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Diaochan
Qing dynasty's Romance of the Three Kingdoms illustration of Diaochan
First appearance"Romance of the Three Kingdoms"
Created byLuo Guanzhong
Based onone of Dong Zhuo's courtesans
In-universe information
Significant otherDong Zhuo
Lü Bu
Diaochan
Traditional Chinese貂蟬
Simplified Chinese貂蝉
Transcriptions
Standard Mandarin
Hanyu PinyinDiāochán
Wade–GilesTiao1-ch'an2
IPA[tjáʊ.ʈʂʰǎn]
Yue: Cantonese
Yale RomanizationDiū-sìhm
JyutpingDiu1-sim4
IPA[tiw˥ sim˩]

Diaochan was one of the Four Beauties of ancient China. Largely a fictional character, she is best known for her role in the 14th-century historical novel Romance of the Three Kingdoms, in which she becomes a key instrument in a scheme devised by Wang Yun, seducing Lü Bu and thereby provoking the formidable warrior to betray and kill his adoptive father, the tyrannical warlord Dong Zhuo. Diaochan is often portrayed as an admirable woman who succeeded where other men had failed in bringing about the downfall of Dong Zhuo; however, in some tales, she is presented as a femme fatale and executed by Guan Yu following Lü Bu’s downfall.

Name and basis

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Chinese historical records indicate that Lü Bu had a secret affair with one of Dong Zhuo's courtesans and he constantly feared that Dong Zhuo would find out. This was one of the reasons why he betrayed and assassinated Dong Zhuo in May 192. However, the courtesan's name was not recorded. The name "Diaochan" first appeared in Sanguozhi Pinghua as the courtesy name of Lü Bu's wife. A later zaju Duoji (now lost) explained the name, which literally means "sable cicada", as derived from the sable tails and jade decorations in the shape of cicadas which adorned the hats of high-ranking officials in the Eastern Han dynasty.[1]

In folk tales

[edit]

In earlier stories, Diaochan was described as Lü Bu's wife who had been accidentally separated from Lü Bu during the political disorder and was unaware of the conspiracy against Dong Zhuo. Later stories removed this background and had her more actively participating in the scheme. Narrations about Diaochan's ultimate fate appeared in Yuan dynasty zaju. The titles of these lost works suggest Diaochan, viewed as a femme fatale, was decapitated by Guan Yu after Lü Bu's death, which was inherited by some of later Ming or Qing operas featuring Diaochan.[1]

In the Yuan dynasty play Lianhuan Ji (連環計), Diaochan is said to be the daughter of Ren Ang (任昂), and her real name is Ren Hongchang (任紅昌). She is in charge of taking care of the Sable Cicada Hat (貂蟬冠), so she becomes known as "Diaochan" (literally "sable cicada"). She is introduced to Guan Yu by Zhang Fei after Lü Bu's death. Instead of accepting her as the spoils of war, Guan Yu decapitates her with his sword. This event is not mentioned in historical records or the historical novel Romance of the Three Kingdoms, but is propagated through mass media such as operas and storytelling.[2]

Diaochan's eventual fate differs in various accounts, but mainly along the following types:

  • First, she is killed by Dong Zhuo's followers, along with Wang Yun, after Lü Bu escapes;
  • Second, she follows Lü Bu while he roams around with his forces, but is executed along with Lü Bu after the latter's defeat at the Battle of Xiapi or killed herself after Cao Cao took possession of her;
  • Third, Diaochan is captured by Cao Cao after the Battle of Xiapi but saved by Zhao Yun, whom she later marries;
  • Fourth, as told in some traditional operas, Cao Cao presents Diaochan after the Battle of Xiapi to Guan Yu in the hope of winning Guan Yu's loyalty. Guan Yu, however, sees her as a femme fatale in light of her role in the undoing of Lü Bu and Dong Zhuo. He kills her to avoid her influence on him or his sworn brothers Liu Bei and Zhang Fei;[3]
  • Fifth, Guan Yu, impressed by Diaochan's sacrifice in bringing down Lü Bu and Dong Zhuo, saves her from Cao Cao at the Battle of Xiapi and sends her away. Diaochan becomes a nun and writes down her stories for posterity.[4]

In the Romance of the Three Kingdoms

[edit]
Depiction of Diaochan in the artwork at the Long Corridor, Summer Palace.
A picture of Qing dynasty era, depicting the characters in Romance of the Three Kingdoms (from left to right): Lǚ Bù, Dǒng Zhuó, and Diāochán.

