The thing that stood out to me about anime in 2021 was the sheer breadth of creativity among the shows of this year. More than any other year in recent memory, 2021 anime seemed to be abuzz with unique concepts, ambitious visuals, and a creator driven approach to both adaptations and original shows. This is a year where it felt like a bunch of really talented creators were given full reign to do whatever they wanted. That, to me, makes 2021 one of the most memorable years of anime I've experienced in my 6 years of keeping up with anime seasonally. Not every creative endeavor was a perfect success, but it's the sheer number of shows I can point to and talk about something unique or creative it does that make me incredibly excited for the future of anime. I wasn't even able to watch everything I wanted to this year, as I was unable to keep up with Spring and Summer, so I only watched a few shows from those seasons. If you are a fan of To Your Eternity, Tokyo Revengers, Fruits Basket, Nagatoro-san, My Hero Academia season 5, Zombieland Saga Revenge, Megalo Box: Nomad, My Next Life as a Villainess season 2, Case Study of Vanitas, Idaten Deities Know Only Peace, and frankly way too many other shows to name, just note that this is the reason they aren't on this list: I just haven't watched them. I do want to get to them, and many others eventually, but that will have to wait until I have a chance to do so. I may make a post about the creativity of this year's anime in more detail later, but for now, I want to highlight some of these standout works, and what made 2021 such a great year for Japanese animation. So, with only a little bit more adieu, let's dig into my top 15 favorite shows of the year.
Honorable Mentions
Before I get into the list proper, I'd like to briefly shout out some honorable mentions. Although I wasn't able to get around to much of what I wanted to try, I did still manage to watch a fairly decent amount of shows, and many of them are still worth mentioning. I'll try to keep these brief, but these are some of the other shows that just missed my list (in no particular order):
- First, I want to give a special shoutout to Ranking of Kings. I'm not caught up to it, and I don't like to include unfinished seasons on these lists anyway. But even the four episodes I watched tell me that this will be something special. A vividly realized fairy tale aesthetic aids its tone and gives a potent sense of identity, and Bojji is just the most immediately lovable protagonist ever, the easiest possible character to root for. It's an uplifting disability story where every character is sympathetic and complicated, and which is overflowing with creativity and inventive presentation. It's absolutely wonderful, and will definitely land on the list once it finishes.
- Similarly, I want to shout out Evangelion: 3.0 + 1.0 Thrice Upon a Time. It's the only 2021 anime film I saw this year, and I don't like to include films on these lists, but I can't get away without shouting out the end of this legendary classic. This final film was easily the best of the Rebuild films in my opinion, a poignant send-off to these characters with some of the most insane visuals of anything I saw this year. It's a wild ride in its final third. Eva has ended for the third time, but it's gone for real now. I'm glad it ended on a high note.
- I still haven't finished Wonder Egg Priority, and I know its ending isn't great, but the first seven episodes are truly something special, and the show would easily be on my list if not for what apparently happens later. It's worth it just for its amazing start, one of the most ambitious, creative, and emotional shows of the year, even if just for a little bit.
- The second part of Re:Zero's second season was a step down from the first, far less focused and tight, with a weaker production, and awkward pacing. But when it lands, it still lands hard. Emilia's backstory led to some of the most poignant moments of anything I watched this year, the witches are interesting characters, and the culmination of Subaru's character arc has been a joy to watch.
- Kemono Jihen is a really fun shounen battle series with one of the most lovable casts of any show I saw this year. It's well directed and solidly animated, and has a really interesting world full of mystery, feeling like big things are playing out in the background. It went very underappreciated this year.
- Bottom Tier Character Tomozaki-kun is an entertaining and occasionally poignant self-help story with a really fun cast. Once you get passed the cringeworthy gamer speak, there's a coming-of-age story that genuinely spoke to me, and which is thankfully self-aware of the problems inherent to its set-up.
- Artiswitch is a really memorable short series with some of the coolest visuals I saw this year. It's a series of vignettes about people who are unable to express themselves due to their fears of not fitting into the expectations others have for who they should be, which expresses the character's inner psyche's through ultra-stylish music videos. It's only six 8-minute episodes, absolutely worth checking out if you haven't heard of it to see some of the most creative and downright awesome visuals of any show this year, tied to a heartfelt story.
- 86 presented a well thought out war story, appropriately melodramatic for a show about racism. It definitely got too hammy at times (particularly the first three episodes), and most of the 86 never really came into their own as characters, but Lena's arc is very well done and provided one of my strongest emotional connections this year, and it's backed by a really strong production. And a few of the 86 eventually do find their stride as interesting characters. I'm looking forward to watching the second cour later, I think it has the potential to become excellent.
