Follow TV Tropes

Following

Hard Truth Aesop
aka: Family Unfriendly Aesop

Go To

"... I leave it to be settled by whomsoever it may concern, whether the tendency of this work be altogether to recommend parental tyranny, or reward filial disobedience."
Jane Austen, Northanger Abbey (final line)

Everyone knows the Stock Aesops: Be Yourself; appreciate what you have; people are more important than things; follow your dreams. Sometimes, these morals contradict each other, but nobody is surprised to see any of them in a story. However, sometimes a story aims to teach a lesson well outside the pale of accepted wisdom. For example, "No Good Deed Goes Unpunished", "Growing Up Sucks, but it's an essential part of life", "you will have to Be a Whore to Get Your Man" or "Sometimes Violence Really Is the Answer".

Advertisement:

The "hard truth" in "Hard Truth Aesop" means just that; a lesson both true and well-supported in context that, despite the audience being unable to argue against, still has them walk away feeling a bit uncomfortable.

At the same time, though, Aesops that contradict general morality are often controversial (at best) for that very reason. Sometimes, an author thinks they're delivering a hard truth, but the audience doesn't see it that way - or they're split about it. Since one person's hard truth is another's dangerous falsehood, examples belong on this page regardless of whether their Aesops are objectively true, and regardless of how much the audience is convinced that they are. The important thing is that the Aesop is considered "family-unfriendly" in its cultural context.

Note that a Hard Truth Aesop doesn't have to be pessimistic. It just has to be surprising and unconventional. Some more optimistic Hard Truth Aesops might be, for instance, "peer pressure is good for you because it convinces you to try new things" (or, conversely, "Rejecting the wisdom of the crowd could end badly,")." Note also that how the Aesop is conveyed may be what makes it a hard truth one: for instance, Good People Have Good Sex almost always gets a far friendlier reception from Moral Guardians than You Need to Get Laid, though both promote sex as a good thing.

Advertisement:

A Hard Truth Aesop is not the same as a Clueless Aesop, which is a moral (usually a common one) presented so ineffectively that the audience either misses the point or doesn't find it at all persuasive. When delivered straight and effectively, the Hard Truth Aesop jolts the audience entirely because the message they figure out is exactly the one the writers wanted them to catch.

Due to Values Dissonance and Society Marches On, a moral that was once a hard truth may now be seen as a Captain Obvious Aesop, especially morals about social mores and civil rights (see Fair for Its Day). This list is for morals that can be hard to stomach even for the culture for which they were written. A prime target for dropping anvils.

Contrast Don't Shoot the Message, when the intended Aesop is desirable or liked, but is criticized for being poorly implemented by the work.

Advertisement:

See also Unfortunate Implications and The Complainer Is Always Wrong.

Note: Understand that not everything needs or has an Aesop. A depiction is not automatically an endorsement; a character behaving in a certain way does not mean the show is saying that said behavior is good (let alone telling the audience that they should do the same). If you are drawing absurd conclusions from a story which doesn't have a moral, take it to Warp That Aesop on Darth Wiki.


Works with their own pages:


