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animehouse-moe · 2 years ago

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The Future of Anime Staff: A Foggy Forecast

This is a topic that I've really wanted to talk about for quite some time, and I was sat around thinking about what it was that I wanted to post today. So I figured screw it, I'll write that post now.

The plain and simple is that the anime industry is changing at a far quicker pace than it used to. Not that this change is new, but that it's happening faster. Think of the industry as a candle. Rather than a different candle being used, our candle is just burning far faster than it was. And I'd love to dive into the details of that.

So, a faster pace of change, how can you say that? Well, the easiest marker is the creation of new animation studios from anime veterans. I mean, WIT was formed from Production I.G veterans, and Mappa came from Madhouse. And from there, Production I.G came from Tatsunoko Production, and Madhouse came from Mushi Production.

But we haven't stopped at this level yet, rather than going one further back, we're going on further forward. From WIT studios sprung Kafka, and from Mappa we have E&H Production. To help illustrate what I'm about to explain, please take a look at this (poorly made) graphic.

I think what's most apparent is the gaps in time between the formation of studios. Taking the Mushi Production side as an example, Mushi Pro was founded in 1961 while Madhouse was founded in 1972, making for a difference of just 11 years. Madhouse to Mappa is a far larger gap though at nearly 40 years. From there, it's a measly 10 years to the formation of E&H Production.

Looking at the Tatsunoko side, the studio was founded in 1962 while Production I.G appeared in 1987, making for a difference of 25 years. From there, WIT is founded in 2012 making for a difference of once again 25 years. Following WIT however, Kafka appears after only 8 years of WIT as a studio.

Overall, the numbers speak somewhat for themselves in broader strokes to how the anime industry has grown and changed. Though there was a reasonable era in the industry of stability and maintainable growth, in recent years that growth has been less sustainable.

More series are being produced, more staff members are unsatisfied with their working conditions, and so new studios are created. Now, there's a totally different conversation to be had about why new studios is the way for veterans to find creative freedom and less oppressive schedules, but that devolves into how producers view and interact with the anime industry.

Anyways, the point is that unsatisfied workers are more and more common, and branch and child studios appear more and more frequently. Just look at how BUGS FILMS spits a bit of fire at their parent company OLM via some little details in Zom 100.

So, to the heart of the issue: what the hell does this have to do with the title? Well, great question me! The point is this: veteran staff are no longer remaining veteran staff for the required amount of time. You're not seeing high level staff members stick around with specific companies for longer periods of time. Similarly, we've seen production companies catapult the number of anime series licensed in a year well into the stratosphere, shown via this information from all the way back in 2021 about Kadokawa licensing 40 series a year until 2023.

So where does all this go, where does it all lead? Two roads. The first, overworked and undercompensated staff that will put out subpar and error-riddled work due to crunch times and other issues. The second, constant staff movement that erases the middle of the hierarchy.

If anime production is expressed in tiers you'd have three of them. The highest tier being directors, series composers, etc. etc. The next tier would be episode directors, script writers, assistant directors, and whatnot. The bottom tier would be LO, In-between, and even key animation.

Of course, you can't go from bottom tier to top tier in one go, and each tier used to require specific experience and ability. You'd need reasonable experience with episode direction to transition to lead director, sufficient experience with key animation to move to animation direction, a number of years with a given studio, etc etc.

The issue that this ridiculously expanded production produces is, simply put (as I did before), the erasure of the middle tier and the transition requirements to the top tier. A nasty side effect is the disappearance of studio employees as freelance work dominates, and as @444lpblue has effectively put, the blurring of lines in regards to studio style. More on that later, lets look at some examples of the former points first.

Shota Goshozono is the lead director for Jujutsu Kaisen Season 2. They've also only been in the industry for 8 years, and have a total of 5 episode direction credits prior to JJK S2. And Mappa shows through this decision how not to handle a new director.