- Vivy: Fluorite Eye's Song had the single coolest premise of any show I've seen in a long time. A century spanning epic to change AI history, this fascinating idea and the way it presents the passage of time and the integration of AI and humans, alongside Vivy's arc as a character, is what carries it to great heights in spite of its messy worldbuilding and poor dialogue. The ending also failed to deliver on what it set up thematically, and was unsatisfying in many ways. But the high points are wonderful, and it's the kind of creative high concept sci-fi story I always crave.
- My Senpai is Annoying provided a super adorable and funny workplace romantic comedy, aided in no small part by a great animation effort from Doga Kobo. It spends too much time spinning its wheels to be truly excellent, but turning it on always puts a smile on my face.
- Faraway Paladin has the potential to be one of the most impressive fantasy series in recent memory. Backed by extensive and thoughtful worldbuilding that inspires the imagination, and a methodical approach to its storytelling that allows me to savor its often melancholy atmosphere, it's an understated drama about coping with mortality, and manages numerous moments as poignant as that concept sounds. It would probably be really special if it had a less workmanlike production, trying its best to hide the obvious lack of time to animate.
- Irina: The Vampire Cosmonaut has one of the most weird and out there premises you'll likely ever see, an alternate universe space race taking place in (not) the USSR and with vampires. The weirdness ended up being part of its charm, and the story is a really endearing drama starring an intimate romance I fell in love with. The production is inconsistent, but the direction makes up for it, bolstered further by the best soundtrack of the year (composed by the legendary Yasunori Mitsuda, of Chrono Trigger fame). It damn near made the list, a really wonderful little show.
- Sakugan made me think it would be my favorite show of the year after it's absolutely magical first episode. That first episode stuck with me so much that it took half of the show's run time to finally convince me that it was never going to live up to that lofty height. What we did get still managed to be a very entertaining father/daughter adventure story taking place in an interesting world, with themes about the nature of culture yet to be fully explored. It also has an amazing soundtrack.
- Selection Project provided one of the better idol shows I've seen in recent years. A genuinely poignant little drama with a really lovable cast who grow a friendship that feels genuine, a better executed take on the idea behind winter's Idoly Pride. It's a shame that the last two episodes are filled with bad ideas that ignore its strengths, but even they had some good moments, and the rest of the show had me thoroughly engrossed. Another great animation effort from Doga Kobo as well, and with some of the most attractive character designs of any show this year. Great music as well.
- PuraOre! Pride of Orange seemed to be disliked by the majority, but I personally found it to be a very charming show. Generic but well realized characters with a friendship that feels genuine make it an entertaining slice of life work, but when it does choose to focus on hockey, it makes sure that it's hype as hell thanks to excellent direction and animation. I was surprisingly invested in this one, and I will be its defender.
- Lupin III: Part 6 isn't living up to the best of this classic franchise, but it still manages to be a very fun show in its own right. These beloved characters are always entertaining to watch, and a classic Lupin vs. Holmes set-up is just inherently interesting. Lupin isn't old, it's classic.
- Finally, Muteking the Dancing Hero is my choice for the most underrated show of the year. It's a weird and bonkers show, rebooting an obscure 80's franchise. It uses that reboot status to tell an intriguing story about the way art and media function under capitalism, and how corporations attempt to control the identities of the masses by propagating fads. It has a cool aesthetic that plays a part in its themes, an eclectic set of unique and memorable character designs, and a memorable soundtrack inspired partly by city pop and partly by hip hop. It's a really entertaining show with an important message, and it's below-6 MAL score is a travesty.
And that's all of the honorable mentions. I think each of the above shows is a really good watch on its own merits, and they're proof of how strong 2021 was for anime. But none of them really stuck with me the way these next 15 did. So without further adieu, here is my top 15 anime of 2021.
15. Sk8 the Infinity
The newest work from Free and Banana Fish director Hiroko Utsumi, Sk8 the Infinity continues her legacy of colorful stories featuring pretty boys. Sk8's sports narrative is absolutely bonkers, never pretending to aim for realism and instead creating insane dramatic feats for the characters to overcome. It leads to some absolutely hype moments (I'm talking Gurren Lagann levels of hype sometimes), and a generally extremely entertaining watch. The relationship between its leads Reki and Langa is a highlight, an intimate relationship that is still fraught with drama but never stops feeling genuine. It's also heavily bolstered by its antagonist Adam, a charismatic sociopath and delightfully bonkers villain who's skating feats are literally godly. Even within its extreme presentation, it puts thought into its characterization. Adam's story is genuinely well written, and despite his consistently trying to kill the main characters, he manages to be sympathetic due to the irreverent way the show presents these absurd skating feats. Reki's character arc is also really well done, the rift between his love and jealousy for his friend making for a compelling conflict. The show also shows a clear love of skating culture, with all of its graffiti work and its knowledge of skating itself seeming true to life (at least as someone only vaguely familiar with skating and its culture). It's supporting cast definitely doesn't hit the same heights as most major characters, but they all have their moments and are at least endearing personalities (Joe and Cherry bickering like an old married couple is always great). Sk8 the Infinity is one of the most insane, hype, and pure fun shows I saw this year. It's creative and visually impressive, has the cutest and prettiest boys of any show trying to emphasize that this year, and is just an absolute blast to get through on every level.
