On the first part of this essay I addressed some common misconceptions about anime widely enjoyed by general audiences; first regarding misguided attitudes like mainstream acceptance being related to excellence and artistic intent, but also important facts like the existence of huge family series invisible in online discourse. And perhaps more relevant to people’s interest, a sample of latenight shows that managed to reach non-anime fans, which proved that the assumed biases against common aesthetics and premises are massively exaggerated by the western community. For many years, television has been the vehicle through which all sorts of anime has arrived to many audiences beyond what English-speaking fans and other subcommunities outside Asia tend to assume. But there’s a slight issue – TV is dying.
Mainstream popularity is often looked down upon by snobby fans who deem themselves more refined than the masses, but anime’s peculiarities have caused the similarly ridiculous opposite thoughts to flourish; latenight titles have rightfully earned the scorn of many fans, and the subsequent demonization of otaku properties made the idea of anime not aimed at those niches sound inherently better. A very questionable train of thought, made even worse by the fact that most people don’t really know which titles are mainstream.
My Hero Academia, Shonen Jump’s latest big action title, has been on the radar of many manga fans ever since it began its serialization. Brought to life by Kohei Horikoshi’s attractive art style, its underdog story set in a world of heroes quickly became a hit sensation, eventually shaping up to be a surefire candidate for an anime adaption – but little did we know how unusual that adaptation would turn out to be.