北管布袋戲是臺灣布袋戲本土化的開始，伴隨著音樂與題材興革的是布袋戲的表演技巧，由特技—技擊—武打，武俠戲經由劍俠戲的發韌、金光戲的成到電視布袋戲的發光大，此成為臺灣布袋戲的一大特色與主流發展。 武俠戲中的俠客形象、俠義內涵、「劍」「術」演出以及神怪荒誕傾向所形成的武俠風格，雖在金光戲中發展完成，但其基調和創造卻可謂是劍俠戲的延續。

The Pei-kuan puppet show is the starting point of localization in the Taiwanese puppet show. The performing techniques of the puppet show developed from stunt to acrobatic fighting and fighting scenes, along with the revolution in music and subject matter. From swordplay senses, the Jin-guang puppet show, to the television puppet show, the emprise style has become, as a result, the dominant characteristic and mainstream of the Taiwanese puppet show. Although the emprise style of the Taiwanese puppet show, which is formed by the image of swordsman, knightliness, scenes of “swordplay” and “swordsmanship”, and the tendency of fantasy and absurdity are fully developed in the Jing-guang puppet show, its keynote and creation are simply a continuation of traditional swordplay senses.