Chinese vs Western Fantasy: A comparison of Elements (3): Ghosts- Moral Punishment vs Administrative Continuity

Ghost stories exist in almost every culture.

They appear in different forms, wear different faces, and follow different rules. Yet beneath these differences, ghosts often represent one universal idea:

The past is not truly gone.

The dead leave behind memories, obligations, regrets, and unfinished relationships. When a ghost appears, it is a sign that something from the past has crossed back into the present.

However, different cultures often imagine why the dead return.

In many Western ghost stories, the ghost is connected to a moral wound. A wrong has been committed, a secret has been hidden, or justice has been denied.

In many Chinese ghost traditions, the ghost is often connected to disrupted relationships and cosmic order. The problem is not always that someone committed a crime. Sometimes the problem is that something has failed to reach its proper conclusion.

One tradition often asks:

“What injustice created this ghost?”

The other may ask:

“What prevents this spirit from finding its proper place?”

Neither approach is more correct. They simply create different kinds of stories.


The Western Ghost: A Past Wrong Seeking Resolution

Many Western ghost stories are built around the idea of unfinished business.

A person dies under tragic circumstances. Their spirit returns because something remains unresolved.

Perhaps they were murdered and their killer was never discovered.

Perhaps a terrible secret was buried with them.

Perhaps someone they loved betrayed them.

The ghost becomes a reminder that something morally wrong has not been corrected.

This creates a familiar structure:

  1. A haunting begins.
  2. The living investigate the past.
  3. A hidden truth is uncovered.
  4. The injustice is acknowledged.
  5. The spirit finally rests.

The ghost is often an accusation.

It asks:

“Will you recognise what happened?”

The supernatural event forces the living to confront guilt, responsibility, and forgotten suffering.

In this type of story, the solution often comes through revelation.

The murderer must be exposed.

The truth must be spoken.

The victim must receive justice.

The ghost disappears because the moral imbalance has finally been addressed.


The Chinese Ghost: A Disrupted Relationship

Chinese ghost traditions often begin from a different understanding of the relationship between life and death.

The dead do not simply vanish.

They remain connected to the living through family, memory, ritual, and obligation.

This idea is closely connected to ancestor worship, where deceased family members continue to occupy a meaningful place within the family structure. The relationship between the living and the dead does not end at death.

Because of this, a ghost may appear not only because of wrongdoing.

A spirit may return because a relationship has been neglected.

Someone died without proper burial.

A family failed to perform necessary rites.

A person died far from home and was never properly remembered.

A promise was left unfinished.

The question is not always:

“Who committed this crime?”

It may instead be:

“What connection has been broken?”

The ghost is not necessarily seeking revenge. It may be a sign that something has fallen out of harmony.


The Underworld as a Continuation of Society

One particularly interesting feature of many Chinese supernatural traditions is the idea that the afterlife has its own order.

The underworld is not simply a place of punishment. It can resemble a continuation of earthly society, with officials, records, courts, and procedures.

The dead may still be part of a system of judgment and administration.

A spirit may need to be processed.

A death may need to be recorded.

A soul may need guidance toward its next destination.

A ghost exists because something in this process has gone wrong.

This creates a different kind of supernatural story.

The problem is not always:

“How do we destroy this dangerous spirit?”

Instead, it may be:

“What has prevented this spirit from reaching where it belongs?”

The resolution may involve restoring order rather than defeating an enemy.


Hungry Ghosts and Forgotten Dead

The concept of hungry ghosts (餓鬼, èguǐ) is another example of this different approach.

In Buddhist traditions, hungry ghosts are beings trapped in a state of suffering, often associated with endless desire and attachment.

In folk traditions, the idea is also connected with neglected spirits who lack connection, remembrance, or proper offerings.

The important point is that the hungry ghost is not simply an “evil ghost.”

It represents a state of imbalance.

A being that cannot move forward.

A relationship that has been abandoned.

A need that has never been answered.

This is why rituals for wandering spirits are not only about protection. They are also acts of recognition.

The living acknowledge that there are those who have been forgotten.


