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Before they would appear together in Marvel’s Shang Chi and the Legend of the Ten Rings, Tony Leung and Michelle Yeoh appear in the 1993 Hong Kong Wuxia film Butterfly Sword. It also features Donnie Yen before he would explode on the international market with Ip Man. This is the second film adaptation of Gu Long’s novel, with the first being the 1976 Shaw Bros. film Killer Clans. Lady Ko (Michelle Yeoh), Meng Sing Wan (Tony Leung, and Yip Cheung (Donnie Yen) are three childhood friends and assassins of the same clan. They are involved in a big secret plot with the evil Eunuch Li. Additionally, there is a complicated love subplot involving Lady Ko’s unrequited love for Meng Sing Wan, who is in love with Butterfly (Joey Wong), and Yip Cheung’s unrequited love for Lady Ko. The action is directed by Tony Ching Siu-Tung, whose work in Hero and House of Flying Daggers may be more well known in the west. In the early 90’s, he worked on many Wuxia films such as Swordsman II, The Moon Warriors, and Dragon Inn. His work here is fast and bloody, and the film starts off unforgettably with a character literally losing face, while other characters were bodily torn apart. There are many creative fights that involved a sword and a crossbow (used at the same time), beheading with a piece of cloth, and literally diving right through a body. There would be many knockoff fight scenes in later Wuxia movies and TV series that reference this movie (e.g., the 1994 Singaporean Wuxia TV Series Web of Deceit features the main character diving right through someone’s body). Gu Long’s works are known to be shorter than his contemporaries (such as Jin Yong), which made these ideal for adapting to movie form (hence why Shaw Bros. adapted so many of his works). Ironically, his stories can be very complicated if not adapted properly. While Killer Clans adaptation focuses mainly on the clans, Butterfly Sword complicates it by adding a complex romantic subplot. There are many instances of events happening rapidly without proper explanation; without the fine fight choreography and performances, this film may have well been forgotten. Butterfly Sword is an example of a Wuxia film that is carried solely by the cast and action. There were many Wuxia films (or films in general) released in 1993 by Hong Kong, with some being almost obscure now. This one is only recommended to fans of the cast, or those who just want to see some really impressive Wuxia fights. If you enjoyed this article, click here to get monthly updates on our top stories. If you want more, join us on Facebook, Instagram, Twitter, or Discord! By B. Chansy Immortal Staff Special Note: The original theatrical ending (without spoiling the film) was more conclusive to the character of Lady Ko and Yip Cheung; however, it supposedly caused an uproar among fans. This ending is available on Taiwanese releases and as a special feature on the out-of-print US Taiseng DVD. The more common releases by Well Go USA and other distributors have an abrupt ending.

Foxes are usually characterized as cunning characters in the media. This particular Fox, Hu Fei ("Flying Fox" in Mandarin), is different and comes from a family of heroes. Side Story of Fox Volant (2022) is an online drama adaptation of Jin Yong’s novel (also known as The Young Flying Fox). After years of Xianxia and heavily-romance focused Wuxia dramas dominating Chinese-language dramas, a more traditional Wuxia story is gaining traction and praise. Let’s go over the first three episodes (no spoilers!) and the background of the original novel. Unlike Jin Yong’s other novels, Side Story was written as a prequel to the pre-existing novel Fox Volant of the Snowy Mountain a year after the original was published in 1959. The original novel itself was very different from other Jin Yong works. At only 10 chapters, it is one of the shortest works by Jin Yong. It is also the first Jin Yong novel to be officially translated to English (sadly, the prequel was not officially translated). Rather than chronological order, it is told through flashbacks of multiple characters. Also, the main character does not appear until the reader is halfway through the novel, and the novel does not have a proper conclusion, which was deliberate on Jin Yong's part. While Side Story is a prequel, it is recommended that new readers check out Fox Volant of the Snowy Mountain first, in the same vein that the Original Trilogy and Prequel Trilogy of Star Wars were produced. Fox Volant of the Snowy Mountain is about a man named Hu Fei wanting to avenge his father’s death. His father, Hu Yi-Dao, died in a friendly duel with his friend Miao Ren-Feng. Unbeknownst to Ren-Feng, his blade was laced with poison when he fatally slashed Yi-Dao. Ren-Feng denies any ill-intention but Hu Fei is raised to avenge his father regardless. Side Story is about Hu Fei’s adventures years before the original novel, along with more details on the other characters that appeared in the original novel. All TV adaptations adapt both Side Story and Fox Volant of the Snowy Mountain as one title due to the latter being one of Jin Yong’s shortest works. This drama deviates from that path, as it is solely based on the prequel novel itself (due to the producer only having obtained rights to this novel). With the passing of Jin Yong in 2018, and this being a 40 episode drama even given the missing parts of the original novel, there were concerns that there may be huge deviations. After all, the 1999 Hong Kong TVB and 2006 Chinese TV adaptations hugely deviated from the sources. Based on the first three episodes, there has not been any major deviation. In fact, this appears to be building up to one of the best adaptations of this novel. While some recent Wuxia adaptations add lots of romance scenes that never existed in the original source, this one is very straightforward and has no unnecessary scenes. The characters actually look like warriors in Jiang Hu, rather than pretty boys who do not appear to have fought a day in their lives (very commonplace in recent Wuxia dramas). Also, the fights are not