14. Dr. Stone: Stone Wars
Dr. Stone is a show I wish I had in my childhood. Basically what happens if you turned a Bill Nye special into a Saturday morning cartoon, Dr. Stone consistently stokes my curiosity and makes me hyper aware of how incredible human invention is. I tend to be pretty jaded towards humanity, but Dr. Stone makes me genuinely believe that humans are awesome. This second season finally pays off the battle of ideals between Senku and Tsukasa, and resolves plot points that had been building since the first season. In fact, it's just as good as its first season. It does an excellent job of creating tension and allowing its characters to get out of seemingly impossible situations without feeling unbelievable. Its approach to writing characters who are good at things in insane, over-the-top ways lets it get away with a lot, and always makes it fun to watch. But where Dr. Stone really shines is in its infectious love for science. All the best moments of this series are the ones where characters look on in awe at whatever Senku creates. This emotional core, alongside super charming characters and fun comedy, always carries me through, even when the pace drags. Dr. Stone is all the fun and hype of a shounen battle series wrapped up in an extremely knowledgeable edutainment show, a memorable work that I can't wait to see more of.
13. Beastars season 2
Beastars was already a pretty strange show from its first season, and somehow this second season makes it even weirder. That's part of its charm though, a strange but thoughtful meditation on the nature of identity through the use of its anthropomorphic animals. It's an intense survival story about people repressing their desires for the sake of harmony, and also a touching romance between a wolf and a rabbit. Season 2 answers the series central mystery in a satisfying way, and takes Louis' character in an intriguing direction. Seeing how much Legosi has grown after the first season has been wonderful to watch as well. It continues to have some of the most impressive CGI around, as well as potent cinematography and color design. It's a show with a memorable aesthetic that aids its storytelling. It's difficult to really describe Beastars, an animalistic drama (not just because everyone's an animal) with a gentle emotional core and an insanely strange premise and sense of humor while also being a mature show. It's for all of these reasons why I love it so much. It seems like Studio Orange is trying to give this work a complete adaptation, so I can't wait to see where Beastars takes me next.
12. Sonny Boy
Getting into Sonny Boy wasn't an easy task. The show is extraordinarily dense, it packs so much visual and narrative information into every second it can, and never really wraps up its ideas satisfyingly as much as it just moves on to new ones that generally relate to what came before. It's a show that answers questions with more questions, and begs to be read into at every corner. But that is also the defining quality of a great arthouse show. Sonny Boy begs me to read into it, and when I do, even if I'm not always comprehending it, I feel what it wants to convey. It's strange and difficult to grasp, but it started to click with me once I stopped seeing its story as an overarching narrative, and started looking at each episode as its own microcosm of some aspect of human society. Each of these stories taken together make Sonny Boy a poignant metaphor for adolescent uncertainty and malaise. It explores so many ideas I couldn't list them all, themes of authority, mortality, capitalism, religion, conformity, justice, and others run through the story. And it ties them together by essentially saying "you'll never understand everything in this incomprehensible world, but that's ok, because things will get better," a hopeful message that feels genuine, and true to the messiness of the adolescent experience. It's aided even further by an eclectic but lovable cast of characters, with Raj and Mizuho particularly resonating with me. What really makes Sonny Boy special though, is its visual presentation. One of the most artistic and creative shows I've seen in a long time, Sonny Boy is feast for the eyes. If there were ever an argument against anime being "art," Sonny Boy is a prime counterexample, a show brimming with the creativity and uniqueness only possible from great animated storytelling. Director Shingo Natsume made a statement with Sonny Boy, not only about life and philosophy, but about his place as an anime auteur. Sonny Boy is Natsume's anime, a show that could only be made by him and his insane industry connections; one where he had free reign to do whatever the hell he wanted, and went as crazy as he possibly could with it. It's something special for that reason, and it makes me so excited to see what he does next.
