2011 has been one of the better years in recent memory. Despite there being a decrease in the quantity of anime being made for the fifth consecutive year, the quality of anime, particular at the highest tier, has been eye-catching this year. Most notable of the year’s successes was Shaft’s Puella Magi Madoka Magica, which broke many trends by being both a commercial and critical smash hit. But the likes of Mawaru Penguindrum, Wandering Son and Steins;Gate also deserve high praise for their courage and ambition. There were about half a dozen anime this year that all of us at The Nihon Review agreed were definitive examples of what the year had offered, but after that things become contentious and this year’s list is not without controversy. Here are the anime of 2011 that we think are the most likely to be remembered and valued years from now.
Introduction by: Sorrow-kun

Ascaloth on: Puella Magi Madoka Magica
The deconstruction of a familiar genre tends to make for some very memorable stories, and so it particularly proves to be the case with Puella Magi Madoka Magica, the end product of demented genius Shinbo Akiyuki‘s and horror maestro Urobuchi Gen‘s collaborative deconstruction of the typically saccharine mahou shoujo genre. Corrupting many of the most familiar conventions which characterise the child-friendly and optimistic messages of the genre, Urobuchi has succeeded, with the assistance of Shinbo’s unique visual stylings, to warp the childhood dream of a mahou shoujo setting into a nightmare of a psychological horror tale. Such is the mastery of the duo’s accomplishments, that Madoka Magica will be remembered as a triumph of literary experimentation.

AC on: Level E
Here is an instance of a comedy that is carried solely by the antics of one man, or more specifically, an alien. Protagonist Prince Baka single-handedly explains and exemplifies the meaning of the word “troll” by fooling just about every living creature around him, particularly his bodyguard Craft, all for the sake of his own entertainment. Watching his childlike pranks is hilarious for most parts and the marriage of his tomfoolery and intellect even makes this series unpredictable at times. Although the comedic punch varies at times, it’s just pure fun to see a bored joker wreaking havoc.

Sorrow-kun on: Wandering Son
AIC’s adaptation of Shimura Takako’s manga exploring gender identity among pre-adolescents is both tender and hard-hitting. What Wandering Son does remarkably well is execute the difficult task of making the audience sympathize with a twelve year old boy who struggles with the typical gender roles expected of children his age. Nothing in Wandering Son is force-fed or overstated; the characters are mature, but each flawed in their own ways, making the drama believable, and the presentation is soft and muted, with a watercolour artstyle and a heartfelt piano soundtrack. Admirably covering a topic in desperate need of an even-handed exploration, Wandering Son is the best anime to have aired on Noitamina this year.

Kylaran on: The Secret World of Arrietty
Arrietty‘s setting is an intricately layered one in terms of both narrative and art; the inextricably tied, yet separate lives of the Borrowers and human beings can be sad on occasion, while at other times beautiful. The visuals speak for themselves with the varied colors and bright palette, as well as the occasional bit of CG animation. Released for homes in 2011, The Secret World of Arrietty is a gorgeous reminder of the classic, distinctly Japanese aesthetic that we associate with anime at its finest, though its delivery of its content is somewhat simplistic at times, almost bordering on cheesy.

zzeroparticle on: Steins;Gate
Stories based on time-traveling are difficult to execute, but few do them better than Steins;Gate. At first glance, the interactions between the members of the “Future Gadget Laboratory” seem inconsequential as their eccentricities bounce off one another, but this investment pays off at the end of episode 12. Here, the pacing ramps up as events force Okabe to undertake a journey through time to protect those he cherishes most and throughout it, I keenly empathized with his pain and desperation. Although the resolution may have lessened the impact, it doesn’t dilute what is the best visual novel adaptation I’ve seen to date.

Shinmaru on: Kaiji S2
Kaiji’s second season is more of the same, and for the most part, that’s a good thing. Kaiji himself takes a step forward by stepping backward: his gambling addiction and general worthlessness to modern society reach a head at the beginning of the series, and Kaiji finds himself in the worst situation yet, which allows him to grow more than before. Kaiji continues to wage psychological war in simple gambling games and tension is stretched to its breaking point. Unfortunately, this iteration of Kaiji tries to mine a bit too much from its gambling games, particularly in the second half. When everything comes together, however, Kaiji meets nearly the same heights as its original iteration.