CGI-enhanced, so it is a real refresher compared to more recent Wuxia productions. Fights can get quite brutal, a real contrast to flashy fight scenes with little to no blood. Production and attention to detail is very top notch, as we can see the details on Hu Yi-Dao’s saber and the costumes. The lighting, colors, and camerawork elevate this drama to appear more like a theatrical film. Definitely looking forward to the rest of the drama! While there is nothing wrong with Xianxia and romance-driven Wuxia, it is nice to see an adaptation that respects its original source and brings Wuxia back to its traditional roots. Hopefully, this will result in more adaptations like this. It’s been 16 years since the original novel was adapted, so let’s hope that producers will select another novel due for a remake to adapt like this. Jin Yong fans can rejoice; his works are still respected! If you enjoyed this article, click here to get monthly updates on our top stories. If you want more, join us on Facebook, Instagram, Twitter, or Discord! By B. Chansy Immortal Staff

Before directing Donnie Yen in Ip Man (2008), director Wilson Yip directed this light-hearted Wuxia comedy, The White Dragon, in 2004. This movie is a welcome outlier among all the other Wuxia epics that came out in that decade, and it clearly proves that a Wuxia film can have that fun and upbeat feeling, while still retaining all the xia elements. The titular "White Dragon" is a female warrior who steals from the corrupt rich and gives to the poor. While working undercover at an academy, the original White Dragon encounters wanted assassin Chicken Feather (Francis Ng) killing the principal for sexual harassment & assault of the female students. After their encounter leads to a fight, the White Dragon is severely wounded and transfers her internal energy (neili) to nearby, affluent student Black Phoenix (Cecilia Cheung). Prior to this, Black Phoenix was pursuing the Second Prince Tian Yang (Andy On) for marriage. Now, she has taken on the mantle of the new White Dragon. Complicating matters is how Chicken Feather tends to her injuries after their fight; this leads to an unlikely relationship that will change both characters. This is a lighthearted Wuxia comedy, so we cannot expect the same seriousness as we saw in House of Flying Daggers (2004) the same year this came out. While there’s nothing wrong with that film, many films of the decade were produced very similarly. This film stands out from the others, and ensures that we know that. Despite being a period Wuxia film, there are many intentional, humorous anachronisms. Examples include Chicken Feather giving her a paper wrapped mantou (buns) that has “M” written on the bun when Black Phoenix unwraps it, and Black Feather playing tennis on roller skates with Second Prince Tian Yang. For Chinese speakers, Chicken Feather brings Xiao Long Bao (soup dumplings) to White Dragon and jokes about how these are named after her (White Dragon’s Chinese name is Xiao Bai Long). Such examples set the expectation that we should not take this too seriously. Despite being a lighthearted Wuxia comedy, White Dragon explores the theme of “Xia” better than other Wuxia films of the time. As the White Dragon, Black Phoenix steals from the corrupt rich to give to the poor. She comes from a more affluent background and learns to help the needy, though stealing is technically wrong. Chicken Feather only kills those who deserve to die; however, it is still technically murder. Without spoiling the film, each character eventually changes their way for the better of society. Their developed feelings for one another also helps prevent more deaths and uncover a corrupt official behind everything. Those looking for many intense fights will be disappointed, but those looking for purposeful fights serving to advance to the plot may be quite satisfied with this film. The fights are few, but each one further develops the characters of White Dragon and Chicken Feather. Action Director Ma Yuk-Sing (who also did Shadowless Sword) ensures that each fight is filled with character, and that each successive fight builds upon the previous one. For example, White Dragon plans to pinpoint Chicken Feather’s weakness so she builds a body box trap that is modeled after an acupuncture diagram! Such fights could only work well with the right cast, and thankfully it works brilliantly in The White Dragon. Initially, it was odd to see Francis Ng pairing with Cecilia Cheung, as there is a 20 year gap between the two. Upon watching the movie, their performances and chemistry made up for that. Francis Ng has always been great at portraying “extreme” characters and his performance here is no exception. Cecilia Cheung delivers in a role that could have been terrible if portrayed by the wrong actress. As a result, we care more for the characters themselves than any grand fight scenes. White Dragon proves that Wuxia films can be lighthearted with lovable characters. It truly is a Wuxia film at heart, with the characters transforming and abiding by the code of xia by the end of the film. We highly recommend this film for your movie night this week, especially for those curious about director Wilson Yip's work before Ip Man and Donnie Yen! If you enjoyed this article, click here to get monthly updates on our top stories. If you want more, join us on Facebook, Instagram, Twitter, or Discord! By B. Chansy Immortal Staff Film Trivia: 1. Chicken Feather may be a parody of the title character in the Japanese martial arts film and TV franchise Zatoichi. Both characters are blind and wield a similar weapon. Ironically the franchise itself has a Wuxia entry: Zatoichi Meets The One Armed Swordsman with Jimmy Wang Yu reprising his role. 2. Francis Ng previously portrayed the Japanese blind swordsman Invincible in the 1999 Hong Kong Wuxia film A Man Called Hero. 3. There is a 1968 Hong Kong Wuxia film and a 1989 Hong Kong ATV (Asia Television) series with the same title. Other than these featuring female leads as the title character, there does not appear to be much similarities from the clips and pictures found on the internet.