11. The Heike Story
In 2019, director Naoko Yamada had to watch helplessly as 36 of her closest colleagues and friends all tragically passed away in an infuriating arson attack on her studio. Having initially said she had no intentions of leaving Kyoto Animation, it seems likely that the trauma of this event spurred her decision to become a freelance director, eventually leading her to work with long-time collaborators Yoshida Reiko and Kensuke Ushio on The Heike Story, an adaptation of an important piece of classic Japanese literature from 800 years ago. It is startling how much Yamada's recent story parallels that of Heike's protagonist Biwa. Perhaps it's thanks to that experience that Yamada was able to make this sad story so tender and gentle. The core of The Heike Story is in seeing Biwa grow close to a new family, and slowly and helplessly watch as each of them tragically pass on. Inept leadership and growing political struggles put her found family through hard times, and the clan slowly falls, with Biwa's friends leaving her one by one. It's Biwa's story to face the future and eventually choose to tell this story to others that is the core of The Heike Story. I don't know how Yamada had the strength to create something like this after what she went through, and more than appreciating the show itself, it just increases my already sky-high respect for her as both a director and as a person. But Heike is an incredible artistic feat all on its own. Its stunningly directed (as expected from one of the greatest living anime directors), filled with all of Naoko Yamada's usual tells (from lots of leg shots to an abundance of symbolism told through flower language). Its water-color painting aesthetic creates a sense of authenticity to the historical drama, and the animation is a tour-de-force. Its contrast between heartfelt found family relationships and the horrors of war is potent, and creates a strong sense that everything can come crumbling down at any moment. It definitely has some odd musical choices, but I think it works, another great soundtrack from Kensuke Ushio. Naoko Yamada's catalogue of anime is defined by their consistent meditations on impermanence, and Heike continues that legacy as a beautiful, tragic, and hopeful story. My only actual problems with it stem from my own unfamiliarity with Japanese history and the original Heike tale, which this adaptation presupposes (as most Japanese people are familiar with the classic story). Some of the politicking and inter-clan relationships went over my head, and definitely prevented me from getting the most out of this story. But that did nothing to lessen the impact of the powerful core at the story's center that resonates just as strongly as anything Yamada has made before.
10. Blue Period
Unlike the previous two works, Blue Period is not blessed by stellar artistic presentation. Ironic for a show about art. No, Blue Period has a janky production that is mostly just competently directed. Manga readers consistently complain that the adaptation is lacking, and I have no doubt that this is the case, and that the original comic is a better way to experience the story on the whole (though the addition of color to a story about painting gives the anime at least one advantage). But I struggle to get into print media, and Blue Period's anime is a standout drama on its own merits. It's proof positive that great writing is really all you need to create something excellent. Blue Period's characterization is incredibly sharp, it creates a well realized set of characters in such a short amount of time, leaving it open to explore them all further. Yaguchi's growth from an apathetic boy to a passionate artist is immensely fulfilling, and his growth as an artist feels completely believable. The series truly understands what it's like to want to improve, the insane struggle of feeling like you're constantly overworking yourself and never quite being at the level you want to be. That aching sensation telling you to compare yourself to others, and that you'll never be on the level of a genius no matter how hard you work, is what drives this poignant story. It's meditations on the artistic process are some of the most thoughtful and resonant I saw this year. It's other star player is its secondary character Yuka, who undergoes her own powerful character arc and is a trans women I would die for. The depth of Yuka's depression and the tragedy of her family situation and especially of her own self-image, provided some of the most emotional drama of anything I saw this year. Yaguchi doesn't really understand her, and continues to misgender and deadname her, occasionally making him a bit frustrating. But I feel that this is intentional. The narrative is empathetic to Yuka, and Yaguchi's actions only stem from his inability to really comprehend her, something that I'm sure will change further into the story as he learns more about people (hopefully we do get more of it). These two are not even the only characters I love from this show, it has an extensive cast of really wonderful characters. Blue Period may have taught me about why it's own art is so lacking, but it also managed to teach me about art, and made me feel the intense struggle of a passionate creator. That's something special, and it resonated with me a lot.
