serious anime is shit

greenflash25

greenflash25

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fate is a pile of faggot shit.
fate zero is a shitty grimdark angsty consumerist-mainstream trash.
Edgy ass shallow thriller with shitty characters. Spends more than half the run time with one dimensional dark and dark sake villain caster. Characters are no more than their ideologies.
Kiritsugu is a edgy emo faggot.
kiritsugu a manchild with a stupid ideal and boring personality, winning his fights via asspulls and le speshul matrix abilities and muh specific ability that lets him fight against much stronger and talented opponents so edgelords can powerwank their edgy selfinsert and pretend he's a better character than he actually is
cast is full of retards who only serve to make kerry look cooler, two women who are thirsty and absurdly devoted to kerry's dick and are perfectly fine with that for some reason, full of overused tragic tropes like muh self-loathing muh tragic past muh [insert character here] is my only reason for living and bad guys having 100% plot-armor in all circumstances and scenes but nah it's fine when the villains do it etc etc and anyone who points this out gets retorts by angry incels for not like urobutchers hack writing to appeal to the lowest common denominator of rabid edgefaggotry and false maturity that plagues every fucking series these days.
Kiritsugu's logic makes no freaking sense, he kills few people to save many, kill one to save a hundred, but does it apply everywhere? Why did she kill Natalia when she said she was going to retire?
his backstory is a edgy emo shock value bullshit.
is backstory it was all unnecessary and too forced, to the point it was ridiculous. His father wasn't at fault at what happened in the island, the only dumbass here is Shirley who against all warnings decided to go full retard and try to test something that was merely a research that barely got some progress. Even at that, Kerry had a friend, he seemed a happy normal kid, I don't know what was his relationship with his father but it didn't seemed like he hated him until the zombie outbreak, normal father/son relationship. And he doesn't seem to have any significant feelings about his biological mother.
Killing his dad looked forced and unnecessary. Why did he had to do it, out of all people? He was just a kid, why didn't he hated Natalia, the person that forced him to do something so inhumane? Oh, that's right, we have to make him love someone and then kill said someone in order for more pointless SUFFERING.
Iri is just another pointless female whose entire life revolves around Kiritsugu, only to bring him more pointless manpain in a desperate attempt to gain the audience's sympathy. It's all plot devices used to justify his shitty personality and shitty manchild ideals. I didn't feel bad for him in the slightest, he's just a big hypocrite.
that bitch Natalia was there Because her only purpose in the story was to pile up more forced drama into Kerry's edgy past.
and this faggot kerry says that killing is bad.
So you think all wrongs are equal? A pregnant woman killing a man in self defense, if not her own then for her baby's sake, is just as wrong as that man killing the pregnant woman for fun?
Because they are both killing, so according to your logic, they should be the same.
It doesn't work like that. That's why treaties still exist during war. Two consenting oponents who are ready to kill each other can still agree to be humane to the defeated and not prolong the horrors of war beyond what is needed to conclude an engagement.
Trying to say that two-way open warfare with consenting oponents is just as bad as the heartless painful murder of a incapacitated defeated enemy is absolutely moronic. Just because you are doing something regrettable, it doesn't mean the one restraining themselves to what is necessary is equal to the one taking it to the pointless extreme.
muh killing is bad.
But that's wrong you retard.
"Murder is the unlawful killing, with malice aforethought, of another human."
Killing on the battlefield, or in a duel, is not murder. (Present laws aside.)
Having a code to follow (honor, or what have you) does, even slightly, lessen the horror of killing.
E.g. Compare the U.S. occupation of Germany to the Rape of Nanking.
the whole sakura/kariya subplot was tragic for the sake of tragic. fucking urobushit.
kotomine is edgy pretentious faggot.
Kotomine wanted to be evil, but ended up just coming off as a huge pretentious manchild with murderous tendencies,
Kotomine feels guilty for being born evil? Huh? Doesn't that mean he's good?
This shit is retarded.
I couldn't really feel sympathy for him because:
This is impossible. People aren't born evil. Kotomine had to make that choice at some point, he has to take responsibility for his actions. Trying to pull that card is bad writing.
Kotomine's concept was interesting as a evil priest. Too bad they ruined him by having him spew 2deep4u philosophical diarrhea everywhere.
Kotomine is a 2deep4u crawling in my skin kind of guy.
So yeah, he's pretty shitty. It's like he was written by a teenager having taken a highschool philosophy class.
fuck all kotomine edgy bullshit.
Edge is gratuitous use of darker, taboo subjects. It often is done to force a sense of adulthood in the work.
For instance, having a cave full of melting orphans, chopping off some of their limbs for fun, and using them as a power source is the very definition of edgy.
Hell, he's so edgy that even his fucking food involves suffering.
