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  • Love Hina is frequently cited as the codifier of many tropes of the Harem Genre of Eastern animation. Except, from the very beginning, it subverts or deconstructs a lot of tropes that would become commonplace in the genre.
    • Quite early on, hints are already given that the protagonist Keitaro will pair up with a girl in the end. Even before hints are given, half the cast don't develop romantic affection for Keitaro at all, and the few that do are less interested in romancing Keitaro himself and more with shipping him with their chosen love interest for him.
    • Rather than having every girl fall in love with the protagonist as soon as they see him, or being indifferent to him at worst, half the girls in the show hate his guts when they meet him, believing him to be a pervert, including exploiting this for blackmail and trying to get him fired.
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    • Keitaro is an adult instead of a teenager, so the plot primarily takes place in an inn instead of a school. And while he is studious, it's at the college level. Half the plot involves Keitaro trying to pass entrance exams to enter Tokyo University, and rather than everything going well, he fails the exams the first time he tries, and has to reapply himself to do better next time.
  • Astro Boy:
    • The example on the main page is from the manga. Thanks to his sophisticated storytelling, a lot of Osamu Tezuka's work is like this. It's difficult to convince people that Pluto isn't so much a darker and edgier version of the tale as it is a mere perspective flip.
    • This seems to be common with remakes of Tezuka's work. Some viewers are surprised to find that the original source material is often just as dark, Art-Style Dissonance aside.
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    • As an example, the Astro Boy arc, "The World's Strongest Robot" (of which Pluto is an adaptation) unbuilds the concept of Power Levels: when Astro worries his 100,000 horsepower output isn't enough to stand up to Pluto's 1,000,000 horsepower, not only does Dr. Ochanomizu refuse to upgrade Astro's motor, he points out that brute strength isn't everything. Sure enough, Astro's tiny frame and flexibility allow him to destroy a 2,000,000 horsepower robot from the inside — after that robot effortlessly thrashed Pluto.
  • Future Diary is credited for popularizing the Yandere trope, but it shows what it takes for someone to become a yandere and the effect they have on others. The yandere in question, Yuno, had Abusive Parents with high standards for their daughter, locking her up in a cage when she didn't do well in school. After killing them in retaliation, Yuno became extremely lonely, which is why she gravitated towards Yukki. This unhealthy obsession for Yukki eventually led to his own Start of Darkness, becoming more unhinged as he started growing closer to her. Unlike most yanderes who came after (and most likely were inspired by her), Yuno was genuinely mentally ill, not just a Clingy Jealous Girl taken Up to Eleven.
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  • Fist of the North Star was one of the first shonen Fighting Series and played tropes common to later entries realistically. Life would be extremely messed up for an ordinary person in a world where all the real power is wielded by a relatively small number of people, and that power is not financial or political, but militaristic. Democratic government is essentially meaningless since no union of ordinary people can stand against the might of a lone badass. Because everyone knows that violence is the force that drives the wheel of civilization, fights occur constantly, and everyone with a bit of ability wants to claw their way as high up the badass scale as possible, whether for the sake of protecting innocents or enforcing their own will on others. The only genuinely powerful people who have any interest in being in charge are usually megalomaniacs and/or sociopaths. Governments tend to be either tyrannies, or farcical constructs whose laws can only be adequately be enforced by sympathetic vigilantes and a few Knight Templar civil servants who butt heads with them at every opportunity. Countries are constantly in flux between the two as evil overlords are dethroned by good guys, replaced with ineffectual governments, and conquered again by new bad guys.
  • Galaxy Express 999 in its various incarnations is a very pessimistic account of prospects for The Singularity, despite coming out in 1978, nearly a decade before Vinge introduced the term.
  • Go Nagai:
  • Ashita no Joe heavily emphasizes the dangers of the boxing world: Joe is forced to undergo Training from Hell to have any chance of qualifying for even the lowest-ranked matches, a regimen that is only harsher for Rikishi, who forces anorexia upon himself in order to lose enough weight to fight Joe in the bantamweight ranks. This measure ends up disastrous for Rikishi, as it ultimately ends up killing him after his long-awaited match with Joe, combined with an unlucky blow to the temple and him hitting his head on the ropes during a fall. Rikishi's death traumatizes Joe, inducing a phobia of delivering blows to the face, and it takes him a considerable amount of time and three straight losses to get over it. During the chapters leading up to Joe's championship match with José Mendoza, it becomes increasingly clear that Joe is suffering from punch-drunk syndrome, which is severely impairing his ability to fight; in the end, Joe not only loses the championship bout, but also passes away from his injuries immediately after. Sounds like a harsh deconstruction of the Determinator trope and sports manga, doesn't it? Well it couldn't be, because the manga ran from 1968 to 1973, making it one of the earliest contributors to the genre. Another thing to note is that the manga started and ended long before the issues it touched on were common knowledge; most people wouldn't even become aware of the health effects of boxing until Muhammad Ali's appearance at the 1996 Olympics.