Thought Wuxia was restricted to ancient times? Contemporary high school settings are commonplace in many popular fictional genres, and Wuxia is no exception to this! As many of you know, we are passionate about bringing Wuxia to a modern setting, so let's go over a few series that really showcase Wuxia's potential to transcend time periods: The Legend of the Brown Sugar Chivalries 黑糖群俠傳 The Taiwanese TV series The Legend of Brown Sugar Chivalries (AKA Kung Fu Macchiato) was released in 2008. This is a romantic, contemporary parody of the Wuxia genre, with many characters named after multiple, unrelated Wuxia characters written by Jin Yong & Gu Long. These characters attend the West Side School where they cultivate martial arts to prepare for battle against Dong-fang Bu-Bai (based on the character from Jin Yong’s The Smiling Proud Wanderer, AKA The Swordsman of the State of Divinity). While the series is Wuxia inspired, it is a romance series at its core, with most of the cast members being pop idols from former Taiwanese boy and girl groups Lollipop, Hey Girl, and Choc7. Due to the focus on romance, there isn’t much emphasis on the fight scenes, to the point that they end up being very short and minimalistic. It is still worth a watch, especially for fans of traditional Wuxia stories who appreciate parodies. Unfortunately, there are no official English subtitles for this series, so you may need to brush up on your Mandarin! K.O. 3an Guo 終極三國 Another Taiwanese TV series, K.O. 3an Guo, was released in 2009. This is a contemporary parody of Luo Guanzhong's Romance of the Three Kingdoms, with the characters being high school students. Guan Yu (George Hu) and Zhang Fei (Bo Yan) are friends who have been expelled from their 24th school for starting many fights, purely due to their sense of justice. When they encounter and swear brotherhood with Liu Bei (Shu Chen), they are able to enroll in the Dong Han Shu Yuan school as long as they pay for his tuition. This is no ordinary school, as there are many pitfalls in their school life, as well as warring schools to compete with. While a few members of former Taiwanese boy group Fahrenheit appear, this series places a heavier emphasis on parodying Romance of the Three Kingdoms than it does on star power. As a result, the fights are primarily comedic in nature, and there are many jokes based on the events of the original novel. While it isn't necessary to be familiar with the original novel here, it definitely helps! The entire series is available on the studio's official YouTube page (see the link above) with English subtitles, and a follow-up was released in 2017. Volcano High 화산고 The Korean film Volcano High was released in 2001. Kim Kyung-soo (Jang Hyuk) transfers to Volcano High School after being expelled from many schools for being unable to control his extraordinary martial arts skills. He discovers that this school is full of extraordinary martial artists who keep getting into fights for the last 17 years. Legend states that whoever acquires the Secret Manuscript will be able to stop this and bring peace to the school. Unlike the aforementioned titles, this title is not based on any pre-existing material, and is not a parody. The only parody here would be the 2003 US English dub released through MTV’s Kung Faux, which featured the voices of hip hop artists Snoop Dogg, Method Man, and Lil Jon! Many traditional Wuxia elements are present in this series: a martial arts school, secret manuals, and the cultivation of extraordinary martial arts. The journey of Kim Kyung-soo is definitely that of a Wuxia hero who learns martial arts in his journey and becomes a better person. The fights are exciting & furious, and the characters are relatable. Would definitely recommend this to anyone wanting to watch a Wuxia series in a contemporary setting, without having to know any pre-existing material. Jang Hyuk would go on and star in the 2020 Korean film, The Swordsman (also featuring Joe Taslim of Mortal Kombat 2021 and The Raid fame). High school is an unforgettable time for many, and Wuxia is a genre that makes high school settings in media even more unforgettable. These examples prove that the Wuxia genre can transcend time, culture, and even language barriers. Check these out, and be sure to let us know if you come across other high school Wuxia stories! If you enjoyed this article, click here to get monthly updates on our top stories. If you want more, join us on Facebook, Instagram, Twitter, or Discord! By B. Chansy Immortal Staff

Come Drink With Me is a prime example of how Shaw Bros. Studio revolutionized Wuxia films with new concepts for its time. Released in 1966, this film is director King Hu’s final film with the studio, and his first Wuxia film. A governor’s son is taken hostage by bandits that want to exchange him for their leader, who is being held captive by the governor. Once word gets out, a swordswoman named Golden Swallow (Cheng Pei Pei) appears to rescue the governor’s son. A beggar named Drunken Cat (Yueh Hua) assists on her journey and appears to harbor a secret in relation to the bandits. Many Wuxia films of its time were quite straightforward with their plot and themes; this one adds extra layers for audiences to think over. For example, the xia code is brought into question when Drunken Cat has to choose between upholding justice or adhering to his martial brotherhood. Also, Golden Swallow challenges societal norms within a male dominated society, by trying to do everything on her own for her mission. In the finale (minimum spoilers), Golden Swallow is joined by a group of women in order to complete her mission. Though the fights are slow by today’s standards, it is faster paced than other films at the time. Ironically, the