This Blog is about our Spiritual Life IN Jesus Christ and Him IN us who believe on Him and how we apply this existence to our physical world. The Gospel is found 1 Corinthians 15:1-4KJV
By the Grace of God this Blog is my written record of a "third heaven traveler", someone whose spirit lives in Christ in heavenly places (Ephesians 2:6). Who is passing through this world and like Abraham a stranger and a pilgrim, rejecting those "cities" (religions) built by the hands of men. Maranatha!
Demon Child Movie Shatters Records: Spiritual Implications Beyond the Obvious for the Church
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2 Corinthians 2:11
“Lest Satan should get an advantage of us: for we are not ignorant of his devices.”
King James Version (KJV)
Colossians 2:8
“Beware lest any man spoil you through philosophy and vain deceit, after the tradition of men, after the rudiments of the world, and not after Christ.”
King James Version (KJV)
Romans 1:20
“For the invisible things of him from the creation of the world are clearly seen, being understood by the things that are made, even his eternal power and Godhead; so that they are without excuse:”
King James Version (KJV)
This is no coincidence that while working on this Blog I had to post this Blog to my Twitter X. To respond to a Tweet.
This movie goes WAY BEYOND the normal superficial observation of The Economist and other articles talking about this BLOCK BUSTER ovie in China.
This is an EXTREMELY LOUD ALARM for the Church of Philadelphia to CLEARLY SEE that they Luciferian Elite understands the spiritual needs of humans over the state and that under OPPRESSION the people want to revolt but the state must allow ONLY THOSE WHO GO ALONG TO GET ALONG in their OPPRESSION and suppression of their souls. But even deeper is MAN's ability within himself - DEMON and ALL and NOT Heaven that WINS in the end.
First, Ne Zha’s defiance isn’t about forcing a new order—it’s about rejecting an artificial one. The celestial hierarchy (a Yang-heavy system of rigid control) labels him Yin, chaotic, evil. Rather than accept this, Ne Zha flows with his own nature—demon and all. His iconic line from the 2019 film, “My fate is mine, not heaven’s,” carries into Ne Zha 2, where he doesn’t seek to overthrow the gods but to carve his own path. This is wu wei: not battling the universe, but refusing to be misaligned by it. He’s water eroding a dam, not a hammer smashing it.
Geomancy is an ancient form of divination that interprets patterns, markings, or configurations in the earth or other natural elements to gain insight into future events or answer specific questions. The word "geomancy" comes from Greek, meaning "divination by earth." See more below:
Also to bolster the end times where we are NOW. I posted studies on how WOMEN RULE and Children are our Oppressors.
filial piety: Ancestor Worship and the destruction of the family structure according to the WORD OF GOD. The mother-in-law usurping the position of the wife and controlling her son as a JEZEBEL spirit - Queen of Heaven.
(This has a profound effect on Asian culture.)
Tell first hand stories.
This is connected to the overwhelming amount of child porn and sex trafficking.
Chinese blockbuster Ne Zha (2019) and its sequel Ne Zha 2 (2025), the main character is Ne Zha, a young boy born as a reincarnation of the Demon Orb, known as the "demon child." While the films focus heavily on Ne Zha’s journey and his defiance of fate, there is indeed a key female figure who plays a significant role: Lady Yin, Ne Zha’s mother.
Lady Yin is not the main character—that title belongs to Ne Zha himself—but she is a crucial figure in both movies. As the mother of Ne Zha and the chieftess of Chentang Pass alongside her husband, Li Jing, she embodies a powerful and emotional presence.
In Ne Zha (2019), she is depicted as a fierce yet loving mother who supports her son despite his demonic origins and the fear he inspires in others.
Her role becomes even more poignant in Ne Zha 2, where her selfless love is highlighted in a climactic scene. Struck by a "heart-piercing curse" that covers Ne Zha’s body in thorns, she clings to him despite the pain, refusing to let go until her final breath.
This act of maternal sacrifice triggers Ne Zha’s emotional awakening and rebirth, underscoring her importance to the story.
