2022 Anime Year in Review: #1 (and Anime of the Year Video)
#1 – Mob Psycho 100 III
#2 -Made in Abyss: Retsujitsu no Ougonkyou
I believe it’s presumably been really clear from half a month into the fall season what the main two series on this rundown were probably going to be. Accordingly, to the degree there was any vulnerability it’s this spot, not the best one, that conveyed it. That is many times the situation with these rundowns, essentially each year there’s no sure thing #1 truth be told. Consistently has a levels of some kind – this year they were principally at five and twelve for me, and at two obviously. I never genuinely considered anything for the main two places other than the shows which wound up in them.
We sat tight quite a while for Retsujitsu no Ougonkyou, five years as a matter of fact. That is basically in light of the fact that it required Tsukushi Akihito a long investment to convey the material it depended on. We got two or three films as connective tissue, and to be straightforward I was somewhat shocked MiA moved back to series design since motion pictures appeared to suit Tsukushi’s composing pace somewhat better. He puts out perhaps a volume of material in a decent year, however when you truly look at Made in Pit – likewise with Drifter or Otoyomegatari or even Tracker X Tracker – it’s astonishing that these mangaka can make them by any means. Accordingly, grumbling about how slow that interaction is appears to be incredibly off track.
As far as I might be concerned, nothing about Made in Pit is basic, aside from the way that it’s outstanding. This is a troublesome and excruciating anime to watch, both due to the mercilessness of Tsukushi’s setting and due to his occasionally disrupting plunges into fetishism. That is the cost you need to pay to stamp the ticket – what makes Tsukushi so abnormal additionally makes him so splendid. His creative mind appears to be boundless, however that makes it harder on the anime staff in however many ways as it makes it simpler. Kinema Citrus has regarded Made in Pit as a wonderful source of both blessing and pain constantly, gathering a shockingly splendid group of illustrators, originators, and writers. It’s on my short rundown (extremely shy) of most lovely television anime ever, and not simply with regards to visuals.
As to Retsujitsu no Ougonkyou, it stamps very much a takeoff from the main season primarily. As I said in the series survey post MiA can truly just be reviewed on its own bend – there’s simply nothing else like it. This season essentially took one plotline and stayed with it for the whole season, regardless of whether it dance around in time a considerable amount. I think it was more tight than the main season narratively, if fairly more customary. Since the world structure with this series is so excellent (and it is), the first season enjoyed an intrinsic benefit in quite a while capacity to create a feeling of miracle and stunningness. Tsukishi’s creative mind knows no closure and neither does Kinema Citrus’ wizardry in making it live, however you can have the experience of being new to the material once.
With the world currently settled, there are unfilled spaces in the watcher/peruser experience, and the series fills them in with plot. This is all the more a story-driven season as opposed to the first I think, and the primary characters – Reg, Riko, Nanachi – are as a matter of fact supporting players. They’re fundamental, and the story meets with the primary plot. In any case, it pretty much stands all alone. It has its own start, center, and end. It has it’s own topical construction and informing. Love is the genuine revile, to be sure – nothing opens us to more noteworthy agony and languishing.
In total, then, at that point, I think Retsujitsu no Ougonkyou had a topical consistency and a style to it that outperforms the main season. It likely didn’t move me very aa much inwardly, maybe due to experience with the folklore, maybe on the grounds that the primary characters are not the main players of the story. Whichever season one likes, there’s simply nothing else like Made in Chasm – it’s a unicorn in such countless ways, however maybe it draws nearer to the speculative chemistry of Tracker X Tracker than whatever else. However lengthy it takes, it takes – anime and manga both are extremely fortunate to have it around.
#3 – Dance Dance Danseur
Recall what I two or three days prior, about Yofukashi no Uta and how much a series moves me to expound on it? Indeed, that unquestionably applies here, however it’s a smidgen more confounded. I composed 1600+ words about the last episode of Dance Danseur, which is presumably my longest post in two or three years in any event (however I haven’t checked). Indeed, a ton of that was carefully describing a lot of the last two or three episodes irritated me. Obviously that cuts the two different ways – in the event that I wasn’t 100 percent contributed by then, my sentiments could not have possibly been so strong. I get it’s that entire thing about something contrary to adore being aloofness, and I was everything except detached where this series was concerned.