AC on: Ano Hi Mita Hana no Namae wo Bokutachi wa Mada Shiranai
Ano Hana is what you get when you animate a top-notch J-drama. It may be melodramatic at times, which is synonymous with most J-drama, but the story of losing and coping with the loss of a dear childhood friend is especially poignant. Nostalgic mundane moments such as playing handheld gaming consoles together and having pointless conversations are what render Ano Hana memorable, and these are the scenes that viewers can relate on a personal level. It makes viewers feel like they’re watching something very special, and they are indeed in for an emotional rollercoaster ride.

zzeroparticle on: Oji-san no Lamp
The best entry in the Young Animator Training Project, Oji-san no Lamp focuses on the simple human drama that unfolds when a boy grasps a business opportunity and transforms it into a viable business and with his go-getter personality, he achieves monetary success and finds love. With the rise comes a fall, and this is where the writing could have been propped up just a bit more since the melodramatic moment is at odds with this man’s life story. Still, the work does prove to be enjoyable, demonstrating that simple stories such as this can still deliver on the emotional content to make it enthralling.

Shinmaru on: Tiger & Bunny
Full disclosure: when Tiger & Bunny was announced, I was among the skeptical. However, the beginning of the series won me over with its earnestness and the way its superheroes function in this society. I was hooked for good once the series dove headlong into the overall plot and developed aging superhero Kaburagi Kotetsu into one of the most sympathetic, interesting characters of the year. Tiger & Bunny is not without flaw: there’s a lack of focus, and several ideas and characters don’t get their proper due. But Tiger & Bunny is such a fun, joyous ride that I found myself more often than not ignoring the show’s flaws as I waited for the next episode.

AC on: Black Lagoon: Roberta’s Blood Trail
Arguably Black Lagoon‘s most iconic character gets an OVA to call her own, and viewers get to watch her in all her blood-covered glory. Unlike the previous series, the focus falls mostly on the titular character turning into a ruthless beast while the remaining characters act as a supporting cast bearing witness to her destruction. Furthermore, while the TV iterations are more action-based, Blood Trail is more drama-based where the major players play an intense and perilous game of chess with each other. Unforgettable, uncensored and unforgiving, this title is one that balances serious drama with vicious gore.

Ascaloth on: Usagi Drop
In a time when anime titles are likely to either be high-concept experiments in search of a niche, or otherwise mediocre tripe pandering to the lowest common denominator, Usagi Drop proves that a simple, down-to-earth story hewing closely to real life can still easily be a winner. Even as it views the prospect of rearing a child as a single guardian through a pastel-tinted lens, Unita Yumi‘s realistic approach to her tale leaves one in few, if any illusions about the complexity involved in such an endeavour. And in an age when the anime medium is prone to over-emphasise the cuteness and moe factor of young girls, Rin comes across as a breath of fresh air for being the genuine article, possessed of the quirks of a real child.

Shinmaru on: Macross Frontier: The Wings of Farewell
From the beginning with SDF Macross, the Macross franchise has always been silly and cheesy, but somehow takes itself both seriously and not seriously. The second Macross Frontier movie is no different in that regard. However, what separates it from every other Macross entry is the sense of bombast and outlandish fun the movie exudes. This feels like the piece of crazy, colorful pop culture Macross mastermind Kawamori Shoji has sought to create his entire career. The plot is jumpy, and the twists and character development perhaps rely a bit too much of one’s knowledge of the Macross Frontier TV series, but as a piece of visual entertainment, The Wings of Farewell is unmatched among anime in 2011.

Kylaran on: Mawaru Penguindrum
Eclectic Mawaru Penguindrum has a winding, twisting narrative and an “electrifying” number of allusions and symbols. The anime directly tackles problems with some of contemporary Japan’s problems, such as family, identity, and love, that seem to rarely be seen in anime of recent years by engaging with real events and real settings in Japan. Though powerful and dramatic, Penguindrum‘s ambition proved a difficult beast to tame, as seen in some dubious execution choices throughout the series; however, don’t let the anime’s unique style and abstract references fool you, because the show is touching at its core.