In the 14th-century historical novel Romance of the Three Kingdoms, Diaochan assists the official Wang Yun in a plot to persuade Lü Bu to kill his foster father, the tyrannical warlord Dong Zhuo. Wang Yun presents her to Dong Zhuo as a concubine, but also betrothes her to Lü Bu at the same time. Diaochan uses her beauty to turn Dong Zhuo and Lü Bu against each other by inciting jealousy between them.

While Dong Zhuo is out one day, Lü Bu sneaks into his bedroom in the hope of seeing Diaochan. Diaochan pretends to be very upset and attempts suicide by throwing herself into the pond, saying that she is ashamed to see Lü Bu because she had been violated by Dong Zhuo. Lü Bu is heartbroken and promises that he will not let her suffer further at the hands of Dong Zhuo. Just then, Dong Zhuo returns and sees them embracing each other. As Lü Bu flees, Dong Zhuo chases him and hurls a spear at him, but misses. On the way, Dong Zhuo meets his adviser, Li Ru, who suggests to him to let Lü Bu have Diaochan, so as to win Lü Bu's trust. Dong Zhuo goes back to Diaochan later and accuses her of betraying his love, saying that he intends to present her to Lü Bu. Diaochan replies indignantly that Lü Bu embraced her against her will and attempts suicide to "prove her love" for Dong Zhuo. Dong Zhuo is moved and dismisses the idea of relinquishing her.

Lü Bu is outraged and goes to Wang Yun's house to vent his frustration. Wang Yun then uses the opportunity to instigate Lü Bu to join the plot to kill Dong Zhuo. Lü Bu kills Dong Zhuo when the latter shows up at a ceremony for Emperor Xian to abdicate the throne to him; the ceremony is actually a trap set by Wang Yun and Lü Bu. After Dong Zhuo's death, Lü Bu marries Diaochan and flees Chang'an with her when he is defeated by Dong Zhuo's former followers.

Later in the novel, Diaochan has only a cameo in the Battle of Xiapi, and is not mentioned again thereafter.

A Qing dynasty illustration showing Diaochan and Wang Yun discussing their plan to make Lü Bu kill Dong Zhuo.
[edit]

Diaochan appears a playable character in Koei's Dynasty Warriors and Warriors Orochi video game series. In the video game Wo Long: Fallen Dynasty, Diao Chan is the fake identity of sorceress Hong Jing. She also appears in the manga series Souten Kouro. In the card game Magic: The Gathering, there is a Legendary Creature card called "Diaochan, Artful Beauty".[5] Similarly, Diaochan appears as an alternate skin for the rogue class in the card game Hearthstone, titled Diao Chan Valeera. She also appears as a character in Total War: Three Kingdoms.

Notable actresses who have portrayed Diaochan in films and television series include: Violet Koo in Diao Chan (1938); Lin Dai in Diao Chan (1958);[6] Nina Li in The Beauty Diu Sim (1987); Chen Hong in Romance of the Three Kingdoms (1994) and Diao Chan and Lü Bu (2001); Irene Chiu in Guan Gong (1996); Sharla Cheung in Diao Chan (2002); Chen Hao in Three Kingdoms (2010); Liu Yifei in The Assassins (2012); Gulnazar in God of War, Zhao Yun (2016) and Dynasty Warriors (2019); Naomi Watanabe and Suzu Hirose in The Untold Tale of the Three Kingdoms (2020).

See also

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References

[edit]

Sources

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Diaochan

View on Grokipedia
from Grokipedia
Diaochan (貂蟬), also known as Diao Chan, is a fictional character from the 14th-century Chinese historical novel Romance of the Three Kingdoms (Sanguo Yanyi) by Luo Guanzhong, celebrated as one of the Four Beauties of ancient China for her extraordinary allure and strategic wit that alters the course of events in the late Eastern Han dynasty. Portrayed as the adopted daughter of the Han loyalist minister Wang Yun, Diaochan becomes the centerpiece of a cunning plot known as the "Chain Stratagem" (連環計), where she is promised in marriage to the ambitious general but secretly offered as a concubine to the despotic warlord , exploiting their rivalry to provoke fatal jealousy. Her name, evoking the delicate elegance of a sable-furred , symbolizes her refined beauty, said to be so beautiful that the moon would hide in shame (closed moon), an idiom that underscores her legendary charm in and . Though entirely invented for dramatic effect in the novel—with no verifiable historical counterpart beyond vague allusions to an unnamed in records like Chen Shou's (Sanguozhi)—Diaochan embodies themes of loyalty, sacrifice, and the instrumentalization of women in political intrigue during the late Eastern , in the chaotic prelude to the period. Her story, detailed in chapters 8–10 of the novel, culminates in slaying in 192 CE, temporarily restoring order but highlighting the fragility of alliances in an era of warlords and imperial decline. Beyond literature, Diaochan has permeated as an of tragic , inspiring operas like The Romance of the Phoenix Pavilion, films, video games such as Dynasty Warriors, and modern adaptations that explore gender roles and heroism. Her enduring legacy reflects the novel's influence as a cornerstone of East Asian , blending , romance, and moral philosophy to captivate audiences for centuries.

