Hu Ge sings a new song for the online game promotion of Dreaming of the Deer and Cauldron, a fantasy version of Jin Yong's novel and adapted TV Series, Royal Tramp/ Lu Ding Ji. Hu Ge's song, ironically is called "I will not be a Hero", I didn't think too much until I read the lyrics:
Don't bother me, I won't become a hero A hero always has a good beginning but not a good ending
That has got to be one of the funniest lines ever. Why? Because almost all of Hu Ge's ancient series when he was the hero ends tragically with him either alone with the girl he loves dying and all his friends also dead, or him left with a baby.
"I won't become a Hero" - Translated b Mai4Luv1
Who loves the world? Who loves mankind? Who assumes morality and justice is a joke? Vast rivers and lakes is not good enough to wash a muddy pot of tea Southern rain and large desert sand Spring breeze blows once, elegant beauty is nature But only for the gentle and soft flower
Don't bother me, I won't become a hero A hero always has a good beginning but not a good ending Willing to come and quickly go but rarely to fall through dreams A good man doesn't go bragging around about being a hero He must only worry about the world Don't romanticized the game of life, don't jump to a negative mind
Who loves the world? Who loves mankind? Who assumes morality and justice is a joke? Vast rivers and lakes is not good enough to wash a muddy pot of tea Southern rain and large desert sand Spring breeze blows once, elegant beauty is nature But only for the gentle and soft flower
Don't bother me, I won't become a hero A hero always has a good beginning but not a good ending Willing to come and quickly go but rarely to fall through dreams A good man doesn't go bragging around about being a hero He must only worry about the world Don't romanticized the game of life, don't jump to a negative mind
Two brothers were involved in a bitter argument over the division of the asset their late father had left behind. Because they were related to Emperor Zhenzong, the judge was afraid of them and would not rule. Even the emperor did not know what to do. When his prime minister Zhang Qixian heard of it, he offered to solve the dispute.
He summoned the two brothers to his office.
“Is it true that both of you think the other person has received a bigger share?” he asked.
“That’s right,” the two men replied.
“Are you sure?”
“Absolutely.”
“You must make a written statement to that effect.”
Thereupon the younger brother wrote: I believe my elder brother received more asset than I.
Then he signed the statement.
The elder brother wrote: I believe my younger brother received more asset than I.
Then he signed the statement, too. Thereupon Prime Minister Zhang announced his verdict.
“As each of you believe the other person received a bigger share of your father’s legacy, to make both of you happy, I order you to exchange the asset you have with your brother.”
The two men were shocked, but agreed it was a fair solution.
This was shown in Young Justice Bao 2, the 2nd episode where Bao Zheng had a bunch of different cases.
This is a mini-movie or promotion for the online game, Dreaming of the Deer and Cauldron. Starring Hu Ge, Liu Shi Shi, Nicky Wu, Annie Liu and Lin Gengxin. This was subbed by me, and hope you enjoy watching this promo with kickass special affects and comedy.
OMG, the upcoming RPG Game Xuanyuan Sword 3 is being made into a TV Series by Tangren, who also made Chinese Paladin 1, 3.
This is a fanmade opening. I simply love it!
The song fits the scene so well. I can't stop watching it. Can't wait for the series.
Xuanyuan Sword 3 mainly centers around two descendants'-namely Yu Wentuo and Chen Jingchou - plans to recover the Chen and Northern Zhou Dynasties, their respective heritages, by finding several mystical powerful weapons. These weapons also help in closing up the doorway that demons use to enter and wreak havoc on the Human World. An unlikely friendship forms, yet they are fated to be enemies. Chen Jingchou's adventures lead him to befriend lots of different people, such as Yu Xiao Xue and Tuoba Yu'er, while Yu Wentuo meets Dugu Ningke, a supposedly spoilt princess with a mysterious heritage. With misunderstandings and emotional entanglements throughout their adventures, will they still manage to finish the quest and save the world from all evil? .
Also, this is one of my favourite photos from Xuanyuan Sword.
This is the actual trailer of the series. There was another 13 minute trailer but it hasn't been subbed yet.
I made a translation for the trailer because I couldn't find one, thankfully it wasn't not too long so I can still handle it without too much steam coming out of my head.
Main Cast: Hu Ge - Yuwen Tuo, Liu Shi Shi - Tuoba Yu'er, Jiang Jinfu - Chen Jingchou, Tang Yan - Tokgo Ningke, Guli Nazha - Yu Xiaoxue, Lin Geng Xin - Zhang Lie.
A pillow is like a hard, rectangular log – that it’s hurt just to imagine how to put your head on it.
The Emperor will always forget to bring money when he goes out to eat, resulting in people saying something along the lines of "Who do you think you are? Only the Emperor can eat without paying!" Usually, someone who travels with him would have to save his ass without revealing who he is.
When a tough man drinking wine, believe me, he pour it out of his mouth more than what he drinks in.
Nobody can tell when a girl dresses up as a guy, no matter how her voice sounds or how she looks. But, as soon as the long hair is revealed, people notice she's a girl.
The Empress - Evil and jealous of everyone.
One of the Princes (Emperor's brother) would always want to kill the Emperor and overtake the throne.
The minions (e.g. common soldiers, imperial guards, escort fighters and low rank bandits) are all useless and get defeated way too easily.
When chasing someone, people tend to shout at the runner and order him to stop, as if he will obey.
Being the hero's parents will always be unlucky and will usually be killed by enemies when the hero is young, and the hero will become an orphan.
When fighting with the enemy, instead of hitting each other, the villain and the hero will choose to hit each other's palm and stand there for sometime before pushing each other away..... and one of them will spit blood out of his mouth
It's easy to immobilize someone - just touch someone with your fore finger and middle finger anywhere on his body and he will not move... but he still can curse and swear.
To cure an immobilization, just anyhow tap your fingers all over his body again.
Skilled people are able to fly over roof tops, up trees and across distances without any sweat. But when travelling to towns and villages, they still have to walk or ride horses.
The eunuchs - evil!
When saying goodbye to other skilled fighters, they will cover their right fist with their left palm and jump out of camera screen (assuming you know they actually fly off into the sky).
The heroes need not have to work for money, but will always have golds and silvers with them to pay for their dishes.
The inn is such an up-to-date information-centre that when having lunch at the inn, you can always overhear gossips of latest news on what's happening in the pugilistic-world. Andusually the gossips come from a few goons at the next table.
Assassins seem to have some kind of agency for employments - they always wear the same standard uniform, black cloth all over revealing only the eyes.
Besides the main characters, everyone else on the street dresses in the most plain clothes and hair.
The heroes and villains will meet each other very often no matter how big the country is and no matter where they are.
Healing internal wounds in the body is as easy as sitting down cross-legged, palms on the knees and smoke coming out from the head.
People like to pass short messages on paper with flying darts to show off their darting skills.
When committing suicide, people are so lazy that they choose to hit the forehead with their own palm.
Nobel's invention of explosives in 1866 is in fact useless. Highly skilled people in the pugilistic world during ancient times already know how to cause explosions with bare hands.
Highly skilled villains have the power to destroy rocks, but do not have the power to kill the hero.
Two highly skilled persons are so nervous in their duel that they keep talking and criticizing each other before they actually start the fight.
The hero always let the villian off after capturing him.
People in the pugilistic world are so free that they don't have to work. They attend gatherings and meetings everytime and nose around other people's matters.
They can keep a lot of stuff in their sleeves and waistband and never drop them. Especially a lot of gold and silver ingots...
