As the moon, so beautiful follows the romantic relationship between Kotaro Azumi and Akane Mizuno, two junior high classmates. You won’t see world shattering events, or much in the way of melodrama. The plot centers squarely on everyday life, teenage conflicts with parents, stress of school and extracurriculars, and two young souls trying to find their way around romance. The story struck me as realistic and grounded. For once, the male protogonist isn’t a hothead or total dunce. He makes mistakes and often simply doesn’t know what to do. Likewise Akane isn’t overly sweet or combative. She, too, misreads Kotaro and makes mistakes.
I only found myself mentally calling Kotaro an idiot once throughout the 12 episodes, which is quite a feat for an anime such as this. Most of the time, male protogonists frustrate me with their foolish and superficially dense behavior. You don’t see such here. The fumbles Kotaro and Akane make are realistic and, even better, they realize they screw up and work to fix it. The story is filled with awkward, endearing moments of silence between them as they just don’t know what to say. But at the same time, the silence is never cold. It reverberates with the developing feelings they have for each other. They simply lack the vocabulary. Their feelings lack an overt sexuality too. They simply like each other for who they are. While some may view the innocence as unrealistic, I found it refreshing. Sexuality is overemphasized. Love can exist without sex. While sex may reinforce such feelings, we often confuse its hormonal drive as love.
I mentioned how As the moon, so beautiful feels realistic. In one scene, both use the Internet to research dating ideas. This realism extends toward a key element that Kotaro and Akane use to develop their relationship: a messenging app called LINE. Throughout the story, they use the app to keep in touch. They even comment in a scene how its easier to talk over the app than in person. This details captures modern dating culture well. Many people are more comfortable texting and sending online messages than talking in person, particularly at the start of a relationship. It can help people who are naturally quiet and, perhaps, a little shy–as with Akane and Kotaro. It also allows people to stay in touch when schedules refuse to cooperate, which is another detail the anime shows. In fact, LINE becomes essential to the Akane’s and Kotaro’s relationship as their schedules force them apart. Through LINE, they support each other’s efforts and cheer each other on. Akane with track and field. Kotaro with writing.
As the moon, so beautiful builds on the idea that people don’t need words to show their feelings. Akane and Kotaro act in little ways that cements their bond–little gifts, gestures, and even glances across the classroom. There is a great scene where Akane is running in an important event, but says she doesn’t want Kotaro to watch–even though she actually does. Kotaro picks up on this and goes to the event without her knowing (he messages his support over LINE) and then leaves before she could see him. Later Akane finds out he had done this, and it makes her happy. He had both supported her wishes of him not watching (which she says would fluster her) and her quiet desire for him to be there. Small actions like this shows an attentiveness to unspoken desires, which shows love. Granted, it’s easy to miss such things and expecting a partner to always realize what is unsaid can cause problems.
As the moon, so beautiful struck me as unabashedly Japanese. Kotaro pursues traditional dance at a temple and takes part in traditional festivals. The festivals and temples play key roles in the course of the story–providing important moments such as Kotaro’s confession to Akane on temple grounds. In many school-related anime, Japanese culture is downplayed for the safer, and more accessible, secular school scene. Sure, there are Japanese elements even within this, but they are the typical mainstay of anime: culture festivals, kimono, and the like. As the moon jumps into the elements usually ignored or glossed over, but it doesn’t seek to make them exotic or anything. Like LINE, the cultural elements and festivals are just a part of everyday life.
The normalcy of the story and the delicate handling of romance–the awkward silences, the online messages, the clashing schedules–sets As the moon apart from most other romantic anime I’ve seen. Too often, such stories use comedy and superficial cluelessness to create a blunt, stereotype-laced stories. As the moon uses many of the same tropes, such as love triangles, but it handles them with subtlety and care. The English version of the title has a poetic feel, and the story throughout holds the same feeling as the title. It has a crisp beauty to it and avoids feeling saccharine. The soft animation matches its realistic, understated focus.
Some viewers may grow frustrated with its quiet, realistic pace. For many episodes, apparently little happens. That is, unless you pay attention to the subtext. Behind the slow pace, much is going on: commentary about the role of the Internet in relationships, the effects of others’ opinions on relationships, and how love affects friendships. But all of the messages are subdued and remain a part of the environment the romance develops within. There isn’t any fighting or action scenes. There isn’t any fan-service or sexual comedy. The awkwardness and the silent scenes may prompt some viewers to yell at the screen. But for those who like character-focused stories, stories of two people awkwardly learning about each other, stories based on realism, check this one out.
Tsuki ga Kirei – As the Moon, so Beautiful was last modified: July 16th, 2017 by Chris Kincaid
After my look at the ties of Dao, Onmyōji and Twin Star Exorcists, in this installment of my ‘influenced by’-series I’ll engage with an exotic topic – for Japan, that is. Let’s have a look at Christianity in Japan and its appearances in Anime!
Saint Young Men
Mind the T-Shirts: Buddha’s says “Nirvana”, but I doubt he means the band.
A special favourite of mine, often overlooked, is the manga (by Nakamura Hikaru, 2006-now) and anime film Saint Young Men (Seinto Oniisan, 2013), which humourusly portrays the day-to-day experiences of best buddies Buddha and Jesus on their vacation in Japan. This usually entails accidental miracles and the trouble the two of them have to (a) maintain their incognito and (b) cope with modern life.
This is not diving, this is Moses-ing.
In one instance, Buddha takes Jesus to a swimming pool and Jesus has to admit he is somewhat afraid of water, hence his preference to walk across. Buddha persuades him to try and dive. When he eventually does, well… Let’s just say the Egyptians have seen it before.
However, anime with religious allusions or symbolism don’t usually feature a religious figure as a character. Instead, there tends to be a mashup of names, symbols, and stories, or just playing on “cool” exotic themes. The stories, it seems are not as popular as the images.
So, how did Christian lore arrive in Japan in the first place?
The introduction of Christianity to Japan
Francis Xavier, as depicted in a painting exhibited at Kobe Museum.
The Portuguese “discovered” the Japanese archipelago in 1542. (From a European point of view. The Chinese, Koreans, and of cause the Japanese themselves had known for centuries that it existed.) Seven years later, Jesuit missionary Francis Xavier and his subordinates landed in what is now Nagasaki prefecture, on the island of Kyūshū, and introduced the Japanese to Christianity.[i] Initially, the new religion received a warm welcome.
At first, Japanese audiences took Christianity for just another sect of Buddhism. Early translations of Christian scripture into Japanese rendered “God” as “Dainichi Nyōrai”, thereby equating him with the Great Sun-Buddha, a central deity of esoteric Buddhism. (In Japan, Dainichi Nyōrai is also associated with Amaterasu, goddess of the sun and ruler of the heavens in Shintō.) This translation intensified general similarities in Christian and Buddhist ethics. It also catered to the Japanese syncretistic worldview, which easily blends different religions according to individual spiritual needs. Therefore, the new religion was not met with resistance. It was seen as an addition, not a replacement, of the old ones. Statistics also play a role here: If a regional ruler converted, his subjects would follow, thus one conversion could bring a significant rise in the number of “believers”.
But most important was the current political landscape. Christianity arrived in Japan at a time of internal struggle. It was end of the Warring States Period (Sengoku Jidai) and military leader Oda Nobunaga was trying to unify Japan. Among other things, he fought the political influence of Buddhist monasteries and eventually burnt down most of Enryakuji temple on Mt. Hiei, from where the monks had brought their demands to the imperial capital of Kyōto. In this context, Oda encouraged the spread of Christianity as a rival to Buddhism.[ii]
“To test a suspected Christian, order him to step on this fumi-e. Believers will refuse.”
The official view of Christianity turned, however, due to several developments. Firstly, the Christian idea of superiority over all other beliefs conflicted with the aforementioned syncretistic approach of Japanese Buddhism and Shintō. Secondly, the newly established military government was concerned about Catholics’ loyalty to the pope. Thirdly, news of the confessional wars between Catholics and Protestants in Europe sparked concern of similar things happening between converts of the two sects in Japan.
