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- Lunar New Year: Chinese Lion Dancing
Since childhood, one of my favourite parts about our Lunar New Year celebrations was watching a live lion dance performance take place in Chinatown or at a shopping mall. Lion dancing a traditional dance in Chinese culture, and is performed across countries like China, Vietnam, Korea, and other Asian countries during special occasions like the Lunar New Year to bring in happiness, good luck and good fortune, while also chasing away evil/bad spirits. [Image: Scarborough Town Center CNY 2020] Lion dancing is a lot more than just the dance itself. It also contains other elements such as Kung Fu, stylized costumes, and loud percussive instruments. Let’s take a look at some of these other key elements of traditional Chinese lion dancing that you can expect to see during a live performance: Northern and Southern Lions First off, Chinese lion dancing falls under two categories: Northern and Southern styles. Northern lion dancing originates from places in Northern China (i.e., Beijing, Hebei and Shanxi provinces) and is performed in lion costumes that have a simple yet shaggy look to them (think of an Old English Sheepdog). The costume is equipped with a wooden lion head painted in gold, and a body with a red mane and yellow fur. Performance elements like Chinese martial arts (including Kung Fu), and acrobatic stunts (like a circus act; rolling, wrestling, leaping, jumping, climbing), and even balancing on a giant ball, are all prominent themes you will often see in Northern lion dances. Northern dances may also feature a family of Northern lions, consisting of two adult lions (a male with a red bow on its head and female with a green bow or mane) followed by two young lions. [Images: Left (Flickr) & Right (South China Morning Post)] Southern lion dancing originates from places in Southern China (i.e., Hong Kong, Macau, Singapore), and consists of lion costumes that have a more detailed and colourful appearance. Costume colours usually come in red, (for good luck) green (for money), gold or yellow (for good fortune), and the lion head is made out of “papier-mâché over a bamboo frame, covered in gauze”. The costume may also come in other colours such as orange, white, black, blue, purple and pink. Similar to Northern lion dancing and its display of Chinese Kung Fu, Southern lion dancing also tries to combine Chinese martial arts into the performance, along with mimicking the behaviours that a lion would typically demonstrate (catlike; grooming, scratching, and playing with objects) to make performances more entertaining for the audience. [Image: China Highlights] Southern lion costumes may also have customized neon LED lights attached to the costumes to give audiences a brighter (pun intended) and more exciting performance! [Images: Left & Right] Characters & Characteristics of Lion Dancing Lion head & lion tail: A lion dance is usually performed with two people (often Kung Fu practitioners belonging to a local martial arts school) that are responsible for coordinating the dance with the lion’s head and tail. The head is the main part of the lion where the person in front leads the dance by holding the lion's head, while the other person in the back is the lion’s tail who follows and “forms the basis of acrobatic tricks” for the person coordinating with the lion head. [Image: Al Jazeera] The Buddha / Monk: Another key player of lion dance performances is the smiling “Buddha” or “Monk” character who holds a fan. The Buddha / Monk helps make the performances more engaging and joyful by interacting with audiences or even teasing the lion as a form of comic relief for viewers. [Image: Sydney Lion Dance Team] The Ball: For Northern lion dances, they’ll often have a skilled martial artist hold a ball with ribbons attached to it as a way for the lions to chase after the ball and help guide the dancers with their movements and footwork. [Image: China Today] Percussion Instruments: Finally, the drums, cymbals and gong play a major role in setting the tone, rhythm and atmosphere of the performance in its entirety. The drums are said to “represent the lion’s heartbeat,” while the gong and cymbals “represent the lion’s thoughts.” These elements of loud noise and music are key features for driving away evil spirits and hyping audiences up for a new year full of luck and celebration. [Image: Wushu Project Lion Dance Lessons] Capturing the lettuce: One of the main highlights of lion dancing is the capturing of the lettuce, or “picking the greens”. A head of lettuce is hung outside of shops, businesses and restaurants with lucky red envelopes containing money attached to the lettuce as a reward for the performers, and to bring luck and prosperity for businesses. This acts as a way to feed the lions, while also having them eat and spit out the lettuce onto audiences to symbolize the spread of good fortune for everyone. [Image: Blog Post] So whenever you start hearing loud drums and the clash of cymbals playing all together at your local Chinatown or nearby Asian community during the lunar new year, expect to receive blessings of good luck accompanied by a powerful lion dance performance! C. Hong - shout out on Instagram! Guest Writer/Immortal Fan
- Wuxia Games: Where Winds Meet
