Ask John: What’s John’s Ideal Anime TV Network Like?

Question:
If you owned a television network and had carte blanche to put any anime on you wanted to at anytime you wanted which ones would you choose?

Answer:
Following a bit of consideration over this question, I realize that I probably wouldn’t be a good programming executive because my ideal line-up is too eclectic and idealistic to be practically effective. After a few minutes of thought, I realized that if I had carte blanche to program a television network of anime the way I wanted, I’d envision a network that encapsulated the spirit of anime. I’d select many of the shows that influenced, intrigued, and inspired me; shows that contributed to forming my perception of anime.

From the 1960s, I’d pull titles like Goku no Daiboken, Ribon no Kishi, Gegege no Kitarou, Sasuke, and Dororo because they’re stylish, creative, and simply still very fun to watch even by today’s standards.

From the 1970s, I’d want influential, memorable titles like Matsumoto’s Uchu Senkan Yamato, Uchu Kaizoku Captain Harlock, and Ginga Tetsudo 999. I’d also select landmarks titles like Cutey Honey, Shin Lupin III, and Shinzo Ningen Casshan because they’re good, and they contributed to the tone and style of modern anime. I’d select Sasurai no Taiyo, Muteki Chojin Zambot 3, and Tosho Daimos because they’re good shows that reflect the spirit and feeling of their time. For the same reason, I’d pick Chojin Sentai Baratack. It’s not one of the best 70’s robot anime, but it’s the one which most epitomizes 70’s robot anime in my mind. I’d also love to expose more viewers to the Manga Nihon Mukashi Banashi series that’s little known in America but far ahead of its time in terms of esoteric, experimental, stylish animation techniques and design.

From the 1980s I’d largely select shows that I think emblemize the spirit of the golden era of anime: Sue Cat, Urusei Yatsura, Taiyo no Kiba Dougram, Patalliro, The Kabocha Wine, Tokimeki Tonight, Macross, Stop!! Hibari-kun!, Cat’s Eye, Tokuso Kihei Dorvack, Tongari Boshi no Memoru, Kyoshin Gorg, Dirty Pair, Aoki Ryusei SPT Layzner, What’s Michael, Kido Senshi Gundam Z, Maison Ikkoku & Ranma 1/2, City Hunter, Kimagure Orange Road, Chouon Senshi Borgman, Warau Salesman. Among these picks, Sue Cat, Patalliro, Stop! Hibari-kun, Tokimeki Tonight, What’s Michael, and Urusei Yatsura reflect the casual weirdness of 80’s anime. Dorvack isn’t one of the golden era’s greatest robot anime, but it epitomizes the look and style of golden era sci-fi anime better than most of its sibling shows. Warau Salesman may be one of the 1980’s best loved iconic characters that remains practically entirely unknown in America.

I divide the 1990s in half. From the first half, I’d pick titles including Fushigi no Umi no Nadia, Kingyo Chuuihou!, Mahou no Princess Minky Momo, Dragon Ball Z, Hime-chan no Ribbon, Ghost Sweeper Mikami, Akazukin Chacha, Mahou Kishi Rayearth, Fushigi Yuugi, and in substitute for the OVA series, the first Tenchi Muyo TV series. These are fun shows that begin to reveal the emerging sophistication of contemporary anime.

Beginning with Evangelion, my picks from the 1990s are divided into the mature, serious exceptional anime like Tenkou no Escaflowne, Kido Senkan Nadesico, Kido Senshi Gundam W, Shojo Kakumei Utena, Kenfu Denki Berserk, Hameln no Violin-Hiki, Seihou Bukyou Outlaw Star, Cowboy Bebop, and Serial Experiments Lain, then a selection of contrasting fun and unique shows that serve as a counterbalance: Kiko-chan Smile, Slayers, Momoiro Sisters, Popolocrois Monogatari, D4 Princess, and Soreike! Uchu Senkan Yamamoto Yohko.

Because I think that the 2000s are adequately represented with domestic DVD releases and largely aren’t that unfamiliar, I’d personally concentrate on contemporary anime that I consider forgotten and deserving, or shows deserving of re-evaluation. Among them: Miami Guns, Hidamari no Ki, Chikyu Bouei Kazoku, Jyuuni Kokuki, Saishu Heiki Kanojo, Princess Tutu, Hanada Shonen-shi, Air Master, Uchu no Stellvia, Futari wa Pretty Cure & Pretty Cure Max Heart, Fuujin Monogatari, Damekko Doubutsu, Gallery Fake, Fushigi Hoshi no Futago Hime, Hachimitsu to Clover, Ichigo Mashimaro, Renkin San Kyu Magical? Pokaan, Yakushiji Ryouko no Kaiki Jikenbo, Binbou Shimai Monogatari, and Shion no Ou.

I realize upon reflection that my own picks largely exclude shounen adventure anime. Shows like Yu Yu Hakusho, Naruto, One Piece, and Bleach may contribute to the popularity of anime, but in my mind they don’t contribute as much to the subconscious impression of what anime is. Sailor Moon is also not on my lists, possibly because its influence wasn’t especially strong on my own development as an otaku. While I think that a selection of titles like these would evoke a palpable impression of anime as a pulsing, maturing, creative entertainment medium, I’m not convinced that a large American audience would be eager to watch these shows in order to appreciate them individually and absorb the impression that they create collectively.