Yes, you read that correctly. A total of 8 years in the business, and only a grand total of 5 episode direction credits prior to JJK S2. Even more interestingly is that their career starts with and is fleshed out at A-1 Pictures. They did some key animation on Mob Psycho, and some other work on the Cloverworks end of FGO stuff, capping off their freelance work with two episodes of Ousama Ranking before arriving at Mappa with JJK S1.

Yes, once more, you read that correctly. Gosso's first experience with Mappa was in 2021, and in 2023, after a total of 3 episodes directed under the studio, they're in the lead seat for Jujutsu Kaisen.

I think it's an understatement to say that it's a bit of a shocking development. I mean, to fill the shoes of Park it's a pretty ludicrous decision. Park is pretty well as close to Mappa royalty (even though they've only directed a total of 3 series) as you'll come across as they begin their tenure with the studio in 2014 working on Terror In Resonance. Just to sort of emphasize for context: Park started working with Mappa a year before Goshozono appears in the anime industry.

If Gosso and JJK is what not to do with first-time directors, Saitou and Bocchi The Rock is absolutely what to do with them.

Keiichirou Saitou, a person in a similar situation to Gosso, but producing a definitively different result. Just how do they do it?

Before I answer my own question once more, just a brief history of Saitou. They have a total of 7 episode direction credits prior to Bocchi The Rock, and started in the industry back in 2015, also like Gosso.

The massive difference though is where those credits lie and what they are. Cloverworks is a relatively new studio, so rather looking at productions under the same studio, it's more effective to look at staff that overlap with the core of Cloverworks. Most notably this includes the director of Akebi's Sailor Uniform as well as the assistant director for Spy x Family. But more than that is the tenure of these staff members. Being able to work under Shingo Natsume on not one, but two projects is definitely the highlight of Saitou's early work and undoubtedly the source of a great deal of their visual style.

So if Saitou has Nastume, and Gosso has Park, where's the real difference? Well, it's more a subjective opinion, but my belief is the breadth of productions that Saitou has been credited on. Not so much purely in terms of genre and whatnot, but more the number of unique series and how they're spread out. While it's only 2 more episodes directed than Gosso, they've directed on one more series than them, and have their direction credits spread from 2017 into 2021 (5 years total). Meanwhile, Gosso's episode direction credits take place within the span of 2 years.

And that's the very crux of my argument. Saitou has had 3 more years to refine and explore their creative direction under quality staff members. Gosso had less than half the time to do the same thing. And with that inexperience in mind, Gosso leads a larger and more established production with the goal of filling some very big shoes. Bocchi The Rock and Saitou were afforded the benefit of noticeably more freedoms and concessions in regards to production and approach than Gosso and JJK, and that just continues to play into the challenges and successes faced by each.

Gosso and Saitou clearly come from similar backgrounds. Starting their careers around the same time, having a home-base/origin studio in the form of A-1/Madhouse respectively, and have had big breaks early on in their careers. Let me provide a totally different example now.

Mori Hirotaka, arguably the most infamous director of 2023, and the direct rival to Keiichirou Saitou's electric work on Bocchi The Rock. A veritable master of the craft, who presents a different story altogether.

Hirotaka is a far more interesting staff member to take a look at, because they jumped into the industry headfirst with their first credits being assistant episode direction One Piece (for a total of 17 episodes, no less).

From the moment Hirotaka appears in the industry, their focus is on episode direction and storyboarding. Though they originate with Toei, Hirotaka expands their reach to incorporate a trio with the former studio alongside Production I.G and A-1 pictures.

In terms of hard numbers though, they're credited with episode direction for 9 episodes (though one's an opening) across 8 unique series.

I don't think I really need to say it, but I will anyways. Hirotaka is a perfect example of my opinion/argument that time and breadth is the best possible way to encourage growth and exploration of creative foundations and the ability to effectively apply them to various projects. Having those assistant credits just doubles down on the sentiment.

But how about something more interesting? I mentioned Production I.G earlier in the studios that Hirotaka has worked with extensively. Hirotaka started with them in 2014 where they directed the second opening for the first season of Haikyuu!! before moving on to several other projects. Nearly a decade of experience and work under Production I.G. Compare that to Gosso who only has a single Mappa series prior to JJK S2, and Saitou who's a first time Cloverworks staff member.

