#like Kou’s definitely a foil don’t get me wrong

[camera-ghost]

I don’t think Hanako’s a morally grey character, at least not how most people say, he’s actually extremely fixed to his own moral code. Hanako’s just a morally strict character whose morals aren’t very good. Sometimes he does ‘mess up’ when Yashiro and Tsukasa are on the line, (Yashiro is actually what makes him morally grey, his relationship with her is everything he works against) but other than that he just has some pretty bad but extremely strong morals. He’s kinda like a warped mirror for Teru in that way.

[rieshon]

Best of 2017

This was almost a weak year for anime, but then the Fall season happened. Apparently anime was just saving all their best for last in 2017.

10: Seikai Suru Kado ∥ Toei Animation ∥ Dir. Watanabe Masaki: This may be a surprise inclusion, given that Kado was admittedly one of the most hideous-looking shows of the year, but in a post-Kemono Friends world, anything is possible. Looks aside, Kado does the remarkable thing of giving us actual science fiction in an anime: you know, cerebral, philosophical, and trying to raise questions about our own society through the lens of the fantastic. It definitely has flaws, but there aren't many anime I've watched that feel as much like a good SF novel as this one does.

9: NEW GAME!! ∥ Douga Koubou ∥ Dir. Fujiwara Yoshiyuki: Here's a more conventional choice. You know I love Zoi-chan, and her second season was everything it should have been. We have the great character development of Aoba coming into her own as a designer, Nenecchi being the world's most adorable beginning programmer, and a genuinely moving ending with Kou-chan setting out on her own. Plus it adds some adorable new girls, and the cuteness delivered by Douga Koubros is on point as always. Wako-chan dabes!

8: Gabriel Dropout ∥ Douga Koubou ∥ Dir. Oota Masahiko: You didn't think the Comedy God wouldn't find his way on here, did you? Oota Masahiko had a two year absence from my Best of the Year lists, but now he clocks in for the fourth time with the eminently enjoyable Gabriel Dropout. As you might expect, this show has a feel similar to the original Yuruyuri: it's super comfy, but also hilarious. Comic foil Satanya was easily one of the best girls of the year.

7: Little Witch Academia ∥ TRIGGER ∥ Dir. Yoshinari You: Some will probably think I have LWA a little low... It's definitely a masterpiece of design and, at times, animation, but I felt like the overall plot dragged a little. Some individual episodes were brilliant, though, like the one where Akko travels inside Sucy's brain, the labor strike episode which gave us glorious Comrade Akko, or the robot episode aka Gurren Lagann 2. The big plot about the kotonoha and the evil Elon Musk, on the other hand, I never really got that invested into, although Shiny Chariot is definitely a babe. Still, it's got all those great themes about believing in yourself that are so genuine and earnest that you can't help but love it.

6: Shuumatsu Nani Shitemasuka? Isogashii Desuka? Sukutte Moratte Iidesuka? ∥ C2C/Satelight ∥ Dir. Wada Junichi: I'm totally biased towards this series, having read the books, but I do think it's a really good anime in its own right. Kutori's tragic story is told with the utmost care and even though they only adapted three of the five novels it still turns out as a complete and satisfying story unto itself. The feels are all over, especially thanks in no small part to a beautiful score (including several vocal pieces) by Katou Tatsuya that really ties the show together tonally. I'd really kill for a second season.

5: Youjo Senki ∥ Nut ∥ Dir. Uemura Yutaka: So, I almost feel guilty putting this show on here because it's definitely the hardest anime I've ever watched raw (Monogatari shows included) and I still feel like some of it may have gone over my head. But even my dumb ass knows enough to tell this is one of the smartest shows of the year, a study of man's tendency towards war as seen through the eyes of a little girl who embodies the doctrine of "the ends justify the means." Yuuki Aoi turns in probably the best performance of her career as Tanya who is definitely one of the most memorable characters of the year, even if Nazis think she's supposed to be a "badass" you're meant to root for. This is another one that desperately needs a second season.