Examples

    open/close all folders 

    Anime and Manga 
  • Beastars has a couple that are actually stated by characters:
    • Pacifism is noble, but it only matters coming from someone who's strong enough to defend themselves, as Gosha tells Legosi. Furthermore, there are times where you're going to have to fight if you want to protect yourself or others you care about.
    • Not every evil deed can be explained away with a Freudian Excuse. Legosi vainly searches for a reason behind Melon's mass-murdering, only to realize that there is none.
    • No matter how uncomfortable they are, societal and systemic problems need to be brought into the light so they can be properly discussed and solved.
    • Differences between groups aren't just skin deep, and societal progress can't be made without understanding that.
  • Black Clover: When Juno and Asta ask the Wizard King about what they must do to achieve his rank, he gives the answer that nothing is more important than producing results, and he came to be the current Wizard King due to producing more and better results than any other of the captains. While the manga makes clear that effort and kindness are important, this is also a very pragmatic way to see the world.
  • Bloom Into You has an example in the School Play that the main characters are putting on in-universe. The play stars a girl who's lost her memory, and gets visits from three people close to her who see her three different ways- her schoolmate sees her as The Ace Student Council President, her brother sees her as an Aloof Big Sister, and her lover claims she has a vulnerable side that she only shows when they're together. Facing an identity crisis, the main character chooses to act the way her lover saw her as, thus sending a message that it's better to live the way someone else sees you than to be yourself. Because Touko, who plays the girl, has felt pressured to "become" her seemingly perfect sister after the latter's death in a car accident, Yuu convinces Koyomi to change the ending so that the main character's nurse convinces her to just be herself, resulting in the main character telling the other three that she intends to start over. Most of the student council besides Touko likes the new ending better, partly because they believe this outcome makes more sense.
  • Bokurano has a few, which is unsurprising given the nature of the show.
    • Kirie, having learned that every time you win, another universe is destroyed, has a talk with Tanaka, believing he cannot fight in light of that information. Tanaka essentially gives him two lessons. 1) People's lives are not equal, and when people are forced into a situation where they must choose one person's life or another's, they will choose the one they value more. 2) People exist because of sacrifice, from the plants and animals they eat every day to continue living, to the ones who died to ensure their standard of life, and even Jesus and the Buddha are no exception.
    • The ending of Chizu's arc has her family understandably appalled at her killing innocent people in her quest for vengeance against Hatagai. In response, they decide not to press charges against Hatagai, sending the message that it's better to let the guilty escape than cause innocents to suffer through revenge.
  • Daisuki! BuBu ChaCha: Prolonged exposure may result in creepiness when your preschooler somehow ends up believing that one of his toys is the reincarnation of or is possessed by the spirit of the recently deceased family pet.
  • Darwin's Game isn't shy about voicing its support for The Power of Friendship, but its take on it is far more pragmatic than idealistic—alliances are beneficial because they increase each party's chance of survival. And while the story shows that it's important to build strong relationships with as many people as possible, it also shows that you shouldn't show any mercy to those who threaten your friendships, just for the sake of keeping everyone safe. Most of what makes Kaname such an effective leader is his ability to be simultaneously merciful to his allies and ruthless to his enemies.
  • Delicious in Dungeon:
    • In Chapter 14, Laios is sure to be wrong about Anne the kelpie. Her friendship with Senshi means she would never attack him even though she's a monster, right? Wrong. She tries to eat him as soon as he gets on her back and the reader learns a brutal lesson about trusting wild creatures: just because they seem tame doesn't mean they can't turn on you in an instant. There's a big difference between "has never attacked" and "safe".
    • Regarding Namari, most stories would penalize her for leaving Team Touden in Chapter 1 because they couldn't pay her fee. Here however she's treated as being in the right and Chilchuck even scolds Marcille for trying to make her return to the party later when she's on another job. She's not shamed for prioritzing her own career and professional reputation over wanting to help old friends, which might damage her job prospects very badly in the future. It teaches the lesson that looking out for yourself is okay sometimes and you shouldn't bend to others if you know what they want is not right for you.
  • At the end of Eden of the East, Akira (the hero) makes a comment to the effect that Japanese have great potential but need someone to rule them to unlock that potential. In the end, though, it actually subverts this Aesop by more or less stating that while it might achieve great results, it would be wrong to do so. Similarly, Akira/the series seems to take the viewpoint that since national tragedies/catastrophes bring a country together, causing one is a great idea so long as you can figure out a way of doing it without killing anyone.
  • Digimon Adventure 02 had an episode in which the Digidestined are trapped in an underwater rig that is slowly running out of air, with only one escape pod. Despite knowing that he's afraid of water, the kids coerce Cody into going, creating the Accidental Aesop of "it's okay to force your friends to have contact with their phobias - it'll help them!" Though, it is possible they just wanted him to go into the pod so he wouldn't have to stay trapped and underwater with them and, thus, be able to avoid his fear. (Note that this is dub-induced. The phobia is nonexistent in the original Japanese version.) Upon reaching the surface, he finds out that to get Joe's help, he would have to lie, something Cody is deeply uncomfortable with, to the point that he later feels that he doesn't deserve the Digi-Egg of Reliability. This leads to the episode's Aesop: that lying is sometimes perfectly okay, if you have a good reason for doing it.
  • In Fire Force, Shinra gets two harsh lessons related to his Warrior Therapist tendencies: some people, like Inca, don't want your help, and with others, such as Nataku, your help is not the best option for them to overcome their issues. In both cases, nothing can be done to change this, and the only thing for Shinra to do is help out to as much of an extent that he can.
  • Fly Me to the Moon: As Kaname tells Aya, if you don't have the courage to tell your crush about your feelings, you deserve the heartbreak that will ensue when that crush inevitably chooses someone else.
  • Fullmetal Alchemist is the Trope Namer for Equivalent Exchange - you get in return what you put into something. Unfortunately, real life is far more complex than a simple exchange - the trope Hard Work Hardly Works exists for a reason. Dante in the 2003 anime has this to say about it:
    Dante: "Consider the state alchemy exam that you passed with flying colors. How many others took the test that day? Spent months, years preparing, some working much harder than you. Yet you were the only one who passed. Where was their reward? Is it their fault they lacked your natural talent?"
  • The famous ghost train episode of GeGeGe no Kitarō teaches that sometimes it's too late for second chances. The protagonist of the episode may have realized that his cruel behavior drove several of his employees to suicide, but there's nothing he can do to make it up to them—they're already dead and so is he, and Kitaro refuses to save him as their vengeful spirits drag him off to hell with them.
  • Gleipnir turns the concept of The Power of Friendship on its head. Sure, close bonds between people can build good character, increase empathy and make lives better...but it can also make people stoop to lows they normally wouldn't to protect each other, and friendships can end up amplifying the involved parties' flaws instead of their good points.
  • In Grave of the Fireflies (which takes place in the final year of World War II in Japan), all the adults the orphaned protagonist Seita meets tell him he needs to suck up his pride, go apologize to his aunt, and ask her to move back in so he can protect himself and his little sister. He's only fourteen, so he's too youthfully arrogant to really understand that there are more important things than being right and that growing up means that sometimes you have to do things you don't want to in order to survive, especially when you have someone else to take care of.
  • Higurashi: When They Cry:
    • The moral of the Tsumihoroboshi-hen arc appears to be "friends help friends hide the bodies". But in a more directly stated example, it's okay to hide things from your friends if they don't need to know about it. Even though they're your friends, it doesn't require complete disclosure. While Higurashi certainly emphasizes the importance of trusting your friends, at this point, it acknowledges that there are some things people just can't tell others and shouldn't have to.
    • Saikoroshi-hen (whether you accept it as All Just a Dream or not) seems to advocate a rather ruthless approach to pursuing one's own happiness at the expense of others.
  • The moral of Irresponsible Captain Tylor as a series can be taken 2 ways: 1) Being an individual in a conformist society will lead to extreme success, or 2) Rigid military discipline is actively bad for winning wars, and treating it like a joke will make everything better. The former is one for the Japanese, and the latter is one for Americans.
  • Ishigami's character arc in Kaguya-sama: Love Is War makes the point that you shouldn't try to get along with everyone, especially if they've done nothing to earn your respect. Most of his fellow first-year students shun him and treat him like a pariah for his role in a Noodle Incident in middle school, but his decision not to go out of his way to correct them is treated as justified because their recollection of the incident is mistaken and they are treated as a bunch of unlikable gossips for judging him as a creep without knowing the full details of what happened. Everyone who knows the truth (the Student Council and some of his other friends) agree that he did the right thing, the real culprit got his due karma offscreen, and telling the girl he protected to piss off for being ungrateful forms a significant part of Ishigami's Character Development.
  • Kakegurui:
    • The Debt Swapping Game Arc has Yumeko stating that if someone doesn't do anything to get out of a bad situation, especially when the opportunity to do so presents itself, the person likely deserves to be in that position.
    "You now have a chance to get out, and if you don't take it, you're just a puppy who cowers when someone takes the leash off, proving to everyone you really are a meek, obedient housepet. Or maybe, being on a short leash is how you want to live your life."
    • The Choice Poker Game has the aesop that if you want something big, then you also need to be willing to risk big. If you face nothing but grief and pain after it, then that's the price of trying to achieve what you want.
  • In Living With My Brother's Wife, Nozomi, the protagonist's sister-in-law, learns that two of her students are having a dispute, since one girl just learned that the other is moving to Hokkaido for the next school year, and that the latter had kept it a secret from her. Nozomi's fellow teacher, Moroboshi, bluntly states that the friends one makes in elementary school won't become lifelong friends, especially since you'll make new friends at each stage of your life and adds that she never kept in touch with any of the friends she made when she was those girls' age, much to Nozomi's dismay. Moroboshi then adds that it's still possible to keep in touch with your friends even if you're separated, and that even if you do lose touch with your friends, you can fondly remember your friendship.
  • The Lost Village: The end of the series has the message that everyone copes with their issues in their own way, and sometimes the way they find is to run away from them, and when that happens, it's just as valid of a way to deal with it as any other. While not uplifting, the message isn't exactly invalid.
  • One of the themes at the end of Mobile Suit Zeta Gundam is "Peace is a nice ideal, but you have to be willing to fight because the world is full of bad people who delight in tormenting others". Indeed, the Grand Finale basically has Kamille getting over his earlier "Why do we have to keep fighting?!" attitude and killing the Big Bad.
  • While the manga and anime itself has a family-friendly Aesop that teaches Forgiveness and uses A World Half Full, the creepy children's books in Monster were made like this purposefully by one of the characters to instill nihilism in children. They feature such lovely morals as "It doesn't matter whether you make a deal with the devil or not, because you're screwed either way".
    • A broader one for the series itself: Some people are simply born as genetic sociopaths, even disregarding whatever Freudian Excuse they may have. You can try to make them see the error of their ways as hard as you want to, but they simply won't care.
  • My Hero Academia
    • The series opens with the premise that all men are not born equal. Izuku, who desires nothing more than to become a hero, is born Quirkless in a world where the vast majority of people are born with a Quirk, and is flat-out told by All Might that one cannot become a hero without a Quirk of some sort. Meanwhile, his childhood friend-turned rival Bakugou is born with an excellent Quirk allowing him to produce explosions from his own sweat - tailor-made for a hero. It is later reconciled with a more family-friendly Aesop, however, as All Might is impressed by Izuku's heroism in trying to save his friend from a villain and tells him that he can become a hero because of his kindhearted nature, setting Izuku on the path to becoming the greatest hero.
    • Uraraka wanted to become a hero in order to make money to support her family, feeling ashamed that her reasons weren't as noble as her classmates. She is told by her friends that there is nothing wrong with wanting to make money to support oneself or the people they care about. Quite the unexpected lesson for a series about kids learning to become superheroes.
  • Nanabun No Nijyuuni has two back-to-back Character Focus episodes that both end in an HTA:
    • Reika's episode teaches that everyone has standards and lines they won't cross, but holding true to your morals can easily be selfish. Even if you don't want to do something because you consider it offensive or degrading to yourself, and even if you're completely justified in thinking that, if not doing it will negatively affect others, you just need to suck it up and do the thing you don't want to do.
    • Jun's backstory's moral is no matter how miserable your life is, and how justified you are in moping about it, you need to stop crying and be happy, and Wangst serves no purpose because your life is too short to waste it whining and there will always be others who have it worse than you.
  • Naruto: Kakashi at one point tells his students that "thinking you get it and actually getting it are two different things". Basically, it's a saying that there's no hard substitute other than experience yourself to teach you in ways a mere lecture cannot provide for you.
  • One Piece does this in the wham arc that is Marineford. Despite Luffy's utter determination in infiltrating Impel Down, enduring(and recovering from) Magellan's poison and losing possibly 10 years of his lifespan in the process, and immediately setting out to Marineford to save Ace from execution, his abilities are simply outclassed in the field and he is repeatedly hindered from his efforts to reach the execution platform by much stronger Marines. His efforts turn out to be all for naught, when Ace is killed by Akainu anyway, which kickstarts Luffy's quest to become stronger for two years before entering the New World. Kizaru puts it best, as he holds down Luffy, who is unable to fight back:
    Kizaru: Willpower isn't enough. You have to have more than courage. Strawhat, without strength, you cannot save anyone, no matter how hard you try.
  • Plunderer:
    • It's impossible to obtain your goals with pure idealism—to truly get what you want, you need to sacrifice something. The After the End world is so terrible to live in that the only way to ensure your family's survival is to become a soldier, even if you're a pacifist. Several characters are shown that things that look altruistic and idealistic, like giving food to a starving child or sparing your enemies, will only result in misery for everyone. Rihito became a cold, inhuman murder machine so that the rest of his classmates wouldn't get blood on their hands, and that line of thinking is criticized as wrong, with the implication being that they all should have shared in the guilt.
    • The Power of Friendship may be important, but relying too much on your friends is an unhealthy dependence rather than an admirable quality. Mizuka ends up becoming The Load because she depends too much on Rihito, and later her obsessive dependence on him renders her vulnerable to becoming Brainwashed and Crazy.
  • Pokémon in the Kanto seasons had 'no, simply trying hard enough will not guarantee you success in life'. Misty sums it up early on in the third episode, and it remains a theme throughout Kanto, ultimately coming to a head in the Pokemon League where Ash's laxness in actually training and relying on pure luck and scrappy pragmatism ends up running out and costing him the league. Though this does lead to the more Family Friendly Aesop of 'failure is not the end of the world.'
    • In the Johto and Unova seasons, a lesson espoused is that there is a difference between conquering your fear and putting your fear aside. While it is possible to conquer a fear, it's equally possible to never overcome it, especially if your phobia is that deeply ingrained.
      • In "The Joy of Water Pokemon" the trio meet a Nurse Joy, who because of a traumatic incident in her childhood, was afraid of Water-type Pokemon. While she doesn't hate Water-Type Pokemon, she can't touch them without a special suit or without her Chansey assistants. At the end of the episode, she encounters a situation where she must calm a Gyrados without her suit, and manages to do so, but faints afterwards. Misty praises her for overcoming her fear, but Joy makes the point that she is still afraid of Water-type Pokemon, and likely will be for the rest of her life, but she won't let that stop her from carrying out her duties.
      • In Unova, we have Iris, who has a known fear of Ice-type Pokemon. However, she eventually ends up in a situation where she is trapped with Georgia's Vanilluxe. She manages to put her fear aside and give Vanilluxe commands. However, the episode ends with Iris still afraid of Ice-type Pokemon, but has made progress in conquering her fear.
  • Puella Magi Madoka Magica has the moral that there's no such thing as true selflessness, it's better to admit ones selfishness than deny it until it's too late to get what you want, and truly selfless acts requires sacrificing oneself in order to pull it off.
  • In-universe example: in Urusei Yatsura, Ataru tells a class of kindergartners a story about the legendary Kintaro, who through ceaseless effort, finally became the assistant to a great man.
    Ataru: The moral of the story is, "Even if you work like a dog...you can only rise so far in this lousy world!"
  • Yu-Gi-Oh! had, in its filler DOMA arc, an Aesop that Valon/Varon teaches Mai: The Power of Friendship won't win her battles for her, and she can't rely on her friends to help her. On the other hand, he was saying that to further convince Mai to leave her old life behind and join the DOMA cult.

    Comic Books 
  • The moral of Birds of Prey: The Battle Within, the arc from issues 76 to 85, appears to be the fairly stock Aesop of "You should accept your friends for who they are and not try to change them", except that what Oracle was trying to change about Huntress was her tendency to kill people. In the end, Oracle apologizes to Huntress, and, in the Dead of Winter story arc (issues 104-108), actually tells Huntress to use deadly force against the Secret Six if she thinks it appropriate, making the moral that sometimes killing people is a good idea.
  • One of the Mass Effect Foundation comics, had Kaidan's father offer the advice that even the right decision has terrible consequences.
  • The Mega Man comic comes after half of Dr. Wily's robots from the second and third line decide they'd rather be shut down than be reprogrammed. Rock and Roll are deeply saddened by seeing them commit the robot version of suicide, with Dr. Light sadly telling them that you can't save everybody and not everyone wants to be saved.
  • The Vision (2015): "Not everyone can or should be shoehorned into middle class suburban life".

