Nezha Wreaks Havoc in the East Sea 哪吒闹东海 (1985) #

Nezha Wreaks Havoc in the East Sea, 哪吒闹东海, adapted by Bai Yu 白宇, illustrated by Chen Huiguan 陈惠冠, translated by Jinyi Zhu, People’s Fine Arts Publishing House, 1985.¹

translation and introduction: 9 March 2026

Introduction to the Story and its Translation #

Jinyi Zhu

Nezha is a well-known figure in Chinese folk belief and literary works. Originally introduced from Indian mythology, modern stories about Nezha are largely derived from the Ming-dynasty novels Journey to the West and Investiture of the Gods. In recent years, this character has once again become popular through a new animated film. Since the establishment of the PRC, Nezha’s story has undergone numerous adaptations across various media, such as cartoons, TV series, lianhuanhua, etc. There exist at least 40 different Nezha lianhuanhua, published between 1955 and 1990, indicating the large appeal the story held for adaptors and readers across decades. Beyond this, Nezha is also worshipped as a deity in Taoism, Buddhism, and Chinese folk religion.

The lianhuahua translated here, Nezha Wreaks Havoc in the East Sea, was first published in 1985. It relates the main thread of Nezha’s story, and is also the third volume in the Investiture of the Gods lianhuanhua series.

Nezha’s story in Investiture of the Gods #

Investiture of the Gods blends history and mythology, telling how Jiangziya assists King Wu in overthrowing the Shang dynasty. The story depicts the conflicts between King Zhou and King Wu, involving various deities and immortals battling each other with magical powers. It incorporates multiple historical figures and mythological characters. Nezha appears in the narrative as the reincarnation of Lingzhuzi (灵珠子), destined to aid King Wu.

The lianhuanhua follows the general storyline of the original work: Lady Yin gives birth to Nezha after a three-year pregnancy, then seven-year Nezha goes to bathe in the sea, disturbing the Dragon King of the Eastern Sea unintentionally. The Dragon King sends Yaksha and his third son to intervene, but both are killed by Nezha, causing the Dragon King to seek revenge by seizing Nezha’s parents. Nezha chooses to take his own life to save his parents and is later revi attempts to revive Nezha, leading to a fierce confrontation between Nezha and Li Jing. Ultimately, the conflict is resolved when the Daoist Randeng offers Li Jing a pagoda capable of restraining Nezha and informs both that they ought to help King Wu of Zhou defeat King Zhou.

Variations in the adaptations of Nezha’s story and the transformation of Nezha’s image #

Comparing three different lianhuanhua adaptations of the Nezha story: 1956, 1979, and 1985, we can see subtle variations in Nezha’s portrayal and the rendition of key plots.

For example, when Nezha fights Yaksha, the 1985 edition (panels 14-17) depicts Yaksha arguing with Nezha before attacking, with Nezha responding disrespectfully first. This presentation shows Nezha as an impulsive and hot-tempered child; in contrast, the 1959 edition (panel 19) portrays Nezha being suddenly attacked by Yaksha and forced to defend himself, presenting himself as a righteous youth who confronts evil forces.

A particularly noteworthy subplot involves Nezha asking his mother to build a temple for him, in which his body would come to life; but it is destroyed by his father Li Jing. This incident also is the foundation for the subsequent confrontation between Li Jing and Nezha and only appears in the 1956 and the 1985 editions, but is entirely absent from the 1979 edition. The 1979 edition excludes the father-son conflict, focusing exclusively on Nezha’s confrontation with the Dragon King. It simplifies the story and presents an innocent, courageous and heroic image of Nezha. By deleting the generational conflict, the 1979 adaptation cultivates a harmonious family dynamic, and reshapes Nezha’s rebellionness as opposition only to external evil.

It is not merely Nezha’s characterisation that changes; the relationships between other characters also shift. The Dragon King and his family, originally depicted with some sympathetic traits, gradually transform into fully villainous figures across the three versions of the story, serving as clear antagonists to Nezha’s heroic image.

Nezha’s self-sacrifice #

Nezha’s self-sacrifice is a central point of both narrative tension and character transformation.

In the original story in Investiture of Gods, Nezha is always fully aware that he is the reincarnation of Lingzhuzi. For this reason, after killing Ao Bing and Yaksha, he and Master Taiyi call this incident a “minor matter”. When Nezha later catches the Dragon King in the celestial court, he even claims that it would be of no consequence if he beat him (Dragon King) to death. Because he is the vanguard sent by Yuanshi Tianzun to overthrow King Zho, and assist King Wu, he is backed by a higher authority and he has to a certain extent a higher status than Dragon King. And precisely because of his identity as the reincarnation of Lingzhuzi, he knows that he will not truly die. Thus, his self-sacrifice can also be interpreted as a strategic act aimed at saving his parents from danger. (Zheng 2022: 41)

In this context, his self-sacrifice loses the meaning of genuine resistance against oppressive power. The original work presents a complex and morally ambiguous Nezha whose heroic image seems less convincing. Many adaptations remove or simplify this dimension, portraying Nezha as a responsible young hero who does not fear authority and is willing to sacrifice himself for his parents.

Yet, the act of “returning the flesh to his mother and the bones to his father”, “freeing himself from further filial obligation” does in fact challenge the patriarchal and conventional Confucian ethics (Kao 2002: 86). Nevertheless, “the general ethical outlook of the novel is Confucian, and Nezha’s story of rebirth will be appreciated mainly for its fantastic value” (Kao 2002: 86).

