Leaders of the Pack: 2000-2009
I used to keep somewhat-up-to-date top 10 lists for several categories, including favorite characters and favorite anime. It’s a tool to introspect, and an excuse for said exercise, so why not revamp my top list of anime at the end of 2009 and make it 2000-2009 only? Two birds with one stone, so they say.
Ultimately it’s an excuse for me to migrate some writing from elsewhere to here.
I originally baselined the list about five and a half years ago. And it hasn’t changed a whole lot in some aspects; a couple things moved and I adding a couple things. It’s a sure-fire sign that I’m an old fart, in internet terms. A new generation of netizens have already taken their place and drowned out the likes of me. Heh, remember when people used the word “netizens” and climbed hills to go to school both ways in the snow with no shoes &c?
The below is just a list of anime that I really liked in the past 10 years or so. There were some “franchises” that I was enamored with but they never really materialized in the form of an anime that I liked–Sakura Taisen being the most obvious example–so they’re off the list. And of course just because I like the anime doesn’t mean I like the other parts of the franchise, too. It really is a case-by-case analysis.
One more thing–this list is not ordered. Because it would take too long and honestly the order has no meaning beyond what it means to me, and I can’t be bothered to count any more angels on the tips of pins. So here it goes:
Millennium Actress - It is personal, as with most of this list. However I would say that I watched it during a period in my life where chasing dreams was the stuff that I wish I was doing. In some sense I still feel that I am not? The whole actress-idol angle was beside the point, although it is through that particular lens that we observe a form of beauty that can go beyond the limitations of real life. But in good Japanese tradition of mono no aware, it’s the chasing after an empty dream that beautifies, and perhaps it is the memories of that, which is eternal. Chiyoko’s fervent and undying sentiments powers her journey through time, but “Hollywood Magic” is the true substances of her dreams. No longer a person, she transforms into a conduit between her emotions and the silver screen, purer than the drab reality we’re a part of.
FLCL - Mad pimp style. In fact I still haven’t seen anything this stylish since. I mean this is a 2000-2001 show, so a lot of anime have gone past us since, in a medium that is known for its stylishness. There have been attempts, and some come pretty close, but as they bear their fangs to accomplish what they set out to do, FLCL has already been there, done that, and done it earlier. It also introduced America to the Pillows. LOL. I also think it’s the true complement to Gainax’s Evangelion. One is African-American blues stuff, and the other is, well, rock.
Scrapped Princess - I like this show for its drama and setting. While it’s fun and exciting to see how the story play out in its [super-spoiler-statement-removed], Pacifica and her siblings rise beyond just mere anime characters and into very personable entities that I see everyday. The high fantasy feel also comes across fresh and it unveiled itself like a pleasant surprise. I also blame Sutepri for dooming me to follow every blasted abortion of Ichiro Sakaki’s novel adaptations, because neither the Sutepri novels nor any of his consequent anime adaptations were up to snuff. If I had to say one key thing about Sutepri that I liked, it was Fumiko Orikasa’s Pacifica.
Rahxephon - I don’t know if I like Rahxephon, or Akihiro Yamada :) But nonetheless it’s a very pretty show that just doesn’t stop at being its own exotic, senseless shounen exposition. It has some great moments, and even blundering through its cloudy plot there’s a lot of wonderful tension. It’s also one of the best scripted giant post-Evangelion robot shows, although I can’t really vouch for the likes of Gasaraki or Betterman. The ensemble cast comes alive, albeit stubbornly, to put together enough interesting parallels and polygons to warrant a few essays at least.
Evangelion - Just because it’s mostly in 1996 doesn’t mean I can’t let it in… I added it back to my list partly because I think most of the Eva fans have already gone off and rant about other crap so it’s a topic that is generally less annoying now. Also over the years I’ve never really stopped appreciating what this show has to offer. It helps me to rewatch this because they keep on re-releasing it, lol. And what is there to appreciate? It’s definitely top notch as 90s TV anime goes, in terms of production values. The writing, designs, direction, music, theme, acting…well you can go on. It’s a perfect storm of some sort, as far as getting the right talents (and large number of them), the right crazy people, the right time and generation of Japanese people, the right way to frame the issues… So many factors contributed to its success. Lastly, the rebuilding isn’t so bad so far. Maybe I should’ve limited this entry to the Rebuilding, separate from the TV series, but that saga just started.
