After reading the first post of this thread, I very much wanted to make top tens of my own on that subject, but came to an awful realization: I haven't actually watched ten series for every year. Part of this is due to time and laziness, but it's also partially because I'm just not as likely to finish a series that doesn't completely have my full attention. So instead, I figured I would just count down my top ten for the decade so far, and to make up for not doing one list for every year, I've also written a few words about why I selected each anime that I did. Unlike Morc, I've elected to also include anime from 2014, with the exception that it has to be a completed work (So no
Mushi-shi.) There are also a lot of anime I haven't seen but I one day plan on viewing, so the list may be updated at some time in the future. So here we go, best anime, that I've seen, of the decade, thus far.
Honorable mentions:
Samurai Flamenco,
One Week Friends,
Fractale, Psycho-Pass10. Kids on the Slope (2012)I was very conflicted about what, exactly, should go on this list, and the number ten spot was the hardest of all to decide. The final choice ended up being between a few very good shows, but what was it about
Kids on the Slope that got it the last spot on the list? I will answer it in but nine words:
the concert scene, the concert scene, the concert scene. In all seriousness, this is a subdued but enjoyable storyline about love, friendship, and finding happiness, set to the smooth passion of jazz music. While high school is a common backdrop for anime, this one stands out by taking place in the 1960’s, a time period seldom explored by the medium, and jazz is still even more unusual, not being something one normally associates with youth in Japan, of all places. But if there’s one duo who can take that distinctive sound and make it anime, it’s director Shinichiro Watanabe and composer Yoko Kanno, and they nail it. Watanabe’s works always have a certain quality about them that just feels more real than other anime, and this one is no exception, grounding the viewer not just through facets of the setting, but through the emotions and mannerisms of the characters, given just a bit more detail than what most other directors give us. The jazz itself is done brilliantly, working in probably the best use of rotoscoping I’ve ever seen. All these wonderful elements come crashing together to form this one very excellent manga adaptation, exemplified in the aforementioned concert scene, which can best be described as the work’s quality condensed into a few beautiful minutes. For music fans, or anyone looking for a high school friendship story that stands out from the crowd, this is an obvious watch.
9. From the New World (2012)There are some shows that are brilliant just because of atmosphere alone, and many settle for that, but then there are series like this, that start with a distinct and wonderfully crafted world, and don’t even begin to stop from there. As I have already touched on in my review thread,
From the New World is a deeply scary show, even though it cannot really be called horror. Using tone, emotion, and setting, the series exudes a feeling of bleakness, despair, and dread. The action heavy scenes are great on their own, doing an excellent job at showing the weakness of the protagonists without making them completely helpless against the monsters and enemies they come up against. Far more effective is when the dangers are left unknown, when the world itself is the villain, and nothing is clear except that whatever greater truth is out there, is not at all a kind one. It’s a common tactic used in stories aimed to instill fear, to take advantage of the fact that what one doesn’t see is more scary than what one does, but this does it exceptionally well, because it’s not about mere scares, it’s about putting the audience in a mindset, and making sure they stay in that place even after the story is over. When
From the New World is most horrifying, however, is during the parts where the unknown comes not only from the external, but from not knowing whether the main characters, and by extension the audience that’s expected to relate to them, are just as monstrous as what they face. As if mastering tone wasn’t enough, this series tackles themes and subject matter that most anime, especially those on television, don’t dare approach. While
From the New World does have the luxury of using a fantasy setting to talk about touchy subjects, it makes up for it by handling them in a different way, pushing the audience to find the answers on their own, rather than just reading us the moral outright. Dark, contemplative, and yet fantastical all at once,
From the New World is an experience with a real lasting power.
