/anime/ - Anime

WE did it. We scammed enough crypto bros, robbed enough banks, and slaved enough wages to CREATE OUR VERY OWN ANIME!
Months of propaganda and labor have paid off.

Because this is a workers' collective and not a evil capitalist corporation, we all have the right to decide together what kind of story we will force our chink slaves to animate.

Let's start with the Opening

was thinking about how ive never seen an anime with legitimately criminal protags. every "crime" anime either revolves around A. vigilantes or B. criminals targeting other criminals, aka its easily justifiable and theres no real dilemmas. no drug dealers, no robbers, no organ thieves etc
great pretender almost did this in the first episode with the protag being a legitimate convict who scams civilians. then they said "actually now he works for an informal looney tunes crime syndicate that somehow has hundreds of actors on their payroll and can do literally anything lmao" which was super lame

Recommend good yaoi for me
Picrel is Warehouse which is actually korean, not japanese, but I think manhwa is close enough to manga
Doesn't have to be explicit, can be full of yearning as well.

what are some anime/movies/series/cartoons that you think that insist upon themselves? To me evangelion is one of them

what do you think about RWBY as an anime

Anime is pretty much the only place today where you can make high-budget, high-production art where sex is a major focus, without becoming outright pornography. There's a lot you could do with that. There should be more erotic thrillers, or gritty dramas about the psychology of sex, or trippy surreal erotica, and really just anything more interesting than mid action with jiggly boobs or comedies that mostly come down to "oh noes I accidentally groped her boob!" I'm not saying there isn't anything that stands out, every few years something does, the Fujiko Mine anime is a recent example of something that felt pretty fresh, but for all the money and attention that gets poured into this genre, it feels like the ambition is almost null.

i cant watch anything anymore without being irrationally annoyed at how theatrical 99% of anime is. the dialogue, the action, etc makes me start imagining whatever nerd wrote it without experiencing anything even remotely similar.
gimme something real!!

"Cheap hack of a writer's guide to creating a morally ambigous antagonist:"
>Have a character be a smug self-centered asshole for 80% of the story
>Have him ally with the main baddie and commit some war crimes
>Have him turn on the main baddie after realising that the main baddie had killed their favorite dog (or is going to kill their favorite dog soon)
>Help the main characters for one or two scenes and then be killed by the main baddie
>The main characters in the epilogue are shown standing besides his grave and musing "He wasn't a bad person, after all. Such a tragedy!"

Post examples of this which had annoyed you the most. Shounen genre specifically is ripe with them, isn't it?

I lurked across many anime forums, and at this point I don’t think there’s any interesting discourse to be had, leftist or rightist, regarding anime. Of course, due to Sturgeon’s law, few anime are actual gems. But that’s not the point. The point is that:

Is there any point in re-hashing the same old arguments.

Last time I remember, the only engaging discourses among weebs were about Frieren and Drama Queen, but for different reasons.

Frieren moreso for its depiction of demons and its comparisons to Tolkien’s orcs. For those who don’t know, a YouTuber named Lextorias made an hour-long video discussing the narrative problems with demons and the manga’s/anime’s inconsistent portrayal of demons as being absolutely evil, explaining via both in-story and authorial reasons for it, coming to the conclusion that Frieren’s demons are just a badly-written species. What was the reaction to it? Chuds coming out in defense of the series and attacking Lextorias with the kind of arguments he himself predicted and criticised in his own video: https://www.lextorias.com/references/frieren-dilemma/

Suffice to say, he singlehandedly managed to create an entire discourse that lasted for days in Twitter as culture war BS.

Coming up next is Drama Queen, a manga that is yet to be adapted into an anime, and highly unlikely. It’s about humans living alongside with aliens who saved them from an asteroid impact. It would’ve been another slice of life manga if it wasn’t for the fact that it caught weebs’ attention due to the MCs being sociopaths who hate the aliens and are contracted by a shady org that makes a profit off of killing the alien residents whose head is a dude with a double life as an “anti-racist” professor, with said aliens being pompous and arrogant foreigners who are taking up human life.
Long story short, people caught on it as a Japanese commentary on modern immigration to Japan with said aliens being allegory for immigrants. Which immigrants (white expats, Chinese house buyers, US troops, POC non-Japanese immigrants, etc…) is debated, but it’s clearly about immigration from a right-wing POV so far, although we’ll see how it goes since the story is still being published.

But yh, there’s no interesting discussion to be had as these themes have already been discussed to death on mainstream social media.

Post too long. Click here to view the full text.

I once wrote a post speculating on the causes behind the rise of isekai and how the evolution of Japanese anime reflects societal changes in Japanese society beginning from its economic boom of the 1980s, but I’m not sure if it holds up in 2025-2026. Since I’m unfamiliar with otome-type isekai that is targeted to a female audience, I omitted it from my post. Anyway, here’s the main text:

You ever notice how most modern manga/anime releases are isekai or LitRPG slop? That isn’t random, and it isn’t just “bad writing.” It reflects who the audience is and what kind of society they’re living in.
The core consumer base is overwhelmingly struggling, isolated Japanese men in their 20s–30s (and increasingly older), often single, often overworked, often priced out of meaningful adulthood in one of the most expensive urban environments on earth. Many of them peaked socially in high school, before rent, career stagnation, and demographic collapse set in. Their main leisure activity is gaming — especially Western medieval fantasy RPGs — so the fantasy worlds they escape into are already familiar.
That’s why isekai looks the way it does. It isn’t about originality or artistic ambition; it’s about frictionless escapism. These stories let readers imagine themselves transported into a sanitized West European fantasy theme park where their accumulated gaming literacy suddenly becomes power, status, and sexual access. The protagonist can’t really fail, can’t meaningfully struggle, and can’t be morally challenged — because that would defeat the point.
This is also why isekai protagonists are so aggressively generic: They aren’t “protagonists” in the literary sense, as much as the voiceless and character-less player character typical of games like Pokemon Red. The less personality, the easier the self-insert. The less social embeddedness, the easier the exit from real life. These characters aren’t written as humans so much as interfaces.
Are there good isekai? Yes — Digimon, Re:Zero, a handful of others — but they’re exceptions precisely because they violate the unspoken contract of the genre by insisting on consequence, trauma, or actual character development. Most isekai avoids humanity altogether, because humanity introduces risk.
A lot of people blame “shut-in authors with no life experience,” but that’s only half the story. The bigger issue is the ecosystem.
Most isekai originate on web novel platforms that reward speed, familiarity, and Post too long. Click here to view the full text.