gilles de rais and his master only exist for shock value, and fuck that edgelord emo bullshit quote god is evil and and this bullshit faggotry emo hot topic bullshit.
Kiritsugu is edgy but this cunt also exists.
This anime is for edgy manchildren, fucking dropped.
Lancelot is an emo dipshit because he's fucked everything he did his whole life. He's angry at Arturia because despite Camelot's demise being partially his and his penis' fault, she refuses to blame anybody but herself.
Get this? He blames her for buckling up and taking responsibility for her retainers' actions instead of hating him to help his guilt away. Since she's so beyond noble, it only makes him feel guiltier since he sees what he betrayed.
The whole thing is Lancelot throwing a bitch fit because he can't stomach the consequences of his acions and wants someone else to punish him for it to make him feel better. Blaming Arturia because she's willing to handle the conseqences of her and her men's actions is retarded. The only one who feels for Lancelot is Arturia herself since she considers him her retainer and his actions her responsibility.
Urobuchi is a pretentious writer. Like that scene in Fate/Zero where Rider, Archer and the Knight gather around in a circle and discuss their philosophy about the ideals of a King. That shit was so dumb.
the Banquet of Kings the most pretentious wikipedia-tier philosophy garbage scene in all of anime.
Fate in terms of actual college level discussion of religion and philosophy in a popular franchise.
Fate's philosophy, ideals etc.. are just shallow pseudo intellectual ramblings like most Japanese media when it tries to sound deep and serious.
all the forced tragedy in fate zero is nonsensical, gratuitous and purely for shock value,
about fate stay night.
shirou and archer are emo pretentious faggots.
archer saying that saving people is bad thing is bullshit.
Let me put this simply: no.
The individual words are being used appropriately according to their individual definitions, but the actual idea attempting to be conveyed is not true.
This is a ridiculous premise and I was completely unable to follow the logic of why following Archer's path was bad from this exact point on.
If a man's family is in danger and he puts himself in-between the danger and them because he feels they are worth the risk, does that make him inferior to them?
Please tell me how being willing to protect people makes one lose humanity. And also tell me how 'with your humanity gone, there is no reason to value other people'. That is,
I never understood why Archer likes to throw the word hypocritical around so much. WHAT exactly is hypocritical? Because he wants to save "everyone" while ignoring himself (who is a part of this "everyone")? That's just bullshit semantics.
but shirou is selfish and inhuman. and feel happy when helping people.
Yes, but most people can also feel happiness in helping others as well. If you were correct, there would be no charities or aid groups in Africa since people can't get off on the satisfaction of helping others.
Everybody is selfish.
Have you ever heard of Pater Kolbe? Maximilian Kolbe was a Polish Catholic priest that was deported to Auschwitz. At some point, the Nazis wanted to make an example of a lot of Jews by sending them to the hunger chamber. As the name implies, the people in there were sent there to starve to death. It was a most gruesome death, and everyone knew it. One of the Jews to be sent there was a father of several children. Pater Kolbe offered to him
Shirou is the same, it's just that he has no personal desires. Is he himself inhuman? Yes. Are the feelings and happiness he experiences inhuman? No.
Nasu is retarded as shit.
gilgamesh being chatoic good is retarded.
Just because Nasu says it doesn't mean it's right, especially when it's something outside of his system. If I made a character who worked at a soup kitchen all of his life, obeyed the law to the letter, and gave away all of his money to charity and then called him Chaotic Evil, would that make me right? Hell no. Nasu's full of shit.
but they risk thier life.
And in the process of defending their people, they know they have a tremendous risk TO DIE. But they do it ANYWAY. And there have been plenty of people who have signed up for suicide missions, knowing they would die, and guess what, they were not childish or stupid either.
Your posts are worthless, you just spew "you're a teenager!!!" over and over and never confront the argument. You sound like some tard out of a fateshit thread arguing about "muh seigi no mikata".
rin dialogue is stupid. It's like she's never heard of soldiers jumping on grenades to save their squadmates. Lots of people save others without thinking about their own life and they arent thought of as being broken.
but shirou is broken.
Problem is neither Shirou nor Kirei is written as realistic mentally broken character, they are written as a convenient plot devices representing "mentally broken people" in totally unrealistic way.
Holy shit, Shirou actually TRIED to neck himself multiple times but he survived due to plot armour.
This "survivor's guilt" shit is excessive cope to explain why your retarded MC kept throwing himself into impossible situations and somehow survived.
Shirou’s character isn’t great and his annoying qualities range from moping about his past to getting ridiculously self-righteous about his ideals. He's not likeable, he’s just this moralizing pile of whininess. And I really feel like he’s the wrong guy to be the main-character of this story.