Yue Lai Inn is ancient period’s biggest chain hotel
When a man is wounded and dying, he always manages to catch his breath and speak a few sentences to reveal the killer before dropping his head and dying.
Superior poison, antidote and secret weapons all come from Tibet
Those that you see everyday, once they wear night subterfuge clothes and a veil, you won’t recognize each other.
The martial arts name that useless small fry uses have very strong literature or animal implications, but they’re not that good
Those with extremely white long hair + beard is definitely an out of the world expert, must get on good terms with him
The Hero has a good weapon, so good that it doesn’t need maintenance or repair
Amidst flying arrows, if the hero does not wish to die, he certainly will not; if he gets shot, that is only because the baddie at the side is holding his closed one hostage and he was thus distracted
There must be some token moves before the best move is executed, and he’ll spit and shout ‘Go die!!’
To execute the fatal move requires intricate movements and it requires 1-2 minutes, but the enemy will never take the chance to attack, although it is a good opportunity
Hero’s set meal: 2 jin of beef + top quality Nu’er Hong (Permanently supplied by Yue Lai Inn)
The good will never use poison, the bad will always use poison; but the good although never uses poison will always be accused of using the poison, the bad always uses poison but no one suspects him
While being chased on a straight alley, no matter how busy, it is a most important to overturn the stalls on both sides of the street!
If the good uses secret weapon, it’s because he’s forced by circumstances and he’s talented, will always hit the target, if the bad uses secret weapon, he’s being despicable and using unorthodox method, and will always miss the target
If the bad finally hits his target, he will still be defeated by the good who is bearing the pain and he will spit and say: despicable!
There are no toilet scenes at all. If there is, it's always because they've taken laxative...
There will be a rare beauty who will rescue the hero who has been struck by a secret weapon, and they will soon fall in love too…
Society is not very safe at that time, everyone carries a dangerous weapon…
The butcher at the market will always be a fattie!!!
The ultimate weapons will by covered by hemp cloth layer by layer, the ultimate fighter is also covered by hemp cloth layer by layer
Everyone is rich, copper coins is seldom seen, but bank notes are cheaper than paper.
When an old man is dying after being attacked by villains, while lying down he will ask the hero (kneeling beside him) to take care of his beautiful daughter (who will be crying).
(Yue Lai Inn’s) waiter has a vast knowledge, and can answer (+money) any question!
The rich has the family name Jin or Qian; the poor is called Er Gou. You will know immediately if a person is good, bad or a hypocrite once you hear the name
In Shaolin temple only the Abbot and 1 disciple is formidable, the rest are lousy
Secret manuals are split according to sexes, men, women, mixed and neither men nor women…
They like to create trouble at (Yue Lai Inn), first flip the table, then break the chairs followed by a fierce fight
A communication channel that's even faster than the Internet -- word of mouth!
The main lead will either had a hard life or a smooth life, those with a hard life will suffer until they die, those who have a smooth life never buys lottery…
Sometimes they can split a giant rock with a sword, but sometimes it can’t even split a big table
The heroes are all handsome, the big baddies are handsome too, the sidekicks looks outstanding…
Classic script: A: I am ***, those in the martial arts world call me *** B: So it’s ***, I’ve long heard of your name A: You flatter me…
During one on one combat, when the ‘orthodox’ side is losing out, he will shout for help, “Dealing with a demon like this, we need not bother about rules of the martial arts realm, everyone attack!”
When in a duel, he’ll definitely flip up using a somersault, then use 30 classic lines...
Cricket Style is always around, only 2 people will know Taiji Style
The library at Shaolin is frequently burgled…
Although experts can use their nose to smell their enemy’s breathing, but when they are being eavesdropped, they will only realize if the other party knock something over
All love to fake a death
It will definitely rain heavily after someone finishes a lonely drink
There will definitely be thunder once there’s a heavy rain
The person who was found out will usually throw a light bomb when he’s about to be caught, and during this short span of time will run 10 times faster than usual
Trend for group names: Four Great ***, Four Great ###, Four Great @@@
When drawing a sword, sometimes there will be sword aura, sometimes you can't even get it out...
The hero is always the one with the worst kung fu, but he always ends up as the best martial artist in the end. And he usually pays back the bullies who tormented him in his youth.
The generals in the imperial court are all shit, the real expert is the eunuch
Their hair will NEVER be messy; it will always recover after a swish or two (Are they using Pantene shampoo?).
The villains have some kind of strange habit that they like to stay in a secret underground compartment just behind the walls of their room....usually opened up by turning a small statue.
There's always a manual/book that everyone wants for themselves.
Brothels are always called "Yihong Court" (I suspect it's a subsidiary of the Yue Lai Group......)
You can either practice martial arts from young, or don't practice any martial arts at all. Else you won't be able to succeed in anything.
There's only two ways for a hero (daxia) to win: just by 1 move, or 100 / 200 / 300 moves....
Beautiful ladies are everywhere -- this is the most depressing of all....
Only the hero became strong overnight learning powerful martial art. Other characters took years/decades to master the same martial art.
The great hero, in order to show his bearing, will usually pick up a branch and defeat a nobody who thinks too highly of himself. Later Yue Lai Inn started supplying branches…
Sword of Xuanyuan 3 - Scar of the Sky is a new television series starring Hu Ge, Liu Shi Shi, Tang Yan, Jiang Jinfu, Guli Nazha and Lin Gengxin.
Produced by Shanghai Tangren (Chinese Paladin 1-3, Legend of the Condor Heroes 2008), this series is based on the video game of the same title, developed by Softstar Inc.
The newest photos have been released for Sword of Xuanyuan - Scar of the Sky featuring Hu Ge and Tiffany Tang Yan as a couple. Does anyone think that Tang Yan's outfit looks somewhat similar to her outfit in Chinese Paladin 3 as Zixuan?
This series mainly centers around two descendants'-namely Yu Wentuo and Chen Jingchou-plans to recover the Chen and Northern Zhou Dynasties, their respective heritages, by finding several mystical powerful weapons. These weapons also help in closing up the doorway that demons use to enter and wreak havoc on the Human World. An unlikely friendship forms, yet they are fated to be enemies. Chen Jingchou's adventures lead him to befriend lots of different people, such as Yu Xiaoxue and Tuo Ba Yu'er, while Yu Wentuo meets Dugu Ningke, a supposedly spoilt princess with a mysterious heritage. With misunderstandings and emotional entanglements throughout their adventures, will they still manage to finish the quest and save the world from all evil?
The newest stills released for Sword of Xuanyuan 3
Startling By Each Step/Bubujingxin is a novel by Tong Hua, that is adapted into a TV series by Tangren.
Filming locations: Hengdian Studio, Hangzhou, Dongyang Screenwriter: Wang Li Zhi Production company: Tangren Chinese Entertainment Shanghai Limited Producer: Karen Tsoi Director: Lee Kwok Lap (Chinese Paladin, Strange Hero Yi Zhi Mei, Legend of the Condor Heroes 2008)
Zhang Xiao (Liu Shi Shi), a contemporary, ethnically Han Chinese young woman from the 21st century, accidentally travels back in time to the Qing Dynasty period during the reign of Kangxi Emperor after experiencing a deadly combination of traffic collision and electrocution, resulting her somehow reliving the life of one of her previous incarnations and forcing her to assumes the identity belongs to her past avatar: Maertai Rouxi (Liu Shi Shi), teenage daughter of a Manchu nobleman, who also had a near-fatal incident in her own time which Zhang awakes from.