Ritual Resolution vs Exorcism

The difference between these traditions becomes especially clear when looking at how ghost stories resolve their conflicts.

Many Western horror stories focus on removal:

The spirit must be exorcised.

The cursed object must be destroyed.

The haunting must end.

The supernatural threat is something outside the normal world that must be eliminated.

Chinese ghost stories often focus more on restoration:

The correct ritual must be performed.

The remains must be found.

A message must be delivered.

A family obligation must be completed.

A forgotten person must be remembered.

The ghost may not be an enemy.

It may be a problem requiring understanding.

A ritual specialist does not always confront the spirit as a monster. They may investigate the reason behind the haunting and determine what must be done to restore balance.


Ghost Stories Are Stories About Society

Because of this, Chinese ghost stories often reveal concerns about relationships and social responsibility.

A ghost may represent:

  • a family duty that was abandoned,
  • a promise that was broken,
  • a person who was forgotten,
  • an injustice that disturbed harmony,
  • a connection between people that was never properly resolved.

The supernatural is not separate from society.

The dead remain part of the same world of relationships as the living.

A haunting is not merely a frightening event.

It is a sign that something within that network has gone wrong


Different Questions, Different Ghosts

The difference between these traditions is not simply about whether ghosts exist.

Both use ghosts to explore the relationship between the past and the present.

But they often ask different questions.

The Western ghost story may ask:

“What wrong from the past must be revealed?”

The Chinese ghost story may ask:

“What relationship from the past must be restored?”

One treats the ghost as a wound demanding justice.

The other often treats the ghost as a connection demanding recognition.

Yet both reach the same truth:

The past does not disappear.

The dead continue to influence the living.

Sometimes they return because a crime has been forgotten.

Sometimes they return because a promise has been forgotten.

Sometimes they return because someone, somewhere, still needs to remember.

I forgive you, life.

Handwritten note reading 'I forgive you, life' held by two hands with ink stains

The jump-off line is just “I forgive you”, from Phase One by Dilruba Ahmed. The title is from I am talking to Life as an entity when I wrote this piece. 

I forgive you for derailing my plan for a linear life and teaching me that everything is a choice. 

I forgive you for not giving me someone who grew up with me that turned into a lover, someone I could trust. 

I forgive you for not giving me someone who really knows me as a friend but do I really need someone like that outside when I already have someone like that at home? I can’t luck out twice, can I? 

I forgive you for not giving me an intact family though in truth my ‘broken’ one was so much better than when it was intact. 

I forgive you for letting me choose to love someone who doesn’t love me back. I learnt that that was not the way to go for relationships but taking the plunge was worth something, I guess. 

Author’s note: The relationship mentioned in the last paragraph was not a romantic relationship. I was talking about my cousin who grew up with me.

Embarking on the Game Publishing Journey

On the same day this post is released, my Moonlake’s Studio blog, the game design and publication counterpart to this blog, has already been released. 

Because I am a planner, I’ve somehow constructed a 10-year publication plan that was originally a product pipeline. And the product releases in the first year kept expanding- from a planned 13 products in the first year, it had expanded into 18 products now. I have done the first draft for up to month 3 of my publication schedule. 

The actual publisher website isn’t coming out until week 5 when the free magnet comes out. Before that, the other blog is just going to be working like this blog where I write about my game settings and my personal experiences with table top RPG game design and publishing.

I have also submitted the trademark application for my publisher name and applied for an Australian Business Number. So this is the start of my game publishing journey. Eventually I will also fold in my fiction line under this but for now, I feel like games are getting more traction. 

Moonlake’s Writing Updates- June 2026

This is really the year of change for me. The second novel project I announced back in March is now officially on the back burner, replaced by a novelisation of my current ongoing game campaign that has been switched from Fate Core to Cortex. 