Manabi Straight - this is probably one of the new title I latched onto this list after a drought of personal inability to really like a show–basically it’s not to say there haven’t been many great shows to recommend others between 2004 and 2007, but this one manages to strike a chord in me that elevates it above others. It’s a feel-good high school affair with a lot of heart, but that alone wasn’t enough. What makes Manabi Straight work for me is the way the story manages to build a powerful allegory about vision and about fulfilling it. If you can cut through the cutesy loli appeal (or rationalizes it away), there’s a gem waiting for you.
Simoun - What wins with Simoun is its intricate writing to display the really odd human relationships wrapped around a very creative sci-fi/fantasy backdrop. It doesn’t help if the ensemble cast is also awesome and full of “good girls.” It’s not the kind of good girls that grace a Key game, no sirree. To me this was probably the ultimate example of the anime storytelling format in combining elements of high fantasy and drama, all together with just enough of those frown-upon meta elements that it doesn’t get in the way of the story. Unfortunately the production value was lacking in places, and it’s a difficult show to get into regardless on how you feel about yuri and fanservice. Nobody is perfect I guess.
Notable mentions–shows I like but don’t want to put on a pedestal:
GunParade March - I’m amazed that it’s still on my list, but for a romance-in-the-military story, it really captures that whole ishin-denshin idea excellently.
Witch Hunter Robin - Does goth style right. And Robin is…simply wonderful IMHO. Shukou Murase’s problem with pacing just wasn’t so pronounced here as it is with Ergo Proxy.
Ghost in the Shell TV - The unlearned man’s version of Shirow’s Ghost in the Shell. With twice of the cuteness and half the nudity! The less cat-ish Major might be more mainstream-appealing at any rate. Yes, I mean both Stand Alone Complexes and the OAV thing.
Planetes - No man’s an Island, and no man should go without seeing PLANETES because it’s awesome drama. Oh, it’s an exemplary piece of hard, near-SF with a sense of humor, too. It may also be one of the earlier no-nonsense post-911 works from Japan, as far as its vintage.
Dokkoida?! - It’s one of the best self-referential style of comedy that I can recall. The sisucon episode is perhaps the funniest and yet the most riveting episode of LOL ever. Also, in before ufotable. Futakoi Alternative gets a nod here, but I don’t think it’s got enough to make it to this list proper.
Koikaze - Speaking of sisucon, while this anime tackles a subject matter that’s all too taboo (incest), it is directed and put together with superb craftsmanship that it even does the subject matter with some justice, if at least superficially.
Melancholy of Haruhi Suzumiya - just for the fact how it raised the bar for TV animation alone is worth watching. It’s a boon that it’s also one of the best adaptation of juvenile science fiction for anime that I’ve ever seen. The out-of-order broadcast is brilliant and it is a ballsy move that paid off. Too bad Endless Eight did not; I would probably recommend season two anyways.
Full Metal Panic Fumoffu - Possibly the widest-appealing slapstick anime ever, and it manages to be not-too-gross most of the time!
Cowboy Bebop (TV, Film) - You already know this. Hi Robert Rodriguez and Quintin Tarantino! And Keanu, lol. While most of it took place before 2000, the movie didn’t come out until 2001, and for the most part Bebop is more of a “this decade” thing than a “last decade” thing anyways.
Chikyuu Shoujo Arjuna - It’s a little too new-agey for my taste, but it is a solid production with a daring message. I liked the music and the production as a whole.
ef - I’m reluctant to include this title because there hasn’t been enough time since I last watched it, but to call it a novel thing is understating the creative effort behind a seemingly plain eroge-turn-animated-companion. I’m not sure if it rises fully to the occasion however, as only the test of time will tell.
Xam’d - Like Haruhi, it belongs to this list just because it is animated like a champ, and the rest of the package is quite above average. I think it makes a cheap substitute for Eureka 7, at half the length and twice the visual goodness in exchange for a less satisfying story. Still to some the story might stand stronger than those who are more picky about linearity.
True Tears - There is something oddish about this show which just doesn’t make it stand out beyond its harem trapping, even if it most deservedly is beyond that. Characterization and production value are top notch. It’s almost needless to say that True Tears is a charming affair, no matter who you root for.