Official MV - Three Inches of Heaven
Being stranded in the past, in the body of a centuries earlier incarnation of herself, and believe by many of Maertai's family and friends that the sudden change of her behavior and memory loss is resulted of her head injury, Zhang Xiao awares that there will be a dangerous power struggle known to history between the scheming princes for the throne, which will results Aisin-Gioro Yinzhen, Fourth Prince (Nicky Wu), to succeed as the Yongzheng Emperor after his father's death. Zhang Xiao tries to change the future outcomes for the better, hoping to prevents any casualty as written in the future without interfering a man's destiny, while trying to find a way to return to her time period. However, Zhang ultimately realizes that, not only she fails to alter the course of the approaching events, but also, under a predestination paradox, she is fated to become an instigator of the tragedy she tries to prevent resulted by her actions in the past and the princess' romantic affections towards her.
Five Poison manual/ Wu Du Mi Chuan - The experience of eat drink f*** bet and smoke (Note: Five Poison can also mean the five deadly venoms - Perhaps they thought it was the five poisons of life?) The Fist of Seven Injuries - 7 Hurted Organs Nine Yin Bone Claw - Nine Woman Catch a White Bone (Note: a woman holding nine bones) Shen Zhao Jin/Skill of Deity Illuminating - God Bless You Sabre Skill of the Hu Family - Dr. Hu’s Sword One-finger Death Touch - One finger just like a Pen is Long Xiang Po Nuo Skill/Skill of the Dragon and Elephant - Dragon and Elephant combine together Two Righteous Sword - 1/2 sword Wudang's Skill of Leaping in the Clouds - Elevator jump (Note: Ti can also mean elevator/ladder) Lightness Skills of Walking on Water - Flying Skill Hu Qingniu's Medical Book - Buffulo Hu’s medicine book (Note: The Niu in Hu Qingniu can mean cow/buffalo) Yi-Gin-Ching of Budhidharm - Change your bone (Note: Jing/Gin can mean muscle and tendons) Sword of Chong and Ling - Brother and Sister's Soul Sword Taixuan Skill - All Fool’s Daily Marrow-cleared scripture - Wash Bone The Skill of Star-sucking - Suck all the stars over China The 6 Yang Palms of Mt. Tianshan [Heaven] - 6 men of mountain sky’s palms (Note: Mt. Tianshan is also known as the Snow Mountain) Sabre Skill of Miao Family - Miao’s Sword Jin Gang's Circle of Exorcising - Superman’s cover Nine Yang Skill - Nine men’s power (Note: They seem to be associating Yang with men and Yin with women) Nine Yin Manual - Nine women’s story Ci Hua Bao Dian/Sunflower bible - From gentleman to a lady (Note: Perhaps the "flower" makes them think of ladies?) Dog Beating Technique - Guide to Dog Beating Bai Hong Sword/White Rainbow Sword - Rainbow of milk (Note: Perhaps the white...?)
Showcase of cosplay pictures from Dreaming of Deer and the Cauldron, upcoming 3D online game/movie.
Dreaming of the Deer and Cauldron was originally a wuxia novel written by Jin Yong, adapted into an Ancient Series many times. This is the online game!
"He is honest in words, effective in action, faithful in keeping promises, fearless in offering his own life to free the righteous from bondage." -- Sima Qian
The word wuxia is composed of two characters. The first character, wu is used to describe things having to do with martial arts, war, or the military. The second character, xia refers to the type of protagonist found in wuxia fiction, and is also a synonym for chivalry. Thus, wuxia fiction is translated as martial-chivalric fiction. The simplest way to describe this genre to those who are not familiar with it is to define it as Chinese swords and sorcery. Most gamers become familiar with wuxia, through films such as A Chinese Ghost Story, Swordsman and Zu.
The word xia in its context of describing a type of person, is more difficult to define. A variety of translations have been used for the word. They include hero, swordsman, adventurer, soldier of fortune, warrior, or knight [-errant]. In some respects, the xia is all of these things, yet these definitions neither fully nor accurately describe the xia.
The most frequently used definitions for xia, are knight and knight-errant. Like the knight, skill in combat was the stock and trade of xia. However, xia were soldiers only on rare occasion. They excelled in personal combat, and were more akin to the renaissance duelist than the medieval knight. In addition, unlike the European knight who was exclusively a member of the aristocracy, xia could come from both humble or aristocratic backgrounds. The xia were often wanderers seeking adventure, but greed and self-interest was not always their motivation. As hired swords, xia resolved conflict through use of force, but their actions were tempered by a personal sense of justice and honor. Thus, what set xia apart from other men with fighting skills had to do with their ideology and code of conduct. As a force for good, xia have been extolled by Sima Qian. Later historians elaborated, making the distinction between xia, and other types of outlaw who used force without scruple for personal gain. Others saw little difference between xia and their less principled brethren. Han Feizi listed the xia among the five vermin of society for being subversive vigilante, while Xun Yue took a moral stance against xia for their rejection of Confucian values.
The traditional xia of fiction is a non-conformist who fights for justice. He is honorable to a fault, his word is inviolable, and his reputation is more important than life itself. Moreover, he is a master of the martial arts who does not hesitate to use his skills in the defense of his beliefs. This type of xia is the idealized version of the heroic xia, and is primarily encountered in modern fiction and cinema. A less romanticized description of xia can be drawn from history and more traditional fiction. This xia is also a swordsman, but one who is more dogmatic than altruistic. He is a champion for any cause to which he has pledged his loyalty, be it benevolent or otherwise. This definition takes into account the sometimes dubious nature of actions performed by xia. Along these lines, in Once Upon a Time in China all swordsmen who adhere to the principles of loyalty, reciprocity, and duty are xia. No distinction is made between xia who are altruistic, and those whose motives are of questionable merit.
The Xia Value System
"He treasures the state, friendship, duty, promises, kindness, vengeance, honor, and righteousness more than his own life." -- Liang Qichao
In The Chinese Knight-Errant, eight common attributes of the xia are listed as altruism, justice, individualism, loyalty, courage, truthfulness, disregard for wealth and desire for glory. Except for individualism, these characteristics typify the Confucian junzi (princeling, gentleman). The junzi embodied all of the traits of the Confucian gentleman, among them: ren (benevolence), zhong (loyalty), yong (bravery) and yi (righteousness). Disregard for riches was a product of the (Northern) Chinese disdain for merchants, and was demonstrated by magnanimity, or indifference to monetary profit. Thus, in many respects the values of the xia are merely an extension of traditional Chinese mores.
Few could live up to the standards of the junzi, though it was held up as the ideal. The best of the xia tried, but most were subject to human foibles. Thus, not all xia were altruistic, and many were acquisitive. Frequently their sense of justice was subjective, and more often than not was in fact vengeance. Their sense of justice (and altruism) could also be looked upon as part of a code of honor that embodied certain elements of li (chivalry, propriety). Noble xia personified chivalry, and even villainous xia would extend chivalry to those they deemed capable of appreciating the notion of honor. Loyalty was one virtue that defined any xia, but it was based on the oft ignored principle of reciprocity. A xia who was not treated with due respect did not feel any obligation to serve his patron with zeal. This was not the blind loyalty promulgated by later Confucians. The courage of the xia was that of any fighting man, and his truthfulness did not always imply honesty. It had more to do with maintaining a reputation as one whose word was sacred, and could often turn to intractability. Even the desire for personal glory was not universal among xia. Some considered it counter to the spirit of wude (martial virtue), which counseled humility and forbearance.
