Page 19 – RADII

5 Must See Films from the New School of Asian Horror

In the vast landscape of global cinema, Asian horror films have carved out a unique and chilling niche. Filmmakers across the continent have tapped into deep-rooted cultural fears and local folklore to create stories that resonate far beyond their borders. These tales of terror not only showcase the rich diversity of Asian cultures but also challenge Western horror conventions, offering fresh perspectives on what truly scares us.

While Japan and Thailand have traditionally held the spotlight in Asian horror, a wave of intriguing films from lesser-known regions is gaining traction among discerning viewers. Indonesia, in particular, has been quietly amassing a collection of underground horror films that are now capturing international attention.

Southeast Asian horror cinema is rich with influences from diverse folklore and religious traditions, creating narratives that resonate deeply with local audiences. Similarly, Korean horror has evolved beyond simple jump scares, drawing from its roots in folk shamanism to craft stories that explore complex themes and emotions.

As we delve into the realm of Asian horror, we’ll explore seven standout films that have left audiences trembling in recent years. From supernatural hauntings and ancient curses to psychological thrillers and body horror, these movies represent the cutting edge of fear from some of Asia’s most talented directors.

Satan’s Slaves (Pengabdi Setan) (2017, Indonesia)

The premise of this film is simple: a family grapples with their mother’s impending death. Once she passes, secrets emerge and they discover their house is haunted. Drawing parallels with the American horror film Hereditary, the story unfolds in rural Indonesia, focusing on the family’s home and the lingering presence of the mother’s spirit.

Joko Anwar’s Pengabdi Setan (Satan’s Slaves) is a reimagining of an iconic 1980 film, long considered a classic in Indonesian cinema.

Pengabdi Setan stands as a testament to quality horror filmmaking, transcending both its genre and cultural context. It has the potential to boost both Indonesian cinema and the horror genre on a global scale.

The Medium (Rang Zong) (2021, Thailand/South Korea)

The Medium is a captivating blend of mockumentary and found footage horror, set against the atmospheric backdrop of northeast Thailand. What begins as a behind-the-scenes look at a seemingly straightforward documentary exploring the spiritual practices of the Isan people quickly evolves into a chilling supernatural narrative.

At the heart of the story is Nim, a humble seamstress who serves as a vessel for Bayan, an ancient deity protecting the Isan people. This sacred duty, traditionally passed down through the women in Nim’s family, fell to her after her older sister Noi’s refusal. The plot takes a sinister turn when Nim’s niece, Mink, begins exhibiting disturbing behavior, signaling possession by a malevolent spirit. Sensing the potential for compelling footage, the documentary crew shifts their focus to Mink’s harrowing descent into darkness.

The film’s visual storytelling is masterful, with foreboding shots of misty forests, shadow-filled rooms, and deserted streets creating a pervasive atmosphere of dread. Imagine a really high-quality travel documentary, but with the addition of unnerving scenes of shamanist rituals and exorcisms, all deeply rooted in traditional Thai religious practices.

Exhuma (2024, South Korea)

Exhuma (2024), directed by Jang Jae-hyun, has redefined Korean supernatural horror. Backed by a stellar cast including Choi Min-sik and Kim Go-eun, Exhuma crafts a tale that’s as much about national history as it is about ghostly hauntings.

At its core, Exhuma explores what happens when an ancient grave is disturbed. The film dives deep into Korean shamanism, feng shui, and the concept of “Grave’s Call” — a family curse that puts a uniquely Korean spin on supernatural vengeance.

Moreover, the film boldly addresses historical trauma, using the exhumation narrative as a potent metaphor for Korea’s complex relationship with its colonial past under Japanese rule. By intertwining supernatural elements with historical context, Exhuma offers a multi-layered viewing experience that both entertains and provokes thought, elevating it beyond typical genre fare.

The Possessed (2016, China)

The Possessed (中邪, Zhōngxié), a 2016 Chinese horror film directed by Ma Kai, takes viewers on a journey into the heart of rural superstition. The story follows two university students, Ding Xin and Liu Meng, as they set out to make a documentary about fortune-telling. Their curiosity leads them to a remote village where they encounter Aunt Wang, a powerful shaman summoned to exorcize a supposedly possessed woman.