8. The Eccentric Family (2013)Like the previous title,
The Eccentric Family is heavily reliant on atmosphere, but in a completely different way. In adapting Tomihiko Morimi’s novel to animation, P.A Works took full advantage of Kyoto as a setting, filling every frame and backdrop with life and color, keeping true to the real life city while also having a very distinct visual style. From the streets to the vibrant, lively nature to the rich culture and mythology, this anime feels very much alive, even if it does spin a tale beyond the realistic. But, aside from the fact that this is a fantasy show where the main characters are transforming raccoon people, this is less a fairy tale quest and more a story about a family trying to survive. What makes it all come together is the amount of heart and passion possessed by the characters. Nobody is without motivation, and every line or action has a drive behind it. Many of the characters fit the classic family archetypes, but in a way that’s not at all infuriating. There’s the strict, honorable older brother, but over time we learn he’s the way he is because of not only his loyalty and respect to his father and household, but out of a genuine need to look after his younger siblings. There’s the unmotivated loner, who’s self-imposed isolation is just as sad as it is pitiable. The main character, while claiming to want a carefree life and nothing more, can’t help but care immensely about those around him, even when the reality of his feelings conflict with what he knows they should be. Even the father figure manages to be an interesting and developed character, despite being dead before the story opens. The series contains a lot of dense amount of dialogue, much of it musing on various aspects of life, family, survival, and love, with each of the cast having their own feelings on what these things really mean, but it never feels unnatural, because it’s true to who they are. Even when the relationships are most strained or complicated, the bonds deep at the center at it all are still there, and feel all the more true because of the conflict. All around a fantastic story about family, with all the struggles and emotions that implies.
7. Terror in Resonance (2014)It’s Shinichiro Watanabe and Yoko Kanno again! I wouldn’t be giving the pair two spots on the list if they didn’t earn both of them, and
Terror in Resonance certainly matches that criteria. It also helps that this show is radically different from
Kids on the Slope, displaying in full force the director’s versatility. In this genre, keeping high levels of tension are vital, and in
Terror in Resonance, they’re maintained masterfully. Watanabe starts the series in a bold direction, not pulling punches even in the first episode, and continues ramping things up until the climax. Much of the tension is brought about by how much keeps changing. Power shifts between the major players, secrets are brought up and revealed one after another, and the rules can change on the fly. What this all leads to is a thrilling game of wits, in which nothing is ever all too certain. Beneath all this surface excitement, meanwhile, is a much deeper political tale, with strong thematic implications. These elements play off each other constantly, and both are all the better for it. The more daring themes are carried just as much by the subtleties in character and design, and tie directly into the main storyline, adding something far bigger than a mere criminal/detective chase. The characters and backstories are heightened, with the heavy drama spilling into almost every aspect, but because they’re grounded in issues that very much matter right now, everything can still be understood on a personal level. Interestingly for a story of this nature, the most exciting, intense moments come not during the action-packed chases, or huge climatic moments of danger, but from the quiet, focused scenes, where the full weight of the circumstances are given plenty of opportunity to sink in and carry the story. The best example of this comes from a scene in a late episode, in which a character attempts to disarm a bomb on a ferris wheel. Dialogue is sparse, and the scene is locked onto one location with the characters being relatively still, but just the visuals, writing, music, and setup creates an atmosphere that spins a narrative all by itself. Despite its short length,
Terror in Resonance is exciting, with consistently high stakes, and incredibly smart writing.
6. The Tatami Galaxy (2010)Masaaki Yuasa is one of the most intriguing names in anime today, in part, but not only, due to his apparently refusal to make anything that looks the same as anything else. If one defines anime by any singular appearance or technique, then it can be argued that he’s challenging the very concepts of what anime even is. The colorful, fluid style he uses in
The Tatami Galaxy is definitely eye-catching, and you couldn’t mistake a single frame as being a part of any other series. Though the story takes place in our world, albeit with a few supernatural twists, the weird visuals and storytelling match perfectly with the tone and narrative. The imagery blends well with the main character’s inner thoughts, and at once puts the viewer in a different mindset than they would be in if the art was a more direct representation of reality. Of course, if it was only noteworthy for style, it would hardly be worthy of being on the top ten, but the writing in
The Tatami Galaxy is just as good as how it looks. A good thing too, due to how
much of it there is. There’s an abundance of narration and soliloquy in the series on behalf of the main character, to the point where much of it is spoken very quickly just so there’s enough time to fit it all in. This would be irritating, if it wasn’t for the fact that every word of it is worth paying attention to, containing clever rants and contemplations, as well as amusing descriptions of this college student’s life, which is far more unusual than he seems to think it is. The plot is something that has been seen before, the standard
Groundhog’s Day-style storyline, but it’s presented to us in a way that makes it feel entirely new. Using repetition and detail to its advantage, the anime ponders questions of fate, how even the most simple of actions can change our lives, and the really important things that stick with us. Everything has so much life, and is shown in such dynamic ways, that even the most simple and familiar scenes can feel strange, and like we're seeing them for the first time. The humor is also not anything to be scoffed at, with plenty of witty lines and inherently funny scenarios.