What is the coolest part of wuxia? Is it the earth-shattering martial arts? The mystical techniques and spells? Or could it be the intrigue between clans in an ever-growing game of one-upmanship? The trailer for Where Winds Meet is what happens when you combine all the best aspects of wuxia with the aesthetics of Ghosts of Tsushima. Set in the Northern Song Dynasty of Ancient China, Where Winds Meet is an open-world RPG where you play as a lone swordsman in a time of great turmoil, standing at the crossroads between violence and morality. While not much story is revealed as of yet - this trailer is almost all of the information currently released about the game - a lot of the systems we see on-screen in Where Winds Meet just scream classic wuxia in a way any martial arts fan could not ignore. From the smoothly animated hand-to-hand combat to the exciting leaps across rooftops, everything about it was precisely designed to appeal to anyone with a love of traditional Chinese aesthetics. Despite how masterfully-crafted the trailer is, this is the first game developed by Everstone, whose only prior game experience seems to be with running the Chinese servers of several Blizzard games. Although they’re supported by NetEase, who created Naraka: Bladepoint among other things, the trailer sets an incredibly high bar. If the company pulls it off well, there is no doubt it could easily become a serious fan favorite. While there’s no current release date, expect it no sooner than late 2023 at earliest. 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 S. Howie Immortal Staff
- The King's Avatar
When The King’s Avatar animation (also known as Quanzhi Gaoshou) came out in 2017, it caused waves. All of a sudden, people couldn’t stop talking about The King’s Avatar. Adapted from a novel by Butterfly Blue, which is officially available in English, the series has since become a comic, an animated series and a live action series. The animation was released to massive success, with millions of views across YouTube and Bilibili. Since then, it has received a second season and a movie, with a third season in the works. So, the series is popular. People definitely like it, but why? To begin with, the show takes place in a world where the massively multiplayer online (MMO) game “Glory” has taken the world by storm. In the fast-paced sphere of Glory’s competitive league, one player has risen to the top. His professional name is Ye Qiu, and he is nicknamed “The Battle God” for his performances as one of the best players in Glory’s esports league. The story of The King’s Avatar begins with an ultimatum. Due to a number of reasons, his team has decided to switch captains and support a new rising star. They tell Ye Qiu he has to hand over his character and give up his position on the team; they give him the option to either be demoted to a training partner, or retire. He chooses to retire. Suddenly kicked out of the team dorms and out onto the streets, Ye Qiu - now going by his real name Ye Xiu - manages to find work at a nearby internet cafe. Realizing his retirement coincided with the release of Glory’s newest server, Ye Xiu begins to form his team so that, in a year, he can return to flip over the whole competitive league. A lot of the success of The King’s Avatar comes from its ability to capitalize on its setting. Video games have seen a massive surge in popularity, and while several shows have explored video games as a setting, very few have gone into the player-side of a competitive e-sports league. The first season focuses heavily on establishing the setting and systems of "Glory." We learn about some of the more unique aspects of "Glory," like its specializations, which are the game’s classes - and the fact that someone can play as an unspecialized character, which is basically a jack of all trades - and how the protagonist’s near-encyclopedic knowledge lets him do things that people consider weak or unplayable. Seeing the other characters react to what antics Ye Xiu gets up to is incredibly amusing, and a lot of the show’s best moments surround him shocking other players with his godlike knowledge. We see the old friendships and rivalries of long-term veterans, and we see the bittersweet growth of new talent replacing old. The King’s Avatar has a very long list of characters, which is eased a bit by their uniforms and dorms grouping them into teams - making it easier to see how characters relate to one another. For MMO players, this show is immensely enjoyable. While it plays fast and loose with some mechanics of the game, it doesn’t hesitate to use its medium to its advantage. Characters fight seemingly in real time, mostly unbound by things like global cooldowns or area of effect circles, in favor of making the combat as cinematic and beautifully choreographed as possible. What it doesn’t ponder too much in mechanics, it makes up for by touching on some of the more common problems in multiplayer video games - namely toxicity and competition. Players try to kill other players for the pettiest reasons, and they aren’t afraid to take disputes to world chat. The King’s Avatar shows how Ye Xiu uses that behavior against those acting out. The author understands that a lot of this behavior comes from a place of passion, but they show that it doesn’t make the behavior excusable. People get called out for common issues