4: Kino no Tabi -the Beautiful World- the Animated Series ∥ Lerche ∥ Dir. Taguchi Tomohisa: I always heard the original Kino was great but I didn't care enough to actually go back and watch it. Thankfully, anime's got me covered with this new adaptation that definitely lived up to the hype. If I were to use one phrase to describe Kino no Tabi it would be "Star Trek"―much like that show it's an episodic series about some people on a journey to strange places that uses each episode to set up an ethical or philosophical question and then work through it. As a result, it's wonderfully varied and constantly surprising. Also, Kino is cute!

3: Konohana Kitan ∥ Lerche ∥ Dir. Okamoto Hideki: Is it wrong for me to say this show is like Kino? Konohana is also a series of short stories tied together by the setting and characters of the inn, but instead of setting up philosophical questions it's all about sentimentality. I really appreciate short form storytelling and there are a ton of fantastically constructed short stories here and they rarely failed to make me bawl my eyes out. It also features some of the cutest girls of the year, to the point that I still don't really know who best girl is: I gave it to Yuzu, but you really couldn't go wrong with any of them.

2: Houseki no Kuni ∥ Orange ∥ Dir. Kyougoku Takahiko: It's a real shame that this show can't also be anime of the year, but second place is no indictment of the quality of this show which was one of two to earn a perfect score last year. Houseki no Kuni is a standard (if masterfully executed) bildungsroman, but it's wrapped in a package unlike anything I've ever experienced before. The arresting character designs are the first thing that jump out, but there's also the unique and never-quite-explained setting and world, including the haunting visuals of the moon people antagonists, and the show's stylish fusion of 3DCG technology with traditional animation techniques, resulting in some of the best cinematography of the year. And then there's the cast of characters, headed by Kurosawa Tomoyo as Phosphophyllite who has with this performance removed any doubt in my mind that she's one of the top actresses in anime right now. Phos experiences character growth that's almost unprecendented in this medium, where return to the status quo is the norm for most "arcs," and Kurosawa's performance which takes Phos from goofy red-headed stepchild to cold, disaffected warrior (while still not losing any of her personality) really ties it all together. Phos's character development is so satisfying that it even manages to convincingly take the place of a real ending to the plot. A genuine masterpiece.

1: Shoujo Shuumatsu Ryokou ∥ White Fox ∥ Dir. Ozaki Takaharu: But as fate would have it there would be two unqualified masterpieces this year... Part of the reason I've put off finishing this post is because I've struggled to think of ways to communicate how truly sublime the experience of watching Shoujo Shuumatsu Ryokou is. It's beautiful, thoughtful, introspective, sentimental, heart-rending, soothing... I guess it's fitting that it's so many things because the show is ultimately about humanity, where we came from, and where we're heading. And it does all that without being brooding or melancholic: these round girls look the apocalypse square in the face and still manage to find beauty, comfort, and profound meaning in the world. If that isn't humanity at its purest, what is? This show that is at first glance about two round blobs on a road trip will make you reconsider mankind's place in the universe. I love anime.

Close but no cigar:

The biggest conflict for me was Princess Principal, which I really wanted to include in the list but just couldn't make room for it. There's a lot of things I love that show for: its fun setting, endearing characters, its well-told short form stories, and the fact that it tiptoes into dealing with leftist politics... But unfortunately it ends quite poorly, which is a big knock on a show as plot-driven as this one. In a similar vein, Kakegurui was one of the most compelling shows week-to-week of the year, but it also suffers from a weak non-ending which lets a little air out of the balloon after all the super hype gambles until that point.

In the cute girls department, there was Kobayashi-sanchi no Maidragon, which let us know that Kyoani can still make moe anime if they try. It was definitely a great specimen in the genre, but it didn't really do anything special enough to get into the top ten... other than having Kanna. There was also Eromanga-Sensei, which lived up to its name by being very ero but was also just unremarkably good.