choreography is preferred over today’s films (by this reviewer at least). The camerawork is steady, which ensures that all of the action is displayed on screen at once. Cheng Pei Pei has a dance background, and essentially “dances” while fighting. Her moves and face are captured without fail; previous Wuxia films would have the camera focused on the performers strictly from behind! Even films nowadays use a lot of CGI and shaky cams to conceal the actors’ lack of physical prowess. Even more impressive is how she demonstrates her skills with different weapons. This film also has some of the earliest instances of blood in Wuxia Cinema; prior to this, there was hardly any blood! This movie’s influence can be seen in later Wuxia films. Golden Swallow, the main character, initially disguises herself as a man. The concept of a woman crossdressing as a man is a Wuxia trope that is too familiar now (e.g., Crouching Tiger, Hidden Dragon’s Yu Jiao Long), but was quite unique for its time. Prior Wuxia films were shot exclusively in a sound stage; this one is filmed on location extensively and great effort is made to make sound stage shots blend in seamlessly. While many Shaw Bros. Wuxia films would continue to be shot on a sound stage, the other studios would shoot on location and become a norm for future films. Last but not least, the 2008 Hollywood The Forbidden Kingdom film, best known as the first film featuring Jet Li and Jackie Chan, pays tribute to this movie with its own Golden Swallow character! To understand how Wuxia films got to where it is now, look no further than this. It is an excellent start to contemporary Wuxia films, female led Wuxia films, and King Hu’s filmography. For North American audiences, Arrow Video released a beautifully remastered Blu-Ray of this film packed with many extras. A real must-own for lovers of this film. Highly recommended! If you enjoyed this article, click the button below to subscribe to our newsletter, or you can join us on Facebook, Instagram, Twitter, or Discord! By B. Chansy Immortal Staff

As deeply rooted in Chinese culture as wuxia is, it’s almost impossible to avoid seeing common Chinese expressions. Without the cultural background or context, some wuxia novels can come off as incredibly cryptic, which can scare readers off of some genuinely good stories. For those concerned, we would like to present to you some common Chinese idioms that you'll often see in wuxia novels, along with a few short, easy-to-follow explanations. 1. The mantis stalks the cicada, unaware of the oriole behind. This is a Chinese idiom describing the danger of single-mindedly pursuing smaller benefits without being aware of the potential risks or consequences surrounding them. In wuxia series, this phrase often describes situations where one party is stealthily biding their time to strike, while the other, or others, squabble over pettier prizes. 2. A thin camel is still bigger than a horse. The idea behind this idiom is that even if starved or dead, the skeleton of a camel is bigger than a horse. Similarly, a rich family will still be richer than a poor person, even after disaster strikes; or a strong person will be stronger than a weak person even after being weakened. There are a few variations to this idiom depending on translation, but the gist is always that the prestige of someone powerful won’t just disappear because they’re going through hard times. 3. To have eyes but fail to recognize Mount Tai. Mount Taishan - or Mount Tai, as the ‘shan’ means mountain - is one of the most famous sacred mountains in all of China. It’s an incredibly important historical site, and was a place of worship for many important people, including Qin Emperor Huang Di. With that in mind, this expression means that even though they can see, if someone who can’t recognize something as great (like Mount Tai) they are either ignorant or arrogant. 4. A carp leaping over the dragon’s gate. In Chinese mythology, there exists something called “The Dragon’s Gate”. It’s a massive waterfall at the Yellow River in Henan. Every year, carps will compete to swim up river and any carp that can make it to the top of the dragon’s gate will become a mighty dragon. The idiom refers to a great transformation after hard work - like a carp becoming a dragon. 5. Becoming a pig to eat a tiger. This one is actually a very interesting twist on a familiar expression. In English, we would say someone is “a wolf in sheep’s clothing”, but in Chinese, the roles get switched a bit to “becoming a pig to eat a tiger”. In Chinese, the subject is often implied or hidden. In this case, the implication is that it’s the hunter acting weak to catch the dangerous animal, rather than the dangerous animal disguising itself amongst prey. Either way, they mean the same thing - acting weak to catch someone off guard. If you enjoyed this article, click the button below to subscribe to our newsletter, or you can join us on Facebook, Instagram, Twitter, or Discord! By S. Howie Immortal Staff Watercolor by kGoggles Further Reading: Chinese Idiom Glossary Mount Taishan - UNESCO World Heritage Centre Animal Proverbs: Become A Pig To Catch A Tiger | Intermediate Lesson | ChinesePod (v)