like sexism, and when they get tilted, that just gets taken advantage of by the cool-headed and capable Ye Xiu and his friends. Honestly, it’s great to watch! For people that don’t play MMOs, have no fear. The King’s Avatar is very watchable, even without any prior knowledge of the gaming sphere, as so much of its story hinges on the interpersonal character conflicts. When Ye Xiu rips someone off in-game and that person comes back with a party to try and kill him, you don’t need to play games to appreciate how funny that is. When Ye Xiu’s team kicks him out for being too old in favor of the egotistical rising star, you don’t need any prior knowledge to be angry at how shortsighted they were. While playing MMOs might help you catch some of the smaller inside jokes, or maybe give you a better understanding of the more common systems, Ye Xiu spends plenty of time teaching new players as he prepares a team for his return. The show does a good job of being understandable by everyone. While both the animation and the live-action cover the same overarching story, the live-action makes more changes to best adapt to its medium. Where the animation enjoys copious amounts of very beautiful action work, the live-action plays up the human drama aspects of the series. Ye Xiu’s employer is more contentious in the live-action, and gives him a hard time for not knowing how to do anything but game. It makes for a much more comedic, human series than the fast-paced, game-oriented animation. While I highly recommend both versions of the series, the animation is probably more enjoyable to people interested in the game setting itself and the live-action for people who just want to enjoy the characters. Overall, “The King’s Avatar” is a series that takes a refreshing spin on a popular setting and - much like Ye Xiu himself, does a lot very well. 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 S. Howie Immortal Staff
- Brotherhood in Wuxia
Brotherhood exists in every culture, and this seemingly unbreakable bond is shared by many. While this theme is found in countless stories around the world, the genre of Wuxia has a unique focus on it. Of the Immortal Storyverse’s stories, Fa Sheng: Origins exemplifies this theme, and brings to light questions of whether or not it is always the right path. Despite being 18 years of age, the titular character Fa Sheng is often called “Wa-er” (Chinese slang for kid) by his senior martial brothers of the Righteous & Harmonious Fists. He often frowns at being called “Wa-er,” but gets excited to finally participate in the Armor of the Golden Bell Ceremony, where he can shed his “husk of mediocracy” to become strong, like his senior brothers. This ceremony involves a ceremonial elixir, and Fa Sheng knows that participants are expected to become energetic and proud upon drinking it. When he finally drinks the ceremonial elixir, he feels empty, while his fellow brother-in-arms become energetic as expected. This occurs shortly before they all decide to attack the Germans, whom they feel are stealing their land. Hierarchy matters greatly in martial arts sects, where most disciples are expected to show great respect, sometimes even reverence, to those who outrank them. The youngest disciple is often expected to do favors for his seniors, and serve them obediently, while the seniors may also tease and embarrass younger disciples to no end. Because of this, many want to move up the ranks, as this is associated with greater skill, as well as greater respect from your juniors. Disciples who move up ranks and/or get older are expected to be role models, which is another aspect of brotherhood in Wuxia. Fa Sheng’s reaction upon drinking the elixir is very atypical, and this leads to a change that his brother-in-arms do not expect. After Chinese Imperial General Yuxian arrives late to a meeting that he arranged with local members of the Righteous & Harmonious Fists, General Yuxian attempts to make up for this by offering alcohol to them, and even addresses them as “brothers-in-arms.” The leader of this group, Zhu Binhou, refuses the alcohol, and General Yuxian responds with smirks and offers no apology. Everyone expects General Yuxian to honor his words due to his distinguished title and rank. By dishonoring his words, and committing rude acts in front of others, he proves that he is a bad role model. This results in a loss of face, which is an important concept in both Chinese culture and the Wuxia genre. Maintaining face involves honoring your words and doing whatever it takes to avoid tarnishing one’s reputation. Although he outranks everyone else, the others openly express their disappointment with him. With hierarchical power like this comes the potential for abuse, and this is a perfect example of that. His smirk proves that he is aware of how he is abusing his position, and failing to meet the expectations of his new brothers-in-arms, and shows us how little he cares for their respect in turn. When Fa Sheng is on the verge of attacking the German priest Anno and the children that Anno is guarding, Fa Sheng stops in his tracks to consider whether attacking them with his martial brothers is right. Junior brothers are expected to follow exactly in the footsteps of their seniors. If he did not follow them in this attack, it is not an exaggeration to say that Fa Sheng would be seen as disobeying his seniors, and betraying them. Many martial arts sects would punish their disciples for disobeying orders; however, betrayal may have even harsher penalties. At best, such disciples are excommunicated from the sect. At worst, they are executed for betrayal. Should Fa Sheng give up on this brotherhood, his only family, to follow the right path? Brotherhood is a universal theme, and one that allows audiences to relate to characters in the Wuxia genre, and empathize with their desire to belong. Fa Sheng: Origins demonstrates not only the benefits, but also the expectations and conflicts that come with that fellowship. 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