  • Skull Man has all the trappings of a '90s Anti-Hero, complete with killing numerous people just for the hell of it. And yet it also does a good job of pointing out the protagonist is murdering relatively innocent people and by his own standards, he'd have to kill every person in Japan to accomplish his goals. It also originated in 1970.
  • Neon Genesis Evangelion:
    • Rei Ayanami was the creator of the Rei Ayanami Expy. She also happens to be a deconstruction of the archetype, as she is a Came Back Wrong under-aged clone of the main character's mother and is inhabited by the soul of an Eldritch Abomination that goes on to destroy the world. She's a significant victim of a Misaimed Fandom, as she was intended to fall directly into the Uncanny Valley, only coming this close to climbing out of that valley before plummeting back down into the depths, even creepier than she was before. However, since the initial uncanny valley was fueled primarily by her enigmatic nature, the fans' interest was piqued. Even after The Movie ended the series and made Rei suddenly not so cute anymore, she remained, and to some degree still remains, the queen of waifus — a symbol of the Otaku's disinterest in real women. Rei is also thought to be a prototype of modern Moe... and she is also a deconstruction of it for much the same reasons. A particularly odd example of the trope being played with is the Rebuild films, where Rei's character was shown in a highly sympathetic light in the first two films, before being replaced by a different Rei in the third film, who also is much more in tune with her portrayal in the original series, and this time most viewers see Rei Q as exactly as creepy and inhuman as the original was meant to be seen the first time around — possibly the result of audiences used to something like a decade and a half of The Theme Park Version of her character.
    • Gendo helped popularize the Manipulative Bastard, but he's also a deconstruction of the archetype, being portrayed as a deeply screwed up man who has only become ruthless because of a Dark and Troubled Past and the loss of his wife. In the end, he gets effortlessly Out-Gambitted by Rei, who steals the role he had planned for himself and gives it to Shinji instead. Most other examples do not ever really get distracted much in their plans and if they are main characters, they get portrayed positively, often absurdly so. The idea that a Manipulative Bastard could actually be taken care of in an unexpected way is usually unheard of.
    • Kaworu is the archetypal White Hair, Black Heart character, but he’s only a villain because he’s SEELE's trump card and the final Angel Shinji has to kill. In reality, he’s an extremely nice and selfless person (manga version aside) who cares for Shinji and allows himself to be killed by him, all without a single ounce of hatred.
    • Asuka Langley Soryu is widely considered one of the Trope Codifiers of the Tsundere character archetype, also showing a much more realistic portrayal of these sorts of characters than many of her imitators. The show makes it clear that her "harsh" actions towards Shinji do little to help his already low self-esteem, and her inability to portray her feelings for him without it coming across any other way only leads to the two becoming an ineffective Battle Couple. In addition, this front is done to cover up the fact that she is deeply traumatized over her mother's suicide, with said mother having gone insane and treating a doll more lovingly than her actual daughter. Indeed, her character shows just how screwed up someone with a tsundere mentality towards other would be and how damaging it is to both the character herself and her love interest.
    • The series predates Love Hina above, but could easily be read as a deconstruction of the Harem Genre. We have an Unlucky Everydude (who even looks a lot like the generic harem protagonist) who is surrounded by attractive girls and women, in an environment riddled with sexual tension and plenty of tease and raunchy humor. But Shinji's uncomfortability with the proceedings and hormonal nature are increasingly not Played for Laughs as the series goes on, and pretty much every revelation in their relationships just makes them look weird, creepy, and unhealthy. Rei has no interest in Shinji and the pairing itself is revealed to be sort-of incestuous, Asuka's tsundere nature is shown to be rooted in outright hatred rather than a misguided crush, and Misato's interest in Shinji is portrayed as somewhere between messed-up maternal instinct and outright pedophilia. All things aside, Kaworu ends up being Shinji's healthiest relationship (only ending due to circumstances beyond either character's control); if you were to do a harem series today where the clearest Official Couple was a homosexual one, it'd be seen as very subversive.