Shot in a faux-documentary style reminiscent of The Blair Witch Project, The Possessed offers a fresh take on the found footage genre. It delves deep into themes of belief, fear, and the supernatural, all while providing a unique glimpse into traditional Chinese cultural practices.

Despite its low-budget production, The Possessed has been noted for its intriguing premise and engaging storytelling, making it a significant entry in contemporary Chinese horror cinema.

Tiger Stripes (2023, Malaysia)

This 2023 Malaysian horror film, helmed by director Amanda Nell Eu, follows 12-year-old Zaffan as she grapples with early-onset puberty that manifests in terrifyingly monstrous ways. Set in rural Malaysia, the film deftly weaves body horror together with coming-of-age drama, using Zaffan’s grotesque transformation as a potent metaphor for the societal pressures young girls face. As Zaffan’s body rebels against her, she finds herself increasingly isolated, her metamorphosis a reflection of her inner turmoil and rage directed at a world that fails to understand her.

Eu’s unique storytelling approach blends dark humor with horror, tackling weighty themes of identity, acceptance, and fear of the unknown in a way that resonates across cultural boundaries. The film’s atmospheric power is amplified by an innovative soundtrack from Indonesian duo Gabber Modus Operandi, whose eclectic fusion of traditional sounds and electronic beats perfectly complements Zaffan’s emotional and physical transformation.

Tiger Stripes stands out as a refreshing, albeit horrifying, exploration of puberty that pushes the boundaries of conventional coming-of-age narratives.

What sets these Asian horror films apart is their ability to blend deeply rooted cultural beliefs and traditions with innovative storytelling techniques. Whether it’s the found-footage approach of The Possessed, a terrifying twist on a coming-of-age narrative in Tiger Stripes, or the exploration of cultural practices in Exhuma, these movies challenge viewers to confront fears that are both ancient and startlingly modern.

For horror enthusiasts and casual viewers alike, these films offer not just scares, but windows into different cultures, belief systems, and artistic visions. They remind us that in the realm of fear, there’s always something new to discover, and that sometimes, the most effective frights come from the most unexpected places.

RADII’s Top 5 Kuala Lumpur Bars

A metropolis defined by diversity and cultural fusion, Malaysia’s capital city of Kuala Lumpur (KL) is slowly but surely emerging as a serious contender in the ever-evolving and highly competitive Asian bar scene. The accolades that the city has recently received are a testament to the progress made by its beverage purveyors: The 2024 edition of Asia’s 50 Best Bars saw three Malaysian cocktail establishments on the list, with one bar causing quite a stir — in the best way possible — by leaping a staggering 42 spots to breach the top 10.

Below are the three spots that made this year’s Asia’s 50 Best Bars list, and two honorable mentions to round things off. Whether you’re a purist who favors the classics, an adventurous drinker with a palate for something out-of-the-norm, or just someone looking for a great time over a cocktail, these bars will do it for you.

Penrose

As alluded to above, Penrose is the cocktail bar that secured the No. 8 spot on the Asia’s 50 Best Bars list in 2024, ascending from the No. 50 spot on last year (its debut on the list) and bagging the Nikka Highest Climber Award. Located on a busy, bar-packed section of Petaling Street, Penrose is marked by its signature geometric metal door, giving it an almost bunker-like frontage. Inside, the setting is intimate and moody as cushioned chairs outline the narrow black marbled counter and dim downlights illuminate pockets of the space.

The “Rum Musa.” Image via Penrose’s Instagram page.

Helmed by star bartender Jon Lee, who cut his teeth at the beloved Tippling Club in Singapore before returning to KL, the menu is segmented into “highballs,” “sours,” “spirit-forward,” and “temperance.” Signatures include the “Rum Musa,” an intricate rum cocktail inspired by the classic banana daiquiri. Here, Malaysian bananas are used, with rum, tamarind, and pimento berries completing the ingredient list. For a refreshing yet bold concoction, try the “DITA,” which uses gin, kiwi, melon, and absinthe.