9. Miss Kobayashi's Dragon Maid S
When I watched the first episode of this new season of Dragon Maid, I was taken aback by how expressive it was. This is the first show that Kyoto Animation put out after having lost so much to tragedy not long ago. It was poignant to see all of this in action as a miraculous comeback. The first episode posthumously showed us Yasuhiro Takemoto's storyboards, and the style of Mikiko Watanabe's art direction still pervades the show even without her touch. This work was some of the newbie animators first and last works before passing far too soon. Dragon Maid S is perhaps most notable for continuing the legacy of Kyoto Animation as a studio, and a bittersweet send-off to so many talented staff. It's truly stunning work. Dragon Maid is easily the best looking show I saw this year. It may not have the artistic vision of Sonny Boy or Heike, but it makes up for it in sheer technical excellence, with the most wonderful, expressive, cartoony, pure fun animation I've seen in a long time. I genuinely felt like anime isn't supposed to look this good or move so much and so thoughtfully and fluidly, it's whimsical animation spoiled me. Dragon Maid is an uproariously funny comedy at times, with its visuals playing a huge role in that. But what makes Dragon Maid special are the moments when its writing becomes biting. In the midst of all the wacky fish-out-of-water dragon hijinks is a genuinely deep story about conformity. Dragon Maid is about the ways we work through our differences to coexist. It's not about accepting or overcoming our differences, it's about trying to bridge the gap and exist in a world where people are fundamentally different. The way it presents dragons as fundamentally different from humans is the core of the story, but the way it presents dragons themselves as fundamentally different from each other makes them remarkably human too. Ilulu's character design is absolutely as questionable as it's been made out to be, I don't think anyone shares manga creator Coolkyoushinja's weird sense of aesthetics and fetish. But her role in the story is genuinely excellent, and she is a wonderful addition to the cast. However, the real treat of this season is Tohru's arc, as she works her way through the boredom of mundane human life, something that she really wants but is so unfamiliar with as a dragon who fights gods on the regular that she struggles to deal with it. Again, these fundamental differences between humans and dragons provide the story's potent core. Dragon Maid S is not as focused as its first season, so it's a little bit of a step down in my eyes. But don't take that the wrong way, Dragon Maid S is a potent show with both incredible comedic chops and intense dramatic bite. For all of the disagreeable elements it has, all Coolkyoushinja's controversial sensibilities (toned down in the adaptation but impossible to remove), Dragon Maid has a rare heart and a gentle soul, all the hallmarks that consistently make the work of Kyoto Animation so magical.
8. S.S.S.S. Dynazenon
2018's S.S.S.S. Gridman was one of my favorite shows of that year. A high concept sci-fi work with experimental direction, a detailed character study of one of anime's best antagonists, and all the fun of a Saturday morning cartoon to boot, it was a show with a loud artistic soul but a quiet and contemplative mood. Dynazenon had a lot to live up to, and though it took me a bit to really get engaged with it, once it clicked for me it never let go. Dynazenon takes a different approach from its predecessor. Rather than extensively focusing on a single character (often to the detriment of its other characters), Dynazenon is an ensemble drama. It's rag-tag group of heroes all struggle with regrets of some form, and the show is about how they work past them. Like Gridman, it's a critique of unchecked escapism through the metaphor of kaiju. It's an even quieter work than its predecessor, full of moments of contemplation. But that's where it shines. Although it isn't quite as aesthetically strong as Gridman (although Akira Amemiya still puts out an incredible work, and Kai Ikarashi's work on episode 10 is insane), it packs no less of a punch. The relationship between Yomogi and Yume is my favorite of any show I saw this year, an evolution from distant classmates to intimate romance that continued to win me over more and more as it progressed and quickly became one of my favorite relationships in any anime. Seeing each of the characters slowly overcome their pasts and learn to move forward and accept reality is immensely fulfilling, and a powerful payoff to a slow burn. Dynazenon's action sequences maintain the same hype as Gridman, perhaps less interestingly directed but more interesting in their further commitment to creating a tokusatsu inspired aesthetic. All the enemies still look like men wearing rubber suits, but now the buildings look like props on a set. Its dedication to this style, a tribute to the roots of the series, is a lot of fun. All in all, Dynazenon is both a quiet and contemplative character drama and a bombastic robot action show all in one, and it executes that balance perfectly. It can be watched standalone, but I do recommend watching Gridman first if you have not seen it, as Dynazenon is technically a direct sequel and has numerous callbacks. It's all worth watching, Studio Trigger's next big franchise is not one to miss.
7. Horimiya
Horimiya was my comfort show this year (well, one of two, but I'll get to the other one later). The most endearing romantic comedy I've seen in a while, Horimiya won me over from its very first moments. It's a masterclass in creating romantic chemistry. The coming together of its two leads from vastly different lives but both hiding their true selves from their classmates immediately created a strong thematic hook, and the series delivers on it through their growing relationship, as the two take comfort in each other with the sides that feel they can't show anyone else. It then proceeds to establish an extensive group of side characters, and focuses on a larger friend group supporting a wonderful couple. Many people complained about this change in focus, but I think it works, highlighting how large the school is and how not everything centers around Hori and Miyamura, even in their own lives. It helps that each of these friends is their own incredibly endearing and well realized character who I loved seeing just as much as the main couple. Some have also complained about its pacing, but I disagree with that as well. Bar one scene or episode, I felt it was damn near perfect, telling its short stories without overstaying their welcome. It transitions between scenes about as naturally as I'd expect, feeling like a series of vignettes pretty much just like real life does. And it's backed by a strong production. Masashi Ishihama is a great director, and Horimiya is more understated than his previous work on the likes of Shinsekai Yori and Persona 5 the Animation, but no less effective. Horimiya is just a well put together work in my eyes, one of the sweetest romances I've seen starring one of my new favorite couples in anime, alongside a wonderful ensemble cast.