As a result, missionary action and the performance of Christian belief in Japan was increasingly persecuted, culminating in the violent suppression of the Christian peasant uprisings of Amakusa and Shimabara in 1637. [iii] Three years later, Japan entered its over 200-year isolation (sakoku), until the ships of American commodore Perry forced the opening of trading ports in the mid-19th century. Christian belief only survived in secret among the so-called “hidden Christians” (kakure kirishitan). Buddhist images served as disguises for the forbidden worship; for example, the bodhisattva Kannon is often depicted as female, in some cases even with a child, and can therefore double as Virgin Mary.[iv]
Chapel of Dôshisha University, Kyôtô.
After the Meiji Restoration (1868) Japan denounced its isolation and rapidly imported European philosophy and science. The new imperial government encouraged everything which seemed to further the modernization of the country. In this context, they eventually lifted the ban on Christianity, but soon grew hostile again. Like Buddhism, the religion of Christianity stood against the proposed doctrine of State Shintō and seemed in conflict with the new, modern, scientific worldview.[v] However, the establishment of Christian universities such as Kyōto’s Protestant Dōshisha University (1875) and Tōkyō’s Catholic Sophia University (1911) demonstrates the influence of Christianity on Japanese higher education. In this way, Christianity was an important factor in the political developments leading to modern Japan.[vi]
Since the American occupation after WWII, the Japanese have also adopted many aspects of Western Christian culture, such as Christmas and Christian wedding ceremonies. However, only 1-3% of the Japanese population count themselves as Christian.[vii] Thus these rituals are decontextualized and secularized, perhaps a part of global consumer culture. (Which, arguably, is also what they have become in “Christian” countries.) As a part of this global consumer culture, popular culture emerges as a space of cultural interaction and engagement with myth.
Neon Genesis Evangelion
The poster doesn’t really tell you what you’re in for.
Ten years ago, Neon Genesis Evangelion (Shinseiki Evangerion) would not have needed an introduction among anime fans. The anime series (produced by studio Gainax and directed by Anno Hideaki) ran in 1995-6 on TV Tokyo and reached international audiences from 2000 onward.[viii] Anime scholar Susan Napier lauds it as a landmark series, both as a representative of its genres – science fiction and, more specifically mecha anime – and because of its enormous popularity and impact on popular culture.[ix] For more information on NGE’s outstanding contributions to anime storytelling from this site’s main author, see this post. The effect lingers; you could still see some Evangelion cosplay at German Anime-Conventions in 2012 (which is when I stopped going) and we found figurines of its characters in UFO-Catchers in Kyōto only last year. So I’ll keep the summary brief.
In a dystopian mechanized future, the world (i.e. mostly Japan, i.e. mainly Tokyo) is threatened by aliens, the ‘angels’. The only ones who can defeat them are certain 14-year-olds, when they become pilots of giant robots called Evangelions (EVA for short). The main protagonist is one of these pilots, Ikari Shinji, a sulky boy in conflict with his estranged father, who happens to run the operations against the aliens. One would expect a generic “boy hero overcomes obstacles and saves world with his friends” story, as the opening theme[x] suggests, but this is what NGE refuses to do.
Instead, it depicts the psychological issues of its main character(s) and embellishes the “humans fight aliens” plot with so many references to Judeo-Christian lore that researchers have interpreted the work as a) a postmodern deconstruction of reality and identity b) criticism of consumer culture and America-centered political history and c) a contemplation of the meaning of life – and that’s just the three articles I found in my university library.[xi]
Much of the stories NGE draws on are not Christian as much as based on Hebrew Kabbala and the Gnostics.[xii] The title ‘Evangelion’ itself refers to the gospel, of course. Because the antagonistic aliens are called angels, on can already assume that humanity has, in some way, angered God and brought these events upon itself? Well, what exactly the root cause of everything is, the series never reveals, but it becomes clear that at least the cataclysmic events around the first angel, Adam, were caused by human arrogance and ‘it attempting to play God’.
Old and New Testament, and far beyond that
Explosion of the 7th angel, as shown in the Evangelion movie versions (Rebuild of Evangelion)
In addition, with the first angel named Adam, it surely comes as no surprise that the robots called EVAs have a certain connection to it (i.e. they are partially constructed after his model), or that another angel by the name of Lilith appears.[xiii] Speaking of angels: the Japanese dub uses shito, which would be more closely translated as ‘apostle’, although both refer to a divine/religious messenger.[xiv] For more of the Old-testament-based references, I refer you to Ortega’s elaborate analysis (see Notes section below).
Concerning the New Testament, we have firstly the three computer brains of the NERV Corporation, which take their names from the three wise men of the nativity story: Caspar, Melchior, and Balthasar.[xv] Secondly, the ultimate weapon against angels is the Lance of Longinus (traditionally, the weapon thrust into the body of Christ on the cross to check if he was dead). The series queers this artifact’s story, however, because the crucified form we first see the lance stuck in is the angel Lilith. Thirdly, since Shinji is expected to save the world, we might see him as a Christ figure suffering for humanity’s sake. Fittingly, hints of his mother associate the Madonna.[xvi] Fourthly, the cross features repeatedly, not just as a pendant Misato wears – the explosion of a dying angel is cross-shaped. Finally, the secret organization which controls all events is called SEELE, German for ‘soul’.
Instant Confusion, Just Add Myth
Angel Lilith, impaled with Lance of Longinus
I’d like to emphasize an aspect Ortega overlooks: the intense blending of stories and images. Traditionally, angels are beings of a different order than humans: stronger, more beautiful, servants of God, but without free will. While NGE retains the power aspect, it also strongly implies that humans and angels are very closely related (i.e. humans, angels, and EVAs are all in some way decedents of Adam and/or Lilith).
In a similar vein, the ‘original’ Lance of Longinus has nothing to do with angels, Adam, or Lilith. NGE plays on the association that it is a God-killer weapon, but then again, angels are not God, are they? This anime is so confusing… Anyways, this “take what you need and apply it to your problem/story”-approach resembles the syncretistic view of religion I discussed earlier.
Another aspect I find interesting is the interlacing of religious myth and science fiction, or the myth of technology. You know, giant robots, clones and bioengineering, supercomputers, and the like. A similar connection between religion and science marks the second work I’d like to discuss here.
Left to right: Esther Blancett, Abel Nightroad, Tres Iques.
One story migrating and evolving from one medium to the next is typical for Japanese popular culture, as I mentioned before. Trinity Blood began in 1999 as a light novel series by Yoshida Sunao, spawned a shōjo manga (2004) and an anime adaptation (2005). This leads to a noticeable shift in art styles; it also produces conflicting information, differing plot lines and character developments, and so on. The anime is probably best known, but the novels provide most background information… and I’ve mainly read the manga 😉 But the interesting parts are common to all versions.
1000 years after devastating war, two intelligent species live an Earth: humans (Terrans), and vampires (Methuselah). Human military and political power is concentrated at the Vatican, whereas Byzantium has become the vampire capital. Both powers are in a Cold War-type of setting, and “lost technologies” from before Armageddon greatly impact the balance of power.
For secret missions, usually concerning vampires, the Vatican sends out special agents. One of those is the main protagonist, Abel Nightroad. In Istvan (Bulgaria), Abel and his partner Tres cross paths with Sister Esther Blanchett, and political complications ensue. Despite his ditzy appearance, Abel is an immensely powerful fighter thanks to the “Crusnik” nanomachines in his body: As vampires prey on humans, Crusnik prey on vampires. Later the story reveals the origin of both vampires and Crusnik: Vampires are humans infected with the Kudlak Bacillus, which in turn served as food for the Crusnik nanomachines, both of which were discovered in a crashed alien spaceship when humanity tried to colonize Mars.[xvii]
Compare: 16th century Cardinal, by Jacopino del Conte.