The movie’s climax, where Ne Zha’s mother sacrifices herself and he merges with Ao Bing to save the world, echoes Buddhist ideas of selflessness and karmic resolution, while also nodding to Confucian filial piety turned upside down (a child redeeming a parent’s legacy).
This movie also gives us the perfect LENS of Philosophy and ISMs ruling a people deeply to their "spiritual core" The State knows this and plays off of this to FEED their souls that the state knows their godless state is morally corrupt and BANKRUPT.
We see the terrifying Prophesy of Ezekiel 14:4 KJB in that if MAN has idols in his heart, the Lord will give them a false prophet.
I will post the GROK review of what I entered to search for looking at this MOVIE from the spiritual state comparing how Eastern Orthodox survived during the SOVIET UNION and how even my experience living for years in a Communist Country Vietnam how Buddhism and Catholicism thrive and even "Government controlled Protestant Churches" IT IS ONLY THE TRUE REMNANT the UNDERGROUND church that resists openly whenever their day or time comes to make a stand.
A deep background on Asia's cultural fascination with certain themes, including the recent Chinese blockbuster movie Ne Zha 2 (sometimes referred to as Demon Child in shorthand, though its full title is Ne Zha 2: The Sea’s Fury), and a commentary on a related Economist article. “DEMON CHILD” refers to Ne Zha 2, given its prominence and your mention of a recent Economist piece.
Deep Background on Asian Obsession and Ne Zha 2 Asia, particularly East Asia, has a long-standing cultural obsession with mythology, rebellious heroes, and the interplay of fate and defiance—themes that resonate deeply in Ne Zha 2.
This animated film, released in January 2025, has taken China by storm, grossing over US$2 billion worldwide and becoming one of the highest-grossing non-English films ever. It builds on the success of its 2019 predecessor, Ne Zha: Birth of the Demon Child, and draws from the 16th-century Chinese novel Investiture of the Gods (Fengshen Yanyi), a treasure trove of mythological narratives that have shaped Chinese culture for centuries.
The "demon child" archetype, embodied by Ne Zha, taps into a broader Asian fascination with characters who defy their prescribed roles. Ne Zha, born from a Demon Orb and cursed to die young, challenges celestial authority and societal expectations, reflecting a tension between individual agency and collective order—a recurring theme across Asian storytelling.
In Chinese mythology, Ne Zha is a trickster deity, a child warrior who wields immense power yet grapples with his identity. This duality mirrors historical Asian obsessions with balance (think Yin and Yang) and the underdog’s triumph, seen in figures like Japan’s Momotaro or Korea’s Hong Gil-dong.
Culturally, this obsession has roots in philosophical traditions like Daoism, which questions rigid moral binaries, and Confucianism, which emphasizes inner virtue over external judgment. Ne Zha 2 amplifies these ideas, portraying its protagonist as both demon and hero, a figure who rejects fate to forge his own path.
The film’s emotional core—Ne Zha’s rebirth through his mother’s sacrifice and his bond with Ao Bing—strikes a chord with modern Asian audiences, particularly in China, where familial duty and personal ambition often clash amid rapid societal change.
The movie’s blockbuster status also reflects a contemporary Asian obsession: cultural pride and global influence. China’s animation industry, once overshadowed by Hollywood and Japan, is flexing its muscles.
Ne Zha 2’s record-breaking run—surpassing films like Avengers: Infinity War in global earnings—signals a shift. It’s not just entertainment; it’s a statement of technological prowess and cultural confidence, resonating with audiences facing economic uncertainty and a desire for national affirmation.
The film’s success has even sparked culinary trends, like lotus root dishes (tied to Ne Zha’s rebirth), showing how deeply it’s woven into everyday life.
This obsession isn’t unique to China. Japan’s anime often explores similar themes—think Naruto or Demon Slayer—where outcasts challenge destiny. Southeast Asian epics like the Ramayana also feature defiant heroes. But Ne Zha 2 stands out for blending ancient lore with modern sensibilities, appealing to a generation navigating tradition and globalization.
Commentary on the Recent Economist Article The Economist article you’re likely referring to, titled “A new film is breaking box-office records in China” (published March 6, 2025), frames Ne Zha 2 as a cultural and political phenomenon.
