My Favorite Anime

  1. Mushishi
  2. HaibaneRenmei
  3. Seirei no Moribito
  4. UchuuKyoudai
  5. JoJo no Kimyou na Bouken (TV)
  6. Oniisama e…
  7. Yojouhan Shinwa Taikei
  8. Eureka Seven
  9. Aoi Hana
  10. Kiss x Sis

In most previous renditions of this list, since around 2014, the top three have remained unchanged. One of the criteria for a favorite is how much of an immediate impact or lasting impression it has. Undoubtedly, the top three have had the strongest emotional impact of any anime I’d seen—or have seen since. Mushishi and Haibane Renmei in particular hit me on such a personal level that I tend to avoid casually talking about them.

haibane renmei.jpg

Seirei no Moribito is like a rare star alignment of story, character, animation, and sound. Every aspect was clearly and skillfully crafted, creating a wholly immersive world and mythology that I still reflect on. Eureka Seven is similar in this regard, though perhaps not as thematically complex. The animation in Seirei no Moribito, which really shines in the action sequences, was produced by Production IG (Jin-Rou), and the soundtrack was scored by the inimitable Kenji Kawai (Ghost in the Shell).


The characterization in Uchuu Kyoudai (Space Brothers) may actually be more impressive. Even the supporting characters have weight and motivation. My attention span is embarrassingly fragile, and most 12-episode titles end up becoming a struggle for me to complete. Regardless, I breezed through all 99 episodes of Space Brothers with minimal fuss. The times that I did fuss was usually when I had to sleep or work, and couldn’t watch Space Brothers.

Space Brothers.jpg

It was fucking hilarious how unapologetically manly and ambiguously gay JoJo no Kimyou na Bouken (TV) was. If I remember right, I binged JoJo TV over the course of a few days so that I could watch Stardust Crusaders as it aired. JoJo TV, along with the two seasons of Stardust Crusaders, were the most fun I’ve ever had watching an anime. If a show can routinely make your stomach tighten from laughter, and make you say “oh shit!” out loud, it deserves to be ranked as a favorite.


If you like shoujo-ai, you should thank Oniisama e as it’s the spiritual grandmother of the genre. Its direct influence is visible in the classics Maria-sama ga Miteru and Shoujo Kakumei Utena. Aesthetically, Oniisama e is more appropriately categorized as fine art. The hand drawn renderings, done with painstaking detail under the disciplined direction of Osamu Dezaki, are accentuated by a moving piano and orchestral score. It delves into heavy and taboo themes, and was consequently banned in some countries at the time of its 1991 release. There’s some humor, but the subject matter is taken completely seriously, never using its gay characters as props or fanservice. **Aoi Hana** could be considered a lighter version of Oniisama e.

Oniisama e.png

Lastly, Yojouhan Shinwa Taikei and Kiss x Sis, two anime that couldn’t be more different from each other, and yet are similar in that they are both unafraid of pushing boundaries, and doing the unexpected. The former does so with design and narrative, and latter does so with ecchi and crass humor. My favorite kind of shows, movies, and so on are generally the kind that take risks, that aren’t afraid of being different, or dangerous. I’m a simple man. Keep surprising me, I’ll keep watching.

Yojouhan Shinwa Taikei.jpg



roT0fQITexhnolyze is a show about heavy breathing, grunting, and a pissing contest between a group of gun and sword wielding alpha males in suits who speak in bad mob movie cliches. If you force your imagination enough, you may be able to find something deep in the recesses of this art, but the same could be done if you stared long enough at the textures on a rusty frying pan.

There’s a subplot about “texhnolyzation”, a procedure to repair or upgrade a person using technologies such as mechanical limbs. The transhumanist ideas herein, which have potential, are unfortunately enveloped in a lot of empty atmosphere. Most scenes are comprised of long shots of nothing, sound effects that were ran through one too many flange filters, and cryptic dialog that’s just later reiterated in dull exposition.

The tone is reminiscent of the cheap drawings an angry teenager would sketch up after being sent to his room for cursing out his mother. There’s hardly any diversity among the characters; they all share the same stern facial expression, and communicate by either mumbling or shouting.

