Japanese Thinking: I Can’t Keep Up with Chinese Short Dramas

2026年2月24日

“This is no place for a poor person like you," “Isn’t your husband the building manager?" “If you don’t get out of here, you’ll suffer a terrible fate," a plump woman wearing gaudy makeup rambles in Chinese. A slender beauty looks down sadly. This woman is truly annoying. Someone please hurry up and defeat her and her accomplices—oh, finally, the time has come.

The catharsis expected from the protagonist who hides his true identity

This is not a real story, but a short drama frequently circulated on Instagram. This drama, produced in China, only has a few storylines, but they’re quite entertaining and addictive. However, when it comes to the crucial part, you have to pay for it. It feels like a waste, but you still want to see the end. China is good at business, as you’d expect.

All the actors are Chinese (although recently, there have been Western and Japanese versions), the dialogue is Chinese, and there are Japanese subtitles. The characters have Japanese names, which is a bit strange. The dramas are set in hotel halls, restaurants, and outdoor plazas. The actors don’t seem to be particularly well-known. The drama progresses almost entirely through dialogue. It’s made very cheaply.

A typical story involves the protagonist hiding their true identity. The protagonist is incredibly wealthy but hides their identity for a reason. Sometimes the protagonist is a martial arts master. Unaware of this, the people around them and their enemies ridicule and bully the protagonist, their girlfriend, and their son. In the end, the protagonist reveals their true identity and punishes the villain, but the journey to get there is very long. The highlight of the story lies not in the punishment, but in the bullying that led up to it.

The story goes like this: The protagonist, who has hidden his true identity, meets a poor but kind-hearted woman. The woman treats him kindly, even though she thinks he’s poor. The protagonist is drawn to her, who shows her affection regardless of money. Up to this point it’s a Cinderella story, but the real action is yet to come. The protagonist invites the woman to a party. The woman arrives at the venue before him. “This isn’t a place for poor people," the other attendees yell at her. “I’m from the Hata clan of Qinghai Prefecture. If you defy me, you won’t be able to survive in this prefecture," the man threatens, mentioning the name of the region and the clan.

The middle-aged woman doing the swearing is a strong character. Her face is the epitome of spite, her mouth twisted with hatred as she hurls abuse, an intensity that no Japanese woman could ever match. The bullied woman is a beautiful woman with a gentle yet strong personality. The middle-aged woman doesn’t like her gentleness or beauty. The attacks escalate, and physical harm is threatened. At that moment, our protagonist appears.

From here on, it’s our protagonist’s turn to be the target of the attacks. “Don’t act like you’re just an electrician and act all high and mighty," “You don’t belong here," they say whatever they want. Next comes the threats. “I’m from the Hata clan, if you defy me you won’t be able to survive," “If you kneel down and apologize, I’ll forgive you," he says unfazed. “I’m fine now, let’s just apologize and go home." “You don’t have to do that."

The rich get away with anything: A drama of bullying and quibbling.

Seeing that the protagonist remains unfazed, the men bring up the names of people richer than themselves. “I do business with Chairman Chen of Qinghai Province. Pissing me off is the same as pissing him off. You’ll be worthless," “Is Chen your superior?" the protagonist asks. “What are you talking about, you idiot?" the women yell. They unconditionally submit to those of higher rank. The protagonist calls Chairman Chen. “Hey Chen, get here in 10 minutes," “There’s no way Chairman Chen will come," “This guy’s just bluffing." The abuse continues.

In some stories, the protagonist’s wife or husband betrays them. Not only men but also women conceal their identities. In Chinese mythology, it is a man and a woman who hold up the heavens, not just one, like Atlas. As history begins, the “Hero of Kinkaku（巾幗）" appears. A quilt is a woman’s hair ornament. There have been heroic women throughout the ages, fighting on equal terms with men. China has been a world of gender equality since ancient times, so it’s not surprising that there are super-rich women.

The wealthy protagonist plays the role of an ordinary wife, secretly supporting her husband and making his business a success. As soon as her husband succeeds, his behavior changes. “A woman like you doesn’t deserve my wealth." Instead of showing any gratitude, he brings in a new woman and declares he wants a divorce. Her husband’s parents and relatives also insult his wife. “You’re a useless woman, you should be grateful we’ve left you alone until now." This is just too much.