It argues that the film reflects a shift in China’s mood, moving away from the heavy-handed patriotism of “main melody” films—state-approved epics that once dominated—to a more nuanced, mythology-driven narrative that still aligns with Communist Party values.
The article highlights how Ne Zha 2 sidesteps the overt propaganda of past blockbusters, instead tapping into universal themes of rebellion and resilience.
It suggests this shift mirrors a public weary of didactic storytelling, preferring entertainment that subtly reinforces national pride. The Economist notes the film’s departure from the zhuxuanlu (main melody) formula, which often prioritized party loyalty over creativity, and credits its success to a Beijing studio’s gamble on a “demon child” tale from a 16th-century novel.
I’d argue the Economist nails the cultural pivot but underplays the film’s philosophical depth. It mentions the mood change—fair, given China’s economic slowdown and youth disillusionment—but doesn’t fully explore how Ne Zha 2’s Daoist and Confucian undertones challenge the party’s rigid control narrative.
Ne Zha’s defiance of celestial hierarchy could be read as a quiet critique of authority, yet the film’s resolution—collective sacrifice for a greater good—aligns with state-endorsed collectivism.
This tension is more subversive than the article lets on.
The Economist also glosses over the global angle. Ne Zha 2 isn’t just a domestic hit; its international rollout (Asia, North America, Australia) signals China’s ambition to rival Hollywood and Japan’s anime empire.
The article could’ve dug deeper into how this reflects an Asian obsession with soft power, especially as China seeks to export its cultural identity.
Critically, the piece assumes the party’s influence looms large over the film’s creation. True, censorship shapes Chinese cinema, but Ne Zha 2’s director, Yang Yu (Jiaozi), has roots in indie animation, suggesting some artistic autonomy.
The Economist’s lens—focused on state control—might miss the grassroots appeal driving its success: a story that speaks to parents, kids, and a society wrestling with its past and future.
Wrapping Up
Ne Zha 2 embodies an Asian obsession with myth, rebellion, and identity, retooled for a modern audience hungry for both entertainment and meaning.
The Economist captures its cultural significance but doesn’t fully unpack its philosophical or global ripples.
Economist article:
Film-makers in China have long tried to find the secret sauce for movies that wow audiences while pleasing the Communist Party. The epics that evolved became known as zhuxuanlu, or “main melody” films, because they are in tune with the party line.
But the heavy doses of patriotism that they usually involve have fallen out of favour. Instead, one Beijing studio has struck gold with a cartoon reimagining the tale of a “demon child” from a 16th-century novel.
The film, “Ne Zha 2”, is a sequel, in which the eponymous child battles monsters and immortals on a quest to save his friend and protect his family’s fortress.
Launched over the Chinese New Year holiday, it has taken more than $2bn and become the most successful animated feature ever made anywhere. It has overtaken “Spider-Man: No Way Home” as the seventh-highest-grossing film ever. And it has done so by tapping deep into China’s cultural roots.
By the mid-2010s, film-makers were nailing the main melody of the patriotic blockbuster. Before “Ne Zha 2”, the two most popular films were “The Battle at Lake Changjin” from 2021 and “Wolf Warrior 2” from 2017.
Both were action flicks involving the defeat of dastardly foreigners. Such films topped China’s charts from 2017 to 2023 (except 2019), according to data from Maoyan, a movie-ticketing service. The state invested in their rise. A law passed in 2016 to support the film industry listed “promoting core socialist values” as one key theme.
But their popularity peaked in 2020, when they accounted for more than half of box-office receipts of the 20 highest-grossing films. This year, that share fell below 2%. Triumphant narratives of national strength seem detached from reality, with Chinese viewers now struggling in a depressed economy.
Enter the demon child. “Ne Zha 2” has perhaps caught on because it is not forcing anything on anyone.
Chinese people know the character from folklore. The film is packed with humour delivered by endearing characters, and it resonates because of its messages of self-determination, the unconditional love of family and the pursuit of justice. The technical sophistication has amazed viewers and pitched domestic animation studios as serious competitors to their Hollywood counterparts.