This is where we tie back in to the freelance work. It took Hirotaka a decade to get the role of a lead director with production I.G, it took Park six years. Saitou got their lead director role with a first-time studio, before they got their lead role with Madhouse. Gosso worked on 3 episodes with Mappa before getting their lead role with them for JJK S2.

Though there's very little time separating these staff members, the idea of a "core" studio remains apparent with Hirotaka and Park, and does not exist with Saitou and Gosso. And it's something you can see happen consistently within this current climate for animation, especially with more "low level" things like key animators.

Let's circle back to get a better look at the bigger picture.

The nature of freelancing in the current industry outlook is to promote swift movement between studios and projects. This means that staff members have more freedom to take on different projects and the like, but at the same time means that without strong industry connections, they lack a foundational team that will provide them with an environment to grow and improve within. This means that we see more and more people placed in key roles where they don't have the keys to success and the ability to effectively manage it.

Great examples of this that are tied back into the comment on new studios appearing is the struggles faced by both Kafka and BUGS FILMS in their initial solo projects. Both are faced with the reality that they don't have experience managing at the scale that they are at, and in their own ways have (and are) struggling to meet expectations. Koichi Naruse is the CEO of Kafka, but has only been in the industry since 2017, and worked on a total of 5 series before moving on to lead Kafka. A similar story can be said of the situation that BUGS FILMS finds themselves in. Not that experience automatically equates to quality and ability, but the more time in industry the better understood it is.

At the end of the day, it's not something easily avoidable. Companies and individuals will struggle, and they will find their place amongst it all.

It's either work under an oppressive schedule in a not-so-great workplace, or job hop. At the end of it, the greats will stay great. Gosso will find their place in it, and Saitou will continue to try and match their initial work. It's just, sort of an aggravating thing to experience as an outsider when the solution is to tone down the number of series produced a year, and unionize all the staff so that they can have livable wages and fair and healthy workplaces.

But either way, here we are. And what does the future hold? Well, like the title says, there's not really anyone that knows for sure. It's one of those things that will only make or break at critical mass. I don't know when that will happen, and I doubt know if others will either. All I know for sure is that the rate of change in the industry continues to grow, and it becomes more and more hungry for high level staff to govern the endless flow of content, despite there not being enough. This gives freelancers much more freedom and opportunity but at the cost of further isolation of members of the industry from environments and workplaces that are meant to help them improve and grow as unique creatives.

#jujutsu kaisen #jjk #mappa #madhouse #呪術廻戦 #bocchi the rock #bocchi the rock!#ぼっち・ざ・ろっく！#heavenly delusion #tengoku daimakyou #天国大魔境 #anime and manga #anime #anime industry #cloverworks #production i.g #wit studio #studio kafka #e&h production

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snknews · 6 years ago

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Flashbacks: Isayama Hajime Appears in Kyoto Animation‘s 2016 Behind-the-Scenes Video for Koe no Katachi / A Silent Voice

In light of the recent tragedy that has struck beloved animation studio Kyoto Animation, we wanted to share the above video that happens to be relevant to both this site and the current circumstances.

Originally uploaded in September 22nd, 2016 to the official Kyoto Animation Youtube channel, this is the behind-the-scenes featurette highlighting KyoAni’s work on the Koe no Katachi / A Silent Voice film, which was released on September 17th, 2016 in Japan (And later globally).

Isayama appears around 2:34 in the video to discuss the manga’s story. The connection he has with the series is that Koe no Katachi originally debuted as a one-shot story in Bessatsu Shonen, the same magazine that publishes SnK, and was later serialized in Kodansha’s Weekly Shonen Magazine. Isayama does appear to be friendly with KnK’s mangaka, Yoshitoki Oima, who actually drew the Eren ending card for SnK Season 1 Episode 9:

Warning: The Kyoto Animation portions of the above video does feature the very same building in Uji that was burned down on July 19th, 2019, as well as some KyoAni staff members whose fates remain unknown as of this post. Please be mindful of these details if you decide to watch the entire short.