Bar Trigona

Setting base within the towering walls of Four Seasons Kuala Lumpur, Bar Trigona secured the No. 36 spot on the Asia’s 50 Best Bars 2024 list. Staying true to the five-star locality, Bar Trigona’s decor is luxurious, with floor-to-ceiling windows providing the KL cityscape as a backdrop, accompanied by marbled flooring, velvet chairs, and pendant lights.

The “Sienna.” Image via Bar Trigona’s Instagram page.

Despite all this modernity, Bar Trigona is still a Malaysian cocktail bar at its core, focusing on amplifying sustainably-sourced local ingredients in imaginative fusions. The latest menu, “Color Me Curious,” is heavily inspired by uniquely Malaysian flavor profiles, and fuses them with modern mixology. The result is a curated ensemble of boozy delights. Take the “Sienna” for instance. It has tequila, carrot, saffron, and local pickle brine. Or the inventive “Cacao And Curry,” which is a potent brew of rum, whiskey, ethically-sourced cacao in a curry puff-like shape, malbec, and falernum. Some drinks are also available bottled for takeaways, in servings between one and five. Try the “Bumblebee,” which includes the bar’s namesake Trigona honey as the main ingredient.

Reka:Bar

The vibe at Reka is futuristic yet intimate. Image via Reka’s Instagram page.

Describing itself as a “post modern flavor lab,” Reka, which means “creation” in Malay, debuted at No. 41 on the Asia’s 50 Best Bars 2024 list. Opened in 2021 away from the city center in a residential suburb, Reka exemplifies KL’s burgeoning cocktail scene with a comprehensive experience from decor to drinks. The interior blends scientific and modern design languages: low ceilings, neon blue lights, plush seating, and a brightly-lit liquor cabinet.

The “Born and Aged.” Image via Reka’s Instagram page.

Striving to be at the forefront of innovation and sustainability, their latest cocktail program uses locally sourced ingredients such as tempoyak (fermented durian) and tuak (rice wine). Check out the “Born and Aged,” which features scotch, herbal liqueur, vermouth, pink peppercorn, and the aforementioned tuak aged in chocolate.

Coley

A pioneering establishment in the KL cocktail scene, Coley has garnered a loyal following over the years for its dynamic cocktail program, bar takeovers, warm service, and quaint hole-in-wall setting. There’s a drink for everyone here. Irreplaceable classics include the “Hanky Panky” (created by the late bartender Ada “Coley” Coleman, whom the bar is named after), creative house specials like the coffee-laced “Papillon Eye,” and a slew of refreshing low-proof “Koktels,” as they’re known here.

The “Papillon Eye.” Image via Coley’s Instagram page.

Located in a quieter part of the suburb of Bangsar, just a stone’s throw away from the KL city center, Coley is easy to miss at night. Tip: Look out for a golden-black circular fixture, dim lights along a narrow corridor, and you’re there.

rākh

Touting itself as “Asia’s first culinary bar,” rākh’s philosophy in mixology is grounded by sustainability and creativity. As the sister bar of contemporary Indian restaurant Jwala (just upstairs in the same complex), rākh is heavily inspired by the rich and diverse flavors of the Indian community, turning staples into one-of-a-kind tipples while incorporating repurposed kitchen leftovers for garnishes.

The “Rasam.” Image via rākh’s Instagram page.

For example, the “Rasam” is a reinvention of the spicy-tangy South Indian soup. It’s made with house-made vodka infused with herbs and a seven-day fermented tomato puree. A warm foam and a sprinkle of dehydrated power made from leftover spices complete the drink.

As KL continues to draw in throngs of tourists with its culinary charms, the city’s cocktail scene is also climbing to new heights in the process. With entries on the Asia’s Best Bars list and an eagerness for creativity and cultural preservation, it won’t be long before the Malaysian capital city becomes a bonafide cocktail destination.

Banner image by Haedi Yue.

MetaMoon Brings Asian Pop to the Center Stage in NYC

As a multi-faceted musician and a charming television personality, Henry Lau should be a familiar name for fans of Chinese pop music. So it might come as a surprise that Lau has never had a global tour nor performed in New York before.

During the MetaMoon Festival at the Brooklyn Paramount on the last weekend of September, in front of enthusiastic fans, Lau spoke quietly into the mic to reveal the gravitas of the moment for him.

