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Animation (or at least those not associated with business logo's) has the reputation of being a frivolous medium suitable primarily for the children's age ghetto.
Once television animation became associated with children, the producers of animated shows began writing down to their presumed audience, which made animation outside of the age ghetto less profitable than animation inside it.
These days, the ghetto appears to have almost completely collapsed, due to the successes of anime and such shows as South Park, Family Guy, The Simpsons, Rick and Morty, and Futurama, though these show's reliance on Vulgar Humor has led to a new misconception that all animated shows for adults are self-consciously tasteless comedies. The cartoon advertising mascot Joe Camel was the subject of heavy controversy throughout his ten-year existence, because various anti-smoking activists believed that the campaign was targeting children. In 1989, Anthony Hopkins narrated an animated awareness film for charity, showing what happens during the annual pilot whale hunt in the Faroe Islands. According to the BBFC's archives, there is a difference of two seconds in running time between the two versions (the U version ran for 1 minute but the PG version ran for 58 seconds) and they were also released under different names; the U version was called 'Scream' and the PG version was called 'Faroe Islands'.
Anime, with its extension to extremely controversial topics such as horror and Hentai, is often cited as the reason for the annihilation of the Animation Age Ghetto. The case for Anime and Manga when dealing with the Animation Age Ghetto (without trying to deal with All Anime Is Naughty Tentacles) is as laughable as it is sad considering that so much anime that the West knows (shonen, almost completely)- while considered safe for kids or teens in Japan - could end up with R ratings in other countries, and yet countries such as Mexico, who are still deep inside the Age Ghetto, refuse to see it any other way than 'if it's drawn, it's for kids, even if there are exposed penises, exposed breasts, on-screen decapitations, and cluster F-bombs.' Anime is what students of the Age Ghetto (for and against) use to prove that there is, in fact, an Age Ghetto. Another factor is Values Dissonance between the Anglosphere and other cultures: The idea in Japan, France, The Netherlands etc.
One of the reasons AKIRA was such a groundbreaking film was that it helped Anime break out of this in the West. Space Adventure Cobra: In Puerto Rico, a Sunday Morning Kid's show aired four episodes of the Anime series, even though it features skimpy outfits, suggestive scenes and dialogue and people getting holes punched through them by Psychogun blasts. France used to have no problem with broadcasting shows like Fist of the North Star or Space Adventure Cobra in a time slot intended for kids; Dragon Ball Z used to in the 8 am or 10 am slot on TF1 back in the 1990s.
In the UK, Science Ninja Team Gatchaman (dubbed and titled G-Force: Guardians of Space) was a Saturday Morning Cartoon complete with assassination, monsters that only ate women, and some fairly spectacular violence. Speaking of Evangelion, Peruvian TV station America Latina aired it back-to-back with Pokemon during the children's hour. In the American "Making Of" featurette for Princess Mononoke, the actors go on and on about how the film was not what they expected, and how it was deep not just for animation, but for actual movies as well.
Pokemon itself falls squarely into this trope, which is a frequent point of criticism for older audiences (including fans of the Pokémon games and other media). In its earlier days, Pokémon's head writer Takeshi Shudo made a conscious effort to subvert this trope. A Portuguese TV channel aimed at kids, SIC K (the K standing for Kids), frequently airs some less child friendly anime alongside the friendlier one the rest. For a better contrast, there's another Portuguese channel of the same type, Panda Biggs, aimed at (obviously) at older kids (10-15).
For some time after the conclusion of Evangelion, when he was trying to make it as a director of "serious" films, Hideaki Anno lamented the death of the age ghetto in Japan in several interviews & cited the abundance of adult anime fans as proof of Japanese culture's degeneracy. This trope is why all manga published in Italy includes the disclaimer "The characters depicted in this publication are all of age, and besides, they don't really exist, they're simply drawings" — because someone protested about people getting hurt or killed and sexual content in a "children's book". The Animation Age Ghetto in Mexico is so strong that if it's animated, then it's automatically for kids even if it's the first chapter of Elfen Lied! Most 30-somethings in Mexico grew up watching Caballeros del Zodiaco (Saint Seiya) and Dragon Ball Z during their childhood or early teens, despite the former having way too much Gorn for a "kid's cartoon" (of course it isn't).