Looking for more female-led Wuxia films written by Shiao Yi? Beautiful Swordswoman was released in the same year as Ringing Sword and improves upon the elements seen in that film. This time, it is also co-written by director Yang Su. If you haven't read our review of Ringing Sword, read it here. The main character, Shiah Yuan Yuan (played by Wang Ling) appears as an unskilled daughter of a martial sect. Unbeknownst to many, she has been secretly learning martial arts. She’s assassinating several fighters based on a list. The more she assassinates, the closer she gets to the shocking truth about her family. While Ringing Sword had many characters, this film solely focuses on Shiah Yuan Yuan and this allows audiences to follow long easily. The first half seems a bit random, as she kills many fighters without reason. Once the second half arrives, audiences are introduced to a flashback explaining her background. While it explains everything, the flashback scene is not edited like most flashbacks in film to differentiate it from the rest of the film moving chronologically. Also, it goes on for a very long time at nearly 15 minutes! It is clear that Shiao Yi had many ideas for this story; however, the movie format and direction hinder its potential. Fight scenes are important in any Wuxia film and the ones here stand out from other Taiwanese Wuxia films at the time. Actors’ faces are shown clearly during fights so audiences get a sense that it is the characters themselves fighting. Very surprisingly, there are more early examples of wirework in here than its contemporaries (trampolines were more common for “flying” scenes then). There are also more weapons beyond swords, but revealing that would potentially spoil the movie! Beautiful Swordswoman proves that Shiao Yi always had diverse ideas from the early stages of his career. Strong female characters with a tragic background are explored more thoroughly in his later works. Check it out if possible!* *This film is on available on an out-of-print DVD released by Crash Masters in 2007, and may be found on eBay. It is in Mandarin audio with English and Traditional Chinese subtitles. If you enjoyed this article, click the button below to subscribe to our newsletter, or you can join us on Facebook, Instagram, Twitter, or Discord! By B. Chansy Immortal Staff

For millions of people, September 10th is a very significant day. The Mid-Autumn Festival, also sometimes called the Moon Festival or the Mooncake Festival, is an important holiday across Asia, especially in countries with large Chinese ethnic populations. While September 10th might not seem particularly mid-autumn to those in the west, the date of the festival is decided according to the lunar calendar; specifically on the 15th day of the 8th month. Since each season in the lunar calendar is three months long, each month being exactly 30 days, the 15th day of the 8th month is exactly mid-autumn. Image source: https://www.chinatravel.com/culture/mid-autumn-festival So, the "mid-autumn" name makes sense now, but what about its other names? Why is it called the Moon Festival? Well, the Mid-Autumn Festival is tightly tied to the legend of the moon goddess, Chang’e. The story of Chang’e is very old, and there are many variants, but the most important part is that the goddess, Chang’e, was married to a very skilled archer named Hou Yi. Having performed a favor for the gods, Hou Yi was granted a very special elixir of immortality that will help the two of them live forever. While the specific reason she did it changes between tellings - ranging anywhere from jealousy, to a need to keep the elixir from the hands of tyrants - Chang’e drinks all of the elixir, and ascends to godhood. After this, she flees to the moon, and from then on, her husband would offer sacrifices of cakes and fruits. To this day, that tradition is continued through the Mid-Autumn Festival. Mooncakes, one of the most important aspects of the festival, are small, round cakes designed to be somewhat reminiscent of - you guessed it - the moon. Traditionally filled with lotus paste or red bean, some versions of the cake contain whole egg yolk to mimic the full moon, like the one in the image above! Every year, Asian groceries around the world feature beautiful displays of small mooncakes, with decorative boxes to give to friends or families. These boxes are, to some, as important as the cakes themselves. Over time, the mooncake market in China has grown a sort of competitiveness, where the luxury of the set can be considered a symbol of status. At their extremes, these mooncakes can be exorbitantly priced at more than $23 USD a cake. Beyond the iconic mooncake, the full moon is also a symbol of family reunion. Families will get together, make big meals, and enjoy watching the full moon. Not only that, but public lantern displays and dances are held in festivals around the world. Many families enjoy partaking in the festivities together, although a growing number prefer to enjoy the holiday in their own homes, rather than travel to visit relatives. Overall, the Mid-Autumn Festival is a time to appreciate family, to experience the festivities, and to enjoy the smaller things in life - like mooncakes. Image source: https://www.chinahighlights.com/festivals/mid-autumn-festival.htm If you enjoyed this article, click the button below to subscribe to our newsletter, or you can join us on Facebook, Instagram, Twitter, or Discord! By S. Howie Immortal Staff Sources: Mid-Autumn Festival (Mooncake Festival) 2022: Greetings, Traditions, Food, Stories… What is the origin of Mid-Autumn Festival? A brief history Mid-Autumn Festival (Zhong Qui Jie) 2022: Traditions, Greetings, Food What is the Moon Festival? A scholar of Chinese religions explains Chang’e – Mythopedia Chang’e | Chinese deity | Britannica Mooncake madness: China cracks down on extravagant versions of festival staple