Episodes 19 – 22, though still reliant on exposition, are admittedly fascinating as they focus on the aforementioned subplot. With that said, I’m not entirely sure the ending was worth sitting through the preceding 6 hours of tedium. If this show had been around 10 episodes instead of 22, it could have been good, maybe even great.

Mushishi and Patience

687474703a2f2f7777772e6861707079736f64612e636f6d2f77702d636f6e74656e742f75706c6f6164732f323030372f30382f6d757368697368695f6d6174613530302e6a7067When I joined MyAnimeList in 2014, I saw admirers of a series called Mushishi raving about how it was the “best slice of life ever”, using words like “beautiful” and “masterpiece” to describe it. In response to this praise, there were those criticizing it as “pretentious”, and going as far as calling it the “most boring series ever.” With such strong opinions coming from both sides, I wanted to see for myself whether or not Mushishi was as good, or as bad, as people were saying.

At the first episode, I was already siding with the critics. Ginko, the main character, meets with a boy living alone in the woods to investigate a strange ability he has. A perplexing conversation ensues that made me feel like I was back in a college with a professor throwing information at me for an upcoming test. “Are they really expecting me to keep up with all of this?”, I thought.

Then I got to the second episode, which frustrated me even more. For most of the first half, I grudgingly stared at these two kids sitting in a dark room talking about something pertaining to eyelids.

I concluded that this series just wasn’t for me, and I dropped it halfway through the second episode.

As I met and befriended more people on forums, I noticed that many of those who liked the same anime as I did thought highly of Mushishi. I started to wonder, “Why do these people with such excellent taste (lol) love such a bad series? Maybe I’m missing something, and should try watching one more episode.”

I took a deep breath, stilled and cleared my mind, sat back, and attempted to watch the second episode again.

During the first half of the second episode, I felt indifference instead of anger this time because I was in a calmer mental state. I didn’t like what I was watching, but I didn’t hate it either. Then the second half—which I hadn’t seen yet—happened, and everything changed. I’ll explain.

In the first episode, you get a crash course on what Mushi are. It’s not a terribly exciting episode, but it’s a necessary one as it establishes the world you’re about to enter. In the second episode, you see how Mushi can incapacitate people. It starts slowly, as the first episode did, and then—without spoiling anything—all hell breaks loose. I was sucked in.

“Alright, you got me. I need to know more. What are these Mushi?”

Now that the series had my attention, I began to appreciate many things I had overlooked. On the surface, Mushishi seemed like a story about a paranormal investigator who goes around helping random people. As I followed the Ginko on his essential journey—you learn why he can’t stay in one place later in the series—I realized something. The people that he meets aren’t irrelevant characters. They’re us. They’re people modeled after you and me, and their problems are the kinds of problems we’ve all experienced.

Each episode presents a character with a problem we can relate with, and then it guides us through the mental, physical, or sometimes moral process in trying to solve that problem. The stories are blended with subtle commentary on the ways in which we’re interconnected with each other, and with nature. Nature plays a central role in Mushishi, and could be considered a character itself. Sometimes it’s the protagonists; sometimes it’s the antagonist; but it’s never portrayed as an entity that acts in a deliberate way. Nature, and the Mushi that are an extension of it, just are.

What Mushishi managed to accomplish in just 23-minute intervals most series struggle to do over the span of an entire season. I was surprised something so philosophical and unorthodox was adapted into an anime. Artland, the producers, didn’t cut any corners either. The art and animation quality exceeded that of a typical television series, and often reached the level of a feature film. The imagery is enhanced by intricately detailed backgrounds, and a bewitchingly solemn soundtrack that doesn’t call too much attention to itself.

By the end of the series, Mushishi had become my favorite anime. For nearly 13 years, since 2001, Spirited Away had been favorite. Its narrative and visuals were so imaginative, and Miyazaki‘s writing was so sharp, that I never thought another anime would equal it. I went into Mushishi not expecting much, and I didn’t like it when I first tried to watch it. After giving it fair consideration with a calm mind, I also saw how ”beautiful” it was.

It’s amazing the difference a little patience can make.