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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.

The Legend of Sword and Fairy 6 came out in 2015, and as a gamer and a fan of the Wuxia genre, I had very high expectations for this game. For the uninitiated, the hugely successful Chinese Paladin TV series is based on the Sword & Fairy PC game franchise, which has been going on since 1995. The first Chinese Paladin is highly influential, and a rarity in Chinese television since it was adapted from a video game back in 2005! It went on to pave the way for more TV dramas in the Wuxia subgenre known as Xianxia. I was able to pick up a copy to play on PS4, and I wanted to do a complete playthrough and I wanted to love this as a new extension of my favorite genre...but was let down by serious technical difficulties that should have been resolved prior to the game's release. The game begins with a familiar premise: the two main characters, Yue Jinzhao and Yue Qi, awaken with no recollection of their past. From there, they embark on a journey to discover their true identities, and stop an evil cult from kidnapping people. They befriend a diverse group of friends with complicated backgrounds and go through many twists and turns to discover who they truly are. It's a good story, and you want to keep playing to see their quest through. Of course, the promise of a good story comes hand in hand with the hope of good gameplay, and, unfortunately, the gameplay is very underwhelming. There are many instances where I could skip attacks from random enemies within proximity just by circling around. Even during boss battles, there is no real struggle as the bosses perform very simple attacks. The most difficult part of the gameplay (by far) was the controller. I played the PlayStation 4 version on the PlayStation 5, but the controls were originally based on a gaming keyboard and mouse, and whoever made this port never properly accounted for a PlayStation 4/5 controller. There are instances where I’m supposed to use the left analog stick to perform actions, and most of the time, it was undoable. When watching the walkthroughs of the PC version on YouTube, the aforementioned action is done easily with a mouse, but on PS4 it's simply not possible. Besides expecting good gameplay, one would also expect a relatively decent presentation for graphics and sound (this is the sixth game in their series after all, they've definitely worked out the bugs by now, right?). But yet again, they are underwhelming, and leave a lot to be desired. The graphics are reminiscent of a Sega Dreamcast game, and the game sometimes runs at very low frame rates (it feels like 10 fps/frames per second at times). Additionally, there are many instances of characters literally breaking up or freezing randomly. I even had instances where the game itself froze and I had to restart the game. The game is presented in its original Mandarin audio with English subtitles, which I have no objection to since it presents the game authentically, but the script of the English subtitles are sooooo tiny that I had to sit within 5 feet (1.5 meters) of my HDTV, and there are an embarrassing number of spelling and grammar mistakes. Given all of these bugs, I only finished 66% of the game, which is extremely rare for me given how much I love to throw myself into martial arts games. After a month of trying, I had to give up and accept that I'd been defeated by poor control optimization. Despite this, I still have hope that Sword & Fairy 7 for PlayStation 4/5 will be an improvement. This is only the start of Wuxia (and Xianxia) games being officially released in the West, and I hope that by bringing attention to these games, and providing honest feedback, we can honestly engage with the developers and localization teams, and show them that there's a huge desire for these games in North America if they can improve their ports and translations! PS - If you have also played this game, we'd love to hear from you in the comments below! If you enjoyed this, and want more, click below to subscribe to our newsletter, or follow us on Facebook, Instagram, or Twitter! By B. Chansy Immortal Staff

The beginning of the 20th century was a tumultuous time for China. Westerners began taking positions of power, bringing with them Christianity and opium. As Christianity spread across the country, a divide was created between the xenophobic peasantry and the Chinese tradition-scorning foreigners. Everything eventually culminated in what was known as the Boxer Uprising, where a secret society known as the Righteous and Harmonious Fist (Yihequan) taught martial arts and partook in rituals that were said to make their bodies invincible. Officially condoned by the Empress Dowager, tens of thousands died in the conflict. This is where the story of Boxers & Saints begins. Written by best-selling author Gene Luen Yang, author of award winning American Born Chinese, and writer for Avatar: The Last Airbender and recent Shang-Chi comics, Boxers & Saints is the carefully crafted tale of two young Chinese commoners on opposite sides of the conflict. The two graphic novels, Boxers and Saints respectively, are 500 pages long altogether. Each follows one protagonist, but the two stories interweave. In Boxers, the protagonist, Little Bao lives a poor life in a small country village. He’s the youngest of three brothers, and spends as much time as he can enjoying the wandering Chinese opera troupes that come and go. Bao admires the gods and masks of the opera. They follow him as he does his chores and - after he gets pulled into the bloody and political tangle of the uprising - he channels them to fight off