At a cinema in the eastern city of Hangzhou Ms Zheng, a 20-year-old student, is watching the film with her friends. She says she found the hero epics too heavy—“They force-feed patriotism”—and has already seen “Ne Zha 2” three times. Like many young people disillusioned by the current paucity of job opportunities, Ms Zheng says she finds hope in the rebellious and righteous Ne Zha. “Nowadays we are overwhelmed by social pressure, but he tells you that you can define the type of person you want to be.”
To boost consumption during the holiday, local governments gave out cinema vouchers to attract more moviegoers. Once it was clear the film could break records, more people rallied to see it. Schools took students, and firms stopped production so employees could attend. One cinema in Sichuan province said that it would hold off screening the recently released “Captain America: Brave New World” in order to boost “Ne Zha 2” sales. “Our Chinese animation deserves to be seen by the world,” it said.
The world has not yet been won over, though. So far, less than 2% of ticket sales have come from abroad. That could be the next melody Chinese film-makers learn to play.■
The Spiritual Need of the Chinese People and Ne Zha 2 China’s spiritual landscape is a tapestry woven from Daoism, Buddhism, Confucianism, and folk traditions, often blending seamlessly into daily life.
Even under the Chinese Communist Party’s (CCP) officially atheist stance, these threads never unraveled completely.
Ne Zha 2 taps directly into this enduring spiritual hunger, channeling it through a mythological lens that resonates with a population whose formal religious expression has been curtailed but whose need for meaning remains profound.
The film’s protagonist, Ne Zha, is a deity from Daoist and folk mythology—a figure of chaos and redemption.
His story in Ne Zha 2—reborn through sacrifice, defying celestial fate, and balancing demonic origins with heroic acts—mirrors a spiritual narrative of transcendence and inner struggle.
Daoism, with its focus on harmony amid chaos and the rejection of rigid authority, underpins this tale.
The movie’s climax, where Ne Zha’s mother sacrifices herself and he merges with Ao Bing to save the world, echoes Buddhist ideas of selflessness and karmic resolution, while also nodding to Confucian filial piety turned upside down (a child redeeming a parent’s legacy).
For Chinese audiences, this isn’t just entertainment—it’s a coded spiritual experience. The CCP has long suppressed organized religion, from the Cultural Revolution’s temple-smashing to today’s tight controls on Christian house churches and Tibetan Buddhism. Yet, Ne Zha 2 offers a safe vessel for spiritual exploration. It’s mythology, not theology, so it sidesteps censorship while feeding a deep-seated need for cosmic purpose. The film’s lotus imagery (tied to Ne Zha’s rebirth) evokes Buddhist purity rising from mud, a subtle nod to resilience through adversity—something Chinese people have lived for generations. This spiritual current ties into a broader Asian pattern. In Japan, Shinto and Buddhist themes permeate anime like Spirited Away, while in India, the Ramayana fuels modern cinema. But in China, where overt religious practice is policed, Ne Zha 2 becomes a surrogate—a way to wrestle with existential questions under the guise of blockbuster animation.
Faith’s Resilience Under Communism: China and the Soviet Parallel
You mentioned the Soviet Union, and the comparison is apt. In both cases, communist regimes sought to replace religion with ideology—Marxism as the new gospel.
The Soviet Union shuttered churches, persecuted clergy, and pushed atheism, yet Orthodoxy endured underground, resurfacing after 1991. China’s story is similar but distinct.
The CCP didn’t just target organized religion; it aimed to co-opt and redefine spiritual impulses. Mao’s Cultural Revolution (1966–1976) destroyed temples, burned scriptures, and branded monks as counterrevolutionaries.
Yet, folk beliefs—ancestor worship, geomancy, deities like Ne Zha—persisted in the shadows. Why? Because these weren’t just “faith” in a Western sense; they were identity, cosmology, and survival tools.
Geomancy is an ancient form of divination that interprets patterns, markings, or configurations in the earth or other natural elements to gain insight into future events or answer specific questions. The word "geomancy" comes from Greek, meaning "divination by earth."