    Comic Strips 
  • Calvin and Hobbes:
    • In one strip, Calvin is debating whether he should spend his time playing outside, or focus on his schoolwork. He decides that playing will make him happier in the short term, studying will make him happier in the long term, but going to play outside would also make better memories. Not every day you see a comic tell kids to not care too much about their homework.
  • Parodied with Rat's children's stories in Pearls Before Swine.
    Goat: You are not putting this in a children's book.
    Rat: "So remember, kids, luck and timing are more important than personal effort."

    Fairy Tales 
  • Russian fairy tales tend to be rather cynical. One story in a collection by 19th-century folklorist Alexander Afanasyev has the moral "Old favors are soon forgotten."
  • Russian fairy tale "Morozko" has "you should not go out of your way to be needlessly rude, confrontational and uppity to powerful people who can destroy you easily and with no consequence because it will not end well for you".
  • Cinderella. Charles Perrault announced at the end that the moral was: Good looks and all sort of other wonderful traits are useless without connections.
  • The standard fairy tale plot of a hero overcoming impossible quests to marry a princess gets subverted in Friedrich Schiller's ballad The Diver. A King throws a golden cup into some rough water and declares that whoever can retrieve it can keep it. After the hero manages this, the king ups the ante by throwing a ring into the water and telling the hero that he will get the princess if he can do it again. The hero tries and drowns. The new moral here is "she is probably not worth it" or "quit while you are ahead".
  • Schiller also subverts the "Idiotic challenges will win you the heart of a woman" plot in The Glove in which a lady throws her glove into an arena full of lions and tigers and challenges (mockingly) her suitor to get it. He retrieves the glove, the lady immediately falls for him — and he throws the glove in her face, saying "Den Dank, Dame, begeher ich nicht" ("Such gratitude, madame, is not desired by me") — the Aesop is "Women, don't mock your suitor if you want to keep him" or "Men, sometimes a woman is more trouble than she's worth".
  • Into the Woods added "It's probably not a good idea to marry someone you just met" Aesops to the Cinderella and Rapunzel stories. Cinderella's prince is a philanderer (probably both of them are, it's just that Cinderella's is the only one who explicitly does it on-, or rather just off-, stage), whereas Rapunzel is somewhat crazy. The only original story Aesop it leaves intact is Little Red Riding Hood's Aesop of "Don't talk to strangers", who became a good deal creepier (as a bonus, traditionally the wolf is played by the same actor who plays Cinderella's prince). Near the end, we get an Aesop of "Listen to people who know what they're talking about, even if they're witches". And the overarching moral is "don't tell your children stories that teach wrong lessons, because it will mess them up". "Nice is different from good". And, even more damningly, neither "nice" nor "good" are necessarily the same as "right".
  • Puss in Boots (a.k.a. "The Master Cat") has "if you would be successful in life, learn how to evade your predators, how to catch your prey, and how to curry favor with the powerful."
  • The Scorpion and the Frog fable:
    • Taken by itself with no metaphor, the lesson is that a predatory animal (the scorpion) with enough sapience to communicate with a creature it naturally preys on (the frog) should not attempt to fight its natural instincts and pursue cooperative ventures. Mother Nature made the scorpion to kill prey and trying to be something other than that to the frog will only result in one's predatory instincts rising to the surface at the worst possible time, dooming both to a watery grave. It is better to stick with the natural order of things than to try to evolve past one's Darwinian trappings.
    • As a metaphor for evil, it suggests evil is an overriding character trait that outweighs self-interest and survival and one should not trust in an evil person trying to pull a Heel–Face Turn.
    • It's also saying that some people are just plain rotten, and shouldn't be trusted, because of who and what they are.
    • The moral is "Talk does not change the nature of things", i.e., you can discuss something, debate it, argue about it, deconstruct it, reconstruct it, and agree on it. None of that will change its nature.
    • A more down-to-earth moral is that you should not trust wild animals because they can not be reasoned with, and they can and will attack you when you get too close to them.
    • Another way to interpret the lesson is that you can't keep sugarcoating your problems and you can do great harm to yourself by trying to "fix" evil.
  • One story involves a cat and a mouse living together and deciding to store a pot of cream for winter. They hide it in a church until they really need it. Over some time however, the cat is gradually tempted three times into drinking the cream, until it's all gone. When the mouse finds out, she starts yelling at the cat for eating their food supply for the winter. The cat responds by eating the mouse, and the story concludes with the lesson that, well, that's just how the world works (that cats and mice just can't co-exist). It also can be a just-so story, i.e. "...and that's why cats and mice are such bitter enemies to this day." From this we can also draw the rather jarring conclusion that some acts are truly unforgivable, such that the conflicts arising from them can never be peaceably settled.
  • One story involves two brothers, one rich and one poor. Subverting the usual setup, the rich brother is quite willing to help out the poor brother, who cannot seem to hold on to money for any length of time. One day the rich brother waits in the bushes by the roadside until he sees his brother, then throws a purse onto the road. The poor brother just keeps walking, and when questioned says he was walking with his eyes closed to see how blind people manage. The aesop is that there's just no helping some people.

    Fan Works 
  • Avatar: The Abridged Series:
    Aang: Aw, but Sokka, we could have learned a valuable life lesson!
    Sokka: Here's a life lesson for you, Aang. You can't buy things with life lessons.
  • The Black Sheep Dog Series drives home the point that not everything in life is a choice, and that one cannot simply wash their hands clean of their heritage and upbringing. Sirius Black is forced to learn that no matter how much he hates his family, and how much he tries to disassociate from them, he cannot change the fact that he is still his parents' son, and the heir to the House of Black, who will one day be responsible for all of its entails. Although he shares almost none of their ideologies, Sirius is really Not So Different from many of his family members (particularly his mother and his cousin Bellatrix), and he still carries the aristocratic arrogance typical to his family's circle, that even people who don't know him can immediately tell that he's a well-bred Pureblood. He is also forced to admit that, despite his hatred of his family, he is still mostly living off of his family's wealth left to him by his Cool Uncle, who is the one who gave him the Aesop in the first place.
    Alphard: It's a lesson everyone has to learn, sooner or later.
    Sirius: What lesson?
    Alphard: That not everything in life is a choice. Some things just are.
    Sirius: I don't understand—
    Alphard: You'll be a Black until the day you die, my boy—whether you like it or not. You can try to deny it all you want... But it won't make it any less true.
  • Faery Heroes includes a minor lesson against both Turn the Other Cheek and Comes Great Responsibility. Harry is only willing to tutor a few students in Defense Against the Dark Arts and quickly shuts down the idea that because he's such a great teacher he should tutor everyone. First, he's not getting paid to do so and is using his own free time to help them. Second, most of the people in the school have turned against him at some point which leaves him rather opposed to the idea of helping them with their schoolwork.
  • Like Mother Like Son: Your children don't have to listen to you when they're adults. If you don't give your children a reason to respect you when they're young then they probably won't when they get older. Lynn Sr's friend Kotaro didn't have a good relationship with his father growing up as he was hardly around, and now as an adult, he doesn't really care what his father has to say.
  • When he finally gets around to telling his history in I Still Haven't Found What I'm Looking For, Harry Potter admits that always saving the world because he could was actually a rather poor choice. Fifteen hundred years of every dark wizard being stopped by him meant the world became overly reliant upon him. When an accident with a time turner flings Harry two hundred years into the future, the world's been ravaged for decades by a war between two dark wizards. And when Harry kills them, the people of the world blame him for not stopping them sooner.
  • Shattered Reflection: This Fire Emblem Awakening story has lesson taught to the two main protagonists through experience with the other protagonists. No matter how hard you try to do right by others and support the people you love, there will still be individuals who treat you like shit for completely arbitrary reasons. You should try to do the right thing anyway.
  • My Little Pony: Totally Legit Recap:
  • The short Fallout fan video "Friendship!" parodies this, by teaching the viewers an important lesson about friendship in the wasteland: It doesn't exist, and those who naively believe in it make excellent Human Shields, that have plenty of free money on them.
  • This Bites!: Cross spends much of the fic preaching that "Sometimes Violence Really Is the Answer". Consider this aesop in regards to the Fantastic Racism between humans and fishmen, which is contrasted to the pacifism of Queen Otohime. As Cross lampshades, Otohime would have slapped Cross across the face hard enough to break her own wrist for his underhanded methods. But, on the other hand, Cross's methods work: by calling for violent change and manipulating the baser emotions of people, Cross masterminds the biggest deathblow to slavery the One Piece world has seen in centuries. Meanwhile, Otohime's methods nearly got her kingdom destroyed by Hody Jones, who planned to use it to kick-start a racial war between humans and fishmen — something that is also lampshaded when Cross notes that Otohime's plan was stupid.

