{"id":38141,"date":"2023-01-01T12:16:06","date_gmt":"2023-01-01T16:16:06","guid":{"rendered":"https:\/\/www.animenation.net\/blog\/?p=38141"},"modified":"2023-01-01T12:16:06","modified_gmt":"2023-01-01T16:16:06","slug":"johns-picks-for-2022s-best-tv-anime","status":"publish","type":"post","link":"https:\/\/www.animenation.net\/blog\/johns-picks-for-2022s-best-tv-anime\/","title":{"rendered":"John\u2019s Picks for 2022\u2019s Best TV Anime"},"content":{"rendered":"

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Having watched a lot of anime, I prefer to define any given year\u2019s best works by recognizing the most creative, interesting, unique, and new titles. So I particularly try to de-prioritize sequels and new seasons of older shows. Fan favorite series including Chainsaw Man<\/em>, Kaguya-sama wa Kokurasetai -Ultra Romantic-<\/em>, Mob Psycho 100 season three<\/em>, and SPYxFAMILY<\/em> are overly obvious contenders for best of the year, and for various reasons I\u2019m inclined to look beyond them. I counted 221 \u201cnew\u201d broadcast and streaming anime released in 2022. My count excludes new seasons that continued episode numbering. And I\u2019m sure that a few obscure premieres slipped past my notice. Out of those 221 new anime, I had the fortune of watching at least one full episode of each excepting Ohiru no Shocker-san<\/em> and Madtoy Chatty<\/em>.<\/p>\n

Contrary to claims from corporate reflections published by Escapist<\/a>, Polygon<\/a>, GameRant<\/a>, and Crunchyroll<\/a> proclaiming 2022 \u201cone of the best years for the medium in modern history,\u201d and \u201can exceptional year for anime,\u201d I don\u2019t think that 2022 was a great year for new anime. 2020, 2017, and 2015 were great years for new anime. 2022 was an average year compared to most.<\/p>\n

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In the same way Edward Hopper\u2019s iconic 1942 painting Nighthawks<\/em> captures the simultaneous existential loneliness and latent possibility of the urban nightscape, Yofukashi no Uta<\/em> vividly applied that sensation to adolescence. \u201cCall of the Night\u201d brilliantly captured the magical juvenile fascination with the night. A city at night is not merely a darkened familiar neighborhood. A city in the depth of night is an alternate witching-hour world of anonymity, freedom, mystery, and the potential for capital-r Romance. Denizens of the nighttime world aren\u2019t just everyday people; they\u2019re creatures of the night \u2013 enigmatic thrill-seekers, dangerous risk-takers, uninhibited adventurers, Gothic romantics. Yofukashi no Uta<\/em> doesn\u2019t merely depict its protagonist\u2019s adventure. The show ensnares viewers and wraps them up into the exhilarating alienness of a personal twilight world. Every aspect of the show is tremendously evocative, from the mystical art and color design to complex, existential characterizations, unpredictable plot turns, lovely animation quality, and dynamic music. Every aspect of Yofukashi no Uta<\/em> suggested a show that had the full creative investment of its staff to create a work of art that\u2019s engrossing, fascinating, and intimately personal.<\/p>\n

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Lycoris Recoil<\/em> is certainly the most kinetic girls with guns anime production since 2009\u2019s Canaan<\/em> and before that 2000\u2019s Mezzo Forte<\/em>. For better and worse, Lycoris Recoil<\/em> is the epitome of grounded contemporary urban fantasy. The show\u2019s scenario and series-spanning conflict feel very modern yet are abjectly silly if any common-sense logic is applied to them. The show\u2019s action scenes are thrilling yet also based on a near complete lack of understanding of real-life firearm characteristics. An observant viewer should be able to tell rather quickly that the Lycoris Recoil<\/em> animators have never fired a real handgun before. The show\u2019s characters aren\u2019t especially deep or complicated, yet they are distinct and believable, and they do progress through personal development. In the sense that Lycoris Recoil<\/em> delivers every ounce of the seemingly intelligent, adult, provocative escapist entertainment promised by the very nature of contemporary anime, the show has to be considered a resounding success.<\/p>\n

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Akiba Maid Sensou<\/em> achieves the same success by exponentially betting on the same characteristics that made Lycoris Recoil<\/em> work. A pure fan-service production, Akiba Maid Sensou<\/em> embeds itself in Japanese pop culture reference, hybridizing the classic yakuza stalwart ethic story with Akihabara\u2019s maid caf\u00e9 sub-culture while sprinkling in homages to classic anime including Ashita no Joe<\/em>, Kyojin no Hoshi<\/em>, and Flanders no Inu<\/em>. By rights the mash-up of noirish nostalgia with ultra-kawaii shouldn\u2019t work at all, yet somehow it does within Akiba Maid War<\/em>, and it nearly even feels natural. Traditionally anime has been appealing because it offers a style of heartfelt, provocative, fascinating literary entertainment that absolutely no other medium can replicate. Akiba Maid Sensou<\/em> succeeds wildly at being a literal wildly crazy mix-up of everything that viewers come to anime in search of.<\/p>\n