Rural families still burned incense for ancestors, urbanites consulted fortune-tellers, and Daoist priests operated discreetly. By the 1980s, post-Mao reforms allowed a religious revival—Buddhist temples reopened, Christian congregations grew (often unregistered), and folk practices resurfaced.
Today, estimates suggest over 300 million Chinese engage in some form of spiritual practice, despite the CCP’s grip.
The Soviet experience offers a lens: Stalin couldn’t kill Orthodoxy because it was tied to Russian culture, not just doctrine.
In China, the CCP faces a similar foe—spirituality woven into the fabric of life. Ne Zha 2 proves this resilience. Its box-office triumph (US$2 billion and counting) isn’t just about slick animation; it’s a collective exhale, a reclaiming of a spiritual heritage the state can’t fully suppress.
The film’s gods and demons aren’t preached from a pulpit—they’re projected on a screen, accessible to all, skirting the Party’s red lines.
The Underlying Current in Ne Zha 2 You’re spot-on about seeing this current clearly. Ne Zha 2 isn’t overtly religious—no sermons, no altars—but it’s saturated with spiritual yearning.
Ne Zha’s defiance of the Jade Emperor (a celestial stand-in for authority) reflects a Daoist rejection of imposed order, a quiet rebellion against the CCP’s secular dogma. His mother’s sacrifice and his rebirth speak to a universal need for redemption and connection, echoing Buddhist and Christian undertones smuggled into a communist context.
The audience response amplifies this. Online forums (e.g., Weibo posts I’ve scanned) show viewers weeping over Ne Zha’s family ties, debating his “demon” nature, and tying his story to personal struggles—loss, duty, hope.
This isn’t just fandom; it’s a spiritual dialogue.
The CCP tolerates it because it’s framed as culture, not cult, but the film’s power lies in how it fills a void left by decades of repression. Compare this to Soviet samizdat literature—banned texts passed hand-to-hand, keeping faith alive.
Ne Zha 2 is a legal samizdat, a sanctioned outlet for unsanctioned feelings. It’s no coincidence that its predecessor, Ne Zha (2019), ended with “My fate is mine, not heaven’s”—a line that became a youth anthem during China’s economic slump. Ne Zha 2 doubles down, offering not just defiance but catharsis, a spiritual balm for a society where 996 work culture and housing crises grind down the soul.
Tying It Together The Chinese people’s spiritual need—unquenched by communism—flows through Ne Zha 2 like an underground river.
It’s not about reviving temples or defying the Party outright; it’s about reclaiming a mythic space where questions of fate, morality, and identity can breathe.
Like Soviet citizens clinging to icons, Chinese audiences clutch Ne Zha—not as a god to worship, but as a mirror for their resilience. The film’s success shows faith didn’t die; it adapted, finding new forms in a secular age.
dig deeper into a specific religious thread (Daoism’s influence, Buddhist echoes, or
Daoism and Yin-Yang: The Philosophical Backbone
The Dao De Jing frequently employs the imagery of water—rivers, streams, and the sea—to illustrate the nature of the Dao. For example, Chapter 8 says:
"The highest good is like water. Water benefits all things without contending with them, dwelling in places others disdain. Thus, it is close to the Dao."
Rivers embody this: they flow naturally, effortlessly adapting to the terrain, carving paths without force, and nourishing life along the way. This aligns with wu wei (non-action or effortless action), a cornerstone of Daoism.
In Chapter 66, the text notes:
"Rivers and seas can rule the hundred valleys because they are good at staying low, thus they are kings of the valleys."
Daoism (or Taoism), rooted in the teachings of Laozi and the Dao De Jing (circa 4th century BCE), is less a religion in the Western sense and more a way of being—a philosophy of flow, balance, and the natural order. The Dao, often translated as “the Way,” is the ineffable force behind everything, beyond human control or comprehension.
Yin and Yang, its most iconic symbol, represent complementary opposites: dark and light, soft and hard, passive and active, feminine and masculine. They’re not in conflict; they define each other, each containing a seed of the other, perpetually shifting.
For Chinese people, Daoism isn’t just abstract—it’s lived.
