By Thomas William Whyke, Zhennuo Song,  Zhaoyu Zhu, and Yibo Fan 

Jiao Zi’s Nezha 2 (2025) represents a watershed moment in Chinese cinema, not merely as an animated feature film but as a cultural phenomenon that has redefined global expectations for non-Western animation. Released during the Chinese New Year 2025, the film shattered box office records with astonishing speed – entering the global top ten within weeks and ultimately claiming the throne as the highest-grossing animated feature film in world history, surpassing Hollywood titans like The Avengers (2012) and The Lion King (2020).

Reimagining a Mythological Rebel

The film builds upon the ancient Chinese mythological figure of Nezha, whose origins trace back to Buddhist texts from the Song Dynasty.¹ Traditionally depicted as a child who accidentally kills a Dragon King’s son named Aobing and subsequently sacrifices himself for his parents, Nezha embodied both defiance against authority and Confucianist filial piety. Following the success of Nezha (2019), the sequel Nezha 2 transforms the titular character from a personal rebel into something far more profound – a symbol of systemic resistance.

Nezha 2 picks up after the events of the first film, where both Nezha and Aobing had their physical bodies destroyed. Master Taiyi attempts to reconstruct their physical forms using a seven-coloured lotus, but complications arise when Aobing’s body is damaged again while protecting Nezha. This forces Aobing’s soul to temporarily attach to Nezha’s reconstructed body, creating a unique shared existence that drives the narrative forward. Their journey involves passing the immortality test by defeating three earth-level demon kings and obtaining “Jade Nectar,” all while navigating the politics between the dragon clan and celestial realm.

What distinguishes Nezha 2 from its predecessor is its ambitious thematic scope. While the 2019 film explored personal rebellion against paternal authority and societal expectations – reflecting Gen-Z struggles for self-determination within Chinese society² – this sequel elevates Nezha’s defiance to challenge the entire cosmic order. His rebellion no longer targets specific individuals but confronts the very “rules of the game” accepted by society – the established hierarchies presented as natural cosmic laws but functioning as mechanisms of control.

Visual Innovation and Cultural Identity

Visually, Nezha 2 represents the pinnacle of Chinese animation artistry. The film showcases meticulous attention to detail, particularly in character design that authentically embodies Chinese cultural aesthetics. The underwater monster army exemplifies this commitment, featuring traditional Chinese patterns and painting methods integrated with creature characteristics. Their armour, depicted with rusty scales and tattered edges to reflect years of imprisonment, demonstrates sophisticated design beyond mere element stacking. Unlike Western cinematic depictions featuring sharp, downward-pointing fangs, Nezha 2 embraces traditional Chinese monster aesthetics with upward-curving fangs reminiscent of ancient murals. This visual distinction speaks to the film’s larger ambition – establishing an authentic Chinese cinematic language rather than mimicking Hollywood conventions.

The film’s visual evolution is most evident in Nezha himself. While his 1979 animated iteration (Nezha Conquers the Dragon King) presented him with childlike innocence based on Chinese New Year paintings, Nezha 2 culminates in a mature version with complex emotional layers after his mother Lady Yin’s sacrifice. This adult Nezha maintains iconic features while incorporating stronger lines and traditional armour, symbolizing his evolution from “challenger” to “protector.” His distinctive smoky makeup visualizes the transformation of mythological rebellion but also identity itself. Each of Nezha’s corporeal transformations—particularly his final form following his mother’s death—represents not just physical evolution but symbolic liberation from constraint. When Nezha abandons his original body in the alchemy furnace, the visual metamorphosis symbolizes a rejection of predetermined destiny and social limitations, reflecting the film’s broader examination of resistance against established hierarchies. This visual storytelling reinforces the film’s position as both entertainment product and cultural statement, demonstrating Chinese animation’s evolution from technical imitator to confident innovator on the global stage.