With that said, it is important to put faces and voices to the names that worked at Kyoto Animation, and even more important to honor their incredible impact on all of us. Videos like this are not only educational, but also reveal just how connected the anime/manga industry really is. In fact, when Production I.G, WIT Studio's parent studio, originally started in 1987, Kyoto Animation provided immense support and was even a shareholder.

Without Kyoto Animation, there might've never been WIT Studio's version of Shingeki no Kyojin.

You can support Kyoto Animation by donating to Sentai Filmworks’ GoFundMe or purchasing digital goods on their webshop (English guide here).

We send our condolences and love to all who were affected by this tragedy.

#kyoto animation #kyoani #isayama hajime #koe no katachi #a silent voice #videos: other #yoshitoki oima #eren yeager #snk flashbacks #wit studio

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recentanimenews · 5 years ago

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Netflix Reveals Upcoming Slate of Anime Titles for 2021

Additional reporting by Daryl Harding

During the Netflix Anime Festival 2020, the streaming company announced 16 anime titles coming to the service. Hosted by Hisanori Yoshida with special guest Rio Uchida, the two walked through the company’s upcoming anime from previously announced series to upcoming features. The announcements below are in alphabetical order.

Baki Hanma

The story of the strongest parent-child fight in history comes to its climax in the 3rd part of the Baki Hanma series, subtitled ‘Son of Orge,’ premiering on Netflix in 2021. Manga creator Keisuke Itagaki drew a special illustration of Baki for the announcement.

The most dysfunctional father-son relationship of all time reaches its climax when Baki Hanma faces off against the Ogre himself in next year’s season of Keisuke Itagaki’s brutal fight series! pic.twitter.com/Y0mEC8PmS8

— NX (@NXOnNetflix) October 27, 2020

B the Beginning Succession

The second season of the popular B the Beginning anime series was announced during the presentation, entitled B the Beginning Succession. Netflix showcased the first images from the series as well as the new staff members.

They might have solved their last case, but Keith and Koku aren’t finished yet. Here’s your first glimpse at B: The Beginning Succession’s story of detectives and killers in a high-tech world, arriving next year. @ProductionIGinc pic.twitter.com/spcWDOFUh7

— NX (@NXOnNetflix) October 27, 2020

Ichiro Kawasaki takes over from Kazuto Nakazawa as the director of B the Beginning Succession at Production I.G. with Nakazawa returning in a supervisory role and the rest of the staff and cast returning for the second season that is scheduled to stream in 2021.

Eden

Netflix released a brand new trailer and visual for the four-episode original series Eden, directed by Yasuhiro Irie with animation production by Qubic Pictures, coming in May 2021.

Sometimes a family is a human girl, a robot, and another robot. EDEN follows Sarah and her mechanical adoptive parents as she confronts a strange, beautiful world, arriving May 2021. pic.twitter.com/1foOcAT8Eh

— NX (@NXOnNetflix) October 27, 2020

Godzilla: Singular Point

During the presentation, the first visual and teaser trailer for the upcoming Godzilla: Singular Point anime series from Studio Orange and Bones roared its way through the presentation hall.

When danger comes up from the depths, only young geniuses Mei, Yun, and their team can face the threat in Godzilla Singular Point! Take a first look at next year’s new series featuring the classic monster. @CG_Orange_eng @TOHO_GODZILLA pic.twitter.com/B7VWyGb3ZZ

— NX (@NXOnNetflix) October 27, 2020

The series will feature character designs by Kazue Kato (Blue Exorcist) and a new Godzilla design by Ghibli animator Eiji Yamamori. The series is currently scheduled to broadcast in April 2021.

High Rise Invasion

Netflix will release an anime adaptation of High Rise Invasion, based on the manga series by Takahiro Oba and Tsuina Miura (Ajin), in February 2021. The first two visuals of the series was released as well as the staff and cast. Directed by Masahiro Takata, with animation production by Zero-G.