In terms of lesser shows that deserve a shoutout, I've gotta give one to the second season of Lovelive! Sunshine!! for being so incredibly better than the first outing that it made me genuinely love Aqours and look forward to the upcoming movie. After the last two season of Lovelive anime I never thought I'd really care again, but they managed to do it with a renewed focus on character and abandoning the stupid 'save the school' narrative that made Sunshine feel like a second-rate knockoff of the original. I should also mention Made In Abyss, if only because of its overriding popularity around the world, but also because the first half of it was setting up for an all-time great show that could have easily slotted in among Houseki no Kuni and Shoujo Shuumatsu Ryokou, but then it made the mistake of getting too grimdark and ruined it.

Now time to open the envelopes:

Best Actress: Kurosawa Tomoyo as Phosphophyllite, Houseki no Kuni. What, you were expecting someone else? At only 21 years of age Kurosawa has already established herself as a force to be reckoned with, between this role and her similarly fantastic work as Kumiko in the Euphonium series. She brings a level of emotional texture to a character that's seldom seen in anime. Just go look at the review for Houseki for more explanation of why she deserves this. We definitely have a lot to look forward to with this girl.

(Honorable mentions: Yuuki Aoi as Tanya Degurechaff, Youjo Senki; Noto Mamiko as Morioka Moriko, Netojuu no Susume; Minase Inori & Kubo Yurika as Chito & Yuri, Shoujo Shuumatsu Ryokou; Hayami Saori as Jabami Yumeko, Kakegurui)

Best Actors: Ichikawa Aoi & Murata Taishi as Izumi Eita & Souma Haruto, Just Because!. I didn't include Just Because in the close-but-no-cigar section because I figured I could give it credit here. For me, Just Because! was one of the most underrated shows of last year; it won me over with its understated but earnest depiction of youth navigating the tangle of falling in love for the first time. Part of what makes it so charming is the realistic relationship between Ichikawa and Murata's characters, once-seperated friends who reunite when the protagonist moves back to the town he grew up in. The interplay between the characters has that sort of unstated intimacy that often defines male friendships, and while a lot of that is down to the solid writing, it's hard not to give credit to the actors for making the characters' relationship so darling as well.

(Honorable mentions: Fukushima Jun as Satou Kazuma, Kono Subarashii Sekai ni Shukufuku wo! 2; Chiba Shouya as Azumi Koutarou, Tsuki ga Kirei; Saitou Souma as Glenn Radars, Roku de Nashi Majutsu Kyoushi no Akashic Records)

Newcomer Seiyuu of the Year: Tomita Miyu. Talk about jumping onto the scene. Tomita first came to my active attention with her role as the aloof angel Gabriel in Gabriel Dropout, and her comic delivery was a big part of that show's success. When she later played Kuina in Hinako Note, I thought maybe she was a little one note, because the performances seemed really similar. Her performance as Riko in Made In Abyss, though, really threw her into the spotlight. While I personally hated what happened in episode 10 from a narrative standpoint, there's no denying that that scene was so gutwrenching and affecting for so many people because of Tomita's performance. I'd still like to see if she has more vocal range, but even if she doesn't, this girl―who was only seventeen years old while turning in that work!―can definitely act. I hope we get to hear her lead another show sometime soon.

(Honorable mention: Naganawa Maria. It's not always the case that a voice can entirely make a character. People like Kugimiya Rie can do that, and in recent years Sakura Ayane does the same for me. Naganawa Maria as Kanna Kamui in Kobayashi-sanchi no Maidragon is another example. Kanna would have always been cute, of course, but it's Naganawa's voice that really put her over the edge to becoming one of the most widely popular characters of 2017. The quality of her loligoe is uncontested, but what remains to be seen is if she can truly carry a show as the main protagonist. The only example we have of that is her work as Honda Tamaki in Stella no Mahou, which I enjoyed, but I'd like to hear more of her in that kind of role.)