哪吒2：反抗的尽头？ - Nezha 2: The End of Rebellion? [HSK 7]

Chinese Short Dialogue | 听中文会话 | 中国語会話を聴く

陈智高 and 王明月 engage in a critical discussion about 'Nezha 2', exploring its deeper cultural and narrative issues.

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《English Translation》

王明月: 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.
陈智高: 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'.
王明月: You mean, even though Nezha defeats Wuliang Xianweng, the system of prejudice itself remains untouched?
陈智高: 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.
王明月: 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?
陈智高: 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.
王明月: 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'.
陈智高: 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.
王明月: 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.
陈智高: 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.
王明月: 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?
陈智高: 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.
王明月: But the box office was huge. Didn’t the audience love it?
陈智高: 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.
王明月: So what path should Chinese animation take?
陈智高: 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