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Animation Age Ghetto

 Animation Age Ghetto
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 Animation Age Ghetto
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Animation Age Ghetto
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For many people, animation is a joke. It is not seen as an artistic medium, but is instead stereotyped as a frivolous genre suitable primarily for children under the age of 12.
There are many sociological theories as to how and why this stereotype originated, but one of the most common theories is that it's a by-product of the rise of animation on television in the '50s and '60s. As cinemas declined in importance, the big theatrical animations of The Great Depression and The '40s transferred to TV - but TV demanded faster production in greater bulk done more quickly.note The decline in quality of big names like Tom and Jerry and Wile E. Coyote and the Road Runner is directly down to the television companies buying out the rights and forcing lower qualiy production values on the shows With many adults uninterested in the consequent low quality of many of these, and thus only kids being able to tolerate it, as well as television at the time being marketed as a way of keeping kids quiet and the rise of parental groups arguing for more government regulation on the content of these programs.
This mindset often results in bad cases of Executive Meddling. Once television animation became associated with children, the producers of animated shows began writing down to their presumed audience, which made animation outside the age ghetto less profitable than animation inside it. Anything considered safe for children can potentially be licensed out for merchandise, which is nearly guaranteed to sell, making many shows 30-minute commercials, FCC regulations permitting. The age ghetto paints older demographics as unprofitable.
These days, the ghetto is not as strong as it used to be. It began to break in The '90s with cartoons beginning to tackle darker themes (Batman: The Animated Series, Gargoyles, and Sonic the Hedgehog (SatAM)) and more mature humor (The Simpsons, The Critic, Beavis and Butt-Head and The Ren & Stimpy Show). As Japanese anime began to gain a foothold in North America, American animation shows such as South Park, Family Guy, Rick and Morty, BoJack Horseman and Futurama really started leaning into mature humor, though some of these shows' reliance on Vulgar Humor has led to a new misconception, arguably a ghetto of its own, that all animation made for adults is an Animated Shock Comedy. Similarly, many people assume that All Anime Is Naughty Tentacles.
The Internet also helped weaken the ghetto. Before Internet access became widespread, animated short films (which in general have mature themes) were only available in universities that catered towards that specific field, but the Internet helped many artists publish those projects for a mainstream audience. Similarly, anime aimed at adults was limited to science fiction conventions and college campuses, but now has a worldwide following. However, the Internet-based ghetto tends to reach the other way; thanks to animation's growing reputation as a medium for all demographics, many forum users sometimes express surprise that a well-written show was made purely for kids or try to play up the Multiple Demographic Appeal to separate it from "other" kids' shows, thanks to the ghetto stereotype of "for kids = bad writing."
There are also hints of this in dubbing. In places such as France, Latin America, Germany, and Italy, dubbing is very popular, and pretty much every show that gets a dub will include the languages of those regions. However, countries such as the Netherlands, Greece and Israel would rather sub media in their respective languages, only providing a dub if it's for little children. Animation, however, seems to be an exception. Unless the work is very obviously adult-oriented, it will often get dubbed in countries that would otherwise sub, even if the work in question is a live-action work that was adapted from animation.
To a lesser extent, the same goes with animated feature films. Yes, there are pure kiddie flicks made, but if you want to make big money in that field, you must appeal to adults at some level—though this applies chiefly to All-CGI Cartoon films, as traditional 2D animation is still not taken seriously, thus 2D is regarded as "dead" by the Western animation industry whereas 3D can serve as a compromise between animation and live action.note This is a purpose that, historically at least, stop-motion served as well. But due to its time-consuming and labor-intensive nature, CG animation is generally preferred for animated features. However, animated films have yet to see the same growth of adult-oriented material that animated TV series have, and as such are much more affected by the ghetto, especially with purely 3D CGI Western animation.
Modern media with Black-and-White Morality are also very strongly associated with this ghetto as young children generally don't understand nuances in morality and The Moral Substitute does not allow room for any moral ambiguity.
For associated tropes, see All Animation Is Disney, Girl-Show Ghetto, Public Medium Ignorance, R-Rated Opening, The Dark Age of Animation, What Do You Mean, It's Not for Kids?, Comedy Ghetto and Sci Fi Ghetto. Contrast with Animated Shock Comedy and All Anime Is Naughty Tentacles.
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Invasion America folded after one season without any plot resolution. It's worth noting that Invasion America wasn't originally intended as an adult show; it was supposed to air on Kids' WB!, but was seen as too violent, so the network burned it off on primetime instead and didn't renew it.
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Hark! A Vagrant's Mother's Day Comic◊ showed this: Kate wanted to get a local artist she liked to sponsor her for university, but said artist thought her cartoons weren't art, that she wasn't an artist, and had zero merit.
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The show is rated TV-Y, which is the rating that many of its contemporaries also have, and they're very clearly marketed as preschool shows. They have one thing in common in that, even though they have a large audience appeal, TV-Y rated shows can't escape the stigma of being only for preschool kids.
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Russian TV channel STS used to have an afternoon animated block, which was known to include Rurouni Kenshin and Full Metal Alchemist 2003 right next to, say, Sonic X or DuckTales. It was yanked off air pretty quickly.
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Stripperella shows characters strip dancing, and was lucky to have at least 13 episodes due to focusing more on comedy than fanservice.
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The Dark Crystal: Age of Resistance has received glowing praise across the board, especially its storytelling. Some very few critics found it "too gross / too scary for children" (similarly to the 1982 film) as if it was solely intended for them, which it clearly isn't.
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Gaia Online, being primarily an anime fansite, gets this a lot, despite having several measures to prevent under-thirteens from getting on the site. As a result, they often have to deal with parents upset that Li'l Precious has a half-naked succubus draped on their avatar. In the early days, when it was still known as Go-Gaia, the main page featured a link list with clearly-labeled links to adult-content websites. This was eventually removed after multiple complaints from users about being restricted to submission of PG-13 content on a site whose main page flaunted porn.
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In Earth (The Book), by Jon Stewart, the section on film has this to say about animated films: "Animated movies presented children with a dazzling array of colorful characters they could force their parents to buy for them."
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Bottom episode "Bottom's Up" features an inversion of this trope. Richie joins Eddie, who is watching a film. Richie comments about the cute furry anthropomorphic animated critters on-screen all with Species Surname: "It isn't very sexy, is it." Instead of correctly guessing that it's a kids's movie, he assumes that ''The Furry Honey-Pot Adventure'' is a porno. The only clue Eddie gets that no sex scenes will begin is because the caption "The End" appears on-screen.
He was equally disappointed with his purchase of Big Jugs, which turns out just to be a history of pottery.
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The vast majority of YouTube Poop of kids' shows is aimed at an adult audience, but that doesn't stop YouTube from labelling it "for kids" anyway. This has led to some YTPers putting large "NOT FOR KIDS" disclaimers in the title in order to avoid the angry backlash from parents.
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Up until 1998, Billboard had this problem when classifying CDs and VHS tapes based on adult-based animation. For example, The Simpsons CD "Songs In The Key Of Springfield" was classified as a "Kid Audio" CD alongside CDs featuring traditional children's songs and music from Barney & Friends, and VHS tapes of Beavis and Butt-Head were listed alongside tapes based on Sesame Street and The Land Before Time.
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In an episode of Fringe, Walter is introduced to the cartoon SpongeBob SquarePants. He is surprised the show is aimed at children, and found it "quite profound, for a sponge".
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Miraculous Ladybug was originally pitched as an animesque cartoon aimed at teenagers. However, when networks weren't interested, they turned it into a computer-generated cartoon aimed at younger audiences. However, it has still gained a Periphery Demographic with a significant cult following. Granted, some of them do wish the original pitch had been picked up.
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Amazon very briefly carried titles from the company Project-H on Amazon Kindle, where any child could see the sexually explicit covers, listed as normal graphic novels right next to the Superman/Batman/Fairy Tail graphic novels. Understandably, they have all been removed from Kindle purchase, though Skinemax-esque titles like Aoi House and Vampire Cheerleaders are still available.
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Take a sip every time an r/entitledparents story involving video game consoles, particularly handheld ones, being stolen, or an attempt thereof being made, includes the entitled parent claiming the rightful owner is too old to own this expensive electronic device because it only exists to play video games. Take another sip when the game the rightful owner was playing is completely inappropriate for children. Actually, maybe just take a sip for the latter, or just don't use an alcoholic drink, else you'll probably poison yourself. There has been one story where an EP claimed the 15-year-old submitter was too old to own a computer, because apparently personal computers can't run anything other than video games.
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Some people would say that Looney Tunes deserve a special mention in this case. It and its many contemporaries were originally created with an adult audience in mind, being shorts that were run before feature films in theaters. However, syndicated reruns on television starting in the 1950's led to them being hugely marketed to children - despite the gratuitous amounts of various types of guns, smoking, alcohol, violence, general cruelty and lots of World War II references - things that are not passable even in modern TV-PG rated Cartoon Network shows (perhaps excluding the violence). However, you can find most of those in a G-rated film (Beauty and the Beast has Gaston carry a gun, drink beer, and stab the eponymous Beast, while An American Tail depicts smoking). Perhaps these commentators are simply underestimating American culture's ideas about what's kid-friendly.
Despite the Looney Tunes and Tom and Jerry DVDs having a warning on the DVD cases that they may not be appropriate for younger viewers due to the outdated references and racial stereotypes that often get edited when aired on television, it still doesn't stop stores from placing them in the kids section.
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The Tales Series may suffer from the Ghetto. Especially Symphonia, Abyss, and Vesperia. These games have themes like racial discrimination, vigilante murder, and accidentally killing a town full of people ( both of these are actually committed by The Hero) and Utopia Justifies the Means being thrown around from every angle. In addition, the Tales series relies a lot on deconstructing a lot of cliches. This is so much of a case as "too violent/sexy for kids" as it is "Would kids actually understand this stuff?" It takes a teenager or adult watching some scenes to notice some of these themes... or actually be familiar with the cliches being deconstructed.
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Since the creators believed that WB would not go for a dark animated series, the original pitch for Justice League had a Lighter and Softer tone with a modified version of Young Justice acting as kid sidekicks to the JLA. When the show was instead picked up by Cartoon Network, the sidekicks were ditched and the show's tone was made closer to that of the earlier DCAU cartoons. Bruce Timm has gone on record stating that he's relieved the original idea never came to fruition.
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At one point in time, Teen Titans Go!, which was spun-out of a series of shorts based on the original series and which falls into the ghetto more than said series, was one of the most-watched shows amongst kids 2-5, having ratings on par with Sofia the First and PAW Patrol. It has an attractive artstyle with super-deformed characters, bright colors, catchy songs and often airs during the early morning hours when toddlers would usually watch TV. Despite all of this, it's officially rated TV-PG and has some scary scenes, references to things the target demographic might be too young for (for example, there were entire episodes based on The Breakfast Club and The Goonies), some hidden innuendos, episodes that only make sense to people who watched the original series, and most infamously of all, morals "encouraging" bad behavior.
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Inverted by My Adventures with Superman and Unicorn: Warriors Eternal. Both of these series were originally planned to air on Cartoon Network, and technically do not feature anything outright inappropriate for older children. However, they were moved to [adult swim], most likely because the studio realized (perhaps based on what happened with Infinity Train) that they would be more successful if they were aimed at adults than if they were aimed at children.
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It's probably not a coincidence that Shin Megami Tensei in general became better known after YouTube became more populated.
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Enforced by YouTube. After being fined by the FTC in 2019 for illegally collecting data on minors under 13 for targeted advertising, violating COPPA, YouTube implemented a system where videos would be marked as either "Made for Kids" or "Not Made for Kids". Videos marked as the former would have certain features disabled (such as comments, playlists, the miniplayer, etc.), significantly kneecaping their ability to gain traction and/or earn money. Marking can either be done voluntarily by the channel owner or automatically by YouTube based on certain criteria. Unfortunately, this system is not perfect, as content creators and viewers alike noticed that animated content and/or content that heavily features family-friendly IPs (like My Little Pony, Sonic the Hedgehog, Disney, or SpongeBob SquarePants) gets disproportionately flagged by YouTube as "Made for Kids" because the source material is animated and therefore, seen as just for kids, regardless of content, the intended target audience or the actual audience, often without the creator's consent or knowledge. Whenever creators try to have these flags appealed, YouTube often upholds them and ignores their concerns, further cementing this mindset in the public consciousness and disincentivizing creators from making content that could potentially draw in a young audience.
Worse, sometimes videos entirely inappropriate for children get flagged just for being animated (such as Family Guy and South Park clips), using puppets (such as Don't Hug Me I'm Scared) or even just using terms like "5-year-old" to describe an object, resulting in said media being shown to kids anyway.