6. Odd Taxi
Odd Taxi makes it on this list mostly for sheer technical excellence. It's probably the most tightly crafted show of any I saw this year, and one who's stylistic influences seem to fall away from the sometimes incestuous circle of influence of anime. It's murder mystery plot continually builds on itself in incredibly smart ways, perfectly paced and regularly doling out shocking plot twists, red herrings, and new information. It stars a large cast of super interesting characters all going about their own lives, which get tied together into this increasingly complex story full of moving parts. People have compared its dialogue to that of a Tarantino film, and although I don't think it's quite as strong as others have made it out to be in that regard, it's still a far above average showing. Both the show's tone and content hold many similarities to Pulp Fiction, so the comparison is warranted to some extent. Conversations flow so smoothly, and feel like the perfect amount of heightened realism. Odd Taxi can be irreverently funny and incredibly heartfelt in equal measure, and it manages to pull out smart lines almost constantly. Its protagonist Odokawa is one of the most likable characters of the year, a good boy jaded walrus with a tragic past who comes to care deeply about a lot of people. And the story wraps up in an absolutely incredible way, the ending made my jaw drop and I do not say that lightly. Odd Taxi is an exercise in great storytelling, with an uplifting message about refusing to live with regrets. It was the most critically acclaimed anime from this year, and for very good reason. It's a show that I find easy to recommend to people unfamiliar with anime, or who have a stigma against it. It's that kind of well-put-together story, but one that also takes advantage of the unique storytelling capabilities of animation. It's a special work that shouldn't be missed, easily one of the years strongest.
5. The Aquatope on White Sand
No show I saw this year had more personal impact on me this year than Aquatope. It's an inspiring story of two girls chasing their dreams, and coming to understand the reality of what that entails. As someone currently searching for his own dream, this story of two young women clawing their way out of the ruins of their damaged dreams resonated with me deeply. But that's only a testament to how excellent a show it is. Its leads are both exceptionally well realized characters, with Kukuru being a particularly complicated and multi-faceted person. This show was her story at its core, and it's incredibly poignant. The sisterly relationship shared between Kukuru and Fuuka is the heart of this show, an intimate and inseparable bond as Kukuru finds someone who truly understands and supports her, and Fuuka finds someone who lets her have a dream. The first half builds so much tension on the fate of the aquarium, the show was pervaded by a melancholy feeling that really sold just how lost the characters would be if the place closed. Kukuru essentially works as the failing aquarium's marketing manager, but when that fails, she grows up and gets placed as a real member of marketing at a better functioning aquarium, and the story really goes off from there. I love the way the series refuses to glamorize aquarium work. It's a rough job, working with unpredictable wild animals that require intensive and detailed care. The first half alone is a standout coming-of-age story, ending on a dramatic and emotional climax with a heartfelt yet hopeful goodbye that satisfyingly wraps things up. I really thought the story didn't need to continue from there, but the second half proved its necessity as it went, and really completed this tale. And it left me thinking that I just want to watch these characters forever. It's the rare story where you get to see high school students grow up and enter the world of working adults, adjusting to the realities you face in that life. It just made me want to keep seeing them grow up further, and that's the highest praise I can give this show. Aquatope also boasts a number of other excellent strengths, from a mixed bag of side characters with a number of lovable standouts, to the way it fleshes out its unique Okinawan setting and culture, to it's well implemented magical realism that aided the story without being overpowering, and especially its empathetic worldview. The series treats marine life as a microcosm of all living things, and advocates wildlife conservation as a way to spread empathy. By making people interested in animals, you make them interested in people, and that leads to a kinder world. It's this unique argument for the necessity of wildlife conservation, alongside the series own love and admiration for marine life (sometimes it feels like director Toshiya Shinohara is just using the show to dump all his fish knowledge, a love of marine life that must have developed working on his previous Nagi no Asukara), that really serves as the soul of the show. And that empathy spreads to its characters. Fuuka and Kukuru are both put in precarious positions, conflict stemming mostly from their own immaturity. But even though it pushes them to grow, it validates their feelings of frustration and stagnation, and I love it for that. The series is also backed by excellent visuals and music. The background art is stunning, and though this is only the second work of character designer and chief animation director Yuki Akiyama, it's a really great showing. The characters maintain realistic proportions but with consistently expressive faces and animation that moves. The show is about making the path you choose in life the correct one. This story of two girls growing a powerful bond over their dreams, and finding something worth chasing, was emotional and inspiring. It's a show that could even change my own life, as I take its wisdom to heart while I look for my own dream. Even if it's not quite my favorite show of the year, it's one I won't soon forget, as its impact is sticking with me more than most.
