K-On is overrated kitsch that only get praise due to revisionist propaganda started by shills like Digibro, Kvin and Tamerlane. It has no philosophical merit or worldview, it doesn't express any worthwhile ephemeral ideas, characterization is thin, Yamada's pseudo arthouse direction doesn't blend harmoniously with such inane trite. The drama may appeal to autistic manchildren who aren't ready for the real ambiguities of life but I never found anything moving about the ending since the idea has been done better in other works with actual human characters.
But it's cute tho
people like tamerlane or kvin literally don't give a shit about characters, though. they're the kind of people that put technical qualities over content.
>>138670822
Toshiyuki Inoue agrees that K-On is the pinnacle of anime, go home.
>>138670822
>like Digibro, Kvin and Tamerlane
literally who?
is this the cancer eceleb crap equivalent of /v/ here?
dubs say op is a faggot.
Oh wait I don't need dubs to confirm that.
I am literally going to marry Azusa.
>>138672446
You should literally kill yourself.
>>138670822
I think you're looking for depth in what is really a shallow but enjoyable series. Remember, as Yui says "Fun things are fun."
K-ON! is an anime about the degradation of Japan. It’s a nihilistic depiction of a country with neither purpose nor moral direction. Both a brutal critique of male-centric capitalism as well as the hierarchical structure of Japanese society, the series has garnered a following among anarchist groups around the world. The plot of K-ON! focuses on a circle of four high school students named Yui, Ritsuko, Tsumugi and Mio. They form a band and start playing music. Later they are joined by one more member, Azusa, who effectively embodies the spirit of Japan. The core group subjects Azusa to both mental and physical harassment until their final graduation from the all-girl’s school of Sakuragaoka.
Both inside Sakuragaoka as well as outside on the streets there are no male characters. Men are never even mentioned, save for one or two exceptions during the whole two seasons, and the girls only exhibit sexual interest towards each other. Even though the writing in K-ON! places heavy emphasis on appreciating femininity, it does not subscribe to the ideological tenets of radical feminism. Eradicating all men from a fictional world is not a misandrist fantasy. If anything, K-ON! is communist.
>>138673155
Furthermore, the series establishes that the girls have real natural talent, which they spend every minute wasting. Snacking, chatting and loafing around replace a lion’s share of their practice time. They do this in order to retain the status quo of their group dynamic, a nod towards communist ideals of equality. The band members some times talk about how they should practice, but they rarely do.
One could argue K-On’s underlying message is the importance of friendship, but when you pay attention to how that friendship seems to come at the cost of everything else in the girls’ lives, you can tell the author had something completely else in mind. Friendship is their excuse for not seeking anything valuable in their lives, such as better grades, parental approval, teachers’ respect or sexual experiences. Family and morals are hollow concepts in K-ON. Japanese society places great importance to age and rank, but this authority is notably absent in the series; even the traditional authority figure, parents, are never shown.
K-On! is not a happy story, made most evident in how the band members systematically bully their freshman member, Azusa. They call her Azunyan to tentatively tease her, but calling names has historically been how individuals and even entire ethnic groups have been taught to internalize their low social status. The girls establish dominance over their kohai through means of consistent ironic sexual harassment, which the timid Azusa is verbally unequipped to combat. It is notable that these days the incorrect use of irony is one of the last bastions where sexual and racist stereotypes prevail. This is a subtle criticism of the freedom of speech, giving the series a fascist undertone.
K-ON! is a beautifully animated show and seemingly cutesy, but it offers a grim visage into the national psyche of a country in spiritual decline.
>>138673200
>>138673155
only overthinkers actually believe this bullshit
>>138671064
>tfw a portion of /a/ actually knows about these people
I know we've grown shittier over time but not like this
>>138674701
You really got to be stupid to don´t realize that it was a joke.
>>138670822
>K-On is overrated
Stopped reading there, fuck off.
K-ON is objectively better than Legend of the Galactic Heroes. It is the most sophisticated anime ever created; a tour de force, the pièce de résistance of animation! LoGH is little more than plebeian dreck in comparison, its creators wishing they could have produced an anime with even an inkling of the genius contained within Our Holy K-ON. From the profound debates about eating cake, to the highly philosophical discussions about procrastination, to the marvelous musicianship exhibited by the Light Music Club, K-ON has established itself as the greatest intellectual anime. You cannot disagree unless you are a terrible person. Seriously. It's an infallible law of the universe. K-ON is a masterpiece. And we all know that K-ON has the superior tea scenes.
"A phenomenal chef-d'oeuvre. My fifteen years of work on Evangelion now feel trivial by comparison." — Anno Hideaki, esteemed anime director
"During a time of struggle, K-ON's beautiful story provided the influence needed for me to become an ideal president. I am now a better man." — Barack Obama, 44th president of the United States
"I am an uncultured lowborn with pedestrian tastes in anime." — Anonymous plebeian, speaking in reflection of his love for LoGH
>Digibro
>Kvin
>Tamerlane
literally who?
the hippy crack addicts who talk about anime?
their reviews and ideas hold no weight, especially from the hippy kanye dick sucker Digibro