What really set the xia apart from society was their value on individualism, and their willingness to use force to achieve their aims. Thus despite the fact that most of their beliefs were quite mainstream, xia were seen as a part of the counterculture. The individualism of the xia manifested itself as non-conformity with respect to certain traditional conventions. The xia were criticized for placing personal loyalty above family loyalty. Often, an oath sworn to a stranger was considered more important than the unspoken obligation between family members. This was a serious breech of Confucian propriety. To further outrage social convention, many xia had great disregard for authority. Those who were ostensibly their social superiors were often treated with open contempt, while those of humble status were shown great courtesy. Some characterize this behavior as rebelliousness, but in many cases it was due to a sense of egalitarianism. The xia valued individuals over what they considered arbitrary labels of family and status, and were not loath to challenge such notions.
The Origin of the Xia
"The names of the baseborn knights are now no longer heard of. The famous Lords of Yanling, Mengchang, Chunshen, Pingyuan, and Xinling must surely be virtuous people since they have gathered under them many knights-errant. Being relatives of the Emperor, and in possession of land and wealth allow them this privilege. Their fame has spread in the same manner as calling down the wind: even though the voice is not loud, the wind carries it a long way. Since it is now much more difficult, so much more valuable is it for commoners to try to distinguish themselves by practicing knight-errantry. Much to my regret, both the Confucians and the Mohists have neglected to record the exploits of the baseborn knights. Subsequently , these gallant men of the pre-Qin era have fallen into oblivion." -- Sima Qian
The Zhou dynasty which lasted from about 1027 BC to 221 BC was China's longest lasting dynasty, as well as the final period in China's golden age of antiquity. The Zhou maintained a semi-feudal political system in which the Zhou sovereign ruled conquered territories by enfolding kinsmen, favored supporters, and potential political allies. Those who held title to rule these lands did so without much in the way of centralized governmental control. In return, this new class of Zhou nobility was obligated to provide tribute to the royal court, and men for military service when required.
During this period, warfare was a highly ritualized affair conducted by shi, the traditional warrior class of the lower nobility following the rules of li. In 771 BC, the Zhou capital was sacked by barbarian nomads, and the court re-established itself near the city of Luoyang, starting the period known as the Eastern Zhou dynasty. In the following century, Zhou royal power began to decline, and the Zhou king became a mere figurehead as his dukes vied for supremacy. In an attempt to maintain order, the Zhou king appointed his most powerful duke as pa (Lord Protector, overlord), in a system similar to the bakufu of feudal Japan.
The first half of the Eastern Zhou, known as the Spring and Autumn period (Chun Qiu), was a time of great intellectual activity. It was during this time, that the shi became divided into wu-shi (military shi) and wen-shi (scholarly shi) groups. There was great turmoil during this period, as ministers usurped their princes, and large states began to engulf their weaker neighbors. Under such conditions, the shi became highly prized as men of unquestioned loyalty who could assist in the preservation and expansion of a kingdom.
The second half of the Eastern Zhou was known as the period of Warring States (Zhan Guo). As competition between the Zhou states became more bloody and ruthless, conflicts that were formerly settled through knightly combat between shi became battles between vast armies of peasant conscripts. Warfare became increasingly brutal, and the code of chivalry that bound conflict in the past was trampled in the yellow dust of the Northern Chinese plains. As kingdoms were destroyed, social displacement of the shi created a large body of roving warriors who offered their services as swords for hire to the highest bidder.
These men have been called you-xia or roving knights, and were patronized by feudal princes as ke (resident guests, or rather swordsmen). Among these lords were men who charged their retainers with carrying out justice and maintaining order in a time of chaos and upheaval. The most famous xia in these times were the lords of Yanling, Mengchang, Chunshen, Pingyuan and Xinling, who were described by Sima Qian as men of virtue for gathering many xia under their banners. Influenced by the writings of Sima Qian, the historian Qian Mu suggested that these lords were the original xia, and that the term only came later to be applied to the swordsmen who were in their employ. However, the truth of the matter can never be verified, as records of xia prior to the Qin dynasty have been lost to history.
After Qin unification of China, there was a suppression of xia by the Qin government, which adopted the Legalist principles Han Feizi, and condemned xia, along with Confucian scholars, as among the "five vermin of society." The xia were temporarily driven underground, but soon after the death of the First Qin Emperor, the empire began to founder, and xia once more played a decisive role in the unification of China. The race to claim the Mandate of Heaven became a struggle between the commoner Liu Bang, and the aristocratic Xiang Yu. Liu Bang eventually became emperor, and his generals and supporters received lands and titles. This turn of events brought many xia into the ranks of officialdom during the early part of the dynasty, and seemed to herald a period of ascendancy for the xia. However, Liu Bang was an advocate of centralized authority, and adopted a certain brand of Confucianism that was heavily influenced by Legalism as his ruling ideology. The major concern of Confucianism was in establishing social harmony. The xia were a disruptive force in society, and their activities were seen as a challenge to Han authority. To counter this challenge, the severe measures advocated by Legalism were used to suppress xia during later years of the dynasty.
As opportunities in the upper reaches of society became closed to them, xia began migrating to the lower levels of society, where they often assumed roles of leadership in local communities. Under these circumstances, the composition and nature of the xia gradually began to change. The new xia who emerged were those of common origin. Many of these new xia were uneducated, and though they could boast of skill in arms, they were not the professional warriors of the previous era. Frequently, they were impoverished vagabonds who drifted into cities to attach themselves to rich and influential families. These landowners and feudal lords organized private armies, and their xia were used to control local power and resist the authority of the central government. The common xia who lived up to the ideals of chivalry still existed, but the haoqiang xia (local bully) who used his physical strength to exploit the defenseless, and to carry out the whims of his patron became the rule. These haoqiang xia became the enforcers of the local gentry families. They extorted peasants, intimidated local authorities, and even murdered in the frequent vendettas between rival clans.
The names of most post-Han xia have fallen to obscurity. Except for those who made the transition into the world of literature little is known of their deeds. During the close of the Han dynasty, xia like Liu Bei, Zhang Fei, and Guan Yu rallied to save the empire (at least temporarily), and later went on to be influential personalities of the Three Kingdoms period.
During the turbulent era following the fall of the Sui dynasty, a new kind of xia emerged -- the Shaolin monk. Bandits and warlords ravaged the countryside, and fighting monks came to the forefront as icons of stability and justice. Zhicao, Huiyang, Jueyuan and Tanzong were among the thirteen monks charged by Li Shimin (who would later become the Emperor) to capture the warlord Wang Shichong.
During the Song dynasty, barbarian incursions from the north saw xia of a more military nature emerge. Generals like Yue Fei and She Siahua, matriarch of the Yang Family Women Warriors fought against the Liao invaders.
Xia of the Ming dynasty included Ou Qianjin, famous for his wu-gong, and Zhang Songxi who could still break stone slabs bare-handed at age seventy. As the Ming dynasty began to wane, xia once again were called upon to fight barbarian invaders. The Shaolin monks Yue Kong and Da Zaohua fought Japanese pirates ravaging the coasts of eastern China. Qin Liangyu and her White Lance Troops held Sichuan against Manchu invaders for fourteen years following the conquest of the Ming dynasty. Ming restorationist ideology began to coincide with xia behavior, and they were driven underground by the new Qing dynasty. The xia of this era were Shaolin trained fighters who fought against Manchu tyranny. They were monks, outlaws, and members of the anti-Qing Hong-men. The Five Elders of Shaolin, and Zhi Shan were some of the most famous fighting monks of the period. Ming loyalists trained by Shaolin who formed the Hong-men, became known as the Five Ancestors of Shaolin. The Five Ancestors and their disciples solidified the association between xia and secret societies during the Qing dynasty. Xia were called upon to lead village militias against oppressive landlords and their private armies (min tuan), rapacious tax collectors, as well as against bandits. The anti-government sentiments of these xia led to their suppression, and the rise of a more acceptable form of xia -- the piao ke or biao shi (security escort). These xia guarded bank shipments, and acted as bodyguards to Qing officials. This development was in some ways counter to xia non-conformity, but the biao shi embodied the xia virtues of loyalty, courage and incorruptibility.