    Films — Animation 
  • Aladdin and the King of Thieves: Sometimes people may find it too difficult to change who they've turned out to be, no matter how much they may want to or even it's for the sake of a loved one. They might not be the person you want them to be, but that doesn't mean they don't love you all the same.
  • Bee Movie: Successfully advocating for a cause might actually make things worse for everybody, especially if you don't do the proper research into what you're advocating for or against in the first place.
  • Beowulf: The film posits that stories of heroism are basically lies told in order to cover up questionable or outright shitty behavior, and by the time you realize you shouldn't have told your own in the first place, you'll be too old and filled with regret for it to matter.
  • The Black Cauldron: Taran's character arc contains one: Some people just aren't cut out to follow their dreams.
  • Coco deconstructs the "follow your dreams" Aesop common to children's films. Yes, pursuing something you love is a good thing, but taking it to the point where you'd do anything to achieve it is only going to cause you and your loved ones pain. And sometimes, you have to sacrifice your dream if you have much more important priorities, such as taking care of and providing for your family. Also, be careful who you look up to, as some famous people had to do very unscrupulous things to get where they did.
  • Frankenweenie: It's okay to be "weird" — as long as it's the right kind of weird.
  • How to Train Your Dragon 2: Hiccup learns the surprisingly dark Aesop that some people simply cannot be reasoned with and can only be brought down by violence. This drives his entire conflict with his father, as Hiccup believes he can talk sense into the Big Bad Drago while The Good King Stoick knows better than to even try.
  • Ident: Life is hard and filled with thankless moments, but complete freedom doesn't guarantee happiness either.
  • The Incredibles teaches against Tall Poppy Syndrome and false accomplishments - pretending that everyone is equally special is wrong, because some people really are better at certain things than others, and trying to bring them down to the level of everyone else will ultimately only make everyone worse off. While "be who you are, not who others want you to be" sounds like a fairly family-friendly Aesop, the rather cynical implication is that people, in general, will always tend to envy you for being better than they are unless your superiority is immediately beneficial to them.
  • Inside Out
    • Living a life of happiness, wonder, and simple pleasures without any pain and sorrow is simply unrealistic, everyone will have some bad experiences that shape them for better or worse. Sadness is a necessary part of life that defines moments of true joy and happiness, and growing up means losing some parts of childhood and dealing with these complex emotions. If properly understood, this will make you a stronger person more capable of dealing with frustration.
    • Trying to always live up to your family's expectations can drive you crazy, destroying your sense of yourself in favor of an ideal you're not even confident with.
  • The Little Mermaid: This movie emphasizes that finding the perfect romantic partner for you is impossible. Eric tries so hard to find the mysterious girl who saved him, and fails to realize the redheaded mute combing her hair with a fork is the same person. Ariel finds out that Eric can be obsessive and ignore what's in front of him, but she loves him regardless and he has a good heart. Neither are perfect, but they realize they want to be together despite their flaws.
  • Monsters University:
    • Well, current-societal-attitudes unfriendly, at least. You can be successful without a university education if you work hard and make your way up through the ranks over time. Not really a negative one at all, since it's not as though it's telling people to slack off; while they do make it eventually, Mike and Sulley's path is harder than that of the college graduates.
    • The film also has a more brutally honest message: No matter how hard you try or how much you love and know about the material, there are just things in life you can't do, at least not in the traditional sense, much like the message of Wreck-It Ralph. Accept it, and find where your real talents lie at. This is notably balanced out in that it clarifies that you can still work for the thing you love, but with a different task as Mike never becomes an on-field Scarer, but an assistant and is treated like an equal to Scarers.
    • The film often shows that, yes, cruel people sometimes have a point. Jerks like ROR are correct in pointing out Oozma Kappa lack traditional Scaring build despite clearly being wrong for belittling them. In a sense, this notion drives Oozma Kappa to look further to prove that traditional build is not all there is to it.
  • The Nightmare Before Christmas: You've uncovered a new passion in life and yearn to express this newfound aspect of yourself? Well, think long and hard before you do — you may be making a terrible mistake. Perhaps you should just stick with what you know, instead. Although your new source of inspiration can help you rekindle an old passion if things have been feeling stale lately.
  • Ratatouille: The movie emphasizes that while seeking change is good and improves the world, that not everyone will accept it. Despite Rémy proving to several people that a rat can cook, Gusteau's still gets shut down on the grounds of a rat infestation. He can only make an incremental difference by bonding with the humans who appreciate him.
  • Shinbone Alley: Some people just plain can't be saved from their self-destructive ways.
  • Steven Universe: The Movie:
    • Happily Ever After doesn't exist; there will always be challenges and hardships in your life that you'll have to overcome, no matter how much you don't want them to happen.
    • Sometimes, even when you try your hardest, even with the best intentions, you can't change people, or how they feel. Some people will only change when they put in the effort to change themselves for the better.
    • No one owes you their friendship. You may crave a deep emotional bond with someone, and they might sympathize with you for having a terrible past, but you can't force a genuine connection between two people where there isn't one. This is especially true if you've already hurt them or even tried to kill them.
  • Tubby the Tuba: You may have many failures before succeeding. While this is a good lesson, it can be depressing to see Tubby's failings and his orchestra ridiculing him.
  • Wreck-It Ralph: Sometimes, no matter how hard we try, we actually can't be whatever we want. There are some things about ourselves that we can never change, and that's okay. At times like these, coming to terms with that instead of fighting an unwinnable battle is what's really best for us.
    • Ralph Breaks the Internet: Follow your dreams, but if you have friends or family who are holding you back, you might have to face a tough dilemma to choose one or the other.
  • Considering how Zootopia is a commentary on modern-day prejudices using mammals in place of humans, it was kind of inevitable. The movie shows that everyone has their own personal biases (up to and including the main characters themselves) and some of those biases can be destructive as they lead to prejudice, stereotyping and profiling. While harsh and not really a thing people want to admit, it's how bias works in the real world. However, the blow is softened in the sense that it shows that one can overcome their biases if they actively work on becoming aware of them and moving past them.