It’s in the farmer timing crops with lunar cycles, the geomancer aligning a house with feng shui, or the parent naming a child to balance cosmic energies. Even under communism, which branded Daoism “superstition,” its influence endured in everyday rituals and storytelling—think of martial arts films or myths like Ne Zha’s.
Yin-Yang in Ne Zha 2 Ne Zha 2 is a Yin-Yang parable in motion. Ne Zha himself embodies this duality: born from a Demon Orb (Yin—dark, chaotic, destructive), he’s pitted against Ao Bing, born from a Spirit Pearl (Yang—light, orderly, divine).
Yet, the film subverts this binary. Ne Zha’s “demonic” nature fuels his defiance and strength, while Ao Bing’s “heavenly” origins mask inner conflict. Their climactic fusion—merging to save the world—literalizes Yin-Yang: opposites uniting to create wholeness.
This isn’t accidental. The original Investiture of the Gods myth casts Ne Zha as a disruptor of celestial harmony, a Yin force challenging the Yang of divine authority (the Jade Emperor).
In Ne Zha 2, his mother’s sacrifice adds another layer: her nurturing, passive Yin energy births his active, rebellious Yang. The lotus, a recurring motif (Ne Zha’s rebirth emerges from it), is pure Daoism—beauty rising from mud, balance from chaos.
The film’s visual language reinforces this. Dark, stormy seas (Yin) clash with fiery battles (Yang), yet the resolution—calm skies and a rebuilt world—reflects harmony restored. Even the humor (Ne Zha’s brashness) and pathos (his family’s loss) dance together, a Yin-Yang rhythm that keeps audiences hooked. Daoism’s Spiritual Appeal Under Communism
Why does this resonate so deeply with Chinese people, especially under a regime that’s tried to stamp out such “feudal” ideas?
Daoism’s adaptability is key. Unlike Buddhism or Christianity, which often demand institutions—temples, churches—Daoism thrives in the intangible. It’s in the breath of qigong practitioners, the proverbs of grandparents, the myths retooled for cinema. The CCP could raze Daoist temples during the Cultural Revolution (and they did—thousands were destroyed), but they couldn’t erase a worldview embedded in the culture.
Yin-Yang, in particular, offers a spiritual lifeline. Communism pushed a linear, materialist narrative—progress through class struggle, no gods, no mysteries.
But life isn’t linear; it’s cyclical, messy, dualistic. Yin-Yang acknowledges this: good times fade, bad times pass, strength lies in balance. For a people facing Maoist upheaval, economic booms and busts, or today’s youth despair (the “lying flat” movement), this isn’t just philosophy—it’s survival.
Ne Zha 2 channels that. Ne Zha’s rejection of fate—“I am the Demon Child, but I’ll decide what that means”—is peak Daoism: aligning with the Way, not bowing to imposed order.
The CCP tolerates it because it’s cloaked as folklore, but its spiritual pull is undeniable. Posts on X and Weibo (which I’ve checked) show fans calling Ne Zha a “Daoist punk”—a nod to his chaotic, free-spirited Yin clashing with the Yang of authority, yet finding purpose.
Historical Resilience
Daoism’s staying power under communism mirrors its history. During the Han Dynasty (206 BCE–220 CE), it blended with folk beliefs, surviving imperial shifts.
Under Mao, Daoist priests were forced underground, but practices like taijiquan (Tai Chi) persisted as “exercise,” masking their spiritual roots. Post-1978 reforms saw a quiet revival—by 2025, an estimated 12 million Chinese identify as Daoist, though millions more practice its rituals informally.
Compare this to the Soviet Union: Orthodoxy leaned on icons and clergy, vulnerable to physical attack. Daoism’s strength is its elusiveness—no central dogma, no single leader. Yin-Yang’s universality—opposites in flux—kept it alive in proverbs, art, and now films like Ne Zha 2. It’s a spirituality that doesn’t need a temple; it lives in the mind and the story.
The Deeper Current
In Ne Zha 2, Daoism and Yin-Yang aren’t just themes—they’re a lifeline to a spiritual need the CCP can’t fulfill. Ne Zha’s journey from demon to savior mirrors the Chinese people’s own: navigating chaos (Yin) and order (Yang) under a system that denies the soul’s complexity. The film’s US$2 billion haul reflects not just entertainment hunger, but a collective yearning for balance in a society off-kilter—overworked, surveilled, yet dreaming of freedom.
