What do you think is the main difference between "Hero" cartoons and comics between the west and japan?

What do you think is the main difference between "Hero" cartoons and comics between the west and japan?

Other urls found in this thread:

animenewsnetwork.com/feature/2016-04-29/all-might-vs-superman-how-our-heroes-are-different/.101590
en.wikipedia.org/wiki/Town_of_Evening_Calm,_Country_of_Cherry_Blossoms
twitter.com/AnonBabble

The west attempts to pin real-world problems on characters that are inherently unreal, whereas Japan almost never does this except on a rather shallow level. They let their heroes be mythic, while the west attempts to make them "real" or "believable". Of course there are exceptions to both sides.

The west are typically built on a shared universe and stuck in a loose status quo.
Eastern heroes are usually trying to tell a story that's allowed to progress beyond a particular status quo.
The Big 2 universe is also supposed to more or less reflect our world. So the heroes affect on the world is mostly just superficial.
Though there are exceptions in the west with stuff like Invincible and AUs.

All Might is so cool!

He's that right mix of corny and badass that I love.

Super sentai shows seem like they're closer to American superheroes than anime. One thing that makes them different is that they're groups rather than individuals (pretty obvious where this difference comes from). Magical girls also work in groups.

Another thing is that Japanese characters don't suffer from the doubt, conflict, ambiguity and edginess that seem to be afflicting American superheroes today.

Don't take this the wrong way but a lot of anime heroes strike me as more selfish than in the west.

In what way?

I just think this is flat out wrong. Sometimes the west does that, sure, but they also fucking invented the Silver Age. If you think about most japanese iconic nerd culture they do try and put a lot of "real" stuff in it. Godzilla is a direct result of nukes, Usagi Yojimbo is just a samurai story with a bunny, even Battle Fever J was a UN operation.

I don't know man, I'd say the DC status quo changes about as often as Naruto's does. We've had like 3 different mainline Flashes, Superman was once made of red and blue lightning, Batman was commissioner gordon for over a year, and WW is either the daughter of Zeus or a clay golem. Meanwhile we are just now getting Baruto.

what about NGE and Madoka though

just look at NGE, Madoka, One Piece, Naruto, etc. they are all motivated by themselves trying to achieve a personal goal. Not like how most western superheroes are expected to do good for the sake of good.

If you like Western superhero action cartoons you will love My Hero Academia, I promise from the bottom of my soul

On the opposite side I'll bring up that the closest to american superheroes you can find in Japan comes from super robot shows.
Normal or enhanced normal people get a terrifying power and use it to fight for justice because it's the right thing to do.

>what about NGE and Madoka though

You do realize neither of those shows are about heroes, right?

>Usagi Yojimbo is just a samurai story with a bunny,
Is Usagi Yojmibo that well known and popular?

I think OP is talking about superheroes and superhero-like characters, not just any and all characters.

The driving force in Madoka is one person trying to save another person, which is hardly selfish.

>Madoka
>Not a hero

Fucking pleb

But for real tho guys

This guy is right watch the show right now

I blame Miller for that bullshit

Mainly just among indie comic readers and TMNT fans.

This. Except sometimes Japanese creators actually put daily life problems into the mix. Like in Tiger and Bunny show. It actually reminded me Straczynski's TASM run. And that's great. That's what made a lot of superheroes like Spider-Man popular and, most importantly, relatable in the first place.

The way Marvel forces these SJW "problems" though? It's ridiculous, unnatural and overall disgusting. I really hope people'll get tired of this first world problems crap.

Someone post frog girl

...

Eastern cartoons and manga often make the superhero characters self-important and much more one dimensional. They also give them ridiculous inner monologues that last like 10 minutes.

The only good "superhero" anime is OPM because its at least unapologetic in the fact that you just watch it for cool action sequences and funny characters.

>Eastern cartoons and manga often make the superhero characters self-important and much more one dimensional.
What is this based on? I can't even think of superhero stories other than OPM (which is just a parody) and Samurai Flamenco (which is some kind of parody too).

And Western cartoons and comics never progress or move past the status quo because they want to keep milking the franchise.

Seriously, when you're using the exact same characters after 50 years (both good and bad) with the only notable difference being the order that these characters have been shuffled into and their aesthetic appearance I can't help but feel like there's a problem.

Easter animu shit has a lot of problems but I can at least respect their willingness to actually move time forward in their series instead of keeping everything in permanent stasis where no one ever ages and death is never permanent.