  • Comparing Sailor Moon and the Magical Girl Warrior genre it inspired:
  • Saint Seiya:
    • It popularized the Rescue Arc as well as the convention of having a sequence of enemies impeding the heroes, but it also deviates heavily from later versions of it. The Gold Saints were above the level of strength Seiya and company could bring to the table and the battles were often determined by outside forces intervening.
    • It also established early on that Made of Iron was not the default state. The whole point of the Cloths wasn't just for a Transformation Sequence or to give the wearer superpowers; the Saints need them because for all their flashy and powerful attacks, their bodies are still that of a human's. Not to mention that from all those fights, they need to be repaired very often.
  • For all the flak it takes as the pioneer of modern shonen franchises, many don't realize how big of a Deconstructive Parody Dragon Ball always was.
    • The protagonist Goku is not the noble Idiot Hero one would expect from a typical manga of its genre; his motivations are purely selfish, with nearly everything he does being a means of getting stronger, and while he is willing to lend a helping hand to people in need, his final goal is always something for his own benefit; the nobility he has a reputation for was far more emphasized in the anime than in the manga.
    • Also, while Goku is famous for codifying the Idiot Hero in Shonen manga, he isn't actually an idiot so much as being very naive, a lot of his strangeness coming from ignorance of the world around him due to his upbringing; he was raised in a forest, far away from modern civilization and spent most of his early childhood living by himself among wild animals thanks to the death of his adopted grandfather. Because of this, he isn't aware of the kind of knowledge or social norms that most of the other characters (and the viewers) see as a rule-of-thumb, and it's Master Roshi who teaches him basic skills like reading, writing, and arithmetic. The series also makes a point of showing that, when it comes to battle, Goku is a genius level prodigy, able to come up with new training techniques himself and think up clever strategies while fighting, making it an unintentional subversion of the Attack! Attack! Attack! method of fighting a lot of characters he's influenced rely on (though Goku himself is definitely no stranger to this method, as the series is also famous for its Rapid-Fire Fisticuffs). And lastly, while shonen heroes are known for their large appetites, Goku's Big Eater tendencies are a trait that all Saiyans share, with it being demonstrated that no human could possibly eat such huge portions (though it is worth noting that Toriyama didn't come up with the whole Saiyan thing until later).
    • Highly powerful techniques/forms like the Kamehameha and the Super Saiyan transformation are widespread among the general cast, rather than being exclusive to a single character or a select few for the sake of emphasizing their importance.
    • invokedDespite being the Trope Namer and Codifier for Power Levels, the whole idea was a concept meant to illustrate how inaccurate and frivolous it would be to try and numerically quantify someone's fighting ability, according to Word of God. Numerous times, the villains end up losing because they miscalculate the ability of their opponents by their power levels alone, not accounting for skill or tactics, or the fact that the characters learn to recognize this and trick their opponents by hiding their power. Overall, a lot of what Dragon Ball is best known for can actually be considered an unintended parody of its imitators when looked into nowadays.
    • It codified the Shonen Tournament Arc but subverted it long before other shows did. While most tournament arcs end with the main protagonist coming out on top in the end, Goku actually loses the first two and forfeits the last two (three if the Cell Games are counted). Master Roshi even tells him and Krillin that participating in the tournament is just another part of their training, and that winning isn't the point at all (and, in fact, he also entered the tournament under an alias to keep them from winning, so they wouldn't come to believe themselves above everybody else in fighting skill). This last point especially sticks out considering how the protagonist of another shonen anime that started right around when DBZ originally ended is often reduced to a laughing stock among viewers for his frequent losses.
    • The manga also pulled one of these on itself: when Goku first confronts the shapeshifting Oolong, the latter constantly stalls time by taking on bigger and more powerful-looking forms to try and intimidate an increasingly impatient Goku (who just wants to fight the guy), only to run off because Oolong in actuality is very weak and can only hold a form for five minutes at a time. This is from the same series that would later become infamous for having copious amounts of padding and inaction sequences as a result of its anime adaptation.