As you’d expect, then, Dance Danseur was one of the hardest shows of the year to rank (the hardest in the main 10). For a large portion of its run it was my #1 series of the main portion of 2022 (however I knew that two or three powerhouses were at hand). At the point when it finished I could never have anticipated that it should put this profoundly. However, the progression of time has directed a portion of my bothering and permitted me to zero in on the up-sides about DDD, and there are a truckload of them. As I said yesterday #3-5 on the current year’s rundown are basically tradable, and an extremely impressive gathering to be sure.
One thing I’d say Danseur does is affirm that MAPPA is fit for a heartfelt, tastefully aggressive “independent” creation – and that update couldn’t be all the more convenient. I was just digressively acquainted with Sakai Munehisa before this series, however he’s unequivocally on my radar now – this was a genuinely magnificent creation, beginning to end. Indeed, even the really cringeworthy A-part of the finale had a shocking dance grouping – crude, furious, instinctive, even lovely. Dance isn’t the simplest thing to portray well in movement, and the movement in DDD is marvelous. It’s not just about the lovely visuals and astounding activity (however we persuade those certainly) – it’s tied in with portraying the feeling behind the moving.
I’m neither enormously learned about artful dance or a major enthusiast of it, as it works out, yet neither of those things made a difference with Dance Danseur. The point is to comprehend the reason why Junpei loves dance – artful dance, current – however much he does. Why it means quite a bit to him. It’s an incredible representation of the strife of pre-adulthood, this show – when bodies are outgrowing control alongside chemicals, when life is a debilitating mixed drink of plausibility and enthusiasm and disarray. Also, the deplorable last circular segment doesn’t change that. It’s essential to recognize exactly the way that deplorable it is – in addition to a little stagger however genuinely misinformed, as I would see it. In any case, Dance Danseur is a genuinely noteworthy series despite that.
I love shrewdly composed series about the innovative strategy, regardless of whether the kind of creation isn’t one I relate to myself. The idea of ability, of difficult work, of method and conventionality versus unadulterated creativity – it’s everything here, and it’s all captivating. In the last examination I need to pass judgment on a series completely. Endings are significant – and exceptionally hard. Endings for variations of progressing manga can be much harder. It’s a disgrace Dance Danseur didn’t close with its best material, however that is not the entire story, and what gets through is the brightness it brought to bear for a large portion of its too-short run.
#04 – Chikyuugai Shounen Shoujo
There were a few unmistakable levels on the current year’s rundown (as there generally are). 12 was one of them, as I previously talked about. What’s more, #3-5 was another – it’s no distortion to say I’ve gone this way and that on the request ordinarily this week. Chikyuugai Shounen Shoujo gets comfortable at four, yet you could toss a sweeping over it, Yofukashi, and the upcoming section, all things considered – in the event that I repeated the experience one week from now they may be in the entirely different request, and they’re all heavenly anime.
Extraterrestrial Young men and Young ladies (it has two English titles – it’s likewise The Orbital Kids – proposing Iso Mitsuo favored one and Netflix forced another) is obviously one more Netflix series, the second on the current year’s rundown. It’s additionally presumably the best Netflix anime yet in my view, and the way that it figured out how to put so exceptionally on the current year’s rundown notwithstanding just being six episodes (however more like eight of ordinary anime length) is demonstration of that. It’s a disgrace Iso-master didn’t get the full cour he was going for, however basically he understood what he needed to work with and could designer to fit. Akane Kazuki got a cour for Hoshiai no Sora, however that was in the wake of having been guaranteed two toward the beginning of creation. By correlation Iso is the good for one.
It’s truly difficult to discuss one of these series – and makers – without referring to the next. Both are instances of anime titans getting back to the medium in series structure interestingly since the mid-2000’s. Both conveyed jewels that were certainly worth the stand by, however unfortunately just Iso had the option to satisfy his inventive vision. Furthermore, what a dream it was. An exemplary science fiction in the shape of Bradbury, Asimov, or Lem as seen through an anime focal point. In reality as we know it where what’s to come looks pretty dull and a culture where not exclusively being confident about the future however the possibility that being confident about it have gone practically wiped out, he made an energetic vision that praises the versatility of youngsters and the human soul.
