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On August 20th, the tenth episode of the television series "Border Waters" was released, marking nearly half of the show's total run of 21 episodes. In my previous critiques, I have discussed in detail why this production falls short of expectations. Many readers have agreed with my analysis, although there are those who disagree. Logically, a show with such low quality would be easy to dismiss after the initial assessment. However, "Border Waters" exhibits a peculiar phenomenon that warrants further exploration. After watching ten episodes, I feel compelled to delve deeper into what makes this show problematic.

Let's start by examining some of the secondary issues that contribute to its shortcomings.

In my initial review, I pointed out that the narrative technique is subpar, with characters lacking clear motivations and the plot lacking a compelling drive. After ten episodes, these flaws have become even more apparent.

The character motivations in this series are particularly weak. The protagonist's journey from a naive young man to someone thriving within the criminal underworld feels forced and artificial. The story fails to convincingly portray how a normal person might adapt and survive in an abnormal environment. The protagonist's decision to join the criminal world lacks credibility.

In terms of the main storyline, despite having reached the halfway point, the show has yet to establish a clear central theme. Instead, it presents a disjointed series of events: drug trafficking, mining, adventures in a farming town, and working as a lumberjack. There is no coherent narrative logic tying these elements together. If the writers intended to pad the series, they could have continued introducing a succession of superficial subplots. Unfortunately, this is precisely what the show does.

The lack of a cohesive narrative thread results in a meandering storyline with a sluggish pace. Additionally, the setting in a fictional world makes it difficult for viewers to relate to the characters or their struggles. As a result, many viewers have given up on the series. According to the data from Light Tower Professional Edition, as of the 20th, the average number of views per episode stands at only 6.36 million. In today's market, where 20 million views per episode is considered a failure (as seen with "Huyao Xiaohongniang"), "Border Waters" has not even reached that level of underperformance.

The technical flaws alone would not warrant such extensive coverage. What truly sets "Border Waters" apart is its flawed narrative values, which is the primary reason for its failure. Without critical discourse, we risk seeing a proliferation of similar works.

Now, let's explore the main issue – the narrative values that undermine the show.

"Border Waters" tells a tale set in a foreign environment, focusing on the criminal underworld. This type of exotic setting can provide rich material for storytelling. The unfamiliarity of the setting can pique viewer interest, but what truly matters is the message the story conveys and the values it embodies.

For example, "Les Misérables" also takes place in a foreign setting, but it demonstrates profound compassion and explores the depths of human suffering and redemption. This is a work of great value that does not revel in human wickedness but instead shows immense empathy.

In contrast, "Border Waters" portrays a society governed by the law of the jungle, where characters engage in territorial expansion and violent confrontations. The narrative voice does not express any sense of compassion; instead, it appears to celebrate the jungle law, treating the protagonist's rise through the ranks like a video game progression. Even promotional materials use terms like "leveling up" and "overcoming challenges." There is no trace of empathy here, only self-satisfaction.

This self-satisfied portrayal of the jungle law ultimately leads to a storyline about a dropout who succeeds in the criminal underworld. What message does "Border Waters" intend to convey? Is it promoting the idea that the law of the jungle is right? Or that entering the criminal world is commendable?

While the protagonist's desire to rescue his uncle in the first nine episodes might be seen as driven by familial duty, by the tenth episode, when the uncle offers to take him back home and he refuses, choosing to remain in the criminal world, the series descends into glorifying violence and the criminal lifestyle. Such a mindset is indicative of a show with serious narrative flaws, which is why I continue to criticize it.

When dealing with chaotic situations, creators with ethical standards approach storytelling with compassion. "Border Waters," however, is no different from other thrill-seeking crime dramas, filled with mindless violence and scheming. Compassion is the foundation of ethical storytelling. It is perplexing why so many creators fail to grasp this fundamental principle. Perhaps they lack compassion themselves and find satisfaction in depicting violence and cunning.

Yu Hua, in the cultural program "I Read on an Island," emphasized the importance of reading classic literature. To add to his point, reading classics helps cultivate a sense of compassion. When faced with the ugliness of human nature, we should not take pride in understanding and adapting to it, but rather feel ashamed and empathize with those suffering in such environments. Viewers who find merit in a poorly made show like "Border Waters" may lack this essential sense of compassion.