Cardinal Caterina Sforza
Whereas NGE intensely appropriates stories and symbols, TrinityBlood makes pronounced use of Christian institutions, that is, the hierarchy and insignia of the Catholic Church. Abel is introduced as a priest, Esther as a (novice) nun, and higher positions are occupied by bishops such as Esther’s mother figure Laura and cardinals such as Abel’s supervisor Catharina Sforza. The character’s clothing is visibly inspired by actual nun’s habits, priests’ and cardinal’s clothing, though the artist(s) also take considerable liberties. Esther’s blue-trimmed white habit evokes that of Mother Teresa, though I couldn’t find any habit design with a short, folded back part of the veil like the one Esther’s wearing. Dressing priests in black and cardinals in red also fits the Church hierarchy. Take this image of Caterina as an example. There’s a lot of detail added, such as cuffs, armour, embroidery etc., but the basic shape is still there – notice the short cloak-like part around the shoulders. I don’t know where the hat came from, through… perhaps the artist just likes big hats 😉. And of course, crosses and rosaries and the like abound as decorative elements.
Christian belief plays a role as well, though mostly as a tool of political power, not a feature of the main character’s personality. Thus, Esther is declared a Saint in a context of political intrigue, in order to affect the pious population. Christian charity features briefly in the beginning as part of the description of the convent in Istvan. However, there is no special promotion of Christian values by main characters, although most of them are members of the Church. Similarly, while the series features numerous terrorists or vigilantes of human or vampire origin, their motivation is usually personal, nationalist or racist, not religious. The series carefully subverts black-and-white morality judgements and shows its characters’ motivations to be diverse, personal, and (Terran or Methuselah) very human.
Hologram of Lilith as a Saint
The characters refer to the Earth-encompassing war which led to the present state of affairs as Armageddon, but it is unclear if this is a reference to the Book of Revelation or just popular culture, where both “Armageddon” and “apocalypse” are used to describe large-scale catastrophes capable of exterminating humanity.
Like NGE, Trinity Blood references Genesis and the first humans, but goes one generation further. The first Crusnik is Cain, followed by Abel (the main Character) and their sister Seth. In the Bible, Seth was the third son of Adam and Eve, born after Cain had slain Abel. The fourth Crusnik bears the name Lilith. She is the eldest of these four – all genetically engineered for a Mars colonization project. Interestingly, Lilith becomes a Crusnik last, and only to protect humanity from the other three. This is a weird echo of the NGE moment when humanity is collectively, as “Lilim” or Lilith’s offspring, indicated to be the final, the 18th angel. In both cases, Lilith is associated with humanity, whereas in the source material, Lilith is punished by God for insubordination and becomes a mother of demons. Trinity Blood, by contrast, shows her as a saint-like figure.
When it comes to the use of Christian content in anime, the primary appeal probably lies in its exoticism. Whereas with Twin Star Exorcists the animators could assume at least a vague familiarity with the religious associations among their audience, Christianity is both relatively new and relatively rare in Japan. Its visual cues (churches and clothing, like the bride’s white dress) are probably more familiar to the audience then any narratives. Except of course prior adaptations of the same source material. Thus interaction with Christianity might be more external, as in Trinity Blood, adapting the institutions and clothes to contribute to the work’s exotic European flavor. Or it may delve into complex, multilayered and contradictory myth-building, as NGE does. One reviewer of the latter points out that the mere inclusion of religious imagery can both add a cool factor and give a work a feeling of depth and gravitas.[xviii]
Screenshot from episode 1 of the Trinity Blood anime: A Vatican Airship.
The creative blending of diverse types of stories may, as I mentioned above, be linked to the syncretistic tradition in Japanese religion. In this vein, the connection of Christian elements and Science Fiction makes me wonder if there is some historic precedent as well. Was European science and ‘modernity’, as imported after the Meiji Restoration, seen as somehow connected to European history of thought?
At least in the beginning, this seems to have been true: “It should be remembered that Christianity was introduced to Japan after it had already been well refined in Western society and was arrayed in the garb of modern religion. At the beginning the Japanese people even thought that modernization, Westernization, and Christianization were one and the same thing.”[xix] Perhaps, some residue of this conflation still remains?
Not that religion and science fiction where unrelated in Western media…
[ii] Bunce, William. Religions in Japan. Rutland & Tōkyō: Charles E. Tuttle, 1948. 20-21. See also: Covell, Stephen. “Religious Culture”. In: Sugimoto, Yoshino (ed). The Cambridge Companion to Modern Japanese Culture. Cambridge University Press, 2009. 147-8.
[viii] Both the American and German versions were apparently first broadcast in 2000; but I have to trust Wikipedia on this since TV-schedules prove quite difficult to research.
[ix] Napier, Susan. “When the Machines Stop: Fantasy, Reality and Terminal Identity in Neon Genesis Evangelion and Serial Experiments Lain”. In: Bolton, Christopher; Csicsery-Ronay, Istvan Jr; & Takayuki Tatsumi (eds). Robot Ghosts and Wired Dreams: Japanese Science Fiction from Origins to Anime. University of Minnesota Press, 2007. 108.
[xi] 1) Napier 2007; 2) Redmond, Dennis. „Anime and East Asian Culture: Neon Genesis Evangelion“. In: Allen, Matthew, & Sakamoto, Ruby (eds). Japanese Popular Culture: Critical Concepts in Asian Studies. Volume II: Japanese Popular Culture in the Twenty-First Century. London & New York: Routledge, 2014; 3) Ortega, Mariana. „My Father, He Killed Me; My Mother, She Ate Me: Self, Desire, Engendering, and the Mother in Neon Genesis Evangelion.“In: Mechademia, Vol.2 (Networks of Desire), 2007.
Dragonball Z is perhaps the most iconic Shonen anime. So, when Toei Animation announced a new Dragonball series helmed by the legendary Akira Toriyama, fans were no doubt excited. I’m a little late to the part myself where Dragonball Z is concerned. As I’ve mentioned before, I didn’t grow up with DBZ and didn’t really get into it until I saw DBZ Abridged on Youtube. I was not a fan of the original cut of Dragonball Z, which was bloated with filler to the point of being un-watchable.
When I finally got around to watching DBZ Kai, I was blown away. The battles were tight and fierce, and every episode left you wanting more. The pacing was spot on: seriousness was balanced with comedy, and action was balanced with periods of relative peace where the plot developed. But what really made the show was the characters. We saw Piccolo move from a villain to a hero, becoming more human along the way and learning about his own heritage. Vegeta, too, moves from a world-blasting baddy to a father who is willing to sacrifice for his family. Gohan moves from a frightened child to a warrior to a young man trying to balance his odd place as a half human warrior and his mother’s wish that he be a productive member of society. And, of course, we have Goku, who is defined by his desire to constantly transcend himself but who also is a man who stands up for what is right and is willing to fight to defend his family and home.
There were some problems with the series, of course. The Majin Buu arc was uneven at best, and the way that the power was scaled in the series got really over the top fast, undermining the plot points of previous arcs, along with the “scare factor” of previous villains. Some of the battles got repetitive, even if they were pretty good overall. Transformations became overused, moving from something of a surprise to something extremely predictable. Overall, though, the good parts of the series outweighed the bad.
Given how good DBZ was, I had high expectations for Dragonball Super. I’m about 30 episodes in, and I have to say that I’m disappointed. On the surface, it looks like Dragonball Z. There are epic battles and new enemies for Goku to face, and the Dragonball universe has been expanded quite a bit with all sorts of interesting new characters. The art style has also been updated, and the series looks as good as ever.
The problem I have with Super is not with the surface elements but with the heart of the show. It lacks the soul of DBZ Kai. There are many reasons why, but the core of this issue is twofold. The first part has to do with the power levels involved in the show. The big new characters in Super are the God of Destruction, Beerus, and his martial arts teacher and caretaker, Whis. To put it mildly, they are absurdly powerful. Beerus at one point flicked Super Saiyan 3 level Goku in the head and sent him flying, and on more than one occasion Whis steps in to stop Beerus from going overboard, demonstrating that he is clearly the more powerful of the two. This in and of itself is not necessarily bad, but what throws off the show is that, after their original battle, Goku becomes friends with the pair.