    Films — Live-Action 
  • The 'Burbs: At a certain point, behavior and circumstances can be so suspicious and bizarre that "there's probably an innocent explanation" can be dangerously irresponsible (finding actual human remains is probably well past that point). This makes more sense today in the age of "if you see something, say something". Though doing the investigation yourself instead of going to the professionals is a really, really bad idea.
  • Crossing Delancey:
    • From Izzy's perspective: if you try to be an independent-minded modern woman who can make her own decisions on life and love, maybe you shouldn't—your meddling elders may be right after all and you really should be with the nice Jewish guy they pick out, even if he's a lowly, seemingly boring pickle-seller.
    • Or, from Sam's (the pickle seller) perspective: if you're a really nice guy who's genuinely interested in the woman you've been introduced to, be prepared to be dragged though the dirt and feel like a complete schmuck before you can finally end up with her. (Amongst the things Izzy does to him: invites him out on a date just to pawn him off on her best friend; when she finally invites him back to her apartment for some time together, letting in the married neighbour who keeps coming round when he falls out with his wife, and with whom Izzy is heavily implied to be sleeping; third, standing him up on a date because the author guy she's been after tries to woo her.)
  • The Dark Knight: Sometimes it's better to have people believe in a lie if it serves a greater good and prevents widespread despair. When your society's greatest hero turns evil and then dies, lying to everyone that he met a heroic death can be the lesser evil; in this case, giving Gotham hope and keeping dozens of guilty criminals off the streets. The sequel subverts it, however.
  • DC Extended Universe:
    • Early on in Batman v Superman: Dawn of Justice, Martha Kent gives Superman a rousing speech about being a hero, and a symbol, and then abruptly ends it by saying, "Or be none of it. You don't owe this world a thing. You never did." Although it's obvious from the context that what she's saying is "having super powers does not mean you are obligated to be a hero, especially to those who won't appreciate it" and "be a hero because that's what you feel is the right thing to do, not because people demand that you should"; people have had Comes Great Responsibility beaten into their head by superhero media for decades, so it elicits a very strong reaction.
    • The aesop of SHAZAM! (2019) is "Your real family is the people who care about you," which is family-friendly, but early in the movie, a social worker adds a blunt addendum: If someone's not making an effort to be part of your life, give up on them and move on (even if it's the mother that you love). Sometimes, there is no compromising. There are no misunderstandings that can be cleared up. Sometimes you might not even get closure.
  • Dredd: Democracy Is Bad. If people can't learn to live together peacefully on their own, all that's left is the Appeal to Force; the shotgun blast of Ma-Ma's enforcers, or the surgical ruthlessness of Dredd and his fellow Judges. Either way, civilization is held together by mutual self-interest or unreasoning fear; a fear the Judges know all too well how to exploit.
  • Ella Enchanted: When Ella begs Lucinda to take the gift back, Lucinda refuses, insisting everyone loves her gifts. She ultimately says "You don't like my gift? Fine. Get rid of it yourself. Don't blame me for your problems." It illustrates a harsh moral: some people just won't take responsibility for their actions, so the problems they created are now your problem. You have to pick up the pieces yourself.
  • Groundhog Day: Getting the girl will solve your problems. Or "solving your problems will get you the girl." Neither one's all that family-friendly, but the core concept — that you can't move forward without solving your problems — is quite sound. Both assume Phil's problems were solved by getting the girl, which is disproved by the second-to-last loop, when he does get Rita, but the loop continues. In fact, when Phil gives up trying to seduce Rita, and becomes a whole person, he does get her.
  • In the third Halloweentown movie, Dylan (a half-human warlock who Does Not Like Magic) bonds with a girl named Natalie, only to have a minor freak-out when he discovers that her real form is a furry pink-skinned troll. Naturally she's offended and points out that from her perspective, he's pretty weird-looking himself. They eventually make up and are going to kiss at the end of the movie...only to agree that they're Better as Friends, because they each find the other too gross. Despite the general theme against Fantastic Racism in these movies, the point seems to be that physical attraction is an important component in a romantic relationship (with most, that's true, unhappy though such an aesop may be).
  • House Arrest: While most of the parent's issues get happily resolved, Donald and Gwenna do not find any common ground to save their marriage, and in the end they do get divorced. In a movie that mostly plays for escapism for children, Donald and Gwenna's failed marriage shows that in some cases there just isn't any love there and some relationships just aren't healthy, and its best (for most of the people involved, at least) if they part ways.
  • I Shot Jesse James: Even if you stop a definitively bad and dangerous person, people won’t automatically treat you as a hero... especially if they know you carried it out in a very unheroic way.
  • Kiss Me, Stupid: "Adultery can sometimes be good for a marriage, depending on the circumstances of the adultery" and maybe more broadly "Sexual morality isn't always black-or-white."
  • Liar Liar:
    • As good a quality as honesty is, being brutally honest all the time will piss people off and get you into as much trouble as lying all the time.
    • Sometimes lying to someone is better than telling them the truth. As explained by Fletcher when he talks about how a pregnant Audrey asked if she looked fat and he said no, and that if he'd told her she looked like a cow, it'd have hurt her feelings.
    • Max then says "My teacher says that real beauty is on the inside". Fletcher responds "That's just something ugly people say". It's pretty much irrefutable that physically attractive people usually fare better in society and are treated more favorably than average-looking or unattractive people, even if their beauty is only external. The (in)famous scene with the woman in the elevator also demonstrates this.
    Woman: Everybody's been real nice.
    Fletcher: Well, that's because you have big jugs...
  • Manchester by the Sea: Sometimes, grief is something that one has to learn to live with, rather than completely recover from. Even then, that is often much easier said than done. In fact, this is the reason why the film was created in the first place.
  • Marvel Cinematic Universe:
    • In Avengers: Infinity War, the bleakest MCU film to date, both Loki and Gamora agree to hand over Infinity Stones to Thanos because they can’t stand to watch him torture their siblings. Every other character who tries to keep Thanos from getting the Infinity Stones falters in some way that is tied to caring for another person. Thanos, on the other hand, is willing to kill anyone for his cause, and he gets everything he wants in the end. In sum, not giving a damn about anyone but yourself is a strength, because then your enemies can't exploit your love for another person. The Avengers are unwilling to allow Vision to sacrifice his life and try to remove the Mind Stone from him non-fatally, with Steve Rogers even protesting that they don’t trade lives even when Vision volunteers to give his life to prevent Thanos from getting the Stone. It all ends up being for naught because by the time Thanos arrives for the Mind Stone, he’s gathered the other five and is too powerful to stop, and uses the Time Stone to undo Vision’s destruction to retake the Mind Stone. By the next film, the Avengers have become a heroic version of The Unfettered, willing to give their lives at any opportunity if it means helping undo what Thanos did.
    • Spider-Man: Far From Home: This movie takes a serious look at what "great responsibility" means. Peter tries to apply what Tony taught him about knowing when to let adults take charge of a dangerous situation, and it blows up in his face when Quentin Beck gets access to Edith and Fury is unapologetic about endangering his classmates. When Adults Are Useless is at play, true responsibility is stepping up to the plate to save lives no matter how many mistakes you make. You can hate it, but you can still do it.
  • Me Before You: If someone really doesn't want to keep on living, and it's physically painful for them, then sometimes you have to let them make their own decisions - even if it does affect you very badly.
  • Mr. Holland's Opus: The life you are living is what you are trying to do while reaching your dream, it doesn't just begin when you reach the dream itself. Trying to seek perfection is a worthwhile goal but it means that your work may never see the light of day. Mr. Holland's opus only gets performed when he is laid off.
  • Mrs. Doubtfire: Sometimes, divorce actually is the best option for a struggling married couple, especially if children are involved since the couple being apart from each other can help them not spend all of their time fighting one another in order to be the parents that they need to be for their children. Likewise, most couples who get divorced don't get back together. Also, two people who are way too different from one another cannot function together as a romantic couple, especially not in the long run. The original script actually did have them get back together, but with Robin Williams and Sally Field both being divorced, they felt strongly enough to get it changed.
  • Now, Voyager has a lesson hidden within a Mental Health Recovery Arc that simply becoming more physically attractive will not solve all your problems. While Charlotte getting a glamorous makeover helps start off her journey, she still has to work hard on her mental transformation as well as her physical one. In fact, a lot of first act conflict comes from Charlotte being unprepared for the extra attention her glamorous new look gets her.
  • Orange County: Shaun learns the hard way that college is not a guarantee that he'll become a successful writer. He sees that enough students at Stanford party as much as the kids at Orange County, and the writer Marcus Skinner tells him that he doesn't need to go to a top school to build his career. While the college in Orange County is not Ivy-League material, he can do well there because of his skills and drive.
  • Pirates of the Caribbean:
    • The Curse of the Black Pearl:
      • When Jack saves Elizabeth from drowning, the movie launches into a case study of No Good Deed Goes Unpunished, as the act immediately outs him as a pirate, and Elizabeth unsuccessfully tries to defend him over the fact that he's just saved her life. Norrington doesn't even disagree with Jack even though he means that the good deed was merely the cause to be brought to justice for his previous crimes.
        Norrington: One good deed is not enough to redeem a man of a lifetime of wickedness.
        Jack: Though it seems enough to condemn him.
        Norrington: ...indeed.
      • Jack teaches Will that honour is not, in itself, a tool for accomplishing anything, particularly winning a real fight, especially against someone who cares more about winning than feeling good about fighting fairly.
    • In Dead Man's Chest, various characters have the book thrown at them for helping Jack in the first movie because, again, a good man can be at odds with the law.
  • The Princess Diaries: Mia's appearance is a big part of becoming a princess, which is a harsh truth for any public figure. Her original look was fine for a high school student, but being expected to be in the public eye would require her to look more 'professional' (which for women usually means having to look like a supermodel). Lily even lists this standard to live up to as a reason why Mia should turn down the job at first.
  • Pyewacket drops a very dark Aesop on the nature of grief; some people cope with it in different ways, and sadly it's possible for one person's coping mechanism to hurt another. Leah's mother has them move house for a fresh start and, while she is definitely benefiting from it, Leah herself ends up even more miserable than before. So while the movie may have helped Mrs Reyes, it just drove the wedge between her daughter even further.
  • Rambo:
    • Rambo IV: Sometimes Violence Really Is the Answer. Naive pacifistic missionaries try to go into Burma and help stem the violence, after being detained Rambo brought in a group of mercenaries and had to massacre dozens of enemy soldiers in order to retrieve them.
    • Rambo: Last Blood: When Gabriela insists on meeting her father to learn the reason why he abandoned her, John tells her that not everyone has good reasons behind their actions and the world is filled with heartless people who are nothing but absolute scumbags. She finds out the hard way that John was right and she should've listened.
  • Rocket Science viciously deconstructs the popular "try your hardest and you can overcome anything" moral. Some obstacles just can't be surmounted no matter how hard you try. And sometimes you just Don't Get The Girl. Oh, and life isn't fair.
  • Star Wars
  • Star Trek II: The Wrath of Khan opens with the Kobyashi Maru simulation, a test to see how Starfleet cadets deal with an unwinnable scenario, with Kirk the only cadet to have ever beaten the simulation. When asked how, Kirk reveals that he secretly reprogrammed it to make it possible to win, which came from a refusal to admit he might lose. The separation of dealing with an unwinnable scenario and finding any trick possible to win is the core theme of the film. In the climax in the face of complete destruction Spock chooses a Heroic Sacrifice as the only logical solution, which forces Kirk to admit that he's spent so much time "cheating death and patting myself on the back for my ingenuity" meant he never learned the real lesson behind the Kobayashi Maru: how you face defeat is just as valuable as how you find victory.
  • Steel Magnolias: As M'Lynn being concerned about Shelby's pregnancy and the fallout shows, it doesn't matter if you think your child is making a mistake, if you're the parent, if you only mean well, or even if you're right... if your kid is an adult, they ultimately have a right to make their own choices, and you either have to back off or risk alienating them.
  • Stop-Loss: Brandon ultimately chooses to return to the army, despite the horrors in store for him. The Aesop here being that there are sometimes no easy ways out of a bad situation, and the lesser of two evils is the best one can hope for.
  • Terminal City Ricochet: Ace announces to the TV audience at the end of the film that ultimately, it was they who allowed Glimore to take power and that only they can overthrow him.
  • Three Billboards Outside Ebbing, Missouri: Even if you experience a great tragedy, even something as severe as your child being murdered and never receiving closure as to who did it or why, you can't use that as an excuse to let anger and grief turn you into a terrible person.
  • Time Changer: Russell's original manuscript was actually rather progressive (for him), as it advocated being a good person and doing good deeds because it's the morally right thing to do, rather than doing so because of your religious faith. In the end, he's convinced by the "evil" future where people actually follow this and have become more non-religious as a result, that you can only be a good person if you accept Christianity.
  • Tolkien: Artistic ventures cannot survive unless you have friends and family to support you. Otherwise, the journey is lonely. Tolkien started writing in earnest after the war, where his family made him balance his work and pleasure. Christopher Wiseman stops composing, and most of his pieces predate the war.
  • TRON: Legacy: Creating an open and free system that is accessible to everyone isn't always a good thing, because all entities are not created equal, and some entities, when given infinite rights and access, will use them to force their will upon others, and remove their infinite rights and access. Sometimes proprietary is the way to go.
  • Utøya: July 22:
    • There are no safe places left anymore. Tragedy can strike at any time, at any place. Very terrifying, but sadly true.
    • Doing what's right comes at a cost. In the worst case, you die for it. That doesn't mean it's wrong to do so, but you must be aware of the cost.
    • No matter how clever and brave you are, if you are caught in a shooting, and don't have skills useful against attackers, you run or hide ASAP - trying to play a hero will get you uselessly killed.
  • Vice: The Stinger gives the notion that being part of the Lowest Common Denominator puts you in the same league as the people who take their politics way too seriously.
  • The Wrong Man: The cops insist that "an innocent man has nothing to fear from the law". The film shreds that assumption by showing how the legal, medical, and social stigma from being accused of a crime can ruin an innocent man, his marriage, and his family, while also eating his already low income. And ultimately, while the film does end happily for them, said resolution comes entirely from blind luck, and an "act of God". Ultimately, the legal system can and will crush the innocent.