- Zhong Kui: King of Ghosts
Ghost hunters exist in many cultures, with Zhong Kui being the most prominent one in Chinese culture. Unsurprisingly, he has been featured in numerous Wuxia-related media. His popularity extends to other countries such as Japan, and he has even appeared in Western media! We will explore the origins, legacy, and different media portrayals of him. According to legend, Zhong Kui was once a human who passed the imperial exams with high marks and earned the title of Top Scorer (Zhuang Yuan in Mandarin). Because of his supposed ugly appearance, the emperor stripped his title. Zhong Kui later committed suicide by hitting his head on the palace steps. When the judge of the underworld Yan-lo Wang noticed Zhong Kui’s intelligence, he deified Zhong Kui and bestowed the title of King of Ghosts onto him so he could hunt and maintain order among all ghosts. Zhong Kui became popular in Chinese culture when the Tang Emperor Xuanzong dreamt of Zhong Kui killing the evil spirit that made him sick. He recovered the next day and had court painter Wu Daozi draw Zhong Kui. He later gave an imperial edict for households to hang paintings of Zhong Kui during the New Year to scare away ghosts, diseases, and other misfortunes. Even today, his image is used to protect expensive goods. While there are numerous TV dramas and movies about Zhong Kui, we will focus on two noteworthy ones. The Chinese Ghostbuster is a 1994 Hong Kong movie featuring Wu Ma (of A Chinese Ghost Story fame) as Zhong Kui and Lam Ching Ying (of Mr. Vampire fame) as a Taoist priest. This movie is unique in that it is set in contemporary Hong Kong, and Zhong Kui is looking for the perfect husband for his ghost daughter! Another is the 2015 Chinese movie Zhong Kui: Snow Girl and the Dark Crystal. This features Chen Kun as Zhong Kui and Li Bing Bing as Snow Girl (both actors starred in Sword of the Outlaw, a TV drama adaptation of Shiao Yi’s novel!). This movie portrays Zhong Kui as an anti-hero, who is set up to steal the Dark Crystal and discovers that his former love Snow Girl has been consigned to the underworld; lots of liberty is taken to make the movie more romantic than any previous tale of Zhong Kui. In addition, the character and creature designs are very Western influenced. In addition to movies & TV dramas, Zhong Kui is also featured in multiple video games. Known as Shouki in Japanese, he is a summonable demon in the Shin Megami Tensei video game series. Titles featuring him include Shin Megami Tensei IV, Shin Megami Tensei: Liberation Dx2, & Devil Summoner: Soul Hackers. He is featured in the mobile game Smite as Zhong Kui: The Demon Queller, and is a DLC (downloadable content) character in Hunt: Showdown. The last two games are especially noteworthy, as these are western developed games. While not as well-known as the hopping vampires (Jiang Shi, check out our article on them here) in the West, Zhong Kui’s popularity cannot be denied. It is only a matter of time until his next media appearance, and it will most likely be more accessible to the world than before. 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
- Jiangshi: The Hopping Dead
Unlike the huli jing (the Chinese fox spirit covered in our article here), the jiangshi is a strictly malevolent creature. Sometimes known as the Chinese Hopping Vampire, the name “Jiangshi” literally means "stiff corpse," which makes sense (it is, at its core, a walking corpse after all). Cultures the world over have told stories of terrifying undead forces which stalk the night, hunting for blood or organs. The jiangshi, in this case, were such a fearsome and awesome concept, that they spawned a cornerstone of the Hong Kong film industry: the jiangshi film. Even though they’re called the “Chinese Hopping Vampire,” the jiangshi is much more like the western image of a zombie. Their story begins long, long ago, when Qin Shi Huang, the first emperor of China, waged war with nearby states to unify the country. Many men were sent to die far, far from home, at the borders. The family of these deceased soldiers wished to hold funerals for them, but for many it was far too expensive to transport the bodies back. These families turned to Taoist priests for help. In turn, the priests would cast spells to temporarily animate the bodies which were stiffened from rigor mortis, and order them to “hop home”. From there, the priest would lead them home, moving only at night and ringing a bell, warning people of their passage. It was considered bad luck to see a jiangshi. Despite best efforts, none of these corpses ever returned home to their families. Some thought