This sophisticated visual approach reflects a larger cultural reclamation in Chinese animation. Where recent Chinese animated works like Deep Sea (2023) were criticized by some viewers as “pseudo-Chinese” for borrowing too heavily from Japanese director Miyazaki Hayao and Hollywood aesthetics,³ Nezha 2 confidently establishes its own visual language. The film navigates the delicate balance between innovation and tradition, creating what Aukia describes as an industry subject to both commercial investment and state control that produces globally competitive works while advancing distinctively Chinese cultural narratives.⁴

Thematic Depth and Contemporary Resonance

At its core, Nezha 2 examines profound questions of identity, resistance, and moral frameworks. The film redefines rebellion by exploring boundaries between morality and self-interest through Nezha’s conflict with the Boundless Immortal Elder (Wuliang Xianwen). Their clash juxtaposes Nezha’s respect for life against Wuliang’s utilitarian philosophy of “sacrificing individuals for collective interests,” prompting viewers to reflect on similar contradictions in contemporary society. The narrative deconstructs the classic novel Investiture of the Gods, revealing the “divine system” of the Jade Palace as an orthodox path controlled by hidden agendas. The film breaks from traditional narratives that position the Chan sect (advocating “following heaven’s mandate”) as righteous and the Jie sect (emphasizing “teaching without discrimination”) as villainous, exposing hypocrisy behind the orthodox facade.

Nezha 2 consequently resonates particularly strongly with young Chinese audiences navigating economic uncertainty and social pressures. As Monaghan notes, teen-oriented films both shape and reflect generational experiences.⁵ When Nezha endures the “heart-piercing spell” near the film’s conclusion – suffering excruciating pain and physical dismemberment while refusing to submit to fate or authority – his struggle metaphorically represents breaking free from societal constraints. This speaks directly to youth anxieties about autonomy in constrained social realities.

Cultural Confidence and Counter-Hegemony

Nezha 2 arrives at a pivotal moment in global cinema, where Chinese films increasingly challenge Hollywood’s longstanding dominance. For decades, Hollywood defined cinematic excellence, creating perceptions that Chinese productions couldn’t compete technically or narratively. Chinese studios often promoted their Hollywood special effects teams as selling points, inadvertently reinforcing the notion that high-quality animation exceeded local capabilities.

Nezha 2 shatters such perceptions, demonstrating that Chinese animation can not only match but exceed global standards while maintaining authentic cultural identity. Unlike Hollywood productions such as Kung Fu Panda or Mulan that appropriate Chinese aesthetics while propagating Western values – what Klein describes as following “the Hollywood way” in pacing and narrative⁶ – Nezha 2 represents truly indigenous cinematic achievement.

The film’s approach aligns with Bhabha’s concept of cultural hybridity.⁷ While employing world-class animation techniques, it embeds distinctively Chinese narratives and aesthetics, creating a hybrid cultural product that challenges Western dominance without rejecting global influences. This positions Chinese animation within what Bhabha describes as “the emergence of the interstices—the overlap and displacement of domains of difference—that the intersubjective and collective experiences of nationness, community interest, or cultural value are negotiated.”⁸

In this context, Nezha 2 exemplifies what Magdy defines as a political myth – a powerful narrative that transcends mere entertainment to become an instrument of cultural influence.⁹ The film constructs a “foundation narrative” that shapes collective identity, particularly resonant in the post-COVID-19 era where Ho documented Chinese youth have expressed increased nationalist sentiment and anti-Western attitudes.¹⁰ Director Jiao Zi’s reimagining of Nezha’s rebellion against cosmic authority parallels China’s own narrative of challenging established global hierarchies.

This positioning reflects what Gramsci theorized as cultural hegemony, where dominance is maintained not solely through political or economic power but by controlling cultural institutions that shape public consciousness.¹¹ For generations, Hollywood exemplified this form of cultural hegemony by exporting Western ideals globally. Nezha 2 represents a counter-hegemonic response that offers an alternative cultural narrative appealing to domestic audiences’ sense of pride while achieving international recognition.