I started to use ChatGPT more frequently now on top of assistance for my GMing, as a partner in outlining novels and writing craft exploration. I even started a thought experiment with it where we co-authored a Chinese plot-your-own adventure using an idea I knew I wouldn’t be interested in fictionalising. It wasn’t meant to be a get-rich-quick-scheme by leveraging AI on my part, I was just doing this as a broadening horizon exercise ala what I do for reading. It was fun at the start where we frequently branched off to talking about how I am as a writer and specific craft elements. But once I got it to start generating prose, that’s when frustration hit the fan. I basically had to calm down after the very first session of prose creation by switching to meta design of the project for four days before I finally called quits to the experiment after a total duration of 10 days (the first bit of prose was generated on day 6 and I wasn’t interested in any more AI prose that I had to intensely edit after the second bit of prose was generated and locked in.) 

I am also becoming a publisher for tabletop games but eventually it will encompass my fiction. By the time you see this post, I will be in the process of registering my publisher name which I will reveal when the publishing blog is ready to go live. 

Moonlake’s Book Discoveries- June 2026

Memoir

The Dressmaker’s Daughter by Kate Llewellyn

This is the first book going towards my mini-reading challenge this year and possibly my first official memoir (I had read a partial one from a beta-reader swap that I was in from being a women’s writer group some years back) but the book itself has nothing to do with Waterlily. It’s just that the author had written another memoir whose title had the word waterlily in it. 

A memoir is not some usual foray since I prefer fiction. This book most preserves what I find absorbing with fiction except for specific chapters containing snippets from the author’s diary or letters. Those I find on the boring side and I was sorely tempted to skip a whole chapter that is just concatenated from a series of diary entries or letters. But overall, an okay read that I can treat as a historical fiction about a decade before I was born. 

Mystery

Deep Water by Peter Corris

This is also part of my mini-reading challenge but has even less relevance to waterlily. But it’s an okay mystery. Not sure that I would come back for more but okay. 

Preface to Murder by M.S Morris 

I listened to this in audiobook format and the narrator was okay but sometimes I can’t distinguish between various male police officers very well. Also, I expected this to be a single protagonist book but actually this seems more of a teamwork approach. Not that this is an issue per se. The twist is functional but I’m not pleased or displeased with it particularly. 

Fantasy

Well of Darkness by Margaret Weis & Tracy Hickman

I haven’t been reading epic fantasy lately and I’m just returning to one of my comfort authors. This is okay, a bit refreshing because it seems like it actually starts off with an anti-hero story even though I’m not too enthused about the anti-hero presented. For that reason, I’m not sure whether I’m keen to read book 2 even though apparently it reverts back to a more traditional epic fantasy according to the blurb. We will see. 

Iron and Magic by Ilona Andrews

Refer to my Broadening Horizons Reads 2026

Romance

The Lord I left by Scarlett Peckham

Refer to my Broadening Horizons Reads 2026.

I didn’t know I enjoy…

The jump-off line is from Things I didn’t know I loved by Nazim Hikmet. 

I didn’t know I enjoy stories featuring animals or emphasizing cuteness. I’m not much of an animal or cutesy person but I’m very much empathic. I can dive into others’ passions and what they enjoy, through reading. 

I didn’t know I enjoy travelling. There is a caveat though: I like to travel with Mum. Just the two of us. No rush. We just casually stroll at our pace. I hate being rushed. 

I didn’t know I enjoy watching dating shows. There’s some kind of goodwill and hope associated with seeing a successful, seemingly right match. Even when I realised later that they were set up just like other reality shows, they were largely entertaining. In various ways. Showing a glimpse into the skewed, anxious society of the modern mainland China. I was born there but I was never quite part of it. So I could look with a critical outsider’s eye upon the scene. I don’t like much of what I see. That is the honest truth. 

I didn’t know I enjoy spy thrillers. Apart from James Bond, I never thought of it as being a genre onto itself. Not until Mum and I started getting into mainland Chinese spy thriller dramas. I grew up in Hong Kong and everything there was just fast-paced. Down to TV dramas. So that’s the pace I’m used to and like. So spy thrillers it is for me. 

I didn’t know I enjoy… I tried to take on a new experience every week with an activity that I have never done or have not done for years. But that faded out. Perhaps I should take it up again. There’s a thought. 

Chinese vs Western Fantasy: A comparison of Elements (2): Heroes versus Questors for Immortality

When we talk about “heroes”, we tend to assume a shared structure. But once you compare Chinese and Western contexts, the difference becomes clearer.