The Tatami Galaxy is a comedy with strong ideas behind it, and a college story unlike any other. It’s also not one I’m going to forget any time soon.
5. Bunny Drop (2011)Even though it is, at heart, a slice of life story, grounded in character and perfectly calm from beginning to end, there’s still something distinctly magical about
Bunny Drop. It’s not a particularly complex plot that does it, for sure. In fact, that may be what gives the series its lasting quality. There’s no great drama to be overcome, no forced conflict, no challenges beyond the most basic need to adapt to new circumstances. What makes it compelling is just the characters, and the connection they share. There’s a real bond between the two leads, Daikichi and Rin, and though their situation comes as a surprise to the both of them, by the end it’s as natural as that of any parent and child. Through Daikichi, we experience Rin seeing the world, learning and growing, with all the milestones and little struggles that entails. There’s a distinct joy in even the simplest of things, and that shines through in both characters. That being said, it doesn’t exactly sugarcoat the situations either. There are plenty of anime that are cute for the sake of being cute, with enough adorable stimulation to ensure that the audience can feel emotions without having to think too hard, and this isn’t that. Taking on the role of parent, particularly in these circumstances, has a notable effect on Daikichi’s life, his career, and how others see him. The world isn’t as kind or accepting as he is either, and right from the outset it’s established that the selfishness and rigid mindsets of society can have an averse effect on all of us, even and especially those still to small to understand them. Everyone has flaws, some of them having a lasting impact, which comes from how complex people are. Still, it’s that complexity that allows someone as outwardly aloof as the protagonist to step in and fill a much-needed role in a little girl’s life, and a family to grow to care for someone they had initially viewed as only a problem. Wherever difficulties appear, support isn’t too far off, and the sacrifices are never really sacrifices at all, for what comes as a result is so very worth it.
Bunny Drop is love, condensed into eleven episodes. I don’t think there’s a better way to say it than that.
4. Steins;Gate (2011)It’s rather common in anime, and even more common in visual novel adaptations, to have the protagonist be a sort of everyman, someone as indistinct as possible, so that they could make all manner of decisions and open up multiple different routes, and no matter what they do the player would still be able to put themselves in that position. This is why it’s really refreshing when a story like
Steins;Gate enters the picture. Not only is the main character a distinct person with a strong personality, but the series absolutely revels in it, making his development the primary thrust of the narrative. Over time his character, which even at the beginning is massively entertaining, is tested, prodded, and challenged, and broken, with all aspects of his psyche given due consideration, and are changed in ways that feel worthwhile. We aren’t just given a mad scientist, we’re shown where the madness comes from, and the humanity underneath. The supporting cast adds to this as well, growing in their own ways. Not all the characters are entirely original, with some familiar archetypes being used, but even when they are, the ways in which they’re examined and fleshed out go beyond most portrayals of those types. It’s this skill in character writing that makes the series go forward, even when much of the plot takes its time in getting to the big dramatic moments. In fact, it’s these calm moments of simple interaction that add the most to the overall quality of the series, as they ultimately make the heavier parts much stronger than if the story was a race to the next plot point. The plot itself is a great use of the time travel device, perhaps one of the most thought out in anime. Even though the possibilities of time travel are much less here than they are in more fantastical stories, the implications and potential of the technology nevertheless feel huge, and are examined in a way that’s both meticulous and fascinating. This is true on both a scientific and a personal level for the characters. There’s a real mental pressure felt by every choice and failure made, and the series does an excellent job of showing the emotional strain of reliving the same tragedy over and over again. Some moments even succeeded in making me choke up a little, which isn’t something many shows can do. ANN currently has this listed as their most highly rated series, and honestly, I can almost see why. There’s a lot about it to like.