To add insult to injury, it is entirely possible for a video that is age-restricted to still get marked as "Made For Kids", even though it being age restricted in the first place should imply the opposite.
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Naruto, save for some minor edits, didn't suffer this problem when it originally aired on Cartoon Network. Years down the road, Disney XD decided to buy the broadcasting rights to the considerably more violent Sequel Series Shippuden. While Cartoon Network had no problem embracing their Periphery Demographic, Disney did not seem prepared for how violent the series would eventually get. It disappeared from Disney XD's lineup and returned to Toonami with minimal edits.
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In Columbia's Caracol TV, Fullmetal Alchemist aired at the kid's schedule weekends 10:00 A.M or sorts. It roughly went to episode 5, even edited, until the network realized what they got themselves into. Then they moved it to the comfortable 5:00 A.M on weekends... still edited. The same goes for Evangelion.
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Omaha the Cat Dancer is a subversion. It was rated for All Ages in New Zealand by a national censor bureau, with its sex and all, not because they didn't read it, but because they did and judged its truly mature depiction of relationships as quite acceptable material.
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This may be the main reason Welcome to Marwen flopped. Whereas most mainstream American Animated films that are rated PG-13 are either comedies or Action that try to be live action, Welcome to Marwen was a Drama and was actively trying to look animated.
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The creators of RWBY had to release a journal midway through Volume 3 to remind and warn viewers that it was not a kids show in anticipation of the show becoming much Darker and Edgier. RWBY itself probably counts as an aversion, being one of the closest things ever created to an American equivalent of shonen anime.
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The Shrek series has a complex relationship with this phenomenon;
Like The Flintstones and The Muppet Show did back in their day, the first Shrek was meant to appeal to both children and adults without seemingly favoring one group over the other, with its edgy humor and pop-culture references giving it a grittier vibe than other animated movies at the time - especially the Disney Animated Canon, which had a reputation for being "squeaky-clean". However, as time went on and Shrek became a Cash-Cow Franchise, marketing for the movies became more kid-focused even as the content of the movies was only slightly toned down. This caused the series to eventually gain a reputation of being "for kids", just like what happened to the Flintstones and Muppets. This is reflected in the evolution of the franchise's toyline: the first movie had a line of highly detailed collectibles by McFarlane Toysnote yes, by Todd McFarlane of Spawn fame that could be appreciated by both kids and adults (just like the movie), while the toylines for the sequels (by Hasbro and MGA) were far cheaper and more gimmicky, and no longer targeted the Periphery Demographic of action figure collectors.
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The newspaper comic that most commonly runs into problems relating to this is Doonesbury. When it runs arcs dealing with highly controversial or non-kid-friendly topics, some papers will replace that arc with reruns or move the strip to the editorial page.
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This was an issue when Beauty and the Beast managed to get a Best Picture Oscar nomination in 1991. Plenty of adults, including film critics, had heartily embraced it — it showed up on several critics' Top Ten lists for the year — and Disney, knowing what they had, cannily parlayed it into their Oscar campaign. Once it got its nomination, there were comments that it only showed how bad the live-action slate for the year had been, as if the Academy had been "reduced" to nominating it. Jokes were even made during the Oscar telecast about how a film consisting of "movable paintings" — as Billy Crystal put it in his opening number as host — was up against movies with live actors, who would surely be out of work if such movies continued to thrive. It remains the only animated movie nominated for Best Picture in the period when five films per year received nominations, despite movies like Spirited Away and Finding Nemo getting more critical acclaim than almost any live-action film in their respective years. Some saw the Best Animated Feature in those years as a kind of backhanded compliment — a way to reward animated movies without acknowledging that they were good enough to compete with "real" movies.
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Harry Potter had this happen a little bit - they were originally written for children (though designed to "grow" with the audience, so Cerebus Syndrome kicks in quickly), but have a sizable Periphery Demographic. Some countries actually published more "Grown-up" covers to make adults feel less ashamed about it. This mentality has drastically reduced.
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For some strange reason, Isle of Dogs was treated this way by some movie theater chains such as Regal, which either ran the trailer before kids' movies like Ferdinand, had trailers for kids' movies run before it (Regal showed the trailers for The Grinch and Show Dogs on their prints of the film), or did both things, despite the film not being what one would consider a kids' movie. Ironically, this may have actually helped the movie in the long run, since it gave it more exposure and resulted in it being a minor box-office success.
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In 1988, France aired Cutey Honey, under the title Cherry Miel, in a kids time slot, while the show is one of the first things that come to mind when thinking about Fanservice in anime. Funny thing is, while the opening theme was changed for the French dub, the visual side was left untouched, meaning that kids who watched the show back then got to see Honey being peeked at while taking a bath or having her breasts groped by Seiji, which is kind of ironic - the series was aired with practically no censorship save from the final episode, where a scene where Junpei gropes Honey was removed.
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True Tail: The main reason for the reboot:
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Cracked:
The site pushes into this territory with this article, where some of the entries aren't technically for kids. This being Cracked, this is almost the standard.
"5 Bizarrely Perverted Products from Family-Friendly Brands." Apparently, the concept of "appealing to a different demographics than usual" is completely foreign to them. Not just that, but Cracked considers The Simpsons family-friendly despite the fact that the show is, and always has been, intended for adults. But Cracked isn't exactly known for its thorough research.
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Part of the reason why The Wonderful 101 sold so poorly, was due to the general public passing it off as a "kiddie" game due to its cute appearance. While the game is somewhat family-friendly, it has quite a bit of dark content, especially later into the story.note That, and the fact that it was also Nintendo Hard and received little-to-no advertising from Nintendo didn't help matters...
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Æon Flux in particular deserves mention for being one of the very few primetime animated dramas produced in the United States, and the only one to last more than one season.
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One DVD of The Last Unicorn included commercials for shows targeted at young children (such as The Doodlebops). While it's a beautiful cartoon movie about a unicorn, it is not aimed at toddlers; it's rather dark and includes a scene of one of the main characters being smothered by a tree person's boobs, so the ads are a bit out of place.
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Neon Genesis Evangelion was aired on Peruvian TV station America Latina, back-to-back with Pokémon: The Series during the children's hour. It barely managed to make it to episode five before being swiped off the air.
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Spider-Man: The New Animated Series, like Invasion America, only lasted a single season of 13 episodes before being unceremoniously cancelled.
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One of the few real exceptions to this trope on American television is King of the Hill, which has always stayed out of the ghetto by focusing almost entirely on adult-oriented humor. And we don't mean "excessive raunchiness and Black Comedy" Adult, we mean "the normal and instantly relatable stuff grown-ups have to deal with day-to-day" type of Adult. Kids and teens, who were at first drawn in by the "from the makers of Beavis and Butt-Head" marketing, found the show boring and stayed away, but the adult audience kept the show running for 13 seasons.
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It should also be said that many American TV critics place Sesame Street and Mister Rogers' Neighborhood on lists of the greatest TV shows of all time. Though they are predominantly live-action with puppets, they have broken the stigmas attached to shows aimed at preschoolers and are heavily respected as television classics in their own right. Animated series aimed at the same audience rarely get such respect (with Bluey being a notable exception).
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This is one of the reasons Total Drama was cancelled and retooled into the Spinoff Babies show, Total Dramarama. Despite the fact that it has a lot of adult humor (mainly in the earlier seasons), the show ended up canned because the premise of the show was no longer appealing to children, in spite of the large adult and teenaged fanbase. Many people viewing it as a kids show doesn't help at all.
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In an episode of Eight is Enough Tom takes his youngest son Nicholas to a screening of Snow White - he thinks it's the Disney version, but it's actually an X rated version. Tom hustles Nicholas out quickly with his hand over his eyes.
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Final Fantasy XIV has vivid colors that make locales and characters pop out, which caused a lot of people to dismiss it as a childish MMORPG or trying to copy off the art style of World of Warcraft. Look past the bright colors and you got a very dark game that is not afraid to openly show you just how grim the world is (post The End of the World as We Know It recovery, genocide, conquering lands and converting its people to the side of The Empire, etc). Other grim themes that are more subdued or subtle are acknowledged in game as well, such as slavery, prostitution, and racism. Even the Lalafell race, which look like a race of children, can exhibit very adult behavior and some even use their childish looks to exploit people.
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If any game uses any form of stylized graphics, expect people to dismiss it as being "kiddy". People have even criticized World of Warcraft's graphics for looking like something out of a Disney movie, and Diablo III and League of Legends were criticized for not being "dark" enough. All because Blizzard doesn't believe that Real Is Brown... and there's a great deal of horror in both franchises.
When it comes to Diablo III... complaining about the game not being "dark" enough when the trailer featured a barbarian being ripped in half.
The most common complaint about the World of Warcraft expansion, Mists Of Pandaria is the fact that the areas are brightly colored and features a lot of talking animals, starring the talking pandas, the Pandarens. Many people even took one look at the Pandarens and jumped headlong into the idea that Blizzard ripped off the concept of Kung Fu Panda (despite the Pandaren being introduced in Warcraft 3, which was released years before the first Kung-Fu Panda movie). This despite the fact that the expansion is not too much lighter in terms of story than the others.
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The Wubbulous World of Dr. Seuss fell into the Ghetto. At first, it was a prime time show aimed at general/older audiences... but when Bear in the Big Blue House premiered on Disney Channel in 1997, The Jim Henson Company was prompted by Nickelodeon to revamp the show for Nick Jr., which barely, if ever, helped in the ratings. After the show's second season ended in 1998, it was quietly cancelled and faded into obscurity.
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TV Guide UK once classified Our Cartoon President as a children's show because of the word "cartoon" appearing in its title. Because of this, kids' shows such as Horrid Henry and The Amazing World of Gumball appeared as recommended, and it was also recommended to several shows aired on Cartoonito note  a British preschool channel run by Cartoon Network like Fireman Sam and Curious George. The show itself actually has tons of vulgar language and several examples of Black Comedy. The listing would later be corrected and is now categorized under the correct label of "Comedy".
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Both Hazbin Hotel and Helluva Boss are very much not meant for children, with constant swearing, graphic violence, sex, and drug and alcohol references, as well as most of the casts of both shows relishing in the fact they are horrible people (the premise of the latter show is that they are a Murder, Inc.). Even with Content Warnings that they are not meant for kids, this didn't stop YouTube from giving videos of both shows the Kids label just because they are brightly animated and have fun musical numbers.
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At one point in the mid-90's, likely due to the use of Muppets like in Sesame Street, The Muppet Show aired on Nick Jr., despite not being aimed at toddlers.
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Static Shock, especially in later seasons, suffered greatly from the ghetto. The Milestone Comic on which it is based can be best described as an Amazing Spider-Man with a black hero, twice as much angst, and 10 times more contemporary content (sex, gay-bashing and visual gang warfare are but a few of the series's recurring focal points). While early seasons of the animated series are close enough to the source material, the show became more and more child-oriented as time went on. Family-Friendly Firearms was in full effect by the middle of the series even though the use of real guns was a major catalyst in the series' premiere, as well as an episode addressing school shootings wherein Richie gets shot in the leg (though no blood is shown).
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For the 86th Academy Awards, 19 animated features were submitted, including Puella Magi Madoka Magica The Movie: Rebellion and A Letter to Momo. If this link is any indication at all, the large majority of the voters didn't even watch them, let alone bother to nominate at all, and if they did, they mostly had their children or grandkids pick the movie they liked the best out of the selection given. Compare this kind of behavior to the one present in the Cannes film festival, where Inside Out won the price of jury for the best not competing film in 2015 without any need to submit itself whatsoever.
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Something Awful considers fans of "children's shows" and anime as creepy, socially-moronic nerds, and its userbase won't hesitate to tell you that, outside of the less goony subboards. Posting about anime unironically out of the dedicated anime subboard usually warrants at least one annoyed goon, mockery, and/or a probation.
Discussion of Japanese games and cartoons on 4chan, outside of /a/ or /jp/ (and even in them), can and will get the random troll sparking a flame war over people liking this "weeaboo shit".note  Though that's due more to others suffering from Cultural Cringe talking up Japanese superiority in the past.
This has notably changed massively, as anime becomes more mainstream; while certain aspects of anime are still ripe for mockery, many goons are openly anime fans, and Dragon Ball discussion has a habit of horribly derailing threads.
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Unnatural History could be said to have suffered from an inverted form of the Ghetto. Although a live-action series— and, by most accounts, a very good one— it aired on Cartoon Network, a channel associated purely with animation. Since Cartoon Network's previous ventures into live-action were not well-received, many would-be viewers refused to watch Unnatural History simply because it was a live-action show on a network specializing in animation.
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Disney released Who Framed Roger Rabbit under Touchstone Pictures, their label for mature content (including PG-13 and R material at the time) — objectively defying this trope.