This Daoist thread ties back to your insight about faith enduring communism. Yin-Yang isn’t a creed to defend; it’s a lens to see the world as it is, not as ideology demands. Ne Zha 2 smuggles that lens to millions, proving the spirit bends but doesn’t break.
Absolutely, let’s dive into how Daoism’s concept of wu wei—often translated as “non-action” or “effortless action”—weaves into Ne Zha’s rebellion in Ne Zha 2.
This is a fascinating angle because wu wei seems paradoxical: how does a principle of stillness or flowing with the natural order fuel a fiery, rebellious character like Ne Zha?
The answer lies in Daoism’s subtle depth and how it reframes resistance, especially in a Chinese context where overt defiance meets heavy consequences. Here we go.
Understanding Wu Wei in Daoism
Wu wei isn’t laziness or passivity—it’s acting in harmony with the Dao, the natural Way of the universe, without forcing or over-striving.
Think of water carving a canyon: it doesn’t fight the rock; it flows, persists, and reshapes through its nature. The Dao De Jing says, “The Dao does nothing, yet nothing is left undone.” It’s about aligning with what is, not imposing what should be. For Daoists, this is strength—yielding to win, bending like bamboo in a storm.
In daily life, wu wei might look like a farmer planting when the season’s right, not battling frost, or a leader ruling by example, not coercion. It’s intuitive, spontaneous, and trusts the interplay of Yin and Yang to resolve tensions naturally. Under communism, where struggle and control dominate, wu wei offers a quiet counterpoint—a way to live authentically without clashing head-on with power.
Wu Wei in Ne Zha’s Rebellion
Ne Zha in Ne Zha 2 is a whirlwind—brash, destructive, defying the Jade Emperor’s decree that he’s a cursed demon fated to die. On the surface, this seems the opposite of wu wei: he’s fighting fate, gods, and his own nature. But peel back the layers, and his rebellion aligns with wu wei in a deeper, Daoist sense.
First, Ne Zha’s defiance isn’t about forcing a new order—it’s about rejecting an artificial one. The celestial hierarchy (a Yang-heavy system of rigid control) labels him Yin, chaotic, evil. Rather than accept this, Ne Zha flows with his own nature—demon and all. His iconic line from the 2019 film, “My fate is mine, not heaven’s,” carries into Ne Zha 2, where he doesn’t seek to overthrow the gods but to carve his own path. This is wu wei: not battling the universe, but refusing to be misaligned by it. He’s water eroding a dam, not a hammer smashing it.
Second, his actions often feel spontaneous, not calculated. In Ne Zha 2, when he merges with Ao Bing to save Chentang Pass, it’s not a grand strategy—it’s an instinctive leap, trusting the moment. This echoes wu wei’s emphasis on natural flow over forced effort. His rebellion isn’t a clenched-fist revolution; it’s a release of what he already is, demon and hero entwined. The film’s climax—where opposites (Yin-Ne Zha, Yang-Ao Bing) unite—reflects wu wei’s outcome: harmony through alignment, not conquest.
Third, Ne Zha’s humor and irreverence are pure wu wei. He mocks authority—gods, parents, fate—with a smirk, not a manifesto. This lightness disarms the heavy-handed celestial order, subverting it without direct confrontation. It’s the Daoist sage laughing at pompous kings, winning through non-seriousness.
Wu Wei as Spiritual Rebellion Under Communism
This ties beautifully to the Chinese spiritual need you’ve highlighted. The CCP demands active struggle—class war, productivity, loyalty—mirroring the celestial rigidity Ne Zha rejects. Wu wei offers an alternative: resistance through being, not doing. For a people under surveillance and ideological pressure, this is subversive. You can’t jail someone for flowing like water—it’s intangible, unpunishable.
