Ask John: What were the Highlights of 2002?

Question:
Now that 2002 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 enjoy out of the titles that were released in 2002?

Answer:
Although I’d like to be able to compile a personal list of best anime releases of 2002, I unfortunately haven’t yet seen many of the films that are likely candidates for such honor, including Millennium Actress, The Cat Returns, Tree of Palme, and Arete-Hime. However, I have seen enough of Japan’s 2002 anime television releases to be able to compile what I think is a fair representation of last years television anime. No two people’s perceptions will be identical, so my list of top anime of 2002 is highly subjective.

1. Azumanga Daioh – Of all the anime TV series released in 2002, Azumanga was the singular one with which I had absolutely no complaints or quibbles, no matter how minor. This simple, humorous slice-of-life show was an excellent reminder that anime doesn’t need giant robots or sex or violence or space ships or aliens to be wonderful, charming and absolutely satisfying entertainment. This simple show, with good writing, strong characterizations, and a sense of purpose and care crafted a memorable and heartwarming atmosphere unlike anything else this past year.

2. Witch Hunter Robin – Stunning art design and some of the best costume design in all of anime, combined with a unique gothic atmosphere, truly mysterious story and interesting characters all combine to make Witch Hunter Robin a series unlike any that’s come before it.

3. Haibane Renmei – Like many of the other wonderful shows from 2002, Haibane Renmei managed to show viewers something totally unique and original. There’s simply no other anime, in my experience, that can be easily compared to Haibane Renmei. Essentially an extended character study in which viewers take part in the exploration of a fully propagated world along with the characters, Haibane Renmei draws in the viewer, and makes the viewer a part of the show instead of just a passive observer. The care spent on art design and the small details that bring the world of Haibane to life speak volumes about a show created by artists with a desire to create art, the pure emotional and affective power of art.

4. Ghost in the Shell: Stand Alone Complex – This title virtually buys its way into its company. The budget of the GitS TV series is staggering by anime standards, and every yen spent shows on screen. Occasional clunky looking CG artifacts are easily overlooked by the stunning animation quality and simple maturity level of a show that absolutely refuses to condescend to its audience.

5. Saishu Heiki Kanojo – Coming as a major surprise from Gonzo Studios, a group best known for disposable bombast, SaiKano showed a surprising integrity from Gonzo never seen before. The brutal honesty and raw emotional intensity of SaiKano made the show difficult to take, but its challenging nature is a positive sign of its power and grandeur. No other show from 2002 dared to manipulate viewer emotions as forcefully as SaiKano. The fact that the series do so without seeming melodramatic or blatantly manipulative is what makes the series so totally unlike anything else, and so effective in striking a nerve with the viewer.

6. Princess Tutu – Largely overlooked because it’s overtly a magical girl show for pre-adolsecent girls, a show about ballet dancing no less, Princess Tutu revealed a startlingly morbid and morally ambiguous undercurrent the like of which hasn’t been seen in shoujo anime since Utena. Lush and exquisite art design make Princess Tutu simply a joy to look at, and its exploration of the dark side of fairy tales and their themes of unrequited love, punishment, cruelty, loneliness, fear and sorrow balanced with hope, love and friendship give the show an atmospheric style far more mature and philosophical than its outward appearance suggests.

7. RahXephon – Possibly collapsing under its own weight, RahXephon introduced a masterfully visual directing style and a story that kept viewers guessing until the series’ own complexity seemed to overwhelm it. The fact that the series seems to resolve itself far too quickly and simply leaves something of a feeling of bewilderment and unfulfillment, but disregarding the debatable view at the peak, the journey was well worth the time and effort.

8. Juuni Kokki – Stellar production values and a strong story to base the animation on generated a breathtaking, epic fantasy that’s equal parts Fushigi Yuugi and Escaflowne. Not philosophical or symbolic or emotionally conflicting, Juuni Kokki simply tries to transport viewers to another time and place, and does so as convincingly as could be asked for.

9. Abenobashi Mahou Shotengai – No one creates “fanboy anime” like Gainax. A virtual exercise in drawing out the otaku in viewers, AbeSho included enough “geek humor” and genre in-jokes to bring a smile to the face of the most die-hard fantasy fan, and totally confuse and alienate any mundane foolish enough to attempt it. A handful of not well integrated story intensive episodes, though, dramatically slow the pace of the series like a roadblock on a deserted freeway.

10. King of Bandit Jing – Like Juuni Kokki, O-Dorobo Jing was nothing more than what it set out to be, and what it was, was the absolute epitome of anime. The overwelming art design evident in every episode was a much an active character of the series as its protagonist. Like a combination of early German Expressionistic cinema combined with the whimsical fantasy of Tim Burton, Jing created a visual look that can’t be compared to anything else in the history of anime. Not intellectual nor philosophical, King of Bandit Jing quite simply did what it was supposed to do. It entertained marvelously.

As I’ve said, since I haven’t yet seen all the movie and OAV releases of 2002 that I’d like to, all that I can do is mention those I’ve seen that impressed me. 2002 will forever be remembered as the year of Spirited Away, the most popular and successful anime movie ever made (at least until Hayao Miyazaki’s next movie). From the biggest to the smallest, 2002 was also the year of Makoto Shinkai’s one-man-masterpiece Hoshi no Koe: Voices of a Distant Star- a film that, just like Spirited Away, laid out its heart on its sleeve and poured all of its creator’s passion for storytelling and artistic expression. Other highlight films and OAVs from last year that I was lucky enough to see include WXIII Patlabor- the best of the Patlabor movies due to its combination of the characteristic realism of the Patlabor movies with spectacular action; the Sakura Taisen movie- flawed but still the most engaging and rousing Sakura Taisen animation yet; and Macross Zero OAV 1 which showed off the sort of spectacular and awe inspiring action that only anime seems capable of.

If you’d like to share your own opinions on 2002’s crop of anime releases, visit the AnimeNation Forum.