This is problematic in more ways than one. For one, it sucks the dramatic tension out of the series. At one point, Frieza returns and comes to Earth to get revenge on Goku. At one point in the battle, Whis and Beerus come as spectators. They do not directly intervene in the fight, but their presence still robs much of the tension because either one could destroy the antagonist with the flick of a wrist. This is the same problem that DBZ had, but it is far more pronounced. Nothing in the DBZ universe can compare with Beerus, which would be fine if he were looming over events as an adversary to be conquered, rather than a dubious ally who is so overpowered he takes the winds out of everyone else’s sails. Even if the power scales were off in the old series, at least it was somewhat exciting to see the upper limits of each new villain and how Goku and his allies will overcome that limit. Here, the upper limit is already defined by a character so absurdly powerful that he and Goku almost destroy the universe just by fighting in their initial battle. And there’s a character already in the show who out classes even this monster!
This is closely tied to the second reason Super lacks the heart of DBZ. There is no doubt that Beerus is a monster, who has committed genocide thousands of times over. His disregard for life is casual and somewhat played for laughs, but no amount of yucking it up can override the fact that he is basically a force for evil who destroys on a mere whim. Now on the other hand we have Goku, who has his own morality but is generally kind-hearted to a fault and concerned for the well-being of others. He fought world-busting baddies and yes, many times it began as a way to test himself in battle but he also became righteously angry at the needless taking of life. Goku fighting then befriending an enemy is a cliché of the show, but this doesn’t always hold true. Frieza, for example, is portrayed as incredibly evil, and remains Goku’s greatest enemy, but in reality, his crimes pale in comparison to those of Beerus. So, to my mind Goku being buddies with the God of Destruction, even if it is in line with the sportsmanlike part of his character, clashes uncomfortably with the part of his character that is generally good. The show seems to lack the sense of morality inherent in DBZ, where even if Goku mostly wanted to test himself in combat, he still stood up for what he thought was right and fought for those who couldn’t protect themselves. Instead, he has befriended the worst villain in the universe and trains with his teacher, who is complicit in his crimes by simply being indifferent to them and making no attempt to stop him.
Now, the argument can be made that Beerus is a God of Destruction, and his function is to balance out the creative propensity of the universe. This is pretty much struck down in the beginning of the season by something the Elder Kai said, where he more or less refuted the Grand Kai who argued the same thing. That isn’t the point anyway. The point is that DBZ made a point to show how evil Vegeta was for destroying planets and committing genocide to sell planets to the highest bidder. It depicted Frieza as an evil ruler grinding a large chunk of the universe under his proverbial boot heel and showed how cruel he was by destroying the Saiyan home world. Cell was evil for taking hundreds of thousands of lives to make himself stronger and for wanting to destroy Earth as well. Then there’s Maijin Buu, who destroyed planets wholesale and killed gods. They were clearly marked as being evil, but Beerus for some reason gets a pass due to the fact he’s a god. It clashes with the spirit of the original series, this sense of good struggling mightily to triumph over evil, and it doesn’t sit well with me.
A third aspect of Super doesn’t sit well with me. Comedy of varying quality was always part of Dragonball Z, but generally the original is serious in tone. Super feels like it is going out of its way to be a comedy. Goku comes across as a buffoon, and Vegeta is almost disgustingly servile toward Beerus. The balance between comedy and dramatic tension that generally held up well in DBZ is completely off in Super.
So, what is my verdict on Super, overall? It might sound like I despise it, but that isn’t the case. DBZ Is great, while Super is merely ok. It lacks much of the dramatic tension that made the original such a joy to watch, while also lacking the heart that made DBZ touch so many people. It relies too much on dubious comedy, while repeating tropes of the series that were old when DBZ was young. All in all, my impression 30 episodes in is that it’s interesting in terms of world-building, but mediocre in terms of plot and story. I’ll watch it, but it’s probably not going to be one I’ll watch over again like DBZ Kai.
Dragon Ball Super: Dubious and Lacking Heart was last modified: June 4th, 2017 by Andrew Kincaid
Most of us struggle with feelings of meaninglessness. Life feels like a grind to gain money. Then we die. We lose touch with why we live, and we fill our time with escapism like anime and manga and video games. Depression’s claws cut deep and hold on. Yet despite this malaise of despair, some souls shine.
They inspire and pull people out of despair. These people have their own problems and wrestle with depression, but they truck on. What’s more, these people are unseen. And guess what, you are one of them. You just may not know it. Enemies and friends can inspire us to be more and do more. Enemies can push us to try harder and break out of the daily grind. Friends provide support and push us to face our enemies. Enemies can be people, pianos, a difficult game, or anything that challenges us. Friends help us remember the importance of small moments.
Amidst the feeling of meaninglessness small moments shine. They break through our mistaken view of life and the feeling of meaninglessness comes from this mistaken view. The anime Your Lie in April touches on the idea of friends and enemies breaking depression.
Your Lie focuses on how loss can make even things we love feel meaningless. Kosei Arima losses his mother and his interest in playing the piano at the same time. Without music, he becomes a shadow of himself. All of that changed when he meets Kaori Miyazono, a female violinist that forces him to return to the piano. After she pushes him, Kosei encounters two competitors who wish to beat him as pianists. Kosei’s ability to play as a child inspired his two rivals to take up the instrument.
At the core of the story is Kosei’s mistaken perception. He begins to place all of his focus on Kaori. He uses her as a crutch to avoid his feelings of meaninglessness, guilt, and sorrow for his mother. This isn’t fair to her, nor does it work. Mistaken perception is rooted in skewed expectations. The ideas we have of life — much like Kosei’s ideas about music–cannot match reality. Reality cannot compare to the expectations we form. Reality is messy, and basing perception on what we think should be creates issues. Kosei doesn’t want a world where his mother withered and died, but death is a part of reality. I agree that no one should have to die, but everyone must die. You must. I must. This reality can make us feel as if life is meaningless. After all, everything we strive for will mean nothing. Money and fame mean nothing to us after death.
Such thinking is mistaken. It comes from expectations that what we do lasts. It comes from the mistaken idea that money and fame matter. In Your Lie, Kaori’s focus is to make music that will touch people. She wanted to live on in the hearts of those around her. The influence we have on those around us is what gives life meaning. Fame and money and similar things are just distractions. Reality is harsh. Our physical selves must die, but the music we make while we are alive, the melody we leave in the hearts of those we touch, continues. As people continue to influence each other, we continue to be passed on.
The meaning of life is simple. Too simple for our expectations to grasp. After all, expectations enjoy grand things. But the meaning of life is to live. How we live creates music, for good or ill. As a Christian, serving God is a part of that music. While I cannot make actual music like Kaori and Kosei–I am terrible at anything like that–I try to make spiritual music that helps those around me. We all want to reach someone. Touch someone’s soul. We only lose our way sometimes. In Ephesians 5:19, Paul writes:
…speaking to yourselves in psalms and hymns and spiritual songs, singing and making melody in your heart to the Lord.
While most Christians use this verse to support the practice of singing in worship, the verse goes deeper than this. Psalms, hymns, and spiritual songs can be sung through actions, not just words. Singing and making melody in the heart doesn’t involve the lips. It involves how we view the world around us. It involves how we reach out to people and resonate within them. The verse demands Christians have a singing heart for the world around us. It is beautiful, after all. Beautiful because of its flaws and struggles, not despite them. The verse calls on Christians to share that singing heart with other Christians and with God.
Kaori and Kosei likewise share their singing hearts: the bittersweet pain of love and loss, the pain of coming to terms with reality. Singing within cannot always be joyful, but it is always beautiful. Singing hearts often feel isolated. We cannot know if others are listening. We can only have faith that they are. We can only have faith that the messages our lives express are heard.