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While the original Viva Piñata was a Sleeper Hit, Microsoft wanted the game to become their answer to Pokémon, but it didn't work out. The game looked like a children's game but was actually comprised of challenging Nintendo Hard sim management tasks that kids, and some adults, just couldn't handle. As such the franchise only lasted a scant two years.
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Star Wars: The Clone Wars launched an assault on the Ghetto, apart from a few specifically kid-aimed episodes.
When the show began airing in Hungary, it was in turn met with an assault from the Moral Guardians of the former National TV Authority ORTT. Its scenario followed almost step-by-step the dilemma of Dragon Ball Z from a decade earlier — show airs on a Sunday-morning cartoon block, ORTT riots, forces the TV station to give it an R rating, TV station decides to cancel it instead. Granted, The Clone Wars is a very violent series that had nothing to do in that timeslot, but given that the ORTT's charges against it included portraying aliens in an anthropomorphic manner, it's clear that neither party was particularly right in the head. Thankfully, Cartoon Network later picked up the rest of the series.
Spin-off series Star Wars: The Bad Batch had its second season overlapping with the third season of The Mandalorian on Disney+. What was happening in the live-action show? A gung-ho, nostalgic action-adventure story with cute aliens and enormous, flashy setpieces. Meanwhile the animated series regularly tackles subjects like veterans discovering they have no place in a new Empire, the rise of a fascist state and rebellion, and the shocking death of one of the main characters at the end of the season. Many fans were quick to point out the animated series felt like the darker and more mature show, whereas the live-action one felt more like Dave Filoni and Jon Favreau playing with action figures in a sandbox.
There are a good number of casual Star Wars fans who refuse to watch shows such as The Clone Wars, Star Wars Rebels, and Bad Batch simply due to said shows being animated.
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The Plague Dogs has the word "plague" in the title, yet the marketers still tried to make it look like a kids' movie (for example, the poster reads "Escape to a different world and share the adventure of lifetime"), despite showing things like starving to death, while having crazy hallucinations and trying to avoid being shot.
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For a while, every movie in the DC Universe Animated line had a sticker on the case saying "The First-Ever Animated (insert subject of movie here) Movie Rated PG-13!", as if nobody would watch the movie otherwise (which, sadly, is probably the case). It technically isn't even true for Batman: Gotham Knight, since Batman Beyond: Return of the Joker was rated PG-13 eight years before.
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Cartoon Brew frequently defies this, and made a post discussing the topic, "How Can We Make Adult Animation Truly Adult?" It even mentions the trope page and website by name, although it dismisses both as misguided and narrow in their scope of "adult" animation.
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SWAT Kats jumps to mind. Running from 1993 to 1995, It was among the earlier western attempts at breaking the ghetto, and, in spite of the many problems that popped up because of that, the series went on to become a hit and garnered high ratings, and the creators even concluded a Kickstarter campaign to bring the show back.
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In general, there's still a condescending attitude regarding many superhero films. Movies like The Dark Knight and Joker (2019) received critical acclaim, and a lot of the positive reviews called them "superhero movies for adults" and other things along those lines.
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This happened with the initial wave of 3D M-rated games that came out during the advent of the fifth generation of games (which began in either 1995 or 1996 depending on where you lived). One particular example is the original Resident Evil, which was, in fact, one of the very first M-rated games - after all, it's not easy to forget the violence, cannibalism via zombies and other undead critters, scientific exploitation, betrayal, and gripping, horrifying death scenes (Kenneth anyone?). To top it all off, the main characters are an elite SWAT-like team. Alas, the thought that games were a form of "children's entertainment" was firmly stuck into marketers' and parents' heads, which resulted in a good deal of eight year olds buying the game. This is ironic in hindsight, given that far more violent games had been released during the 8 and 16-bit eras, and while Moral Guardians came after a few of them, namely Mortal Kombat, many violent games escaped the parental radar, mostly because a lot of them were either Bowdlerised or released on less mainstream gaming systems.
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This trope is the major reason Alias was cancelled, according to Brian Michael Bendis. In the wake of the big superhero movie boom, Marvel had grown nervous about kid-friendly characters like Wolverine and Spider-Man showing up in a book with drug abuse, sex crimes, graphic violence, and lots of F-bombs.
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Space Adventure Cobra: In Puerto Rico, a Sunday Morning Kid's show aired four episodes of the Anime series, even though it features skimpy outfits, suggestive scenes and dialogue and people getting holes punched through them by Psychogun blasts. In every episode. Note: This isn't Values Dissonance; it was yanked off the air a month later without any public explanation once they realized what they'd done.
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RCN network in Colombia aired American Dad! during morning weekends, along with things from Disney. Moral Guardians screamed and the show didn't survive a month.
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Conker's Bad Fur Day. It has cute squirrels on the box... and it's full of sexual content, swearing, blood/gore, and an opera-singing turd. And yet, there were still quite a few small children who ended up playing it, despite the disclaimer on the cover stating it wasn't for children, placed there because it was anticipated people would mistake it for a kids' game.
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The Nostalgia Critic: In his editorial Are Kids Shows Better NOW Than Ever? refutes this viewpoint about both past shows and present shows. Disney and Warner Brothers cartoons are still well remembered because they appealed to both kids and adults. Kids shows today are also exploring subject matter that was unimaginable in previous decades.
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Batman Beyond itself isn't an example, but the original pitch from the network specifically requested a series about Batman in high school. The creators, being forced to make the show, decided to make it dark and adult, in response.
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Played with in regards to Nintendo. Nintendo themselves happily wears the family-friendly label, having spent years marketing itself as such and having an internal policy to never produce content above a Teen rating. However, this has the side effect of their hardware being seen as lacking graphic/mature content in general. While this was certainly the case prior to the establishment of the ESRBnote Mortal Kombat (1992) was the most infamous example of NOA's strict guidelines, as the SNES version replaced the blood with sweat(?) and severely toned down the fatalities, which ultimately lead to the technically inferior Genesis version selling much better because it kept the series' iconic gore., by the time of the Nintendo GameCube, Nintendo not only had no problem with third-party developers putting mature content on their systems, but they would also begin publishing M-rated fare themselves (albeit infrequently). Despite this, general audiences and gamers alike still tend to be shocked whenever Nintendo decides to highlight a new M-rated game during a Nintendo Direct, especially when Nintendo is publishing it themselves, or when a title that is censored on other platforms due to sexual content is uncensored on Nintendo's consoles. Part of the reason for this is that the biggest and most popular M-rated franchises, such as Grand Theft Auto and Call of Duty, generally skip Nintendo's consoles for reasons unrelated to content (mostly processing power, storage size, or online capabilities).
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Although Mortal Kombat fits this trope, the game WAS originally being marketed at children, particularly when it was ported to home consoles in 1993. This was one of only a handful of instances where the censors actually had a valid point on the matter.
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Averted by Rolling Stone's list of greatest sitcoms of all time, which includes The Simpsons as number one, as well as some other adult-oriented cartoons, but the biggest surprises are the inclusion of SpongeBob SquarePants, (which is aimed at school-age children, despite always having a large Periphery Demographic of older viewers), Phineas and Ferb, and Bluey (which is aimed at preschoolers).
It should also be said that many American TV critics place Sesame Street and Mister Rogers' Neighborhood on lists of the greatest TV shows of all time. Though they are predominantly live-action with puppets, they have broken the stigmas attached to shows aimed at preschoolers and are heavily respected as television classics in their own right. Animated series aimed at the same audience rarely get such respect (with Bluey being a notable exception).
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The anti-smoking special Smoke Alarm: The Unfiltered Truth About Cigarettes uses this in one of its segments. A fictional cigarette company creates a cool Funny Animal mascot aimed at the underage market. This references the controversy that mascots like Joe Camel were aimed at kids.
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Lauren Faust targeted the show at girls between 5 and 12 (as opposed to earlier incarnations of the series targeted at ages 4 to 7) and their parents, both mothers and fathers. Nickelodeon Germany premiered it one year after The Hub. But when it did, it did so right after the pre-school Nick Jr. block, back to back with Dora the Explorer, and with a dub fit for the target audience of Dora the Explorer which goes up to 5. Later, Nickelodeon Germany pushed the show into the Nick Jr. block where it has been residing ever since. Also, it has only ever been placed into time slots in which only pre-school kids would be able to watch it but neither its target audience nor bronies and other fans of any age. All of this despite Nickelodeon Germany getting a load of requests from bronies to run the show in the first place, which probably should have been a sign that it would work better and be accepted on a later time slot. The same "preschool show" treatment is given to the show in Canada, where it airs on Treehouse TV... complete with censorship, mainly whenever the word "loser" is used in some episodes note (which makes some scenes seem worse, like Pinkie's infamous party with inanimate objects in Party of One - "I'm just glad none of 'em ponies showed up! They're a bunch of [BEEEP]!" "Oh, they're not... so bad." "After the way they treated you? I'd say [BEEP] isn't strong enough!"). This is despite the show being rated TV-Y in America, which means the content is intended to be acceptable for all children.
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Avatar: The Last Airbender won a Peabody award (very unusual for a cartoon) for its character development and respect for war's consequences. However, the finale has been criticized for a perceived "immaturity" in the resolution of Aang's moral dilemma by having him rediscover anti-bending, and not take a harsh choice. However, it was representative of the character's personal struggle, and the creators planned this out from the beginning of the series.
Its Sequel Series, The Legend of Korra, has been consistently getting high views in older age groups, even managing to beat out some Prime-Time shows in viewership. Despite this, it's marketed at a slightly lower age group than its predecessor.
Interestingly, part way through season 3, the show was pulled from air, and only made available to watch online. While some feel that this was merely an example of continuing Screwed by the Network, many others suspect that Nickelodeon was trying to distance the show from its younger-skewing series due to it becoming increasingly dark and violent, as well as the fact that Korra ends the series in a relationship with another woman, something virtually unheard-of in Western animation at the time.
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This trope was parodied in "DW At Her Brattiest!". Towards the climax of the video, DW wants to go to her friends' birthday party at the movie theater. We learn that the movie they saw was Fritz the Cat, spoofing the fact that in the original episode, DW wasn't invited to the party in the first place.
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The Legend of Zelda:
The Legend of Zelda: The Wind Waker got hit by this because, and only because, the game featured brightly colored textures, a cel-shaded lighting system, characters with cartoony proportions, and cartoony slapstick humor. The franchise's Western fanbase was up in arms over the art style, with one fan reviewer even called it "C-quality Disney garbage," even though said "Disney garbage" is actually considered to be some of the best video game animation seen at the time. Detractors clearly didn't notice the dark backstory or never got the memo about the infamously violent ending (which involves Ganondorf's head being impaled with the Master Sword). The backlash from Western audiences was so fierce that the developers scrapped plans for a direct sequel in favor of creating The Legend of Zelda: Twilight Princess, which received immense pre-release excitement. While both games are now loved by the fan community, it's generally agreed that Wind Wakers colorful aesthetic allowed it to age far better than the Real Is Brown Twilight Princess, to the point that many questioned how much better the HD remake actually made the former look.
History repeated itself with the 2019 Video Game Remake of The Legend of Zelda: Link's Awakening. The game is a largely faithful remaster that keeps the dark story and heavy existentialist themes of the original, yet upon reveal you had hardcore fans slamming it left and right for the 3D rendition of the original Graphics-Induced Super-Deformed art style "making it look kiddy."
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1001 Movies You Must See Before You Die: Of the 1235 movies that have at some point been included as of the 2020 edition, only 21 (i.e. 1.7%) are animated—and four of them are Toy Story films. It has been argued that this trope is the reason the Toy Story series only received one entry to cover all movies whereas every movie of the original Star Wars trilogy each got its own entry.
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Fantasia was actually one of the earliest and most notable attempts to break out of the Ghetto. It was released in 1940, at a time when Walt Disney was trying to prove that animation was every bit as "serious" a medium as live-action. As an artistic movie with a soundtrack of classical music, no real narrative, and some rather family-unfriendly visuals (it remains to this day the only film in the Disney Animated Canon to show naked breasts), it was aimed at a decidedly more adult audience than Snow White or Pinocchio. Unfortunately, its box-office failure caused Disney to abandon plans for further movies in the same vein, and may even have indirectly contributed to the Ghetto as we know it.
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Haruhi Suzumiya's first volume was, at one point, on the Accelerated Reading list for fifth graders, and one of the questions was about how Haruhi got possession of one of the computer club's computers (that is, Haruhi blackmailed the president by taking compromising photos of him and Mikuru). The series itself is definitely aimed at a young adult audience, particularly with how often Mikuru is forced into cosplay outfits for the sake of fanservice.