In prior years, Chinese animation’s technical achievements have demonstrated a lack of confidence in the animated film industry’s future. Director of Deep Sea (2023) Tian Xiaopeng acknowledged that the particle-ink technology used in the film still lagged behind major Hollywood productions like Avatar: The Way of Water (2022). However, China’s commitment to developing indigenous animation capabilities rather than relying on Western expertise is commendable.¹² This technical self-reliance mirrors the broader Chinese techno-nationalism that “links technological innovation and capacities directly to a nation’s national security, economic prosperity and social stability,”¹³ positioning the film industry as a strategic sector demonstrating what officials frame as “institutional superiority” in the post-pandemic world order.

Reception and Cultural Impact

The reception of Nezha 2 extends far beyond artistic appreciation, becoming intertwined with expressions of national pride and cultural sovereignty. Audience interpretations have identified perceived anti-American metaphors within the film – from the Pentagon-like structures of the Jade Void Palace to the destruction of cauldrons emblazoned with dollar symbols. Whether intentional or projected, these readings reflect the film’s emergence amid escalating Sino-American tensions and trade conflicts.

The enthusiasm surrounding Nezha 2 manifests in grassroots support, with audiences purchasing multiple tickets and celebrating when theatres prioritize domestic productions over Hollywood imports. This phenomenon illustrates what James Lull describes as cultural resistance through media, where audience engagement becomes an act of opposition to dominant narratives.¹⁴ The film’s success represents both China’s growing cultural confidence and the assertion of narrative sovereignty in global cinema.

This audience response aligns with Stuart Hall’s argument that viewers actively construct meaning based on their cultural and social contexts.¹⁵ Chinese audiences have projected nationalistic sentiments onto the film, reading between the lines to find metaphors of resistance against Western hegemony. Online discussions on platforms like Douban reveal how viewers interpret elements such as the Soul-Destroying Pills shaped like the coronavirus, or the celestial waist token adorned with a green card motif as pointed critiques of American influence.¹⁶

The stark contrast in theatrical distribution between Nezha 2 and Captain America 4 further fuelled these nationalist narratives. While Nezha 2 received limited North American screenings, Captain America 4 enjoyed extensive distribution in over 4,000 U.S. theatres. Meanwhile, Chinese theatres widely embraced American productions, with over 90% screening Captain America 4.¹⁷ Many Chinese viewers interpreted this imbalance as evidence of continuing Western cultural dominance, reminiscent of how Western discourse has historically positioned the “East” as the inferior “Other.”

This perception of injustice transformed mundane activities like ticket purchases into political acts of solidarity. As Ewe documented, enthusiastic fans embraced slogans like “Captain America must die in China,” purchased multiple tickets to boost domestic box office figures, and celebrated when theatres in Sichuan province halted screenings of Captain America: Brave New World in favor of Nezha 2.¹⁸ Through these actions, audiences engaged in what Benedict Anderson terms “imagined communities,” where shared cultural consumption fosters collective identity and purpose in response to perceived global inequalities.¹⁹

The film’s reception thus exemplifies the dual nature of contemporary Chinese nationalism that Woods and Dickson identify: combining “pride of national achievement” in technical and artistic accomplishment with a “conflict-oriented narrative” that positions China against foreign adversaries in a struggle for cultural recognition and respect on the global stage.²⁰

Conclusion

Nezha 2 transcends conventional animation to become a cultural landmark where mythology, technology, and national identity converge. By transforming Nezha from a personal rebel to a symbol of systemic resistance, the film addresses contemporary Chinese youth navigating social uncertainty while challenging established global hierarchies.

Its unprecedented commercial success signifies China’s arrival as a cinematic superpower capable of creating authentic cultural products with universal appeal. More significantly, Nezha 2 functions as a counter-hegemonic statement that disrupts established patterns of Western cultural dominance while creating a hybrid space that articulates China’s unique historical consciousness and global aspirations.

In this era of shifting global dynamics, Nezha 2 illuminates how cinema has become a crucial battleground for narrative sovereignty and cultural influence. The rebellious spirit of Nezha – once a mythological child defying celestial authority – now symbolizes China’s own defiance against established global cultural hierarchies, creating a work that resonates both domestically and internationally through its universal themes of resistance, identity, and transformation.