Sorrow-kun on: Children Who Chase Lost Voices from Deep Below
The works of Shinkai Makoto are visually breathtaking. However, while only the most hypercritical would call any of his movies “bad”, if there is a criticism, it’s that his storytelling doesn’t do his animation justice. Hoshi wo ou Kodomo is his most recent film, and arguably his best anime since Voices of a Distant Star. It’s clearly inspired by the Ghibli tradition, but does enough to separate itself so it’s not a pale imitation. The story is finely crafted, giving its characters a vast and deep fantasy world in which to develop. Shinkai has, for the first time in ages, left his pet theme of “distance”, telling an enriching story about coping with death and fate.

zzeroparticle on: Fate/Zero
Let’s face it: world-shattering events like the Holy Grail War are not meant to be undertaken by adolescents who don’t have life experience and, therefore, are still bound by childish naïveté. The differences between Fate/Stay Night and Fate/Zero are stark and are what make the latter better; Fate/Zero’s Masters have their ideals and aims, yes, but all that is boosted by perspective as they view events on a grander scale. The Servants, too, get more development when they lay out their lofty ambitions. Together, all of this has made Fate/Zero engrossing, as ufotable make a convincing argument for becoming the go-to studio for Type-Moon adaptations.

Kylaran: 2011 had a number of bold, refreshing titles. Among these, Mawaru Penguindrum stands at the forefront. The series has wide appeal: the cute, comedic antics of the penguins and the shoujo-influenced art style are blended with a flair for drama in addition to sexual and violent tension, creating a show to engage all audiences. Furthermore, its layered symbolism and inspiration from real life events allows the series to connect with viewers on multiple fronts. Mawaru Penguindrum‘s complexity might put off some into thinking it’s too difficult to watch, but it has a unique message to deliver to us.

Shinmaru: There’s quite a bit to enjoy from 2011, and quite a bit of variety. When I really thought about it, though, despite the occasionally flawed episode, I found that I enjoyed no anime this year more than Level E. The writing is consistently strong and witty, the twists are clever and fun, and Prince Baka is my favorite character of the year. What stands out most about Level E, though, is its goofy, dark sense of humor. I always laugh long and hard whenever thinking about Level E, and that pure enjoyment makes it my 2011 anime of the year.

Sorrow-kun: This year Mawaru Penguindrum achieved things I’ve never seen from any other anime. A series that was both Ikuhara Kunihiko’s playground and his pulpit, Penguindrum defied convention and expectation at every turn. And yet, my proclamation that Penguindrum was the best anime I saw this year fills me with both joy and grief. As stunning and remarkable as this anime was, it has come at a time when unbounded ambition is not always rewarded as it should be. My greatest fear is that we might not get to see another anime like this for a very long time.

zzeroparticle: While 2010 was a bit of a dry year, 2011 managed to storm back with plenty of quality shows. Just when I thought the bar raised by Madoka Magica, the Dark Knight analogue of the magical girl genre, could not be topped, in came the likes of Steins;Gate and Mawaru Penguindrum to astonish me with their quality. It’s the former that I turn to for my pick of the year; Steins;Gate does the scale of its story justice through its characters’ chemistry as well its resolution, which ties up all of its plot threads cohesively.

AC: While Puella Magi Madoka Magica and Steins;Gate may be favorites for Best of 2011 for most people, my pick would be Usagi Drop. It’s not a title that particularly stands out among most fans, but there is one trait which I find to be conspicuous: the subtlety. It is even comparable to Departures in dealing with various themes with adeptness and grace, and balancing comedy and drama immaculately. Its mundane content is what ironically makes Usagi Drop special, as it, together with the help of a 7-year old girl, charms and steals the hearts of the viewers.

Ascaloth: Titles like Puella Magi Madoka Magica and Mawaru Penguindrum displayed the potential of the medium for high-concept experimentation to best effect, while the top-notch audiovisuals of movies like Macross Frontier: The Wings of Farewell and Hoshi o Ou Kodomo demonstrated its capability to take our breaths away. However, it takes a complete package to gain an edge over such strong competition; thus, with a truly compelling premise, a strong and memorable cast, as well as some nicely done audiovisual effects, I have been convinced – just barely – to tip my hat towards Steins;Gate, my Anime of the Year 2011.

Reading last year’s Year in Review article, one might be tempted to be pessimistic about the direction the anime industry will take given the experiments that failed to produce greatness. But it’s easy to forget that failure is all a part of show business and any attempt to extrapolate trends out of a small span of time is completely myopic. This year’s noitaminA shows may have been inconsistent, but that’s more than made up for by 2011’s crop of experiments that has succeeded. Whether these experiments will influence anime down the road, that’s something we’ll have to wait and see. For now, I’m optimistic that, in spite of the few lulls here and there, anime will continue to flourish as directors new and old realize the possibilities the medium has to offer and seize upon them to take it to greater heights.
Conclusion by: zzeroparticle