the “foreign devils.” On the opposite side of the conflict, from a nearby home, there lives Four-Girl. She’s the youngest of four children - and the only survivor. Her grandfather, superstitious that her birth is the fourth day of the fourth month as the fourth child, refuses to acknowledge her. He fears that four, sounding like death, is a magnet for bad luck. In turn, the other members of her family, with the exception of her mother, alienate her. Longing for a place in the world, Four-Girl is eventually visited by visions of Joan of Arc. From her, she discovers Christianity and converts. The church becomes a place she can belong, but she learns that not everyone is so friendly to foreign influence. Gene Luen Yang’s work is masterfully written, carefully balancing both factions. Neither side of the rebellion is painted as “good” or “evil”. The story of Boxers & Saints is dark and tragic, both sides kill and commit atrocities for their ideals. Houses are burned, fields are trampled and civilians are slaughtered. Yet at the same time, it’s easy to see what motivates these characters. There is good to both sides too. The Boxers empowered the downtrodden common folk to defend themselves, the Christians brought comfort to people that needed it. The writing of Boxers & Saints is wonderfully even to both, and subtle in some of its points. Gene Luen Yang really encourages his audience to pay attention and draw their own conclusions about Little Bao and Four-Girl. Boxers & Saints is, as a finalist for the 2013 National Book Awards for Young Adults, written with an educational bent for children and young adults. It frames the events of the Boxer Uprising in an almost simplified way through the eyes of its children protagonists, leaving some of the darker subtext out of its direct narration. This is a duology well-suited to both adults and older children, but is probably too heavy for young children. On the whole, this is a very character-driven story. It has some action and some politics, but the majority of the story follows the inner turmoil of the protagonists and they fight to navigate the complicated circumstances of the rebellion. For a more action-oriented view on the Boxer Rebellion, be sure to check out our latest comic, Fa Sheng: Origins, on our website! 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: Comic Book Legal Defense Fund - Graphic Novels in Education: Boxers & Saints Comics in the Classroom: A Teaching Guide to Boxers & Saints Views of the Rebellion - Gene Luen Yang's Boxers & Saints Britannica - Boxer Rebellion

The monk - a master of mind and body, a follower of the Buddha, and inheritor of a long legacy of meditation and martial prowess. For centuries, tales of these legendary figures have captured people’s attention - and for good reason. While not all monks practice martial arts, they remain paragons of discipline and internal strength. Here’s a list of monk characters from popular stories that have captured our imagination, and fueled our collective obsession with this archetype. Jue Yuan - Shaolin Temple Set between the Sui and Tang dynasties, in the seventh century, Shaolin Temple tells the story of Jue Yuan, a novice of the titular Shaolin Temple. After the rebellions that ended the Sui dynasty, a brutal warlord takes the throne. Jue Yuan and his father, a practitioner of kung-fu, are prisoners forced to do hard labor. After Jue Yuan’s father is slain personally by the Emperor and he, himself, is heavily injured in an attempt at revenge, Jue Yuan makes his escape to the Shaolin Temple. There, he recovers and makes a decision that will forever change his life. Released in 1982, Shaolin Temple was directed by Chang Hsien Yen and was the first film acclaimed actor Jet Li starred in. By virtue of having actual, trained martial artists in the cast, the fight scenes in Shaolin Temple are a must-see for any wuxia enthusiast. This movie was so well-received, it’s even credited for reigniting public interest in the Shaolin Temple which, at the time of its release, did not even have an abbot. San Te - The 36th Chamber of Shaolin Liu Yide was a student who worked to rebel against the harsh Manchu Government. Before they could put plans into motion, their uprising was discovered and put to an immediate, bloody end. Anyone related to the rebellion was slain - even if they were merely friends or family to those involved. Liu Yide, injured in his escape, desperately makes his way to the Shaolin Temple, swearing to learn kung-fu and take vengeance on the oppressive government. Despite any initial resistance to accepting outsiders, the temple abbot takes pity on him and he begins his journey through the training chambers of the Shaolin Temple with a new name - San Te. The 36th Chamber of Shaolin, or Master Killer, as it was titled in the West, was originally released in 1978 and directed by Lau Kar-leung. It has since become one of the best-known kung-fu movies of all time. San Te’s journey through the titular chambers of the Shaolin Temple is a treat to watch. While many of the lessons each chamber teaches are physical, his growth is just as much spiritual. At the beginning, his inexperience leads to many comedic moments, but as he improves, the challenges he faces become much more exciting. Lee - Enter the Dragon Enter the Dragon tells the story of a martial arts tournament, held on a private island where only the best of the best compete. Han, the host of this tournament, is suspected to be at the helm of an insidious crime ring involving themselves in abduction, drug trafficking and prostitution. Lee, an instructor at the Shaolin Temple, enters at the behest of an international intelligence