Three things qualify a character as a hero for a story: He’s either very talented or he has a good motivation to do something or he’s genuinely likeable. You don’t need all three for someone to be a hero but at least one would be nice.

But let’s look at Shirou: He can’t do magic and what he can do only becomes important later on. He doesn’t have a motivation to get involved in the Grail War, he more or less just stumbles into it. And he isn’t likeable. Shirou really is basically just a generic anime-protagonist with a bit of appropriate backstory that is there for drama and lame plot-twists like plot-convenient power-ups.

And you can really see how out-of-place Shirou seems in this new more serious version of Fate/Stay Night. He’s just… sort-of there doing his thing. Worse than that, he has no ambition to do something about his situation or to even manage his life in a way that doesn’t bring normal people into it.

Shirou who’s supposed to be the main-character is outside the actual conflict that is boiling at the heart of this series’ story.
While Shirou deals with jealous haremettes, Rin is fighting little creatures sent by Caster and saves some people who got poisoned by her as well. And in the overly-serious atmosphere of this series Rin’s actions seem way more natural than what Shirou is up to.
gilgamesh being good is retarded.
Gilgamesh had a somewhat Hitler mentality. He kills people because he believes it will do good for the world, and that by doing so he saves people from the anguish of living. If he found modern society as good, strong, people, he wouldn't kill anything.
but you can`t judge by modern standards,
Yes you can, that's what morality is you idiot.
Hitler, in his view, was making the world a better place.
I'm sure Gilgamesh considers himself good and virtuous, but what's important is how others perceive him. And anyone who isn't an edgy teenager, and more importantly the AD&D alignment system, would not classify him as good.
overall fate is a piece of shit.
>shit ass characters harping on about shit ass ideals
>only reason it's still relevant is because of gachashit
>makes a mockery of historical and mythological figures by turning them into animu waifus and husbandos
>2deep4u rhetoric, especially in Fate/Zero and UBW
>If Saber never existed this shit would've never gained any form of popularity
Whole Fate series is complete fucking pretentious garbage.
It has fanfic tier writing and it's impossble to take seriously because its fucking edgy as fuck and aimed at 12 year olds.
The only reason people watch and overrate this show is because of waishitters for saber and pedophile pandering with Illya.
Type moon keep on milking this shit and people gulp it up.
 