    • Dragon Ball Z is also often considered the Trope Codifier for Super Mode transformations in any further series (and many other Shonen series as well) with the Super Saiyan transformation. However, what many people forget is how much an enigma it was originally. When Goku first achieved it, he specifically told Gohan to get as far away as possible because he was afraid he would lose control and end up harming him in the process, and Goku was far more ruthless when he first achieved it because of its power. Even after the transformation undergoes Uniqueness Decay, it still proves to be a challenge for the characters to effectively master, taking them a great deal of time and effort to use the transformation without letting the rage needed to activate it take control. This isn't even getting into the more 'advanced' forms of Super Saiyan. Although they tend to get mocked because of the sheer ridiculous hair growth they cause, many forget that even the more famous Super Saiyan 2 and 3 were shown to be incredibly inefficient in battle later on in the series, often burning through the fighters' ki too quickly to justify the power boost it grants. If the villain could survive the onslaught from these forms, the fighters were essentially screwed. Even in Dragon Ball Z: Battle of Gods and Dragon Ball Super the Super Saiyan God form is shown to be flawed, with Goku barely being able to maintain it for a few minutes before it fades away. The only real benefit it did was give Goku his own natural godly ki, and even that is shown to be not enough to stop an actual God. Even when you achieve a new tier of power, it doesn't mean you'll always win. Even Super Saiyan Blue is stated by Word of God to not be its own separate transformation, rather being Goku (and later Vegeta) channeling his god ki in a stabler form through the base Super Saiyan transformation.

      In fact, its unbuilding of the Super Mode transformation started all the way back near the start of Dragon Ball Z with the Kaioken. It has the same behaviour as a super mode, but unlike later ones, it has something that is almost never touched upon: the side effects of pushing one's body past their limits. The Kaioken may offer the user a significant power boost, but the body react in the way you'd expect from suddenly gaining a large amount of muscle tone and power — with incredible pain. Simply activating the higher tiers of Kaioken almost leaves Goku paralyzed and he was specifically warned to never go past times two because of this; he pushes it up to times ten and the side effects of it are readily apparent. Even a simple pat on the back from Yajirobe leaves him screaming in pain and, as mentioned above, Goku had to spend months in a hospital recovering from pushing himself too much. He later stops using the technique after becoming a Super Saiyan, since the latter transformation offers more power with less harmful side-effects, and combining the two would have even more dire consequences; even in Super, where Goku manages to combine Kaioken with the Super Saiyan Blue transformation, it's shown to have terrible side effects. Goku offhandedly mentions it has a ninety percent chance of killing him if he can't pull it off, and extended use of the two together ends up throwing Goku's ability to control his ki completely out of whack, forcing him to spend time recovering from it as a result. Not even a Senzu Bean can help speed up the recovery process here.
    • The series also subverts the Plot Armor seen in a lot of the shows inspired by it. Despite the Dragon Balls constantly making death a quick fix, it doesn't change the fact that characters actually die, and often. When all is said and done, most of the opponents they face are extremely dangerous Hero Killers, and just because it's the main protagonists facing them doesn't mean they're any more likely to survive than other characters in the series. If not for the Dragon Balls, a good portion of the cast would be long dead by now, including Goku. The results of this are emphasized in Future Trunks' timeline.
    • Goku is almost always the one to defeat the main villain in every arc, and winds up being one of the most powerful characters in the series (if not the most). Naturally the rest of the cast come to rely on him a little too much. It gets so bad that the other characters are unable to catch up, getting slaughtered in Future Trunks' timeline specifically because he's not there to save them (he succumbs to a heart disease). Not only is he aware of this problem, but he also takes steps to avoid it; starting with the Cell Saga he willingly takes a back seat, while still helping his friends, just so they'll learn to handle their problems without him, and starts looking for a successor, initially choosing his firstborn son Gohan, then Goten and Trunks, and later Uub. This is the reason he trains Gohan to fight Perfect Cell, instead of doing it himself, and naturally everyone is shocked. Given that the series (chronologically) ends with Uub becoming his apprentice, it's unclear whether this attempt at a successor works out.
    • Vegeta is the codifier for The Rival in shonen manga... and it's also shown that his inability to catch up, and Goku's habit of constantly surpassing him even when he does in particular, are what ultimately drive him to pull a second (and brief) Face–Heel Turn. All those years of resentment and anger at being second best to The Hero pushed him to his breaking point, causing him to make a Deal with the Devil, play right into their hands and essentially doom the world, solely in exchange for enough power to finally beat Goku.
  • Barefoot Gen shows how brutal society in Japan could be after the bombings; after Grave of the Fireflies, it gets worse off from here.
