Heaven Official's Blessing: Vol. 1

Heaven Official’s Blessing continues to explore themes of Power and Corruption and The Illusion of Truth, mainly through the complex relationship between gods and ghosts. The novel challenges the conventional belief that gods are inherently moral and that ghosts embody evil. Instead, it presents a world where power and perception often dictate morality rather than absolute truth. By placing gods and ghosts on equal footing, the novel exposes the arbitrary nature of these classifications, showing that the moral weight of one’s actions often depends more on public perception than inherent righteousness.

One of the novel’s central arguments is that gods and ghosts are defined not by their inherent natures but by their circumstances. As the text states, “Humans become gods when they ascend, ghosts when they fall” (163). While the gods exist in a separate realm, observing and ruling from above, the ghost realm remains intertwined with the mortal world. This structural divide mirrors the moral expectations imposed on each group. Mortals assume that gods are benevolent rulers, but the narrative quickly undermines this assumption. Instead of divine justice, the Heavenly Realm operates as a political institution, where influence and seniority outweigh moral integrity.

The contrast between General Pei and Xuan Ji exemplifies this theme. Once a general like Pei, Xuan Ji descends into wrathful ghosthood after her love for General Pei remains unfulfilled. While she is held accountable for her actions, General Pei, a powerful martial god, faces no consequences for his role in the events leading to her downfall. Instead, he distances himself from the situation entirely, sending his underling, General Pei Junior, to deal with her. His detachment reveals the privileged indifference of those in power, as even a woman who betrayed her country for him is deemed too insignificant to address directly. Pei’s indifference underscores the double standard in the heavenly hierarchy: Gods are rarely held accountable for their past misdeeds, especially those with power and influence. Through this, the novel suggests that the difference between a god and a ghost is not morality but status—those who have power remain gods, while those who lose it are discarded as ghosts.

Xuan Ji’s fate parallels the treatment of other wrath-level ghosts, who are condemned as monstrous while their divine counterparts commit similar acts without repercussion. Her unrelenting love and resentment contrast with Pei’s cold pragmatism, highlighting the imbalance of justice in the celestial system: Ghosts are judged by their emotions, while gods are judged by their ability to maintain influence. The moment where she beheads Xiao-Pengtou after recognizing him as the man who assaulted her further complicates her morality—while her rage is horrifying, it is also an act of revenge against a predator, reinforcing the novel’s refusal to offer simplistic moral binaries.

Xiao-Ying’s death serves as another example of the novel’s critique of institutionalized power. A selfless, kind-hearted girl, Xiao-Ying chooses to shield the bandaged boy despite the dangers surrounding him. Her fatal injury, inflicted by Xuan Ji, is not a result of divine judgment or karmic balance—it is simply an outcome of a world where goodness is not always rewarded. Xie Lian’s grief over her death further illustrates his unique morality among the gods; unlike his peers, who treat mortals as dispensable, he mourns her loss, reflecting on the countless innocent lives that have been lost to conflicts beyond their control. Her dying wish—that he protect the bandaged boy—reinforces the novel’s theme of Redemption and Forgiveness, as Xie Lian, despite his history with the Human Face Disease, chooses to honor her request rather than succumb to fear. 

Similarly, Xie Lian’s conversation with San Lang, later revealed to be Hua Cheng, reveals another instance of divine corruption. The Water Master, one of the foremost gods, is known to sink ships that do not provide adequate offerings despite being worshiped as a protector of seafarers. Ironically, his counterpart in the ghost realm, Ship-Sinking Black-Water, is described as relatively reserved and unlikely to cause trouble (164). This inversion of expectations indicates that individuals shape their morality through their choices and the privileges they receive rather than having inherent morality attributed to their status as a god or a ghost. In this case, mortals suffer more under a god’s rule than a ghost, further complicating the dichotomy between divine benevolence and ghostly malevolence. While mortals pray to the Water Master in fear of divine punishment, Hua Cheng, who the reader does not yet know is the wise San Lang, has worshippers who revere him out of admiration and trust. This distinction forces the reader to question whether a god’s influence truly makes them more righteous than a ghost’s.