The Jianghu
Enticing from without; awesome from within.
Jianghu is a word that appeared during the Ming dynasty, and is used to describe the world of the you-xia. The word originally referred to places where hermits lived, but eventually came to designate what has been termed as the Underworld, the World of Vagrants, or sometimes the World of Martial Arts. For Once Upon a Time in China the literal translation of River-lake will be used. The historical River-lake, refers to the world of secret societies and bandits. The fictional River-lake includes the Wulin, and is composed of wanderers of slender means, with no fixed abode. Its denizens include xia, lumpen intelligentsia, adventurers, monks, priests, rebels, cultists, unemployed peasants and laborers, itinerant peddlers, beggars, disbanded soldiers, gangsters, smugglers, and other outcasts of society. To these people, the River-lake provided a substitute lineage, which offered them the assistance and protection that they did not receive from mainstream society.
The Lulin
"Those who deprive others of their property are either bandits or burglars. The former work in groups, use violence unreservedly; they kill and rob in broad daylight, in open defiance of the law. On the other hand, the later work in cliques of three to five; they sneak about at night, and only resort to violence when their lives are at stake." -- He Xiya
The Lulin is the World of the Outlaw. Its members are termed 'underworld stalwart' in The Water Margin, or 'brothers of the greenwoods' in Judge Dee novels. The Lulin includes bandits, burglars, pirates and other criminals. In general, bandits and pirates started out by working in small groups. In order to strengthen themselves against opposition, they would recruit from the ranks of dispossessed peasants and boatmen, as well as other members of the River-lake. As their numbers grew, it became necessary to form hierarchies and establish rules to maintain order. The bandits borrowed heavily from secret societies in this respect. Members of the Brotherhood of the Greenwoods swore blood-oaths, maintained their own codes of law and ethics, and communicated with secret codes, signs and languages.
In times of stability, bandits would prey upon honest peasants. Towns and villages would be forced to pay protection money or suffer the consequences. These villages essentially became part of a bandit 'lineage', and could prevent the depredations of weaker bandit groups by claiming the protection of their 'elder brothers.' Occasionally, villages would call upon their outlaw protectors to carry out inter-lineage vendettas. An independent village facing this type of opposition, would be forced to join a rival bandit gang for their own protection. This would lead to an escalation of the conflict, and such disorder would result in the intervention of the government. Ironically, for the official charged with the task of suppressing bandits, the Lulin was also the source from where mercenaries for his militia army (tuan lien) were recruited.
A related development was that of the village union (lian zhuang hui), which was organized and led by the peasants themselves, to resist bandits, and oppose the more egregious demands of the local elite. Such groups were often sympathetic to anti-dynastic revolutionaries, due to infiltration of their ranks by members of secret societies. Officials called such groups 'bogus militia' or 'bandit militia' for their armed resistance to tax-collectors, and for the ease with which they became actual bandits when instigated by secret societies. Even traditional bandits became full-fledged rebels during periods of turmoil, leading popular uprisings against oppressive landlords. It was also quite common for such bandit groups to work in conjunction with anti-dynastic secret societies. In the wuxia genre, righteous bandits who opposed local despots and protected the weak were known as dao-xia.
The Wulin
Your gong-fu is no good!
The Wulin exists only in fiction, and is a term used to describe the World of the Martial Arts. This is the world of the wuxia heroes of authors like Jin Yong and Gu Long, as well as the Hong Kong cinema (or rather, the Mandarin cinema). It is a world in which xia dedicate their lives to perfecting their martial skills, and fighting for truth, justice and the Confucian way. More worldly xia seek glory, fame and wealth. In fiction, these members of the Wulin carry on the shi legacy, and follow many of the rules embodied in wude (martial virtue), li (chivalry), hao (gallantry), and bao (vengeance). In the River-lake, the elite of the Wulin are known as gao shou (lit: high hands) or huang-baofu (lit: yellow-bags), and treated with the utmost of respect and deference.
Sects and Secret Societies
In the River-lake, a man cannot decide for himself.
Unlike the rural bandits of the Lulin or aloof wanderers of the Wulin, secret society members belonged to the urban community. Derived from mutual-benefit societies, the tang (society hall) was a community center, where members could gather to socialize. During times of disaster or hardship, the society provided financial aid or shelter. In other circumstances, they offered physical protection of life and property. In essence, the secret society was a substitute lineage which welcomed destitute peasants, demobilized soldiers, and other social outcasts of the River-lake. It offered security, and a sense of family which members would otherwise not have.
In order to maintain order in a diverse company, codes of conduct were adopted by secret societies. Rigid discipline was practiced, and initiation rites and trials by ordeal were required for entrance. Members of groups like the Hong-men were expected to follow the 72 articles, the 36 oaths, and the 21 ordinances, as well as know the 10 taboos, and the 10 penalties. Such restrictions were used to exercise control over society members, and had the added effect of allowing members to commit crimes with an easy conscience, provided that such acts were permitted within the system. However, those who did not observe the rules of the society were punished with draconian harshness.
Secret societies could be categorized into to major groups -- those influenced by religion, and those which were overtly political in nature. Secret societies of the former variety were most common in northern China, where most groups were offshoots of the White Lotus society. Secret societies of the south were primarily of the latter variety, particularly during the Qing dynasty. Yet despite the differences in their backgrounds, there was a large degree of overlap between these types of secret societies. Organization and goals of political and religious secret societies converged, due to the adoption of many aspects of worship and ritual by political groups. These secret societies assembled under the guise of religion to avoid government persecution, and rebels frequently went about their activities disguised as monks. The fact that monasteries had been granted the privilege of buying and selling identity documents since Shaolin monks aided Tang Taizhong in 622 A.D. also resulted in monasteries becoming refuges for political dissidents. This of course led to the suppression of religious sects, which were also occasionally persecuted when their influence became too widespread. For their own defense, these sects would develop anti-dynastic agendas after being driven underground.
Religious elements had a profound influence on secret societies, and were influenced by the Chinese utopian ideal. Since the Tang dynasty, the slogan of the secret society has been 'Peace and Equality.' Secret societies claimed to seek parity between commoner and gentry elite. In addition, secret societies welcomed women to their ranks. In contrast to mainstream tradition, many secret societies asserted equality of the sexes, and women were able to achieve high rank in such societies. In their efforts to protect the interests of the disenfranchised, secret societies promoted mutual aid, and instructed members in the martial arts. They organized village defense forces so that peasants could resist the burden of heavy taxes by corrupt officials and landlords, and often promulgated moral and social reform.