“This is actually my first time performing in New York, it took me 17 years to do this. Sorry it took so long,” said Lau as fans cheered on.

At its heart, MetaMoon Music Festival is a platform that celebrates and embraces the diversity of Asian pop culture. This year’s festival also included an educational component at the Roc Nation School of Music, Sports & Entertainment at Long Island University, which hosted the second edition of “The Summit: Rise of Asian Artists and their Global Fandom.”

Before the music began, the celebration was ushered in by a food festival featuring local Asian businesses across Chinatown and Flushing. From a taste test of mooncakes to home style buns, the vendors ensured fans were well-fed before dancing through the night.

Henry Lau performs at the MetaMoon Festival. Image via Henry Lau’s Instagram post.

Panel at the Roc Nation School of Music, Sports & Entertainment. Image by Brian Wong.

While Asian cuisines are already familiar to many in the U.S., musical talents from Asia are now also enjoying a meteoric rise and taking center stage across the country. From 2015 to 2024, Live Nation reported a 600% increase in Asian pop shows and a 275% surge in the number of artists.

This year’s MetaMoon Festival introduced fans to four Asian artists with distinct musical styles. The line-up included Taiwanese American R&B singer sunkis and Chinese American alternative pop musician Emei. The headliners were Eric Nam, a Korean American singer-songwriter and television personality based in South Korea; and Henry Lau, a Chinese Canadian singer-songwriter and instrumentalist based in China and South Korea.

Jun Yung, who works in digital strategy at C3 Presents, the festival promoter and mastermind behind some of the largest global music festivals, observed an emerging trend of K-pop artists coming onto festival stages, starting with South Korean rapper and singer-songwriter J-Hope performing at Lollapalooza in Chicago. Increasingly, more K-pop groups like Tomorrow X Together and Stray Kids are headlining festivals too.

RADII caught up with Yung to find out more about promoting opportunities for fans to discover Asian American artists in the U.S.

Yung said that festivals are not only a great way for fans to see artists they already love, they’re also a means through which audiences can discover new musical genres. He added that festivals allow audiences to pay for multiple performances at the price of one. The unstructured nature of festivals also encourages audiences to move between different artists. Music festivals, as Yung pointed out, are also yearly rites of passages that fans come back to.

Eric Nam performs at the MetaMoon Festival. Image by MetaMoon.

Nam was part of the pool of artists celebrating Asian culture at this year’s Meta Moon Festival. Image via Forbes.

“All three of these factors play into festivals being a really good platform for music discovery and diversity of artists,” he explained. “People are definitely coming to our festivals and then they see, ‘Oh, wow, it’s K-pop artists here. Cool, I’m going to know them better.’”

Beyond festivals being a platform for audiences to discover Asian artists, these emerging talents are also driving ticket sales and hype from committed fans. After attending Lollapalooza himself, Yung observed all the fans for Stray Kids running to the front of the barricade eight hours before the show began.

Die-hard fans also turned up at MetaMoon this year. One fan was invited on stage by sunkis after learning she lined up outside the venue early in the morning to see him in the front row. Another fan shared that she flew in from Los Angeles early in the morning to line up and see Henry Lau perform, despite the rainy weather in New York.

R&B singer sunkis also drew a lot of fans at the show. Image via MetaMoon.

While each performance at the festival was unique, one interesting fact unites all four of the featured artists. While they were born in the U.S. or Canada, all of them launched their careers in Asia, where there are more structured pipelines for aspiring Asian musical talents.

sunkis, who has over 20,000 followers on Chinese social media platform Xiaohongshu, recently revealed that he is working on an all-Chinese album. In late 2023, the song “Like I Do” by Sunkis and J Tajor went viral when its dance moves became a TikTok challenge.

Emei previously revealed on Instagram that she grew up in New Jersey with Chinese immigrant parents. At 15, she took a gap year from high school and appeared on the TV show Chinese Idol. Not only did she place third, but she also signed a television deal afterwards, which launched her career in music and entertainment.