Deku meeting the avengers when ?

Girlfriend (Japanese, we live in Japan) thinks that the difference is that western heroes typically choose to be heroes, while Japanese heroes are typically forced (aggressive versus passive, basically - which could also be used to describe national character/identity).

When I told her that comics were made under the creative control of a team, she was shocked. She didn't understand how multiple people could work together that create a book, because manga is radically different - even though there are assistants, the work is ultimately the creator's vision.

The concept of shared universes and continuity and canon also confused her.

Are you implying the chacters and their mythos didn't change at all during those 50 years? Because that would be wrong.

>everything in permanent stasis where no one ever ages and death is never permanent.

Unless the characters are c-lister or below. And an editor really hates the characters for some reason.

>Madoka
>Selfish
Did you even watch the series?

>even though there are assistants, the work is ultimately the creator's vision.


And that's why most manga is pretty shittily written.

It's made by manga fans who were influenced by manga fans who were influenced my manga fans who were influenced, back in the 80s and 70s, by actual literature, music and artists.

It's an industry that feeds off itself and just keeps distilling its own themes on and on and on until everything just got grounded up into archetypes and tropes that are not there because they're especially effective, but because the creators just don't know how to write something different.

Compared to Pre-Crisis JSA.

Hero cartoons and comics in Japan are just lazy derivatives of stuff int he West.

Herr's your (You)

I agree with that as a criticism of manga, but comics also has its own similar fault (comics written by comic writers, now written by board room executives, and etc etc)

I think people in Japan are satisfied with manga being low culture though, while the West is desperate to define comics as high art, literature, or whatever lets them feel comfortable reading "graphic novels" instead of comic books.

Madoka is not really *about* Madoka, in a lot of ways, user.

Besides, while Madoka is goodhearted and kind, it was pretty clear OP was talking about people who are heroes as a thing they are as characters, rather than simply put in the spot of having to do something heroic. You know, your superheroes and Kamen Riders and shit. People for whom being a hero is part of their character definition.

I'm not baiting; this is something anyone who reads old manga can tell you.

It's really fucking weird, it's like the inverse of western comics: while western comics grew gradually more mature and competently written, manga became increasingly formulaic and adolescent.

While in the west they were breaking patterns, in Japan they were finding them and solidifying them into this self-sufficient industry. They don't try to change because they don't have to, they found out what makes them more money, and that's it.

I'm talking about MOST manga, not all of it, of course. There are a lot of exceptions.

The amount of change in superhero properties like Batman and Superman has been virtually non-existent. There's been no continuous narrative or even a single author. Various people over the decades have just taken the characters and done stuff with them.

Manga is a lot more than Dragon Ball. It encompasses just about every genre and topic there is, for every demographic.

The superhero genre is American so of course if Japan makes a superhero story it's going to be derivative to some degree.

>while western comics grew gradually more mature and competently written, manga became increasingly formulaic and adolescent.
>While in the west they were breaking patterns, in Japan they were finding them and solidifying them into this self-sufficient industry.
This never actually happened of course.

I don't know how people come up with this stuff.

>but comics also has its own similar fault

Oh, most definitely, but they have a little more control over that, since it's a team and not a single guy in charge of it all. But definitely, I'm not saying comics are highly intellectual at all, just that they manage to at least break molds while manga seemed to solidify them.

Fuck, the whole EXTREME 90s thing started because comic book artists wanted to take a shot at writing their own shit, and we know how that turned out kek.

>This never actually happened of course.
Are you trying to tell us that 90s EXTREME comics have never happen?

>I don't know how people come up with this stuff.

By actually reading both?

I mean, saying that the changes in the big 2 comics in the last 50 years has been "virtually non-existent" and then claiming that manga creating archetypes and tropes and sticking by them never happened is not a case of wrong opinions, it's a case of being actually factually wrong.

You've either never read either medium enough or are in denial.

The only part of your point that rings true is the distillation thing. It's true that, as things grow bigger, manga genres seem to increasingly compartmentalize and become more and more specific in their demographic targeting, to the point that things within the same niche fall prey to a lot of repetition, because that's what the people publishing say works for the very specific demographic the work is targeting.

Instead of taking a single genre and trying to widen its appeal like American comics are trying to do, the "big" manga industry seems to be solidifying towards having a million very specific, targeted genres.