The villains and allies are reluctant to accept the protagonist’s true identity, even when they discover it. They use forceful reasoning to deny it. It’s frustrating for the viewer. You can’t wait to see the moment the villain is defeated. But that moment is still a long way off.

After much arguing, the protagonist finally punishes the villain. It really takes a long time to get there. The bullying and nitpicking of the villains in this drama are beyond the reach of Japanese people. The villains in Mito Komon and Abarenbo Shogun look like children.

Genealogy of Tyrants: King Chu of the Shang Dynasty and Emperor Wanli of the Ming Dynasty

What these dramas have in common is that money (power) is the only value system. Everyone believes that the rich can get away with anything they want with those of lower rank. There is no concept of justice or morality. Accordingly, no characters try to help the protagonist or his wife. Even though it’s a drama, this fact makes you think.

Chinese society has had a hierarchy with the emperor at the top since the Shang and Zhou dynasties. In modern times, the emperor has become the head of the Communist Party, but the structure remains the same. Those at the top of the hierarchy have always done whatever they wanted to those below them. The first tyrant to appear in history was King Chu of the Shang Dynasty. King Chu filled a pond with sake, hung meat on tree branches, and let naked men and women play in his garden, where he and Daji enjoyed watching. It’s a famous orgy of wine and women. I’m a little envious, but it’s still wrong.

King Chu continued to treat his people cruelly until he was defeated by Taigong Wang. High-ranking government officials exploited his subordinates, and their subordinates continued to exploit the townspeople and peasants. The 14th emperor of the Ming Dynasty, Emperor Shenzong Wanli, built an underground palace and tomb for his afterlife while he was still alive. The arched ceiling was made of marble, the floor was laid with brick, and the rooms were divided by solid marble. He placed the thrones of the emperor and empress there.

Shiba Ryotaro was stunned when he visited this underground palace. “A single man, hidden from view and with no political effect whatsoever as a display of power, would build a structure underground at a cost twice the national operating budget, and then simply pile up and bury it. This absurdity may not have occurred in ancient times, but it was commonplace in 16th-century China. It’s simply astounding."

Chicken Crow Dog Thief（鶏鳴狗盗）

So does this mean that China had no values ​​other than power (money)? In the past, power alone was not enough to earn respect. During the Warring States period, there were figures known as the Four Lords of the Warring States.

The Four Lords were Tian Wen, also known as Mengchangjun of Qi; Zhao Sheng, also known as Pingyuanjun of Zhao; Wei Wuji, also known as Xinlingjun of Wei; and Huang Xie, also known as Chunshenjun of Chu. Among them, Mengchangjun ・Tian Wen of Qi is famous for the story of “Chicken Crow Dog Thief."

Tian Wen, as was customary for those in power, entertained many guests. At the time, being supported as a guest was considered a given, so if they were treated poorly, they would complain or move elsewhere. It was a strange society, where people could brag about something as simple as a free meal, but embracing such people was considered virtuous. Tian Wen not only allowed scholars and martial artists to live in his house, but also thieves and people skilled in impersonation. The scholars and martial artists were dissatisfied and complained to Tian Wen, but he didn’t pay any attention.

One day, Tian Wen was recruited by King Zhaoxiang of Qin and go to Qin. One of Qin’s high-ranking officials reported to King Zhaoxiang, “Tian Wen is a talented person, but he is also a Qi citizen. He will undoubtedly prioritize the interests of Qi, and letting him return would be a threat." King Zhaoxiang surrounded Tian Wen’s mansion, intending to kill him.

Virtue and Chivalry in Chinese Society

Tian Wen used one of his guests to plead for his life with King Zhaoxiang’s favorite concubine. “I’ll ask the king if I can have your treasure, the fox white fur coat," he said. It had already been presented to King Zhaoxiang. What to do? “I’ll steal it myself," said one of the guests, a dog-thief (a thief as nimble as a dog). He successfully stole it.