Name and Historical Basis

Etymology and Naming

The name "Diaochan" (貂蟬), literally translating to "sable cicada," was first introduced in the early 14th-century text Sanguozhi Pinghua (三國志平話), a collection of stories about the period, where it serves as a poetic for a figure associated with . This invention marks the character's emergence in literary tradition, predating her more famous portrayal in later works, and reflects the storytelling practices of the (1271–1368), during which the text was composed around 1321–1323. The components of the name carry symbolic weight rooted in ancient Chinese and . "Diao" (貂) refers to sable fur, prized for its luxurious quality and used in the tails adorning official hats like the diaochan guan (貂蟬冠), a high-status headpiece featuring a dangling sable tail alongside ornaments, evoking allure and refinement. "Chan" (蟬) denotes the , a motif symbolizing delicate beauty, seasonal transience, and ethereal grace in classical , thereby underscoring the character's tragic fate and fragile allure in narrative contexts. Early texts show variations in her naming, adapting to different dramatic or folk traditions. In the play Lianhuan Ji (連環計), she is depicted with the personal name Ren Hongchang (任紅昌), daughter of Ren Ang (任昂), and "Diaochan" functions as a derived from her role tending to the sable cicada , blending her identity with ornamental symbolism. Such alternatives, including transliterations like "Sable Cicada" in English renderings, highlight dialectal and translational flexibility in medieval . This naming style aligns with Tang-Song era (618–1279) conventions for fictional beauties in tales and , where pseudonyms often drew from natural elements or luxury items—such as flowers, jewels, or —to evoke idealized and impermanence, a practice that persisted into Yuan storytelling to enhance dramatic .

Potential Historical Prototype

Diaochan does not appear in Chen Shou's (Sanguozhi), the primary historical text on the late Han and period compiled in the third century CE, which omits any reference to a woman by that name or involved in the intrigue against . This absence indicates that her character, as developed in later , represents a fictionalized element rather than a documented . Possible inspirations for Diaochan derive from brief mentions in annotations and related records from the late Eastern Han era (c. 189–192 CE), a time of intense political turmoil marked by Dong Zhuo's seizure of power in 189 CE and his assassination in 192 CE. In Pei Songzhi's fifth-century annotations to the Records of the Three Kingdoms, specifically in the biography of Lü Bu (Book of Wei 7), a passage quoted from Wang Can's Records of Heroes (Yingxiong ji) describes Minister Wang Yun employing a beautiful singing girl (jiji), or maid, to exploit tensions between Lü Bu and Dong Zhuo, ultimately leading to the warlord's death. This unnamed figure, used in a scheme of seduction and betrayal, provides a kernel for the later elaborated plot but lacks personal details or the name Diaochan. Later traditions, possibly drawing from such figures, amalgamate anonymous courtesans and performers into the Diaochan archetype, suggesting Luo Guanzhong's fourteenth-century Romance of the Three Kingdoms synthesized these scattered accounts with earlier Tang dynasty folk tales of seductive beauties disrupting tyrants, akin to motifs in stories of legendary figures. The character Ren Ang from the Yuan play Lianhuan Ji has no direct historical counterpart and is a fictional addition. Modern historiography, particularly from twentieth- and twenty-first-century sinologists, reinforces the view that Diaochan is a literary invention without verifiable historical existence, serving to dramatize the real political machinations of the late Han court. Rafe de Crespigny, in his comprehensive analysis of the period, describes her as a product of the novel's embellishments on the maid from Pei Songzhi's annotations, emphasizing how such fictional elements fill gaps in sparse records to explain Lü Bu's betrayal of Dong Zhuo. Other scholars, including those examining Han dynasty social roles, note that while courtesans and singers were common in elite circles and could influence events indirectly, no evidence confirms a single prototype for Diaochan amid the era's documented intrigues.