Scripted by Shiao Yi, The Ringing Sword (1969) is an early example of female led Wuxia films; it also provides a glimpse of the writing style that Shiao Yi would eventually be known for. The movie's villain, corrupt eunuch Tsao Tan, plans to kill the opposing Chiang family’s sole survivor, Chiang Jen Chieh (Kong Ban). The mysterious title character that wields the Ringing Swords, Yeh Chiu Lu (Fan Ling), and masked warrior Yeh Hung Bin (Huang Chun) are the only ones who can help Chiang Jen Chieh. I won't spoil more, as there are a great many secrets that you'll uncover through the course of the movie. After watching this film twice, it is evident to me that the plot and the characters are meant to be more developed than what is portrayed on-screen. While audiences can certainly understand the general direction of the plot, there are still a couple of questions that are left unanswered at the end of the film. The development of the aforementioned characters’ is seemingly cut short; this leaves audiences wanting to better understand them, but I believe it should have reached a better resolution within this film. This is probably due to the time constraint of the movie itself (it runs at 88 minutes and Wuxia films during the 1960s were usually no longer than 90 minutes). While the Wuxia films created by Hong Kong’s Shaw Bros. are usually filmed on beautiful sound stages, Taiwanese Wuxia films like The Ringing Sword are shot on-location. It’s a nice departure, and allows audiences to appreciate the natural scenery of Taiwan. It also grounds the world of Jiang Hu in reality, since it looks like a world that people can actually visit. Finally, it allows the fight scenes to get more creative due to the open space allowing the titular Ringing Swords to fly around. Shiao Yi has many works that evolved over time, and The Ringing Sword features a couple of traits that would be seen in his later works. Yeh Chiu Lu’s first appearance echoes that of the title character of Sister Gan Nineteen (which is being adapted into Assassin G). Family secrets are another shared trait as well, but saying any more than that would spoil the movie! The Ringing Sword is now available to watch on YouTube through the Wu Tang Collection channel. Watch it to see the beginning of Shiao Yi’s scripted movies and how it influences his later works. If you enjoyed this article, click the button below to subscribe to our newsletter, or you can join us on Facebook, Instagram, Twitter, or Discord! By B. Chansy Immortal Staff

Wuxia films are often associated with Kung Fu films in the West, with the latter sometimes classified as Chopsocky (a play on American Chinese dish Chop Suey and the word “sock” for punch). Thanks to the Kung Fu Craze of the 1970s, Wuxia films were brought along to fulfill an export quota. Let’s explore how Kung Fu Cinema in the West led to the exposure of Wuxia films. Before we get too far, let’s go over the general differences between the two genres: a Kung Fu film usually features the main character learning grounded martial arts for a simple goal, with revenge being the most common. Once this goal is accomplished, that’s usually the end of the film. These films typically take place place during the Qing Dynasty (1644-1912) and early 20th century. A Wuxia film, on the other hand, usually features the protagonist possessing incredible, fantastical martial arts on a journey filled with many characters and events that affect Jiang Hu. While revenge may be a theme, Wuxia plots can also range from mystery (typical of Gu Long) to more historical-based (as seen in Jin Yong stories) themes. Most Wuxia stories are set in Imperial China, with an overwhelmingly majority set in the Ming Dynasty (1368-1644) or earlier. Before Bruce Lee films were imported into the US, the 1972 Shaw Bros. Kung Fu film King Boxer (a.k.a. Five Fingers of Death) was released and topped the box offices. This paved the way for the popular Bruce Lee films in Hong Kong to be screened in the US, which in turn led to the creation of Enter The Dragon. The success of these films allowed more Kung Fu films to be exported for theatrical screening in Western markets. At the same time, Wuxia films were still being produced, and were often included in the export lists, along with the Kung Fu films. The Hong Kong film industry has been known to be very profit-oriented, so it is no surprise that Wuxia films were exported and marketed as Kung Fu films to increase their revenues due to the overlapping audiences, both drawn by the strong influence of martial arts on these two genres. One of the earliest examples of a Wuxia film (that was exported and dubbed in English) is the 1967 Shaw Bros. Film The One Armed Swordsman, featuring the late Jimmy Wang Yu. For decades in the US, this film was marketed as just a Kung Fu movie on theatrical posters, VHS, and TV. While the fights are technically more grounded than later Wuxia films, due to technological limitations of the time, the film clearly follows the aforementioned Wuxia tropes that are absent in typical Kung Fu films. On a side note, the 1972 Wuxia film Boxers of Loyalty and Righteousness (a.k.a. Shogun Saints) written by Shiao Yi and featuring Jimmy Wang Yu was dubbed and marketed as a Kung Fu film! A blatant example of a Wuxia film marketed as a simple Kung Fu film is the 1977 Shaw Bros. Film adaptation of The Legend of the Condor Heroes (a.k.a. The Eagle Shooting Heroes) by Jin Yong (Louis Cha). The adaptation is known as "The Brave Archer" in Asia; however, it was retitled as "Kung Fu Warlords" in the US. It is the epitome of a Wuxia story, even more so than The One Armed Swordsman. Even the theatrical poster itself features stereotypical characters of a Kung Fu movie set in the 1920s. By the 1980’s, the VHS rental market and cable television became hot markets. This led to many Kung Fu and Wuxia films being more accessible in North America. On the VHS market, some titles were released under multiple alternative titles with covers that had no relation to the movie. On the cable television side, some channels featured a “Black Belt Theater” or “Kung Fu Theater” block where such films were shown. By the 1990s, this faded out as Hong Kong actors such as Jackie Chan and Jet Li started appearing in Hollywood films. While it’s in the past, it is still a part of the journey of the Wuxia genre coming to the West. If you enjoyed this article, click below to subscribe to our newsletter, or follow us on Facebook, Instagram, or Twitter! By B. Chansy Immortal Staff