Tian Wen escaped danger for the time being, but there was no telling when King Zhaoxiang’s mind might change. Tian Wen quickly fled and reached Hangu Pass, but it was night. Hangu Pass would not open until the rooster crowed in the morning. Their pursuers would have already departed. This time, a master mimic appeared. He loudly imitated the sound of a rooster, and a real rooster began crowing. Hangu Pass was opened, and Tian Wen and his entourage were able to escape safely. This gave rise to the proverb “Chicken Crow Dog Thief（鶏鳴狗盗）" which means “trivial talent" or “even a trivial skill can be useful."

While the story praises Tian Wen’s virtue, it also praises the thief and the master impersonator who risked their lives to help him. These nameless men repaid Tian Wen’s kindness with their lives. They were known as chivalrous men. A chivalrous man repays a favor with his life.

It was Yu Rang of the Jin Dynasty who coined the phrase, “A scholar will die for those who know him." Yu Rang attempted to kill Zhi Bo’s enemy, Zhao Xiangzi, in order to repay the favor Zhi Bo showed him in appreciation, but was instead captured and executed. Yu Rang acted without any regard for his own gain or loss. He was a chivalrous man who sacrificed his life for the favor.

China is a vast country. The rule of law does not extend to every corner. Bureaucrats exploit the people, and bandits and horse thieves attack the common people. The chivalrous men stood against them. Chivalrous men protected the common people from the tyranny of power. Liu Bang and Xiang Yu of the Han Dynasty, Chao Gai, the Heavenly King of the Tota in Water Margin, and Shi Jin in Nine Weave Dragons were all chivalrous men.

Short dramas reflect modern China.

China is a hierarchical society with the emperor at the top. Concepts of justice and morality are weak; instead, virtue and chivalry prevail. Chivalry serves the purpose of disciplining tyrannical rulers. Virtue and chivalry counter power and maintain social balance. However, chivalry and virtuous people do not appear in short dramas. There are no characters who help the protagonist or his wife.

There is no Mengchangjun or Yu Jang. There is no dog thief or master impersonator. Virtue and chivalry are completely absent. The role of chivalry is played by the protagonist, who hides his true identity and stands at the top of the power hierarchy. Dramas differ from reality, but they reflect the state of society. Herein lies the dark side of modern Chinese society. This difference likely began with the Cultural Revolution of 1976 and the subsequent rapid economic growth. The Cultural Revolution rejected old ways of thinking in Chinese society. As a result, old traditions, wisdom, virtue, and chivalry disappeared, leaving a vacuum in people’s consciousness. This was followed by rapid economic growth. Rapidly expanding wealth filled the vacuum with the belief that money can do anything.

China is a society that naturally disregards law and justice. When virtue and chivalry are removed from such a society, all that remains is power. Understanding this, one can understand the current attitude of China and its people toward Japan. China has already surpassed Japan in both wealth and military power. Therefore, it is presumptuous for Japan to expect equal relations with China. “You’re not in a position to interact with us," as the ｍiddle-aged lady once said.

Developed countries assumed that China would transition to democracy as its society grew more prosperous. But this did not happen. The power structure cultivated over 4,000 years remains solid. Chinese people cannot imagine the concept of electing their rulers. Short dramas reflect modern society. The discontent of the poor continues to build. They want someone to resolve their grievances. Perhaps this sentiment is what makes short dramas so popular.

The unpleasant world of short dramas.

Watching short dramas reveals that today’s Chinese are quite different from Japanese people. Japanese people value virtue and humility. They also love justice and honest poverty. They dislike completely crushing others. The phrase “hogan biiki（判官贔屓）" (patronizing the underdog) describes the Japanese tendency to root for someone who struggles alone against a large group. While we both share the same desire for the protagonist to defeat the bad guy, the story progression is quite different.

Recently, Chinese immigrants to Japan have been causing friction with local residents. This is irrelevant to whether Chinese people are good or bad; it’s the result of people who believe they can do anything if they have money, and who enter a Japanese society built on mutual compromise, a rare example in the world. Coexistence is no mean feat. Dramas are interesting because they’re full of beautiful women, but I still wouldn’t want to live in a world like that.