    Literature 
  • Many of the original Aesop's Fables have this trope - in fact, family friendly modern selections of Aesop's Fables have to tactically omit many of the original ones. Some examples include:
    • The Bat and the Weasels: it's sometimes wise to change or lie about your affiliation in order to save your own skin.
    • The Fox and the Goat: don't trust anyone who's in trouble, because they're likely to be using you to get out of it.
    • The Farmer and the Nightingale: never believe a captive's promise and never give up what you have.
    • The Ass and the Lap Dog (and The Eagle and the Crow): just because someone else achieves something good doesn't mean that you can.
    • The Porcupine and the Snakes: be careful who you take as a guest, because they might be an asshole.
    • The Lark and her Young Ones: if something is worth doing, the only one you can trust to do it is yourself.
    • The Wolf and the Lamb: arguing rationally with the powerful is useless, they'll just overwhelm you.
    • The Wolf and the Crane: the higher your hopes, the more likely you are to be disappointed. If you put yourself in danger to help someone, they won't always be grateful and it will be nothing more than a waste of time.
    • The Two Pots: don't hang around powerful people, if there's any mutual trouble you'll get the worst of it.
    • The Man and the Lion: never believe what anyone says in their own defense.
    • The Lion's Share or The Lion and Other Beasts Go Hunting: just because someone wants you to co-operate with them in work does not mean they will give you a share of the reward.
    • The Farmer and the Snake: some people are just plain evil and no amount of building trust will change that.
    • The Ass and his Driver: if someone is determined to destroy themselves, step back and let them, or they'll destroy you too.
    • The Man, the Boy, and the Ass: No matter what you do, someone will dislike it, and trying to change what you do to please everyone will literally make you lose your ass.
  • The final book of A Series of Unfortunate Events had the Aesop of "some mysteries will never be solved."
  • One of the Stock Aesops is that cowardice doesn't pay. In extreme cases, the brave survives where the coward dies (sometimes Driven to Suicide), or alternatively they both survive/die, but the coward is marked forever. So it comes as a tragic surprise that in Bridge to Terabithia, Leslie, who had no fear from the creek, drowns, whereas Jess, who feared the water (and couldn't swim) survives—and while he does suffer, it's not because of cowardice.
  • The Chronicles of Narnia contain the lesson that the real world is a harsh and violent place that sometimes takes a fair amount of violence to survive in. C. S. Lewis was even quoted once as saying that pretending otherwise would do a great disservice to children. Once again, an example of a very true and important Aesop, but one that many parents would rather their children didn't know.
  • In the famous science fiction short story The Cold Equations, the moral is "life is fundamentally unfair." This serves as a deconstruction of stories where the day is always saved somehow, all too often by Contrived Coincidences or Applied Phlebotinum. Enforced in that John Campbell sent the story back to Tom Godwin three times because Godwin kept saving the girl without resorting to either plot device.
  • Courtship Rite borders on Spoof Aesop territory. On a Lost Colony where cycles of famine have made cannibalism common and acceptable, he has a preacher teaching that cannibalism is wrong. At first, the reader may expect that cannibalism is being used as a metaphor, and that we're going to learn an ordinary Aesop about violence being wrong, but in the end, the preacher is forced to learn a valuable lesson: cannibalism isn't so bad, really.
  • Fate/Zero has Kiritsigu Emiya always killing the few to save the many but realizing that even by killing people he deems evil, he'll never create a world free of evil, cruelty, suffering and conflict. So he consults a wish granting device, the Holy Grail, after a long bloody war to get the miracle of world peace. The Holy Grail decides the only way for the world to have peace is for all beings capable of conflict to be dead, so there will be an absence of conflict. Needless to say, Kiritsugu was bothered by the implications that humanity is not capable of everlasting peace. Played With that the Grail had been corrupted such that it would twist any wish it could into a wish for worldwide destruction.
  • Although Friedrich Nietzsche is not explicitly Social Darwinist, his revolt against conventional morality elaborated upon with Beyond Good and Evil, The Antichrist and others engender a rejection of egalitarian altruism and antipathy for the socially disadvantaged.
  • In Harriet the Spy, young writer Harriet learns that sometimes you have to lie to people to help them feel better about themselves so they won't hate you.
  • The works of H. P. Lovecraft teach you that the universe is not just a Crapsack World, but in fact a fundamentally indifferent and horrifying place and only our ignorance of its true nature keeps us all sane.
  • Jackie and Craig: Yep kids, life is vicious, miserable and totally indifferent to your suffering, so be sure to cling to those precious few bright spots for the brief time that they last!
  • Little Women: The March sisters and Laurie all learn that adolescent dreams don't always come true. Meg never becomes rich, Amy never becomes a professional artist, nor Laurie a composer, Jo achieves only modest success as an author (though in Jo's Boys she eventually does gain fame thanks to Magnum Opus Dissonance), and even Beth's simple dream of never having to leave her parents is shattered by her early death. But except for Beth, all the characters do find happiness in the end, so the hard truth is balanced by the message that life can still be happy and fulfilling even without the dreams of your youth.
  • The Lovely Bones is about a fourteen-year-old girl who gets raped and murdered, and remains in the 'in-between' before moving on to Heaven to watch how her family deal with the loss. It puts forth the Aesop that sometimes bad things will just happen to you or your loved ones, and you can't control them. You can however control how you deal with them.
  • Perelandra, the second book of the The Space Trilogy by C. S. Lewis. The plot of the book is that the planet Venus is in the "Adam and Eve" phase and the devil has sent his agent-a man named Professor Weston-to corrupt "Eve." The angels send a man named Elwin Ransom to make sure that Tinidril chooses wisely. In the end, good triumphs over evil, but in an unexpected way: Ransom kills Weston and drops his body into a volcano. This is actually lampshaded by the protagonist, who assumed that the fight would be purely intellectual, that he would win by the sheer force of his argument, and was initially horrified at the idea that he'd have to make the fight a physical one. It was very much a Take That! at the pacifists who opposed Great Britain's military opposition to the evils of Nazi Germany and promoted Neville Chamberlain's appeasement policy, and against the anti-confrontational passivity that was popular in much of the liberal Christian community.
  • The Princess Bride has one in-universe: the narrator notes how horrified as a kid he was, because some events of the story just didn't work out as as they did in traditional fairy tales and adventure stories, and found relief only when he realized that the Aesop was "life is not fair".
  • Starship Troopers: Sometimes Violence Really Is the Answer. Yes, it is preferable and best that you look for a non-violent solution to any given problem. But at the same time, sometimes that simply isn't going to work. Insisting on avoiding any violence once it's clear that a compromise can't be reached is dangerous in itself.
  • Squeakers, a leg-crossingly uncomfortable book about a little squirrel with alarmingly fluttery-lashed eyes, teaches little boys the admittedly important lesson that they have to tell their parents about being molested. The (male) squirrel goes through days on end of hiding the shameful and hideous bald patches on his tail where a neighbor is tearing out fistfuls of his fur on the way home from school every day in exchange for, yes, nuts. Ahem.
  • A lot of Hans Christian Andersen stories:
  • Third Year At Malory Towers has the subplot with Zerelda, a new student who is obsessed with acting and wants to become a famous actress. After getting the chance to play Juliet in class and completely blowing it, the teacher flat-out tells her that she just doesn't have the skill to become one of the greats, and Zerelda learns that when a teacher tells you that your dream will never come true, the best thing to do is give it up for good, instead of improving your skills and continuing to try to achieve your dream.
  • Another classical moral is that having imagination is good. So When The Windman Comes by Antonia Michaelis is a huge subversion, with the moral "imagination, when not strictly separated from reality, is potentially very dangerous—it can isolate you and make you live in fear of imaginary horrors—all the while making you more vulnerable to Real Life. Sometimes, being a skeptic is favorable, even for a child." This is particularly jarring since many other books by the same author actually promote imagination and/or openness to seemingly impossible things.
  • The Dr. Seuss book Thidwick the Big-Hearted Moose completely inverts the Stock Aesop about generosity. For more information, please see this article. But watch out for spoilers.
  • Time Enough for Love and To Sail Beyond the Sunset: Sexual ethics and marriage are little more than social constructs, there's nothing immoral about teenagers having sex, and an incestuous relationship can be wholesome. Just make sure both (or all) parties consent and protection is used (and don't catch anything).
  • Tuck Everlasting: You'll eventually have to die at some point, young or old. Living forever is unambiguously a terrible idea.
  • Shiki has the moral that if things get bad enough, anyone can and will turn into a murderous monster regardless of his or her original personality because most people just care about themselves and their own more than anything else, and that it doesn't matter if you do decide to be selfless and nonviolent because you're screwed either way.

    Music 
  • "Black Tie White Noise" by David Bowie has one, the result of it being written in the wake of the 1992 Rodney King riots in Los Angeles: Racial harmony is possible but don't imagine it's going to be easy to achieve, or that there won't be violence along the way ("There'll be some blood, no doubt about it"). Not a comfortable Aesop, but if history's taught us anything...
  • The music video for Drake's Find Your Love. The song is a positive message about putting everything on the line for love which Drake does in the video to a woman...who's also connected to a gang leader. He crosses the line and attempts to woo her...and he's eventually caught by the gang, beaten and (presumably) shot in the back of the head by the same girl he was putting his heart on the line for. The video ends in a Bolivian Army Ending (the girl could have shot the gang leader) but there is a clear message about how not even love is worth crossing a line over.
  • Harry Chapin's song Mr. Tanner is about a man who runs a dry cleaner and loves to sing, and is an amateur performer in his spare time. His friends convince him to try to become a professional singer, so he throws all his money into a concert performance that... bombs. Critics are terse and dismissive with him, suggesting he'd be better off keeping his day job. Mr. Tanner returns to his home and his job and stops performing publicly. The moral here is "Sometimes chasing your dream fails". If you want to be more blunt, you could phrase it "Loving to do something doesn't make you good at it."
  • Indica's song "In Passing" is about a dead singer telling her sister that her pain will go away and everything passes. Not quite unfriendly until the last few lines where she tells her sister that she also will pass. Extremely true and not something most children are equipped with or taught.
  • The Kenny Rogers song Coward of the County. The song's message implies that for some things, the only course of action is violence, and being a pacifist will only get the ones you love murdered or hurt. The song also implies that filial piety is futile, and you cannot obey your parents' wishes all the time.
  • O.C. Smith's song "The Son of Hickory Holler's Tramp" has a message that being a prostitute doesn't make a woman evil or contemptible.
  • The Who's "Won't Get Fooled Again" is the namer for a trope of this nature which translates to "revolution is futile because the person in charge is always going to make it tough for everyone else". Occasionally, Pete Townshend has put a more positive twist on this as "Don't listen to the boss in the first place. Think for yourself."