Meanwhile, Nam grew up in Atlanta, singing in the boy’s choir and playing the piano. While he was originally set on pursuing a career in business, Nam followed his musical passions and participated in the Korean show Star Audition: Birth of a Great Star 2. Nam said in an interview that it was daunting for him to move to South Korea where he had to learn the language and adapt to the culture. Yet he overcame these challenges and ended up finishing in the top five on the show, which jump-started his music career.

Lau grew up playing classical violin and piano — both instruments he still incorporates into his music and performs live on stage in a creative blend of classical melodies and pop music. As a child, Lau told his parents that he wanted to be a superstar, but was quickly dismissed by his dad telling him to stop dreaming. But later on, the Chinese-Canadian pop idol would sign with SM Entertainment in South Korea, debuting in 2008 as a member of Super Junior-M.

Emei performing live. Image via MetaMoon.

At MetaMoon, these four Asian Americans artists attracted a diverse crowd of fans. After performing several English songs to a crowd of fans singing along, Nam paused and said: “I know it’s a little odd, but I’ll now perform a song in Korean.” However, the cheering from the fans did not subside and instead became even louder.

Fans of Asian pop music continue to challenge the dominance of English language music. According to a Live Nation study, more than 75% “Asia pop” fans say it’s not important to them that they speak or even understand the language of the music they listen to.

When thinking about increasing the representation of Asian pop music in the US, Yung believes in building communities within the industry that elevate Asian artists. This includes the development of future talent, support from fan bases, and investments on the business side, like MetaMoon and other music festivals that connect artists with fans.

Compared to the more structured South Korean artist development system, the musical industry is more organic in the U.S., which means that fan support is even more important for an artist’s success. Yung encourages fans to go to more performances beyond big arena shows. For example, Emei, who will be performing midday at Austin City Limits in October, also performs regularly at clubs and theater spaces.

The festival promoter emphasized the significance of community building — highlighting that attending shows and nurturing connections among fans, artists, and industry professionals is essential for continued success.

Banner image via Henry Lau’s Instagram post.

WeChat Introduces Live Photo Feature in Moments for iOS Users

WeChat, China’s leading social media platform, introduced its Live Photo feature in Moments, allowing users to share dynamic images with sound. Many users are digging into their albums for the perfect shots to post. This feature aims to enhance user engagement and support creative expression, making interactions more lively.

The Live Photo function enables users to select moving images from their photo albums, creating posts that are visually striking and rich in context. Users can also choose to disable the live effect if they prefer a mix of static and dynamic images. Once shared, Live Photos display a live circle effect, making them easily identifiable in feeds. This addition is expected to encourage greater creativity and variety in content shared on the platform.

Announced on September 19, this update is significant for younger users, who prioritize visually engaging content and dynamic storytelling. Many are excited to fill their Moments with Live Photos, reflecting a broader trend in social media where interactive and multimedia posts are becoming the norm.

Lifestyle and technology bloggers highlight the sound and dynamic function allowed in live photos. Image via Xiaohongshu.

Young users are excited to post more after the update on live photos. Image via Douyin.

However, the feature is currently available only to iOS users with version 8.0.51 or later, leaving many Android users frustrated as they await access. This sentiment is reflected in online discussions, where Android users refer to themselves as “Android Girl” (“安卓妹”) and Apple users as “Apple Sister” (“苹果姐”), highlighting the disparity in updates.

The WeChat Pai (微信派) official account reassured Android users, stating, “Promise me, wait a little longer” (“答应我，再等等”). Despite this promise, the feature has yet to appear in the 8.0.53 beta version, leaving many Android users feeling excluded.

Unlike platforms like Weibo and Douyin, which have long enabled live photo posting, WeChat users have eagerly awaited this feature. It quickly became a hot topic on social media with many views and discussions, especially among younger users reviving old Live Photos. Captions for these Moments have gone viral on platforms like Douyin and Xiaohongshu, with phrases like “It’s live and it’s life” (“是live也是life”) capturing users’ enthusiasm.

A netizen asked about when the feature will be available for Android (安卓) users, and the WeChat Pai official account reassured them to wait patiently.Image via Long Port.