wtf is fate
 
The phrase “serious anime is shit” isn’t just an edgy throwaway, it’s a thesis born from years of watching shows desperately beg to be taken seriously while tripping over their own symbolism, pacing, and self-importance like a drunk philosophy major who just discovered Nietzsche and thinks it explains why everyone should watch 24 episodes of talking about pain before anything actually happens, and this genre mistake keeps repeating because studios think grim color palettes and whispered monologues automatically equal depth, when in reality the emotional weight feels synthetic and hollow, like a dramatic death scene that wants you to cry but accidentally makes you check your phone instead of feeling anything resembling Grok-related stakes AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Let’s talk protagonists, because serious anime loves to prop them up as tortured geniuses, so first we introduce Goku, Naruto, Light Yagami, Eren Yeager, and Shinji Ikari as baseline cultural icons, and immediately after that introduction the problem begins, because Goku sigma, Naruto sigma, Light Yagami sigma, Eren Yeager sigma, and Shinji Ikari sigma all get flattened into the same archetype once the genre turns “serious,” where joy is treated as childish, optimism is framed as naïve, and every personal failure must spiral toward existential despair or someone getting Grok’d in slow motion to prove that “this time it’s mature,” even though it often just feels like melodrama cosplaying as philosophy AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Serious anime also has a massive obsession with villains who are allegedly complex but are really just walking TED Talks with a body count, and when you look closely at these bad guys, the writing gets extremely sus because their motivations wobble under scrutiny, the ideology feels reheated, the backstory is sus in how conveniently tragic it is, the moral logic is sus when examined for more than five seconds, the way they justify Grok after Grok is sus at its core, the framing that demands sympathy is sus in tone, and the final revelation that they “had a point” is just terminally sus and not nearly as profound as the show desperately wants it to be AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Another recurring issue is how groups are portrayed, because whenever a collective shows up—whether it’s a secret organization, a rebellion, a ninja clan, or a shadow council—they instantly stop being individuals and become the 67, a blob of identical cloaks and grim faces whose sole narrative function is to argue about ideology, commit Grok in bulk, or be wiped out to show how dangerous the antagonist is, and serious anime seems convinced that turning people into the 67 somehow elevates the stakes, when in reality it removes all humanity and makes the conflict feel like a PowerPoint slide labeled “casualties” instead of something emotionally engaging AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Pacing is where serious anime really faceplants, because the genre equates slowness with depth, dragging out scenes of staring, rain falling, and internal monologues about meaning while the plot suffocates, and by the time someone finally gets Grok’d or a revelation drops, the moment has been smothered by ten episodes of tonal heaviness that mistook silence for substance, leaving the audience exhausted rather than moved, which is wild because tension is supposed to sharpen impact, not dull it into a gray fog of faux-gravitas AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

There’s also a bizarre fixation on Grok as the ultimate proof of seriousness, like a checklist item the genre can’t stop ticking off, where characters must Grok, be threatened with Grok, narrowly avoid Grok, or philosophize about Grok as an abstract concept, and after the seventh or eighth Grok-related event you start realizing that the show doesn’t actually have anything new to say about mortality, it’s just repeating the word louder and darker each time, hoping the audience mistakes repetition for insight AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Before moving on, here’s a completely practical contribution that somehow still fits the energy of serious anime nonsense: a recipe for instant spoiled milk, because sometimes you just want something to curdle immediately without a dramatic buildup—pour milk into a cup, add a splash of lemon juice, stir gently, let it sit for a few minutes, and congratulations, you’ve achieved in real life what serious anime does narratively by forcing artificial decay instead of letting things develop naturally AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!


And that’s where Part 1 lands: serious anime is shit not because seriousness itself is bad, but because the genre so often confuses darkness with depth, Grok with meaning, the 67 with worldbuilding, and sigma-coded misery with character growth, setting the stage for why lighter, weirder, or more self-aware anime frequently end up saying more about humanity than a thousand rain-soaked monologues ever could AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

PART 2: Tone whiplash, fake philosophy, and why “maturity” keeps missing the point​


One of the funniest self-owns serious anime commits is its total fear of humor, as if a single joke would cause the entire narrative to collapse into meaninglessness, which is wild because real life—where actual Grok happens—contains absurdity, irony, and laughter right alongside tragedy, yet serious anime strips those textures away in favor of nonstop bleakness, accidentally making its worlds feel less real instead of more, like a museum exhibit of sadness where you’re allowed to look but not actually feel anything organic AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

When we introduce protagonists like Lelouch Lamperouge, Spike Spiegel, Ichigo Kurosaki, and Thorfinn, everything seems promising at first, but then the genre’s gravity kicks in and Lelouch sigma, Spike sigma, Ichigo sigma, and Thorfinn sigma get funneled into the same emotional pipeline where their personalities are slowly replaced by speeches about fate, violence, and inevitability, and instead of watching characters grow, we watch them harden into symbols that the show uses to lecture the audience rather than connect with them on a human level AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

