Master, did you watch 'Nezha 2'? I saw a lot of reviews saying it continues the theme of defying fate, but something feels off to me.

Yes, I’ve seen it. The film does continue the slogan 'My fate is mine, not Heaven’s,' but what interests me more is whether it truly challenges the system and discourse behind 'fate'.

You mean, even though Nezha defeats Wuliang Xianweng, the system of prejudice itself remains untouched?

Exactly. Nezha’s 'demonic awakening' is essentially about using greater force to break the old order, not establishing a new one. It’s a logic of 'breaking through with power,' not a systemic subversion.

What do you think about the online claims that Wuliang Xianweng symbolizes American hegemony, and Nezha symbolizes Chinese resistance? Isn’t that a bit superficial?

That interpretation is interesting, but I think simplifying complex international relations into a hot-blooded narrative of good vs. evil actually conceals structural problems. It’s more of a dramatized projection of real-world politics than a true metaphor.

I also noticed that Nezha barely has a character arc. His 'immortal setting' makes it feel unrealistic. I actually preferred the protagonist's inner struggles in 'Jiang Ziya'.

Good observation. Nezha’s development is more like stacking buffs—relying on friends, family, and miracles granted by fate, rather than inner awakening. This 'protagonist halo' weakens the philosophical depth of the story.

And also, Li Jing and his wife became the 'loving parent template' in this one, losing the tension they had in the first film. The whole family storyline feels instrumentalized.

Their sacrifice indeed presents an ethical paradox. To save Nezha, they’re willing to sacrifice the people of Chentang Pass, which reveals a certain 'privilege' narrative—who deserves to live, and who can be sacrificed.

Speaking of cultural expression, some say Nezha’s rage mode looks like Japanese anime, and Ao Bing’s father resembles Legolas from 'The Lord of the Rings'... Is Chinese animation losing cultural confidence?

That’s the dilemma of contemporary Chinese animation: on one hand, pursuing international aesthetics, and on the other, trying to uphold the banner of 'Chinese cultural export'. When cultural expression turns into collage and imitation, local identity is easily marginalized.

But the box office was huge. Didn’t the audience love it?

That actually shows the disconnect between audience emotion and the film’s depth. People want to see the rise of Chinese animation, but often get visual bombardment and hollow storytelling. Box office doesn’t equal quality, let alone cultural reflection.

So what path should Chinese animation take?

It needs to return from spectacle to storytelling, from imitation to sincerity, from consumerism to cultural responsibility. If Nezha wants to rebel against fate, he must also rebel against superficiality. Only then can mythology touch the soul of today’s people and achieve true breakthroughs.