As Nezha 2 continues its record-breaking global run, it stands as testimony to animation’s power to transcend cultural boundaries while remaining authentically rooted in specific cultural traditions – proof that the most local stories often become the most universal when told with confidence, craft, and conviction.

Notes

¹ Z. Li, “The Transformation of Images of Nezha and the Changing Cultural Discourses in Chinese National Style Animated Films from 1979 to 2019,” Humanities and Social Sciences Communications 11, no. 1 (2024): 1–8.

² T. W. Whyke, J. L. Mugica, and M. S. Brown, “Contemporizing the National Style in Chinese Animation: The Case of Nezha (2019),” Animation 16, no. 3 (2021): 157–174.

³ T. W. Whyke, Z. Zhu, and A. Wang, “Dematerialization and Digital Ink-Painting Aesthetics in Contemporary Chinese Animation: Redefining the National Style in Deep Sea (2023),” Animation 20, no. 1 (2025): 72-88.

⁴ J. Aukia, “Commercial Investment and State Control: The Dual Influences on Chinese Animation Industry Development,” Asian Cinema Studies 34, no. 2 (2023): 189-205.

⁵ W. Monaghan, “Feminism at the Movies: Sex, Gender, and Identity in Contemporary American Teen Cinema,” Feminist Media Studies 23, no. 7 (2023): 3258–3273.

⁶ C. Klein, “Crouching Tiger, Hidden Dragon: A Diasporic Reading,” Cinema Journal 43, no. 4 (2004): 18–42.

⁷ H. K. Bhabha, The Location of Culture (London: Routledge, 2012).

⁸ Bhabha, The Location of Culture, 2.

⁹ R. Magdy, “Mythos Politicus: A Theoretical Framework for the Study of Political Myths,” Athens Journal of Mediterranean Studies 6, no. 2 (2020): 155–178.

¹⁰ S. Ho, “COVID-19 and Chinese Nationalism: A Content Analysis of Chinese Youth’s Nationalist Sentiment and Identity Before and During the Pandemic,” Journal of Contemporary China 31, no. 135 (2022): 385-402.

¹¹ E. E. Cortez-Ramirez, “Cultural Hegemony Today: From Cultural Studies to Critical Pedagogy,” Postcolonial Directions in Education 4, no. 2 (2020): 116-139.

¹² D. Gong, “Zhuanfang ‘Shenhai’ daoyan Tian Xiaopeng: ‘Jitang’ pian bu liao chengnianren [Interview with Deep Seadirector Tian Xiaopeng: ‘Chicken soup’ can’t fool adults],” Shanghai Observer, February 9, 2023, https://mp.weixin.qq.com/s/GzjXJ92drhWVUp4hzJ62Aw.

¹³ L. H. Chan and P. K. Lee, “The Rise of Xenophobia and Nationalism in China Since the COVID Pandemic: Insights from Discourse Analysis,” East Asia: An International Quarterly 41, no. 1 (2024): 53.

¹⁴ J. Lull, Culture-on-Demand: Communication in a Crisis World (Malden, MA: John Wiley & Sons, 2008).

¹⁵ S. Hall, “Encoding/Decoding,” in Culture, Media, Language, ed. S. Hall et al. (London: Hutchinson, 1980), 128-138.

¹⁶ Douban, 2025.

¹⁷ Douban, 2025.

¹⁸ K. Ewe, “‘Captain America Must Die in China’: Nationalism Fuels Ne Zha 2 Fans,” BBC, February 20, 2025.

¹⁹ B. Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London: Verso, 1983).

²⁰ J. Woods and B. Dickson, “Victims and Patriots: Disaggregating Nationalism in Urban China,” Journal of Contemporary China 26 (2016): 1-16.

Bios:

Thomas William Whyke is Assistant Professor of International Communications at the University of Nottingham Ningbo China. Zhennuo Song is Teaching Fellow in International Communications at the University of Nottingham Ningbo China. Zhaoyu Zhu is Teaching Fellow in International Communications at the University of Nottingham Ningbo China. Yibo Fan is Lecturer in Media and Law at NingboTech University.