In 2016, To Be Hero debuted as a Chinese-Japanese experimental donghua, under the loose direction of Haoling Li and the notable supervision of Shinichi Watanabe (yes, THE Watanabe — of Excel Saga and Nabeshin fame). The result was... middling. A comedy that dabbled in absurdity but failed to resonate emotionally, culminating in a final twist that felt more manipulative than meaningful. Its animation was passable, its jokes inconsistent, and its direction amateurish. But To Be Hero was, if nothing else, a sketchpad — an unpolished prototype of potential.

Fast forward to its spiritual successor: To Be Heroine The leap in quality is nothing short of miraculous. Haoling Li absorbed every critique of his earlier effort and returned with a refined, visionary work that not only corrects its predecessor’s flaws but carves out an identity that is emotionally resonant, aesthetically bold, and narratively daring.
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A Recut Masterpiece

I watched the Japanese broadcast version — a condensed 7-episode cut (from the original 12) that aired from May 19 to July 7, 2018. This version honed the pacing and restructured the episodes to heighten narrative rhythm, making the emotional beats even more impactful. It is a perfect example of how thoughtful editing can elevate storytelling, especially in a surreal and layered narrative like this.
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Story: A World Without Light, But Not Without Soul

The premise is deceptively bizarre: Yue Yue Hua, a bright and introspective high school girl, finds herself sucked into a parallel world cloaked in darkness. This world is populated only by children wearing nothing but panties (yes, really). Yue Yue, now the only one clothed, discovers that clothing in this world is power — quite literally — and must become the heroine of a war-torn realm where garments are weapons.

At first glance, this setup might feel like an isekai parody — and in many ways, it is. But unlike most modern isekai which rely on tired tropes and escapism, To Be Heroine transcends them with flair. It recalls the emotional surrealism of FLCL (a personal favorite), using abstraction to explore identity, trauma, and growth.
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Chinese-Japanese Wordplay & Symbolism:

Even the language choices reflect a layered depth: in the other world, characters speak Japanese, while in the real world, they speak Chinese. This bilingual interplay doesn’t just highlight the show's transnational production — it also subtly divides the protagonist’s two realities. “裤子” (kùzi, pants in Chinese) become metaphors for protection and identity, while “変身”(henshin, Japanese for transformation) nods to classic tokusatsu but recontextualizes it as personal awakening. The clever linguistic duality is both an homage and an innovation.
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Production: An Auteur Awakens

The improvement in production values is jaw-dropping. Haoling Li’s direction now boasts Gainax-tier energy — reminiscent of early Evangelion and FLCL — but with his own unique signature. The camera work, color design, and editing are expressive and kinetic. Every frame feels purposeful. Where To Be Hero was rough, Heroine is smooth, sharp, and dynamic.

The character designs strike a perfect balance — stylized yet grounded, expressive yet believable. The sakuga sequences are surprisingly polished, with imaginative visual metaphors that amplify the emotional arcs. And the soundtrack? It’s phenomenal — from gentle piano motifs to explosive orchestral cues that heighten every pivotal scene.

Voice acting is another highlight. The interplay between Chinese and Japanese cast members is initially jarring, but soon becomes an essential part of the storytelling. It emphasizes the dual-reality setting and serves as a metaphor for identity, translation, and cultural dualism.
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Characters: Humanity in the Absurd

Yue Yue Hua is not just a good protagonist — she’s a great one. Possibly the most compelling female lead in a donghua to date. Her arc is a 真実の成長(shinjitsu no seichou — “true growth”), rooted in realism despite the surrealist backdrop. Her reactions are genuine, her decisions organic.

The return of characters from To Be Hero is another pleasant surprise. Rather than cheap cameos, they’re gracefully integrated into the new story with purpose and depth. The supporting cast is rich with personality, and even the villains have complexity. You find yourself understanding, even sympathizing with, their motives.

And yes — the romance is handled with elegance, never overshadowing the narrative but adding emotional depth where needed.
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Final Thoughts: A New Era Begins

To Be Heroine isn’t just a sequel. It’s a revelation. It contextualizes To Be Hero retroactively, making its flaws feel like growing pains rather than failures. Haoling Li has emerged as a formidable voice in animation — one who isn’t afraid to blend absurdist comedy with real-world emotional stakes.

Frankly, I believe To Be Heroine surpasses Link Click. While that show may be more polished on the surface, Heroine is more emotionally layered, visually experimental, and thematically daring. It gives me tremendous hope for To Be Hero X, which may very well continue this upward trend.
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Mark My Words: The Dragon Has Awakened

China is poised to become a major global force in animation, and To Be Heroine is proof that Chinese creators are not only capable of matching Japanese production — they're starting to outpace it in risk-taking, sincerity, and thematic boldness. This is the dawn of a new creative generation. One that’s experimental, emotional, and unafraid to challenge conventions.

I can’t wait to see what kind of fans and otaku will emerge from this movement. I’ll be watching — with excitement, admiration, and hope.