'course, much like with Western comics, you will generally find the more choice and original stuff off the beaten, market tested path. There's thousands of little manga breaking these trends. But the popular manga does tend towards appeal specialization lately.

>This never actually happened of course.
Guy in Japan (as if that leads any authority to my post) - I agree with him mostly though admittedly, I have my own personal bias towards comic books.

Manga for the most part (like comics) is fairly derivative - there was never any industry-wide purge of different genres, the way the West dealt with the superhero explosion drowning out all other competition (Dell, First, etc). So Japan was able to lay the foundation fairly early on for all these different sorts of work, and improve on the same formula. Moe's also drastically changed the playing field, and is most of the anime you'll actually see on television's mere 8 channels (you often have to pay for extra cable channels just to even see what the West considers the "best" anime), and it's throttled creativity in the mainstream to a heavy degree.

Meanwhile, comics have been trying to dig itself out of the mud that came from Big 2 dominating the market for so long. Indies still rarely thrive to completion, and even finding a publisher is far more difficult, with more barriers of entry than in Japan, but there have been many attempts that have been seized by the mainstream for attempting to elevate comics as art (when, as I previously mentioned, Japan seems satisfied with manga as low culture meant for children, or childish escapes from reality)

>, just that they manage to at least break molds while manga seemed to solidify them

you don't actually read manga nor comic books

Is the anime out already? Seems like I've been waiting forever

Here's an article that discusses some of the differences

>animenewsnetwork.com/feature/2016-04-29/all-might-vs-superman-how-our-heroes-are-different/.101590

extreme is juvenile fantasy, not "mature" in any way except maybe ratings.

I was referring to manga, though it's rather funny to say that American comics have "breaken patterns" by simply tweaking the superhero formula.

As for that image that gets constantly posted without any explanation as if it was some self-contained winning argument, it's nonsense. The studio in question has produced virtually nothing, they've only provided production support for others, and there was at the time and still is a lot of anime that isn't whatever otaku anime stereotype is being peddled here.

>By actually reading both?
People who are completely clueless about anime and make nonsensical remarks about it always insists they watch it, too.

>I mean, saying that the changes in the big 2 comics in the last 50 years has been "virtually non-existent"
If you had actually read manga then you should be perfectly aware of how static American superheroes are by comparison.

>manga creating archetypes and tropes and sticking by them never happened
Manga, again, encompasses just about every genre and topic there is, for every demographic. There is no singular set of archetypes and "tropes" that everyone and everything draws from. And there are archetypes and "tropes" and other repeating elements in American media just as much, you just don't pay attention to them because you're too used to them.

Here's a theory: people are used to being able to reduce comics to "superheroes" and animated shows to "cartoons." They then try to apply the same reductionist logic to manga and anime, and it fails every time because that's not what manga and anime are like. They can't be reduced to a single thing like that.

>Moe's also drastically changed the playing field, and is most of the anime you'll actually see on television
There's 0-3 moe shows per season. Right now there's Bakuon, Anne Happy and Sansha Sanyou and... I think that's it.

>as I previously mentioned, Japan seems satisfied with manga as low culture meant for children, or childish escapes from reality
But there is more to manga than that. As I just said, manga and anime cannot be reduced to a single thing.

There's been tons and tons of live action television and movie versions of manga, but you'd never realize it when watching them because they don't conform to your stereotype of manga. For example:
en.wikipedia.org/wiki/Town_of_Evening_Calm,_Country_of_Cherry_Blossoms

I just finished the fourth volume last night and it really is a lot of fun. I want to be buddies with All Might.

I've been a fan of One Piece since I was in the eighth grade, so Oda giving the series props helped me to finally make up my mind on checking it out and I'm ashamed to have waited so long. On the plus side, there's now an anime running and it's fun to watch it unfold as I read the manga.

The Silver Age was also decades ago, user. Nowadays comic enthusiasts are obsessed with the idea of "realism" as a way to justify their hobby as anything more than comics. If it's "silly" or "unrealistic" in their eyes chances are they won't go for it.

I mean, one, I do realize it because I live here and see commercials on tv every night. But while manga tackles serious subjects, the West feels this need to see Maus as the pinnacle of visual storytelling, whereas what you linked is just another manga that got a live-action adaption (and most Japanese people consider their film industry rather embarrassing compared to the world at large, desu)

Japanese people also care less about genres and more about who the audience a work is aimed at is (which is why manga is always grouped by shounen, shoujo, seinen, etc), and a groupthink mentality towards whether something is enjoyable or not. They are all about stereotypes in work, and whatever is a part of the mainstream is accepted as good, BECAUSE it is mainstream.

