Film Name: 神秘世界历险记 / Yugo&Lala / Peculiar Kin
Below are some candid observations about this film, offered as a reminder for its creators and the animation industry to consider.
1. Exercise Caution with Female Protagonists
Why does Hayao Miyazaki favor female protagonists? Because he harbors feminist sentiments, deeply believing women possess far greater virtues than men. Why does Disney love using female protagonists? Because a princess’s quest for true love is the world’s most captivating fairy tale, while mature female bodies elevate these stories into true adult fairy tales. Why did Pixar choose a girl as the protagonist for their new film “Brave”? Because both the “Toy Story” and ‘Cars’ series leaned thematically toward male audiences. This is precisely why Barbie had to be introduced in “Toy Story 3.” In “Brave,” Pixar aimed to attract more female viewers by creating a female protagonist.
Returning to “Yugo & Lala,” why did it choose a little girl as its protagonist? Clearly, we sense neither the director’s genuine identification with women, nor does Yugo’s childlike physique—which, when wearing a hat, takes on a somewhat androgynous quality, blurring gender lines—allow adult audiences, or even younger viewers, to find gender identification in her. The inability to find gender identification is a profoundly troubling issue, as it means the protagonist struggles to become an idol. Boys won’t idolize this little girl, while girls will perceive her as different from typical girls—a tomboyish girl with little to learn from or emulate.
For a long time, animated films featuring female protagonists have been scarce. “She-Ra” can be considered groundbreaking, but it was a series. Crafting a female hero or idol within the confines of a feature-length film is exceedingly difficult, unless the director possesses clear intent and extraordinary skill. Qualities traditionally associated with women often appear in romantic narratives or as moving supporting characters; when women take center stage outside of romance, they frequently lean toward masculine traits and perspectives, inevitably diminishing their gender identity.
II. Make the Protagonist a Hero, Not a Heroine
Hugo isn’t just a girl—she’s a little girl. Yet her signature move is kung fu, pushing gender role confusion to the extreme. She lacks any qualities typically associated with girls: she’s mischievous, naughty, and not gentle enough. Even her affection for La La isn’t uniquely feminine—boys can also show care and dependence toward their pets.
If she lacks the gender traits to be an idol, she should at least possess the character traits. Unfortunately, we see no qualities in Hugo that transcend the ordinary. She does only one commendable thing: rushing to rescue Lala without hesitation. But this is something any protagonist should do—we’ve seen it too often to need another instance here. Compared to this film, I find the 2D teaser “Peculiar Kin” released by “Yugo&Lala” several years ago far superior. In that four-minute trailer, I heard Hugo’s uniquely bright, feminine voice echoing across the grasslands: “Hey, big tree, I’m coming!” That voice pierced straight through my heart! If the film had devoted more effort to portraying Hugo’s simple, profound affection for nature, she would at least have possessed that uniqueness—the character traits needed to become an idol.
If Hugo lacks both the gendered characteristics and the personality traits required for idolhood, she should at least exhibit actions that justify her idol status. But sadly, her most heroic act was merely rescuing Lala, who had once saved her life. The film emphasizes Hugo learning that Lala saved her life in the human world as the turning point in their friendship and the motivation for her rescue mission. Yet another main plotline involves humans constantly harming animals, animals plotting revenge against humans, and Hugo still needing to save humans. The narrative unfolds such that she acts solely to save Lala, with saving humanity merely a byproduct—a simplistic treatment. A true hero should confront at least two distinct processes: saving Lala and saving humanity, not a unified one. A true hero should even face the conflict between saving Lala and saving humanity—for instance, saving Lala means she cannot save humanity, and saving humanity means she cannot save Lala. only then would her choice truly embody heroic spirit.
For a protagonist to truly become one, they must possess a well-defined personality and psychological traits, along with actions that transcend the ordinary. Without these elements being shaped, if she becomes a hero simply because she is the protagonist, it can only be described as a “degradation.”