Literary Depictions

In Medieval Folk Tales

Diaochan first appears in medieval Chinese folk tales through , or storytelling scripts, such as the Sanguozhi Pinghua (c. 1321–1323), where she is named as Lü Bu's wife but with limited details on her role. In fuller narratives from this period, she is depicted as a talented singer and dancer in the household of the Han loyalist Wang Yun, either as his adopted daughter or a close servant. In this narrative, Wang Yun employs her in the "linked rings" scheme (lian huan ji) to exploit the tensions between the tyrannical warlord and his adopted son ; she is betrothed to Lü Bu in a private ceremony but then presented to Dong Zhuo as a concubine during , feigning affection for each man to incite and . This , sometimes involving a jade ring exchanged as a token or a symbolizing divided loyalties, underscores her pivotal role in the intrigue leading to Dong Zhuo's by Lü Bu. These early tales exhibit significant variations in Diaochan's background and actions, often portraying her with greater agency than in later standardized accounts; for instance, she actively consents to the scheme out of patriotic duty, demonstrating courage and wit in navigating the dangerous affections of powerful men. Characterized as a tragic heroine, she embodies themes of sacrifice and moral integrity. The stories' dissemination via oral traditions, including street performances and qu ballads during the Song and Yuan periods, allowed for regional adaptations that predated printed literature, enriching her image as a symbol of feminine resolve in political upheaval. Diaochan's fate diverges markedly across these folk narratives, reflecting diverse moral and dramatic resolutions. In the zaju play Lianhuan Ji (The Linked Rings Stratagem), she is reimagined as Ren Hongchang, the daughter of the official Ren Ang, who manages his sable cicada hat collection—hence her —and after Lü Bu's execution at Xiapi, she is captured and introduced to by , only to be beheaded by the reluctant warrior to preserve his virtue. Alternative endings include her to evade Cao Cao's advances following Lü Bu's defeat, or her retreat to a nunnery, where she achieves spiritual redemption as a moral exemplar amid chaos. Such variations highlight her enduring agency, with her strategic deceptions emphasizing personal initiative in averting national calamity.

In Romance of the Three Kingdoms

In Luo Guanzhong's 14th-century historical novel Romance of the Three Kingdoms, Diaochan emerges as a central figure in the intrigue surrounding the fall of the tyrannical warlord Dong Zhuo, serving as the linchpin in Minister Wang Yun's "beautiful person scheme" (meiren ji). This stratagem, detailed primarily in chapters 8 and 9 of the Mao Zonggang edition, exploits Diaochan's exceptional beauty and talents to incite jealousy between Dong Zhuo and his adopted son Lü Bu, ultimately leading to Dong's assassination in 192 CE. Wang Yun, portrayed as a loyal Han official, adopts Diaochan as his foster daughter and trains her in music and dance; he first promises her in marriage to Lü Bu during a celebratory feast following a military victory, fostering Lü Bu's affection through gifts and intimate encounters. Subsequently, Wang Yun presents Diaochan to Dong Zhuo at a banquet, where she performs a mesmerizing dance and song that captivates the warlord, prompting him to seize her for his harem despite the prior betrothal. She later meets Lü Bu secretly at the Phoenix Pavilion. Diaochan's character is depicted as a paragon of and , willingly sacrificing her personal to the restoration of the amid its corruption and decline. In a pivotal scene on the moon-viewing terrace (liúyuàn), she feigns despair to Lü Bu, tearfully recounting her forced servitude to and imploring him to intervene, which deepens his and resentment; this manipulation culminates in a confrontation where discovers them together, igniting open hostility. Her actions underscore a selfless , as she navigates the perilous dynamics between the two men—alternately charming to secure her position and subtly undermining their alliance—without overt violence, highlighting her cunning as a rather than a . Thematically, Diaochan symbolizes the potent, often destructive influence of beauty in political machinations, critiquing the moral decay of the late Han court where personal desires exacerbate systemic corruption. Luo Guanzhong amplifies earlier folk tale elements—such as vague references to a seductive singer in Yuan dynasty dramas—into a tightly woven narrative that integrates historical events from the Records of the Three Kingdoms with dramatic tension, transforming episodic legends into a moral allegory of loyalty triumphing over tyranny. Her ambiguous fate after Dong Zhuo's death—implied to be either execution by Lü Bu's rivals or disappearance into obscurity—reinforces the novel's exploration of sacrifice's transience, leaving readers to ponder the cost of such schemes. This portrayal in cements Diaochan's legacy as one of the of ancient China, alongside , , and , influencing subsequent literary and cultural interpretations by establishing her as an archetype of strategic femininity in Chinese storytelling.