This idea of faith is found throughout Your Lie. Kaori and Kosei make music with the belief that someone, anyone, might hear and feel touched by the soul producing that music. So too Christians have faith that our actions, our silent psalms. are heard by those around us. We cannot see the impact we have on others, but it is there. Have you been to a funeral where dozens of people file in, people you never knew, to pay respects to the deceased? Sometimes death is the only way to see what lives have been touched by a person. In life, we can be unaware of our impact. In Your Lie, Kaori wasn’t fully aware of her impact upon the characters around her.
A life cannot be lived in isolation. We affect those around us and are affected by them in turn. Even when we are unaware of it, our words and actions matter. Each of us needs to decide what songs we play, what feelings we leave behind. Our audience listens.
Your Lie in April. The Impact We have on Others. was last modified: May 28th, 2017 by Chris Kincaid
Most articles about anime addiction tend to be comedic lists about how everything has to be in Japanese and how you lack money because of all the merchandise you bought. Let’s have a serious discussion instead. We toss around the word addiction in ways that belittle the term. Liking something and enjoying something isn’t addiction. In order to be addicted, your interest has be be destructive to your health, social life, or ability to function (Alter, 2017). For a long time, addicts were considered weak-minded people who can’t control themselves. Most of the time, addiction is associated with substances like heroin, meth, and other drugs. However, behaviors are addictive too. In fact, some researcher believe even substance addictions are behavioral addictions at their core (Alter, 2017).
The Nature of Addiction
Addictions build off of our natural reward systems–systems that everyone has. Substances hijack those systems, and behaviors short circuit the triggers within the brain. Dopamine, the chemical that makes you feel pleasure and happiness, sits at the center of addiction. Anything that encourages the brain to secrete it can be addictive. Even love can be an addiction, which is why some people jump from one toxic relationship to another like a heroin addict looking for another hit.
Addiction is, essentially, “an extreme dysfunctional attachment to an experience that is acutely harmful to a person, but that is an essential part of the person’s ecology and that the person cannot relinquish (Alter, 2017)”. The experience component of addiction is the key. Addictions have a strong association with environment and memory. Environment triggers memory, which triggers the addiction. Lee Robins studied returning heroin addictions from the Vietnam War. Around 19% of veterans admitted to having a heroin addiction. Normally, heroin addicts relapse at a rate of 95%. These veterans had a relapse rate of only 5%. Robins, along with other addiction researchers, discovered the relationship between environment, memory, and addiction. To break an addiction, a person must leave the environment–the people, places, and memories–where they practiced their addiction. Few veterans returned to Vietnam, so their addiction didn’t return (Alter, 2017):
Addicts aren’t simply weaker specimens than non-addicts; they aren’t morally corrupt where non-addicts are virtuous. Instead, many, if not most, of them are unlucky. Location isn’t the only factor that influences your chances of becoming an addict, but it plays a much bigger role than scientists thought.
Addictions often center around negative coping methods, ways of handling pain, regret, loneliness, and other negative emotions. Any behavior that triggers dopamine and eases emotional pain can become an addiction, including Internet use and anime. I wasn’t able to find any studies that dealt directly with anime addiction. However, studies on Internet addiction provides us with useful parallels.
Even Dracula has his addictions.
Internet Addiction is one of those umbrella terms thats shades a variety of problems, from social media addiction to MMORPG addiction and online gambling. Anime would fall into the category too. Otakuism has a strong online component–anime is watched online. Otakus share fanfiction online, discuss anime online, blog, and enjoy other online activities. Internet Addiction is seen as a preoccupation with the Internet that causes impairment or distress (Stavropoulos, 2017). Internet Addiction, or IA, links to health problems, academic failure, emotional problems, and behavioral problems (Zhou, 2017). Addictive behaviors in your teen years carry into adulthood, mainly because they become coping methods.
People use the Internet to avoid negative feelings–think about your last Tumblr binge and how you were feeling. Teens who use emotion-focused coping methods instead of problem-focused coping methods have a greater risk of IA (Zhou, 2017). IA appears to feed existing addictions; it provides easy access to rewarding and pleasurable activities. Remember dopamine’s role in addiction? Online activities make your brain squirt the feel-good chemical.
Most game addicts are men, for example; most social networking addicts are women. Interestingly, research suggest people with Internet Addiction keep to certain activities instead of bouncing between various addictions. A gaming addict usually isn’t addicted to Facebook (Starcevic, 2017).
Online gaming and social networks feature all the elements that create addiction: inconsistent rewards–which excites the brain more than regular rewards–and notifications of new content, which makes the brain release dopamine. Think about that happy feeling you have when someone likes a Facebook or Tumblr post (Hormes, 2014). Think about that feeling of pleasure when you plunk off someone with a headshot. That’s what the research is talking about. Research also suggests those who use the Internet heavily, particularly social networks, show signs of impulse control disorders and lack of emotional self control. I’ve seen gamers rage at the smallest things, and I’ve done it myself.
Addicted to drama…and potato chips.
Online video games and social media were designed to be addictive. MMORPGs have a particularly addictive design. They boast immediate gratification and satisfaction from conquering gradually increasing skill level of challenge. They trigger high emotional involvement too because of the social ties they forge, increasing the need to spend even more time online. They help players feel as if they are fulfilling their talents and potential, a feeling reality often lacks (Stavropoulos, 2017).
Online game addiction is something I know well. I was an addict in my high school and college years. It was consuming. World of Warcraft was something I avoided because games like Diablo II hooked me bad enough. Even now, I have to be careful, or I will fall into my old patterns of behavior. Remember how research spoke of memory being a trigger for addiction? PC gaming triggers my addictive memories. Luckily, gaming no longer offers me feelings of self-actualization which helps blunt my risk of relapse. I now tightly regulate my gaming. My last all-day binged was scheduled–the release of The Legend of Zelda: Breath of the Wild, but I digress.
Traits of Internet Addiction
Beyond impulsive behavior like obsessive-compulsive disorder–constantly checking your Tumblr or Twitter feed, for example–or feeling anxious when you can’t read the latest fanfiction or play a deathmatch online, IA associates with other personality traits. It’s unknown if the Internet stimulates these traits, but people with certain personality disorders may be drawn to the Internet because of what they feel they lack in real life. IA is most common among college students. Males with IA showed higher rates of narcissism; females showed higher rates of narcissism and avoidant behaviors than those without IA. Women show a higher need for assurance and less autonomy (Wu, 2016) . Both men and women turn to the Internet for validation. This sense of fulfillment the Internet offers takes us to the relationship between anime and addiction.
Anime and Addiction
Okay, let’s recap. Behaviors can be addictive; Internet Addiction centers around online behaviors that give us a hit of dopamine, eases anxiety, and provides a feeling of fulfillment. Anime addiction lacks clear research, but using the research into Internet Addiction, and the nature of behavioral addictions can help us understand anime addiction. Yes, you can become addicted to anime just as you can become addicted to gambling, sex, love, online gaming, texting, Tumblr, Facebook, Twitter, and anything else that fills an emotional need.
Anime can become a coping technique, a way to escape, which is fine until it becomes destructive. When anime watching damages your relationships, consumes your thinking, consumes your money, and becomes a craving, you may well be addicted. However, we have to be careful not to blindly fling the word addiction at anime fans. Otakuism appears to be an addiction to outsiders because it is an alternative culture (Azuma, 2009):
The otaku choose fiction over social reality not because they cannot distinguish between them but rather as a result of having considered which is the more effective for their human relations, the value standards of social reality or those of fiction. For example, they choose fiction because it is more effective for smoothing out the process of communication between friends, reading the Asahi Newspaper and then going to vote, or lining up with anime magazines in hand for an exhibition. And, to that extent, it is they who may be said to be socially engaged and realistic in Japan today, by virtue of not choosing the “social reality.” Otaku shut themselves into the hobby community not because they deny sociality but rather because, as social values and standards are already dysfunctional, they feel a pressing need to construct alternative values and standards.