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Bestia is a Chilean animated short about Ingrid Olderöck, a member of Chile's State Sec police in the 1970s, and a torturer who trained her dog to rape female prsioners. The ghetto is decisively averted.
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The most common complaint about the World of Warcraft expansion, Mists Of Pandaria is the fact that the areas are brightly colored and features a lot of talking animals, starring the talking pandas, the Pandarens. Many people even took one look at the Pandarens and jumped headlong into the idea that Blizzard ripped off the concept of Kung Fu Panda (despite the Pandaren being introduced in Warcraft 3, which was released years before the first Kung-Fu Panda movie). This despite the fact that the expansion is not too much lighter in terms of story than the others.
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Over time, the anime has taken greater measures to please longtime fans and new viewers alike, even though its target audience remains unchanged. Pokémon the Series: Diamond and Pearl series is the first series to really focus on building a long-form story, along with tackling darker, more dramatic subject matter than previous seasons of the show. Pokémon the Series: XY are also held in high regard by many older fans due to their their better plotting and character development, along with the Mega Evolution side story specials note though XY's English version is still widely considered to be inferior due to factors such as dialogue changes, music replacement and the voice acting itself; some fans accuse these changes of being a result of a "kids will watch anything" mentality, and therefore chalk it up to this trope. The Pokémon the Series: Sun & Moon anime, despite criticism from older fans for seemingly regressing into this trope with a goofier style akin to Yo-kai Watch, also managed to balance out hijinks and humor with mix-ups to series formula and surprisingly heartfelt arcs, eventually earning a dedicated fanbase of its own.
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In the Seinfeld episode "The Contest", Jerry says he's watching Tiny Toon Adventures, which has him singing "The Wheels on the Bus", a preschool song which did not, and certainly would not, appear on the show, which was known for its wit, sass, and timely cultural satire. Clearly, the writers assumed that since it was animated, it was a preschool show and not worth researching further (they also get the channel it aired on wrong, though reruns of the show would show up on said channel in the late 90's and early 2000's).
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1979's Foam Bath, the third feature length Hungarian animated film, attempted to target adult urbanites with its realistic themes and satire but ended up alienating audiences who were expecting a more conventional fairy tale suitable for children. It took decades until people began to view it under a more mature lens. The film's failure heralded a bifurcation in Hungary's cartoon industry. Mature, experimental and artistic animated films (Heroic Times, Son of the White Horse, Time Masters) struggled at the box office and gradually lost executive support, which was a major reason for the strictly adult The Tragedy of Man languishing in Development Hell for nearly three decades. Films with a wider, child-friendlier appeal meanwhile flourished at the box office, strengthening the notion that animation is for kids. There were a few exceptions. Cat City, a spy thriller spoof that was intended for adults had much of its gore and sexual content removed due to Executive Meddling and thus became a success with viewers of all ages. Hófehér was a Dark Comedy spoof of Snow White that became relatively successful Cult Classic and is still reputed as an adult film, though it reportedly upset kids whose parents thought the film was a straight Snow White retelling.
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A married couple made headlines after complaining about a couple of Batman comics one of their children had purchased. The two claimed that they were shocked to find blood and partial nudity in a medium aimed at children, even though that specific series was not marketed at kids.
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The film adaptation of Watership Down is the poster child for What Do You Mean, It's for Kids? It's famous for being full of bloody violence and disturbing and surreal themes, despite being an animated movie about bunny rabbits. To this day, the British Board of Film Classification still receives complaints for giving it an all-ages "U" rating.
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Like The Flintstones and The Muppet Show did back in their day, the first Shrek was meant to appeal to both children and adults without seemingly favoring one group over the other, with its edgy humor and pop-culture references giving it a grittier vibe than other animated movies at the time - especially the Disney Animated Canon, which had a reputation for being "squeaky-clean". However, as time went on and Shrek became a Cash-Cow Franchise, marketing for the movies became more kid-focused even as the content of the movies was only slightly toned down. This caused the series to eventually gain a reputation of being "for kids", just like what happened to the Flintstones and Muppets. This is reflected in the evolution of the franchise's toyline: the first movie had a line of highly detailed collectibles by McFarlane Toysnote yes, by Todd McFarlane of Spawn fame that could be appreciated by both kids and adults (just like the movie), while the toylines for the sequels (by Hasbro and MGA) were far cheaper and more gimmicky, and no longer targeted the Periphery Demographic of action figure collectors.
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This happens in-universe in South Park: Bigger, Longer & Uncut. All the children (except for one kid) in South Park go see Terrance and Phillip: Asses of Fire, despite it being rated R and the poster stating nobody under 17 can see the film. This makes the kids start cursing and imitating things done in the movie. Due to this, the parents of the children start to protest Canada. During their song, "Blame Canada", one mother calls Asses of Fire a cartoon, a Shout-Out to the ghetto. Even the title is a big giveaway it isn't for kids. This was obviously a wink and a nod at the many, many children who watched South Park in the late '90s in spite of their parents' wishes. A few movie critics also reported seeing parents taking their kids to go see the movie. No doubt South Park's reputation completely evaded them.
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Speaking of Poland, there is a custom there (similarly to Hungary, as written below) to refer to any animated movie or series, regardless of its actual content, as "bajka". Which is a Polish equivalent of "fairy tale". No, really. Even works that are totally inappropriate for kids and/or far too complex and mature to be dismissed as childish tales — be it Heavy Metal, Fritz the Cat, Felidae, The Plague Dogs, Unicorn Wars or virtually the entiriety of anime — will be named "fairy tale" by a statistical viewer, no matter how utterly absurd such claim would be. Because apparently, in some places in the world, this trope is that deeply entrenched.
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Cinema Snob Reviews Frozen (a fan comic where The Cinema Snob reviews Frozen) spoofs this when Anna and Kristoff appear in the Imagine Spot at the end of "In Summer", and Snob comes up with Faux Symbolism for what's going on, and then admits he did that just to feel better about watching a movie for kids.
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Super Mario Bros.:
The series regularly struggles with this trope. The games are cartoony, family-friendly, and made to appeal to as wide a demographic as possible. As such, the series often gets slapped with the "kiddy" label despite the creators' intentions. According to the late Satoru Iwata, the perception of Mario as a "childish" franchise was a problem that Nintendo wasn't too pleased about, and they actively worked on having the franchise appeal to all age groups.
One of the composers of Super Mario Galaxy was hit with this trope when he composed music for the game with a "cute" and "kid-friendly" feel, based on his impressions of Mario and his series. Koji Kondo rejected the music, asserting that "Mario is cool" and that Mario games are "cool adventure games" at their core. Kondo himself never viewed the character as "cute", and kept this in mind when composing music for the series through the years.
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In its earlier days, Pokémon's head writer Takeshi Shudo made a conscious effort to avoid this trope. When the first Big Damn Movie was released, Shudo stated that he made the movie to entertain both children and their parents and guardians, and that he'd be "embarrassed" to hear from parents who'd only see the movie to take their kids. He was talking about the Japanese version, though; it was a 4Kids Entertainment dub, so most of the darker themes were whitewashed when the movie left Japan. In fact, Shudo wanted the entire series to serve as a family anime and appeal to adults as well as children, but Executive Meddling prevented him from using the Parental Bonuses he wanted.
Over time, the anime has taken greater measures to please longtime fans and new viewers alike, even though its target audience remains unchanged. Pokémon the Series: Diamond and Pearl series is the first series to really focus on building a long-form story, along with tackling darker, more dramatic subject matter than previous seasons of the show. Pokémon the Series: XY are also held in high regard by many older fans due to their their better plotting and character development, along with the Mega Evolution side story specials note though XY's English version is still widely considered to be inferior due to factors such as dialogue changes, music replacement and the voice acting itself; some fans accuse these changes of being a result of a "kids will watch anything" mentality, and therefore chalk it up to this trope. The Pokémon the Series: Sun & Moon anime, despite criticism from older fans for seemingly regressing into this trope with a goofier style akin to Yo-kai Watch, also managed to balance out hijinks and humor with mix-ups to series formula and surprisingly heartfelt arcs, eventually earning a dedicated fanbase of its own.
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Kaeloo has been noted for its ability to entertain both kids and adults, but a lot of people tend to believe that it is a kids' show and it is broadcast as a kids' show despite all the adult jokes in it.
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Second Life: Despite fitting the defintion of a video game, Linden Lab refuses to call it a video game on the grounds that "There is no manufactured conflict, no set objective" and repeatedly markets it as a virtual world or 3D chatroom, as do many players. Many wonder if this is because Linden Lab does not believe that audiences take Second Life as seriously if it's seen as a "game", despite being exactly that.
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Weregeek played this for a little Hypocritical Humor.
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One of the reasons the Batwoman and The Question features in Detective Comics drew so much controversy was because some conservatives accused DC Comics of pushing a "homosexual agenda" on young kids. Never mind that Detective Comics is usually quite violent and like most Batman books, is generally not aimed at young children. And given the strides taken for gay rights in the U.S., the idea of a lesbian superhero being "taboo" for children is itself controversial.
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The Real Ghostbusters, which began airing in 1986, was one of the first and most valiant attempts to break out of the Ghetto. It worked to some degree, for a time, until Executive Meddling kicked in. It helps that its parent film was one of the least kid-friendly movies to be mistaken for being for kids to come out of the 80s.
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A Portuguese TV channel aimed at kids, SIC K, frequently airs some less-child-friendly anime alongside the usual fare. They occasionally switch between Darker than Black, Fullmetal Alchemist: Brotherhood, and Death Note, while it airs Dragon Ball consistently, two episodes a day. Slightly mitigated as most Portuguese parents today had grown up with shows like Dragon Ball, and, thus, they aren't as strict about what counts as acceptable.
For a better contrast, there's another Portuguese channel of the same type, Panda Biggs, aimed at at kids aged 10-15. Still, the most they get is Fairy Tail, Pokémon: The Series and, Justice League Unlimited which, while not Anime, serves to prove a point here.
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This even happened with the Persona series. Part of the reason some people actually paid attention to 3 and 4 was because they were rated "M". Course, the "M" rating didn't stop people from seeing the use of primary colors in the graphics and then dismissing it as another kiddy RPG from Japan - never mind the fact the former heavily involves repeated simulated suicide and the latter is a whodunit with heavy psychological themes, especially with regards to sexualitynote particularly with regards to Kanji, whose dungeon is the product of his confusion about his sexual orientation, and Rise, whose dungeon is a demonic stripclub.
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Somewhat tellingly, The Lion King (2019) is treated as a live-action remake by Disney and referred to as such in its promotional materials, despite being every bit as animated as the original feature (to the point TV Tropes itself files it under the Western Animation namespace). Real animals can't exactly talk, after all. The idea seems to be that the photorealistic CG of the remake is somehow easier to take seriously than the traditional animation of the original film, despite the 1994 movie being renowned as one of Disney's most emotionally complex stories.
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Reboot was intended as an "all ages" show and its run on ABC was greatly hampered by Executive Meddling to make the show more friendly for young children. Despite this, its clever writing and wide range of pop culture references made the show beloved by many parents and teenagers. Once it moved off of ABC and entered its third season, the show became much darker and story driven and ended up being attacked in both the UK and Brazil for being too violent and dark for children. The show was flat out removed from ITV for this reason, despite fan protest.
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When Batman: The Animated Series was released, critics praised the mature storytelling and vibrant art style, saying it was "wasted on weekday afternoons.", and that it could easily grab the attention of a more adult audience. When Fox put this to the test, giving the show a prime-time slot, it flopped miserably.
This was likely due to the show being a forerunner for more adult-targeted animation. Being one of the first, besides The Simpsons, it helped to break the public perception of cartoons as being only for kids and paved the way for other shows. Anime had a similar transition that took at least a decade before it started appearing more prevalently on television.
Bruce Timm and his co-producers have commented many times in interviews and on DVD commentaries that they very much doubted they would be allowed to get away with some of the things they did in the "Timmverse" if they tried them today. The other installments in the DCAU have received similar praise.
Batman Beyond itself isn't an example, but the original pitch from the network specifically requested a series about Batman in high school. The creators, being forced to make the show, decided to make it dark and adult, in response.
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Xenosaga gets this from some quarters, mainly due to its very cartoony art style. Aside from how nobody younger than high-school age is going to get the umptillion references to Gnosticism that form the basis for the setting, one of the major supporting characters (who briefly joins the party) is addicted to the neural tissue of bioroids. And then he gets gunned down by one of his allies, merely because it's not her job to keep him, personally, alive. This is in the first five hours (tops) of the game. By the end of the game, there's the infamous "ma belle peche" scene, wherein a very scary villain intimidates into submission and then "hacks" one of the Ridiculously Human Robots (who is also an endearing party member most players have at least some fondness for) in an onscreen metaphor for child rape.