Rurouni Kenshin (OAVs, Kyoto Arc) - It’s possibly the only shounen fight anime that I truly liked, and probably the last. And the 4-episode OAV (or 1, director’s cut) of the Tomoe tragedy… It’s just so good, even if it lacks the grit of what we typically associate with samurai films. In its place we get a very early taste of, say, and euphoric field kind of thing. I can’t really say much about the TV series though, besides that it’s an enjoyable rump with some worthwhile meme powers even so many years after. Besides that, it is a 90s show. Unlike Bebop, the Kenshin experience is a very 90s kind of thing anyways, so I don’t want to highlight it (much).
That’s more or less it. I know this list skews old, especially considering the volume of anime available the last 5 years, but passing the test of time is a major criteria for me, and a lot of the shows in recent years just don’t stand out too much, you know?
For a very different list but possibly even more a trip down memory lane, check out Psgel’s. There are other holiday festivities that may grace this site, as such.
[edit: I removed Utena the Movie, because I don’t think it’s a 2000+ title if we go by the screening dates! I don’t know why I thought so the first place.]
Year in Review: Sunshine & Kisses Drive to Origination, Shrine Maidens Lost Memories in Coded Euphoric Frontier
Running for your lives.
With style.
Year in Review: She’s Going the Distance, a Great Feat of Strength
Going to mention a list of 12 lists of 12 items each. So a nested list. All 144 items. Annotated for the most part. Don’t ask me why I use these pronouns the way I do…
ef - a Sequels of Some Disappointments, Shh.
The more I think about it, the less I want to write about ef.
As the second season, ef - a tale of melodies, comes to an end, it becomes increasingly clear to me that the two seasons were planned in conjunction. However there were a couple shocking continuity issues, one which is best cemented by the ending scenes in both season 1 and season 2. The other is the more mind-boggling Australia/Japan continuity problem, although some could consider that to be a feature and not a bug, so to speak. It begs the question why did these inconsistencies appear? I must’ve missed something.
It also makes me wonder if I can truly appreciate the core content to the show without experiencing the entire package–both the games and the two season of anime. The stories as I hear from the game suggest that the anime are indeed complementary, rather than adaptive. And likewise, a tale of melodies complements a tale of memories; they are only sequel by definition, not by function, much like the two games are parts of a whole.
If a tale of memories was an emotional sledgehammer, then a tale of melodies was just a stake underneath it. I get the feeling lots of people were looking for anther hammer and they find this notably less impressive nail-like thing, leading to disappointment.
If you’re looking for more of the same, then it might be wise to stay within your ignorance. A tale of melodies is not for those searching for the same soulful sequence as told through Chihiro’s flying pages, Miyako’s call log, or Kei’s layups. However, the same visual sequences as described, now applied to paintings, violins and arias, tell a different story.
The flaw in the second season is within the detachment of flair and substance. The visuals tell me look not just between the lines, but beyond. In fact, that was also my favorite thing from the first season. So maybe they aren’t so different…?
Make no mistake, ef-melo has hefty amounts of both flair and substance; but if we could say that Kei and Kyosuke’s neglected story arc was the point of ef-memo–capturing that perfect shot of Kei as she bounces into the gym for morning practice, then the point of ef-melo is the overarching story documenting Yuuko and Yu’s reunion that played out through both seasons, forcing him to recite that silly line about miracles. It is no coincidence; the overarching narrative of both seasons is about Yu and Yuuko, but we just didn’t know enough from the first season to understand where to put down the jigsaw puzzle pieces. It is with Yu that Chihiro’s Fifty-First-Dates make sense and we understand why she is trying to write a book (4th wall satire!). And why Miyako and Kuze dealt with the opposite sides of loneliness. And why the entire story is an interwoven tapestry about building an “euphoric field” [See that picture? See what I mean by Chihiro? See what I mean by stake? Does someone get why she lives with Yu now?] and passing on the holiday cheer when it’s both seasonally appropriate and when it is not. It’s about your personal pursuit of creative excellence and doing what you were born to do. The two stories describe a composite, self-searching journey as the different characters find love for people, places and things that are meant to be loved, and learning what true love really means in a personal way. And one way for each cast member.
