ABSTRACT The present paper takes a critical posthumanist lens to study the consequences of rapid urbanisation of the Chinese landscape as presented in the short story ‘Good Hunting’, by Ken Liu. One of the main characters in the story is Yan, a huli jing (fox-spirit), whose ability to switch between her fox and human forms is severely impaired by the loss of remnant nature in China, and the subsequent erosion of the qi from the soil. It is not just the natural landscape that undergoes a transformation during urbanisation – the remnants of nature do not remain untouched by this process. Beings like Yan, who continue to inhabit the place that used to be their home, do not remain the same that they were pre-urbanisation. The city changes them, moulds them in ways hitherto inconceivable, and they undergo this transmogrification of their bodies and their self in order to survive. The article draws out the historical relationship between urban spaces and (post)human bodies, with a specific focus on the Chinese body, drawing parallels between the ideals associated with the city and juxtaposing them with what it means to be posthuman. The paper also interrogates Yan’s status as a liminal entity before and after Hong Kong’s transformation, and her use of liminality as a survival strategy.