The guardian angel of anime in 2022 – and 2023 by the vibes of things – is that extraordinary manga still get adjusted. Furthermore, they – obviously – frequently (however not dependably) make incredible anime. In any case, unique anime is a simple shadow of what it was even 10 years prior, quit worrying about two. “Unique” used to apply in something other than the feeling of “not adjusted”, which is all it for the most part implies now. Equation rules unique anime however much whatever other subset, which makes new material from individuals like Iso and Akane significantly more valuable. It shouldn’t have required very nearly 15 years so that these two men might be able to see their work happen as expected. As a matter of fact piece of that will be that they’re the two auteurs and sticklers, however they likewise needed to battle the creation board framework without holding back and ask for help in the book to get their series delivered.
Iso alluded (he credited the plan to Murakami Haruki) to fiction as a “support” shielding him from the pessimism of this present reality. That absolutely applies to Chikyuugai, which unfalteringly discredits submission to the inevitable. Inside the story it’s characters – particularly Touya – manage their own supports. Now and again they can obstruct our vision – at times we want to move out of them and face reality head-on. Yet, we actually need fiction – particularly sci-fi – as a vehicle to investigate prospects past the as of now conceivable. Iso did it in the splendid yet scattershot Dennou Curl in 2007, and he did it considerably more effectively with Chikyuugai Shounen Shoujo in 2022. As I said in my series survey post, I truly want to believe that we don’t need to stand by so long for his next work.
#5 – Yofukashi no Uta
One proportion of a series for me, positively, is that I am so propelled to expound on it. A few shows simply get my brain – and my fingers – staying at work longer than required, and Yofukashi no Uta is one of them. I spilled a great deal of computerized ink over Call of the Evening – it was not difficult to do as such. I think all that verbiage is best refined by my message in my series audit post:
Society resembles a container that not every person fits inside – so what of the ones who don’t? You continue to look, since some place that container is out there – you simply need to continue to look through till you track down it. Also, when you do, it’s possible there will be others sitting tight for you who arrived first.
There’s an exceptionally basic motivation behind why I was so verbose about Yofukashi, far in excess of the way that it was damn great, and it’s very much like that well-known adage – “real stuff for the real world”. I’m the interest group for this show (credit to Samu, who sussed out that I would be). Sure it’s a vampire series – yet in truth, this series is truly about individuals who don’t squeeze into society’s cases. Vampires are, I rehash, consistently figurative. Vampires most likely aren’t genuine, yet there are individuals of the evening – each general public has them. Furthermore, each and every individual who’s wired a specific way comprehends the instinctive allure of those dull hours when all typical individuals are sleeping.
There are similitudes between Yofukashi no Uta and Watamote no doubt (it additionally flows MGX and FLCL, regarding tone and style), however Kou and Tomoko are altogether different in their temperaments. Both series are successfully written in code, to the degree that they can be valued on a shallow level, yet there’s a more profound component that resembles an exclusive hangout. With this series it’s generally about being a thoughtful person, which with all due regard you either under stand instinctively or you don’t. In any case, Kou is additionally somebody who dismisses the assumption that main through heartfelt love can one feel satisfied in affection. Perhaps he will experience passionate feelings for sometime in the not so distant future, yet he can be entirely fine in the event that he doesn’t.
Well, without a doubt this – Kotoyama knows what he’s talking about. This series is more or less genuine, and it gets pretty profound for sure. I very like his Dagashi Kashi as well, and the much-censured first time of the variation. It addresses a portion of similar topics yet Call of the Night goes further. I can criticize a portion of the subtleties with this transformation, and I thoroughly get why it will not reverberate for certain individuals as it accomplishes for me. However, when the glass shoe fits, it fits, and Yofukashi no Uta was one of the most entrancing and engaging series of the year for me.
#6 – Ao Ashi
2022 was a major year for soccer anime – fittingly, as a World Cup year. We had not one yet two significant hits adjusted from manga, and they could barely be more unique. I sort of knew going in that Ao Ashi would be the one that clicked with me – that other show falls under what I like to call the “sports anime for individuals who can’t stand sports” umbrella. It didn’t actually truly should be about soccer – the snare is the point. However, Ao Ashi, well that is a soccer series.
Ao Ashi is a conventional games anime certainly, and that is a straight-up success with me. I make no conciliatory sentiments for cherishing old-school sports series – I’m a colossal avid supporter as well as a gigantic manga and anime fan. With this show you got a truly amiable and intriguing lead, a triumphant sentiment subplot that well upheld the games side, heaps of good activity episodes, and extraordinary individual dramatization. It was clear from the manner in which the series hit a grand slam (sorry about the baseball reference) right off the bat with the connection among Ashito and his mom that being something special was going.