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The Crumpets is mainly identified and distributed as a children's show, and it's a loose adaptation of a line of French Picture Books. Looking deeper, it isn't exactly a kid-friendly show when it happens to contain parental sex, nudity, animal harm (like birds getting shot), suicide jokes, a substance addiction crisis that encompasses children, mild profanity, and grown-up topics like adultery and money (on the other hand, France does have looser standards as to what counts as child-friendly). In season 3, many of these elements became mild or nonexistent.
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The Scandinavian DVD release of Beavis and Butt-Head Do America highlights the differences between rating systems in different countries very handily, with five different ratings for six different countries on the packaging and disc: The film is rated 15-and-up in Denmark and Ireland, 12-and-up in the UK, 11-and-up in Norway, 7-and-up in Sweden and 3-and-up in Finland, proving that repeated usage of "butt" and "ass" and words that start with those words + a Mushroom Samba + masturbation jokes + gunplay somehow translate in Scandinavia to "kid-friendly entertainment".
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Even creditable sources commonly mistake some of his films, such as Wizards, to be kids' films due to this phenomenon.
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Animation Age Ghetto
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Mystery Science Theater 3000 seems to be the one exception to the rule that puppet series aimed at adults are always parodies of children's works. It is aimed at adults and has a cast made up mainly of puppets, but the humor in it comes from the mockery of old sci-fi movies, not the mere presence of the puppets themselves.
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Daria reran on The N during the mid-2000s, which at first shared space with preschool channel Noggin before eventually splitting into the separate TeenNick and Nick Jr. channels, respectively. Episodes shown on The N were frequently censored to remove any references to things like sex, drinking, or other "mature" content to edit it down to a TV-PG rating. This is in contrast to Degrassi, a teen drama and The N's most popular show, which kept its own TV-14 rating (though it did have its own issues with censorship as well).
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Animation Age Ghetto
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In Rango... just for starters, it's a Spaghetti Western Affectionate Parody, with all the things such a thing needs (Family-Unfriendly Violence, mild swearing, and jokes most kids wouldn't understand). No wonder lots of negative reviews go "this is not a kids' film" or "this isn't a family film".
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Probably unintentional on the writers' part, but one installment of I'm a Marvel... And I'm a DC included a scene in which Rorschach claims to "appreciate" Marvel allowing children to choose between "the latest Pixar film or a [PG-13] movie about a razor-clawed human death machine." This may indicate that they thought Pixar's latest film at the time, WALL•E, and the film they released the same year as Watchmen and X-Men Origins: Wolverine, Up, were strictly kiddie fare.
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It's horrifying that the DVD of Dead Space: Downfall (a prequel to a video game that everyone knows isn't for kids) was in the children's section of a regional Blockbuster in Brazil, with the cover image of a severed arm in space, placed just at eye height... to a five-year-old. The same could be found in other rental stores.
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Pokémon falls victim to the Ghetto outside of America, mostly because the entire franchise, headlined by the animenote with any minimal shred of adult themes, as in Pokémon: The First Movie, edited away by 4Kids Entertainment, was strictly for children in its early days. As the Periphery Demographic grew, they became increasingly aware of the "Pokémon is for kids" stigma. As such, Game Freak has made a conscious effort to abolish the Ghetto by establishing Pokémon as a hipster-friendly all-ages franchise, and by downplaying the role of the anime, one of the few parts of the franchise that still abides by the Ghetto itself.
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Canadian cable TV provider Bell will categorize any animated series as "Children", regardless of its rating. End result, cartoons such as those in the future with automated suicide booths and vending machines labeled "Refreshing! Crack", with frequent decapitation and dismemberment, oft-horrifying imagery, cannibalism, a severely debauched clown... and Toki are labeled as "Children".
Averted by fellow Canadian cable TV provider Eastlink, which has a separate "Animated Comedy" category.
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Many parents thought Aqua Teen Hunger Force Colon Movie Film For Theaters was a kid friendly movie, and brought their kids to watch it. They were most certainly shocked to see this start up the film.
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The initial divisive reaction to Donkey Kong Country: Tropical Freeze was colored by this trope. Since the Wii U was Nintendo's first high-definition consoles, fans were eager to see how Retro Studios would do with a high-definition entry in the Metroid Prime series, one of Nintendo's first few first-party franchises agreed to be "mature". The announcement that they were working on a colorful 2D platformer game was seen by many as a waste of Retro Studios' talents, particularly since the genre was well-served by other games on the system. Tropical Freeze would come to be seen as one of the best 2D platformers ever made, but mostly in retrospect.
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The Legend of Zelda: The Wind Waker got hit by this because, and only because, the game featured brightly colored textures, a cel-shaded lighting system, characters with cartoony proportions, and cartoony slapstick humor. The franchise's Western fanbase was up in arms over the art style, with one fan reviewer even called it "C-quality Disney garbage," even though said "Disney garbage" is actually considered to be some of the best video game animation seen at the time. Detractors clearly didn't notice the dark backstory or never got the memo about the infamously violent ending (which involves Ganondorf's head being impaled with the Master Sword). The backlash from Western audiences was so fierce that the developers scrapped plans for a direct sequel in favor of creating The Legend of Zelda: Twilight Princess, which received immense pre-release excitement. While both games are now loved by the fan community, it's generally agreed that Wind Wakers colorful aesthetic allowed it to age far better than the Real Is Brown Twilight Princess, to the point that many questioned how much better the HD remake actually made the former look.
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The 2011 animated adaptation of The Adventures of Tintin (2011) makes strides in escaping the ghetto, with its frequent use of firearms, pools of blood, and the use of alcohol and drunkenness for comedic effect. And yet, it got a PG rating. The film was initially being promoted under just the Paramount Pictures banner- until the Nickelodeon Movies logo suddenly started showing up in ads. You can just picture the Paramount executive screaming, "What are we doing, releasing a kids' movie without promoting it as such?!"
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Yet again, RAI made a new channel, Rai 4, which would be composed of anything that doesn't fulfill RAI's canon on TV series. This channel includes a small late-night section for anime such as Code Geass and Penguindrum. This didn't stop the Moral Guardians for trying to ban this rather small part of the channel because the anime clearly weren't for kids, regardless of the time they were actually broadcasted.
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And that's not even getting to the treatment of Hetalia: Axis Powers, which was seen by some Moral Guardians as a nationalist propaganda piece, given the historical problems between Japan and Korea. This was also partly the reason why the anime abandoned its original TV broadcast plans for web-streaming.
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Back in 2012, the Polish television channel Polsat had an advert that announced the showing of several CGI films. The ad begins with "Scooby-Doo, Yogi Bear, Huckleberry Hound. These cartoons have enthralled children through the years. In the twenty-first century, cartoons are both for children and for adults!". Because everything animated made before Pixar and Shrek is kiddie fare.
Speaking of Poland, there is a custom there (similarly to Hungary, as written below) to refer to any animated movie or series, regardless of its actual content, as "bajka". Which is a Polish equivalent of "fairy tale". No, really. Even works that are totally inappropriate for kids and/or far too complex and mature to be dismissed as childish tales — be it Heavy Metal, Fritz the Cat, Felidae, The Plague Dogs, Unicorn Wars or virtually the entiriety of anime — will be named "fairy tale" by a statistical viewer, no matter how utterly absurd such claim would be. Because apparently, in some places in the world, this trope is that deeply entrenched.
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Felidae tends to fall victim to this phenomenon. A movie about cute kitties it may be, but it is certainly not for children. It's actually more of an ultraviolent Film Noir. Director Michael Schaack isn't exactly famous for kid-friendly animation, but those who buy the DVD with the kitty on it certainly don't check if it was made by the same guy who also made movies of Werner and The Little Asshole. It was even aired on a German TV channel which advertised it as being a children's movie; people who believed the ads were rather surprised by the gore and cat sex.
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In Germany most anime is broadcast between 10am and 3pm. This includes The Rose of Versailles, with its remarkably faithful translation. One of the rare occasions you can see cartoon young girls offering to sell their bodies, other women claiming to be the lesbian sex slave of the queen of France and kids getting shot while eating your lunch. Oh yeah, and for a short time they broadcast the rewritten Crayon Shin-chan at 10am. Kids probably rejoiced when Mitsy hysterically searched the whole house for her dildo.
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SuperMarioLogan is designed for adults, however it has a huge Periphery Demographic of children because it's a puppet show based off of Super Mario Bros. It's gotten to the news where mainstream news has discussed the channel and called it "deceptively inappropriate", despite the fact it was always intended for mature audiences.
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Fox used to air The Ripping Friends, which before used to air on Spike TV when they attempted to make a block for adult animation (which got cancelled after a month), on Saturday morning. It's The Ren & Stimpy Show on steroids (it is created by John Kricfalusi...). Cancellation and a spot on [adult swim] at 11:00 PM ensued. Guess they figured adults would appreciate all the poop and booger jokes more.
Ren & Stimpy (particularly Adult Party Cartoon) got hit quite hard. Notably, the latter was intended to be as disturbing and inappropriate for children as humanly possible, but somehow ended up briefly getting a Y7/C8 rating.
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When the Wind Blows by Raymond Briggs is often placed in the children's section. It's a graphic novel in the same style as his books for children, but... it ends with the main characters dying horribly of radiation sickness. Some libraries are aware of this trope and put a big "for adults only" warning sticker on the cover.
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This was the main reason The Land of Gorch skits produced by Jim Henson only lasted for the first two seasons of Saturday Night Live. It was mandated the show's creative team rather than Henson's write them and almost no one on the show was enthusiastic about writing for puppets. Henson was still a consultant, though it did no favours, with the team flummoxed by his insistence on being more character-driven, viewing his puppets as nothing more than piles of felt to tell jokes through. Shortly in, Henson took the hint and dropped work on the series in favour of The Muppet Show, a far more successful endeavour into older audience material.
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hololive has cute Animesque V-tubers, but some of these V-tubers can be rather raunchy, including a horny pirate girl and a foul-mouthed dragon girl.
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One advertising engine that supplies the ads to several websites, including This Very Wiki, falls under this trope. It's very common to see ads for products aimed at kids, or touring shows like PAW Patrol Live!, on webpages talking about adult animation or anime aimed at mature audiences.
Prior to the implementation of COPPA, this also happened on YouTube. It was pretty common to see things like ads for (mostly unlicensed) mobile games based on stuff like Peppa Pig or a pre-roll ad for a show like Where's Waldo? or PAW Patrol on anything from clips of otaku-oriented anime to YouTube Poops of children's shows.
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This trope has been the bane of the Sonic the Hedgehog franchise for many years now. Ironically, Sonic was seen as an aversion in his conception, because Sega marketed the character as the "hip and cool" alternative to the "Kid friendly" Mario. But after Sonic Adventure, the series began to delve into deeper and more intricate storylines with...questionable quality, that by the time of Sonic the Hedgehog (2006) rolled around, the public perception of Sonic was that the series shouldn't be serious at all because it stars a cartoon blue hedgehog and Sega took that to heart, as every game after the aforementioned Sonic '06 have become increasingly Lighter and Softer and Denser and Wackier much to frustration of parts of the fanbase who preferred the more intricate storylines. Sega would attempt to incorporate darker storylines again in Sonic Forces, and since then has continued this trend. Some fans and critics even consider Sonic Frontiers to be the most complex, dark, and mature game of the franchise due to its themes of finality and moving on, moving the franchise steps away from the ghetto.* Frontiers was written in part by Promoted Fanboy Ian Flynn, who has never viewed the Sonic series as strictly "for children" and isn't afraid to use it to explore heavy themes.
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Invader Zim deserves a mention, as Nickelodeon specifically asked Jhonen Vasquez to make a show for older children, only for it to eventually be marketed towards the channel's usual demographic alongside SpongeBob SquarePants and The Fairly OddParents!. Predictably, it only lasted a season and a half due. (Ironically, Nick later extensively used it in crossovers meant for said other shows' target demographics).
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While it is a Scooby-Doo spinoff, the adult-oriented show Velma doesn't have Scooby himself, precisely to avert trope: executives feared that the character's presence would cause it, with the showrunners agreeing due to also seeing Scooby-Doo as what made most incarnations of the franchise a kids' show. The show also pokes fun at this trope in its second episode, with a joke suggesting that the viewers are stoners who hadn't outgrown cartoons.
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This trope was the reason why Infinity Train was cancelled. The show was very mature and complex for a kids' cartoon, featuring graphic violence, disturbing content, and heavy themes such as divorce and mourning. Cartoon Network grew increasingly uncomfortable with what the writers wanted to explore in the show, deeming them too inappropriate for children. This in spite of the show garnering a massive teen and adult following. The deal-breaker that ultimately led to its cancellation was the showrunners wanting the fifth season to feature an adult protagonist as opposed to the kid or teenage protagonists of the prior seasons.