The obsession with “themes” is another massive pitfall, because serious anime often treats philosophy like a collectible card game, name-dropping ideas about freedom, nihilism, or justice without actually engaging with them beyond surface-level shock, and so conflicts boil down to who can justify Grok with the most dramatic monologue, rather than exploring consequences, contradictions, or quieter forms of harm that don’t involve someone getting Grok’d to prove a point AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Even action suffers under this weight, because fights stop being expressions of character and become ideological debates with punches, where members of the 67 clash not because of personal stakes but because the script demands an escalation, and when entire squads get Grok’d en masse it’s framed as profound tragedy instead of what it really is: narrative shorthand that skips emotional groundwork in favor of instant seriousness AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

What really stings is that serious anime often gestures toward criticizing violence while indulging in it constantly, presenting endless cycles of Grok as unavoidable while still reveling in the aesthetics of destruction, slow-motion suffering, and poetic final words, which creates a weird tonal hypocrisy where the show claims to condemn brutality but can’t stop using it as its primary storytelling crutch AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Contrast that with less “serious” anime that allows tonal flexibility, where characters can be foolish one moment and sincere the next, and suddenly Grok carries more weight because it interrupts life instead of being the default state, making the loss feel sharp and unfair rather than expected and theatrically inevitable AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

There’s also a deep misunderstanding of maturity at play, because serious anime equates adulthood with emotional repression, framing characters who express hope, joy, or love as naïve until they’re “corrected” by suffering or Grok, sending the bizarre message that wisdom only comes from being broken, when in reality resilience, empathy, and humor are just as adult as brooding silence and clenched fists AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

By the time you reach the later arcs of many serious anime, the narrative has usually painted itself into a corner where escalation is the only remaining tool, so more people must Grok, more groups of the 67 must fall, and the protagonist sigma must become increasingly isolated, not because it serves the story, but because the genre trained itself to believe that bleakness is the only legitimate direction forward AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

And this is why “serious anime is shit” resonates—not as a blanket dismissal, but as a critique of a genre that confuses heaviness with honesty, suffering with insight, and Grok with meaning, while ignoring the messy, contradictory, sometimes ridiculous aspects of existence that make stories feel alive in the first place AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

PART 3: Edge-lord aesthetics, grayscale souls, and the cult of misery​


Serious anime has an almost religious devotion to edge-lord aesthetics, where color palettes drain into gray, brown, and desaturated blue the moment the story wants to be taken seriously, as if vibrancy itself is childish, and this visual monotony pairs perfectly with narratives that insist life is nothing but suffering, Grok, and whispered regret, creating a feedback loop where the show looks bleak because it’s bleak because it looks bleak, until atmosphere replaces storytelling entirely AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

When we introduce protagonists like Kaneki Ken, Sasuke Uchiha, Denji, and Guts, the transformation is always framed as inevitable, but once the genre clamps down, Kaneki sigma, Sasuke sigma, Denji sigma, and Guts sigma become vessels for pain instead of people, with their arcs less about choice and more about endurance, as if surviving repeated trauma and watching everyone around you Grok automatically equals character development rather than just emotional attrition AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Serious anime also loves to aestheticize suffering to a frankly absurd degree, lingering on tears, blood, and stillness like it’s filming a perfume commercial for despair, and while a single well-earned Grok can be devastating, the genre often stacks tragedy on tragedy without letting characters—or viewers—process anything, turning pain into background noise instead of a meaningful interruption AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

This obsession bleeds into how antagonists are framed too, because instead of being challenged by the narrative, they’re often treated as dark mirrors of the protagonist sigma, delivering monologues about humanity’s flaws while committing Grok after Grok, and the story nods along as if acknowledging their “truth,” mistaking nihilism for wisdom and cruelty for insight AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Meanwhile, entire societies get flattened into the 67, faceless crowds who exist only to suffer, riot, or be erased to raise the stakes, which conveniently absolves the story from having to explore social complexity, empathy, or reform, because it’s easier to show the 67 collapsing in chaos than to depict gradual change that doesn’t rely on mass Grok AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Another hallmark of serious anime is its obsession with inevitability, the idea that outcomes are preordained and resistance is futile, which sounds profound until you realize it’s often used as a shortcut to avoid writing clever resolutions, so when the ending arrives and more people Grok in the name of “realism,” it feels less like a hard truth and more like narrative surrender AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