Yeah let's just ignore shit like Vertigo, Fantagraphics, Dark Horse, Image, Top Cow, 2000AD, Heavy Metal, and a dozen other comic outlets that don't fit the superhero genre, otherwise your point might end up not making any sense!

I mean, you're the one saying that superheroes haven't changed AT ALL in 50 years, that's a completely retarded claim, man.

I know manga is a medium and not a genre, but my point still stands: it's a self-cannibalizing medium, and it shows, in every genre.

You can get as defensive about it as you like, but it's not something I'm pulling out of my ass, it's something fucking mangakas themselves claim frequently.

nothing

>The west are typically built on a shared universe and stuck in a loose status quo.
do you think
we only have superheroes

>I love indie comics so I'm going to compare them against mainstream manga.

>I love indie manga so I'm going to compare it against mainstream cape comics.

That's a fault that people ITT this thread really need to recognize.

Archie is exactly the same.

>Yeah let's just ignore shit like...
I was not speaking on my own behalf, but American comics really are dominated by superheroes and that's why people easily equate the two.

>I mean, you're the one saying that superheroes haven't changed AT ALL in 50 years, that's a completely retarded claim, man.
Have you ever even read/watched/played stuff where there's a continuous storyline with more or less permanent changes, and a beginning and an end? Superman and Batman have been around since the early 20th century. There's been no continuous story, they are just reinvented over and over again by countless different authors in comic books, movies, TV shows and video games.

>I know manga is a medium and not a genre, but my point still stands: it's a self-cannibalizing medium, and it shows, in every genre.
You are over-sensitive to the "tropes" in manga because they are foreign to you and stand out, and like so many Westerners you fetishize "originality."

There are repeating elements in manga, but there are also many stories in many genres for many demographics and they don't all have the same repeating elements, in the same quantities and in the same forms.

>indie manga
Is there an actual indie scene in Manga? I don't really know that much, aside from several semi-popular series either beginning online and moving to the mainstream or still remaining there.

I can't imagine most of the top tier manga people are thinking of in this thread are indie either. Manga may be self cannibalizing, but there's a lot of different cannibals eating themselves. Sometimes they share plates, but Japan has a lot more genres in the mainstream than America, which I think is where the disagreement comes from.

Interesting view on how Japan and America regard government control differently with th gun control analogy

The originality in comics is "newer" to the medium than the originality in manga. It stands out more in greater quantity, greater mainstream attention/recognition, and usually in far, far greater political/social relevance than in manga.

I don't see how you can argue an evolving change from the status quo isn't greater than a retaining of the status quo.

>Have you ever even read/watched/played stuff where there's a continuous storyline with more or less permanent changes, and a beginning and an end? Superman and Batman have been around since the early 20th century. There's been no continuous story, they are just reinvented over and over again by countless different authors in comic books, movies, TV shows and video games.

Yes. It's called "serialized" and "episodic". One is not better than the other, and just because something is episodic it doesn't mean it doesn't go through changes. A super hero story arc is pretty much a serialized mini-story, while the long-running title itself consists of multiple story arcs. Changes do occur and are permanent between those arcs, with the exception being character death, which in the Big 2 comics is always reverted because they don't want to lose a character forever.

>You are over-sensitive to the "tropes" in manga because they are foreign to you and stand out, and like so many Westerners you fetishize "originality."

>westerners fetishize originality

That's a joke right

Tell me that's a joke

Japan is like a country-sized case of ORIGINAL CHARACTER DO NOT STEAL

>Is there an actual indie scene in Manga?
Eh, kinda. I mean, manga is typically published in chapter form along with other stories, so it's not like one title is trying to stand out among a crowd of cape comics.

I don't really know anything at all about the self-publishing or doujinshi scene though. I know comiket is huge (I've been 5 times so far), but to me, it's all just borderline porn.

I don't think I could even consider Oyasumi Punpun, Sup Forums's last big "indie" sensation, as indie, or rather, underground, because I saw shirts for it sold in several shops around Tokyo before.

Even Taiyo Matsumoto, probably considered underground in the West, is sold everywhere.

I've hung around mangaka before, and it's a bit too Akihabara/circlejerky for me though.