Broadly speaking, Western stories tend to centre on the idea of a hero. Chinese traditions are less consistent on that front, and in modern fantasy, the structure shifts again.


In the Western tradition, the structure is fairly familiar.

A hero sets out on a journey, encounters obstacles, overcomes them, and returns. The emphasis is on what the hero does.

Figures like Odysseus or Hercules follow this pattern. Even in modern fantasy led by LOTR, the idea remains similar—there is a problem to be solved, and the hero moves outward to deal with it.

So the structure is:

  • leave
  • confront
  • resolve
  • return

The world presents a challenge, and the hero responds through action.


In Chinese material, it is less straightforward.

Classical texts and folklore don’t consistently organise themselves around a single “hero” figure in the same way. There are important characters, but the focus is not always on a structured journey of departure and return.

Instead, there is often more attention on:

  • position within a social or cosmic order
  • consequences of behaviour
  • shifts in circumstance rather than a single arc

So the structure is less tightly centred on one protagonist driving events through action.

Modern Chinese fantasy changes this again.

In web novels and related media, you do get a clear protagonist with a long-term goal, often framed as the pursuit of power or immortality. In that sense, it becomes closer to Western fantasy, especially more adventure-driven or episodic forms.

The difference is that progression is usually framed as self-development over time, rather than a single quest.

So instead of:

  • leave → resolve → return

it becomes something more like:

  • start weak → improve → overcome → continue

There isn’t always a final “return” point. The story can keep extending as long as progression continues.

Because of that, action still matters, but it is tied to advancement rather than resolution.

Conflicts are less about solving one central problem and more about:

  • overcoming successive obstacles
  • increasing capability
  • moving through stages over time

So while both traditions involve action, they organise it differently.


Another way to put it is:

  • Western structure tends to be quest-driven
  • Modern Chinese fantasy tends to be progression-driven

The surface elements can look similar—fights, journeys, enemies—but the underlying structure is not quite the same.

Broadening Horizons 2026

P

The Lord I left by Scarlett Peckham 

This is the replacement Religious Romance novel I found but it’s actually more religious romance with elements of erotica. Not saying it bothers me but nothing about the story really speaks to me personally. But I mean, most romances don’t. I am only attracted to certain types of romance dynamics. Overall, solidly written. 

Iron and Magic by Ilona Andrews

I didn’t realise how much romance features in this story but it’s acceptable romance as far as I am concerned of the dynamic duo type. Overall, an enjoyable read but not quite sure I’m keen for more. I mean, I came into this book for the setting that mixes magic and technology and it is somewhat interesting. But the rest is okay but not particularly my type of book. 

Why you should Pick Me 

The jump off line is from Why you should pick me by Zoe Wagner. 

Why you should Pick Me:

  1. I’ve got long black hair that I’m proud of that flows like a waterfall 
  2. I collect lyrics
  3. I’m intelligent, quick to grasp ideas
  4. I’m honest that I don’t quite know how to lie. Which means you catch me easily
  5. I don’t cook but I think I can cook some dishes
  6. I learnt/tried my hands at some with Mum. I do okay overall even though they were minus preparations. 
  7. I love learning, especially self-directed learning 
  8. I am strong in ways you wouldn’t know just looking at me
  9. I know how to handle being alone 
  10. I am learning to celebrate the small victories 
  11. I am moving forwards one step at a time 
  12. I don’t rush. I move forwards at my own pace
  13. I’ve got the right values. I learnt these from Mum, the most important gift from her to me. 

Revisiting the Character Grid

I had actually switched back into doing the character grid for the twin sister story (the other project is now officially on hold although now I am itching to turn my Fate-turned-Cortex game into a novel with a different campaign premise than the one I am running now and have started plotting it as a Fate game). 

But I am stopping at 50 grids as opposed to the whole grid of 100 for the twin sisters. This has now created a grid for the abducted sister that is full in Relationships and Moods and mostly filled out for Talents and about 3 or 4 things under most of the other categories. For the other twin, Relationships and Talents still win but the spread is more even for the other categories.