Cultural Representations

In Traditional Chinese Arts

Diaochan's portrayal in traditional Chinese arts dates back to the , where she features prominently in opera as a central figure in political intrigue. In the play Lianhuan Ji (The Interlocking Stratagem), attributed to Zheng Guangzu, she is depicted as Ren Hongchang, the daughter of Ren Ang, who actively engages in the plot against by seducing both him and , incorporating songs, dances, and arias that highlight her agency and tragic fate. This Yuan work established her as a multifaceted character, blending beauty with strategic cunning, and influenced subsequent adaptations that expanded her role in chuanqi dramas, emphasizing her emotional depth through elaborate stage performances. In visual arts of the , Diaochan appears in woodblock prints and illustrations from illustrated editions of , often shown as an ethereal beauty in moonlit scenes or alongside , symbolizing both allure and betrayal. For example, a 19th-century woodblock print from the Zengxiang Quantu Sanguo Yanyi depicts her in flowing robes, gazing wistfully, underscoring her role as a sacrificial figure in Han restoration narratives. Temple murals and paintings from the period similarly portray her as a ghostly or divine apparition, invoking Confucian ideals of loyalty and amid the perils of unchecked desire. Diaochan also features in other traditional media such as tanci ballad-singing and shadow puppetry, where her story is retold through rhythmic narration and silhouetted figures emphasizing dance motifs and tragic laments. In shadow puppetry traditions of , she is one of the four ancient beauties animated with intricate leather puppets, highlighting her seductive dances to drive narrative tension. Regional variations, including in from the 16th to 19th centuries, adapt her tale with local dialects and heightened emotional arias, portraying her as a symbol of moral virtue triumphing over tyranny while cautioning against the disruptive power of beauty.

In Modern Media and Adaptations

Diaochan has become a prominent figure in modern video games, particularly in titles adapting the Romance of the Three Kingdoms. She serves as a playable character in Koei Tecmo's series, where she wields fans or chains as weapons and employs dance-inspired combat moves emphasizing agility and illusion. In Dynasty Warriors 9: Empires (2021), players can recruit and customize her as a or fighter, integrating her into empire-building mechanics alongside historical figures like and . The series continued with Dynasty Warriors Origins in 2025, featuring Diaochan in narrative roles that highlight her intelligence and loyalty, with developers noting efforts to balance aesthetic appeal without reducing her to a mere romantic interest. As of February 2025, Origins had sold over 1 million units worldwide. In Total War: Three Kingdoms (2019) by , Diaochan appears as a unique legendary strategist hero exclusive to Romance mode, where she can be recruited by factions like Dong Zhuo's to sow discord through intrigue skills, reflecting her literary role in manipulating alliances. Expansions like (2019) and A World Betrayed (2020) extended her utility in diplomatic and gameplay, adding cosmetic and trait options for her character. Diaochan's presence extends to films and television, often reimagining her as a pivotal agent in political intrigue. In the 2012 historical drama The Assassins, directed by Zhao Linshan, portrays Diaochan (disguised as Lingju), depicting her as a skilled assassin aiding against ; the film earned about $8.3 million globally, blending action with lore. The 2021 live-action adaptation , produced by Well Go USA, casts Gulnezer Bextiyar as Diaochan, showcasing her in high-CGI battles where she aids heroes against demonic forces inspired by the game's aesthetics; it grossed roughly $2.8 million, primarily in ($1.4 million) and ($0.38 million). In film, she appears in the 2020 Japanese comedy The Untold Tale of the , a parody that humorously reimagines her role in the intrigue against . Recent Chinese dramas, such as reboots of narratives in 2022–2024, occasionally reference her archetype in ensemble casts, though full portrayals remain tied to earlier adaptations like the 2010 series. In other media, Diaochan appears in manga and anime adaptations of Romance of the Three Kingdoms, such as Mitsuteru Yokoyama's Sangokushi manga (1971–1987, with ongoing influence), where she embodies tragic beauty and strategic guile amid warlord rivalries. Anime versions, including the 1985–1986 Romance of the Three Kingdoms series, depict her scenes of seduction and betrayal in episodic formats faithful to the novel. In card games, she is represented as "Diaochan, Artful Beauty," a legendary Human Advisor creature in Magic: The Gathering's Portal Three Kingdoms set (1999), with abilities that force opponents to sacrifice creatures, symbolizing her divisive role; the card remains a collector's item in competitive play. Similarly, Grand Archive TCG's Diao Chan Re:Collection (2025) features her as a control-oriented card with wither effects, drawing on her beauty-to-misfortune theme. Modern adaptations have evolved Diaochan's portrayal from a seductive pawn in traditional tales to an empowered heroine, incorporating feminist readings that emphasize her agency and resilience. Post-2020 works, such as Dynasty Warriors Origins, prioritize her as a multifaceted character—strategist, dancer, and moral compass—avoiding over-sexualization to align with contemporary gender dynamics. Trends in CGI animations, evident in the 2021 Dynasty Warriors film, enhance her visual allure while granting her active combat roles, and her inclusion in esports-adjacent mobile titles like Arena of Valor (ongoing updates through 2024) allows players to build her as a zoning mage in competitive matches. Globally, Diaochan's image permeates Japanese media through Tecmo's franchise, which has sold over 20 million units worldwide since 1997, introducing her to international audiences via localized releases. In Korean markets, she appears in (known locally as variants), where duo mechanics with highlight romantic yet combative dynamics, contributing to the game's 100 million+ downloads in . Hollywood-influenced works, like The Assassins with its international distribution, blend her story with Western action tropes, achieving viewership on platforms like in select regions.