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Continuing the theme, BIRDIE WING -Golf Girls’ Story-<\/em> similarly develops from an absurdist cross-over of inspirations. Numerous golf anime have starred male characters: Pro Golfer Saru<\/em>, Ashita Tenki ni Naare<\/em>, Dandoh<\/em>. Far fewer have starred female characters. In fact, 1991\u2019s Sweet Spot<\/em> and 2021\u2019s Sorairo Utility<\/em> were both single-episode productions. So Birdie Wing<\/em> earns the commemoration of first golf anime series starring female characters. But golfing alone isn\u2019t unique in anime. Taking a cues from One Outs<\/em> and Kaiji<\/em>, turning golf into an underground fight club in which golfing is used as a negation between mobsters is a novel approach. Moreover, applying traditional shounen manga tropes to ladies golfing, and even going further to apply some bizarre sci-fi twists, makes Birdie Wing<\/em> even more unpredictable and jaw-droppingly absurd. Beautiful art design and strong characterizations round out the excellent package. Unfortunately, mid-way through the show\u2019s narrative turns toward a far more conventional course. While still highly entertaining, the later half of the series\u2019 first season lacks much of the unpredictable zaniness of the earliest episodes.<\/p>\n

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Netflix and Liden Film\u2019s ten-episode Kotarou wa Hitorigurashi<\/em> is a little masterpiece. Unlike comparable anime including Oya-san wa Shishunki<\/em> and Wakaokami wa Shougakusei<\/em> that mostly concentrate on comedy, \u201cKotarou Lives Alone\u201d juggles comedy, social satire, and highly affecting pathos. Ultimately the story is a satire of Japanese social conventions including politeness, self-responsibility, and civility. The show demonstrates that the Japanese social sensibility of trusting every citizen with autonomy and social responsibility creates considerate, dependable, independent citizens but also allows for emotional and physical abuse, abandonment, alienation, and loneliness. Since this show keeps its cast fairly small, and most of the characters are adults, the characterizations are unique and multi-faceted. The show has ample opportunity to reveal different aspects of its cast\u2019s personalities, and the show\u2019s situations are very relatable because they\u2019re grounded in reality.<\/p>\n

For one reason or another, several other 2022 premieres don\u2019t occupy the same orbit as the forementioned titles however still deserve mention.<\/p>\n

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Director Hiroyuki Imaishi\u2019s Cyberpunk: Edgerunners<\/em> and Studio 4\u00b0C\u2019s Yurei Deco<\/em> both come from acclaimed artisans. And both shows are strikingly comparable although the lesser known one is arguably the superior one. Both shows depict a cynical, satirical, dystopic exaggerated future based on today\u2019s reality; however, Yurei Deco<\/em> applies much more creativity and thought to its speculative prognostication. Cyberpunk: Edgerunners<\/em> takes an easier, more obvious and clich\u00e9 approach. In a comparable yet broader scope, Yurei Deco<\/em> swings for the outfield yet comes up short while Cyberpunk: Edgerunners<\/em> seems complacent to settle for base hits. The characterizations of Yurei Deco<\/em> are unique and varied while the characterizations of Cyberpunk: Edgerunners<\/em> are mostly flat and unengaging. The visceral impact of Cyberpunk: Edgerunners<\/em> is akin to a figurative slap in the face. Yurei Deco<\/em> appears far more simplistic, yet the show approaches a greater variety of more complex themes with more delicacy and sophistication, even if the show doesn\u2019t quite give its various aspects enough development to make them fully successful.<\/p>\n

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Creator Mitsuo Iso\u2019s 2007 series Dennou Coil<\/em> is one of anime\u2019s lesser discussed masterpieces. His 2022 mini-series Chikyuugai Shounen Shoujo<\/em> is quite good. Although a bit reminiscent of Mugen no Ryvius<\/em>, \u201cOrbital Children\u201d tells its own unique story. The series’ underlying philosophical conflict isn’t unique or new, and the show doesn’t become as philosophical as it could have been. But the show does strike an effective balance between immersive adventure and intellectual, moral debate. Moreover, the show’s speculative concept design is wonderfully realized, visually and rationally. In effect, the series comes across much like a more grounded and also more effective sibling to Koji Masunari & Masaaki Yuasa’s 2010 feature Welcome to the Space Show<\/em>.<\/p>\n

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Sono Bisque Doll wa Koi wo Suru<\/em> is a well-produced, affectively written shoujo romcom on par with Ao Haru Ride<\/em>, Kimi ni Todoke<\/em>, and Bokura ga Ita<\/em>. In other words, the show is highly entertaining but not exceptional. It stands out a bit this year only because it had little competition from other similar series.<\/p>\n