    Theater 
  • Death of a Salesman says that "it's okay to stop pursuing a dream if your talents and passions lie elsewhere." In addition to their obsession with popularity, Willy and Biff do not realize the amount of effort needed to achieve their dreams. To illustrate, Charlie's son Bernard works hard to become a successful lawyer and Uncle Ben goes into the jungle for four years to find diamonds and come out rich. On the other hand, Willy and Biff are always looking for an easy way out and hate what they do, and that's why they ultimately fail in life.
  • The musical Carousel and the play Liliom on which it is based contains one of these, personified in the immortal line: "It's possible for a man to hit you, hit you real hard, and have it feel like a kiss." Amanda Palmer did a cover of the song "What's the Use of Wondrin" as a creepy domestic abuse ballad...and didn't have to change a word.
  • Wicked: The message of "Popular", Glinda's "I Am" Song, is that being liked by others will get your farther than merely being a good person. You may think this is only to show what a shallow and pretentious character Glinda starts out as... Except she's ultimately proven right. Elphaba's actions, no matter how heroic and selfless, all fail to change anything as Madame Morrible launches a smear campaign against her and makes everyone too afraid of her to listen to the problems she's trying to fix. In the end it's Glinda who gets the power to dispose of the villains and change Oz for the better, but does she do it by speaking out against their crimes or trying to help their victims? No, she does it by sucking up to them and endearing herself to the dim-witted people of Oz until she has enough power and influence of her own to launch a non-violent coup d'état.
  • In The Wild Duck, the entire cast turns out to be one giant Dysfunction Junction that is only keeping itself together by repressing every one of their hidden sins and weaknesses through willful delusion. When the resident Wide-Eyed Idealist attempts to unravel some of these lies and bring about truth, the result is the suicide of the family's young daughter. As the man who attempted to keep all this under wraps at one point muses:
    Doctor Relling: Deprive the average human being of his life-lie, and you rob him of his happiness.
  • RENT:
    • Using real people in your art is not cool if they don't give you their consent to be in it in the first place or you're exploiting their pain. Mark gets reamed out by a homeless woman after he uses his camera to stop a cop from harassing her because she knows that he only did it to make a name for himself and to minimize his self-guilt for being lucky enough to not be in her situation. She rightfully points out filming her like an animal on the Discovery Channel doesn't solve any of her problems, and then asks Mark if he has any extra money he can give her since that would actually help her (which he doesn't). Afterward, Mark decides to only make his documentary about his HIV-positive friends as a living memory of them but nearly gives up on realizing they aren't art, and they are going to die due to circumstances beyond their control.
    • People are going to change, whether you like it or not, and you may lose your friendships with them in the process. Benny "changes" after he marries Allison and demands rent from his friends, knowing very well he can't pay. After Angel dies, the original group breaks up while calling each other out for their flaws and ignoring Mark and Benny's pleas to stop.

    Video Games 
  • BioShock gives a pretty harsh shot at the common aesop of "Study hard and become a doctor/banker/lawyer/surgeon/white-collar executive" or "You're paid in what you are worth in society". Rapture was supposed to be a city made up of the best and brightest of humanity... but in the end, someone still has to do dirty jobs, such as plumbing, trash-collecting, and scrubbing the toilets because those jobs are what keeps society running. And when you treat these people horribly? Don't be shocked when they happily turn on you.
  • Galloway's arc in Bully focuses on the issues between two teachers: Galloway is friendly and well-liked, but an alcoholic, and Hattrick is a Jerkass who abuses everyone around him and actively exploits students, but calls Galloway on drinking during school. The students, however, don't mind at all (and are shown not to follow his example), because Galloway is a decent guy whose belligerent co-worker makes his life difficult, and Jimmy ends up helping him get into recovery because he needs help, not because he needs to be punished. And all this is on top of the actual authority figures doing nothing to solve the real problems because they think it builds character. Overall, the message is that some adults are too corrupt or too ignorant to understand what is and isn't Harmful to Minors, and bullying isn't just a childhood problem.
  • Freeware RPG The Crooked Man
    • The game follows the main character as he retraces the steps of the previous tenant of his apartment, which align creepily with his own. Each of the people he meets is facing the dilemma of struggling bravely forward, or giving up, on whatever conflict they're dealing with. Invariably, the answer is to accept one's own limitations. There are some things in life that, no matter how badly you want them and no matter how hard you try, you will never be able to achieve; if you don't fit a certain mold, there's no honor in ruining yourself to force it.
    • Another one is that, sometimes, helping the victim can and will seriously backfire, despite any good intentions. Attempting to console the woman will have her instead think that she should bottle it all in yet again, instead of seeking closure and move on. Encouraging the student will make him angry, thinking you're mocking him, which is a huge Berserk Button for said guy. And finally, attempting to negotiate with the suicidal man will get both him and you killed.
  • Dragon Age: Origins is full of those and sometimes lampshades them.
    • At the mage starting quest you get several of them, the most prominent being that guile and trickery are sometimes preferable to trust and altruism.
    • The overarching story in Orzammar delivers the message that a progressive-minded individual who is personally a manipulative, sleazy jerk sometimes makes a better leader than a kindly, democratic individual bound by stagnant social traditions.
    • This even applies to Paragon Aeducan, one of the most venerated individuals in Dwarven history. His decision to ignore the Assembly and lead the Warrior Caste in the defense of the city, prevented the Darkspawn from breaching Orzammar and saved their race from being wiped out. In other words, democracy is all good an well, but when you're too busy arguing to see the enemy about to kill you, a military coup is the only solution.
  • Evans Remains. The game's major aesops as demonstrated through Clover is basically that life can be brutally unfair to some of the best people around, and that immortality is non-existent; all you can do is cherish the time you have with a person before they pass away.
  • Fallout 3. There is a quest called Tenpenny Tower, about a luxurious hotel inhabited by prejudiced humans and a nearby gang of civilized ghouls (a form of monstrously mutated human) who want to live in it. There are three ways to solve this quest — Two of them involve killing either party and being rewarded by the other for it. The final option is, through a lot of tedious diplomacy, to convince the humans to let the ghouls live alongside them, and it ends with the two species coexisting peacefully and happy-happy. Except, a few days later, all the human inhabitants have been slaughtered by the ghouls. Sometimes the oppressed, when presented with the opportunity, can be just as inhuman as the oppressors.
  • In Fallout: New Vegas, there are four possible factions that you can join with: Caesar's Legion, the NCR, Mr. House, and Yes Man. While Caesar's Legion is treated as the defacto bad group and are pushed far into the category of evil, the other three have flavors of what one would call "good" about them while retaining some bad. The NCR are the strongest military, but unfortunately are also heavy on taxes and some settlements crumble under their protection as a result. Mr House definitely has the best assets and can help humanity rebuild, but he's in it for entirely selfish reasons and ultimately he will rule New Vegas under his current policy of "money talks" and leave the slums as they are or purge them, and Yes Man's ending has New Vegas purged of all three other factions and declaring independence, but as General Oliver points out: there is absolutely no infrastructure and will likely crumble with no way to retain its independence. As such, there's the hard truth that there is no golden ending, no happy way to resolve all the problems. Like real life, there's not always a perfect answer, it's just about weighing your morals on which answer you choose and accepting that as the reality of your decision.
  • Discussed in Final Fantasy XV. After completing a quest involving the hunter Dave's aunt Kimya, Kimya tells the party to pass along a message to her nephew- that he should believe in himself and make his own decisions. After finishing the quest, the party discusses Kimya's advice, as well as the fact that she'd had a falling out with her own sister (the former leader of the Hunters) over using methods to fight demons that her sister didn't approve of.
    Ignis: "Do not follow. Trust yourself." Sound advice.
    Gladio: Reasonable enough, if a bit obvious.
    Prompto: Though you could say that's what led Kimya to start a family feud.
    Noctis: How can you trust yourself to always be right?
    Ignis: Not as sound as I thought, perhaps.
  • Mega Man Legends has a terrific one that comes from the villains. After their Last Villain Stand (Or so you think) against The Flutter when they're shot down, Tron apologizes for failing and Tiesel says "Don't worry your pretty little head over it, Tron. We tried our best, but sometimes your best isn't good enough. We lost fair and square. That's life." While it's jarring and not as optimistic as "you can achieve anything", it's also sound advice that not only teaches "you will fail sometimes, get used to it" but also that there's no shame in trying your best and failing.
  • Middle-earth: Shadow of War has two tropes as its main themes: Necessarily Evil and He Who Fights Monsters. Essentially, someone needs to Shoot the Dog... but no matter how necessary the action is, you can expect to suffer horribly and be reviled for it. Summarized neatly in the Arc Words spoken by Shelob.
    Shelob: "How much are you willing to sacrifice?"
  • NieR: Automata has a existentialist theme of "The world is cruel, unforgiving and meaningless, and just the act of being alive in such a world is terrifying, but it's still possible to find purpose in a purposeless world, or find new purpose if your purpose is lost."
  • Palette features a "Just So" Story about the moon, explaining that it waxes and wanes as part of its efforts to match the sun and stars. However, it can never become as big as the sun or as small as the stars, and is constantly changing in a futile effort to maintain either charade. The moral of this story is presented as "Don't try to become something you're not."
  • Papo & Yo has an intentional one, as the game is a thinly-veiled metaphor for the author's relationship with his alcoholic, abusive father.
    Caballero: I heard these beautiful words from [my] therapist: "When someone wants to hit bottom, there's nothing you can do to stop them." When someone is self-destructive or destructive of others and you want to stop them, there's nothing you can do. They're looking for something there. They're getting something out of that destruction, and if you stay with them, you're gonna get destroyed. So the only thing you can do is let them go, and it is the most painful thing you can do in your life.
  • Persona:
    • Both Persona 2: Innocent Sin and Persona Q deconstruct this trope by showing that there are hard truths that cannot be accepted at all and how one shouldn't never be forced to face them.
      • In Innocent Sin Maya never accepted her Shadow as an aspect of herself, making her unique among the series' playable characters who've interacted with their Shadows. The reason is because that would be admitting that she hates her childhood friends and blame them for the Alaya Shrine incident where she was almost burned alive in an arson attack. She instead chose to insist that her Shadow is an impostor created by the conflicting rumors about her involvement in said incident.
      • In Persona Q: Rei also denied her Shadow as it'd be like admitting she lived a short and meaningless life full of pain and suffering that ultimately amounted to nothing. The other characters try to convince her to accept it only for Rei to briefly transform into her Shadow, complete with golden eyes and demonic voice, to tell them off.
    • The central point of Persona 4 is that life is not fair. No matter how hard you work, you're not guaranteed any reward, and others can and will be better than you without even trying, and part of growing up and becoming an adult is accepting that fact. The villain Adachi refuses to accept that, and lashes out at the world he believes he deserves something from by killing. The Investigation Team, all of which do learn this moral over the course of the game, explicitly compare him to a spoiled child throwing a tantrum for not getting his way.
    • Persona 5 has the main message that sometimes society and people are so corrupt and evil that the only way to make real change is to force them, sometimes through unethical means like vigilantism—and while forcing someone to take responsibility for their actions may not be taking the high road, it changes society for the better just as much as if they had decided to do it of their own free will.
  • Phantasy Star IV has a Secret Test of Character that ends with the lesson that negative emotions like hatred and rage aren't evil, they're a necessary aspect what it means to be human.
  • The postgame Eevee sidequest in Pokémon Sun and Moon provides some stunningly harsh and sober lessons about getting older that the game makes very little attempt to sugarcoat. In summation: you will get old someday, and as you do you'll likely have to give up on your interests and dreams from when you were younger and settle for a boring, mundane career as your priorities change to adult things like getting the bills paid (especially if you have a family) as shown by about half of the old trainers involved. There's a good chance your mind (the Jolteon trainer) and body (the Umbreon and Leafeon trainers) will simply start giving out on you as you age, and even if you manage to stave off aging on the outside with cosmetics, your body will continue to age on the inside (as shown by the Leafeon trainer). And finally, you will die someday (the Sylveon trainer already died and the one you battle instead is her granddaughter). The whole sidequest carries the somber implication that as the times go by and new generations take over, it's most likely that your accomplishments from when you were younger will be forgotten and will end up meaning nothing in the long run.
  • While Red Dead Redemption has a few over-arching Aesops, the side quests mostly promote a philosophy of "Be careful doing nice things for people, because it may not end well for all involved". While there are some examples of a good deed having a genuinely good outcome, most do not follow this line of reasoning. Give an inventive aviator the means to create his flying machine? Congratulations, you just gave him the means to fly off of a cliff to his doom. Rescue a seemingly love-struck Chinese immigrant from cruel indentured servitude? Good job, you find out later his "love" is an addiction to heroin. Decide to rescue a mountaineer from rampaging Sasquatch? Nice work, you just single-handedly reduced a peaceful species to a single suicidal survivor. This even applies to minor side-activities, where stopping to help someone on the side of the road can get you either killed or left horseless. While mostly played for the sake of dark humor, the general message is the same; people will manipulate your sense of justice, honor or altruism to deceive you and sometimes the worst thing you can do for a person is giving them the help they seek.
  • Remember Me tells us that painful memories, particularly painful, traumatic ones, are still valuable to us as people because they make us who we are.
  • Sonic and the Black Knight has the message that We All Die Someday, so we should make the most of the time we have left.
  • One of the major Aesops in Tales of Symphonia is about knowing when to quit, and that sticking to your beliefs isn't always a good thing. Lloyd and the Big Bad act as basically a Deconstruction of the Determinator trope, with Lloyd eventually learning that he needs to change his outlook on the world and becoming a better person as a result, while the Big Bad stubbornly refuses to change to the bitter end, even when his own sister, who he was enacting his schemes for to begin with tells him that what he's doing is wrong and he needs to stop.
    • Another aesop is that when the oppressed rise up against their oppressors, they risk becoming oppressors themselves.
    • During one cutscene, it is revealed that Exspheres are essentially the hardened essence of a dead human being and Lloyd becomes enraged at the prospect and tries to destroy his own, only to be quickly stopped by Kratos who points out that these objects are one of the few reasons they're even alive. It's not a particularly happy idea, but in a bad situation, sometimes the best tools you have can come from the worst possible places. Regardless of whether Lloyd agrees or not, he ultimately doesn't destroy his Exsphere, and eventually moves on from the revelation to use it in the best way possible. What we use may not always be a good thing , but it can still be used for good, especially if it already exists and thus can be put to good use. Of course, this is assuming that such a thing is in hands willing to do "good" with it, which ultimately is subjective given the people who made them, the Desians, see themselves as the chosen people carrying on the will of Cruxis against the humans that shunned and harmed them.
    • Tales of Symphonia: Dawn of the New World expounds on Regal's refutation of Mithos' plan to eliminate all racism by making everyone the same by having the human citizens of both Sylvarant and Te'thealla quickly develop a deep-seated hatred of each other, showing that bigotry will always exist in some form or another - it doesn't have to just be about race.
  • Touken Ranbu: Changing history is bad, even if it's for the better. Your personal feelings on historical events ultimately don't matter, the past must be allowed to run its course and you must learn to move on, no matter how painful it makes you.
  • Zero Escape: Junpei's subplot in Zero Time Dilemma basically goes 'Trusting people might fatally backfire on you, but trusting nobody will definitely kill you'. Even when the group he's in starts to actually work together, they do so not out of trust (or even mutual respect) but because they'll die if they don't and nobody has the time to think up a better plan.
  • Far Cry 5: "Being independent and trying to fix everything yourself can make things worse." This is exemplified by both the Deputy and Sheriff Whitehorse and Joseph Seed. The former going in unprepared and trying to arrest him only escalates tensions, while the latter is more obsessed with forcibly converting all of Hope County to their cause rather than minding his own business and taking care of his flock. All of this leads to a war in the region and the deaths of countless people on both sides. All of this leaves everyone distracted and wasting so many resources that, when World War III breaks out and nukes start falling all over the region, everyone is caught with their pants down and only Seed and the Deputy manage to survive.
    • There's also the lesson that our lives are flooded with so much irrelevant information that it's making it harder for us to see the big picture. If you stop and listen to the radio, you can hear many broadcasts about the current state of the world, particularly escalating tensions with North Korea, the Middle east, and Russia, to the point that American citizens are being asked not to travel overseas and that war may be inevitable. This is something nobody in Hope County seems to draw attention or prepare for while they're dealing with Eden’s Gate, a comparatively small conflict that could've been avoided if both sides simply chose to walk away.
  • Doki Doki Literature Club!: "Love and friendship, while important, aren't replacements for therapy." This is exemplified by Sayori, who suffers from severe depression and has managed to keep it secret from the Main Character, her childhood friend, the entire time they've known each other and has never gone to therapy. When he learns this, he can either give her a Love Confession or a Platonic Declaration of Love, which she appreciations...and then wonders why it isn't making her happy. It doesn't help that Sayori, while she clearly has feelings for him, also struggles with extreme self-loathing and feels like a burden on others, something that the Main Character genuinely wants to understand but doesn't know how to help with. Because of this, regardless of the outcome, Sayori ultimately hangs herself.