  • In a similar way to the aforementioned Gendo, Haruhi Suzumiya popularized the idea of overpowered Reality Warpers. The series also spends a lot of time demonstrating how ridiculously dangerous Haruhi's powers would be: she very nearly destroys the universe several times, without even knowing she's capable of doing so. Her self-serving powers have also caused her to become an unbelievably self-centered jerkass, and it takes her a long time to begin growing out of it.
  • Pokémon is one of the most famous examples of the Mons genre, popularizing it even more than the games. But earlier seasons, especially the first episode, deconstruct the whole Pokémon experience:
    • Ash Ketchum in the early seasons is an example of what happens when you let an inexperienced and ignorant child into such a world. In the first episode, his incompetence gets him laughed at, and at worst, nearly get him and Pikachu killed. Criminal organizations, like Team Rocket, weren't bumbling nuisances but were very real threats to him. Two of his most powerful Pokémon (Pikachu and Charizard) were very disobedient because they didn't respect such a hapless kid. He didn't earn half of his badges in the intended manner of defeating a Gym Leader in battle, instead usually getting them by doing favors for the leader or stopping Team Rocket. He doesn't end up actually facing his rival in their first tournament because he lost before Ash and he doesn't actually win said tournament either, due to laziness and bad luck. Sure, Ash eventually became a good trainer through his loyalty, tenacity, courage, and love, but it took a while to get there.
    • Other early episodes deal with other problems with a Pokémon world, like abandonment (Charmander's first appearance), disobedience (Pikachu in early episodes, the aforementioned Charmander shortly after it evolved), crime (not only the omnipresence of Team Rocket's Pokémon-stealing operations, but even groups of Pokémon themselves committing crimes like the Squirtle Squad, as well as the episodes in and around the Safari Zone implying serious problems with poaching), and the origins of Mewtwo, which are a tragic and frightening example of the experimentation that can exist in a world with the kind of technological advances as in this series.
    • Mewtwo's portrayal in the first movie, in particular, can come across as a pretty sharp indictment of many aspects of Mons series. The treatment of a highly intelligent and powerful creature as a primarily subservient entity and a means to an end (like in the games, where Mewtwo is a Bonus Boss and a Purposely Overpowered fighter) by humans is precisely what turns Mewtwo into a villain, more than a decade before the source material would question if the concept of Pokémon training was ethically right in Pokémon Black and White. And while Ash's sacrifice destroyed his vendetta, he still felt lost and alone in the world.
    • Pokémon 2000 had the first villain who went after Legendaries, predating Team Magma and Aqua. His goal was much different than other examples, merely looking to collect Zapdos, Moltres, Articuno, and Lugia. Plus, merely capturing one of them was enough to throw the weather completely out of balance.
  • JoJo's Bizarre Adventure mostly avoids New Powers as the Plot Demands in favor of enemies being Puzzle Bosses. Each "Part" is essentially a standalone Story Arc with a new main character, but occasionally keeps old characters as the plot skips generations, challenging the Competence Zone. The author even intentionally sought to avoid the Sorting Algorithm of Evil, since it requires you to either infinitely escalate or occasionally reset the status quo in a way that's not satisfying. For example, in Part 3, he chose a location (Eqypt) as the protagonists' main goal so that progression could be shown through them getting physically closer after defeating every enemy instead of through every enemy being explicitly stronger than the last. Araki also avoided the stereotypical Tournament Arc for similar reasons. Each of these things might sound like a reaction to a chain of Shōnen Fighting Series about young main characters fighting increasingly more powerful enemies with the stakes growing out of control, but the series was created on the heels of Fist of the North Star, and ended up making and codifying many of the genre tropes itself.
  • Urusei Yatsura predates both the Magical Girlfriend genre and the Harem Genre as we know them, but looks like a Deconstructive Parody of both genres now that they're established. Ataru is a Jerkass Harem Seeker and unabashed pervert who wants every girl except the one girl who can actually stand him, and the number two girl actually does the smart thing and books out of their relationship fairly early rather than putting up with Ataru's games. On Lum's part, she likes him being lecherous but wants a bit of that lechery for herself, is a hot-tempered woman who's not above using Shock and Awe to punish him when his gaze strays too far. Furthermore, Ataru actively wants nothing to do with her, at least at first, and thinks of her as more of a pain in the ass rather than a Love Interest.