As a hotshot soccer otaku, I value the authenticity with which Ao Ashi approaches the game it portrays. That doesn’t make any difference as much to everybody except for me, it tends to be a big issue assuming it’s sufficiently senseless. Mangaka Kobayashi Yuugo knows his crap with regards to soccer, and obviously cherishes the strategic and mental sides of the lovely game. Here mentors are incredibly, significant – and fall neither under the heading of holy people or reprobates. Some are superior to other people, they get some stuff right and some stuff wrong. In any case, they impact the existences of the youthful competitors in their charge (which is a ton of tension), and all that is precisely the way things are, in actuality.
For me there have just been three truly incredible soccer anime over the most recent dozen years or something like that – this one, Ginga e The opening shot, and Monster Killing. That is a disgrace (baseball has positively been ideally serviced by anime) yet the stand by made the appearance of Ao Ashi that a lot better. Creation I.G. has an intimate knowledge of sports anime, that is without a doubt, and keeping in mind that this one didn’t have a remarkable sumptuous visuals Haikyuu!! does, it was as yet a world class type creation.
The main disadvantage truly is that this ought to have been a flat out sure thing (sorry about the ball reference) for numerous seasons – thus far, there’s no word on a spin-off. That is a side effect of how imperfect the creation panel framework truly is – a manga stalwart which saved an enormous anime deals support like Ao Ashi would have been a programmed long-running anime not all that quite a while back. Presently nothing remains at this point but to stand by and trust, since there’s a lot of unadapted material to work with and it’s all top-grade soccer manga.
#7 – Summertime Render
On the off chance that #8 mulled in what’s frequently called “Netflix Prison”, Late spring Render in must be portrayed as “Disney Damnation”. Essentially with Kotarou was Hitorigurashi you could watch it anyplace in the event that you have a Netflix account (however that is false with each Netflix anime). Disney+ didn’t actually deliver Mid year Render overall while it was circulating – even on their paid assistance it was Japan-as it were. What’s more, that is a genuine disgrace, since it was a stupendous series and one that is massively very much custom fitted for worldwide allure. I sincerely have no clue about what they might have been thinking when they chose to convey their anime along these lines.
To get an extraordinary secret like this one that doesn’t go to pieces toward the end and is fundamentally watertight is genuinely unicorn-interesting. It simply doesn’t work out – they quite often succumb to primary disappointment without a doubt. Full credit to mangaka Tanaka Yasuki (I never acknowledged until this week, however Horikoshi Kouhei was his associate) for fastidiously making this folklore and getting the subtleties spot on. It’s a captivating pride, and Tanaka’s characters are the other significant piece of the riddle – they’re intriguing and confounded individuals.
It’s similarly evident, however, that Late spring Render profited from having ostensibly the most achieved dynamic chief in television anime, Watanabe Ayumu, in charge. His feeling of pacing is perfect (unquestionably vital with a series like this). What’s more, his juxtaposition of the show’s ridiculously various tones was extremely successful. Late spring Render could be unimaginably brutal, miserable, comic in a truly droll way, and absolutely absurdist. Evidently this was an honored creation inside and out, almost complete before the very first episode broadcasted (and Disney cash probably had an impact in that), and it truly showed.
My main lament, truly, is that this show finished on the day the extremely pressed fall season started, in light of the fact that it would have been truly entrancing to re-watch it with information on its mysteries. It was definitely brimming with Hidden goodies (I am aware of a couple) and hinting, and it merits a subsequent review. It’s a savvy, immensely engaging spine chiller with a genuine regard for its crowd, and those are uncommon as hens teeth in anime.
#8 – Kotarou wa Hitorigurashi
Netflix reassessing (indeed, scaling back) on their anime projects truly could never have come at a more terrible time. It might be said they’ve nearly sunk into a job like what NoitaminA played when it was doing what it was initially made to do. That is, giving a setting to series that wouldn’t be created differently. To be certain its series have would in general be unexpected sorts in comparison to what unique NoitaminA had practical experience in, however a great deal of their stuff just could never have seen the light without their sponsorship. What’s more, Kotarou wa Hitorigurashi surely falls under that umbrella.
