit of inner peace. Jiang Chen’s arc culminating in her sacrificial death alongside Si Yudan in a reimagined snowstorm reflected Eastern notions of breaking karmic cycles. Her choice to “die” in Jiugai’s illusion, repaying Si Yudan’s past sacrifice, aimed to convey a message of spiritual redemption. However, the rushed pacing and lack of clarity diluted this theme, making it inaccessible to casual viewers and failing to resonate as intended.
Jiugai’s ambiguity could have been a strength, inviting audience interpretation, but its execution faltered. Had the season clarified whether Jiugai was a tangible realm or a metaphorical construct, it might have elevated the narrative. Instead, the mystery felt like a plot device abandoned midstream, a missed opportunity to deepen the series’ thematic core. Comparisons to earlier seasons, where mysteries like the Longevity Drug were resolved with satisfying twists, highlight Jiugai’s shortcomings.
Jiang Chen, the Corpse Ancestor, emerged as Season 7’s emotional core, her story resembling a side narrative within the broader Painting Rivers and Lakes saga. Her quest to open Jiugai, driven by a centuries-old promise to Si Yudan, showcased her complexity. Her deal with Duokuo Huo, willingness to risk others’ lives, and eventual possession by the Saint painted her as both flawed and sympathetic. The finale’s reimagined snowstorm, where she chose to die with Si Yudan, offered a poignant resolution, though excessive flashbacks diluted its impact. Despite flaws, Jiang Chen’s arc was a highlight, blending tragedy with redemption.
The dynamic between Ying Gou and her alter ego, Ao Gu, delivered Season 7’s most emotional moments. Ying Gou, burdened by an unstable Jiuyou Xuantian Divine Technique, developed Ao Gu as a secondary personality, a childlike figure who brought levity to the series. When Ying Gou asked Ao Gu to kill her to fulfill a promise to Jiang Chen, Ao Gu instead sacrificed herself, allowing Ying Gou to live on with traces of her warmth. The butterfly metaphor, symbolizing Ao Gu’s transformation, was a poignant touch, though rushed pacing lessened its resonance. Their arc stood out as a testament to the series’ emotional potential.
Li Xingyun’s marginalization was Season 7’s most divisive choice. Once a strategic and powerful leader, he was reduced to a reactive figure, wounded by a possessed Jiang Chen and mocked by Duokuo Huo. His lack of high-stakes moments, such as failing to defeat minor soldiers or contribute to the final battle, clashed with his established role as the series’ heart. Fans felt this betrayal keenly, as it undermined the narrative’s male-driven roots.
The destruction of Empress Zhang’s Fengxiang City, revealed in Episode 11, introduced a tantalizing mystery. The blood-soaked ruins suggested a catastrophic attack, but the culprits remain unclear. Theories point to the Tongwen Hall, seeking revenge for Li Siyuan’s death, or Shi Jingtang, a warlord with imperial ambitions. Ji Ruxue’s possession of the Empress’s Qiwang Sword and her mission to retrieve the Ba Ling Stone hint at a kidnapping plot, setting up a potential rescue arc for Season 8. While frustratingly vague, this subplot offers a bridge to the next chapter, promising a return to the Central Plains.
Season 7’s reception was overwhelmingly negative, with fans flooding comment sections and Douban with complaints. The director’s choice to prioritize female characters Jiang Chen, Ying Gou, Ao Gu, and Duokuo Huo over Li Xingyun sparked accusations of turning a “male frequency” donghua into a “female frequency” one. The introduction of possession, a trope more common in cultivation donghua, felt jarring in a martial arts saga, with Duokuo Huo’s takeover of Jiang Chen drawing particular ire. Fans also criticized the finale’s reliance on recycled flashbacks, with nearly half of Episode 12 retreading familiar ground, leaving little room for new developments.
The shift to female-driven narratives reflects broader trends in Chinese donghua, where strong female characters are gaining prominence. However, for a series rooted in male-centric storytelling, this pivot alienated core fans who expected Li Xingyun to shine. The contrast with earlier seasons, where male and female characters were balanced (e.g., Ji Ruxue’s loyalty complementing Li Xingyun’s leadership), underscores Season 7’s misstep. The director’s experimental approach, while ambitious, failed to resonate with the series’ established audience.