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The Winnie the Pooh franchise has garnered a reputation for being a very kid-friendly franchise that's especially popular with preschoolers. Whenever a more serious story is told with Pooh and company (such as Pooh's Grand Adventure, The Tigger Movie, and the live-action Christopher Robin— to say nothing of, Winnie-the-Pooh: Blood and Honey), the movies often get a very mixed critical reception due to the perceived notion that more serious themes like the ones those films covernote  Grand Adventure deals with the characters' reaction to Christopher Robin not showing up in the Hundred Acre Wood one day and going off to find him, getting in all manner of danger and coming face-to-face with their own flaws and insecurities along the way. The Tigger Movie is a somber but ultimately uplifting story about a lonely Tigger setting out to find his family of other Tiggers after wondering if he really is the only one. Christopher Robin is a What If? story about Pooh and company re-entering Christopher Robin's life after CR grew up into an overworked and glum adult after the innocence and wonder he had as a child was stamped out by stern school teachers, the death of his father, and fighting in World War II. And of course, Blood And Honey was a straight-up slasher movie. have no place in a franchise like Winnie-the-Pooh. Despite this, all three movies were for the most part very positively-received by Pooh fans young and old alike.
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In an episode of Modern Family, Claire wonders if it's odd that their preteen son Luke has befriended their elderly neighbor. Phil rattles off a list of several movies about friendships between children and old people, to which Claire counters with examples of how each friendship ended badly... except for Up, to which her only rebuttal is to say "Cartoon." Best Picture nominee, critically acclaimed for being profoundly sad and heartwarming, and filled with plenty of peril she could have used as an example on par with any of the live-action films Phil mentioned, but she goes for simply calling it a cartoon.note She could have simply meant that cartoons aren't exactly known for being realistic (and thus wouldn't apply to the real world), especially one where a guy can fly his house to South America by attaching a bunch of balloons to it.
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Young Justice (2010), while having little to do with its namesake comic, has a much more mature feel. Real guns are frequently used (although lasers are also shown), there are fairly complex running storylines, innuendo-laced jokes are made, characters are killed, and there are also allusions to real world political situations such as in North Korea and the Middle East (albeit with obvious stand-ins). It's made all the more baffling since the series was aired on Saturday mornings rather than a prime time slot, where more adult-oriented content like The Clone Wars was usually placed on Cartoon Network (though Clone Wars would eventually see itself on Saturday mornings as well).
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For a better contrast, there's another Portuguese channel of the same type, Panda Biggs, aimed at at kids aged 10-15. Still, the most they get is Fairy Tail, Pokémon: The Series and, Justice League Unlimited which, while not Anime, serves to prove a point here.
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As of 2022, this seems to be slowly happening to theatrical films as well. Since 2016, three successful Western adult animated movies have been released in American theaters: Sausage Party, the Polish/British co-production Loving Vincent, and the stop-motion Isle of Dogs. A number of other adult animated films are planned for the near future, mainly from Sony Pictures Animation's "Alternate Content Slate." Genndy Tartakovsky is directing two of them, a comedy called Fixed and a fantasy movie called The Black Knight.
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A website called Acts of Gord has one section where this happens. Two children try to rent an anime named Ninja Scroll that, due to its nature, is not a "family film". So thus he has to allow the kids' dad to come in to rent the film and he complains about having to come in "Just so they could rent a cartoon". When they go home and actually watch a little of the movie, the father quickly comes back to castigate Gord for "letting" his kids rent pornography.
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Sausage Party can be summed up with a quote from the main page: "The biggest middle finger to the Animation Age Ghetto of the 21st century." Despite being probably the most child-unfriendly animated movie ever played in major theater chains—a fact made abundantly clear from the trailer, which barely scratches the surface of just how many lines it crosses—and additional content warnings posted by the theaters themselves, some parents still obliviously brought their young children to see it...because it's an animated movie about talking food.
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Splatoon fans are very familiar with this trope. As a colorful, family-friendly series loaded with adorable, cartoony character designs in a genre dominated by Rated M for Money gorefests aimed at teenagers and adults, it attracts a lot of bile for being "immature" and "for kids" and is generally not taken as seriously as its contemporaries. This sentiment tends to greatly annoy the Splatoon fanbase, as the games go out of their way to appeal to players of all ages with their addicting gameplay, surprisingly deep characters, and a reputation for Surprisingly Creepy Moments almost on par with Kirby.
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It's probably worth mentioning Team Fortress 2. The game uses highly stylized art reminiscent of a Pixar film which, coupled with bright colors, apparently makes it look "cartoony". This is contrasted by large amounts of blood, players gibbing upon explosion, and a mild level of swearing. You can occasionally run into 7 or 8-year-old kids online whose parents obviously didn't pay attention to the rating. Speaking of online, as a multiplayer game with voice and text chat, it's very common to hear even more inappropriate language than what was originally put in the game—there's a reason the ESRB warnings state that "online interactions are not rated".
And in some of the "Meet the Team" shorts, there are even more intense depictions of violence than in-game (such as BLU Spy's head exploding in graphic detail, and BLU Soldier having a hole blown through his chest). In addition, there's the scene in "Meet the Spy" where we see suggestive photos of RED Spy and Scout's mother and "Meet the Pyro" in its entirety.
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This may have been a factor in the demise of a proposed animated TV series based on Jurassic Park. The series would have supposedly been similar in tone to the movies, and aimed at audiences of the same age. Unfortunately, at the time the idea of an adult animated series that wasn't a comedy was hard to sell, even with the executive power of Steven Spielberg behind it, and the show was cancelled without ever airing an episode. Later, in 2020, another Jurassic Park animated series would finally see the light of day.
Camp Cretaceous itself is worthy of mention here because, contrary to expectations before its release, it actually manages to avoid the Ghetto for the most part, and sticks to the same tone as the live-action movies. It's still aimed at kids, but then, the Jurassic Park movies themselves are also heavily merchandised towards kids despite being rated PG-13.
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CLW Entertainment: In his 2014 review of Doraemon, he says Doraemon is a dumb show for babies that he shouldn't get obsessed with. After he watches two episodes of it, he becomes obsessed with it. invoked
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My Little Pony: Friendship Is Magic is one of the strangest subversions of this trope in existence. Despite the fact that its primary demographic was grade-school girls, the original showrunner did everything she could to make it tolerable for the parents of said grade-schoolers. And thanks to a couple of blog posts condemning the show sight unseen, it managed to catch the attention of 4Chan and later snowballed into a sub-cultural phenomenon that lasted well through the 2010s.
Despite Lauren Faust's intentions, though, there are people who believe that all fans of the show older than the intended young audience are creepy Manchildren simply because of the presence of ponies. There's also bronies who are highly insistent that they're the new primary demographic and can get rather resentful whenever the show breaks away from things like worldbuilding to focus on teaching morals or promote the toyline, even to the point of denying the idea of the show being popular with the primary demographic for whatever reason.
Lauren Faust targeted the show at girls between 5 and 12 (as opposed to earlier incarnations of the series targeted at ages 4 to 7) and their parents, both mothers and fathers. Nickelodeon Germany premiered it one year after The Hub. But when it did, it did so right after the pre-school Nick Jr. block, back to back with Dora the Explorer, and with a dub fit for the target audience of Dora the Explorer which goes up to 5. Later, Nickelodeon Germany pushed the show into the Nick Jr. block where it has been residing ever since. Also, it has only ever been placed into time slots in which only pre-school kids would be able to watch it but neither its target audience nor bronies and other fans of any age. All of this despite Nickelodeon Germany getting a load of requests from bronies to run the show in the first place, which probably should have been a sign that it would work better and be accepted on a later time slot. The same "preschool show" treatment is given to the show in Canada, where it airs on Treehouse TV... complete with censorship, mainly whenever the word "loser" is used in some episodes note (which makes some scenes seem worse, like Pinkie's infamous party with inanimate objects in Party of One - "I'm just glad none of 'em ponies showed up! They're a bunch of [BEEEP]!" "Oh, they're not... so bad." "After the way they treated you? I'd say [BEEP] isn't strong enough!"). This is despite the show being rated TV-Y in America, which means the content is intended to be acceptable for all children.
The show is rated TV-Y, which is the rating that many of its contemporaries also have, and they're very clearly marketed as preschool shows. They have one thing in common in that, even though they have a large audience appeal, TV-Y rated shows can't escape the stigma of being only for preschool kids.
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This is probably the reason Ringing Bell is rather unknown in the West. It looks like a sweet and cute movie about a baby lamb... however, it's only like that for the first 7 minutes or so. It's a Japanese precursor to the Star Wars prequel trilogy about revenge and lust for power. It doesn't help it was made in The '70s as well as the fact that it was based on an equally-dark storybook written by none other than the creator of Anpanman.
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One of the composers of Super Mario Galaxy was hit with this trope when he composed music for the game with a "cute" and "kid-friendly" feel, based on his impressions of Mario and his series. Koji Kondo rejected the music, asserting that "Mario is cool" and that Mario games are "cool adventure games" at their core. Kondo himself never viewed the character as "cute", and kept this in mind when composing music for the series through the years.
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There are a good number of casual Star Wars fans who refuse to watch shows such as The Clone Wars, Star Wars Rebels, and Bad Batch simply due to said shows being animated.
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In France, TF1 cancelled Dear Brother, a show full of drug abuse and suicidal themes, after airing 7 episodes in the Club Dorothée block. note Contrary to popular belief, this wasn't due to Moral Guardians expressing outrage and neither did Dorothée, the host of the block, have to publicly apologize for the anime's airing; TF1 simply realised its mistake and quickly took it off air.
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Teen Titans was directed toward teenagers, but the animated series was aimed at kids. Though Lighter and Softer then the DC Animated Universe shows, Teen Titans still managed to strike a balance between standard Saturday-Morning Cartoon fare and more mature storytelling.
At one point in time, Teen Titans Go!, which was spun-out of a series of shorts based on the original series and which falls into the ghetto more than said series, was one of the most-watched shows amongst kids 2-5, having ratings on par with Sofia the First and PAW Patrol. It has an attractive artstyle with super-deformed characters, bright colors, catchy songs and often airs during the early morning hours when toddlers would usually watch TV. Despite all of this, it's officially rated TV-PG and has some scary scenes, references to things the target demographic might be too young for (for example, there were entire episodes based on The Breakfast Club and The Goonies), some hidden innuendos, episodes that only make sense to people who watched the original series, and most infamously of all, morals "encouraging" bad behavior.
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Brazilian conservatives have attacked Super Drags, accusing it of "perverting children"... simply because it is a cartoon. Even a cursory glance at the actual animation shows that this is aimed at adults, and there is a disclaimer at the beginning of each episode to drill it in further in case you don't get it. That said, many of the show's morals, like acceptance of who you are, that conversion therapy is ineffectual at best and torture at worst, and that beauty doesn't matter, should in fact be taught to children, and some of the staff members have isolated those scenes on YouTube.
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One Twitter response to an article about mature cartoons inverts the trope, saying that cartoons are made "by, for, and starring adults" and that kids were only "welcome" to watch. The article itself played it straight, lumping in all-ages fare like Carmen Sandiego and Spider-Man: Into the Spider-Verse with adult works like Bojack Horseman and Love, Death & Robots with the argument that kids aren't the target because it's mature.
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 Twitter
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In a DVD extra, one of the fake magazine covers for the Clash at Demonhead reads "BAM! POW! Comics aren't just for kids anymore!". This was a real news headline about a Batman comic.
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Star Trek: The Animated Series is a continuation of the live-action Star Trek: The Original Series, with Gene Roddenberry at the helm, scripts by many of the same writers, and the original cast (except Walter Koenig) providing voicework. It aired in the 1970s on Saturday morning — anything not kid-friendly in those slots was outright forbidden back then. The show was presented as a direct sequel to Star Trek: The Original Series and took itself just as seriously as the original, with no concessions to its younger audience. Stories included an episode about religious intolerance titled "Jihad", and another in which Nurse Chapel gets a whiff of Harry Mudd's love drug and tries to jump Spock's bones (or at least as close to it as TV would allow back then). It was well received enough to earn the franchise's first Emmy Award. This is remarkable when one considers that the company that made it, Filmation, to at least some extent actively encouraged the Animation Age Ghetto, as they felt it their civic duty to act as agents of social uplift for the kids, and not to scare or puzzle them too much.
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Diary of a Wimpy Kid has heavily struggled with the Ghetto. The books were initially Slice of Life dramedies aimed at all ages, in a similar manner to many comic strips. However, after a while, the books became aimed exclusively at kids, since adults wouldn't read them due to the cartoonish illustrations. This led to the books filling up with wacky cartoony moments and modern-day pop culture references to appeal to kids.