4. Kageki Shoujo!!
Kageki Shoujo was one of my most anticipated shows of the year. After 2018's Shoujo Kageki Revue Starlight ended up being one of my favorite shows of that year, I started to really become aware of and learn about the Takarazuka Revue. This Japanese all-female theater troupe has a really fascinating history, and an important role not just for the stage, but for Japanese media at large (inspiring tons of anime and manga, and taking inspiration from them in turn), and even on feminism in Japan. The notion of a drama set out to explore the inner workings of Takarazuka Revue in a more grounded and realistic manner than Revue Starlight's critique immediately captured my attention, and I was excited to expand the context I had gained on the troupe from my interest in Revue Starlight. However, the show we got went above and beyond my expectations. Kageki Shoujo understands the hyper-competitive nature of theater. Drama performers have their own drama to go through, and this show pulls no punches in that. In fact, it puts its darkest foot forward right at the start, with its first half having the most raw and stomach churning depiction of child sexual abuse that I've ever seen, and then manages to pull out an eating disorder plot line only an episode later. It can be hard to watch at times, but it's never gratuitous or overly shocking. It treats this sensitive subject matter with maturity and empathy, making these moments hit hard but sink in as unfortunate realities for these characters. This does eventually soften up, as the second half is far more light-hearted in comparison, but it never loses its sense for drama. It is an exhaustive look into the way this school, and thus the troupe it's based on, operates. I'm told by Takarazuka fans that it is very accurate in its knowledge of the troupe, not only in the information it provides but even in the visual design of the school and stage itself. It also stars a really endearing set of leads who both grow a lot in their own ways, and slowly overcome their differences to become intimate friends. The supporting cast are also wonderful, and the interpersonal drama manifests itself in really cool ways thanks to the Otokoyaku/Musumeyaku dichotomy. The series pulls no punches when it comes to romance either, the energetic personality of its tall and dorky protagonist Sarasa cuts through everything without hesitation, and I appreciate the curt way she talks about her boyfriend in a medium where I'm more used to seeing embarrassment over romance. Its flowery aesthetic is a delight to look at, with stylish and attractive character designs to boot. It's appropriate that a show centered around theater has such a strong sense of characterization and drama. Kageki Shoujo had some of the hardest hitting moments of any show I saw this year, and I've continued to think about it long after finishing it.
3. Non Non Biyori Nonstop
From its very first seconds of its first season, Non Non Biyori established itself as a slice of life great. It's a force to be reckoned with in this genre, few shows understand their material as well as this one. Non Non Biyori has a keen sense of comedic timing, but more importantly, is masterful when it comes to creating atmosphere. Everything from its storytelling to its visual design is designed to gently evoke awareness of the passage of time, and this emotional core elevates the series to potent heights. It's soothing, hilarious, and heartfelt, and also gorgeous to boot. This third season of Non Non Biyori is just more of the same. It introduces a few new characters, all of who are endearing as hell, and it wraps up a few loose plot points from the previous seasons, but this was really just another season of Non Non Biyori, and that's just a damn good slice of life show. It's a genre titan for a reason, it's just masterfully crafted. Few things are better at soothing the soul than Non Non Biyori.
2. Uma Musume season 2
Uma Musume continues to be the biggest pleasant surprise of my life. I had low expectations for its first season, but it managed to be a really good sports show with a charming story and hilarious comedy. A far cry from the pandering mess I had in mind when learning about the existence of a show about reincarnated race horses who keep their names becoming horse girls and performing idol concerts if they win their races, which turns actual horse racing history into a sports drama. That being said, its first season was not a standout work. It's a very fun show, but not the kind of thing that really gets you going. But somehow, this series just has a way of one-upping my expectations for it at every turn. This second season is just on an entirely different level from its prequel. I'm talking about an entirely different beast here, genuinely the most intense, dramatic, emotional, heartfelt, stellar sports drama that I have seen from anime. I mean this without a hint of exaggeration, it's that good. No longer a show about the power of a friendly rivalry, season 2 is a story about what happens if you fail to reach your dreams. It centers around this empty feeling as fate continues to deny you the chance to shine, as if life has it out for you. Seeing Tokai Teio try her best to hold strong in spite of continuing to lose everything to seemingly constant injury is just heartbreaking, and I really mean that. The central relationship between Teio and McQueen is so intimate, a beautiful rivalry that blows away anything from its first season. Even its side characters manage to shine. The arc of Rice Shower is powerful, seeing her rise from heel to hero is an emotional series highlight; and Twin Turbo's big moment in the story genuinely made me cry. I honestly find it hard to put into words how excellent Uma Musume's second season is. Every superlative describes it, it's just everything you could possibly ask for from a sports drama. Top it off with really great character designs, strong direction from Kei Oikawa, weirdly detailed worldbuilding, and it maintaining its penchant for hilarious comedy and a barrage of blink-and-you-miss-it background gags, and you've got one of the best shows of the year and one of the best sports anime period. If you disliked or were indifferent towards the first season, I still recommend watching this sequel. It stands alone perfectly well, and is just in a league of its own in comparison.
