What Makes a Story Wuxia? The Grace of Kings vs. The Black Trillium

I recently read The Grace of Kings by Ken Liu. I enjoyed it.

I was thrown off by this blurb from Wes Chu “Ken Liu wrote the Wuxia version of Game of Thrones.” As far as I could tell, The Grace of Kings is not wuxia at all. Wes Chu is entitled to his opinion, but because I read the blurb before I read the novel, I was looking forward to some wuxia elements, and was disappointed when I did not find them. That is unfair to the novel, because it is very good on its own terms.

To me, The Grace of Kings is a Western epic fantasy which is heavily influenced by ancient Chinese history. And it seems that Ken Liu himself agrees with me. In interviews, he says that The Grace of Kings is ‘Western epic fantasy’ with a ‘silkpunk’ aesthetic, which is accurate and would have given me a better idea of what to expect.

I did not know the premise of the novel before I read it, but I figured out pretty quickly that Emperor Mapidéré = Qin Huangdi, Kuni Garu = Liu Bang, etc. – it is obvious to any reader who has the slightest clue about that era in ancient Chinese history. My classmates in my middle school would have made at least some of the connections, and most of them were not history buffs. (By the way, if you do not already know the history of the early Han dynasty and plan to read this novel, FINISH THE NOVEL BEFORE YOU DO ANY HISTORICAL RESEARCH, because the historical research will spoil the plot of the novel for you).

This was the textbook we used in the middle school history class where we covered the Qin and Han dynasties – though our teacher taught us a bunch of extra stuff about Qin Huangdi, I guess she was really interested in him.

But being influenced by Chinese history does not make a story wuxia, just as the fact that George R.R. Martin was influenced by the War of the Roses does not mean that Game of Thrones is an Elizabethan history play.

To be sure, wuxia is one of the creative influences on The Grace of Kings, but so are Homer’s epics. It would make just as much sense to say that The Grace of Kings is the ‘Homeric’ version of Game of Thrones.

In wuxia, things which stretch or even break the limits of nature as currently understood are quite common – such as a character with superhuman skill – but blatantly magical/supernatural/divine stuff is off-limits. For example, in The Romance of the White-Haired Maiden, the protagonist was raised by wolves, she is so shocked by her lover’s betrayal that her hair turns white overnight, and the only way to restore her original hair color is a flower which only blooms once every hundred years (or was it sixty years – it’s been years since I read the book). Improbable, but it does not require a magical/supernatural/divine explanation. Wuxia has barely enough fantastical elements to separate it from historical fiction (Simon McNeil discusses this in greater length).

In The Grace of Kings, gods who are bicker and manipulating mortals. This does not happen in wuxia. As soon as gods are active characters in a story, it is no longer wuxia, it is xianxia or xuanhuan or some other genre. The bickering gods act like they came out of the Iliad, so that suggests Homeric influence.

This is a scene from a famous wuxia story which takes place in Russia.

Another thing which makes The Grace of Kings ~not wuxia~ is the fact that it is a secondary fantasy. Wuxia (theoretically) takes place in our world, usually in China between the Tang and Qing dynasties, but it can also be set in Vietnam, Russia, Joseon-dynasty Korea, Kazakhstan, 1930s Chicago, 1980s Changhua, etc. Honestly, I am slightly surprised that I have not found an wuxia story set in California, though I am sure it exists. However, if it is secondary fantasy i.e. set in a world other than ours, it is xianxia or xuanhuan or some other genre.

Let’s talk more about that wuxia story set in Toronto, The Black Trillium which I blogged about. The characters are all thoroughly Canadian (except the characters from Seattle). Yet I recognize it as wuxia. Aside from the fact that The Black Trillium is set in our world and refrains from blatantly magical/supernatural/divine stuff, what makes it wuxia?

This is Canadian wuxia (actually, The Black Trillium is nothing like this, I just wanted to have fun with stereotypes).

Another essential element of wuxia is the development of the characters’ specific skills, or at least how they use their specific skills. Usually this means their martial arts skills, though it could be something else, such as making/deploying poison (I read an wuxia novel where the protagonist has to become a master poisoner and then win a tournament by out-poisoning the other contestants in poisoning duels). We see this in spades in The Black Trillium. We do not see much of this in The Grace of Kings. Yes, the characters get wiser, but we do not see them perfecting their techniques. (In great wuxia, the techniques are used as metaphors to give the story a deeper meaning).

For me, one of the most essential parts of wuxia is the opera. Many wuxia stories, if you strip away the martial arts and the training, are practically soap operas, i.e. ‘someone murdered my dad, and I fell in love with this girl/boy, but her/his dad is the dude who murdered my dad, and if I kill her/his dad for vengeance I won’t be able to marry her/him, oh woe is me’. The personal relationships of the characters come first in the story, even in the wuxia stories which have an obvious political message. While I had some complaints about how The Black Trillium did this, I do recognize that it was at least trying to do this. By contrast, The Grace of Kings puts more focus on the course of history than on the personal relations of the characters.

The Grace of Kings does have a lot of themes in common with Datang Shuanglong Zhuan by Huang Yi. Just as The Grace of Kings is about taking down the Qin dynasty Emperor Mapidéré’s empire and establishing the Han dynasty Dandelion dynasty, Datang Shuanglong Zhuan is about taking down the Sui dynasty and establishing the Tang dynasty. Just as The Grace of Kings has a protagonist of low-class birth who aspires to become the emperor of China Dara, Datang Shuanglong Zhuan has a protagonist of low-class birth who aspires to become the emperor of China. Just as The Grace of Kings features two sworn brothers who eventually find themselves in bitter conflict because they have different visions for the future of China Dara, Datang Shuanglong Zhuan features two sworn brothers who eventually find themselves in bitter conflict because they have different visions for the future of China, and so forth.