This was an exceptionally uncommon and sincerely strong piece of work. Essentially, for me Kotarou Lives Alone (in view of a progressing manga) is a summary of the relative multitude of ways grown-ups can separately and on the whole bomb kids. That is clearly a really discouraging subject, and Kotarou could once in a while be a discouraging show. However, it could likewise be an exceptionally interesting one. Furthermore, it deftly played its exceptionally close to home minutes (and there were a lot of them) extremely calm – understanding that the more power what is happening has naturally the less you ought to attempt to sell it.
Another justification for why Kotarou wa Hitorigurashi doesn’t conclusively feel like an over the top killjoy is the manner in which it commends the chivalry of basic tolerability. Generally the grown-ups who were answerable for Kotarou totally bombed him, and the ones who had no commitment to him served him with distinction. Most clearly Karino-san, the true hero of the series and Kotarou’s essential supporter, yet every one of the inhabitants of Shimizu Condos as well – and numerous other relaxed colleagues other than. At last what elevates this story is individuals making the best choice just on the grounds that it’s the correct thing, and the distinction that can make in others’ lives.
As I said, the manga is progressing. There’s additionally a true to life variant, moreover on Netflix, that positions among the better Japanese dramatizations I’ve seen. This is only a great story, straightforward, and keeping in mind that Lidenfilms’ creation is nothing extravagant, it treats the material in an exceptionally downplayed and honorable way that suits it impeccably. I’d likewise single out Kugimiya Rie for one of the most amazing exhibitions of her vocation as Kotarou. All things considered this is one more exceptional exertion for Netflix, and an indication of what we’ll lose on the off chance that they genuinely pull out of anime creation.
#9 – Kingdom 4
Realm is no more peculiar to LiA perusers. Or on the other hand to be sure to these rundowns. The principal season (confounded as it was with horrendous liveliness for a lot of its run) arrived in the subsequent 10, however every season since has been determinedly in the main ten. Furthermore, the explanations behind that ought to be really clear to any individual who’s followed the series. You don’t have to waste time to make an extraordinary vehicle.
The manga’s C.V. basically justifies itself. 66 volumes, 92 million in deals, the Tezuka Social Award. Furthermore, the anime is essentially what Studio Pierrot does – a devoted, insightfully executed variation that doesn’t take numerous freedoms or proposition many twists. The visuals are still customary – however fine and dandy – yet Pierrot quite often figures out how to catch the pith of a source material with downplayed style. A series this great needn’t bother with a lot of frivolity (however we can in any case long for a luxurious take by Mind or Bones), so the fit is a decent one.
Season 4 was right on pair with its ancestors, not shocking given that Realm doesn’t have colossal pinnacles and valleys in quality. There was a more grounded center around legislative issues this time around, as the everlasting battle for control among Zheng and Lu Buwei at last reached a critical stage. In any case, Realm does governmental issues comparably well as military epic. It’s so reliably great, as a matter of fact, that it very well may be too simple to even consider underestimating (as is much of the time the way with long-running shows like this one). However, I never neglect to see the value in what a jewel it really is, and that it’s well sufficiently known to continue to get new seasons (the fifth will debut in Winter 2024). We might have needed to trust that Season 4 will work out, however it was definitely justified. Welcome on Season 5.
#10 – Karakai Jouzu no Takagi-san 3
There are numerous ways by which we can gauge an anime year. In any case, the last series (or two) left off the main 10 rundown is one of the most relevant, I think. Profundity is significant, as is quality at the top, and this is a metric that catches a touch of both. What’s more, for 2022, it mirrors a year that was areas of strength for really. More grounded, positively, than the greater part of the past half-decade (however it doesn’t toll as emphatically by another measurements, promotion we’ll examine later).
Here is the unexpected part. The last time Karakai Jouzu no Takagi-san broadcasted (Season 2), it arrived in a similar opening – #10, in 2019 – and it did as such after a horrifying inner discussion over the last three series in conflict. That year, similar to that one, had 12 top 10 series, all things considered – however at that point, anime seldom gets along and gives me a slick end at ten. Leaving off #11-12 was likely much more severe for me this year, which I assume mirrors that 2022 was somewhat more grounded (by this measurement) than 2019 – which was presumably the best anime year after 2017 on balance, until this one. At any rate, assuming you’re going by the main dozen shows…
Likewise supporting that contention is that Takagi-san S3 was, in my view, undeniably better than S2, and it completed in a similar spot. I think this series has gotten better every season, which is a genuine accomplishment. Likewise an accomplishment is making an anime transformation that is better compared to the manga in each significant manner, and not simply just barely by the same token. I truly like Yamamoto Souichirou’s manga however the anime has displayed nothing that is negative about it and de-accentuated what isn’t completely ideal. It’s done this through unique material (frequently among the series’ most grounded), re-requesting of sections, and by and large accomplishing a substantially more firm story. Furthermore, the creation values have been incredible, as well.