From the beloved original, to the bombastic “Z”, to even the currently airing “Super”, fans internationally have spent decades falling in love with the world of Akira Toriyama’s “Dragon Ball”. While Akira Toriyama’s work has made such waves in pop culture - really, just think of all the references to dragon balls, super saiyans and “It’s over 9000!!!” that you’ve ever heard - there’s been much discussion over how much Akira Toriyama innovated, and just how much is par for the course of its genre. So let’s break it down here, and talk about how and why “Dragon Ball” so perfectly meets the criteria for Essential Wuxia. To begin with, what are the most important aspects of a wuxia series? There are, of course, the martial arts, the chi and the existence of the jianghu, or the martial world, but we believe there’s more to it than that. Themes of empowerment are just as important, and they exist in several forms: physical empowerment, spiritual empowerment, and the ability for everyone - no matter who - to be a hero. Physical empowerment is perhaps the most straightforward one, essentially being the martial arts and chi aspects of wuxia. “Dragon Ball” is at its core the prototypical power-scaling anime. While it begins with more mundane martial arts, it certainly doesn’t take long for characters to start shooting ki blasts and kamehamehas. Every fight is about the next big blow, and the most exciting part becomes finding out what new powers are unveiled next. On the opposite end of the spectrum, spiritual empowerment is about growing stronger as a person. Perhaps the most clear example of this is in Vegeta, Goku’s ever-scowling rival. When he first appears, Vegeta is the biggest threat Goku has ever faced. He levels a city, ruthlessly kills his own ally, attacks Goku’s son, and is only stopped after an intense battle. Vegeta, like all Saiyans, loved finding the next big opponent but unlike Goku, he didn’t care about how many people he hurt in the process. Over the course of the rest of the series, Vegeta ends up having a son and builds a family. While he never stops being a sourpuss, the experience of having people he actually wants to protect and care for makes him a much better person. His fights become more than just a way to puff up his fragile ego, they become a way to keep what’s precious to him safe. Now, Goku is infamous for being somewhat stupid, but that doesn’t mean he never grows in other ways. In a way, Goku’s growth is very similar to Vegeta’s. At the beginning of “Dragon Ball”, Goku lived a secluded life in the mountains, completely oblivious to the ways of the world. Over the course of his travels, Goku learns a lot. Some of it is practical, like what ‘money’ is and what a ‘bride’ is, but he also discovers things he values more than his own life, like his friends and family. Inherently, Goku is a good and pure character. He doesn’t chase material wealth, and he isn’t afraid to do whatever it takes - even repeatedly laying down his life - to help his friends, or even the universe at large. Finally, the ability for everyone to become a hero. This one might sound a bit strange in a series full of super humans and gods, but “Dragon Ball” is really chock full of examples. Take Krillin, or Yamcha, or Mr. Satan. All three of them are simply humans, especially Mr. Satan, but they make major, lasting impacts on the world and the story. Krillin, a pure-blooded human who trained together with Goku under Master Roshi, eventually becomes ‘The Strongest Earthling’ through a few fortunate encounters. Yamcha, while far less powerful than most of the main cast, is undeniably a good-hearted person who always steps up when Goku or any of the more capable characters can’t make it in time. Especially in the earlier episodes, Yamcha shines as a character way out of his depth, but who still tries to help in any way he can. Even Mr. Satan, who’s a braggart and is less powerful than Yamcha, manages to make a difference during the Majin Buu arc. Despite being completely incapable of fighting someone as dangerous as Majin Buu, he still manages to teach Buu morality and the value of life. When push comes to shove, this is enough to physically split Buu in half, forcing his good and evil halves to fight. Although not everyone is a powerful superhuman like Goku, it’s undeniable that anyone can make a difference - even a small one. So, “Dragon Ball” has a very wuxia setting. It has very wuxia themes. Goku is a wandering martial artist, going wherever the next big fight takes him. What more could make it a wuxia? Well, even beyond everything else here, “Dragon Ball” is heavily inspired by the “Journey to the West”, a classic Chinese story, which tells the tale of the Monkey King, Sun Wukong, as he makes his way to the India alongside a monk and several other companions to find Buddhist scriptures and bring them back to China. Sun Wukong, in Japanese, is ‘Son Goku’, and he fights with a magical pole that he can extend and retract at will, and he rides a cloud. Goku can literally transform into a monkey, has a magical pole that can extend and retract at will, and he rides the Flying Nimbus. There are other examples too, but the most important part is that “Dragon Ball” has very Chinese roots. If any anime deserves to be called wuxia, it’s “Dragon Ball”. If you enjoyed this article, click below to subscribe to our newsletter, or follow us on Facebook, Instagram, or Twitter! By S. Howie Immortal Staff

