Here we go with 10 anime that turn 10 this year Part 2:
(If you want to read part 1, here it is…)
Princess Jellyfish centers on Amamizukan, an apartment building in Tokyo, where the only tenants are otaku women, and where no men are allowed. While each character has her own particular fixation, the protagonist is Tsukimi Kurashita, whose love of jellyfish stems from memories of her deceased mother taking her to an aquarium and linking the lace-like tendrils of jellyfish to the dresses of princesses. Tsukimi hopes to become an illustrator and is an awkward girl terrified of social interaction, attractive people and the prospect of formal work.
The other tenants of Amamizukan are the same, being NEETs who refer to themselves as the “Sisterhood”. Tsukimi meets the stylish Kuranosuke Koibuchi, the illegitimate son of a politician, who cross-dresses to avoid the obligations of politics and to feel closer to his mother. Tsukimi keeps the secret of his masculinity from her man-hating housemates, even as she is troubled by the intimacy of having a man in her room at times.
Amamizukan’s neighborhood is under threat of redevelopment, as opportunists aim to turn the quaint area into a more cosmopolitan region, with many of the buildings being demolished to make room for hotels and shopping centers. Although Amamizukan’s tenants fear and loathe attractive people, they are helped by Kuranosuke who does not want to see Amamizukan destroyed.
A boy named Shō tells the audience he still remembers the week in summer he spent at his mother’s childhood home with his maternal great aunt, Sadako, and the house maid, Haru. When Shō arrives at the house on the first day, he sees a cat, Niya, trying to attack something in the bushes, but it gives up after it is attacked by a crow. Shō gets a glimpse of Arrietty, a young Borrower girl, returning to her home through an underground air vent.
At night, Arrietty’s father, Pod, takes her on her first “borrowing” mission, to get sugar and tissue paper. After obtaining a sugar cube from the kitchen, they travel inside a hollow wall to a bedroom which they enter through an intriguing dollhouse with working electric lights and kitchen utensils. However, it is Shō’s bedroom; he lies awake and sees Arrietty when she tries to take a tissue from his night table. Startled, she drops the sugar cube. Shō tries to comfort her, but Pod and Arrietty quietly leave and go home.
The next day, Shō puts the sugar cube and a little note beside the air vent where he first saw Arrietty. Pod warns Arrietty not to take it because their existence must be kept secret from humans. Nevertheless, she sneaks out to visit Shō in his bedroom. She drops the sugar cube on the floor, letting him know that she is there. Without showing herself, she tells Shō to leave her family alone and that they do not need his help, but they soon have a conversation, which is interrupted by the crow, who attacks Arrietty, but Shō saves her and Haru comes in and drives the crow away. On her return home, Arrietty is intercepted by her father. Realizing they have been detected, Pod and his wife Homily decide that they must move out. Shō learns from Sadako that some of his ancestors had noticed the presence of Borrowers in the house and had the dollhouse custom-built for them. The Borrowers had not been seen since, however.
Pod returns injured from a borrowing mission and is helped home by Spiller, a Borrower boy he met on the way. He informs them that there are other places the Borrowers could move to. While Pod is recovering, Shō removes the floorboard concealing the Borrower household and replaces their kitchen with the kitchen from the dollhouse, to show he hopes them to stay. However, the Borrowers are frightened by this and instead speed up their moving process.
After Pod recovers, he goes to explore possible new living quarters. Arrietty goes to bid farewell to Shō, but in the course of the conversation he suggests to her that the Borrowers are becoming extinct. Arrietty tells him fiercely that they will not give up so easily. Shō apologises that he has forced them to move out and reveals he has had a heart condition since birth and will have an operation in a few days. The operation does not have a good chance of success. He believes that there is nothing he can do about it, saying that eventually every living thing dies.