It’s… Baccano! But better scripted, I might add. With a 4th wall dimension (mostly relegated to Kyosuke).
I guess my point, overall, is that you can’t see that larger picture without the less-cohesive ef-melo. And if you did not see that when you finished the second series, you have then truly missed the main point of the exercise.
Curiously, the last anime that made me write something like this was Martian Successor Nadesico, and I totally wanted to write more about that the more I thought about it. Age and wisdom behoove otherwise; ef is one of those secrets that are best kept to those who are looking for it. It rewards appropriately.
A Quickie on Mental Bandwidth
Author’s notes are often interesting because they point to interesting things. That is if you can read past the knee-jerk-ish explanation and suppress the reactive instinct to point and laugh about his seems-totally-wrong-to-me assumptions…and bring it down down to his level.
Generally speaking the concept of mental bandwidth is a logical one, but just like most things to do with human perception, it is flawed to an extent. In this case, it’s not only flawed in that it doesn’t apply to every person, but also because they’re just measuring it wrong.
Reaching from my personal anecdotes, the sampling bias here is that I only bother to watch twice (or more) shows that really catches my attention. Specifically, I’d watch the raw once it comes out, and the sub again soon after. This season, for example, it’s just ef, but back in 2006 I was really crushing on things like Haruhi, Simoun, and a few others. The bias here is that I like to watch shows that are visually expressive–think FLCL or Paranoia Agent (lol) or ef, for example–which means that bandwidth becomes a real problem. And I’m not even taking subtitles into the equation. Take Satoshi Kon’s works for another example. He purposely jams and packs his films to the brim so it not only constantly engages your mind and your senses, you can do it again by rewatching it and get more out of the works than you did the first time.
In short, rewatching the same show over should have a drastic, different effect than watching it the first time. In fact, that much should be extremely obvious. It’s obvious enough that people who do rewatch their classic favorites go out of their way and note how similar it is the way their hearts flutter as with their first encounter, as if that shouldn’t the case! Plus, what may be an unremarkable visual cue the first time through may turn out to be a huge attention-grabber the second time because now you’ve gotten closer to the creator’s state of mind. A trivial non-mentioned item can be as big as a continent (of Australia) on your second peruse through ef a tale of memories, for example.
The other side of the coin is equally true as well. And that’s the usual case. There’s little point to rewatch a lot of the anime out there. We just don’t do it. (In another sense, it’s like watching parts of Fushigi Yuugi and you know she’s saying “Tamahome” and he’s saying “Miaka.” You don’t need subtitles for it.)
Needless to say if you rewatch a show again, subtitled, you should expect a different experience than watching it for the first time, no matter what format you saw it in the first time or second time.
That said, sometimes the subtitles just get in the way. I’ve ranted about this a couple years ago too but the point is once you understand what happened, you can just pay attention to other things and thus notice more details. (Or in some cases, you just don’t care about what the characters are saying but how they are saying it.) In essence that’s what I do when I rewatch anime. It’s probably an odd reason to do so but I can’t help myself. If you have a penchant for Makoto Shinkai’s 5cm/s, then you’d know what I’m talking about after your 15th time through the cinematic trilogy. It’s when you’re in the zone, you’ve come to know the words by heart even if you can’t recite it, but it’s like a man dying of thirst, squeezing on a wet sponge for all the water its got with all the strength he has left. Every moving shadow, every shade of color, every photoshop lighting effect. It all start to mean something.
It’s no longer about bandwidth. You are throttled by your internal limitation on what you can understand and perceive.
Thankfully most of the time you don’t have to go that far. Despite my crappy jokes I think it’s a general fallacy to compare a subtitled-translated production with one that isn’t for people who are struggling with the language and culture. Because, gasp, you can pay attention to the subtitles too. I believe that is the reason why we think there is a limit on mental bandwidth, even if I imagine many people can watch anime with subtitles and miss nothing they would otherwise miss when watching anime without, at least for certain titles. It makes much more sense to measure bandwidth by doing a blind test/survey and see how well a random sample of people understand, say, Ghost in the Shell subbed versus dubbed. It’s a movie where the dialogs matter and also visually stimulating. It would be an interesting experiment regardless what the results turn out to be.