The release of this new feature has also led to an increase in downloads for Wink, a video editing app by Meitu. Wink, with its AI-driven video beautification tools and the ability to convert images and videos into Live Photos, jumped to the third spot on the App Store in China. Its “Convert to Live” and “AI Animated Image” features have resonated with users eager to make their Moments posts more dynamic and visually engaging.

As WeChat rolled out the Live Photo feature, anticipation grows for Android users eager to join in. This update revitalizes the WeChat Moments function, transforming how users connect and share experiences. The impact of this innovation on social media interactions will be crucial to watch as the trend unfolds.

Banner image via Douyin.

David Muoka Makes History as First Player from Hong Kong to Join the NBA

Born and raised in Hong Kong and of Nigerian-British descent, the 23-year-old David Muoka made history as the first player from the city to join the NBA, signing with the Portland Trail Blazers.

He is expected to be waived immediately under his Exhibit 10 contract, directing him to a position with the Blazers’ G League affiliate, the Rip City Remix, for the upcoming season. The G League serves as a vital platform for NBA teams to evaluate and develop young talent and international players.

His agent, Josh Goodwin, celebrated this historic moment on an Instagram post, “Muoka has made history becoming the first born and raised Hong Kong player to ever sign an NBA contract. This is the only beginning of a successful career.” Muoka later commented, “For the city (Hong Kong).”

Muoka dunking during his training. Image via the player’s Instagram page.

Agent Goodwin congratulating Muoka on his feat, whilst the player himself responds passionately. Image via Goodwin’s Instagram post.

Muoka was selected third overall pick by the Capital City Go-Go in the 2023 NBA G League Draft. Standing at six feet ten inches, he plays as a center. He graduated from West Island School in Hong Kong in 2018 and later attended Lamar University. Previously, he played for the Long Island Nets in the G League — averaging 4.5 points, five rebounds, and 1.3 blocks per game over 38 appearances.

Hong Kong men’s basketball coach Chiu Wing-leung expressed his enthusiasm about Muoka’s impact on the city’s basketball scene, highlighting the player’s achievement as Southland Conference Defensive Player of the Year in 2021 and his ability to contribute on both offense and defense. Chiu was also instrumental in helping Muoka apply for a local passport, which would enable the latter to represent Hong Kong in the upcoming FIBA Asia Cup qualifiers in November 2024.

The player’s journey reflects the growing aspirations of basketball in Hong Kong and has the potential to inspire future generations of players. As he steps into the NBA spotlight, this moment marks not only a personal milestone for Muoka but also a shift in the perception of local talent, encouraging young athletes to pursue their dreams with greater confidence.

Banner image via David Muoka’s Instagram page.

MKW Is the Chinese Pro Wrestling Extravaganza You Didn’t Know You Needed

I’m not a professional wrestling fan, but the Middle Kingdom Wrestling (MKW) Championship Supercard in Shanghai on September 14th may have changed that. I’m not sure what I expected, but what I got was a high-production, low-culture kitsch ballet battle between good and evil.

As the lights dimmed and the intro video played, the complexities of the outside world were thrown outside the ropes, and ring psychology took over. A simpler perspective where the heroes and villains duke it out in a contained area. Where money-worshiping team owners in snakeskin shoes and benjamin-green ties are inarguably bad, and where the audience wear allegiances on their sleeves with chants of “You suck!” or “Let’s go!”

Chairman Al, one such money-worshiping team owner. Image courtesy MKW.

A lineup of local and international wrestlers filtered out to booming entrance songs ranging from butt-rock to traditional Chinese tunes complete with blaring suona. The whole experience was simultaneously deeply international and local, Chinese yet intrinsically linked to America, which is where this form of athletic drag evolved into its modern form from showman performances and carnival acts.

Wrestling through up and downs

At a time when international tensions are so high, it’s a wonder that the spectacle-qua-sport as quintessentially American as professional wrestling is trying to put down roots in China. But MKW is trying to push the development of this particularly yángqì (洋气) form of athletic theater.

Founded by Adrian Gomez in 2015, MKW has been holding wrestling events since even before the big wig promotions like World Wrestling Entertainment (WWE) tried to break into the country in 2016.