References

  1. https://digitalcommons.denison.edu/cgi/viewcontent.cgi?article=1203&context=articulate
  2. https://direct.mit.edu/books/oa-monograph/chapter-pdf/2237655/c005300_9780262367653.pdf
  3. https://www.academia.edu/47754475/Four_Famous_Beauties_of_Ancient_China
  4. https://www.babelstone.co.uk/SanguoYanyi/TextualHistory/Date.html
  5. https://stanford.universitypressscholarship.com/view/10.11126/stanford/9780804799966.001.0001/upso-9780804799966-chapter-002
  6. https://ctext.org/dictionary.pl?if=en&did=5340&remap=gb
  7. https://factsanddetails.com/china/cat11/sub75/entry-2762.html
  8. https://www.chinaknowledge.de/Literature/Novels/sanguoyanyi.html
  9. https://www.academia.edu/39744007/FAMOUS_WOMEN_OF_THREE_KINGDOMS_PERIOD
  10. http://www.chinaknowledge.de/History/Division/personsdiaochan.html
  11. https://www.hackettpublishing.com/records-of-the-three-kingdoms-in-plain-language
  12. https://threekingdoms.com/008.htm
  13. https://doi.org/10.1080/25723618.2014.12015453
  14. https://doi.org/10.46539/cmj.v4i1.78
  15. https://dokumen.pub/battles-betrayals-and-brotherhood-early-chinese-plays-on-the-three-kingdoms-1603848134-9781603848138.html
  16. https://www.arsinoelibrary.org/EPS/articles/diaochan-from-a-19th-century-qing-dynasty-edition-of-the-romance-of-the-three-kingdoms-zengxiang-quantu-sanguo-yanyi/
  17. https://english.visitbeijing.com.cn/article/47OMiZAknTy
  18. https://archive.shine.cn/feature/art-and-culture/Cantonese-Opera-hits-the-high-notes/shdaily.shtml
  19. https://www.koeitecmoamerica.com/dw9/chara_chousen.html
  20. https://www.koeitecmoeurope.com/news/koei-tecmo-celebrates-the-25th-anniversary-of-the-dynasty-warriors-series/
  21. https://automaton-media.com/en/news/dynasty-warriors-origins-focused-on-balanced-sex-appeal-that-doesnt-compromise-female-characters-roles-and-backgrounds-says-series-producer/
  22. https://twinfinite.net/guides/total-war-three-kingdoms-play-diao-chan-how/
  23. https://www.blu-ray.com/The-Assassins/144101/
  24. https://www.the-numbers.com/movie/Zhen-San-Guo-Wu-Shuang-%282021-China%29/China
  25. https://gatherer.wizards.com/PK/en-us/108/diaochan-artful-beauty
  26. https://www.tcgplayer.com/product/622302/grand-archive-diao-chan-re-collection-idyll-corsage-seasons-end
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