This paper examines the intersection of anti-colonial resistance, gender politics, and sexual exploitation in Love, Death & Robots S01E08, “Good Hunting” (2019), through the lens of the Chinese fox spirit (hulijing) mythology. The hulijing, a shapeshifting figure in Chinese folklore, embodies themes of feminine autonomy, seduction, and transformation, serving as a potent symbol of both subjugation and empowerment. Set in colonial Hong Kong, the episode reimagines the fox spirit’s plight under British imperialism, depicting Yan’s forced metamorphosis from a mystical being into a mechanized object of male desire. Drawing on postcolonial theorists such as Edward Said, Homi Bhabha, and Gayatri Spivak, the analysis highlights how Yan’s mechanical body becomes a site of colonial and patriarchal violence, yet ultimately a tool of defiance. The narrative critiques the dehumanizing effects of colonialism while celebrating subaltern agency, as Yan reclaims her autonomy through technological reappropriation. By juxtaposing traditional mythology with steampunk aesthetics, “Good Hunting” interrogates the erasure of indigenous cultures under modernity, offering a nuanced allegory of resistance. The paper argues that Yan’s transformation and rebellion reflect broader historical struggles of colonized women, challenging Orientalist narratives and reclaiming the hulijing as a figure of anti-colonial resilience. Through this lens, the episode transcends fantasy to engage with enduring discourses on gender, power, and cultural survival.