Ask John: Can You Provide a 2001 Year in Review?

Question:
Now that 2001 is behind us, what are your thoughts on the anime that were released this past year in Japan and what anime do you consider good or which did you like or enjoyed out of the titles that were released in 2001? And what you do think 2002 will hold in the way anime is done or titles being released?

Answer:
More than anything else, I think it can be said that 2001 should be remembered as a very good year for anime, especially on television. 2001 was also a year of subtle but significant evolution in the Japanese industry.

A handful of the best programs I watched during the year included Arjuna, Noir, Fruit Basket and Hellsing. Arjuna has been panned for its heavy handed environmental protection theme, but those willing to give the series a chance will be rewarded with some of the most impressive animation ever screened on Japanese television and a complex, challenging story that requires much more consideration and analysis than would be expected of typical entertainment. Noir, on the other hand, was not revolutionary but was the year’s best example of an anime series that simply got everything right. The story of two girls with two guns has been around for decades, but Noir assembled around this theme exceptional characterizations, a compelling, well written story, outstanding music, and beautifully stylistic cinematography that kept me wanting to see more. Akitaro Daichi’s Fruit Basket was a sort of return to form after the entertaining but somewhat soul-less Jubei-chan: Lovely Gantai no Himitsu, excellent but superficial Kaze Makase Tsukikage Ran and Animation Runner Kuromi-chan, and outstanding but out of character Ima Soku ni Iru Boku. The warmth and fun typical of Daichi’s classic Kodomo no Omocha is fully present in Fruit Basket. The series is a sitcom, but never feels anything less than totally spontaneous, honest and not at all condescending. And not since 1997’s Berserk has there been as unapologetically violent and action oriented yet still mature and competent an anime TV series as Hellsing. In a time period dominated by shoujo and “warm & fuzzy” anime, it’s nice to see something dark and dangerous that doesn’t use it’s atmosphere or shock value as a crutch.

This leads me into one of the most significant trends of 2001- the return of mature anime. After several years of non-offensive, family friendly programming, the Japanese industry started down the other side of the curve with the return of gratuitous nudity and excessive graphic violence through programs including Noir, Hellsing, Geneshaft, SoulTaker, Mahoromatic, Najica Dengeki Sakusen, and Hanaukyo Maid Tai. I don’t mean to give the impression that such graphic content is what I prefer, but its return signaled the return of the contemporary, audience challenging, revolutionary subject matter that we expect out of a certain degree of the anime industry.

The anime industry also changed in a few other subtle but significant ways. The OAV market, excluding the always prolific hentai anime genre, was noticeably diminished in 2001, limited to a relatively select few but higher quality OAV releases such as the outstanding FLCL (a show which reminded me of just why I love anime in the first place), Happy Lesson, Majinkaiser, and most importantly the broadcast of OAVs on Japanese television. Both Alien 9 and the first episode of the second Rurouni Kenshin OAV series were created as direct to home video releases, but both were broadcast on Japanese television prior to their home video release. This was an effort to stimulate consumer interest in the midst of a Japanese year of financial recession, but also may have signaled the beginning of a lessening distinction between TV and OAV anime. Japanese theatrical releases in 2001 were also characterized but near uniform exceptional quality productions including Cowboy Bebop, Metropolis, Sakura Taisen, and Sen to Chihiro no Kamikakushi- the highest grossing non-American produced motion picture ever made.

In yet another sign of the times, one time virtually omni-present anime voice actress Megumi Hayashibara performed only one anime theme song this past year- the opening for Shaman King. Likewise, Masami Okui performed only two themes- Tales of Eternia and Yu-Gi-Oh. Anime music in 2001 was notable for the entry of established J-pop performers including Dream, Do As Infinity, Hummingbirds, and Ayumi Hamasaki into many new anime opening and ending themes. Time, and the industry, are definitely moving on to new talent.

Looking toward the future, digital animation is likely to continue to increase in usage in the Japanese industry, but the existance of 2001 purely cel art programs like Hakaima Sadamitsu, Taruto, Noir, Mahoromatic, Earth Defense Family and Sister Princess, and the forthcoming 2002 releases of series including Shichinin no Nana, Weiss Kreuz Glühen, Tenchi Muyo GXP, and Bandit King Jing suggest that traditional hand painted anime won’t be disappearing any time soon. Personally, I’m very much looking forward to the premiers of forthcoming shows including Gonzo Studio’s mecha/action Full Metal Panic, the (likely) ecchi Onegai Teacher and Chobits, and Koge Donbo’s Panyo Panyo Di-Gi-Charat and his latest series Pia-Ten.