Li Mu Bai is a fictional character created for the novel upon which the film is based. He embodies ideals of the wuxia genre but isn't a real historical figure.

Yu Shu Lien is a fictional character from the source novel. While female warriors existed, her specific story and role are part of the wuxia narrative.

Jen Yu is a central fictional character from the novel. Her conflict between aristocratic duty and freedom in the Jianghu is a narrative device, not historical fact.

Lo is a fictional character created for the novel. Desert bandits existed, but his specific character and romance with Jen are fictional.

Jade Fox is the fictional antagonist from the novel. Her motivations and actions are part of the wuxia story, not based on a specific historical individual.

Sir Te is a fictional supporting character from the novel, representing stability and tradition within the narrative.

The film depicts qinggong (lightness skills) allowing characters to defy gravity, which is a staple of the wuxia genre but impossible in reality.

The Green Destiny sword is a fictional artifact central to the plot, created for the novel series. Legendary weapons exist in folklore, but this specific sword is not historical.

While less common than men, there were women involved in various professions, and female martial artists are a known trope in Chinese stories, though Shu Lien's specific setup is fictional.

While secret lives exist, the idea of a high-ranking governor's daughter achieving master-level, hidden martial arts skills under her governess's tutelage is highly improbable historically.

This central theme reflects a common motif in Chinese literature and philosophy, contrasting societal obligations (Confucian) with personal desires/freedom (Daoist/Buddhist influences/Jianghu).

The Jianghu is a conceptual "world" within Chinese fiction representing an alternative society of martial artists with its own codes. The film depicts this concept effectively within its genre.

The specific romance between Lo and Jen is a fictional element driving the plot and character development. Cross-class romances were highly restricted and scandalous.

The Wudang Mountains are historically associated with Daoism and martial arts. While Li Mu Bai is fictional, he represents the archetype of a Wudang master common in wuxia.

Jade Fox's specific vendetta against Wudang for rejecting her as a student due to her gender is a fictional plot point created for the narrative.

The fights are highly stylized and balletic, emphasizing aesthetics over realistic combat techniques of the period. They are characteristic of modern wuxia cinema, not historical fighting.

The use of concealed weapons, including poisoned projectiles, was known in historical China and features commonly in wuxia stories.

Jen Yu's final leap is a symbolic act tied to a legend mentioned by Lo. It is a fantastical element, not a depiction of a historical event or possibility.

The film is set during the Qing Dynasty, but blends elements from different periods and uses a romanticized, fictionalized version of the era suitable for the wuxia genre.

The costumes and Manchu queue hairstyles are generally well-researched and visually representative of the Qing Dynasty period, albeit perhaps cleaner and more stylized than reality.

The sets, including Beijing mansions, temples, and rural inns, effectively evoke the atmosphere and general architectural styles of Imperial China during the Qing period.

The film showcases diverse and stunning real landscapes of China (deserts, bamboo forests, mountains), grounding the fantasy in a recognizable geographic reality.

The film shows the contrast between the aristocracy (Governor Yu, Jen) and the Jianghu world (Li Mu Bai, Shu Lien), reflecting real Qing social structures, though simplified.

The film presents a stylized vision of Qing-era Beijing, capturing some authentic architectural elements but primarily serving as a backdrop for the fictional narrative.

While the events are fictional, the film visually represents the Wudang Mountains, known for their beauty and connection to Daoism and martial arts traditions.

The portrayal of the western deserts visually reflects the landscapes of regions like Xinjiang, providing an authentic setting for Lo's backstory.