  • Ranma ½:
    • It has elements of the Harem Genre before it was really a thing, complete with an Unwanted Harem. Despite this, it's mainly a martial arts series. And there's a big emphasis on "unwanted", especially in the manga, as the only one Ranma wants is Akane, while most shows have the hero grow to love the Harem. And even then it's never resolved, apart from a confession Ranma later denies.
    • Akane is usually cited as one of the Trope Codifiers of the Tsundere. Critics and deconstructions of the archetype usually cite how unjustified such behavior is (namely that such a person would have to be somewhat imbalanced and could easily cross the line into Domestic Abuse), but in the manga, Ranma is portrayed as a bit of a jerk, with Akane's actions coming across as justified (or at least understandable) in most cases. It also examines why she's a tsundere: she suffers from deep insecurities and had to deal with a lot of frustrations (such as Kuno) even before Ranma and his father came to the Tendo Dojo.
  • .hack//SIGN is basically a deconstruction of the Isekai subgenre of fantasy, of stories where the main character, often a social loser, gets trapped in an MMO and gets a very OP skill in the process. Well, except that it came out years before the anime of other Isekai stories like Sword Art Online or Overlord came out and became popular. Tsukasa starts the show such a miserable jerk that few people actually want to spend time with him, and those that do eventually become his friends are put off by his cold demeanor. His OP power is his guardian, which can one hit kill any enemy or player. But having such a power makes him hated by the playerbase at large for being a cheater, so he sometimes has to deal with people trying to kill him for that. And beyond that power, he isn't a powerful character at all. His class is a support class, so when properly playing the game, he is only good for healing and buffing his allies who do the actual fighting. And his ultimate character arc is finding something that he wants to live for after they find a way to get him out of the game he's stuck in, not finding meaning in the game itself.
  • Digimon Adventure, in addition to being the first Digimon anime series, also introduced the Ultimate/Mega form to the masses. Unlike later series, where it's treated as the fully evolved form, in Adventure it was essentially a special form only a few Digimon could attain, and only under very special circumstances: Vamdemon/Myotismon resurrected himself twice to achieve both of his; Agumon and Gabumon got theirs from a prophecy and fusing together; Leomon was exposed repeatedly to Digivice energy; Etemon revived himself using the energy of the Dark Network; the Dark Masters were created by another Ultimate; Apocalymon (said creator of the Dark Masters) was composed of the data of Digimon who failed to Digivolve; Paildramon was powered up by the Four Holy Beasts/Harmonious Ones; and said Four Holy Beasts were basically deities. Such treatment would today usually be reserve for Super Ultimate/Ultra Digimon, and even that's rare.
  • Hunter × Hunter seems like a heavy deconstruction of Shōnen series from the 2000s such as Naruto and Fairy Tail, with its profoundly messed up mentor figures, an extremely consequential power system that screws its users over as often as it helps them, insinuation that a setting full of mercenaries with supernatural powers who are the de facto highest authority in said setting might be a bad thing, and its deconstruction of the idea of turning enemies into friends, but it debuted in 1998, before almost all of the series it reads like a response to.
  • Tenchi Muyo! has the definitive example of an Unwanted Harem, and arguably the first. But to many modern viewers, it can seem like a deconstruction. Tenchi Masaki is literally an Unlucky Everydude - he is both a Butt-Monkey and a Nice Guy. Being a Nice Guy means he's too ethical to abuse the girls' affections, let alone Marry Them All with any kind of speed. Also, every one of the girls is both jaw-droppingly gorgeous and a prime example of a certain fetish... but they're also actual people with all the complications thereof. As he's a Butt Monkey, those complications threaten his life - along with the entire planet and occasionally universe - on a regular basis. Manic Pixie Dream Girl Ryoko? A space pirate with a price on her head several dozen orders of magnitude greater than Earth's combined GNP. The princesses? Elegant and refined Aeka is a bossy, prudishly-repressed proto-dominatrix, while adorable homemaker Sasami is a little girl who happens to be the avatar of one of the three goddesses who created the universe, and they're both half-sisters of his grandfather. The cute lil' Mad Scientist? She's really 20,000 years old, is the mother of the Space Pirate, she wants him anyway, and she's another of the three goddesses who created the universe. Oh, and according to Word of God, the third goddess wants in as well. There's also two Galaxy Police Detectives; both are interested, but the sensible one is Married to the Job and the other is an absolute ditz who clears cases mostly through blind luck. The ditz is also the grandchild of the Mad Scientist's disastrous first marriage.


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