>>903
tl;dr: you get away with more plot contrivances if your characters are stupid, because people hold smarter characters to higher standards.
>>904
This too. It's not exclusively a Japanese problem either. After the first few trend-setters and ground-breakers, most of the people playing in that field afterwards are no longer thinking in terms of how to make a good narrative or craft an interesting and compelling storyworld from the ground up but are instead thinking in terms of how to do the cool shit they've seen others do before them but "better." The resulting lack of attention to detail and lack of understanding of what it means to create quality content as opposed to imitate and expect quality to emerge as a result of following the formula is what leads it being a derivative, shallow work. They all feel creative doing it, but when you use the methods of others as a crutch then the result will be a crippled experience.
You don't have to try to be unique or differentiate to be creative. You just need to understand the mindset of creating the genre and story for the first time and you need to be able to approach your production that way. If you don't ask those questions ("what is this story about?" "what kind of spirit am I tapping into that should resonate with audiences?" "how do I make sure the audience experiences the impressions and themes I intend?" "how do I make the narrative add up well?") and build it out based on its premises rather than the genre's conventions as if that'll indirectly answer all of it, you're doomed to stupid, shallow, derivative, and lazy execution even if you try to insert a unique twist on the concept or something.
But man do sales & marketing hate that sort of approach. You can't predict creativity as well as a derivative approach, so they're often the natural nemesis of creative design.