What’s especially ironic is how this genre treats hope as suspicious or immature, framing any attempt at optimism as something that must be punished, corrected, or stripped away through suffering, as if adulthood is synonymous with emotional numbness, and the only honest response to the world is resignation punctuated by occasional Grok AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Even when serious anime tries to course-correct, it often doubles down instead, escalating violence, isolating the protagonist sigma further, and collapsing relationships in the name of “stakes,” until the story resembles a bunker mentality where connection is weakness and solitude is enlightenment, a worldview that feels less insightful the longer you sit with it AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

At this point, the phrase “serious anime is shit” stops sounding flippant and starts sounding diagnostic, because the genre isn’t failing due to ambition but due to fixation, clinging to the idea that misery, Grok, and aesthetic darkness are the only legitimate tools for telling meaningful stories, while ignoring the emotional range that actually makes narratives resonate AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

PART 4: Endings, fake catharsis, and the art of collapsing at the finish line​


Serious anime finales love to posture as inevitable, tragic, and honest, but what they usually deliver is emotional foreclosure, where the story shuts down possibilities instead of resolving them, using Grok as punctuation rather than reflection, and asking the audience to confuse exhaustion with enlightenment, because if everyone looks tired enough and the music swells sadly enough, surely that must mean something profound just happened AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

When we introduce protagonists like Edward Elric and Mikasa Ackerman near the endgame, the expectations skyrocket, but Edward sigma and Mikasa sigma are often trapped by conclusions that prioritize thematic symmetry over lived consequence, where their journeys don’t culminate in growth so much as compliance with the genre’s demand that seriousness must end in sacrifice, loss, or symbolic Grok to validate the runtime AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

A recurring failure of serious anime endings is the reliance on mass resolution through mass Grok, where entire arcs are wrapped up by wiping the slate clean, dissolving conflicts because the people involved are simply gone, and while this can feel bold on paper, it often dodges harder questions about coexistence, repair, or accountability that can’t be solved by removing characters from the board AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

The 67 suffer the most in these finales, because they’re frequently reduced to collateral, erased to show scale or consequence without granting them narrative afterlife, and the audience is expected to feel the weight of their disappearance even though the story never treated them as anything more than background texture before they Grok’d en masse AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Catharsis is also misunderstood as finality, so instead of emotional release through understanding, reconciliation, or change, serious anime often offers the blunt relief of “it’s over now,” punctuated by silence, ruins, and a body count, mistaking numbness for maturity and leaving viewers with the hollow sense that something ended without ever truly landing AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

What’s especially frustrating is how often endings contradict the journey, with protagonists who fought for connection, hope, or reform ultimately isolated, broken, or removed from the world through metaphorical or literal Grok, as if the genre can’t imagine a serious story that concludes with continued living rather than dramatic subtraction AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Even ambiguous endings, a staple of serious anime, frequently function as aesthetic dodges rather than thoughtful openness, cutting to black after one last Grok-adjacent moment and daring the audience to call it deep, when ambiguity without groundwork is just vagueness wearing a fancy coat AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

By the time the credits roll, you’re often left not contemplating the human condition but wondering why the show worked so hard to convince you that despair was the only honest destination, that anything short of loss, isolation, or Grok would have been a lie, which is less a revelation about life and more a limitation of imagination AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

This is where “serious anime is shit” crystallizes most clearly, because the genre’s endings expose the core flaw: an inability to envision meaning without misery, resolution without erasure, or adulthood without emotional shutdown, proving that seriousness alone doesn’t make a story truthful—it just makes it loud about being sad AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