While Sadako is out, Haru notices the floorboards have been disturbed. She unearths the Borrowers’ house and captures Homily. Alerted by her mother’s screams, Arrietty leaves Shō in the garden and goes to investigate. Saddened by her departure, Shō returns to his room. Haru locks him in and calls a pest removal company to capture the other Borrowers alive. Arrietty comes to Shō for help; they rescue Homily and he destroys all traces of the Borrowers’ presence.
On their way out during the night, the Borrowers are spotted by the cat Niya. Sleepless, Shō goes into the garden for a stroll, and the cat leads him to the “river”, where the Borrowers are waiting for Spiller to take them further. Shō gives Arrietty a sugar cube and tells her that her courage and the Borrowers’ fight for survival have made him want to live through the operation. Arrietty gives him her hair clip as a token of remembrance. The Borrowers leave in a floating teapot with Spiller.
The Disney international dubbed version contains a final monologue, where Shō states that he never saw Arrietty again and returned to the home a year later, indicating that the operation had been successful. He is happy to hear rumors of objects disappearing in his neighbors’ homes.
One autumn evening at a mysterious ramen stand behind the Shimogamo Shrine, a lonely third-year college student bumps into a man with an eggplant-shaped head who calls himself a god of matrimony. Meeting this man causes the student to reflect upon his past two years at college—two years bitterly spent trying to break up couples on campus with his only friend Ozu, a ghoulish-looking man seemingly set on making his life as miserable as possible. Resolving to make the most out of the rest of his college life, the student attempts to ask out the unsociable but kind-hearted underclassman Akashi, yet fails to follow through, prompting him to regret not living out his college life differently. As soon as this thought passes through his head, however, he is hurtled through time and space to the beginning of his years at college and given another chance to live his life.
Surreal, artistic, and mind-bending, Yojouhan Shinwa Taikei chronicles the misadventures of a young man on a journey to make friends, find love, and experience the rose-colored campus life he always dreamed of.
While robbing a bank in Macca City, Gasback is betrayed by his henchmen and leader Cain who plan to kill him, seize the money and retire to a life of luxury. Vash the Stampede, a humanoid gunfighter, intervenes and allows the henchmen and Cain to escape due to his strict no-kill policy. Gasback escapes using explosives, one of which destroys the city’s power plant. 20 years later, Gasback has destroyed one henchman’s property and forced him to seek refuge with Cain, who became the Mayor by using his share of money to repair the power plant. However, Cain is worried that Gasback might try to steal his huge rotating statue built in the center of the city, and insures it for 5 billion double-dollars, prompting insurance girls Milly Thompson and Meryl Stryfe to arrive and run risk prevention. Vash helps bounty hunter named Amelia fight off thugs harassing her aboard the sand steamer, and himself starts flirting with her. Amelia and many other bounty hunters have gathered there to capture Gasback upon his anticipated arrival and win the bounty of 300 million double dollars on his head. While in a bar, Gasback is rescued from police ambush by his new bodyguard Nicholas D. Wolfwood, a priest and assassin who was saved by Gasback while nearly dying of thirst in a desert. This resulted in a contract binding Wolfwood as the bodyguard but not an active participant in the robbery against Cain.
Vash and Amelia meet Milly and Meryl at dinner and the same night, Gasback destroys a factory owned by the second henchmen at a nearby town, forcing him to seek refuge with Cain. The word spreads the rumored attack on Macca City was a hoax, and as everyone begins to leave, Gasback arrives and fights off the hungover bounty hunters. Vash intervenes, but is distracted by Wolfwood who allows Gasback to enter Cain’s house. With his contract officially over, Wolfwood allows Vash to chase Gasback inside where Amelia learns Vash allowed Gasback to escape 20 years ago, and Cain manages to escape amidst the interruption. Vash once again allows Gasback to escape despite protests by Amelia who reveals Gasback’s escape harmed a lot of lives including her own and her mother’s. Gasback sets off a string of explosions that separate the massive bulb-shaped power plant from its cradle and it rolls through the city past dumbstruck citizens straight to the city’s main gates where a getaway vehicle secures the plant and drives away. Amelia pursues Gasback and is joined by Vash and Wolfwood. Vash tries to stop her from killing Gasback and himself gets shot by one of Gasback’s henchmen, eventually landing into dry quicksand. Wolfwood tries to save him but retrieves only his sunglasses. They take the sad news back to Milly and Meryl in the now darkened city and Amelia starts to think she’s no better than Gasback.