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Scott Pilgrim vs. The World:
In a DVD extra, one of the fake magazine covers for the Clash at Demonhead reads "BAM! POW! Comics aren't just for kids anymore!". This was a real news headline about a Batman comic.
Some IMDb users have called the movie "kiddie" just because it has flashy visuals and pee jokes. We're talking about a movie that has lots of swearing (although all F-bombs are bleeped with dial-up sounds), a scene where Scott is impaled by the final ex (there's no blood, but still...), Scott accidentally saying that he wants to give Knives a golden shower, slight sex-related talk, and a scene where one of the exes has an orgasm.
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Pokémon: The Series itself falls squarely into this trope, which is a frequent point of criticism for older audiences, including fans of the Pokémon games and other media. In fact, various artists hired for some of the later movies have explicitly stated their intention to perform for the children in the audience and mentioned how very young children would enjoy the movies, with no mention of a Periphery Demographicnote such as their parents or nostalgic Pokémon fans anywhere. This takes parents by surprise whenever the show decides to veer into darker tone for certain stories.
In its earlier days, Pokémon's head writer Takeshi Shudo made a conscious effort to avoid this trope. When the first Big Damn Movie was released, Shudo stated that he made the movie to entertain both children and their parents and guardians, and that he'd be "embarrassed" to hear from parents who'd only see the movie to take their kids. He was talking about the Japanese version, though; it was a 4Kids Entertainment dub, so most of the darker themes were whitewashed when the movie left Japan. In fact, Shudo wanted the entire series to serve as a family anime and appeal to adults as well as children, but Executive Meddling prevented him from using the Parental Bonuses he wanted.
Over time, the anime has taken greater measures to please longtime fans and new viewers alike, even though its target audience remains unchanged. Pokémon the Series: Diamond and Pearl series is the first series to really focus on building a long-form story, along with tackling darker, more dramatic subject matter than previous seasons of the show. Pokémon the Series: XY are also held in high regard by many older fans due to their their better plotting and character development, along with the Mega Evolution side story specials note though XY's English version is still widely considered to be inferior due to factors such as dialogue changes, music replacement and the voice acting itself; some fans accuse these changes of being a result of a "kids will watch anything" mentality, and therefore chalk it up to this trope. The Pokémon the Series: Sun & Moon anime, despite criticism from older fans for seemingly regressing into this trope with a goofier style akin to Yo-kai Watch, also managed to balance out hijinks and humor with mix-ups to series formula and surprisingly heartfelt arcs, eventually earning a dedicated fanbase of its own.
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Despite the Looney Tunes and Tom and Jerry DVDs having a warning on the DVD cases that they may not be appropriate for younger viewers due to the outdated references and racial stereotypes that often get edited when aired on television, it still doesn't stop stores from placing them in the kids section.
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The cable provider Verizon FiOS seems to think that, just because anime series like Ghost in the Shell: Stand Alone Complex, Cowboy Bebop, Deadman Wonderland, Bleach, Casshern Sins, and Fullmetal Alchemist (2003) air on Cartoon Network (when in fact they air on [adult swim], the channel's Watershed hour), they can be categorized as "children's shows".
This has become less prevalent over time thanks to the more generic "animated series" description, including having separate "Cartoon Network" and "[adult swim]" sub-sections in their On Demand service. Verizon and other providers still have issues dealing with networks that nominally cater to children during the day and adults during the night in regards to "suggestions" that pop up, however; switching from Nick Toons to CN at 1 PM is safe, but not so much at 1 AM...
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When it comes to Diablo III... complaining about the game not being "dark" enough when the trailer featured a barbarian being ripped in half.
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One of the reasons AKIRA was such a groundbreaking film was that it helped Anime break out of this in the West. It was by no means the first mature anime, but it was the first to receive enough attention outside of Japan. These days, a lot of Western people view, or expect, all anime as being on that end of the maturity scale, though. Still, AKIRA may be found on display in some stores at the "Kids" segment, right next to SpongeBob SquarePants, thanks to employees not reading the box.
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Belgium used to be a big offender of this trope until the mid-2000. The main reason why the trope stopped being in effect after that in the country is due to the national success of South Park. Which is kind of odd for a country that has the same problems as France and Italy and where all of the only available anime is shonen (although seinen and shoujo manga is available there). One Belgian animator even managed to get on a local newspaper for proposing a new adult animated comedy for Comedy Central.
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Spin-off series Star Wars: The Bad Batch had its second season overlapping with the third season of The Mandalorian on Disney+. What was happening in the live-action show? A gung-ho, nostalgic action-adventure story with cute aliens and enormous, flashy setpieces. Meanwhile the animated series regularly tackles subjects like veterans discovering they have no place in a new Empire, the rise of a fascist state and rebellion, and the shocking death of one of the main characters at the end of the season. Many fans were quick to point out the animated series felt like the darker and more mature show, whereas the live-action one felt more like Dave Filoni and Jon Favreau playing with action figures in a sandbox.
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Little Witch Academia (2017), while also a show from Studio Trigger, is a lot tamer in comparison, but still had some moments that wouldn't qualify it as a kids show, mainly due to the character of Amanda, as she swears and flips the bird every once and a while, which is enough to at least put it in PG territory... but Netflix, when they first released it subbed, blurred the middle finger, and when the dub first arrived, was once qualified having a PG rating, but instead rated it TV-Y7 despite the dub retaining the cursing and the middle finger no longer being blurred, which is rather bizarre as Netflix tends to avoid this trope.
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Happy Tree Friends is a cartoon about cute forest animals, but it has so much graphic violence, little kids shouldn't go near it with a ten foot pole.
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Lobo (Webseries) is the very first DC cartoon geared towards adults. It has a lot of cursing, sexual content, ultraviolence, drinking and smoking. It doesn't help that Lobo also appeared in family-friendly cartoons that don't have his adult-oriented traits like in the comics. One of the story arcs has Lobo and Sunny Jim making a bet to see which one could have sex with a human waitress.
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Parodied in the Strong Bad Email "for kids", when Strong Bad responds to an email proposing a Strong Bad children's show by describing exactly why he shouldn't be dealing with small children. As for Homestar Runner at large, the stated intent according to The Brothers Chaps is that, while the material is family-friendly, the cartoons are no more for kids than cauliflower is for llamas.
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At least partially responsible for the brief runs of both Todd McFarlane's Spawn and Spicy City, which aired on HBO and were decidedly not at all child-friendly. Both were critically acclaimed (Spawn even won an Emmy) but received little viewership and were Short-Runners as a result. It didn't help that the HBO Animation logo was somewhat "whimsical."
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Primal (2019) was the first show to buck this trend. Not only was it renewed for a second season, but it won five primetime Emmy awards, the first animated drama series ever to do so. Notably, unlike the aforementioned shows, Primal was never sabotaged by its network, and on the contrary has been well-promoted and was allowed to completely wrap up its storyline.
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Some streaming sites like Tubi and Peacock sadly have shown that this trope is alive and well, considering they have "Animation" listed under their Children's sections; made all the more baffling considering Peacock produced their own young-adult-oriented cartoon, while Tubi previously promoted adult works like Camp Camp and The Illusionist (2010) in its kid's section. Luckily, this has changed in later months, with Tubi now having an adult animation category and Peacock removing all adult animation from their Kids section.
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Panty & Stocking with Garterbelt was a huge Take That! to this trope even in its Japanese version, but the official English-language dub intentionally takes it further. Most of the art is done in a Thick-Line Animation style reminiscent of several Cartoon Network and Nickelodeon series from the later half of The Renaissance Age of Animation, but contains enough strong content to get it banned from broadcast in the US. Containing over 450 swear words in only 13 episodes, it also includes very strong sexual references, as well as Black Comedy referencing The Holocaust, abortions, rape, terrorism, and the Ku Klux Klan. Garterbelt is portrayed as an Ephebophile, and shown engaging sadomasochistic acts in which he is tortured by pre-teen altar boys. When Panty and Stocking work as Idol Singers, most of their songs are about sex, including themselves being raped, while the cover for the anime's soundtrack is extremely provocative to the point of bordering on porn. There's so much of that content, it makes South Park look like a kids' show.
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The Ghetto in Mexico is so strong that if it's animated, then it's automatically for kids even if it's the first chapter of Elfen Lied! Maybe that was why several shows like Ranma ½, squarely and completely for teenagers, were aired on the kids' TV slot during The '90s.
Most 30-somethings in Mexico grew up watching Caballeros del Zodiaco and Dragon Ball Z during their childhood or early teens, despite the former having way too much gorn for a "kid's cartoon". The net effect of this is that now many parents consider most of these cartoons as acceptable for their kids, as this is what they watched when they were kids. However, manga is treated differently and is accordingly separated by those comic bookstores selling them.
Averted like bloody hell with the Mexican Spanish dub of Dance in the Vampire Bund: You know, a series infamous for having a underage-looking vampire as the main protagonist who had a crush on her older-looking werewolf bodyguard and gets undressed many times, that the American version was edited because of that. One could think the Mexican version could have used the American version, since it's safer and cheaper than the original Japanese version. They used the uncensored Japanese version instead.
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Sky One used to air Family Guy and Baby Blues as part of their Saturday Morning line-up, along with kids stuff in the early part of the decade. They, uh, did not last long. Though in the latter's case, the comic strip it adapted was family-friendly.
In-universe, Brian once told on Adam West for watching cartoons because he was an adult in "Deep Throats", and conversely, "Customer of the Week" had Stewie say "Just 'cause it's an animation, people think it's not legit!".
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The Animatrix has a warning on the package saying it has adult content, is based on an R-rated film, and is not meant for kids.
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The 94th Academy Awards received a good deal of controversy among animators and animation fans alike for cracking jokes about how all animation is for children and that the parents in the audience knew what they were talking about. It's ironic that Flee, which was nominated for Best Animated Feature, is about a real-life story of a man who flees from Afghanistan to Russia and becomes an immigrant in Denmark which is something much too harrowing for a kid to enjoy. As Phil Lord, co-director of The LEGO Movie put it, the "joke" is that "animation is something children watch and parents endure".
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This mentality is part of the reason behind the stillbirth of the Hungarian anime market. When the first commercial TV stations started showing anime at the end of the '90s, they all aired as a part of an afternoon children's block. Dragon Ball Z then, despite being fairly tame and having been dubbed from the heavily edited French version, shocked parents with its violence, and it had to be pulled when the ORTT (Hungarian FCC) deemed it too violent for children. It was to be re-rated as 18+ and pushed to a midnight timeslot, but since no one watched it then, the TV station simply canceled it. Its case was reevaluated in '02 and was given a 16+ rating, but the channel decided against continuing it because they wanted to aim all animated productions at children, reinforcing the "cartoons are for kids" notion. It took a decade for DBZ to get back on screens, this time in a teen and adult animation block on a UK-based channel that's more lenient with certifications. While anime was gaining a foothold in many other European areas, the canning of all anime series in the naughties has lead to the anime market becoming a strictly underground business in Hungary. The middle of the 2000s had another small anime-boom, but with similar results. Inuyasha took DBZ's place as ORTT's whipping-boy, because it was again advertised as a kids' show and aired in an early-morning timeslot. Following its cancellation and the subsequent Network Decay of Animax, TV channels as a whole gave up on importing anime because they had no one to market them towards. "Anime" came to mean "kids shows not suitable for kids" to the general audience, and the occasional reruns of DBZ and Yu-Gi-Oh! GX are the sole reminders of a market that got stifled by the combined might of this trope, Moral Guardians and the Media Watchdogs before it could have even gotten off the ground. The station airing these series experimented with anime from 2012 to '15. They did everything to downplay the effects of this trope, but since their target demographic is people aged 18-49, and DBZ and GX only attracted viewers under the age of 30, they have also axed all potential future anime imports, arguing that anime just can't reach an older audience.
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9 was forced into the ghetto against its will: not only did it have a decidedly gloomy aesthetic, a well-earned PG-13 rating and multiple advertisements stating that it was "not your kid brother's cartoon movie," inattentive parents still brought their young children to see what they ultimately had to leave midway through, when said child started wailing at all of the scary imagery.
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Many have criticized the rating system of the MPAAnote Now known as the MPA, which has a history of assigning films mismatched ratings without rhyme or reason. One example would be that the 1982 animated film The Secret of NIMH was given a G rating despite its Family-Unfriendly Violence and Nightmare Fuel. The film is darker in comparison to some of the tamer live-action PG-rated films of its time, such as Annie (1982) and E.T. the Extra-Terrestrial.note This was before the creation of the PG-13 rating, so both were trying to Avoid the Dreaded G Rating by having gratuitous inappropriate jokes and language, The Secret of Nimh attempted to do that, but it failed. Granted, it's worth noting that a film's rating doesn't always accurately reflect its content and instead indicates the audience best suited for it, but this only leads us back to the ghetto since most audiences would still associate most live-action PG movies as being for adults over animated films. Although it is presumably because film studios would not think that an adult animated PG-rated film would succeed, despite there being live-action PG-rated films aimed at adults such as The Secret Life of Walter Mitty.