agency to find proof of Han’s involvement. He and the other contestants slowly uncover the truth behind Han’s operations - even as the threat of death if they’re discovered looms over them. Lee, played by Bruce Lee, was by far his most successful role. Enter the Dragon was Bruce Lee’s fourth movie and final role, released in 1973. The movie premiered a month after his death, a fact that, paired with the incredible action work and narrative of the film, created a legacy of near-legendary status. Xu Zhu - Demi-Gods and Semi-Devils The plot of Demi-Gods and Semi-Devils is somewhat less linear, due to it telling the story of three protagonists simultaneously. Xu Zhu, one of these three protagonists, is a Shaolin monk with a soft, kind personality and a strict adherence to Buddhism. He lives a quiet life at his monastery until, by accident, he gains possession of a precious treasure which causes his martial arts to suddenly progress leaps and bounds. Finding himself thrust into new dangers and heavy responsibilities, Xu Zhu longs for nothing more than to return to his previous life. Having been adapted from a novel by legendary author Jin Yong into multiple movies and live-actions, it’s difficult to provide a singular release date. Its most recent adaptation was released in 2021, its oldest released in 1977, while the original novel itself was published in 1963. Despite its age, Demi-Gods and Semi-Devils remains popular to this day! Those with an interest in characters with strong morals and those that enjoy grand, complex adventures will definitely enjoy this story. Tang Sangzang - Journey to the West Tang Sangzang is a buddhist monk tasked by Guanyin, the Goddess of Mercy, to journey to the west and retrieve precious buddhist scrolls. Faced with a China full of greed and hedonism, the Tang Sangzang and his disciples, including the famous Sun Wukong, travel through perilous mountains and demon-infested lands to complete his mission. The story is told in something of an episodic monster-of-the-week fashion, for the most part. Journey to the West is a classic of Chinese literature, its roots dating back to the 16th century. Decades of dramas and movies have retold the story, and other tales - such as Dragonball - reference it very strongly. In English, it has several notable translations, with varying levels of scholarly language. The most well-known of these is an abridged version by Arthur Waley which is sometimes published as “Adventures of the Monkey God”. Tang Sangzang is by far one of the most popular monks to have existed in fictional media. 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: Buddhist Webnovel Recommendations The 36th Chamber of Shaolin Wiki The 36th Chamber Den of Geek Enter the Dragon Wiki Enter the Dragon TVTropes Shaolin Sect Wiki Shaolin Temple(1982) Wiki Demi-Gods and Semi-Devils Wiki Journey to the West Image Source: The INCspot

May the Fourth be with you! Today is Star Wars Day, and we have been just itching to do an Essential Wuxia Review ever since we first started this series. For this piece, we will be focus on the protagonist of the original trilogy; Luke is our wuxia hero for the sake of this argument, just to be clear. We gave the original series a 14 / 15, a silver! Read why below: Is Luke Skywalker a Wuxia Hero? I gave this section an 8 out of 8. Luke is an altruistic hero. If you’ve never met him, he’s the kind of kid that runs off into the enemy’s moon-sized base to rescue a random princess he’d never met, the kind of kid that puts his life on the line to help a group of folks he just met overthrow the morally bankrupt empire that rules them. Was that courageous? Absolutely! And though he arguably had a stake in the fight, since the empire killed his family and that one old guy he barely knew, but the revenge just makes it even more wuxia if we’re being completely honest. [Image source: https://screenrant.com/star-wars-luke-skywalker-obi-wan-kenobi-best-moments/] Luke’s not exactly one for following orders though, which is either his individual freedom manifesting itself, or just being a teenager, we’re not sure exactly which. He disappears for long stretches of time to heed the call of the Force, the literal life energy of the universe. This isn’t to say he doesn’t respect his master(s), or isn’t loyal to their teachings, but sometimes you’ve just got to go save that princess (again) y’know? [Image source: https://www.gamesradar.com/george-lucas-altered-the-ending-of-empire-strikes-back-after-it-was-already-in-theaters/] Being a very simple and straightforward hero archetype, Luke is very honest, and gives everything he has to those around him, even when he doesn’t have much to call his own. He checks every single point we have on our wuxia hero chart (and probably every other hero checklist too, thank you Joseph Campbell). Is the series Essential Wuxia? I gave this section a 7 out of 8, it unfortunately missed the critical point that we consider the most compelling of the fundamental wuxia traits: everyone can be a hero. But moving on... [Image source: https://ew.com/movies/2018/03/27/star-wars-empire-strikes-back-mark-hamill-luke-scream/] In the tragic backstory section of this space opera, Luke discovers a dark secret about himself, which leads him to question why he was set on his hero’s journey in the first place. Through constant training, he overcomes the fact that his father has a rage problem, cultivates his power for years to harnesses the life energy of the universe, and ultimately confronts the big, bad, evil emperor that keeps his father on life support. It’s a very compelling story, full of glowing swords that are passed down from father to son as family heirlooms, and Force-powered feats of martial prowess that look awfully similar to qigong. The ultimate conclusion of the secret war between the rival secret societies, the Jedi and the Sith, remains unclear at the end of Luke’s story and is further explored in the following trilogy, but is still a riveting part of the series’ lore nonetheless. Essential Wuxia Score: 14/15! Missed points: If you aren’t born with a strong connection to the Force, or aren't at the very least Force-sensitive, you’ll probably never beat someone who was born with that potential, in a fair fight. So we do have to take one point away from Star Wars’ Essential Wuxia score, otherwise it would have had full points. If you enjoyed this quirky read, click below to subscribe to our newsletter, or follow us on Facebook, Instagram, or Twitter! by S. Sifton Immortal Staff