As foreign media has become more available in the West, Chinese period dramas such as “The Untamed” have experienced an explosion of popularity across the world. There’s a lot to love about a good C-drama. Fans have praised everything from their beautiful music, to their fast-paced action, to their passionate romances -- and to their costuming. For many new fans, it might seem fantastical, but to the Han ethnic majority of China, these styles of dress - called hanfu - are ancient traditions that can be traced back to over 3,000 years ago. Having said all of this, what exactly is hanfu? How does it look? Hanfu is - as defined by Vogue magazine - “a type of dress from any era when the Han Chinese ruled.” China has a long history of many dynasties with a wide variety of designs, patterns and dress codes. Most styles of hanfu are composed of an upper jacket with long, flowing sleeves and a skirt, although some varieties are a one-piece dress or include pants. When you combine that with an array of accessories and optional inner and outer garments, hanfu style becomes a very flexible form of dress, available during summer or winter, casually or formally. Despite being a historical garment, a lot of the appeal of hanfu clothing comes from its somewhat fantastical style. While some people do go out of their way for strictly historically accurate dress, it’s not uncommon to see more modern styles taking some artistic liberty. Some of the most popular styles of hanfu come from three of China’s most influential dynasties: the Tang, Song and Ming. The Tang dynasty, which is the first of these three dynasties, existed from 618 to 907 AD and was largely considered the Golden Age of China. While the beginning of the dynasty was heavily influenced by the Sui dynasty which preceded the Tang dynasty, styles shifted dramatically towards the end of the era. The narrow sleeves and skirts of the Sui dynasty gave way to the plump figures which had become the new fashion, resulting in loose, flowing styles of dress becoming more popular. The Tang dynasty allowed a lot of freedom of expression allowing women to show décolletage, or even to dress in menswear in public - both of which became fashionable by the end of the era. The Chinese people were allowed to dress in styles inspired by Persia or central Asia at the time, although those influences diminished greatly before the end of the Tang dynasty. Succeeding the Tang dynasty, the Song dynasty ran from 960 to 1279 AD. Although it inherited the styles of previous eras, the strong rise of Confucianism discouraged the extravagant styles of the Tang dynasty. Instead, people began placing a strong emphasis on modesty. Clothing became more subdued, slender silhouettes became popular, and foot-binding began to be practiced. Although at the time, commoners were mandated to wear white or black garb, day-to-day styles were actually much more colorful than that. Finally, the Ming dynasty, the most recent of the three, was the final Han dynasty in Chinese history. It began in 1368 after the collapse of the Yuan empire (which was the first dynasty not ruled by the Han people) and ended in 1644 when the Manchurian Qing dynasty rose to power. Having just recovered China from the Mongols (the Yuan), the new emperor banned Mongolian clothing and decreed a strict dress code that recalled the style of the Tang dynasty. Although the Mongols did not force the Han people to adopt their customs, many people had chosen to follow them for personal gain, or as a symbol of loyalty. By banning them outright, the new Ming emperor tried to create a strong Han Chinese cultural identity. Despite these efforts, occasional pieces of Mongolian clothing were still worn in court - even by the emperor himself. And although the dress code was strictly enforced at the beginning, by the mid-point of the period state control over the dress code weakened, until it was regularly transgressed by the end of the dynasty. As a result, styles of this period became a blend of Mongolian and traditional Han Chinese dress. Although nowadays hanfu is mostly worn during special occasions, it has recently seen a resurgence of popularity through social media. Across popular Chinese social media platforms, #hanfu has seen well over 50 billion views, which certainly speaks to hanfu’s growing appeal to people today. Videos and posts about traditional Chinese hobbies make up a majority of the hashtag’s popularity online, and many Chinese diaspora have embraced the hanfu trend as a way to stay connected to their family roots. While some have voiced concerns about an increasing drive for patriotism within the country, others have suggested that the trend has instead risen from both a desire for strong cultural identity and a desire to rebel against normality from a generation of youths exploring their freedom of expression. While much of what you see on screen is a fantastical adaptation of historical garb, hanfu remains a long tradition of beautiful, elegant dress. For more information on the trend, check out Vogue’s article on the topic. If you enjoyed this article, click below to subscribe to our newsletter, or follow us on Facebook, Instagram, or Twitter! By S. Howie Immortal Staff Sources: Hanfu — Traditional Clothing of the Chinese Han Majority 4 Traditional Chinese Clothing and Dress: Hanfu, Qipao, Tang Suit, Zhongshan Suit A return to tradition: how Hanfu returned as a modern style statement Why China's Hanfu Trend Won't Cool Down | Jing Culture and Commerce Meet Shiyin, the Fashion Influencer Shaping China's Hanfu Style Revival Hanfu: Traditional Han Clothing | Omeida Chinese Academy Hanfu - Wikipedia Image sources: Please click the photos in question to be linked to their original websites.