Otakuism provides an alternative to the social culture of mainstream society. It allows people to connect to each other in a different way that feels more affirming, but therein lies the danger. Drug culture often has similar trappings. Think about the New Age movements during the 1960s and the wanton use of substances and sex many of the movement had–LSD, heroin, and other drugs. Now, the otaku community uses anime, manga, and other consumer-culture products as their “mind-altering” substances. I know, I look to be stretching a bit but stay with me. Otaku behaviors, particularly the social behaviors like conventions, collecting, and discussing, are the addictive substances. Of themselves they are good, but when taken to extremes–that is, they become damaging and consuming–they become addictions. Anime conventions for otakus are the equivalent to Woodstock for hippies, only smaller and more frequent.
Woodstock was a music festival that attracted over 400,000 people and became a symbol of the counter-culture of the time.
Of course, watching anime can be a compulsive addiction. It’s similar to compulsive gambling, Tumblr reading, and other compulsive behaviors. Anime may ease your anxiety, but the association, if you aren’t careful, can create anxiety. Your mind begins to crave the escape anime offers, making you feel anxious when you don’t get a hit. It’s similar to nicotine addiction. Contrary to popular belief, smoking doesn’t ease stress. Rather, it adds the stress of physical cravings on top of your already present stress. The feeling of relief smokers feel when they take a hit is the easing of that physical craving and the comfort of the behavior, but neither has much impact on the baseline stress level. Behavioral addictions add stress to the baseline rather than reduce it. Meditation, mindfulness, moderate exercise, and other healthy behaviors–anime watching can be healthy–reduce baseline stress.
Otaku culture tends to attract certain personality types, some of which may be in danger of addiction. However, the culture isn’t any worse than other cultures. For example, sports can also create addicts. Think of the super-fan–I like to call them sportaku–that drops out of family life during their sport’s season. Their identity revolves around the identity of their team or favorite sport. For that matter, think of the neighborhood cat-lady or cat-man, or dog-lady and dog-man. Their lives center on their animals to the point where they live in a dangerous, unhealthy situation that precludes anything else. See what researchers mean when they say any behavior can become an addition? You also see addicted runners, crafters, and other apparently healthy hobbies.
Behavioral addictions are tough to see because they often appear healthy. After all, who would argue running or walking isn’t a healthy habit? But when that habit becomes destructive to your health and social life, it becomes an addiction. Enjoying anime and manga is healthy….until it becomes disruptive and destructive. Likewise using Tumblr, Facebeook, Twitter, fanfiction can be healthy, until it becomes consuming and anxiety inducing.
Besides the problem of seeing a behavioral addiction like anime is the fact you can’t avoid the addiction. There is a behavioral addiction known as the empty inbox. People feel anxious if their inbox isn’t empty (I sometimes catch myself feeling that way), but we all know that’s an almost-impossible ideal. It’s not like we can avoid using email. It’s a central part of modern life, yet its similar to expecting someone with a drug addiction to return to their environment and not become addicted again.
Breaking an addiction requires mindfulness. You have to be aware that a behavior like anime binging creates anxiety when you can’t do it. In the articles I’ve read, behavioral addictions have a detox period similar to substance addiction (Alter, 2017). You also have to change your environment. For an anime addict, that means reducing or avoid conventions if that’s your trouble spot. That also means changing your binge environment and habits.
Are you addicted to anime and the otaku life? How can you tell? I’ve repeated the criteria several times, but the distinction is important enough for me to repeat one last time: addictions come down to disruption and destructiveness. If your anime watching and involvement in otaku life disrupts your ability to live, that is, work and socialize, you may have an addiction. If you don’t have any hobbies outside of anime and otaku-related hobbies, like cosplay, you may have an addiction.
Behavioral addictions rewire the brain in ways similar to drugs. It takes time to undo this wiring, and even then the memory–and the behavior–remains. Enjoying anime and otaku life isn’t the same as being addicted. The word addiction is tossed about too easily. Let’s save it for when the word actually applies: when somethings becomes all consuming. When you are “addicted” to an anime, say something like “This anime has hijacked my life.” It had an element of temporariness to it that addiction lacks, but it still has the hyperbole people today like to use. Addictions are serious, life disrupting problems. Let’s not belittle them with poor word choices.
Ah yes, another top 100 list. Every anime blog must have one right? While most anime lists include anime the writer likes, this one contains many I didn’t like at all. However, their importance and popularity demands they have a place. I have seen at least a few episodes or scenes from nearly every anime on this list. As with any top 100 list, there is a lot of subjectivity. Many more deserve a mention but without watching (or knowing about) them I cannot make a judgement. These anime are ranked by impact, popularity, and importance. Their representation for good and bad anime habits also influenced their rank. Anime has many bad habits that can be traced all the way to Astro Boy, filler being one of the main issues. Over time, anime developed its own stereotypes and tropes. I tried to include shows that best represent these bad habits and story-telling stereotypes. The worse they are, they better they ranked as a representation of the bad. I considered making a separate list for these, but everything needs to be understood in context, so I settled on combining them with the good. This list has a bias toward newer anime; I ranked them higher because more fans are familiar with them than anime from the 1980s and 1990s. This is an image heavy post.
Kekkaishi plunges us into the world of Japanese folklore and cake. You can’t forget cake. Kekkaishi starts slow with far too many cake jokes before it picks up. It’s world is interesting and features many monsters and creatures from Japanese myths and legends.
There is a trend in fantasy stories to pull elements from role playing video games. Overt mentions of experience points and leveling up makes you wonder if the anime is yet another world within a video game. 11 Eyes has some of this, but it is a case study in how execution and lack of time can hurt a story with potential.
Girls und Panzer
Sometimes anime combines two of the furthest possible ideas together. Girls und Panzer takes school age girls and combines it with tank warfare. The ridiculousness of the idea illustrates how anime isn’t afraid to experiment.
Red Data Girl
Shinto ideas sit at the heart of Red Data Girl. It is a fair watch, but like many high school anime it is hard to take the threat seriously amidst the high school backdrop.
Baseball bats and street assaults? Strangely enough victims of the attacks find their lives improved after the attacks. If you like psychological mysteries this is a show for you.
Guilty Crown has a bold story and interesting characters. Sadly, action sequences fall apart into panned still images. Budget constraints have hurt many stories.
Mobile Suit Gundam SEED
Mobile Suit Gundam SEED was my introduction to Gundam. SEED takes place when humans on earth, called Naturals, are different from those who live in space, the Coordinators. Like other mecha, expect a twisted plot mixed with philosophy and moral dilemmas. Gundam remains popular in Japan, and SEED introduces the franchise to a new generation.
Parasyte – the Maxim
Parasyte explores what it means to be human and the roles humans play in the environment. A race of creatures called parasytes begin to take over humans. They like to take over the human brain so they can completely control the host. Shinichi Izumi’s right arm is taken over by one of these parasytes. The characterization of Shinichi makes this anime stand out. He is believable and lacks the usual boneheaded shonen personality (impulsive, overly protective, and action oriented). Shinichi acts like a normal person with doubts, weaknesses, and resolve.
Barefoot Gen follows Gen Nakaoka and his family in Hiroshima during the last years of World War II. It is a look at what people endured (such as food shortages) and the after effects of the nuclear explosion that ravaged the city. Barefoot Gen was among the first manga (the anime came much later) that portrayed the horrors of war and nuclear destruction.
Section 9 is sent to investigate a series of murders involving gynoids, sex android. Innocence offers a tangled crime drama laced with references to Zen and philosophy. The movie proves anime can be mature, but its philosophical dialogue can be hard to follow. It challenges viewers to pay attention and think.
Fairy Tail is one of the most popular series in recent years. It doesn’t break new ground, but it shows how fantasy stories still have a place in modern storytelling.
Soul Eater’s unique art style makes this anime come to life. The strangeness from the moon to the character designs shows how anime can break expectations. Not to mention the characterizations and storytelling have interesting twists on common anime tropes.
Berserk’s dark feel shares similarities with the Dark Knight. Set in feudal Europe, this series is a welcome respite from anime’s focus on high school and teens. It provides a nice diversity away from Japanese centric fantasy based on samurai or futuristic police.