The leadership of secret societies came from the lumpen intelligentsia -- degree holders unable or unwilling to find jobs, failed examination candidates, ex-military officers, yamen clerks, monks, priests, and other literate members of the River-lake. Secret societies offered educated men who could not fit into the roles prescribed for officials with normal government careers an alternative path to achieve power and status. From a political standpoint, secret societies functioned in a manner similar to gentry clan lineages. They sought to influence local government by bullying weak officials or bribing corrupt ones. If the government was strong, their activities fell more along the lines of petty outlawry, smuggling, and resisting tax-collectors. The militias that were organized to suppress such activities were only nominally led by the local gentry. The actual training and command of the troops was relegated to subalterns, who were often members of secret societies. Further infiltration by secret society members allowed militia units to be transformed to bandit or rebel group under the proper conditions. During times of disorder, foreign invasion, and weak government, secret societies frequently instigated peasant revolts, and allied themselves with professional bandit groups to challenge the imperial state. In fact, secret societies have been directly involved in every peasant rebellion throughout Chinese history.
Xia, Jianghu, and Society
Ten years make a scholar, but not a River-lake veteran.
Once members of the ruling elite, xia were considered outsiders, who do not follow the rules of conventional society because of their use of force to resolve conflict. The illegitimate use of force was frowned upon by Chinese society. Their wandering lifestyle, and rootless existence has been seen as a rejection of family. And in a society which valued education over physical abilities, the xia was seen as an anachronism, and a representation of the Chinese counterculture. The division between wu-shi and wen-shi became particularly large during Han times. Yet the perceived clash between values is largely cosmetic, and gong-an literature shows that the two can co-exist.
Relegated to the lower ranks of society, and with many of the options for advancement closed to him, the xia was not held in very high regard by the elite. To the masses of common people however, the xia was frequently a person to look up to. He was a mythic character who opposed the oppressive landlords and corrupt officials. However, despite these differences all xia values can find their roots in Confucian values. This is of no great surprise, given the fact that they trace their tradition to the xia of the Zhou dynasty, whose values were almost entirely based on Confucian traditions. The heroic xia is the Confucian junzi, who maintains the martial spirit of the shi, rather than that of the scholarly ru. Their parallel code of ethics and behavior represent the flip side of the Chinese establishment, and rather than being antagonistic to tradition, xia behavior is complementary -- yin to yang.
This duality of nature is reflected in the juxtaposition of xia and scholars. The xia respected in times of chaos, while the scholar is highly regarded during times of stability. Thus the xia in his youth, frequently becomes a scholar as he matures and gains wisdom, and the magistrate who uses his wits to maintain order also employs xia when physical force is required. This relationship was popularized in the gongan (case histories) of the Qing dynasty describing the alliance between martial heroes and righteous officials to redress the grievances of innocent citizens, but certainly was based on similar relationships between xia and officials during the Tang and Song dynasties.
Wuxia Fiction
The wuxia films that we see today are derived from modern wuxia literature. This literature has its roots in Tang dynasty chuanqi (prose romances), which contained many of the elements found in the modern wuxia genre (e.g. magic, supernatural events and vengeance), and the huaben tales of Song dynasty storytellers. Huaben tales were extremely popular during this period, the name coming from the prompt books used by the storytellers as mnemonic devices. Subjects included yinzi'er (tales of strange events) and gongan (detective stories), and tie qi'er (tales of martial heroism). However, the pioneers of the wuxia genre wrote during the Ming and Qing dynasties, and set many of the standards for modern wuxia novels. Novels like The Water Margin, were thinly veiled criticisms of the government. Others novels, like the various gongan (exemplified by the Judge Dee novels) were made for popular consumption.
The modern wuxia novel came into being following the May 4th movement of 1919. A new literature evolved, calling for a break with Confucian values, and the xia emerged as a symbol of personal freedom, defiance to Confucian tradition, and rejection of the Chinese family system. As a form of protest, wuxia films and literature were banned at various times during the Qing dynasty, and Republican era. These bans hurt the growth of the genre, but following World War II, a new phase of excellence emerged in wuxia literature, exemplified by the work of Huanzhu Louzhu (author of Blades from the Willows). Other influential authors of the time include Wang Dulu who introduced the use of melodrama, and Yao Minai, who wrote about secret societies.
During this period, wuxia novelists were divided into Northern and Southern schools. The Northern school was centered on Beijing, and followed a traditional approach. They focused on traditional values, were based in realism, and set their stories in a historical context. The Romance of Three Kingdoms is typical of this style, even though it was not written during this period. The Southern school was centered on Shanghai, and developed from the new literary movement. Novelists were influenced by the West, and wrote what could be called pulp fiction. A second phase was launched in the mid-50s by the work of Jin Yong (author of Fox Volant of the Snowy Mountain). His contemporaries include Liang Yusheng, who introduced the concept of the hero as in intellectual, and Gu Long who viewed the xia as a solitary ascetic.
Chinese wuxia films which grew from the literary tradition include fantasy films with flying swordsmen, and the more conventional martial arts kung-fu film. The former category traces its lineage back to the first wuxia film, The Burning of Red Lotus Monastery filmed in 1928 and based on The Legend of the Strange Hero by Xiang Kairen. This film, and its sequels, were the prototype of the wuxia fantasy genre. In it are all the elements of modern wuxia fantasy films, including special effects to simulate palm power, and the use of wire-work to simulate flying. The anti-Confucian themes, violence, and supernatural elements in these films however, lead the government to ban their production in the 1930s, citing their content as being a negative influence on China's youth.
When these films were again produced in the 1950s, they took stylistic elements, and conventions from traditional Chinese opera, which included the promotion of a rigid orthodox moral code. However, by the mid-60s, a synthesis with the new literature movement changed the one dimensional xia of earlier films to a more complex character with human flaws, and produced the wuxia film as we know it today. King Hu (PY*: Hu Jinquan) introduced a style of imagery and beauty that appeals to our senses, while Chang Cheh (PY*: Zhang Che) introduced the style of violence and bloodshed popular with gorehounds. Most however, are most familiar with the fantasies of Tsui Hark (PY*: Xu Ke), who captures our imagination, and the choreography of Yuen Woo-Ping (PY*: Yuan Huo-Pin) that makes the pulse race with excitement.
Yes, I can be crazy and watch 5-10 episodes a day when I am really hooked on a show.
The main storyline -
Li Gexiao was asked by a former colleague to help him bring back gold that was stolen. He teamed up with three other people, Chai Hu (muscle fighter), Yan Sannian (thief and lock picker) and He Xiaomei (performer and has the abilities to change into anyone he wanted to look like) to accomplish the task.
Soon, it is revealed that his former colleague treated Li Gexiao as his rival and tricked him into stealing the gold from the good people, and therefore framing the team and making them wanted criminals. After the four worked together and did good things for the country, they realised how good it felt to help the people, so they formed a team called Yi Zhi Mei, which means a branch of plum blossom, and their purpose and mission was to punish the treacherous evildoers, suppress the strong and aid the weak and get rid of bullies and bring peace to good people!
This series goes by cases, each case can be three or more episodes, usually focusing on one specific event. However, the development of the characters and their past is continous.
This series will continue to drop little hints with flashbacks of the character's past, and reveals their backstories to make us understand more about them and their actions.
There are also arcs that focused on a particular character's past.
For example, the arc about the medicine and poison focused on Sanniang's past. The curse one focused on Xiaomei and the one with Chai Hu's daughter of course would focus more on Chai Hu. In a way, each of the characters had some tragic events that happened to them.
All about the Characters of Strange Hero Yi Zhi Mei
As for the characters, Li Gexiao is the brain of the group, he thinks of most of the ideas but he loves to try and do things on his own and risk his life. At first, he seemed to be someone that lost all hopes of the world, that really didn't want to do anything. However, after he met his friends, he realised the importance of life again and what it means to do good things. In a way, he became alive again. He is calm and extremely smart and righteous. He would not be afraid to lose his life fighting justice.
