As the first decade of the 2000s unfolded, moé became increasing popular and recognized, invoking a commercial interest in manufacturing and exploiting moé. As this process occurred, moé evolved from being a non-sexual desire to hug, love, and protect to being a sexually sublimated fascination with cuteness. Moé shifted entirely from a two-way interchange between character and viewer to becoming distinctly a characteristic of particular characters or a focused fetish of viewers. Particularly anime including K-On, Lucky Star, and Moetan deliberately revolved around adorable, whimsical, clumsy, early-adolescent girl characters in order to evoke, enflame, and manipulate the interests and affections of viewers. These characters no longer evoked moé feelings; they were literally moé characters – not characters that naturally and unconsciously evoked a paternal reaction from viewers, but rather characters that were the physical manifestation of the defining characteristics of the moé movement. These girl characters were adorably cute, just a bit sexually appealing, and self-conscious but not yet cynical. They demanded notice and adoration from viewers rather than passively earning adoration and protective feelings.
At the same time moé was hitting its peak and beginning to evolve, it branched off into a parallel variety of moé, the pandering to particular niche fetishes. At least as early as 2002, the G-On Riders television series had consciously featured girls who wore glasses, to appeal to the “meganekko” fans, but the trend became more pronounced beginning in 2005 with anime that focused on satisfying one particular viewer obsession, for example: Kore ga Watashi no Goshujin-sama (moé for French maid outfits), Strike Witches (military moé), Higurashi no Naku Koro ni (yandere moé), Mayoi Neko Overrun (waitress uniform moé), Macademy Washoi & Asobi ni Ikuyo (nekomimi moé), and Upotte! (assault rifle moé).
—John Oppliger, "Ask John: What Are the Defining Moé Anime?", 28 May 2012[20]