Book cover for Datang Shuanglong Zhuan.

Why is Datang Shuanglong Zhuan wuxia even though The Grace of Kings is not? Pretty much everything I explained above. Datang Shuanglong Zhuan is set in our world (specifically Sui/Tang China), the protagonists developing their martial arts techniques, the absence of divine/supernatural beings, etc.

Most of all, in The Grace of Kings, the political upheavals take center stage, and the relationship between the protagonists feels like an incidental part of the story, almost forced. The protagonists consider their brotherhood disposable, so when they have to choose between their relationship and their ideals/dreams, the choice is easy. You could take away the brotherhood in The Grace of Kings, and though the protagonists would have a bit of a change in their motivations, the story would still be basically the same.

In Datang Shuanglong Zhuan, the relationship between the brothers is the heart and soul of the story. Unlike the protagonists in The Grace of Kings, the protagonists in Datang Shuanglong Zhuan do NOT consider their brotherhood disposable, so when they are forced to choose between their relationship and their ideals/dreams, they are between a rock and a hard place, which is the most compelling part of the novel (if they treated their relationship as disposable, one would simply kill the other, and the novel would be about 4000 pages shorter). Taking the political/historical content out of Datang Shuanglong Zhuan would be a huge change, but taking away the relationship between the male protagonists would utterly gut the novel.

This reflects a broad difference between wuxia and Western epic fantasy. Yes, the conditions of the world / the tides of history can be important in wuxia, and personal relationships can be important in Western epic fantasy, but in general, an wuxia story is going to emphasize dealing with intense personal problems, and a Western epic fantasy is going to emphasize saving the world, or at least the nation.

To me, just about everything in The Grace of Kings feels like Western epic fantasy. Even the use of inspiration from non-Western cultures feels like Western epic fantasy; there are plenty of other Western epic fantasies (the works of N.K. Jemisin or Ursula K. LeGuin for example) which do that too.

In spite of being written by a white dude in English and set in Canada, The Black Trillium feels way more like wuxia than Western epic fantasy.

Of course, I’m not the official arbitrator of what is real wuxia and what is not real wuxia. After all, I disagree with some parts of the TVTropes descriptions/definition, and you have no reason to trust me more than TVTropes. The post reflects my very subjective idea of what wuxia is. An wuxia fan who does not care so much about whether there is a limit on magical/supernatural/divine elements, whether there is skill-building, or whether there is an emphasis on personal relations, but DOES care about whether there are allusions to classical Chinese history/literature, might recognize The Grace of Kings, and not The Black Trillium, as wuxia.

The Supremacy of Romantic/Sexual/Biological/Escalator Relationships Runs Deep

(Warning: this post spoils the ending of 大唐雙龍傳/Datang Shuanglong Zhuan)

Ace Admiral’s recent discussion about the ‘nakama’ spirit, and how it’s different from the kind of close relationship he’s looking for right now, made me think about the relationship between Kou Zhong and Xu Ziling in Datang Shuanglong Zhuan.

For those who don’t know the story, Kou Zhong and Xu Ziling were two orphans who grew up on the street, and as children could only count on each other. Thus they developed a relationship closer than brothers. As adults, their personal relationship with each other is still the most intense, most psychologically intimate, and most important in both of their lives. There is a rather lonely prince who says that he wishes that he had not been born into such privilege and wealth and instead had spent his childhood as a lowly orphan on the street, because then he would have been able to have a relationship like the one between Kou Zhong and Xu Zilu.

They do engage in romantic or sexual relationships – indeed, many of the subplots in the story revolve around this. But they repeatedly say that their relationship to each other always comes first.

And in some ways, their relationship is extremely volatile. At times, Kou Zhong wonders if Xu Zilu would kill him. Though Xu Zilu never has any intention of directly killing Kou Zhong, he is at one point willing to stand by and let a third party kill Kou Zhong. Their greatest fear is that they will lose each other, and that their relationship will be severed, since they’ve never survived without each other.

This is a relationship complex and passionate enough to sustain a seven-thousand page novel.

And then at the end … they just go their separate ways to ‘make a family’ with their respective romantic/sexual partners.

Huh?

I would have understood if, after deliberate consideration, they decided it was best to separate. There were certainly grounds for them to do so. Yet this happens a) with almost no discussion and b) after Kou Zhong sacrifices his dream to take over the world in order to save his relationship with Xu Ziling (okay, he had a few other reasons too). I suppose you could say that they know each other so well that they can practically read each other’s minds and don’t need much discussion … but I think that’s stretching it.

I admit, as an asexual aromantic, I like it when fiction features close, intense, yet non-sexual/romantic personal relationships. I may have been projecting my preferences a bit onto the story. Yet the ending still throws me off. It only make sense to me if there is an unspoken assumption that everybody will go off and ‘make a family’ once they are in established romantic-sexual relationships.

In other words, even though the story repeatedly makes the case that non-romantic/sexual/biological relationships can top someone’s relationship hierarchy, at the end, it falls back on romantic-sexual supremacy without even feeling a need to explain.

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