they may have been reanimated with incomplete souls, leading them to lash out violently and overpower the priests guiding them. Some thought they merely got lost and - following their instincts - the jiangshi simply attacked and hunted whatever was alive in the area. Either way, they failed to bring their families the solace they desired. Beyond taoist spells, jiangshi are created in several ways. Most commonly, they would be created from an improper burial or a violent death. Sometimes, they might be born from lightning striking a coffin or - if the corpse was left out in the open - they might absorb yang energy from the environment and turn. Not only that, but just like western zombies, there are stories of people being turned into jiangshi after being injured by them. Also similarly to western zombies, their appearances can vary drastically based on how decomposed the corpse is. Commonly, jiangshi are depicted as having white-green skin - perhaps, some think, inspired by the mold that grows on corpses - and sometimes white hair. Traditionally they’re clothed in burial shrouds or the garb of Qing officials and they often have a talisman stuck to their head. For a jiangshi, their nails are one of their most powerful weapons. They grow long, hard and lethally sharp. Their teeth also become serrated, and they sometimes have very long tongues, capable of grasping things. Being afflicted by rigor mortis as they are, they’re forced into keeping their arms outstretched and their legs straight, but that doesn’t stop them from using their supernatural strength and extreme leaping abilities. The ultimate goal of a jiangshi is different from that of a zombie or a vampire. They don’t usually want to suck your blood - although cross-contamination with western media has led to some jiangshi doing that too. Instead, a jiangshi seeks the qi of the living. The qi - or life force - of a person is a key part to their survival and having a jiangshi take that will kill someone pretty fast. They typically sense qi from the breath of the living, so if you ever see one, holding your breath is a key factor to a successful escape. Much like western folklore, there are many, many weaknesses of a jiangshi based on the specific story that’s being told. Common ones include unsurprising things, like axes or fire. Some suggest that - since a jiangshi is stiff - if you push them over, they have a hard time getting back up. Other weaknesses are a bit more unusual, like the blood of a black dog, glutinous rice or a mirror. A personal favourite of mine is that if you throw - some say coins specifically, others say any small objects - across the floor towards a jiangshi, they will feel compelled to stop and count them (picture the zombies from The Walking Dead, but with severe OCD). In that vein, they actually carried a lot of appeal in the 80s and 90s as the stars of many horror films, specifically propagating a genre known as "kung-fu horror comedy" as well as the more straightforward "jiangshi film" genre. Not only that, jiangshi are - much like western zombies - kind of all over the place. Outside of Hong Kong, jiangshi have appeared in anime series such as Dragon Ball Super or Shaman King, American cartoon series like Jackie Chan Adventures and have made dozens of appearances in modern video games, as both monsters and seasonal player costumes (and in cases like Genshin Impact, even playable characters). On the whole, the jiangshi have quite a unique story. Their roots are very macabre, but over time their representation in the media has lightened up significantly. Sure, they might still be the inspiration for horror stories across the world, but never forget that they also helped pioneer the "kung-fu comedy" genre! 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 S. Howie Immortal Staff Sources: Jiangshi - Wikipedia Chinese Vampire - TV Tropes Jiangshi: The terrifying Chinese hopping vampires | History 101 Jiangshi fiction - Wikipedia
- Huli Jing: Foxy Seductress of Ancient China
Neither god nor demon, the huli jing has long existed in folklore as both divine messengers and malevolent tricksters. To this day, they have a strong presence in pop culture in not just Asia, but the whole world. We briefly covered the huli jing and their appearances in both Shang-Chi and Eternal Love, but here we’ll take a deeper dive into their legitimately fascinating lore. This is the story of the Chinese fox spirit. To explain from the beginning, the concept of a fox spirit is incredibly old. The earliest recorded appearances of the huli jing are as companions to the Queen Mother of the West. Depicted as early as the Shang Dynasty between 1600 BCE and 1046 BCE, this version of the fox spirit framed them as auspicious helpers and messengers to the goddess. They were said to live and serve in the Palace of the Sun and Moon. With the rise of Taoism in the Tang Dynasty (618 - 907 AD), the Queen Mother of the West was raised to a position equivalent to the Buddhist Goddess of Mercy, who is sometimes referred to in Buddhism as “the most widely beloved goddess.” She became a patron goddess of women without family, such as daoist nuns or female artists. As she rose to new power in the pantheon, so too did her servants, the huli jing. Over time, the foxes were recognized as spirits major enough to warrant their own