Hua Cheng serves as the most complex character, as he straddles the line between god and ghost, thereby challenging the foundation of this world that relies on orderly classification. As the text notes, “Mortals worshipped gods to ask for blessings and protection so that they could escape the evils from the Ghost Realm […] Yet, Hua Cheng, a ghost, had such a large following on earth that he could influence the world single-handedly” (166). Unlike gods, whose status depends on the faith of believers, Hua Cheng’s reputation is built on his own strength and loyalty, making him a direct challenge to the celestial hierarchy. The novel suggests that divinity is not an intrinsic quality but a socially constructed status upheld by perception and power. 

The various myths surrounding Hua Cheng’s origin further illustrate the novel’s preoccupation with the nature of truth: “When it came to Hua Cheng’s backstory, there were endless different versions” (165). The least-believed version suggests that he ascended to godhood only to reject it and become a ghost instead, which is the closest to the truth. This narrative technique reinforces the novel’s broader theme of The Illusion of Truth: Perception often obscures truth by perception, and what people accept as reality is frequently a distorted reflection of the actual events. This extends beyond Hua Cheng, mirroring how Xie Lian himself is perceived as both a revered god and a cursed figure of misfortune, depending on who is telling the story. This tension is particularly evident in Xie Lian’s growing relationship with San Lang, a seemingly carefree youth who unexpectedly possesses in-depth knowledge of gods, ghosts, and history who is Hua Cheng himself. Though Xie Lian enjoys his company, he remains wary, especially after the Zhongyuan Festival, where ghosts flee in terror at San Lang’s mere presence. His suspicions linger as small details—such as San Lang’s eerily flawless hands and the way he effortlessly navigates danger—hint at a hidden identity. Xie Lian’s simultaneous trust and unease reflect the novel’s broader belief that truth is often obscured, requiring careful observation to separate reality from illusion.

As Xie Lian reads a scroll detailing his own history, he notes that descriptions of him as the Prince of Xianle range from a revered martial god to a feared bringer of misfortune. The fluidity of his reputation reflects how easily history is rewritten to suit those in power, leading him to wonder whether others view him more as a god or a ghost. His quiet assertion that “All gods are equal. All beings are equal” is quickly challenged by San Lang (165), who points out that if that were truly the case, there would be no need for distinct gods at all. While Xie Lian believes in universal equality, his own experiences prove the opposite—his repeated banishment shows that some gods will always be treated as lesser, no matter their deeds. 

Despite his celestial status, Xie Lian does not fit neatly into the framework of godhood defined by the Heavenly Realm. He lacks the arrogance and authority that characterize many higher-ranking officials, and unlike figures such as General Pei, he takes personal responsibility for his actions. He often jokes that “collecting scraps was better than ascension” (156), reflecting his disillusionment with the supposed glory of divine status. His preference for a simple, self-sufficient existence over political power makes him an anomaly within the celestial system, further alienating him from his peers. Xie Lian’s unique position—neither fully accepted among the gods nor entirely detached from the struggles of ghosts—mirrors Hua Cheng’s own liminality, further complicating the rigid distinctions imposed by the celestial order. The two characters serve as foils to one another, revealing how labels of divinity and ghosthood are merely reflections of fate rather than fundamental truths.

Heaven Official’s Blessing challenges the reader to question the nature of power and morality. The novel suggests that the labels of “god” and “ghost” are not markers of inherent virtue or evil but are dictated by fate, perception, and privilege. Those in power, like General Pei and the Water Master, can act with impunity, while figures like Xuan Ji and Hua Cheng are judged more harshly for their actions. By highlighting the hypocrisy of the celestial system, the novel suggests that moral worth is not found in status but in one’s actions, regardless of divine or ghostly classification. Through its nuanced character portrayals and exploration of myth and legend, the novel deconstructs the illusion of divine justice, revealing a world where the truth is far more complex than the stories people choose to believe. Ultimately, the novel deconstructs the illusion of divine justice through its nuanced portrayal of figures like Xie Lian, Hua Cheng, and Xuan Ji—each of whom exists outside the rigid moral binaries imposed by the celestial system. Their journeys illustrate that righteousness is not bestowed by status or worship but forged through hardship, choice, and the courage to defy a world that seeks to define them.