Ne Zha 2: The Reckless Youth Who Challenges Power and Forges Destiny

“My fate is determined by me rather than God!” 

Image Credits: People Magazine and CMC Pictures

This powerful declaration from Ne Zha, a prominent figure in Chinese mythology and folklore, resonated with millions when the Ne Zha film series, directed by Jiaozi, was first introduced in 2019. Now the highest grossing animated film of all time, this year’s Ne Zha 2 brings the worldwide audience an even more magnificent wave of profound reflections on contemporary society. Through startling animation grounded in Chinese aesthetics, the film depicts the story of a juvenile challenging power and prejudice and finding the courage to defy the rules and forge his own path after clearly seeing through the convoluted world. 

The film starts with Ne Zha, son of Chentang Pass’s Li Jing, and Ao Bing, son of the imprisoned Dragon King, existing only as souls after being struck by heavenly lightning at the end of Ne Zha 1. As Ao Bing sacrifices his lotus body to defend Chentangguan Pass when attacked by the Dragon King, a ceasefire deal is struck: Ao Bing and Ne Zha must share a body for seven days and complete Master (or “Xian”) Wuliang’s three trials to obtain a potion that can restore Ao Bing’s form. These trials, however, are missions typically overseen by the heavenly Taoist sect’s demon-hunting forces. After Ne Zha and Ao Bing pass the first two trials, Shen Gongbao, a demon who strives to become a member of the sect, uncovers Wuliang’s deception, realizing that the dragon commanders have betrayed the ocean, aligned with Wuliang, and massacred Chentangguan. In the climactic final battle, Ne Zha absorbs samadhi fire to rekindle his body, and with newfound strength he and the dragons break free from the cauldron sealed by Wuliang and ultimately overthrow the oppressive forces of heaven.

The film widely discusses individuals’ power, systematic flaws, and restrictions throughout the story. As Ne Zha attempts to pass through the trials in the first half of the story, the film invites the audiences to question stereotypes about different social classes and reconsider the definition of justice together with the main characters. The demons that Ne Zha is supposed to hunt in the first two trials are the clan of prairie dogs and Shen Gongbao’s father, a trainer of small demons. The prairie dogs are poor, lower-skilled beings concerned with survival, while Shen Gongbao’s father, a demon, remains respectful towards the masters from the sect despite their authority over him. Yet, because these characters are labeled as demons, they are condemned as criminals, reinforcing the notion that justice is dictated by those in power rather than by moral integrity. Masters are supposed to be just and holy, yet their rule exposes a deeper hypocrisy. 

This stark contrast between identity and morality becomes even more apparent as the final battle arrives. Master Wuliang is revealed to be the instigator of all conflicts, whose biggest conspiracy is to capture all demons, including the dragons and smaller demons like the prairie dogs, and alchemize them into elixirs which can strengthen the manas of masters to consolidate the control of the sect’s court over all other forces. To achieve this, he deceives Ne Zha, incites the dragon commanders to massacre Chentangguan, and attributes the offense to Dragon King. In contrast, the so-called demons in the ocean—ordinary beings dismissed by society—risk everything to help Ne Zha and Ao Bing fight back. Though never regarded as heroes, they act selflessly and support the justice in their beliefs. As the film suggests, demons are not necessarily evil, and masters are not inherently just. Good and bad are not and were never supposed to be divided by the identities of master, demon, and human. 

Having faced the complexities and harsh realities of the world, Ne Zha and Ao Bing emerge as symbols of defiance against unjust systems. They represent both demons and ordinary people who refuse to submit to the rules imposed by those in power. In a pivotal moment, as Wuliang’s entangled tree roots attempt to bind them, Ne Zha shatters the green chip that once granted him entry into the sect. This act is not just a rejection of Wuliang’s control but a rebellion against the masters’ hegemony over the world. Standing before the masters, the two youths proclaim: “If there is no path in this world, I will carve one. If heaven and earth refuse my existence, I will overturn them.” Their final victory is more than just the defeat of the masters; it is a triumphant affirmation that every individual has the power to define their own fate free from external control. 

At a time when external turbulence and internal struggles define modern existence, Ne Zha 2 offers a compelling meditation on how individuals navigate their realities and build their own destinies. With its striking animation, spectacular visual effects, and rich foundations in Chinese history, the film prompts viewers to reflect on their own lives and choices. Ne Zha’s mother’s final words encapsulate this sentiment: “Whether you are a master or a demon, you are always my son. You are always yourself.” No matter the pressures and constraints imposed by the world, those with courage can still shape their own future and seek justice.

Besides, the film offers poignant commentary on generational differences in upbringing and parental expectations. As the Dragon King says to Ao Bing, “Our generation’s experiences belong to the past. You must find your own path.” This statement speaks not only to younger audiences struggling for autonomy but also to parents who must learn to let their children grow into their own identities. In this way, the film bridges generational gaps, offering a universal message about self-determination and the evolving nature of relationships.

The radiant flame of Ne Zha and the delicate frost of Ao Bing intertwine, portraying the reckless passion and the beauty of youth. Their journey is one of defiance, discovery, and the unyielding desire to carve their own destiny. And I know you will never hesitate to embark on your own adventure. Why? 

“Because we are too young, too young to know the immensity of sky and earth.”

Rating: INDY

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Wendi Wang is a junior in the SFS majoring in International Economics and minoring in Philosophy and Music. She is an executive editor of the INDY.