As Yuri finds herself in a bizarre world of endless buildings and masked killers, she’ll do whatever it takes to find her brother and escape. Next year, discover the secret of the skyscrapers in action horror series High-Rise Invasion. pic.twitter.com/ShFLIYsKHL

— NX (@NXOnNetflix) October 27, 2020

Yoichi Ueda does the character designs, while Toko Machida works on the series composition, with music from tatsuo and Yoichi Sakai. Haruka Shiraishi, Shiki Aoki, Akira Sekine, Junya Enoki, and Yuichiro Umehara all lend their voices to the anime series.

Pacific Rim: The Black

After being announced in 2018, the first animated visuals and images of Pacific Rim: The Black anime series, based on the cult film series from Legendary Pictures, was released. The presentation showed off the opening title sequence of the 2021 series from Polygon Pictures and co-showrunners Craig Kyle and Greg Johnson.

Long ago, humanity defeated the Kaiju. Now, they’re evacuating Australia. In 2021 join a pair of siblings and their battered, long-abandoned Jaegar as they battle across a continent of danger in Pacific Rim: The Black. @Legendary @POLYGONPICTURES pic.twitter.com/P5ZHZYv9OQ

— NX (@NXOnNetflix) October 27, 2020

Resident Evil: Infinite Darkness

Announced in September, TMS Entertainment and Quebico (the same studio behind Resident Evil: Vendetta) will be producing a brand new original series based on the Resident Evil franchise, featuring Resident Evil main characters Leon Kennedy and Claire Redfield.

When biohazards run wild, only a pair of veteran zombie slayers can get the job done. Resident Evil: Infinite Darkness is a new original series set in the canon of @CapcomUSA_’s classic survival horror franchise @RE_Games, coming next year. pic.twitter.com/nuBKVgXuzp

— NX (@NXOnNetflix) October 27, 2020

Rilakkuma's Theme Park Adventure

A continuation of the Netflix anime series, directed by Masahito Kobayashi with animation production by dwarf studios and San-X Co., Ltd.

Grab your tickets and get in line for a new series of stop-motion adventures with Rilakkuma and Kaoru! Join Rilakkuma, Korilakkuma, Kiiroitori, and Kaoru as they explore an amusement park in its closing hours when Rilakkuma’s Theme Park Adventure arrives next year. pic.twitter.com/qU2qzSl7pH

— NX (@NXOnNetflix) October 27, 2020

Spriggan

After originally being announced on October 5, Netflix released the first trailer and visual for the newest adaptation of Spriggan. Based on the 1980s to 1990s manga series written by Hiroshi Takashige and drawn by Ryoji Minagawa, the new adaptation will be released on the platform in 2021.

As the armies of man battle over ancient relics, one organization will do all it can to seal them away. Here’s a first look at 2021’s anime series adaptation of legendary action manga Spriggan in action! @DPInc_official pic.twitter.com/ukTzI0nlMS

— NX (@NXOnNetflix) October 27, 2020

Spriggan is directed by Hiroshi Kobayashi (Kiznaiver), with character designs from Shuhei Handa (Little Witch Academia) and series composition from Hiroshi Seko (Mob Psycho 100), and will be produced at david productions.

The Way of the House Husband

Based on the award-winning manga by Kousuke Oono, J.C.Staff will head the production of The Way of the House Husband. The series will be directed by Chiaki Kon, with Kenjiro Tsuda playing the main character Tatsu.

Japan’s most evil yakuza makes its cutest househusband! Follow Tatsu’s journey from underworld legend to domestic bliss when the anime adaptation of Kousuke Oono’s hit comedy manga The Way of the Househusband premieres in 2021. pic.twitter.com/V7tdVIaYVc

— NX (@NXOnNetflix) October 27, 2020

Thermae Romae Novae

A new season of the award-winning Thermae Romae series was announced during the presentation, entitled Thermae Romae Novae (novae means new!). A visual for the upcoming series was released. Mari Yamazaki will be drawing new episodes for the series. Production by NAZ.