III. Similarities and Differences Between “Yugo & Lala” and “Spirited Away”
Although the ending credits of “Yugo & Lala” acknowledge tributes to “The Monkey King” and “Calabash Brothers,” among others, I feel its true homage lies with Hayao Miyazaki’s masterpiece “Spirited Away.” A young girl enters a strange world and must find a way out within a set time or risk losing herself. This premise is undeniably reminiscent of “Spirited Away.” Both films use the bizarre nature of the otherworld as a playground for imagination, while grounding their moral core in the quest to find the path home.
In terms of imaginative scope, “Yugo&Lala” pushes its limits. Whether it’s the cloud whales, the whale-shaped flute, or the depiction of various peculiar environments in the mysterious world, the director’s craftsmanship is evident. However, it’s clear that in terms of visual impact, the imaginative presentation of “Yugo & Lala” still falls short of “Spirited Away.” Here, we are not deliberately comparing an outstanding young Chinese director with a world-renowned animation master, but rather emphasizing that we must clearly identify what we should learn from the master. The core gap lies in two aspects: First, the sense of detail in the visuals. For instance, in the “mysterious world,” bright lights hang beneath the giant canopy, yet the overall scene still feels empty. If it were Miyazaki, he would have placed something on the lights—patterns or decorations—ensuring that no matter how closely you look, there’s always more to discover. Second, the significance of imagined elements. In “Spirited Away,” every scene boasts not only extreme richness in detail but also meaning behind each detail—whether rooted in Shinto props or character traits. Yet the imagination in “Yugo & Lala” remains superficial, resorting to mystery for mystery’s sake. It casually depicts bizarre flora and fauna without clarifying their purpose or ecological rationale.
Regarding ethical grounding, “Yugo & Lala” deliberately incorporates environmental themes, yet this feels forced. Firstly, the film avoids depicting concrete instances of human destruction of nature or harm to animals, instead relying on a didactic speech by an animal elder to convey this message—a approach lacking persuasive power. Second, Hugo ultimately fails to recognize humanity’s crimes against nature, and thus remains unaware of the fundamental reason she might be punished by transforming into an animal. Consequently, her self-redemption remains unattainable. “Spirited Away,” however, focuses on personal growth—the need to work diligently and treat others sincerely. Human greed for food and the Faceless Man’s greed for money are merely secondary plot points, naturally woven into the narrative. Thus, while “Yugo & Lala” deliberately plants moral lessons that fail to take root, “Spirited Away” achieves moral resonance through an effortless, serendipitous brilliance.
IV. Other Considerations
My overall assessment of “Yugo & Lala” is that it is fairly standard: the story is largely coherent but lacks twists and turns; the three-dimensional character movements appear natural, though key expressions and actions in the original artwork remain somewhat inconsistent; the overall color palette is vibrant, yet lacks a distinct stylistic flair. Its clear highlight lies in the characterization of Lala, which is largely successful and hints at the potential for merchandise development around this adorable creature.
Truthfully, the title “Yugo & Lala” is rather weak, as it lacks clarity. What constitutes a “mysterious world”? Works like Spirited Away or The Wizard of Oz, where characters enter fantastical realms, could all be called “Mysterious World Adventures.” Yet they aren’t—because the phrase “mysterious world” is too generic and non-descript. In truth, once a parallel world is entered and depicted, it ceases to be mysterious. The title should emphasize not the fleeting quality of “mystery,” but why this world is mysterious and what makes it unique. Spirited Away reveals it alters names and causes self-loss; The Wizard of Oz (The Land of Oz) declares it’s called Oz, not any other realm; The Peach Blossom Spring tells us it blooms with enchanting peach blossoms.
Additionally, the film has some minor plot flaws. For instance, the whale flute—a crucial prop—ends up at the bottom of the lake. Though it reappears as a fossil beside Hugo later, a vital connection is missing. When did she retrieve it, and what role did it play? Similarly, Hugo’s return journey from the mystical realm aboard the cloud whale to the real world should not have been omitted. This serves as a crucial farewell and carries significant symbolic weight for the work. The elder’s death feels somewhat abrupt—could a fox and a tiger truly defeat an elder who had attained immortality?
I recommend viewers who’ve seen this film search online for several trailers of “Peculiar Kin.” Personally, I feel it expresses far more effectively than the final cut of “Yugo & Lala”—whether in form, theme, or content.
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