He Xiaomei has the ability to turn himself into anyone he wants to look like. He is also a performer. He appears to be easily scared and at first, he looked like he really loves money, but there's a lot more to his personality. He is really calm and collected, always trying to pull back Chai Hu during his "charge forward without considering the consequences moments", he also has a gentle characteristic, which sometimes he gets called girly by Chai Hu. He is also very skilled with medicine and treating injuries.
Chai Hu is the muscle fighter of the group, he is the type who would rush in and charge forward without thinking and his first solution would just be to kill everyone. However, he is a very nice person and loves to help people. He also had a very difficult past which he finally escaped from. At first, he says that he is Li Gexiao's rival and wants to fight him, but in reality they are great friends.
Yan Sanniang is one of my favourite characters, she kicks ass!
I just love her! She is a really strong character that does a lot of the physical fighting. In the beginning, she appears to be cold at first, but she has a really warm heart. She had a tragic past which caused her not to trust people, but she is a very nice person. She may get irritated easily at first, but it's usually for a good reason, perhaps when Li Gexiao is trying to carry everything on his own. Sanniang also has an absolutely adorable side to her, where the way she talks is absolutely so cute. She is a very strong character who won't let her past run her down, she also determines to be herself.
One of Sanniang's kickass fights.
What I love about this series?
It combines action from Legend of the Condor Heroes and mystery from Young Justice Bao, as well as lots comedy, suspenseful, exciting and sweet, heart wrenching moments.
It explores the concept of justice, being righteous and what honour means, what it means to truly do good things in the world.
One of the very good examples was when Li Gexiao sacrificed himself for a heroic act in the beginning and for that, he was sentenced to death. The brocade guards watching him knew that he was innocent but at first didn't dare to say anything. Later, they told him how it was much easier for them to live helping the bad people do wrong than to go against them, for the sake of their families. However, they were willing to help Li Gexiao, by giving him 10 counts. During the 10 counts, they would ignore anything that happened, so that they would allow him the chance to escape. This was a moment where you really felt just how much honour and bravery it took for them to make that decision. Afterwards, Li Gexiao had to go into a battle with them, and you could see he "had" to injure them, so they had a chance of survival.
Some of the very memorable quotes from the series -
"What does living forever mean? - The true meaning isn't for your body to live forever, but memories of you to live forever."
"Being a good person may take the efforts of an entire lifetime, but doing bad deeds only takes an intention."
"The most difficult moment is usually right before you succeed."
"Every person has a life. However, not everyone understands it. Those who do not understand life sees it as a punishment."
The music is another thing that I loved. I have always enjoyed Tangren OST songs. The combination of the colours, music, story and characters of Tangren series always makes me feel warm and fuzzy. Although this series does reuse some of the Legend of the Condor Heroes soundtrack, but it still has nice songs from its own. They must release an OST for it! I need "Plum Blossoms in Heaven and Earth", full version!
The camera angles and fight scenes, OMFG was I impressed with them.
It's like Tangren just stepped up a new ladder with their camera angles. Every part of it was filmed so well, that really made the fight scenes stand out, even though they had no special effects added.
I absolutely loved the use of closeups and slow motion, especially of the weapons, the way the light body skills/flying was filmed, and how the candles dimmed. Everything was just done exceptionally well.
I discovered Qin's Moon by a complete fluke, but I am sure glad I did.
I had been a fan of a voice actress, Huang Yiqing, who has been in many Ancient Chinese Series like Seven of the Sky, Chinese Paladin 3. I looked up her profile on baidu and saw that she was in Qin's Moon, and the animation of her character, Yue-er seemed very interesting, so I searched it up. I downloaded the series for a good few months before actually watching. I started with season 2.
I wanted to sub this series because it was Wuxia Animation and it could help more people discover this genre. While I watched and subbed, I was becoming more and more excited about every episode. Finally when it came to season 3, I was crazily addicted.
Despite the animation quality in the first two seasons, what I was amazed with was how good the story was.
I absolutely loved how intelligent Yue-er was, and how much she contributed to the story, even though she wasn't a fighter. I also love Shao Yu's attitude towards Tianming, how he wanted to be known as the Big Brother. I love the personality of Tianming, his attitude to facing difficulties and danger.
The main story of Qin's Moon is described as -
Qin's Moon follow through the Qin dynasty time when the Emperor of the Qin, King Zheng conquers the other 6 nations and unified the whole of China to the rise of King Western Chu, Xiang Yu who capture the capital city, Xianyang.
The story circle around a young protagonist, Jing Tianming who carries the blood of a hero turning from a weak and ignorant young boy into a great hero, who single-handedly changes the process of history.
Following the story, different moments of history and folk's myth will be re-light, heroes and swordsman that causes the change of history will appear in the land of unrest and chaotic times of great china. Young protagonist, Tianming who's life is as strong as weeds that survive in the era of change, among the chaos, the face of violence in the regime, dangerous enemies, difficult family relationships, friendship, love, the profound changes, reincarnation of sorrows and joys , eventually the end of this era became the start of a new era of decisive force, the brilliant achievements of a romantic legend.
The creators of Qin's Moon just keep improving. They have shown how they've grown from season 1 (the original, and not remade version) to season 4. It's clear they are developing just like Tianming, the main character.
Season 3 was what really made this series to be such an inspiring and wonderful series. Although, I did not see season 1 until the end, which was absolutely fantastic as well.
What I find amazing is this story is very focused on real historical events. I have never been much of a history person, I always find history hard to understand. But this is absolutely different. This mixes history with fantasy, telling the story through a young hero, and making it so easy to understand. They also combine history very well with comedy, action and inspiring scenes.
Qin's Moon tells the story about the Qin Dynasty, about the Emperor Qin Shi Huang, which was known earlier as Ying Zheng, the Hundred School of Thought, which are all the philosophers in that era, focusing majorly on the Mohist and Confucian Schools. It also tells major events such as Jing Ke's assassination attempt, the Great Wall and many more. So many of the characters are actual people!
This series explores many Mohist philosophies, such as being against wars and fighting and loving everyone in the world. This philosophy is known as "Anti-war and Universal Love". The Mohist leaders pass this belief down generations after generations. The heroes also explore what it means to be a hero.
"Anti-war is being against wars. All wars, no matter what their reasons are, as long as there's war, it will cause the common people to suffer. Universal Love means that people should love and take care of each other. Those with powers should use it to help others. Those with wealth should share the money with others."
"Massacre is never the reason to become strong. This word "xia" reads "chivalrous hero". If a person must defeat another in order to prove themselves, they've already lost. The right part of this word reads "human". It represents the actions and behaviours of a person. And on the right, the word reads "double-layered". It is made up of a big “human” with two little “humans”. What it means is that a strong person should help those who are small and frail."
When you help one person, you're a chivalrous hero. The more people you help, you're spreading the way of chivalry to more and more people. If you can help everyone in the world, then you're a great chivalrous hero.
When I saw how amazing season 3 was, I had to sub the entire series.
After watching Qin's Moon, I learned a lot about the different philosophers, such as Mohism, Confucianism, Taosim, and much more. I really enjoyed seeing how the Confucian School used the etiquettes.
The fights were really awesome! It's like live action wuxia mixed with fantasy effects.
I've noticed a lot of people comment on how deep Qin's Moon is, and I must absolutely agree there. They really explore the characters and pasts of the characters. Some of them had gone through a lot of tragic events and shows how they become the person they were.
Now, the anticipation is on the fourth season. There's several jokes about people's grandsons dying of old age before they get to watch it, because it is taking so long to come out.