I think it's a difference in industry. Like animation, serialized graphic stories are a much wider business in Japan. There's simply that many more professional companies and creators in Japan than the US. Comiket is interesting, because, while it is a bit porn focused, there are non porn fan books or original content. But they're basically only made to be sold for a single Comiket. If there are any serialized stories, they're released every Comiket and probably not reprinted.

So there's no real "independent" market, but there are a bunch more companies catering to the same kind of specific niches independent comics do in the US. And on that note, what's technically the definition of indie in the US? Just not DC or Marvel? Are Image and Dark Horse, fairly old and established publishers by this point, indie? Does it have to do with the level of creator control and ownership and not actually the ability to "independently" create and get your work out there? Maybe I'm just mapping the videogame definition of indie onto the comic one, which is no doubt a much older scene.

I mentioned web releases before, and it also makes me curious about web stuff in Japan. We only tend to hear about the ones that make it into the mainstream, so perhaps it only seems like the West has a much bigger independent scene online. I wonder if it's do to aggregation too? I know comics get put on Pixiv, while western web releases tend to prefer their own sites.

It's already got five episodes out, family

But even the one in the OP doesn't do this

>japanese characters
>no edge

>The west are typically built on a shared universe and stuck in a loose status quo.
There's another good reason for this: Western comic books are heavily inspired by mythology, to the point where many people argue that superhero teams like the Justice League or the Avengers are modern day pantheons. And in a lot of myths and legends, there's no true end, or a lot of cyclic stories or themes.

>Are Image and Dark Horse, fairly old and established publishers by this point, indie?
Basically, yeah. I realized halfway through my post that I had to relabel "indie" as underground, because otherwise the whole post kinda falls through on itself. "free paper" is its own scene in Japan, similar to zines in the 80s/90s in the West, but they're not the sort of serialized content that this thread is talking about.

I don't know about web releases since I stick to image boards (futaba, etc) and twitter, but yeah, I think pixiv and ameblo are mostly what's used. Japanese sites tend to be very large and modified for cell phone use, so like manga, it seems that "self-publishing" through your own independent channels are less traditional venues than in the West.

Manga makes so little money for the artists though, I don't think the same system of Patreon and payola donations for funding from fans is even a thing that occurs to most Japanese artists.

Self-published manga, or doujinshi, is huge in Japan. Most of it is (probably) fan works, but there's original stuff too. One Punch Man started as webcomic. And a lot of professionals start off by doing doujinshi, or other doujin works.

Making superhero comics more serious than before is not much of an evolution, and manga doesn't really have anywhere left to go anymore because of how expansive it is.

POST MORE

We're talking broadly about how much superhero properties like Batman have advanced over the decades. And they haven't really advanced. The characters are just reinvented over and over again by different authors. It won't stop until people lose interest. And it's this sort of thing that's been mostly driving American comic books.

>That's a joke right
Why would it be? It's true.

>Japan is like a country-sized case of ORIGINAL CHARACTER DO NOT STEAL
What does Japan have to do with Westerners fetishizing originality?

Not really, no.

>just look at NGE, Madoka, One Piece, Naruto, etc
These aren't about "heroes", they are just people with powers that help people they care about.
West is all "Truth, Justice and the American Way", while the East is all "Peace, Prosperity and the Dreams of Man".

This is such bullshit.
Most of the "ground breaking" modern comics that indiefags like to rise up as the highest achievements of the medium are so obviously influenced by manga that it's ridiculus. Most of the "semi-autobiographical coming of age stories, but with a heavy use of surrealist imagery" is such an obvious rip off of old school shoujo and drama seinen that it's almost funny. Fuck, most of Image's current out put look and sound like weird shonen premisses with less action (tell me Wicked + Divine doesn't sound like a fucking shonen premisse).

The difference between manga and western comics, is that while comics became unfortunately forced to focus on a couple different genres due to the Comics Code, manga was free to expand to such a point you can find several series that fill a niche, and pratically demographics in Japan read comics, from teen boys and girls to adult housewifes and salaryman, and it's seen as normal, unlike here (as long as you don't go full otaku). Hell, Shonen Jump itself has: a romantic comedy, several gag mangas, a mahjong manga and a few comedies in between the big action series.

There is nothing wrong with being selfish

were talking about heroes.

I remember we had similar discussions when that horrible anime of Tokyo ESP came out.

A shame really, because the manga is pretty charming.

...

They literally cut the best section of the entire manga, hich is Rinka dropkicking a superpowered hippo out of the sky.

Boku No Hero AcademyXJustice League when?