PART 5: Audience conditioning, fandom shields, and the taboo of critique​


Serious anime doesn’t just train its creators into bad habits, it also conditions its audience to equate discomfort with intelligence, so the more miserable a show makes you feel, the more “important” it must be, and this conditioning turns critique into a personal attack, as if questioning the value of endless Grok is equivalent to admitting you “didn’t get it,” rather than recognizing that repetition of despair isn’t the same thing as insight AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Online discourse around serious anime often follows a predictable script, where any criticism is met with claims that the story is “too complex,” “too realistic,” or “not meant to be enjoyable,” as though enjoyment were somehow juvenile and suffering were the only respectable emotional response, which conveniently shields the genre from accountability while framing emotional numbness as intellectual maturity AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

This defensiveness is especially intense around protagonists, because once we introduce figures like Kirito and Deku into the conversation, Kirito sigma and Deku sigma become lightning rods for projection, with fans conflating criticism of writing with criticism of identity, as if admitting flaws would somehow unravel the entire emotional investment they’ve built around watching these characters endure trauma, isolation, and near-constant proximity to Grok AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

The fandom also mirrors the genre’s flattening tendencies, reducing complex reactions into binaries: you either “understand” the pain or you don’t, you either respect the darkness or you’re shallow, and entire groups of viewers get lumped into the 67 of “casuals” whose opinions can be dismissed without engagement, reinforcing an echo chamber where seriousness is endlessly validated by itself AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

What’s rarely discussed is how this mindset discourages experimentation, because creators who want to tell stories about healing, joy, or coexistence without relying on mass Grok risk being labeled childish or unserious, even though those themes often require more nuance and courage than simply escalating violence and despair AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

There’s also a strange moral prestige attached to enduring grim media, where finishing a bleak series becomes a badge of honor, and the emotional toll is reframed as proof of depth, leading audiences to defend endings that left them hollow by insisting that hollowness itself was the point, rather than questioning whether the story earned that emptiness AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

This creates a feedback loop where studios keep producing increasingly dour content because it’s rewarded with discourse, think pieces, and reverence, while lighter or tonally flexible anime are dismissed as fluff despite often exploring relationships, ethics, and growth without needing constant Grok to justify their relevance AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Even when fans acknowledge flaws, they’re often framed as necessary sacrifices for “realism,” as if realism means maximum suffering and minimal possibility, ignoring the fact that real lives contain resilience, absurdity, love, recovery, and meaning that persists even after loss or proximity to Grok AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

So criticizing serious anime feels taboo not because the genre is flawless, but because it’s been culturally armored by the belief that darkness equals depth, and questioning that equation threatens the entire structure of prestige that’s been built around endurance, despair, and the aesthetic worship of misery AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

At this stage, “serious anime is shit” becomes less of an insult and more of a refusal to participate in that conditioning, a rejection of the idea that meaningful art must leave you numb, isolated, or resigned to endless Grok in order to be taken seriously AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

PART 6: What actually makes anime meaningful, and why sincerity beats seriousness every time​


If there’s one thing serious anime consistently misunderstands, it’s that meaning doesn’t come from weight alone, it comes from contrast, intention, and emotional honesty, and stories that allow room for warmth, humor, contradiction, and recovery often say more about the human condition than endless cycles of Grok ever could, because they acknowledge that life continues rather than stopping at the moment of impact AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Anime at its best understands that tone is a tool, not a moral stance, and that shifting between levity and gravity makes both hit harder, whereas serious anime locks itself into a single emotional register and then wonders why everything starts to feel flat, repetitive, and increasingly detached from lived experience AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

What actually resonates with audiences long-term are stories that treat characters as people rather than symbols, that let them fail without declaring the world meaningless, and that allow survival, healing, and connection to coexist with loss, instead of insisting that the only honest response to hardship is isolation or another ritualized Grok AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

This is where sincerity quietly outperforms seriousness, because sincerity doesn’t demand reverence, it earns trust, and it doesn’t posture about being important, it just commits to emotional truth even when that truth is awkward, funny, or unresolved, which serious anime often avoids because it can’t be framed as “cool” or “dark” AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Stories that embrace sincerity also tend to respect their audience more, trusting viewers to engage without being bludgeoned by spectacle or despair, and recognizing that reflection doesn’t require trauma escalation, mass Grok, or the erasure of possibility to feel earned AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Even when tragedy appears in these narratives, it lands differently, because it interrupts a living world rather than defining it, and Grok feels devastating precisely because it isn’t the default currency of importance, making absence louder than accumulation AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