“The Shaolin Temple (1982)”, directed by Chang Hsin Yen, is a masterwork of dazzling blows and extreme martial arts, set in a semi-fictional time of upheaval. Inspired by real murals in the temple, the movie is heavily credited for the reinvigoration of the real Shaolin Monastery. The story begins in the early seventh century, during a transition between the Sui and Tang dynasties. At this point in time, local warlords waged constant war across the countryside, uncontrolled by Imperial rule. Jue Yuan (Jet Li) and his father are prisoners of war under General Wang Shichong, who deposed the previous Emperor and named himself “Emperor of the East Capitol”. After his father is beaten to death to protect another prisoner, Jue Yuan is heavily injured in an attempt to get revenge. Unfortunately, he finds himself heavily outmatched by the Emperor and he barely makes his escape to the Shaolin Temple. The monks, seeing it as their holy duty to help, take pity on him and nurse him back to health. Upon seeing their martial arts, Jue Yuan becomes determined to join the temple and learn from them, in the hopes of one day avenging his father. In a way, I would say this movie is about storytelling through martial arts. So much of “The Shaolin Temple” is beautifully choreographed action, and none of it feels redundant or there for the sake of being there. Even if there’s relatively little time between bouts, it never feels like the emotional aspect of the story is being overwhelmed. There are moments of excitement and tension; when, for example, Jue Yuan fights the Emperor to avenge his father. At the same time, they also use martial arts to push Jue Yuan’s emotional journey, like when he’s finally practicing with the other monks of the temple, only to realize it might not be the instant transformation he was hoping for. Jet Li does an amazing job of acting the slow realization and disappointment that overcomes Jue Yuan during that scene. A lot of “The Shaolin Temple” is a clever combination of personal and martial growth. From the beginning, Jue Yuan has some knowledge of kung fu from his father, but he’s rough, emotional and unable to compete with more skilled fighters. Even after becoming a novice at the temple, he remains impatient and fails to truly learn anything. When he learns that learning the basics at the Shaolin Temple will take years of practice, he rushes off in a reckless attempt to assassinate the Emperor only to - very predictably- fail and be forced to return to the temple. It’s only after he sees past his emotions to the consequences of his actions - with a little help from the other monks - that he truly progresses as a martial artist. Similarly, a large portion of the movie carries very deep moral themes surrounding violence and justice. Even before seeing Jue Yuan and his father as prisoners of war, we’re actually introduced to Jue Yuan as he’s taking his vows to become a full-fledged monk. When the abbot asks him whether he will abstain from killing, Jue Yuan is unable to answer immediately. Throughout the majority of the movie he fights out of anger or for revenge and he is beaten down or is narratively punished for it. It’s only when he realizes how he affects the temple as a whole, and how important they are to him, that he starts fighting to protect something. Coming from that place of protection makes him a much more resolute and effective fighter - essentially punishing him for violence out of malevolence, and rewarding it as a form of self-sacrifice and self-defense. In contrast to this, we see two conflicting opinions from the monks of the Shaolin Temple. When attacked, the head abbot tries to avoid conflict and come to a peaceful resolution by whatever means necessary. Unfortunately, not all people can be reasoned with, and he can’t react when things go wrong. In contrast, Jue Yuan’s Sifu decides to do whatever he can to defend the temple, and is prepared when the abbot’s attempts at peace fall through. Even though there are sacrifices, it is only through violence that they defend the legacy of the Shaolin Temple and in the long run, they are rewarded for their bravery. On the whole, “The Shaolin Temple” is an amazing martial arts movie. Its high-paced action sequences result in some very efficient storytelling and there’s never a dull moment. I highly recommend this movie to people looking for strong, unedited kung fu and a kick-ass female martial artist. By the way, there’s also a kick-ass female martial artist. She’s a shepherdess and beats people up for messing with her sheep - the movie’s worth watching if only for that scene alone. On the other hand, if you go into it expecting complex or nuanced dialogue or character interaction, - or even a satisfying romance - this might not be the movie for you. 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