How SFF Is Changing

I have always maintained that diverse writers must be included in the main discourse of subject matters, rather than seconded into special interest groups, thus making them feel like oddities, rather than fully part of the community. It was with this in mind that I was so pleased to be invited to FanfiAddict’s author livestream on How SFF is Changing, which put me on a panel with a wonderful selection of authors from very different backgrounds, all writing about and working in different styles, content and traditions. There were a few points in the discussion I did not get to address at the time, or may not have been concise on, and thought I would take the opportunity to expand on them here. 


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Shang-chi: Racist Stereotype or Legendary Kungfu Superhero?

I did some work on Shang-chi for a project last year, which didn’t materialise due to the pandemic. The filming of the MCU movie was delayed, also due to COVID_19. Now that it’s finally in the can, I’m celebrating its shaqing by reworking the contents of that unfortunate project into an article that looks at the pitfalls and potential of Marvel’s cultural representation of a character whose origins were so problematic, and yet whose development through the decades of comics has been so interesting.


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The Many Faces of a Chinese Woman in Publishing

Let me tell you a secret.

I lead a double life.

By day, I work at one of the UK’s largest publishing houses, producing illustrated novelty books, helping to develop them from concepts to finished products, negotiating with suppliers and collaborating with sales teams and creative professionals to ensure the books are to spec, within budget, manufactured correctly and delivered on time across the globe.

By night, I am China Woman, delivering talks, articles, books and translations to further the understanding of China, protect Chinese Culture from misrepresentation, fighting Sinophobia and stereotyping wherever I go.

Lately, I am finding that in order to rise up and respond to the challenges posed by the current politics of fear, my two roles are coming into contact and beginning to clash…


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Iron Fist or Ham-Fist?

A dramatization based on Marvel’s Iron Fist took a long time coming. The comics themselves which began in the 1970s only came into being with the craze for kungfu films in the US at the time, and even with its blatant cultural appropriation and lumping together of all non-white cultures, it was a beacon as a Western comic with a semblance of diversity. The Fraction/Brubaker series in the 90s paid its dues to diversity, nodding to a long line of warriors from different backgrounds, who held the title of Iron Fist, though still representing in quite stereotypical terms the nation the culture of which it owed so much of its world building.

In the 21st century, with the popularity of superheroes TV series, and the success of the “Daredevil” and “Luke Cage”, many have been anticipating one on the warrior of K’un-Lun, and there has been calling from fans and celebrities alike for an Asian casting of its protagonist Danny Rand. The series had been delayed, due to creative debate on the on-screen depiction of the hero’s fiery powers. At last, it was released on Netflix on the 17th of March, and I watched through it all in one go to bring you a continuous commentary on social media. Owing to the positive response I’ve received, here’s a write up of the various themes and points of interest that have come to light.


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On Chinese Identity

A recent conversation on Twitter about books on Chinese history turned into a much deeper discussion of China and identities. The two issues that have come up are fractured diaspora identities, and the idea of a “unified China”.


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