worship. Slowly, their imagery separated from the Queen Mother of the West, and they became deities in their own rights. People began to worship them in small, personal altars in their yards and bedrooms, praying for fertility and wealth. At this point in time, the huli jing appeared in many stories, playing anything from tricksters to scholars to lovers. They were characterized as being mischievous but benevolent, intelligent and devoted. By the Song Dynasty (960 - 1279 AD), things took a sharp turn for the huli jing. Practice of fox worship was outwardly banned, and although the ban itself had limited success, many fox shrines were destroyed, especially throughout the city of Kaifeng. Huli jing began to be characterized as more evil. In some stories from this period, the fox is a vindictive, troublemaking spirit who eats humans and curses people who cross them. One myth that rose to popularity is the story of Daji, a favoured consort of King Zhou, the final king of the Shang Dynasty. In this tale, the original Daji was killed by a malevolent fox spirit who then takes her place and captivates King Zhou. As he begins to neglect the court to spend more time with her, Daji uses her growing power to torture the innocent and cause strife across the palace. She became crueler and crueler, inventing new torture instruments and taking people apart to see how they work. In the end, there was an uprising; Daji was blamed for the fall of the Shang Dynasty, and was executed by the new King Wu. As one might expect from such an ancient creature, there is no one "right" depiction of the huli jing. Different stories characterize them as either kind or cruel, and there is no single fox god that encompasses all of these stories. What can be said however, is that there are some traits which are almost always associated with the fox spirit. At their core, they are shapeshifters with human-like wisdom and the ability to bewitch or curse. Although a huli jing can be killed, it cannot die from old age. Like people, the huli jing can cultivate. It’s said that they begin as ordinary foxes who grow in power as they age. When they reach the age of fifty, they can shapeshift into women. At the ripe age of a hundred, they can become beautiful young women or men. If they cultivate over a thousand years, they transcend into a celestial fox, which is the most powerful version of the huli jing. Perhaps these traits sound oddly familiar. Over time, stories of the huli jing were taken out of China and spread across Asia, eventually leading to similar creatures such as the Korean gumiho or the Japanese kitsune. Then, as time went on, they integrated with the local culture, slowly taking on their own unique characteristics. The Korean gumiho, for example, is depicted almost exclusively as malevolent, man-eating temptresses, who struggle to fight against their violent, animal-like instincts. They have a particular taste for human hearts or livers, and are sometimes described as half-human, half-foxes who roam graves at night searching for organs. Unlike the huli jing or the kitsune, the gumiho does not cultivate to attain divinity. Instead, if they can resist consuming humans for a thousand days, they can become human themselves. In many respects, the Japanese kitsune is very similar to the Chinese huli jing. They are depicted as both good and evil, as tricksters and lovers, and with supernatural wisdom. But where the Chinese perception of fox spirits developed linearly as popular opinion changed across dynasties, the Japanese kitsune actually branched out and subdivided into many different types - a lot of regional variations, and two common categories. The Inari are good foxes and messenger spirits of Inari Ōkami, god of fertility, agriculture and industry. In contrast, there are the Yako, who are mischievous and malicious. One other major difference between the kitsune and the huli jing is that for every one-hundred years the kitsune lives, they gain a tail. Their tails are directly connected to how powerful they are. Common numbers in folktales are one, five, seven, and nine, with nine being the most a fox could achieve. When a kitsune has lived a thousand years they become a Tenko, or a heavenly fox, and ascend to heaven. To this day, depictions of mystical fox spirits are massively popular the world over. From Ahri in League of Legends, to Ninetales from Pokémon, to Kiriko from the newly released Overwatch 2, to Bai Qian from Eternal Love, their imagery is prevalent across all forms of media. They make clever protagonists, dangerous enemies, and are core to some of the most heartfelt, personal stories ever put to paper. It also probably doesn’t hurt that they’re commonly depicted as very beautiful, too! So, the next time you see a nine-tailed fox, you can remind yourself that they’re not just designed to attract people with their cute fox features, ears and tails. They’re designed to attract people with their cute fox features, ears and tails, and they have over three thousand years of history. How many other characters can claim that? 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 S. Howie Immortal Staff Sources: Fox Spirit Huli jing Kumiho Kitsune Guanyin Asian Fox-Spirit Legends of the Fox Bestiarium: The Huli Jing [Chinese mythology] Image sources: please click the images to visit their websites.
