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Alright, let’s break this down.

Attack on Titan’s ending wasn’t for everyone, but that doesn’t erase years of layered storytelling, moral tension, and authentic character dynamics. The character interactions felt real because they had time to develop, exploring complex themes like freedom, morality, and identity with true depth. The story was consistent in its pacing and thematic buildup, even if the ending was divisive. Edgerunners, by contrast, started strong but fell into a flashy, trope-heavy ending that didn’t add anything meaningful to the cyberpunk genre.

As for Death Note and Evangelion, dismissing them as trash completely ignores their impact. Death Note may have dipped in intensity after L’s death, but it remained a top-tier thriller with a compelling cat-and-mouse dynamic. The story kept its internal logic intact, and the power struggle between Light and Near felt like a natural progression, even if it didn’t have the same punch as the earlier arcs. Evangelion, meanwhile, didn’t just reshape the mecha genre—it introduced and deepened tropes like the tsundere and explored character psychology and existential themes in ways anime hadn’t before. Its approach to character trauma, identity, and self-worth resonated deeply with viewers and inspired countless series that came after.

Now, I can enjoy any show or genre if it’s coherent and consistent, but Edgerunners lacked that entirely. It leaned heavily on the ‘hero doomed by ambition’ trope without adding depth or purpose, making David’s journey feel more like style over substance. Take, for example, the lack of a real antagonist. In most impactful cyberpunk stories, the antagonist serves as a reflection or challenge to the protagonist’s values and goals, creating tension and meaning. Edgerunners missed this, leaving David’s journey feeling aimless and directionless. The story could have been stronger if it had given David a more complex opposing force, something that would have grounded his ambitions and pushed him to reflect on his choices.

Another example is David’s relationship with his mentor, which was barely explored. If that relationship had been more fleshed out, it could’ve added layers to his character and given his journey a greater sense of purpose. Instead, it felt like a missed opportunity, as if they were relying on the audience’s familiarity with the ‘student-and-mentor’ trope without actually showing any meaningful development in that dynamic. This left David’s eventual downfall feeling less impactful because the show didn’t establish the kind of support system or inner conflict that would make his arc resonate on a deeper level.

Then there’s the pacing. The second half of Edgerunners felt rushed, jumping from one dramatic moment to the next without giving the characters or story time to breathe. This inconsistency made the show feel disjointed, as if it was trying to hit all the classic cyberpunk beats—violence, tragedy, moral ambiguity—without actually exploring them. This lack of cohesion is what made Edgerunners feel superficial. It presented themes of humanity, ambition, and loss, but rather than building these organically, it relied on flashy visuals and action to cover up its narrative gaps.

And saying I ‘borrowed’ my critique? Not even close. Calling Edgerunners ‘superficial’ and ‘predictable’ is a direct response to how it handled its rushed character arcs and skipped-over development. These are my observations based on how the show presented itself.

An engaging story gives characters time to grow, explores conflicts with depth, and allows themes to develop naturally. Edgerunners nailed the visual aesthetic, but it lacked the consistency and depth that make a story worth investing in. The cyberpunk genre thrives on exploring humanity, identity, and the cost of ambition. By only skimming the surface, Edgerunners missed the chance to deliver a truly memorable and impactful narrative.

Resorting to insults about my background and irrelevant ‘advice’ just shows you’re dodging the actual critique. Even if you didn’t like Isayama’s ending, AOT still crafted a decade-long, layered story that gave its characters real depth and emotional weight. Edgerunners, on the other hand, rushed its way through superficial arcs and predictable tropes, with an ending that lacked impact because the story wasn’t given room to develop. And Death Note and Evangelion are still classics with lasting appeal, regardless of your personal opinions. If you can’t respond without getting personal or inflammatory, maybe consider why that is. I’m here to discuss anime, not entertain ignorant, bigoted comments.

'Israeli and shit taste’—solid argument, if you’re avoiding the actual critique. Attack on Titan’s ending had nearly a decade to build, giving its story and characters the time to breathe and develop into something deeper and more nuanced. Unlike Edgerunners, which rushes through cardboard tropes and forces a conclusion, AOT uses every bit of its long arc to create real emotional stakes. When the time came, AOT wrapped up with a sense of purpose and weight—something Edgerunners simply couldn’t achieve with its rushed, superficial climax. Let me know if you’re ready to actually talk about anime.

I have heard of Kanna Shinozaki before I heard she is a great actress

Okay, what am I supposed to do with this information? I have no idea who you are

Not really. Animation isn't good for the OVA, and since I watched the series before reading it, I can already visualize what the fights and what all the settings and locations look like as I read. Music I can always look up on YT.

Reading a book is a much different experience that watching an anime.

Both are just as good, though for first time viewing, it's best to watch the anime first.

yes

Nice The Fable review. I really wish someone would pick up the pace on the translation. There's a season 2 coming up too :)

HAHAHAH yes i was sir! it gets lonely in my comment field when no one is commenting anything yk

Great Jisatsutou review.

Yeah. I only really liked the og movie and SAC.

Plug here, I have reviewed every GITS thing I've watched. I wrote a review on Innocence and why it's bad. I also wrote in one of them, I can't remember which ones I recommend and which ones I don't. But so you don't have to go looking into all of those, I'll mostly repeat my sentiments. GITS the og movie is good and SAC 1 is good. SAC 2 only watch if you really need more SAC. Everything else is trash. If you want super details, I did review all of them. Innocense is a mess that doesn't make any sense.

Ah I see yeah, that's totally fair, not used to people being that tight on their friendlist haha. But yeah, glad u see my point and that I managed to change your mind a little :D

Hey! First of all, I appreciate your feedback, always happy when I see someone engaging with that review in any shape or form. Granted, while I can fully understand why you would cringe at the Shinji and Mori comparison, hear me out on that one. I agree that they are, conceptually, pretty different characters, and it's true that Mori's solitude is by choice while Shinji's is involuntary, I was moreso referring to the portrayal of the characters and the things they are impressionable with.
Both Mori and Shinji are lacking a connection, a rope to other people, which burdens them in their respective journeys. Female attention, hell, the existence of females itself has a major impact on both of these characters as well, with Shinji's relationship to Asuka, Rei and even Misato being a fundamental part of his characterization, which is a parallel to how Mori's perspective on females is portrayed. They are both (atleast Mori until towards the end) very impressionable to female influence, prone to being played so to say. Misato kisses Shinji in End of Eva because she sees him as someone who would easily distracted by that. Similarly, Yumi gives Mori head because she sees that she can take advantage of him easily in that manner. Hell, even Mori's co-worker plays him like a fiddle to the point of besieging his room without his consent. I think that's a pretty specific similarity.
Also, I would agree that Shinji is generally more nervous, but it's not like Mori's ''apathy'' is very deliberate or intended, but moreso acts as a defense mechanism. And even he gets nervous quickly, especially with that female co-worker of his or superiors/more assertive people. He barely ever gets to speak his mind, just like Shinji.

But yeah, feel free to critique my reasoning if there's an incentive, I like to indulge in discussion of this kind. Imma shoot you a friend request, big fan of your favourites!