Averted like bloody hell with the Mexican Spanish dub of Dance in the Vampire Bund: You know, a series infamous for having a underage-looking vampire as the main protagonist who had a crush with her more older-looking were-wolf bodyguard and she gets undressed many times, that the American version was edited because of that. Anything considered safe for children can potentially be licensed out for merchandise, which is nearly guaranteed to sell; shows can even be 30-minute commercials, FCC regulations permitting.
Before Internet access became widespread animated short films (which in general have mature themes) were only available in universities that catered towards that specific field, but the internet helped many artists to publish those projects for a mainstream audience.
Yes, there are pure kiddieville films made, but if you want to make the big money in that field, you must appeal to adults at some level. The campaign was only intended for adults, but there was genuine evidence that more children were aware of the Camel brand because of the ads; in any case, Camel bowed to the controversy and retired Joe in 1997.
Despite the extremely disturbing visuals of screaming whales being harpooned, eaten, and the leftovers dumped on the beach to rot, the film received a PG rating (see below) in Britain simply because it was a cartoon.
Any anime that isn't acceptable for kids and not set on a network that plays such stuff uncensored- or is acceptable for kids to an extent and has to be excessively censored- will suffer this. While this trope is subverted for their comedy titles, it is sadly played straight for most of their Anime titles. Kazuto's mother complains to him when he shows his girlfriend a magical girl anime series because, according to her, "cartoons are for kids".
It was by no means the first mature anime, but it was the first to receive enough attention outside of Japan (for a few decades, it was the only animated feature to make it into The Criterion Collection, back in the days of laserdisc).
This show sometimes has someone dying, bleeding to death, dismembered, etc., every other episode. In France, they have no fewer than three French dubs, all from the same company: an uncensored one for adults based on the Japanese version, a mildly censored one for teenagers, and a heavily censored one for small kids based on the English dub.
When the first Big Damn Movie was released, Shudo stated that he made the movie to entertain both children and their parents and guardians, and that he'd be "embarrassed" to hear from parents who'd only see the movie to take their kids. They occasionally switch between Darker Than Black, Fullmetal Alchemist Brotherhood, and Death Note, while it airs Dragon Ball consistently, two episodes a day. Still, the most they get is Fairy Tail, Pokemon and, Justice League Unlimited which, while not Anime, serves to prove a point here. He seems to have changed his tune somewhat in recent years, as he has gone back to working on anime. Two children try to rent an anime named Ninja Scroll that, due to its nature, is not a "family film". Maybe that was why several shows like Ranma ?, squarely and completely for teenagers, were aired on the kids' TV slot during The '90s.
The net effect of this is that now many parents consider most of these cartoons as acceptable to their kids, as this is what they watched when they were kids.
One could think the Mexican version could used the American version, since it's safer and cheaper than the original Japanese version: They used the uncensored Japanese version instead. In recent years, American bookstore chains started attaching slim sign disclaimers onto the Manga shelves with messages like "Some of these publications are not suitable for children", warding off any Moral Guardians that may complain about Yaoi Genre comics in the "kid's section". However, in some regions of the world, such as Mexico and other Latin American countries, the ghetto is still alive and well. Similarly, anime aimed at adults was limited to science fiction conventions and college campuses, but now has a worldwide following. And then, as part of a campaign to get it played in front of Where the Whales Came, it got re-rated to a U. Anime remains a hot button issue in the debate over the Age Ghetto thanks to the fact that Anime is adult and was never in the Ghetto to begin with, and that it only enters the Ghetto when dubbed to other languages.

However, that particular aspect is not Age Ghetto- it begins with Bowdlerisation and continues from there. In addition, the Japanese concept of the Christmas Cake (which states that a woman is old once she reaches 25 years of age) clashes with the American P?do Hunt. These days, a lot of Western people view or even expect ''all'' anime as being on that end of the maturity scale, though. This led to rather awkward dubbing from the voice actors, who had a hard time making the constant violence appear light-hearted, and to some protestations by parental associations. One can't help but wonder which dub they intended to aim at the Periphery Demographic, not to mention what said demographic consists of. Of course, he was talking about the Japanese version, and this was promptly thrown away when the movie was released internationally. You'd almost think Popcultural Osmosis about its content would have protected it from this kind of bullshit by now. Slightly mitigated as most Portuguese parents today had grown up with shows like the aforementioned Dragon Ball, and, thus, they aren't as strict about what counts as acceptable. So thus he has to allow the kids' dad to come in to rent the film and he complains about having to come in "Just so they could rent a cartoon".
However, manga is treated differently and is accordingly separated by those comic bookstores selling them. Barnes and Noble outlets have moved the manga and comic book sections farther and farther away from the shelves of children's books over the years. Hence, while a fan of Moe is considered a social outcast in both Japan and overseas, liking moe is simply geeky in Japan, France and Belgium but appallingly immature in North America and the United Kingdom.
Still, Akira may be found on display in some stores at the "Kids" segment, right next to SpongeBob SquarePants, thanks to employees not reading the box. With the recent rehabilitation of animated media (greatly due to an exponentially increasing fandom of anime), much work has been put in making over the dubbing; anime is now viewed as a full-blown genre with its own specifications. In fact, Shudo wanted the entire series to serve as a family anime and appeal to adults as well as children, but Executive Meddling prevented him from using the Parental Bonuses he wanted (even though they made their way into the early undubbed movies). When they go home and actually watch a little of the movie, the father quickly comes back to castigate Gord for letting his kids rent "pornography". To put this into perspective, ten years ago, the Sailor Moon manga was shelved with children's novels like The Magic Treehouse series. Voltes V, Mazinger Z, Daimos) in the country, however, helped weaken the Ghetto; Voltes V, in particular became a nigh revolutionary totem for Filipinos against the Marcos regime.
All together, the prevalence of anime and manga with a cute aesthetic causes anime fans in North American countries to appear immature and childish. Yet, censorship dies hard; Bowdlerisation still happens when the show's intended audience is too wide.
Yet to this day, despite a solid otaku and comics community, the Ghetto stubbornly refuses to fade outright into irrelevance.

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