1. Yuru Camp season 2
During the middle months of the year, I was incredibly depressed, and lost my ability to enjoy anything. Nothing was able to resonate with me, not anime, not video games, not hanging out with my friends, not going for a nice walk at night; I spent half of the year being unable to feel basically anything. It's been hands down one of the hardest moments of my life. I spent the year bored out of my mind, mindlessly scrolling through Twitter and YouTube just to find enough mild amusement to get by without wanting to die. It meant that I had to stop watching everything I had started, for fear of my first experience with them being tainted by this sudden anhedonia. It was Yuru Camp season 2 that helped me to figure out when I had finally left that horrible state. And for that, it holds a special place in my heart. Yuru Camp was my real comfort show this year, the one that brought me out of a devastating funk and let me have feelings again. But I don't want anyone to take that as me having a bias towards it, as if this is a feeling that is unrelated to my perception of its quality. No, what I realized this time around is that what makes Yuru Camp such a special show, is that it's just one of the most technically well made anime I've seen. Yuru Camp really gets its material. It understands what makes it tick, and knows how to capitalize on it best to create the most soothing, therapeutic experience of basically any show not named Aria. Its pacing is pitch perfect. It builds this immaculate atmosphere, growing tension where necessary without breaking the tone, and managing to resolve that tension in an emotionally satisfying way for its climaxes. Its characters are among the most lovable and well realized of this genre, and this season really showed us how far they've each come as people. Season 1 was largely about Nadeshiko's worldview, and allowing Rin to open up to the joys of socializing while still validating her preference to be alone. This season went the opposite way, with Nadeshiko learning about the joys of solo camping, and what it means to appreciate loneliness. Although this season doesn't have the focused character arcs for these two that the first season did, it does manage to really reinforce their relationship and how much they care for each other and respect each others preferences. Watching these two support each other and continue to be close is so heartwarming and wonderful. It's overall cast is just charming as all heck, with a rare chemistry and a genuine friendship, further made believable through the show's realistic and smart presentation of social media. This season raises the stakes a bit, when three of its characters don't plan appropriately for a trip and get lost in below-zero degree weather, literally putting their lives in danger. Even during that scenario, it manages to be comforting on the whole, and that takes a level of tact that only this show could pull off. Each of its various locales and campsites truly feels alive, with every location bustling and with its own culture and attractions. Gorgeous and detailed background art only furthers this immersive set building, making each of the show's camping outings feel memorable and distinct. Its comedy continues to be on point, with a nonstop array of perfectly timed and executed gags, and although its animation isn't particularly noteworthy, it always manages to have expressive facial expressions and an attention to body language that really sells the characters personalities and feelings. It's also got an awesome and unique soundtrack that only bolsters its mood making ability, filled with unique instrumentation that ends up being a perfect fit for this comfy story. And the three episode camping epic that caps off the season is a real standout, featuring some of the series best moments and just perfectly capturing the energy and excitement of a big trip with lots of friends. But what really ties this arc together is its ending, which focuses on the melancholy that comes with the end of a big outing. The thing that really ties Yuru Camp together, and makes it something even more special than a show that just makes you comfy, is this sense of melancholy. Ending a trip is still part of the trip, and those post-con blues hit hard. But that sadness is a wonderful feeling too. It's the sign of a worthwhile trip, and it means that more time with loved ones is on the horizon. Yuru Camp is the sweetest, most adorable, most comforting sitcom you might ever watch, but it also knows how to tug on the heartstrings ever so gently, as to make its soothing affect cathartic. These reasons, and many more, are what make Yuru Camp a paragon of its genre. It is genuinely top tier slice of life, and a show that never failed to put a smile on my face and leave me fulfilled in more ways than one. It may not be the most visually or narratively ambitious show I saw this year, but it is the one that impacted me most, and felt the tightest in execution. Upon finishing it, I simply did not want it to end. I want to go camping with these wonderful characters in this wonderful show for as long as I live, and that's the sign of a truly great show. The movie cannot come soon enough.
And with that, 2021 comes to its end. Even knowing that I didn't get to watch most of the shows I wanted to get around to from this year, it still managed to be a really excellent year for anime. It had some of the most creative, inventive, and all around technically excellent shows and movies I've seen in a long time, all somehow airing in the same year. I really, genuinely love all 15 shows on this list, and in one of the most difficult years I've had to face, it makes me happy to know that this medium I love continues to come out with things that resonate with me, and make me excited for its artistic potential. Here's hoping that 2022 continues these trends.
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