    Web Comics 
  • Boy Meets Boy ends with the lesson that people change, friendships don't last, and you'll probably have to settle for second best, because the love of your life simply isn't interested.
  • El Goonish Shive had one at the end of "Death Sentence": When confronted with a bad situation, one shouldn't simply decide that the worst outcome is inevitable and plan for that. People should, by all means, try to make better plans so that things might end peacefully and without anyone getting hurt. However, what they need to remember is that sometimes that isn't going to work at all, and in fact their plan might be doomed from the beginning, and so if their plan goes to hell, they should be prepared for the bad ending- but that doesn't mean that they should stop making plans where Everybody Lives. It's a pretty depressing message, though the rather idealistic character to whom it gets delivered does accept it (but not happily).
  • One of the possible endings to Friendly Hostility teaches us that even with the best intentions, you can't force a relationship to last.
  • Jack has a few overarching themes in its stories, mostly centering on the nature of sin, punishment, repentance and redemption, understandable for a comic about Heaven and Hell. One of these is that almost no one is good enough to get into Heaven, and almost everyone who goes Hell will never get out... not because of anything they do or don't do personally, but because Hell itself can screw them out of their chance at redemption.
  • Saturday Morning Breakfast Cereal features in-universe humorous examples. For example, the hare put in far less effort than the tortoise, but still got second place, which is, you know pretty freaking good.
  • Sluggy Freelance ends the "Aylee" Story Arc with An Aesop that you should always stand by and trust your friends, even if there's a very real chance they might destroy all life on Earth.
  • Penny Arcade has one that combines an Imaginary Friend with a Precision F-Strike.
  • Walkyverse has "Morals mean diddly squat without experiences to back them up... which is a license to screw around and do stupid things".

    Web Original 
  • In Dragon Ball Z Abridged's rendition of Android 16's pep talk to Gohan before he goes Super Saiyan 2, it goes from an understanding speech about how it's not wrong to fight for what you love, to 16 viciously ripping Gohan apart for acting like he's the only one of the cast who suffers, and for rigidly sticking to his pacifist principles instead of doing the right thing.
    Android 16: Cell was right, you think you're better than everyone else. But there you stand, the good man doing nothing. And while evil triumphs, and your rigid pacifism crumbles into bloodstained dust, the only victory afforded to you is that you stuck true to your guns. You were a coward to your last whimper.
  • The Aesop of "Why Lying is OK!" by Matthew Santoro is that some lies are necessary for society to function, and that always telling the truth is a bad thing.
  • A recurring aesop in Mister Metokur videos is that sometimes the people who make fun of you do legitimately have a point when they mock you, especially if you engage in behaviors that are self-destructive in nature or ones that incur harm in others (such as pedophilia or zoophilia).
  • Discussed at length in The Nostalgia Critic's "Top 11 The Simpsons Episodes", where he names "Bart Gets an F" his favorite episode of the show, in large part, because it's the rare piece of pop culture that's brave enough to teach "Failure is an unavoidable part of life — and we all fail sometimes, even when we try our very hardest." He argues that this is one of the most important lessons that anyone can learn, but admits that it's rarely used as An Aesop in pop culture because it's so much more uplifting to show a protagonist succeeding through hard work. In the same episode, Critic discusses this trope when naming "Homer's Enemy" one of the 11 best episodes of the show. He sums up the episode's moral as "Sometimes bad things happen to good people for no reason, and sometimes dumb people are rewarded more than smart people", but argues that the episode is brilliant because it faces such a grim message so unapologetically, and manages to make it surprisingly funny.
  • Red vs. Blue: After all of the shenanigans of The Blood Gulch Chronicles, Church takes a moment to reflect on how he's learned that it's wrong to hate people based on arbitrary political or military delineations. Instead, you should strive to "despise people on a personal level." Obviously, it's not necessarily a great moral, but it still rings true to an extent in that one should not mindlessly hate just because they were told to.
    Church: You should hate someone because they're an asshole, or a pervert, or snob, or they're lazy, or arrogant or an idiot or a know-it-all. Those are reasons to dislike somebody. You don't hate a person because someone told you to. You have to learn to despise people on a personal level. Not because they're Red, or because they're Blue, but because you know them, and you see them every single day, and you can't stand them because they're a complete and total fucking douchebag.


Alternative Title(s): Family Unfriendly Aesop

Top

How well does it match the trope?

Example of:

/

Media sources:

/

Report