While this film may not have been as well orchestrated as The Fate of Lee Khan, it definitely continues to show King Hu’s unique choice in fight scenes and chasing of main characters. The part that sticks out the most was how a character would manage to stay in the air and have some sort of mysticism when either kicking or hitting someone from above. It may have been slow at certain parts but we got to see symbolism of sorts implemented. By using the checker game, they used this as a strategy to fight off the enemy. Slowly, as King Hu makes more movies, he lessens the length of the fight scenes little by little. Rather than having a 5-10 minute encounter, it is either separated into fights between different people, as we see with the owner of the island and his entourage, or just simply cut shorter. Also returning to the battle with Japan, we see what King Hu tends to favor with plot. Being one of his personally produced movies, King Hu was able to direct what he wanted and was only limited by funds rather than a boss. This explains the many white-cloaked Japanese soldiers and the higher quality production of the film.