That something or other is convoluted or unconvincing is one thing, but that doesn’t mean it is necessary to speak of its being “stupid” or question the staff’s own education. The need to be offensive is what gets me, not so much your points with which I can somewhat agree or, in any case, respectfully disagree.

Finally, you may not want to “excuse” anything, that’s your own opinion…but those circumstances are a real fact which did affect the show’s production and planning, in contrast to your mention of “remedial courses”, which is either unnecessary or simply an insulting jab at the staff.

But again, I don’t think this matters, really. I just wanted to point out that not everyone simply laughs and smiles at such colorful language.

Also, the writing that led up to Shirley’s demise was weak, forced and unconvincing. It’s hard to accept that Shirley would suddenly want to join the Black Knights after all that’s happened, and Sunrise essentially wastes a genuinely dramatic scene with some screwball writing. I admit, the death scene itself was genuinely sad, but the events that laid down the foundation of the scene was almost insulting to Shirley’s tragedy.

My third pet peeve is some of the jumps of logic in character behavior in the series. The two that pop to mind are, firstly, Lelouch’s massacre of the Geass Cult and, secondly, CC’s final lines of the show (assuming that Lelouch is in the World of C). After Shirley’s demise, I do realize that Lelouch was upset, but I wonder why he would generally induct that all Geass cult kids must die because Rolo is psychotic. It’s a brilliant and perhaps necessary strategic move, but it’s really an unprecedented maneuver that’s both unlike Lelouch (and carries a disturbingly small amount of weight in his future decisions). My second complaint is about how CC can be so happy after Lelouch kicked the bucket. I do realize that in fiction, some sort of “happily ever after “is in order, but I cannot fathom how CC can suddenly just come to terms with her loneliness.

In regards to the “circumstances beyond the staff’s control”, I do sympathize as a Code Geass fan, but I really cannot forgive them because that would require me to forgive the production staff of Berserk for having such crappy animation and the production staff of Dragonball Z/Naruto/Bleach/etc for having to create so much filler. Production companies need to create the best product they can with what they have. Lack of funding, source material, or magical, time slot changes are no excuse.

But seeing his comment above, I do think the Ashford episodes/sequences and the China arc did serve the overall narrative, even if slightly or moderately so, respectively. That would be more than just “lulz”, which too often seems to be the one thing to focus on at the expense of everything else. Not that the show itself doesn’t feed that angle, as it obviously does, but that’s not all there is.

Also, the reset arc was imposed by outside pressures and circumstances beyond the staff’s control or even their original plans.

Talking about widespread “stupidity” or saying the writing staff supposedly needs “remedial courses” without even acknowledging this other side of the coin feels like too much of a cheap shot. Again though, this goes back to my earlier complaint about the language employed.

I will leave it that. Good evening/night/etc.

@gaguri: I guess it depends on how much credence you want to give to what the staff say rather than what they do. I mean, they say the ending is cut-and-dry, but when you watch it, there’s no doubt that it’s ambiguous and very likely deliberately so. If they’re not going to be consistent with this, then I guess you can also take what they say about Lelouch’s death with a grain of salt if you so please. Not me though, I’m 90% certain he’s dead and I’ve given my reasons.

@SM: That’s actually a good point. There were a lot of frustrating loose ends. That’s one of the big reasons why I never could never forgive F/SN. It’s a fair point, but, well, I haven’t changed my mind. :p

@KR: It’s a series that divides people, but that’s what insanely popular series tend to do. I’ve actually sort of seen it as 2008′s Haruhi, as far as how it’s impacted the online anime community (or the anisphere… ugh, what an awful word).

The reason I levy the “because I say so” argument so heavily here is because I’m fine with the convention so long as it feeds into something. However, when the writers use a plot device, they better have something worthwhile to discharge it, or I get really pissed off. For instance, I am willing to accept whatever the hell happened to Charles in that one episode because it led to “All hail Lelouch” and, ultimately, Zero Requiem (though not the cop out explanation of Marianne). But things like the reset arc, the comedic romps at Ashford, the China arc, Gino, Anya, et cetera… they were all useless in the larger narrative, and they really only existed for the lulz. Now, aside from the action episodes, the typical episode of R2 was indeed bold, daring and original, but I can’t forgive Sunrise for opening so many doors that really are insignificant to the overall point, especially since virtually everything in the first season built up to “LEEELOOOOUCHHHH!”