When Roman Empire bath designer Lucius ends up in modern Japan, he’ll find the two cultures aren’t so different after all. The anime adaptation of Mari Yamazaki’s bathhouse comedy Thermae Romae Novae hits the screen in 2021! pic.twitter.com/SeS1ZMS83W

— NX (@NXOnNetflix) October 27, 2020

Thus Spoke Kishibe Rohan

All four episodes of the OVA anime series for JoJo’s Bizarre Adventure spin-off Thus Spoke Kishibe Rohan will be coming to Netflix in 2021.

To truly capture the ways of the world, this manga artist will scour the globe for inspiration! All four episodes of Jojo’s Bizarre Adventure spin-off Thus Spoke Kishibe Rohan make their Netflix debut 2021. pic.twitter.com/cONOzo0d3B

— NX (@NXOnNetflix) October 27, 2020

Transformers: War For Cybertron Trilogy

Netflix announced during the live stream that the second chapter of Rooster Teeth's Transformers: War For Cybertron will be coming soon.

With the Allspark lost and Decepticons trapped on a dying Cybertron, Optimus Prime pushes the Autobots to the limit in the depths of space. EARTHRISE, the second chapter of the Transformers: War for Cybertron trilogy, is coming soon. @RoosterTeeth @Hasbro pic.twitter.com/up6g4Qt3QB

— NX (@NXOnNetflix) October 27, 2020

TRESE

New anime series based in Manila, TRESE, was announced. The stream noted that because the series is being created in the Philippines, the creators will have a different perspective of Manila than someone not from the city.

Aswangs of Manila, beware: Alexandra Trese is coming for you. Enjoy this very first look at TRESE, coming soon on Netflix. ???????????????????????? pic.twitter.com/BpiRc6WhjQ

— Netflix Philippines (@Netflix_PH) October 27, 2020

Vampire in the Garden

Vampire in the Garden, a new original anime series from WIT STUDIO, was announced by Netflix. The vampire series, which is being directed by Ryotaro Makihara (The Empire of Corpses), with character designs and animation direction Tetsuya Nishio (Naruto) and art direction from Shunichiro Yoshihara (Attack on Titan), will be out on the platform in 2021.

Once, vampires and humans lived in harmony. Now, a young girl and a vampire queen will search for that Paradise once again. Here’s your first look at Vampire in the Garden, an original story from @WIT_STUDIO premiering next year. pic.twitter.com/9Z55Cn3ijV

— NX (@NXOnNetflix) October 27, 2020

Yasuke

Yasuke, headed by MAPPA and directed by LeSean Thomas, released the first character sheets of the Black samurai Yasuke as well as the legendary Oda Nobunaga, both drawn by character designer Takeshi Koike.

A village in danger, a mysterious child, warring daimyo, and the greatest ronin never known all clash in a Japan of magic and mechs. Learn the story of the first African samurai when LeSean Thomas’s Yasuke, voiced by Lakeith Stanfield, arrives next year. pic.twitter.com/jCabzutMIv

— NX (@NXOnNetflix) October 27, 2020

Lakeith Stanfield will voice Yasuke, with animation produced at MAPPA and music produced by Flying Lotus. Yasuke is scheduled for 2021 on the platform.

Netflix also discussed the current state of anime on the platform, saying that over 100 million households in nearly 100 countries around the world watch anime on the platform – which has one of the widest reaches of all streaming services –. In Japan, “almost 1 out of 2” households watch at least five hours of anime on the service every month, equal to at least one season of a 12 episode show.

Kyle Cardine is an Editor for Crunchyroll. You can find his Twitter here.

By: [email protected]

#Anime #News #Latest in Anime News by Crunchyroll!

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kyojuuros · 6 years ago

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Hi hi! What do you think about the rumor that WIT isn't going to animate the next season?

While it’s still not confirmed by an official source, I've come to accept the rumor is most likely true. My personal hope/desire is that WIT’s parent studio, Production I.G., is who’s picking it up. They worked with WIT to get season 1 going and also animated the Shingeki! Kyojin Chuugakkou series. I also noticed that they did work with WIT on the Lost Girls series which is something that was relatively recent. To me it makes sense that the parent studio would absorb the series. Prod IG does some gorgeous works and feels very similar to WIT studio (as expected). That being said, obviously I have no idea what’s in store for the anime moving forward.