Rurouni Kenshin is many anime fan’s first exposure to samurai and Japanese culture during the Meiji Restoration. Fill with good fights and good plot (canon plot anyway), Kenshin leverages its setting in ways that make it feel authentic. However, Kenshin, like many anime, suffers from filler arcs that hurt the story and characterization.
Yu-Gi-Oh Yu-Gi-Oh popularized its namesake card game with American children. For many, this series was among their first exposure to anime. Like Pokemon,Yu-Gi-Oh ran on Saturday morning and after school cartoon line ups. This allowed the show to be seen as a cartoon rather than an anime. This association allowed Yu-Gi-Oh to avoid some of the negative ideas the word “anime” may have had for some parents. For a long time, anime was associated with extreme violence and sexuality. Yu-Gi-Oh proves the ability of anime to be a diverse way to telling stories.
For many Digimon appears to be a knock-off of Pokemon. Digimon proved to be popular in its own right. Like Yu-Gi-Oh, it provided exposure to Japanese art styles and animation styles for many young Americans. Pokemon,Yu-Gi-Oh, and Digimon are the modern “gateway drugs” to an interest in anime, much like Speed Racer, Astro Boy, and Voltron did in previous decades.
The magical girl genre, since Sailor Moon made it widely popular, often comes off as stale and formulaic. Cardcaptor Sakura breaths new life into the genre. The series targets an audience often forgotten in the West: girls. However, Cardcaptor’s story and characters offers a little for everyone, much like Disney movies are watched by all genders and ages.
Arpeggio of Blue Steel
Arpeggio of Blue Steel features a storyline centered on battleships and submarines. Quite a difference from the usual big robots. Each ship’s AI system is represented by a cute girl (after all ships in the West are female in gender). Arpeggio deserves a place on this list because of how it could be loosely called a mecha (without the robots) and creates a plausible world without international trade.
Studio Ghibli takes a human cursed to be a pig (and who happens to be a pilot) and tells a story set in the 1930s. The time period between World War I and the rise of Hitler is often glossed over. The story is human: trying to let go of the past. Porco Rosso is often forgotten in the list of Studio Ghibli films. It is well worth a look.
Maria the Virgin Witch
Maria the Virgin Witch has many, many problems. But it is on this list because of how it plays with Western ideas of witch craft. Maria is a young witch loved by those who know her, feared by those who hear of her, and hated by the church. Maria’s resistance to the church and the will of heaven (represented by the archangel Michael) speaks to our modern relationship with traditional religion. It handles this rather ham-fistedly, but it still has an interesting story and perspective.
Kiki’s Delivery Service
Most of Studio Ghibli’s films lack world-shattering stories. Instead, they focus on a single person. Kiki’s Delivery Service follows Kiki on her flying broomstick as she grows into adulthood. The theme has been trod many times, but we each have to go through the same transition. Kiki’s Delivery Service gushes with Ghibli’s vibrant animation.
Slam Dunk is one of the most popular series in Japan during the 1990s and early 2000s. The story helped popularized basketball in Japan. Like many anime, this is a high school coming of age story.
Nana tells the story of two women with different personalities who become close friends. Nana is one of the rare josei Western releases. Most anime aims at high school and college age audiences. Nana and those like it aim at older adults.
No Game; No Life
No Game; No Life adds to the trend of video game based stories. Both main characters are intelligent and calculating, which is a welcome change over the usual hotheaded impulsive heroes anime favors. Some of the anime’s oddities (such as the too close relationship between brother Sora and sister Shiro) may turn off some fans not used to anime’s proclivities.
Shin-Chan is what happens when a kindergartner mixes with Family Guy. Full of sexual humor and childlike innocence, this anime is a funny romp on the playground. The art style is straight out of a 4 year-old’s drawing book and may be off putting for some. But the style lends a childish flavor to the antics. Don’t expect high humor or satire here.
Final Fantasy VII: Advent Children
Final Fantasy VII stands at the heights of video gaming for many. Advent Children revisits the characters and breaths stylized realism into blocky polygons of yesteryear. The level of detail and realism contrasts against Western computer animated films targeting children. Animation lends itself to fantasy better than live action.
Gunslinger Girl takes teenage girls and makes them into cyborgs and gives them guns. The anime could fit into the world weaved by Ghost in the Shell. What sets this anime apart is the use of classical music to convey the feelings and thoughts of the characters.
My Neighbor Totoro
My Neighbor Totoro is one of those rare films that doesn’t use conflict and threat to move the story forward. It leverages exploration and situations. It has life-like little girls and human situations. Its sense of wonder and magic returns us to childhood for a time.
Summer Wars raises modern concerns about computers and artificial intelligence. Well written and full of humanity, the story contrasts a vibrant virtual world with a vibrant family life.
The Girl Who Leapt Through Time
The Girl Who Leapt Through Time is yet another coming-of-age story with imagination and pleasant design. Makoto, being a fairly typical teenage girl, uses her powers to travel through time to help her get perfect grades, avoid being late, and other little things…until she learns her actions can hurt others.
Ghost in the Shell: Stand Alone Complex
Ghost in the Shell tells of a future that is more plausible than Star Trek. Theft, rape, and murder continue with technological twists. At its heart, Ghost is an adult crime drama similar to NCIS and Law & Order. For many, it stands at the pinnacle of what anime can do with adult storytelling.
Magical Girl anime typically do not feature dark themes and death. From its inception Madoka Magica was meant to be something different. The developers went out of their way to disguise the dark themes in the expected innocent, frilly magical girl facade. Madoka deconstructs the magical girl genre in similar ways that Neon Genesis Evangelion deconstructed the mecha genre.
Lupin the Third
The longevity of Lupin speaks for itself. The manga released back in 1967, and the story in print and on screen remains strong today.
Fruits Basket relies on characterization to keep fans interested. Their emotions and desires shine through the artwork. Fruits Basket, like many shojo, provide a alternative look at the action heavy anime the West usually sees.
Trigun is one of those strange mash ups. Science fiction and the wild west. The mix proved more popular in the United States than in Japan.
Requiem for the Phantom
Child assassins are a favorite anime theme. Requiem for the Phantom adds another favorite: amnesia. The anime is based on a visual novel, Phantom of the Inferno. You can read my thoughts on it in this review.
The Slayers is one of the most popular anime from the heyday of the 1990s. The art style may not be to many modern fans’ tastes, but the Slayers is one of those a student of anime need to see.
FLCL is less a show and more an experience. The layers stuffed into each short episode attempts to capture the complex frenzy of modern life. You need to be well versed in Jungian psychology to catch all the symbols stuffed into each scene.
The Vision of Escaflowne
The Vision of Escaflowne flopped in Japan but was a worldwide success. The anime suggests a disconnect between Japanese tastes in stories and the rest of the anime market during the 1990s.
Most of the time female warriors wear skimpy armor. Claymore bucks this trend(Clare’s is form fitting, though). Claymore has great action: sudden and violent without the yammering anime is prone toward.
Monster is a complex story with good pacing and still avoids the nonsensical tangle complex anime fall into. Series like Monster show how anime is a great storytelling medium.
Moribito tells a story of motherhood. Balsa is an older woman with experience behind her. This dynamic is a welcome change from most fantasy stories.
The Sacred Blacksmith
The Sacred Blacksmith is best described as middling. What it does right: avoid running the breast jokes into the ground. The anime doesn’t break ground, but it provides an example of where anime stagnated in recent decades.
The Melancholy of Haruhi Suzumiya
The Melancholy of Haruhi Suzumiya was one of the most popular anime back in 2006. It sparked an online phenomenon of parodies and other videos. The anime revealed how storytelling is two directional.
Spirited Away has grossed more in the box office than any other anime to date. Popularity cannot be underestimated when it comes to importance and impact.
Perfect Blue gets into your head. This psychological thriller follows Mima as she poses nude and as rape victims for magazines. The story has a distinct Hitchcock flare. It shows just how good anime can be when it sheds its high school immaturity.