- Hong Kong Wuxia Comics
Wuxia Manhua (comics) came into existence at the start of the 1970’s in Hong Kong. After gaining popularity in Hong Kong, many titles were exported to the rest of Asia and the United States. Like its novel counterparts, Wuxia Manhua would prove to be influential. The first published Hong Kong Wuxia Manhua is Oriental Heroes by Tony Wong in 1970. It is about martial heroes who lived in Hong Kong’s public housing estates while fighting gangsters and other criminals. As a nod to Wuxia literature, martial arts from other stories were borrowed; the most obvious being the 18 Subduing Dragon Palms and The Dog Beating Stick technique from Jin Yong’s The Legend of the Condor Heroes. When it was first published, it gained notoriety for graphic violence and the Indecent Publication Act of 1975 was passed as a response. Despite this, the series is still on-going. Its popularity resulted in English translations being available in the United States through Jademan Comics, from 1988-1993. It was adapted into the 2006 Hong Kong film Dragon Tiger Gate, directed by Wilson Yip and starring Donnie Yen, both of Ip Man fame. While this title marked the beginning of Wuxia Manhua, another title would revolutionize this specific genre even further. In 1980, Ma Wing-Shing’s Chinese Hero: Tales of the Blood Sword was first published. It was a breakthrough with its high attention to detail and more realistic drawings, especially in the fights. This led to other Manhua adopting a similar style, including the aforementioned Oriental Heroes. There are also strong crippled characters such as Shadow (armless) and Invincible (blind), who proved to be just as formidable as the physically-abled characters. Likewise, this was translated in English through Jademan Comics and re-translated & re-released through DrMaster in 2008. The popularity of this Manhua led to multiple TV and movie adaptations: the 1990-1991 Hong Kong ATV series The Blood Sword I & II, the 2005 Taiwanese TV series The Legend of Hero, the 1999 Hong Kong movie A Man Called Hero, and the 2022 Chinese film A Man Called Hero. Its popularity also led to more influential works by Ma Wing-Shing. In 1989, Ma Wing-Shing’s The Storm Riders was first published. It features two protagonists, Wind and Cloud, who grow up learning martial arts in the Conqueror’s Clan and their journeys in the Jiang Hu. In addition to featuring two protagonists, the comic series would feature more main characters; Wind and Cloud would become secondary comics. In a unique twist for the genre, a short lived spinoff called Shenwuji featured the reincarnations of Wind and Cloud in the 21st century. The main comic series was translated in English and released by ComicsOne in the early 2000’s. Multiple adaptations include: the 1998 Hong Kong movie The Storm Riders & its 2009 sequel The Storm Warriors, the 2008 Chinese animated film Storm Riders - Clash of Evils, and the 2002 Taiwanese series Wind & Cloud Conquer The World and its 2004 sequel Wind & Cloud II. The live action movies are noteworthy for pushing visual effects in Hong Kong Cinema, and the animated movie is the first to be adapted from a Wuxia Manhua. Additionally, a short lived MMORPG titled Fung Wan Reborn was released. While the output of Hong Kong Wuxia Manhua has decreased in the last decade, Manhua is still being produced in China and these works are adapted to animated TV series. Thanks to Manhua and the popularity of comics in general, Immortal Studios is able to create the world’s first ever Wuxia storyverse of comics! 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 Sources Jademan Oriental Heroes Chinese Hero: Tales of the Blood Sword Fung Wan
- Wuxia Review: Butterfly Sword
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.
- Side Story of Fox Volant
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
- Wuxia Review: The White Dragon
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.
- Wuxia High School?
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