Here’s hoping for some kind of hint or answer after the S3 finale this week! <3

#anon #reply

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hentaihunblog-blog · 8 years ago

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Adult Anime That Are Strictly Targeted For 18+ – OtakuKart

New Post has been published on https://hentaihun.com/blog/2017/12/20/adult-anime-that-are-strictly-targeted-for-18-otakukart/

Adult Anime That Are Strictly Targeted For 18+ – OtakuKart

Today we will be listing top 10 (18+) anime to watch, the anime usually airs after 10 PM at night when kids are asleep. These are Adult Anime That Are Strictly Targeted For 18+

Let’s begin without any further delay.

10. Highschool DxD-

The story follows Issei Hyodo, a dim-witted, lecherous second-year high school student who is killed by a girl on his first date ever. Issei is reincarnated as a devil, and from that day forward, he serves as an underling of Rias Gremory, a high-level devil who is also the prettiest girl on Issei’s campus.

9. Citrus-

Yuzu Aihara, a fashionable, spontaneous and fun-loving city-girl, transfers to a new neighborhood and high-school after the remarriage of her mother. More preoccupied with boys and shopping than studying, Yuzu struggles to fit in at the conservative girls’ school and frequently clashes with the student council—specifically Mei Aihara, the hard-working, beautiful but cold student council president. As it turns out, Mei happens to be Yuzu’s new step-sister and Yuzu finds herself having to share a bedroom with a girl she absolutely can’t stand. The series follows the evolution of the relationship between the two girls, with the animosity slowly lessening as the two begin to learn more about each other and confusion growing as Yuzu discovers that she is starting to develop romantic feelings for her new sibling.

8. Maria The Virgin Witch-

Set in France during the Hundred Years’ War, it follows Maria, who is one of the most powerful witches of her era. She intervenes against the warring nations by using her succubus and incubus familiars to manipulate the opposing factions, as well as large-scale illusions, all for the sake of helping the people and maintaining peace. As a result, she has gained the appreciation of several villagers and the hostility of the Church, which considers her a heretic. Yet Maria is still a virgin and her own familiars tease her about it. As news of her actions spreads, Archangel Michael focuses on Maria and rejects her interference in human affairs. After a direct confrontation, Michael ultimately decides that Maria will lose her magical powers if she loses her virginity and also forbids her from publicly using magic, sending an angel called Ezekiel to oversee this decree.

7. Shirobako-

The story follows a group of five best friends, Aoi Miyamori, Ema Yasuhara, Shizuka Sakaki, Misa Tōdō, and Midori Imai, who all go into the anime industry after their experiences in the animation club of their high school, with the dream of working on an actual anime together one day.

6. Hatena Illusion-

Ever since watching a magic show held by him and his wife Maeve, Makoto Shiranui has always admired Mamoru Hoshisato—a world-class magician, as well as friend of his parents—and came to Tokyo to become his apprentice. Kana, nicknamed Hatena, is the couple’s daughter and his childhood friend. As the hustle and bustle activities in Tokyo catches Makoto off guard such as burglaries by a beautiful thief, he depends on Hatena’s comforting side. When he came to Hoshisato’s now-haunted mansion to reunite with his childhood friend, he is greeted by the family’s butler and maid, Jeeves and Emma along with Hatena, only to discover that they are not as compatible anymore.

5. Osake wa Fuufu ni Natte Kara-

Chisato Mizusawa is a reserved but excellent and pretty assistant manager in her company. She has a secret that only her husband Sora knows, which is that she likes drinking alcohol, and she can become very cute when she is drunk! Even tonight, she gets relaxed (with the phrase “Shifuku~”) and drunk with the cocktail Sora makes♥. It’s a “Yoidere (Drunken Dere)” cocktail comedy of Japan’s closest husband and wife.