The next day, Amelia and Wolfwood try to take down Gasback and reclaim the plant. They’re joined by Vash, who survived because the bullet instead hit a tough piece of smoked meat in his pocket, and the insurance girls passing there nearly fell into the same pit, rescuing him. Vash then defeats Gasback in a duel with a shot to the leg and shoulder. Gasback activates a secret energy-based weapon, which is countered by Amelia using a mechanical glove Gasback recognizes as something he made for his wife, Amelia’s mother. Amelia explains she was born shortly after Gasback left her mother well-provisioned, to commit more robberies, but rival thieves came and stole everything. The neighbors and doctors didn’t save Amelia’s dying mother. However, having adopted Vash’s outlook, Amelia allows Gasback to live. Cain emerges with a gaudy missile bearing his face which Wolfwood dispatches with a single shot from his Cross Punisher. The town is restored, and the insurance girls greet Vash and Wolfwood before going off to report on the events. Gasback, Cain and others are arrested, and the police caravan is followed by Amelia. Vash discovers a newspaper page, deciding to head in a new direction. Looking at the paper, Wolfwood learns the Dodongo Brothers have escaped prison and concludes Vash has something to do with them.
Yamada, first name withheld, is a 15-year-old girl who has just entered Takizawa High School. Easily considered exceptionally beautiful, she has only one problem with her own body, she thinks her vagina looks weird and is very self-conscious about it.
Upon entering high school, her dream was to have casual sex with 100 men but therein lies the problem, she believes an experienced partner will tease her about the way her vagina looks or simply the fact that she’s a virgin. She stumbles upon the solution in the form of Kosuda Takashi, a fellow virgin, whom she believes will help ease the transition to more experienced partners.
There’s only one small problem, Yamada doesn’t know anything about sex or the ancient art of seduction, meaning her quest to conquer Kosuda will be a difficult one.
So far, a small list of those anime that turn 10 this year, although it seems to us that time passes too quickly. If you realize that you have missed a title to see, it is your opportunity to add good moments to your life!
I imagine that it is happening to you too: this 2020 is being especially slow (or is it that we want it to end at once …) But if we look back, we will find that there have been animes that have been released 10 years ago and We hadn’t realized that so much time had passed. I don’t want to alarm you, but we are getting old!
Here we go with 10 anime that turn 10 this year:
Roberta, the terrorist-turned-maid that made her appearence in the first season of Black Lagoon, returns in this five-episode OVA series—and this time, all bets are off!
Roberta’s benefactor, the patriarch of the Lovelace clan, is murdered during a political rally. The assassin’s trail soon leads back to Roanapur—so now she has returned on a mission of vengeance! However, close behind her is the new patriarch, Garcia, as well as Roberta’s apprentice (and maid), Fabiola Iglesias. As the body count of Roberta’s bloody rampage mounts, forces from within the corrupt island (which includes the Lagoon Company), as well as overseas converge on what threatens to escalate into all-out war!
Mikado Ryūgamine, a young boy who longs for the exciting life of the big city, moves to Ikebukuro to attend Raira Academy with his childhood friend Masaomi Kida, whom he has not seen since he was young. After the two meet at the train station, they set out to explore the streets of Ikebukuro. Masaomi warns Mikado about people he does not want to cross in the city such as the violent and superhumanly strong man Shizuo Heiwajima, the information broker Izaya Orihara, and the mysterious gang known as “The Dollars.” After running into some of the side characters, Mikado sees a local legend called the “Black Rider” who rides around Ikebukuro on a black motorcycle that occasionally neighs like a horse and who is rumored to have no head under her helmet. The “Black Rider’s” real name is Celty Sturluson; she is an Irish dullahan who is in Ikebukuro looking for her stolen head while working as an underworld courier. The narrative follows all of the characters equally, showing how their lives intersect and create a greater plot line from each character’s knowledge about a common incident.
