The popularization and commercialization of nation-anthromorphication cartoon Hetalia and the transnational debate over the airing of its animation, provoked by Korean netizens and followed by Japanese and western fan communities on internet, constitute an important case symbolizing the border-crossing of Japanese otaku culture and unexpected problems it may cause. Instead of simply criticizing Hetalia as distorting history and reinforcing stereotypes on other countries, which cannot explain the popularity of Hetalia, I attempt to recontextualize Hetalia and the transnational debate over Hetalia animation, by explaining three important backgrounds- moe-characterization and sense of parody, the border-crossing of doujin culture as space for free expression, and otaku culture in the transnational flows. Finally, I expect that 'cute' history as entertainment like Hetalia, devoid of historical truthfulness, will become more popular in the changing Japanese society insofar readers, mainly postwar young generations, find it interesting.