Mazinger Z popularized the giant robot genre back in the 1970s. It is the first time a character piloted a giant robot from a cockpit. It was also the first time a female robot appeared. The anime laid the foundation for later mecha anime.
Macross is a mecha series that tries to avoid black and white thinking. It’s antagonists are not inherently evil unlike other mecha at the time.
Do you like ghost stories? Ghost Hunt is TAPS (Ghost Hunters) with a Japanese twist.
Beyond the Boundary
Beyond the Boundary is a fair anime that provides another look at how anime plays up male fetishes. On a positive side, it handles small gestures well and has a female lead with steel in her character.
Dusk Maiden of Amnesia
Anime ghost stories can be gripping when done well. Contrast is the key, and Dusk Maiden of Amnesia uses anime style humor to accent its dark moments well. The cinematography of this anime lends to the creep factor well. Some of the shots have a distinct Hitchcock feel.
Burst Angel would be a much better anime if it modeled itself after crime thrillers like Ghost in the Shell rather than mix in teen-angst found in mecha focused anime.
Sword Art Online
People either love SAO or hate it. Sword Art Online helped popularize the trapped-in-a-game genre. If anything, this new genre shows the importance of video games in modern culture.
Akame Ga Kill
Akame Ga Kill straddles the fantasy and trapped-in-a-game genres. While most of the time it stands firmly in fantasy, some of the battles and dialog come from video games. The humor of the series comes at terrible times and clashes rather than accents the dark themes present in the story.
Harem series like Shuffle! flirt with the outright ridiculous. However, Shuffle breaks from the pack with a heartfelt story. Some of this is because it is a seinen anime as opposed to an ecchi or shonen harem story.
High school love triangles within yet other triangles and comedy antics mark School Rumble. It is a fluffy show with heart and decent humor.
Howl’s Moving Castle
Based on a children’s book, for many Howl’s Moving Castle is Studio Ghibli at its best.
Thought provoking best describes Mushi-shi. Episodic is another word. The story looks at the relationship we have with the natural and spiritual world we often do not see.
The World Only God Knows
A harem with a heart describes The World Only God Knows. Watch as an aloof, awkward video game dork is forced by a demon from Hell to break out of his shell and use his skills in dating sims to cast out evil spirits.
Last Exile is a great story set in a rusty steampunk world. With superb visuals and pacing, what more can you ask for?
Nausicaa of the Valley of the Wind
Nausicaa of the Valley of the Wind was written by Hayao Miyazaki. The movie cemented Studio Ghibli’s place as a major player and even inspired chocobos in the Final Fantasy video game series.
Cute female android. Check. Awkward situations with a horny but good-hearted college man. Check. Chobits leads the viewer on a journey to discover love and humanity.
Thought provoking dystopia best describes Wolf’s Rain. The story is complex (and confusing) but the dark themes and music by Yoko Kanno are excellent.
Dark themes and menacing artwork brings this dystopian story alive. It is gothic like a cathedral: darkly beautiful but also vibrantly lit by the sunlight of its characters.
Forget Twilight and sparkly vampires. Hellsing Ultimate is a trip over the edge of psychosis. It bleeds with violence to the point where the story becomes secondary. Much of its brutality seeks to highlight to darkness of bored immortality.
El Cazador de la Bruja
It isn’t often you see an anime set in Mexico. The focus on female protagonists and a believable Wild West feel sets this anime apart.
Stories without violence come as a relief. Barakamon follows a stereotypical dramatic artist on his journey to a small rural island to rediscover his muse. The focus on simple life and relationships makes this story a nice watch.
Gurren Lagann handles suspense right. It’s story is clear and comes with great twists. Surprising for a mecha. Add in a coming of age story that doesn’t involve high school and you have a winner.
One Week Friends
Friendship can be difficult and in today’s society it is a commodity. One Week Friends shows just how valuable friendship and relationships are and how much work they can take.
Code Geass takes mecha themes and doubles down on how mecha questions power and the conflict between ends and means.
For many, Robotech was the first exposure to mecha and anime. Robotech helped the popularity of anime grow in the US during the 1980s.
Mobile Suit Gundam
Gundam fever strikes many as one of Japan’s strange interests. Mobile Suit Gundam remains one of the most popular anime series in Japan, inspiring giant robot statues and more. It set the standard for all mecha to follow.
Naruto remains one of the most popular anime series in the United States. Its popularity has helped make anime legitimate and a staple in American childhood.
Attack on Titan
The popularity of Attack on Titan surprised many. It is one of those few titles that appeals to those who avoid animation.
Welcome to the NHK
Hikikomori becomes more common as relationships become more difficult. Welcome to the NHK examines the trend through the eyes of a sufferer.
Space Dandy continues the family of Cowboy Bebop and Samurai Champloo. Space Dandy suffered from too much hype, but it continues the episodic antics Bebop and Champloo popularized.
Grave of the Fireflies
Grave of the Fireflies is a hard movie to watch. It tells a story of what happened to many Japanese children during World War II. It shows how animation can be serious and heart wrenching when done well.
Princess Mononoke was the first animated film to win the Japan Academy Prize. Many consider the film as a landmark in animation because of its quality and complex, adult script.
Although Fullmetal Alchemist doesn’t follow the manga, the characters break away from the standard shonen type. Edward uses intelligence more than brawn. In Brotherhood, he falls back into the standard impulsive meathead shonen stereotype.
Love, Chunibyo, and Other Delusions
Love, Chunibyo, and Other Delusions looks at chunibyo, or a reluctance to grow up. The anime is full of heart but avoids being overly sentimental. As these stories go, it is well balanced and worth the watch.
Death Note dominated anime for a time with its popularity. It spread across the internet through fanfictions and garnered a cult-like following. Its dark themes and questions about morality (such as the question of ends and means) hit home with many.
Spice and Wolf
Economics doesn’t get enough attention as a plot device. Spice and Wolf sometimes delves too deeply, but the adult relationship and banter between Holo and Lawrence elevates this story. Sadly, it looks unlikely the anime will be concluded.
Fullmetal Alchemist Brotherhood
FMA: Brotherhood remakes the first series and follows the manga closer than the original. Brotherhood provides an accessible entry point for those looking to start watching anime.
Cowboy Bebop remains a classic. It is the best anime to introduce the medium to those who have doubts. Many who hate anime like Cowboy Bebop.
Eureka Seven shifts the mecha genre while retaining tradition. The bright colors and surfer theme break from the usual dark colors and themes found in most mecha. While the story retains the grandiose plot, the relationship between Renton and Eureka is the focus.
Rose of Versailles
Rose of Versailles is one of the most important stories for women’s roles. In the story, Oscar François de Jarjayes takes a role typically reserved for male characters. She doesn’t lose her identity to her male love interest like other stories of the time period the story released.
Samurai Champloo stands as the spiritual sequel to the classic Cowboy Bebop. It’s strange mix of hip-hop and Edo period Japan. In many regards Samurai Champloo surpasses Cowboy Bebop.
One Piece captures childhood for many. It is the best-selling manga series in history. Popularity creates impact, and few stories have had more impact than One Piece in the lives of fans.
Aside from Astro Boy, Pokemon is the most important anime. This is especially true of the United States. Pokemon may have begun as a video game, but it jumped mediums to television and books without any problems. For many Americans Pokemon defines childhood. Its messages of friendship, perseverance, loyalty, and hard work appeals to parents. Its bright colors and cute characters appeals to children. People around the world recognize Pikachu. What makes Pokemon significant is how it isn’t considered anime. It is simply a cartoon. This shows how anime has gone from being a niche market to a part of the American childhood. Pokemon remains the most popular anime franchise. It opens doors toward mainstream acceptance of the medium and raises generations on the art style. This makes Pokemon a gateway for more interest in anime.
Top 100 Anime. The Good, the Bad, and the Influential was last modified: December 11th, 2016 by Chris Kincaid