4. Kokuhaku Jikkou Iinkai-

Love is blooming at Sakuragaoka High School. Natsuki Enomoto has finally mustered the courage to confess to her childhood friend, Yuu Setoguchi. However, in the final moments of her confession, an embarrassed Natsuki passes it off as a “practice confession.” Oblivious to her true feelings and struggling with his own, Yuu promises to support Natsuki in her quest for love. While Natsuki deals with her failed confession, fellow classmate Koyuki Ayase struggles with his own feelings for Natsuki. Despite his timidness, he is determined to win over her heart.Zutto Mae Kara Suki deshita.: Kokuhaku Jikkou Iinkai follows Natsuki as she dreams of one day ending her practices and genuinely confessing to Yuu. Meanwhile, close friends also find themselves entangled in their own webs of unrequited love and unspoken affections.

3.My Girlfriend is Shobitch

Haruka Shinozaki confesses to beautiful, diligent class representative Akiho Kousaka. Kousaka takes dating as seriously as she does everything else, but does not quite get it. She pragmatically suggests activities that are too sexual.

2. Queen’s Blade: Unlimited-

Queen’s Blade began life as a series of ecchi, fantasy-themed series. The first two TV series was released on home video in North America, while the 3rd TV series and the OAVs were released by Sentai Filmworks.

1. Overlord 2-

The final hour of the popular virtual reality game Yggdrasil has come. However, Momonga, a powerful wizard and master of the dark guild Ainz Ooal Gown, decides to spend his last few moments in the game as the servers begin to shut down. To his surprise, despite the clock has struck midnight, Momonga is still fully conscious as his character and, moreover, the non-player characters appear to have developed personalities of their own!Confronted with this abnormal situation, Momonga commands his loyal servants to help him investigate and take control of this new world, with the hopes of figuring out what has caused this development and if there may be others in the same predicament.

Which series is your fav?Lemme hear you guys out in the comments or you can get connected with me on Snapchat-Vibsz16 and Instagram. Stay tuned.

Best Anime Movies To Watch

Looking for some Marvelous Anime movie? I have got you some astonishing hand-picked collection of the movie. Here is a list of Top 10 Best Anime Movies You Must Watch.So without any further delay let’s start with our Top 10 Anime Movie List

Top 10 Best Anime Movies Of All Time

10.Patlabor: The Movie (1989)

Many of the films on this list are here because they’re landmark films for their directors, or that they move the art form of Japanese animation forward in meaningful ways. Patlabor is just a good-ass movie made by a bunch of talented people, including future Ghost in the Shell collaborators Mamoru Oshii and I.G Tatsunoko (the early name for the production company that would become Production I.G). Set in the distant future of 1999, Patlabor’s hardboiled sci-fi police procedural explores the connection between humanity and technology, and how we approach law enforcement in an age of automation. Also, this list would otherwise be sorely lacking in giant mech movies – this film has them in spades, and they fight a bunch. It’s pretty cool.

9.The Girl Who Leapt Through Time (2006)

Studio Ghibli commissioned director Mamoru Hosoda to make Howl’s Moving Castle, but sent him packing after rejecting his initial concepts. Hosoda then turned around and directed The Girl Who Leapt Through Time, an abounding and inventive dramedy that’s as entertaining as it is thought-provoking. Based on a novel by Yasutaka Tsutsui, the film follows high schooler Makoto Konno as she learns that she has the power to quite literally leap through time. First, she uses these powers to get good grades, but she quickly learns that her actions have consequences. It’s a wildly imaginative slice of life and marked the emergence of an important voice in animated films.

8.Your Name (2016)

Since the release of his first short film Voices of a Distant Star (which he wrote, directed, and animated by himself over seven months), Makoto Shinkai has been described by multiple critics as the next Hayao Miyazaki. With his most recent film Your Name. (yes, the period is part of the title), Shinkai finally steps out steps out of the shadows of the greats and finds his own voice. To describe it as a mere body-swapping film does it a great disservice, as it finds the humor and humanity in a situation where two young high schoolers find themselves in each others shoes and desperately want to find each other. But then, Shinkai pulls the rug out from under you halfway through and Your Name. turns into a different kind of film entirely.

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