3. Kill la Kill (2013)I’ve talked about this series plenty already. To be more specific, I’ve written roughly 16 articles with
Kill la Kill as the subject on Our Inked Obsession, and I’ve commented on it a number of times in various threads here and elsewhere. And yet, there’s still more about it that I think is absolutely worth noting that I haven’t begun to mention. I could, perhaps, discuss the characters, who are all great and memorable, or I could discuss the story, as fast and full of twists as it is, or I could talk about the action and style. That’s especially a big point to mention, as they’re among the most prominent features. The fights are so full of flair and personality, even if one hates everything else about the series one cannot deny the passion and effort that went into that specific piece of it. However, when I list it as one of my favorite series of this decade so far, the first thing that comes to mind is the deeper message of the story, and how so many have argued that there isn’t any at all. Many have called this series meaningless and mindless fanservice, still others went further and called it straight-up exploitation. Some have found interesting thematic insights, while also suggesting that the way women are treated invalidates those themes. I’ve read some very interesting opinions from people who think that the way the female characters are written is subversive and revolutionary, some who say that the characters are sexist caricatures, and others who say that the strong, unyielding aspects of the main characters are excuses for that sexism. In showing what it did, in the way it did it,
Kill la Kill has stirred passionate opinions, made people angry, inspired debate, exposed deep-seated belief, forced people to take sides, and made others question where they really stand. At this point, questions like “is it good” or “were any messages intended” slowly become irrelevant. Regardless of whether or not it’s a good show,
Kill la Kill is, without question, an important show, that absolutely needs to be seen and talked about. As for my own thoughts, I think there are too many indications that the series was made with a deeper message in mind to possibly think otherwise. It’s common for fans today to forget just how bold and experimental anime could be back in the earlier days, in regards to art, theme, and the maturity of the subject matter, and how much has been lost in favor of playing it safe for a wider audience. Much of what
Kill la Kill does calls back to that time. Specifically, it pays homage to the works of Go Nagai, in particular his explicitly sexual works, which were made with the mindset of rebelling against what he called Japan’s “shame culture,” to break free of their reserved, conservative standards by doing the exact opposite.
Kill la Kill resembles that rebellion in spirit, but takes it a few steps further. That often-debated line, “the fact that you are embarrassed by the values of the masses proves only how small you are,” may be directed at a puritanical nation that demands a specific standard for women and calls it progressive, but if so, it’s in equal measures an attack on the shameless male viewers who look at the female form with lust and nothing else. Rather than be fanservice for the sake of fanservice, it takes sexuality and makes it normal, something to be embraced, and never something to shame someone with. Transformation sequences and quick visual gags aside, often the scantily-clad forms of the protagonists often aren’t even given that much attention at all. Mostly, it’s drawn as though the near-nudity was an afterthought, and when it’s not, it’s forced down the viewer’s throat in a way that makes them reexamine what it is they’re even looking at. If that doesn’t send a message, I don’t know what does. On top of it’s themes on sexuality,
Kill la Kill is also the obvious conclusion to two other works director Hiroyuki Imaishi worked on,
FLCL and
Tengen Toppa Gurren Lagann. It further continues
FLCL’s reflection on growing up and self-discovery, while giving more focus to
Gurren Lagann’s moral of not being afraid to stick out, and be proud of who you are, even if the world tells you not to be. And hey, even if I’m completely wrong, and
Kill la Kill is just exploitation, it’s still damn good exploitation.
2. Puella Magi Madoka Magica (2011)Some might say that this is the “obvious” choice, an all too easy anime to place near the top of lists such as these. And that, I say, is completely right, but for good reason. When this series came out, it caused a huge stir, dominating discussions and exploding in popularity. Every year has a big hit of some form, but it really takes something more than a run-of-the-mill series to be as recognized as this is. I think what really stirred people’s attention was how unexpected it was. After all, “magical girl series by Gen Urobuchi” isn’t exactly something you'd expect to hear. Any series that can subvert people’s expectations so much, and introduce them to possibilities they had previously closed themselves off to, has already gotten my attention. For better or worse, it’s the kind of series that creates audiences, and challenges perceptions, but that alone isn’t why I value it so highly. What strikes me the most about
Madoka Magica is the dedication and commitment that went into it. It takes a certain level of guts, to set up a story as being one thing, expect those watching to follow along, and then completely flip the initial concept on its head at the end of the third episode, while still trusting the viewers to stick with it to the very end. While the story doesn’t stay in one place for very long, however, it never feels like any of the twists come out of nowhere, or are meant for cheap drama. Everything that happens serves a theme, and has it’s purpose in the grander plot. The story is a tragedy as much as it is a magical girl-styled fairy tale, but like all great tragedies, all the misfortune that befalls the heroines happens as a logical result of their own faults, at which point they are required to either learn from them, or fall because of them. The emotional lows can be quite painful, particularly because of how innocent and vulnerable most of the characters are, but because they are who they are, these feelings are absolutely understandable, and it makes it so much more satisfying when their inner strength shines through. For, while it may be dark, like all great fairy tales, there’s always an undercurrent of hope, even at the worst of times, and even though the situations become oppressively bleak and much has already been lost, it’s still worth trying to make things better. That’s a fantastic moral to put at the end of any story, and because it comes from a writer like Urobuchi, it feels all the more earnest. The animators and directors do an amazing job at pulling you into the world they’ve created, with both the bright, happy “normal” setting and, far moreso, the bizarre, imaginative Labyrinths. The characters themselves have an almost storybook-like quality to their appearance, but it doesn’t distract or create any negative dissonance during the heavy moments. The effort is shown in every aspect, such as the transformation sequences, and the absolutely beautiful score, which makes the product all the richer.