I wanna see Billy Batson trying to enter the academy.
I wanna see Superman and All Might being pals and mentors to Deku.
I wanna see Batman telling bomb asshole to calm the fuck down.
I wanna see Diana as a professor in the Academy: "And this is how you cut a neck!"

Only two series do that and both of them are parodies.

The other series that focus on Superheroes are very far removed from that concept.

>what about the two most well known deconstructionist anime ever made?

What are the chances Boku no Hero gets an official crossover with one of the Big Two? Marvel seems to be pretty close with the East having that godawful Attack on Titan Crossover and I remember them even having Manga Cover Variants. (Heck they got an H-Artist to draw the A-Force variant)

are all the villains in BHA just full on edge? Like holy shit the villains they regularly face are just oozing with edge. I mean, are there no Super Villains who just decided to go bad because it's easy money?

Furk dat shit

I want Boku No Kero Academy X The Avengers

Bane chan is pretty cute

more like the west is built on a shared universe with regular EVENTS

>While in the west they were breaking patterns, in Japan they were finding them and solidifying them into this self-sufficient industry.

This is actually an extremely interesting observation that doesn't just end at cape comics in the east and west.

Anime/manga used to be a lot more experimental and adventurous. NGE, Utena, Ghibli, Ghost in the Shell, Akira, JoJo, etc etc. Now we just get a million fucking harem light-novel adaptions. Seriously we might as well call the last three years of anime Animated Light Novels.

Look at old American media. Cartoons, sitcoms, all the shit from the 40-80s. Incredibly formulaic laughtrack sitcoms, cartoons are incredibly well-animated but are all just a bunch of cartoon animals getting their slapstick on, by the numbers corny 80s action movies. I think the 90s is when everyone in the west wanted to start pushing boundaries and breaking patterns. After the late-80s release of Watchmen, everyone became obsessed with subverting the norms. Total Recall was essentially an corny 80s action movie, but with a bit of a cerebral twist. Seinfield was the first "sitcom about nothing" and was like nothing before it. 90s toons like Ren and Stimpy and Duckman tried to be as gross and unappealing as possible, while regular 90s saturday mornings got darker and more mature. Prime-years Simpsons just completely changed the game. Music got grungy as opposed to 80s music saccharine. And this all continues today. Comics are obsessed with breaking the rules and being "progressive" and "realistic." Sitcoms keep trying to avoid the "nuclear family" mold to varying degrees of success. Big-budget TV dramas are trying damn hard to be the next big innovative thing after the success of Sopranos and Breaking Bad. Rap is now some of the most intellectual and profound music you can listen to, no one wants to make "I'm gangster and sell drugs" music anymore.

Meanwhile, after the success of 2006's Haruhi, anime is becoming more and more formulaic.

I kind of want to see a Teen Titans cross over. Batson meeting Bakugou would be hilarious

So you're an Sup Forumsfag in denial who doesn't really get or like comics?

>not really no
So you're a weeb that watches moeshit and reads shounen, and even then only a very specific branch of it.
Good for you pal, good for you.

GTFO.
Trying to make characters realistic is something that exists before Miller.
Green Arrow team up green lanter with Speedy using drugs, Spider-Man or the fantastic four

>there are several different styles and genres!
>meanwhile the west's only different things are copies it japanese stuff
Do you even try to pretend not to be biased?

I would say the model for american heroes is Superman and old pulp characters.
Meanwhile japanese heroes are based on toku stuff

>Now we just get a million fucking harem light-novel adaptions.
And shows such as Death Parade, Psycho-Pass, Ping Pong, Space Dandy, Concrete Revolutio, Joker Game, Shouwa Genroku Rakugo Shinjuu, Gatchaman Crowds, Gangsta, Ranpo Kitan, Erased. Yuri Kuma Arashi (by the director of Utena). But since you don't actually watch anime you of course haven't seen or heard of any of these shows.

Why do you people keep doing this? You complain and complain and complain that anime is all "moeshit" or "haremshit" or "light novel adaptations," yet you never, ever pay any attention to any other kind of anime. What the hell is your problem?

What do you mean?

I'm not a weeb and I watch all kinds of anime. Did you have some kind of point in mind or did you just drop by to shitpost?

Why do weebs complain about muh generic capeshit but never go out of their way to read anything else?
Oh right.

What are you talking about?

and 90% of those are either complete garbage or they're so insufferably slow you'll fall asleep trying to watch them.