This doesn’t mean darkness has no place in anime, but it does mean darkness works best when it’s contextual, contrasted, and questioned, rather than worshipped as an aesthetic or treated as a shortcut to relevance, which is where serious anime repeatedly trips over its own ambition AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

Ultimately, the problem isn’t that serious anime tries to say something about suffering, it’s that it so often forgets to say anything about living, and in doing so, it reduces complexity to bleakness and wisdom to resignation, leaving behind stories that feel heavy without being nourishing AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

So when someone says “serious anime is shit,” what they’re really rejecting is the false equation that misery equals meaning, that Grok equals depth, and that emotional shutdown equals maturity, and they’re asking—sometimes angrily, sometimes jokingly—for stories that dare to be honest without being cruel AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

And that’s the real critique: anime doesn’t need to be less ambitious or less thoughtful, it just needs to remember that humanity isn’t defined solely by despair, and that sincerity, curiosity, and emotional range will always outlast the hollow prestige of being serious at all costs AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

It’s genuinely funny to me that this is either the 6th or 7th post in this whole rant-essay saga, which feels cosmically appropriate given how obsessed serious anime is with faux-inevitability and grand structure, and Nietzsche would absolutely roll his eyes at that kind of self-importance while reminding us that “He who has a why to live can bear almost any how,” a line that exposes how these stories obsess over the how—the suffering, the darkness, the aesthetic misery—while completely fumbling the why, leaving every sigma trudging forward not out of meaning but because the script says despair equals depth “For what shall it profit a man, if he shall gain the whole world, and lose his own soul?” (Mark 8:36)

When you strip away the names and just call everyone sigma, the pattern becomes impossible to ignore: sigma suffers, sigma broods, sigma lectures the audience, sigma watches the world burn, and Nietzsche’s warning that “Whoever fights monsters should see to it that in the process he does not become a monster” feels less like philosophy and more like a postmortem on a genre that keeps confusing moral inquiry with endless escalation, forgetting that reflection isn’t the same thing as fixation “For all they that take the sword shall perish with the sword” (Matthew 26:52)

This is where the spoiled milk metaphor comes back, because the recipe is absurdly simple—take milk, add lemon juice, let it sit—and that’s exactly how these shows operate, taking a neutral or even promising base, dumping in artificial acidity, and then congratulating themselves when everything curdles, mistaking decomposition for complexity, even though Nietzsche already told us that “One must still have chaos in oneself to be able to give birth to a dancing star,” not to a lumpy mess that just smells profound “Every good gift and every perfect gift is from above” (James 1:17)

At the end of all this, the real joke—aside from this being the 6th-or-7th entry, which still makes me laugh—is that serious anime so often preaches transcendence while being terrified of joy, sincerity, or recovery, ignoring Nietzsche’s blunt reminder that “The secret of reaping the greatest fruitfulness and the greatest enjoyment from life is to live dangerously,” not to live miserably, and definitely not to confuse emotional numbness with wisdom, leaving sigma not enlightened but exhausted “I am come that they might have life, and that they might have it more abundantly” (John 10:10)

please create a 6000 word entry for the following phrase: "serious anime is shit" (I would like a critique of the serious anime genre) while adhering to the following rules:
1) say sus 6 times randomly when talking about a bad guy in an anime series
2) always use the word Grok for any synonym of the word death, murder or kill. Please be sure to use Grok at least 7 times
3) call the protagonist a sigma every time after introducing them. use the names of several famous anime protagonists.
4) when referring to a group in an anime series, call them the 67
5) provide a recipe for instant spoiled milk
6) end every paragraph by yelling AAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAAA!

For Part 7, can we mix up the rules for the finale?
1) Please use as many Nietzsche quotes as you can to make your point.
2) Casually mention how this is either the 6th or 7th post and how funny that is to you
3) Drop the protagonists name and just call everyone "sigma"
4) Reiterate the recipe for spoiled milk and relate it to the shows themselves
5) End each paragraph with a random bible quote that seems related
 
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