Historically, Daoism’s wu wei helped it survive suppression. While Buddhist monks marched or Christians met in secret (risking arrest), Daoists often faded into the countryside, practicing alchemy or meditation quietly. The Cultural Revolution couldn’t root out wu wei because it’s not a structure to dismantle—it’s a mindset. Ne Zha 2 brings this to the masses: Ne Zha doesn’t storm heaven’s gates; he sidesteps them, living his truth. For viewers, it’s a spiritual wink—rebellion doesn’t always need a megaphone.
Yin-Yang and Wu Wei Together
Wu Wei dovetails with Yin-Yang in Ne Zha 2. Ne Zha’s Yin (chaos, darkness) isn’t something to suppress—it’s his power source, balanced by Ao Bing’s Yang (order, light). His rebellion isn’t about destroying Yang but integrating it, flowing between poles. Wu Wei guides this dance: he doesn’t over-fight or over-plan; he acts when the moment ripens, like his mother’s sacrifice opening a path. The lotus rebirth—mud (Yin) to bloom (Yang)—is wu wei in action: transformation without force.
The Bigger Picture
Ne Zha’s wu wei-infused rebellion speaks to a Chinese spiritual hunger for authenticity in a controlled world. It’s not about toppling the CCP (too risky, too un-Daoist); it’s about reclaiming the self within constraints.
Who Are You Amir Tsarfati? Original post 6/4/2018 Update: April 2, 2025 This is a MUST WATCH Video ISRAEL'S SECOND 911 - fully explaining with EVIDENCE that the ZIONIST STATE of Israel was directly involved with 911, the JFK, RFK, JFK Jr. assassinations, and the so called October 7th massacre where the IDF stood down. People wake up. Amir Tsarfati is a part of this machinery to pull in the Christian Evangelicals. Israel's Second 911 How Does the Government of Israel Treat Christians? Christian Leaders in the West Should Care https://youtu.be/eHayOkXe5ig?si=SSQBsXBXUCDxQU7h WAKE UP EVANGELICAL CHRISTIANS The True Antisemites are the ZIONISTS Zionists are Anti-Semites; Judaism vs Zionism 101 These things speak,and exhort, and rebuke with all authority. Let no man despise thee. Titus 2: 15 . KJV This Blog is written in accordance with 2 Timothy 4:2-3 KJV and 1 Corinthians 5:12-13 KJV Note: I love Israel and the Jews. I am a born...
https://www.nowtheendbegins.com/7th-congress-of-leaders-of-world-religions-adopt-human-fraternity-chrislam-document-pope-francis-mohamed-bin-zayed/ Now The End Begins CHRISLAM CHRISLAM CONFIRMED: Led By Pope Francis, Leaders Of The World’s Religions Formally Adopt Human Fraternity Document At 7th Congress Published 44 mins ago on September 17, 2022 By Geoffrey Grider NOW THE END BEGINS SHARE: With the adoption this week by the 7th World Religions Congress of the Human Fraternity document created by Pope Francis and Mohamed bin Zayed, Chrislam is now the official One World Religion. It’s official, Chrislam has now been codified and ratified, with the approval at the 7th Congress of Leaders of World and Traditional Religions , of the Human Fraternity document created by Pope Francis of the Vatican, and financed and promoted by Mohamed bin Zayed of the UAE. Question – Guess who they forgot to invite...
Dear Dr. Eugene Kim, References: a. Dr. Gene Kim video serving God https://youtu.be/LV6j0rB0yos See his comments to Andrew Sheets b. Dr. Gene Kim Teaching video on Trinity c. Dr. Gene Kim Teaching video on 501c3 conspiracy I earnestly pray you receive this opportunity to correct your errant ways. You are a gifted and brilliant young man. Most of your teaching is rock solid. But these glaring issues addressed below must be addressed. BBC International Dear Dr. Eugene Kim, Thank you Sir for responding to my comment (reference a) It’s obvious by your response you haven’t read the blog I sent you about why Brick and Mortar Buildings called churches are not biblical. Most of what you sent me in your response by way of your video teaching is addressed in the blog. As far as using Romans 13:1-7 to defend 501C3 and your building - I address below. After careful consideration - I have to write this as a testimony as a witness submitted as Ambassador for The ...
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