Announced for 2027 under new director Shu Yicheng, Season 8 offers a chance to course-correct. A teaser trailer suggests a return to the Central Plains, with Zhang Zifan and Lu Linxuan rejoining the narrative after their stint as emperor and empress in Season 6. The focus on rescuing Empress Zhang, hinted at by Ji Ruxue’s actions, promises a return to protagonist-driven storytelling. The presence of Shi Jingtang as a potential antagonist could reintroduce the political intrigue that defined earlier seasons. However, the two-year wait and Season 7’s fallout temper expectations, with fans cautious but hopeful.
Season 8 must address Season 7’s flaws: restore Li Xingyun’s agency, clarify lingering mysteries like Jiugai, and balance character arcs. The return of Zhang Zifan, a strategic mastermind, and Lu Linxuan, a grounded presence, could anchor the narrative, while a tighter focus on pacing and action would recapture the series’ energy. Shu Yicheng’s track record suggests a commitment to quality, but the challenge lies in rebuilding fan trust.
Painting Rivers and Lakes Season 7’s stumble reflects broader challenges in Chinese animation, where high expectations and tight production schedules often clash. The series’ ambition to explore philosophical themes and complex character dynamics is commendable, but its execution faltered under the weight of its scope. Comparisons to other Chinese donghua, like The Legend of Qin or Fox Spirit Matchmaker, highlight the difficulty of maintaining consistency across long-running series. Season 7’s failures serve as a cautionary tale, emphasizing the need for narrative coherence and audience alignment.
Painting Rivers and Lakes Season 7’s issues highlight the growing pains of Chinese donghua on the global stage. The series’ blend of martial arts and historical drama has drawn comparisons to Japanese anime like Naruto or Demon Slayer, but its cultural specificity, rooted in Tang dynasty politics, requires careful translation to resonate abroad. Season 7’s missteps, particularly its pacing and character issues, may hinder its appeal to new viewers, underscoring the need for tighter storytelling in future seasons.
Painting Rivers and Lakes Season 7 stands as a cautionary chapter in a beloved franchise’s history. It’s “Seven Deadly Sins”—from the Ba Ling Stone’s inconsistency to Li Xingyun’s marginalization eroded fan trust, while the Jiugai mystery’s lack of resolution left a bitter aftertaste. Yet, glimmers of brilliance, like Jiang Chen’s tragic arc and the Ying Gou-Ao Gu dynamic, prove the series’ potential remains intact. As Season 8 looms in 2027, Ruosen Digital faces a pivotal challenge: recapturing the magic of earlier seasons by balancing action, emotion, and narrative clarity. The franchise’s legacy hangs in the balance, its future dependent on whether it can reclaim its status as a Chinese donghua titan.
Painting Rivers and Lakes Season 7’s 7.1 Douban score reflects issues like inconsistent plot devices (Ba Ling Stone), a sidelined protagonist (Li Xingyun), and an unresolved Jiugai mystery, frustrating fans expecting a cohesive narrative.
Jiugai is a mythical realm, possibly a spiritual sanctuary or an empty illusion. Its unclear nature in the finale left fans dissatisfied, as the season failed to reveal its contents.
Season 8 is set for 2027, with no specific month confirmed. It will likely focus on rescuing Empress Zhang and feature the return of Zhang Zifan and Lu Linxuan.
Directorial choices prioritized secondary characters like Jiang Chen and Ying Gou, reducing Li Xingyun to a reactive role, which clashed with his established protagonist status.
These include inconsistent Ba Ling Stone mechanics, a broken power hierarchy, betrayed character arcs, a sidelined protagonist, flat villains, frayed emotional bonds, and pacing dragged by flashbacks.
It was a total scam. Built up as a paradise, it was just an empty, dark room. Jiang Chen walked in, got possessed immediately, and its purpose was never explained. Fans call it the “Jiu Ge Scam.”
Yes. Ji Ruxue became unrealistically strong with no training shown, easily beating top warriors like Ao Gu using the Nine Nether Dark Heaven Skill. This broke the series’ power scaling.
Heavy hints point to Tongwen Hall remnants (Li Siyuan’s old faction) or the scheming Shi Jingtang. Ji Ruxue carrying the Empress’s Qiwang Sword signals that a rescue mission is Season 8’s core plot.
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