What others are saying about the series -
Oscar This series is amazing, the animation/art work is well put and the story line is indeed unique. I watched this non stop from season 1 ep 1 to season 3 ep 8 English subbed, i truly liked this and i hope many others do. Can't wait for the rest of it, tyvm for all the uploads. All the characters have a unique background which is expressed in entire episodes of just explaining their past and hardships, beliefs and experience through flashbacks. It's not the boring filler episodes which sometimes take months to end and have you bored to death lol. So far each episode has been very intriguing even without all the fighting you get the sense of reality from each of the characters.
Azi One of the best un-cliche fantasy story ever seen with funny scenes and heartbreaking scenes and every scenes molded in a story(of course every story have that. What am I saying?)
AnimeCraze One of the best anime watched in years... i mean years... thanks you
Olivier Leung Okay i have to agree with Oscar on this one the animation is amazing so much depth and quality put into these characters to make it trully lifelike.The effects are amazing.I think the animation might be making a little dizzy because i don't usually watch anime that much only two.But it is a really great series you learn something form it too ^D^
Chinese Paladin 3 is a prequel to Chinese Paladin, and this is the main story and takes place 50 years earlier.
This is the storyline of Chinese Paladin 3 -
Jing Tian is a mischievous pawnshop assistant who because of the power of a mystical jade, crosses paths with the spoiled and sassy Tang Xuejian, the beloved granddaughter of Tang Manor's Tang Kun, who meets with danger when an evil cult tries to take over control of the Tang Manor. Xu Changqing, the eldest disciple of Mt Shu Sect aids the pair in defeating the cult and rescuing the Tang Manor. Meanwhile, Chong Lou, ruler of the evil world, breaks into Mt Shu's Demon Locking Pagoda to retrieve a magical sword.
He passes the sword to Jing Tian, claiming that it belonged to latter when he was a deity in his past life and forces Jing Tian to battle with him.
The five elders of Mt Shu Sect call upon Jing Tian and Chang Qing to attain 5 mystical pearls to seal up the Demon Locking Pagoda and destroy a powerful force of evil so as to save the world from destruction. Together with Xue Jian, the group set off to accomplish their mission. On the way, they overcome various obstacles and must solve mysteries pertaining to their pasts.
I first bought when I was in Melbourne. I found this asian DVD store that happened to have it. However, because the quality was so bad, I didn't really watch it for a long time...
Until one day, I discovered just how awesome it was.
Chinese Paladin 3 is absolutely awesome. I loved it because of the story and mostly because of the humour. I love Jing Tian's happy-go-lucky personality and how he makes the whole show so entertaining and funny.
The highlights that I particularly remember were -
The part where Jing Tian had half realised that he was in love with Xuejian, and Changqing was talking about the thunder pearl, being so full of attraction and sparkling with energy. Jing Tian was like, I thought you liked Zixuan, since when did you like Xuejian? How do you know she's sparling with energy? Those weren't the exact words but just Changqing's face was so funny.
Another scene was when Jing Tian was up in the Celestial Realm and he was trying to play with those guards, so he stepped through again and again, making them say "Greetings, General Feipeng!".
This scene is here -
Another scene that was one of my favourites was when Jing Tian was in the Demon Locking Pagoda and beaten almost to death. When Changqing came, he was trying to find a way for him to not die, so he went... "If you dare to die, I'll kill the sow, your sister and that fat Maomao. I'll also burn all your antiques and burn Yong An Pawnshop. Then, Jing Tian suddenly came to life, going "stop with all that nonsense, you can't even act like me!"
And this part I'll always love, when he was talking to Red Hair about falling in love... It is a complicated scene to explain so this is a great one for people to find out.
Of course, I love Jing Tian's famous line - "I'm Jing Tian, the Jing in Jing Tian, the Tian in Jing Tian."
Other than the comedy scenes, some of my favourite moments would be the part where they go to the Heaven world and discover their past lives as Deities, with Xiyao, which is a character I love. I really pity Xiyao in the end, but admire her for willing to let go.
I really love the conclusion of Zixuan and Changqing's love. Zixuan in her first life as an 18 year old was one of the most adorable characters. I loved it when she yelled, "Gu Liufang, wo xihuan ni (I like you)", in this context, like means so much more here. She was just so sweet. I also love her hair style.
I loved the part where they go to the ocean to find the last pearl, and discover the story of Shuibi and Xifeng. That was a very touching love story.
Something that I thought was so cool was the RPG game setting in a fantasy world and being an adventure show.
It has such a nice balance between comedy, adventure, action and romance.
Firstly, I really loved the effects. I think the team has improved heaps since Chinese Paladin. They really did a great job making people feel like they're in a game while watching.
Of course, I met a great MV maker called YangEir and we worked on a Chinese Paladin 3 trailer. It was so fun to make.
Finally, the ending. Ending. Where should I begin? Be prepare to be spoiled!
Seriously, Tangren (the producers) really hate happy endings. Eve for a series like this that could have had a happy ending for everyone, it is so sad. So many characters had fates I wish they did not. However, the ending is nowhere as depressing as Chinese Paladin, but still I want it happy, I really want to see more.
One of the most beautiful scenes is the very end with Xuejian and Jing Tian in the snow.
I almost believe it brings hope, so I try not to see it as a completely bad ending. I will imagine things so that it doesn't end so sad.
Treasure Venture is an adventure series that combines a great story, characters, comedy, fighting/action and romance. It is one of the best examples of a show that has everything.
The Emperor asked Prince Cheng and Lu Dingwen to obtain the Divine Book of the Supreme Counselor in the underground tomb of the previous Emperor. While on the mission, they face all types of dangers. In the end, Prince Cheng decided to rebel and wanted to keep the book to himself, and trying to kill Lu Dingwen. Thankfully, his wife (Du Huixin - the mother of the main character) came and saved him on time. However, the taking of the book wasn't as successful, as a result, Du Huixin died after giving birth to a baby girl.
18 Years later, the baby girl, Lu Jianping is a very playful but kind hearted girl who dressed up as a boy and helped people. She met Shui Ruohan one day and helped him. She had him come to her house to be a reading partner. However, least to what she expected, Ruohan was an assassin sent by Eunuch Cao, one of Prince Cheng's people who would do anything to obtain the book.
Ruohan couldn't help but be taken by Jianping's happy, carefree and sweet personality. He finds himself falling in love, yet at the same time he was there for the mission of stealing the three keys that opened the tomb.
"The way of the chivalrous heroine should be having the courage to help people who are in danger. That’s why they should have a benevolent heart. They should be especially good at showing understanding towards people, understanding other people’s difficulties. They should be extremely able to forgive others.” - Jianping
The Bamboo philosophy -
“Look at how slim and soft this bamboo is. It can be bent at will, but to break it is by no means easy. If the force passes from the arms, it can become a bamboo sword, which turns into a weapon. It can pierce through flesh and blood of the human body. Its limit and tolerance absolutely does not fall below a steel knife and a metal sword.
Ancient people often compare bamboo to a hero. This is because the centre of a bamboo has a great capacity. This is just like a hero’s heart, which should be open minded and wary. The Bamboo joint is just like the ambitions and moral courage. A hero would follow way and have control over the actions they do.
The sharpened bamboo can protect yourself but also kill. When the point of the bamboo touches the skin of the other side, you still have enough time to consider the value of the other’s life. Life for any person can only happen once.”
This series if everything about sacrificies, love, the beautiful values of life, action, comedy, a great storyline and character development combined.