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Akebi-chan no Sailor Fuku<\/em> had the misfortune of premiering with its weakest episode. The show would have been far better served if its first episode had been inserted as a flashback mid-way through the series. Narratively Akebi-chan no Sailor Fuku<\/em> is an almost remarkably simple narrative about a cheery, optimistic girl making friends at her new high school. The show functions as a pleasant palate-cleanser, and iyashi-kei \u201chealing\u201d anime. Although its stylized character designs take some getting used to, the subtle highlight of the show is its soothing color design and exceptional animation quality that highlights fluidly detailed animation of mundane realistic actions and movements. Akebi-chan no Sailor Fuku<\/em> absolutely won\u2019t appeal to everyone, but viewers that perceive and appreciate its skillful technical nuances will be impressed.<\/p>\n

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The criticism that good time-travel stories are difficult to write is as commonplace as time-travel stories themselves. As the third anime production based in Tomihiko Morimi’s \u201cTatami Galaxy\u201d universe, Yojouhan Time Machine Blues<\/em> arguably isn\u2019t a \u201cnew\u201d 2022 premiere as much as it\u2019s a new season of an existing franchise. The first and last episodes of the short six-episode series are largely unnecessary bookends. The core of the story told in episodes 2-5 is a thoughtful, narrowly focused, deliberative time-travel story that also advances the franchise\u2019s relationship between the protagonist and Akashi. The core story earns credit for the density of its narrative. Absolutely every detail and reference has significance. Moreover, the story deliberatively explains the dynamics of its time-travel mechanics. The show\u2019s simplified, rubbery aesthetic doesn\u2019t look visually impressive, but the design style allows for especially expressive animation.<\/p>\n

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Made in Abyss: Retsujitsu no Ougonkyo<\/em> demands attention in large part because it\u2019s such a wildly inventive and unusual story. While viewers can mostly understand the story and empathize with its characters, the story is entirely otherworldly and bizarrely foreign. In this tragic story, characters willingly make massive personal sacrifices in exchange for the sensation of absolute freedom and escape. They literally abandon not only their previous lives but even their previous forms in order to gain \u201cadventure.\u201d But then they became complacent, satisfied with their Faustian bargain until they\u2019re forced to recognize that their twisted gains still have an ever-increasing terrible cost yet to be paid in the form of Wazukyan who is frustrated that his compatriots have ceased seeking further experience and Faputa who believes the high price the villagers have paid still isn\u2019t enough. And all of this terrible, horrifying situation is merely the setting that surrounds the series\u2019 primary characters. The series\u2019 storytelling is arguably too opaque, leaving the story arc confusing and not fully explained even at its end. But the visceral experience of witnessing the story unfold is unnerving, riveting, and fascinating.<\/p>\n

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The 2022 remake of Urusei Yatsura<\/em> almost criminally excludes the iconic \u201cVentura, Ventura, Space People\u201d chant and the iconic sound of Lum flying. But in exchange, the show has the benefit of forty years of retrospect that allows it to concentrate the most beloved aspects of Rumiko Takahashi\u2019s creation. The 2022 version of Urusei Yatsura<\/em> feels almost like a greatest hits remake that subtly emphasizes all of the characteristics of the 1981 series that fans have grown to love while abandoning the weaknesses and flaws that compromised the original adaptation.<\/p>\n

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Princess Connect! Re:Dive Season 2<\/em> deserves brief mention for doubling down on everything that made the first season enjoyable. Additional entertaining characters, laughable situations now complemented by answers to the first season\u2019s back-story questions, and even more jaw-dropping spectacular animation and eye-popping visually detailed action scenes demand respect and praise.<\/p>\n","protected":false},"excerpt":{"rendered":"

Having watched a lot of anime, I prefer to define any given year\u2019s best works by recognizing the most creative, interesting, unique, and new titles. So I particularly try to de-prioritize sequels and new seasons of older shows. Fan favorite series including Chainsaw Man, Kaguya-sama wa Kokurasetai -Ultra Romantic-, Mob Psycho 100 season three, and […]<\/p>\n","protected":false},"author":2,"featured_media":38158,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[3],"tags":[],"class_list":["post-38141","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-ask-john"],"jetpack_featured_media_url":"https:\/\/www.animenation.net\/blog\/wp-content\/uploads\/2022.best_.jpg","_links":{"self":[{"href":"https:\/\/www.animenation.net\/blog\/wp-json\/wp\/v2\/posts\/38141","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.animenation.net\/blog\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.animenation.net\/blog\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.animenation.net\/blog\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.animenation.net\/blog\/wp-json\/wp\/v2\/comments?post=38141"}],"version-history":[{"count":2,"href":"https:\/\/www.animenation.net\/blog\/wp-json\/wp\/v2\/posts\/38141\/revisions"}],"predecessor-version":[{"id":38160,"href":"https:\/\/www.animenation.net\/blog\/wp-json\/wp\/v2\/posts\/38141\/revisions\/38160"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.animenation.net\/blog\/wp-json\/wp\/v2\/media\/38158"}],"wp:attachment":[{"href":"https:\/\/www.animenation.net\/blog\/wp-json\/wp\/v2\/media?parent=38141"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.animenation.net\/blog\/wp-json\/wp\/v2\/categories?post=38141"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.animenation.net\/blog\/wp-json\/wp\/v2\/tags?post=38141"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}