Madoka Magica is a poignant and haunting experience set in a twisted and sad world, but also, strangely, one that’s as infectious as it is compelling.
1. Kyousogiga (2013)It’s rather hard for me to express just how much I love
Kyousogiga, but I can say with confidence that if there’s any other series that can capture the same beauty and wonder that this one has, they’re extraordinarily scarce. There are more good things to say about it than I could list, but at the same time there’s a huge difficulty in properly conveying exactly why I like it so much. For starters, it’s many good things in one relatively short anime. It’s a comedy, it’s a drama, it’s a family story, it’s an
Alice in Wonderland allusion, it’s a creation myth, it’s highest science fiction and most absurd fantasy. It’s a warm and fantastical, tight and limitless all at once. The animation and the writing come together in constantly interesting and inspiring ways. Some scenes are filled with life and action, with an almost childlike enthusiasm as it revels in its own silliness and the joy of the cast. The actors read their lines as furiously and merrily as they can, while the frame races with movement. Other moments are solemn and contemplative, rife with symbolism, both visually and in the subtly mature dialogue, when the gravity of the emotions are laid on thickest. On rare occasion it’s content with showing one single image, and letting the strength of the writing alone carry the show along for a while, and there are some moments with no words at all, for just the visuals and music is enough to send a profound message. And then there are moments that combine all of these aspects, with detailed visuals coming in right after another, alongside strings of clever dialogue and banter, at a glance complete chaos, and yet rewarding for those who pay attention. As for the cast, they’re all excellent, with each of the main characters being a distinct individual in design and personality. There’s no real villain, and every character makes mistakes, and it’s learning from them, and supporting one another in spite of them, that gives us the thrust of the story. They’re all flawed, and oftentimes very opposed about what they think is the right thing to do, but they’re all united by how deeply they care about one another. The characters, the siblings in particular, share the same sense of loss, and the way each of them handles it reflects just how diverse and complex humanity can be, even when we’re close to one another. The setting, mainly based on real historical landmarks, is just as excellent as the characters, and while it first seems outlandish, it also feels like just a really pleasant place to be, even with all its creeping implications, and by the end I found myself caring strongly for even the locations. As but one example of the sheer quality of
Kyousogiga, look no further than this 40-second clip (
link right here). The fluid and energetic movements, the presentation of each shot, the swelling score, the smartly simple-yet-rhythmic dialogue, performed expertly by the voice actors, blend together to form a tangible sense of love between the two characters, all in less than a minute. Stretch that out to a sweeping fantasy, and you’ve got some indication of just what this series is. With how artistically it’s written and presented, it’s sometimes easy to forget just how gushy it can get, and it serves as a great reminder that one need not be sacrificed for the other, and that excessive artistry and excessive sentimentality can actually, at times, improve one another. When watching this series, I always got the sense that everyone involved, from the director to the writer to the composer to the actors, put their hearts into every moment, and as a result, it’s hard not to share in their feeling. Really, I’m certain I wouldn’t have it any other way. There’s a part of me, my critic side to be exact, that feels just a little bit defeated by this anime, as even now I still don’t feel as if I’ve truly been able to express my emotions for this show accurately. Probably, that’s because it speaks for itself. My recommendation is to just watch it, and see what you can get out of it for yourself. As for myself, I found it nothing short of incredible.