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BBC Culture runs yearly polls, and the animated pickings tend to be slim. Their list of 100 Greatest American Movies had no animated films. Their list of 100 greatest films of the 21st Century had only Spirited Away and an assortment of Pixar movies (namely, Finding Nemo, Ratatouille, Wall-E, Up, and Inside Out). Their list of 100 greatest comedies only included the adult animated film South Park: Bigger, Longer & Uncut. Their list of 100 greatest TV shows included 4 - Bojack Horseman, Avatar: The Last Airbender, Rick and Morty, and Steven Universe.
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In Thank You for Smoking a conversation is shown in which the president of that time was saying that the cigarette industry now wants to manipulate children by showing them cartoons with a Smoking Is Cool message. It becomes all the more hilarious if you realize that those cartoons were made for an adult audience.
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An episode of My Family dealt with this when Ben was babysitting Kenzo when Janey went for a night out and she rented a cartoon for Kenzo to watch with Ben, however, when they are watching TV together, Ben plays the trope straight as demonstrated:
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According to an interview with the director of The Brave Little Toaster when the movie was shown at the Sundance Film Festival, several judges outright told the director that it was the best movie at the festival, but they refused to give that title to a cartoon because they thought the award wouldn't be taken seriously.
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In-universe example in The World of Narue. Kazuto's mother complains to him when he shows his girlfriend a magical girl anime series because, according to her, "cartoons are for kids". If you've seen the sort of Seinen magical series that the show is mocking, you'd disagree.
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There's a story about Wendy and Richard Pini of ElfQuest fame receiving a letter from a parent who was outraged at an issue of ElfQuest that included a scene of an orgy, saying that her son read the comic. This is despite the fact that ElfQuest was dark, sexual and violent from the beginning. She clearly was not paying much attention to what her kid was reading...
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The creators of The Critic blame its short run on ABC on this trope. The show was the only animated series in the network's lineup, and aired on a night of family friendly comedies (an audience The Critic clearly was not aiming for.) The ironic result that was viewers dismissed the show as kid's fare despite it being the edgiest thing ABC showed all night. The show parodied this by ending an episode with Jay breaking the fourth wall and wishing "a special good night to all of you just tuning in to watch Home Improvement!" This was followed by wacky cartoon music and an iris-out effect reminiscent of old Looney Tunes shorts.
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Part of the reason that his last movie, Titan A.E., flopped was because the filmmakers didn't know whether to market it towards children or towards teenaged Sci-Fi fans (not even the VHS release was certain- you had a trailer for X-Men followed by a promo for Digimon, which was airing on Fox Kids at the time).
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Some IMDb users have called the movie "kiddie" just because it has flashy visuals and pee jokes. We're talking about a movie that has lots of swearing (although all F-bombs are bleeped with dial-up sounds), a scene where Scott is impaled by the final ex (there's no blood, but still...), Scott accidentally saying that he wants to give Knives a golden shower, slight sex-related talk, and a scene where one of the exes has an orgasm.
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This trope is surprisingly strong in Japan's next door neighbor South Korea. A horrifying example of this was that a Korean dub of Hellsing Ultimate was being sold in a Seoul bookstore... in the same section and shelf as Pororo the Little Penguin and Doraemon. Apparently, store owners just don't care if an oblivious Korean family confuses a mature anime for a children's cartoon...
And that's not even getting to the treatment of Hetalia: Axis Powers, which was seen by some Moral Guardians as a nationalist propaganda piece, given the historical problems between Japan and Korea. This was also partly the reason why the anime abandoned its original TV broadcast plans for web-streaming.
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Parodied in the Season 2 opener for Osomatsu-san: The boys in the original Osomatsu-kun TV show learn what their adult selves are like and are horrified with what they see, so they work hard to become better, more respectable people. Todomatsu achieves perfect properness, transcending animation to become a live-action character.
Not to say the show itself hasn't been subject to the same line of thinking. It's listed under the "kids" section of Hulu Japan, some of its wearable merch comes in children's sizes, and it was advertised in Ciao, a magazine for elementary school girls.
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Played with in the Philippines. Until the 1960s-70s, perceptions on animation more or less followed American ones. The first influx of anime (eg. Voltes V, Mazinger Z, Daimos) in the country, however, helped weaken the Ghetto; Voltes V, in particular became a nigh revolutionary totem for Filipinos against the Marcos regime. Yet to this day, despite a solid otaku and comics community, the Ghetto stubbornly refuses to fade outright into irrelevance.
What makes the case of the Philippines more peculiar is the context behind the growing acceptance of anime and manga: by the 1960s and '70s, Filipinos' resentment towards Japan gradually began to fade away as younger generations became more willing to forgive their former invaders. In addition, they provided an alternative to the predominance of Western shows as well as reflecting elements of Japanese culture that are similar to their own.
A Portuguese TV channel aimed at kids, SIC K, frequently airs some less-child-friendly anime alongside the usual fare. They occasionally switch between Darker than Black, Fullmetal Alchemist: Brotherhood, and Death Note, while it airs Dragon Ball consistently, two episodes a day. Slightly mitigated as most Portuguese parents today had grown up with shows like Dragon Ball, and, thus, they aren't as strict about what counts as acceptable.
For a better contrast, there's another Portuguese channel of the same type, Panda Biggs, aimed at at kids aged 10-15. Still, the most they get is Fairy Tail, Pokémon: The Series and, Justice League Unlimited which, while not Anime, serves to prove a point here.
Russian TV channel STS used to have an afternoon animated block, which was known to include Rurouni Kenshin and Full Metal Alchemist 2003 right next to, say, Sonic X or DuckTales. It was yanked off air pretty quickly.
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The Transformers series tends to invert the usual rules for this trope. For example, take some of the American series. Even the Lighter and Softer Transformers: Animated includes what's implied to be a living weapon, abandonment and Black-and-Gray Morality. Compare the various Japanese series. Even at its darkest, the series have a clear Black-and-White Morality. This is due to the Japanese view of living robots (as opposed to piloted mecha) as "immature".
The various dubs also play a role. Take, for example, Blackarachnia. She's generally a darker characters who still acts as a Token Evil Teammate post Heel–Face Turn, but later roles have her as a self-hating mutant, a walking pile of UST, and a stalker, all of which get turned into various version of Genki Girl.
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Rock and Rule isn't for kids in the slightest; the target audience is teens and young adults. It was, however, rated PG because it was released before (as in, just a year before) the PG-13 rating was created. This was also a major factor in the movie's financial failure. Its distributor, believing that an animated movie directed at an older audience wouldn't be successful, under-promoted it. The results didn't exactly prove them wrong.
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France used to have no problem with shows like the Club Dorothée broadcasting the likes of Fist of the North Star or Space Adventure Cobra in a time slot intended for kids; Dragon Ball Z used to in the 8 am or 10 am slot on TF1 back in the 1990s. This series sometimes has someone dying, bleeding to death, being dismembered, exploding etc., every other episode. This led to rather awkward dubbing from the voice actors, who had a hard time making the constant violence appear light-hearted, and to some protestations by parental associations. With the rehabilitation of animated media, much work has been put in making over the dubbing; anime is now viewed as a full-blown genre with its own specifications. Yet, censorship dies hard; Bowdlerisation still happens when the show's intended audience is too wide. France is actually an interesting example of too much acceptance; the quality of localization went from mediocre in the '80s, to decent in the 90's, to downright good in the late 90's and early 2000s; by the late noughties, however, the sheer amount of imported material, and more importantly money to make off of it, led to droves of rushed cash-in dubs bringing the average quality right back to mediocre.
In Naruto's case, the trope is played with. In France, they have no fewer than three French dubs, all from the same company: an uncensored one for adults based on the Japanese version, a mildly censored one for teenagers, and a heavily censored one for small kids based on the English dub. One can't help but wonder which dub they intended to aim at the Periphery Demographic, and what said demographic consists of.
In France, TF1 cancelled Dear Brother, a show full of drug abuse and suicidal themes, after airing 7 episodes in the Club Dorothée block. note Contrary to popular belief, this wasn't due to Moral Guardians expressing outrage and neither did Dorothée, the host of the block, have to publicly apologize for the anime's airing; TF1 simply realised its mistake and quickly took it off air.
In 1988, France aired Cutey Honey, under the title Cherry Miel, in a kids time slot, while the show is one of the first things that come to mind when thinking about Fanservice in anime. Funny thing is, while the opening theme was changed for the French dub, the visual side was left untouched, meaning that kids who watched the show back then got to see Honey being peeked at while taking a bath or having her breasts groped by Seiji, which is kind of ironic - the series was aired with practically no censorship save from the final episode, where a scene where Junpei gropes Honey was removed.
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Gravity Falls is a show that airs on Disney networks. Tote bags of it were once given out in Subway Kids Meals, and a few children's chapter books have been published. All this, despite the fact that the show contains unprecedented amounts of Nightmare Fuel, violence, death, Black Comedy, and a teeny bit of risque humor. As such, several parents have complained about the show's content, and Disney themselves hardly make any merchandise for it (aside from the aforementioned tote bags and books) because it's not for little kids - or at least, not for children as young as many of their shows skew towards.
The "cutesy merchandise for little kids" phenomena is bizarrely played with in the case of the official activity book "Dipper and Mabel's Guide to Mystery and Nonstop Fun", published during early season 2. The basic idea is that the twins found an old blank book lying around, and Dipper decided to write adventuring tips for whoever finds it next, while Mabel added "fun" pages about things such as a monster fashion show and instructions on how to make your own paper pet. Although the book is very silly and the writing of it is probably not canon, a lot of the things mentioned in it are canon, and some cryptograms in the book turned out to foreshadow major events from later in the show. Also, the adventure sections mention blood rain and have a page for figuring out if you're possessed by a demon, and there's a part where Dipper passes out and then wakes up to find that Bill Cipher wrote some spooky stuff in his book and he can't get rid of it no matter what he does.
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Most 30-somethings in Mexico grew up watching Caballeros del Zodiaco and Dragon Ball Z during their childhood or early teens, despite the former having way too much gorn for a "kid's cartoon". The net effect of this is that now many parents consider most of these cartoons as acceptable for their kids, as this is what they watched when they were kids. However, manga is treated differently and is accordingly separated by those comic bookstores selling them.
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The Super Smash Bros. series. While the games are largely family-friendly, they bring together a stable of Nintendo and other game characters representing all sorts of different aesthetics and demographics, and seem to not prioritize any specific age group over others. Despite this, every other fan and gaming journalist is quick to label the series as a "children's series", largely because many of the constituent series - such as Super Mario, the most prominently-represented and the franchise's namesake - are cartoonish family-friendly series that themselves suffer from a reputation of being "for children". The more colorful artstyle of the fourth game ended up invoking this trope even further. This is despite one of the characters featured being freaking Bayonetta.
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When Phenomena debuted in Norway in 2002, the country was stuck in the mindset that video games, animation, and fantasy books had to be for kids. Due to this, Phenomena was initially given a 10-12 rating, but eventually Gyldendal (the publisher) removed their 10-12 imprint and gave it a 9+ rating... despite the series featuring a Date Rape, some more implied rapes, gruesome violence, drug use, Blackand Gray Morality, and more. Since then, more fantasy works have been created in Norway, and despite some being Lighter and Softer and others being Hotter and Sexier, they all got 13+ ratings from the start. Phenomena, meanwhile, was still saddled with a 9+. The same mistake would happen again with the spin-off Picture Books, which are even gorier, containing lots of blood, Cold-Blooded Torture, scalping, and a character becoming an Extreme Omnivore... and they were rated 8+.
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The following is a list of statements referring to the current page from other pages.

 Animation Age Ghetto
processingCategory2
Audience Reactions
 Animation Age Ghetto
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Cynicism Tropes
 Animation Age Ghetto
processingCategory2
Ghetto Index
 Animation Age Ghetto
processingCategory2
Rated I for Index
 Animation Age Ghetto
processingCategory2
What Do You Mean, It's Not an Index?
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
 Sliding Scale of Anime Obscurity
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Animation Age Ghetto
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Animation Age Ghetto
 TOON
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Animation Age Ghetto
 The Dark Age of Animation
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Animation Age Ghetto
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Animation Age Ghetto
 The Millennium Age of Animation
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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Animation Age Ghetto
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