To put it plainly, this is a transformation that does precisely exact thing any variation ought to – it comprehends the distinctions among manga and anime, and hoists the experience utilizing the apparatuses available to its. Also, that is particularly satisfying in light of the fact that the studio (Shin-Ei) and chief (Akagi Hiroaki) are handling the forthcoming Boku no Kokoro no Yabai Yatsu variation (as I anticipated could happen when it was declared, I could add). Furthermore, as great as this manga is, BokuYaba is a center school romcom on another level totally. Ideally Akagi can accomplish for it how he’s helped Karakai Jouzu, and is again allowed the opportunity to do as such over numerous seasons.
With regards to what’s on the horizon for this show, we’ll see – the manga is progressing, similar to its timeskip continuation, however the third season totally figured out how to leave things in an extremely fulfilling place on the off chance that this is all we get. Nishikata and Takagi-san have presented to me a crazy number of grins over these three seasons, and the third was awesome of the parcel. Karakai Jouzu no Takagi-san strolls a scarce difference apparently, however some way or another quite often figures out how to remain on the right half of it – particularly in anime structure – and the outcome is a flat out euphoria for romcom fans. Eventually it was absolutely impossible that I could leave it off this rundown, regardless of how difficult a choice that was in alternate ways.
Honorable Mention – Digimon Ghost Game
Digimon Phantom Game has been running the entire year, and subsequently would be qualified for the genuine Top 20. What’s more, I suspect it’d make it, as well, considering that the lower half of the current year’s isn’t quite areas of strength for so the initial ten. Be that as it may, it simply feels like a show I truly ought to get down on here, as it sort of fits with the theme of series I’ve customarily chosen for “Decent Notice” – ones I’ve never (or never) wrote for a blog, shows focused on kids, et al.
No doubt DGG is a “kids show”. To which I say, who on earth minds? It’s very much made, bunches of tomfoolery, and elements a genuinely incredible exhibition by the splendid Sawashiro Miyuki (and one more by Takenaka Naoto as the Storyteller – he even got a live on-camera once). It’s likewise shockingly dull now and again (as the best children anime generally are) and infrequently exceptionally amusing. As of now I’d be keeping close by to figure out what the arrangement is with that scar on Hiro’s ear (an inquisitive detail, if only to look good), yet cheerfully Digimon Phantom Game gives you much more motivation to remain tuned. It’s my #1 Digimon series yet, and presently a piece of my Saturday schedule that I truly anticipate.
Amazing, it’s that time once more – how about we do another LiA Top 10 commencement! Spoiler – it was a very decent year by ongoing principles, however not a particularly profound one. The hardest piece of the rundown will be the end, both in the main 10 and #11-20 (however for various reasons).
An update – again I’ll be uncovering the #1 series by means of an “Anime of the Year” video on the LiA YouTube channel (a video which I will obviously connect here).
A Refresher on Eligibility:
I’m going by a similar qualification standard I utilized for the 2012-2021 records – that is, shows that got done with broadcasting during the year or split-cours that completed in 2022 are qualified. Part cour series which finish in 2023 are not qualified for this rundown, but rather series that finished for the current year and weren’t authoritatively affirmed as parted cour when they did are qualified. Shows that broadcasted all year long (there weren’t any in thought for me this year) are likewise qualified.
This intends that in actuality, the main shows not qualified for this rundown are the multi-cour series that started circulating from Spring 2022 onwards and are as yet broadcasting into Winter 2023, or genuine split cours that will complete in 2023.
As you most likely are aware I generally prefer to do a little challenge, so here we go… The victor will be anybody that surmises my Main 10, all together. That’s what assuming nobody does, I’ll go with the nearest surmise. Surmises made by 2200 JST 12/22/22 will be qualified. Here is the award: same as last year, I’ll do a “Main 5” rundown or haiku on any anime subject or point you pick. Vendor’s decision – you settle on the decision. Kindly post your suppositions in the remarks underneath!
2022 Anime Year in Review: #1 (and Anime of the Year Video)