Historical and cultural context #

The 1980s edition exhibits more complex characterizations and attempts to reproduce the conflicts of the original work more faithfully. The illustrations are quite elaborated and visually intense. In the context of early post-Cultural Revolution and reform era, the cultural environment allowed for greater exploration of multifaceted personalities. However, the publication note indicates that parts deemed “lacking in positive value and superstitious” were deleted, reflecting a certain extent of ideological considerations.

By contrast, the 1979 edition reduced the story significantly, retaining only the single-line conflict between Nezha and the Dragon King. The illustrations are simpler, the intended readers were likely very young children. Given that the primary purpose of this edition was likely to be educational for children, cultivating moral values, this adaptation completely removed the storyline depicting the fight between father and son. It is also likely that the lingering effects of the Cultural Revolution made them delete the narrative of the construction and destruction of Nezha’s temple. Given that the primary purpose of this edition was likely to be educational for children, particularly for children in the post-Cultural Revolution period, the narrative revisions can be interpreted accordingly. On the one hand, the removal of father-son conflict may reflect an attempt to reawaken people’s concern for familial bonds and to promote people return to the family-centered social structure in the aftermath of a decade with intergenerational violence. On the other hand, the removal of the episode involving the construction and destruction of Nezha’s temple may also be interpreted as a revision to avoid touching the trauma from the decade, while presenting a narrative aligned with the values of the time.

About the translation #

This lianhuanhua draws some lines directly from the original novel Investiture of the Gods, hence the language style is rather classical. In our translation of proper nouns, including locations, spells and magical instruments, we employ a combination of transliteration and literal translation. Many of these concepts lack exact English equivalents, but the chosen translations, we hope, help make the narrative more accessible to English-speaking readers. In order not to exoticise the translation too much, we have decided not to translate all of the place names, even if they have a meaning, such as Baode Gate (宝德门 panel 36 and after) which could be rendered “Precious Virtue Gate”, or Nantian Gate (南天门, panel 38) “Southern Heavenly Gate”.

A few terms and concepts may warrant explanation.

Panel 1: The Five Elements Escape Technique (五行遁术) is a core Taoist magical system in the novel Investiture of the Gods (Fengshen Yanyi), using the five elements—metal, wood, water, fire, and earth—as mediums to achieve movement and escape.
Panel 20: Ji (戟) refers to a Chinese polearm, sometimes translated into English as spear or halberd, though they are conceptually different weapons. The ji was initially a hybrid between a spear and a dagger-axe. The huaji which Ao Bing is carrying is a type of ji, named for the decorative painted patterns on its shaft.
Panel 50 refers to the “Dragon Kings of the Fours Seas”. In Investiture of the Gods, each dragon king rules one of the four seas: Ao Guang (敖光) governs East sea, Ao Shun (敖顺) the West Sea, Ao Ming (敖明) the South Sea, and Ao Ji (敖吉) the North Sea, and they are powerful deities responsible for water, storms, and floods.
Panel 68 gives the measurement of the reborn Nezha as one zhang and six chi tall. While the exact length of a Chi slightly varied in different historical periods, “one Zhang six Chi” is approximately 33 cms – and commonly used to refer to the height of a Buddha statue or a divine manifestation of the Buddha.
Panel 85 refers to the Heavenly Venerable of Outstanding Culture 文殊广法天尊. This is a disciple of The Heavenly Venerable of the Primordial Beginning (元始天尊) and one of the Twelve Golden Immortals. He is also the teacher of Jinzha, Li Jing’s first son.
Panel 90 mentions the Invisible Dragon Stake 遁龙桩: this is the sacred treasure of The Heavenly Venerable of Outstanding Culture, used to guard his cave. It was later passed down to his disciple, Jinzha. The term “Seven-Treasures*”* refers to the seven precious objects in Buddhism, reflecting the strong Buddhist influence on this character.
Panel 92 refers to Samadhi Fire 三昧真火: In Investiture of the Gods, this is a mystical flame forged through the cultivation of essence, qi, and spirit (精，气，神). It bursts forth from the eyes, nose, and mouth, it cannot be extinguishd by ordinary water, and serves as a weapon to consume one’s foes.

References #

Kao, Karl S. Y. 2002: “Domains of Moral Discourse: Self, History, and Fantasy in ‘Fengshen Yanyi.” Chinese Literature: Essays, Articles, Reviews (CLEAR), vol. 24, 75-97.

Xu Zhonglin 许仲琳: The Investiture of Gods 封神演义, “Nezha Wreakes Havoc in the East Sea” 哪吒闹海 (1985), adapted by Bai Yu 白宇, illustrated by Chen Huiguan 陈惠冠, Beijing: Renmin meishu chubanshe.

Xu Zhonglin 许仲琳: The Investiture of Gods 封神演义, “Nezha Wreakes Havoc in the East Sea” 哪吒闹海 (1979), adapted by Lu Bing 鲁兵, illustrated by Cheng Shifa 程十发, Shanghai: Shaonian ertong chubanshe.

Xu Zhonglin 许仲琳: The Investiture of Gods 封神演义, “Nezha Wreakes Havoc in the East Sea” 哪吒闹海 2000 (1955), adapted by Hu Yan 胡雁, Wu Qirou 吴其柔, illustrated by Wang Yushan 汪玉山, Shanghai: Shanghai renmin meishu chubanshe.

Zheng, Weili 2022: “The Death of Nezha: Hero’s Compensation, National Identity and Times Monument: Study on the Classic Image of Nezha Basing on Cultural Memory Theory”, in: Journal of Beijing Film Academy, 04, 40-47. doi:CNKI:SUN:BDYX.0.2022-04-005.

Read the translated lianhuanhua #

Frontcover
Publication Note
Table of Contents
Frontmatter
Summary
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Backcover

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