In 1973, Chun-Ming Huang went a Rukai young man’s home and there he was shocked by a set of pictures of the young man’s family members. These pictures showed a tragedy that four males in a Rukai family were compulsorily conscripted into different feuding camps and three of them even lost their lives in wars and conflicts. From 1988 to 2005, Huang wrote this tragedy with the title, “Fighters, Cheers!” in the three genres of essay, play script, and poem, respectively. This paper starts with the discussion of the three genres of “Fighters, Cheers!” especially of the process of transformation and comparison among genres, in order to understand the intertextual structure of Huang’s works. This understanding will offer an approach for considering the possibility of being an eternal reader. Furthermore, given that Huang’s intention to write “Fighters, Cheers!” was evoked by his reading of the pictures in the Rukai young man’s home, this paper will also discuss how the three genres of essay, play script, and poem interpret these pictures. Finally, with the comparison of the contents of the three genres, this paper shows not only how Huang deepened the theme of this tragedy each time a revision was made, but also how the movement launched by the indigenous Taiwanese in the 1980s influenced Huang’s revisions.