A number of sporting franchises were bullish on China’s massive market prior to the Covid-19 pandemic. WWE, led by then CEO and industry tycoon Vince McMahon, recruited local wrestlers like Wang Bin (ring name Tian Bing), Zhao Xia (ring name Xia Li) and others into their promotion in an effort to generate more buzz. The optimism McMahon and adjacent franchises like UFC showed for China seemed to signal a boom era for fighting sports in the country.

John Cena is a star in China thanks to viral videos of him speaking Chinese. Image via Know Your Meme.

And things seemed to be going well for a while. Between 2016 and 2020, there was a significant amount of attention paid to what was an up-and-coming form of entertainment in the country. But Covid-19 slammed the brakes on the momentum. While individual wrestlers have achieved fame in China (most notably John Cena), the sport has yet to take off in the same way as basketball did via Yao Ming’s 2002 NBA entry. The WWE didn’t weather the heights of the Covid-19 lockdowns well, and no longer has a strong presence in the Chinese market. Before that it wasn’t all rainbows either — Wang Bin’s contract was dissolved in 2018.

But MKW is holding out, and China’s passionate wrestling community is better for it. A true grassroots champion of the parade of live-action cartoon violence that is professional wrestling, the independent MKW has taken the baton from WWE and is running with it. They’ve done four events in China since reopening, and there’s definite interest judging by the crowd at their September event.

More growth is sure to come as wrestling finds its unique identity in China, something Gomez notes MKW encourages.

Now, back to the show

The story unfolding in the ring that Saturday night, filled with a cast of colorful characters, was told through a smattering of 1-on-1, 2-on-2, 3-on-3, and 4-way matches.

There was the aptly named good guy Sunny Z, whose blonde locks revealed his honorable alliances before he’d even stepped into the ring. There was Big Sam, Uncle Money, and Andruew Tang, an evil triad under the thumb of Chairman Al, a miserly tycoon manager only in the sport for the money.

Big Sam exchanges words with the ref. Photo by Carson Ramsdell.

There were also those who stepped through the ropes in Mortal Kombat-esque makeup. Hailing from Dongbei, Zombie Dragon donned a mask, green teeth, and a black tongue. Chen Wenbin came out in black, red, and purple body paint, donning ribbons reminiscent of shamanic garb. Sadly, we can’t list off every character here.

One fan RADII spoke to said it was his second time coming to an MKW event. “It’s f****** great. I love pro wrestling and it’s amazing having it at my door.” Commenting on whether he feels the sport is growing, he continued, “I hope. It’s hard to tell, it’s been a couple of years, but I think it’s bigger this time. We were in a smaller sort of mall area [before]… I’d say this is bigger.”

Chen Wenbin shows off his intense look with body paint and ribbons. Photo by Carson Ramsdell.

Ho Ho Lun, a Hong Kong wrestler renowned for his time in WWE and for founding Hong Kong Pro-Wrestling Federation, added that the sport has grown even since pre-Covid shows. “You see the production here? It’s amazing. The lights and look at the f****** LED screen, and look at the wrestlers. You have people coming from Dubai, Thailand, Singapore…” He further pointed out that in spite of visa difficulties and other challenges like payment ecosystems, these people are willing to show up for Chinese wrestling.

Lun has witnessed the development of the sport since its inception in China. He was at MKW’s first show in 2014, prior to their official start, and has been involved in the wrestling scene since 2004. At the time, he would cross the border from Hong Kong weekly to train at a backyard ring and gym started by the godfather of Chinese wrestling — The Slam, who also participated in this year’s MKW event.

The Slam about to “slam” Chen Wenbin. Image courtesy MKW.

Gomez is optimistic about the future of pro wrestling in China, telling RADII, “The easiest way to show the growth and development of MKW is to compare our first event from more than 9 years ago to our events now. It’s night and day.”

“Pro wrestling is indeed growing in China, but it’s still at a point where I think we as an industry can say we still have a long way to go. Still, with events like last night’s, we feel to be on the cusp of something very special.”

At the end of the day, MKW and the wrestlers are doing this largely out of a pure passion for the performance and show that is professional wrestling. That showed through every second of the Championship Supercard, and they deserve all the love they can get.

See you at the next match.

Banner image by Haedi Yue.