Maya is the daughter of the former Headmaster of Waldstein Academy. In 2012, the world is invaded by aliens, and time travelers like Fumiaki are sent back to the year 1999 to prevent apocalypse by destroying the Nostradamus Key. In 1999, Maya returns to the Academy as headmaster with the intention of destroying it. Her plan is interrupted when she meets Fumiaki and learns of the forthcoming destruction. They form a pact to look for the Key.
In order to find the Key, time agents were provided with specially created cell phones. By using the phone, Maya and Fumiaki investigate occult occurrences.
Kyosuke Kosaka, a normal 17-year-old high school student living in Chiba, has not gotten along with his younger sister Kirino in years. For longer than he can remember, Kirino has ignored his comings and goings and looked at him with spurning eyes. It seemed as if the relationship between Kyosuke and his sister, now fourteen, would continue this way forever. One day however, Kyosuke finds a DVD case of a magical girlanime which had fallen in his house’s entranceway. To Kyosuke’s surprise, he finds a hidden eroge inside the case and he soon learns that both the DVD and the game belong to Kirino. That night, Kirino brings Kyosuke to her room and reveals herself to be an otaku with an extensive collection of moe anime and younger-sister-themed eroge she has been collecting in secret. Kyosuke quickly becomes Kirino’s confidant for her secret hobby. The series then follows Kyosuke’s efforts to help his sister to reconcile her personal life with her secret hobbies, while restoring their broken relationship and coming to terms with their true feelings for each other.
The “Anarchy Sisters,” Panty and Stocking, have been kicked out of Heaven for, to put it mildly, misbehaving. Led by a priest named Garterbelt, these angels must buy their way back by exterminating ghosts in Daten City. But this task requires unconventional weapons for these unorthodox angels—they transform their lingerie into weapons to dispatch the spirits. Unfortunately, neither of them take their duties seriously, as they rather spend their time in pursuit of other “hobbies”: Panty prefers to sleep with anything that walks, and Stocking favors stuffing her face with sweets than hunting ghosts.
Follow these two unruly angels as they battle ghosts, an overflow of bodily fluids, and their own tendency to get side-tracked in Panty & Stocking with Garterbelt.
By Yamada Tomoko from The Citi exhibition Manga
How does one define shojo manga (girls’ manga)? As a child, I believed that
only Japan had shöjo manga. The idea may have come to me from magazines and television. I began to have my doubts, however, when I read a manga essay in Hayaboshi Nanao’s The Nanao Syndrome (Nanao no shökögun, 1982), vol. 2, and learned that England, too, had what seemed to be shõjo manga. Later, while reading books about manga, I learned that the famous musical Annie, starring a little orphaned girl, had its source in the cartoon Little Orphan Annie by Harold Gray, which started circulation in 1924. I also learned that during the 1950s, English magazines directed specifically at young girls were publishing cartoons about the ballet, for example, Ballet Dancers by David Walsh (1952), and Belle of the Ballet by George Beardmore and Stanley Houghton (1954). Aware that manga differ from place to place, here I would like to share some of my impressions of Japanese shōjo manga.
In practice the Japanese term ‘manga’ encompasses a wide range of media, but for now I am thinking of the kind of manga that appear in panels across several pages, with speech bubbles, dialogue and stories about male and female protagonists who undergo a transformative or unusual experience. Normally, after being published in several issues of a manga-focused magazine, measuring 2-4 cm in thickness, manga series are systematically compiled in the form of small pocket-book-size volumes (tanköbon). We are now in a period of transition, when manga can be purchased not only in actual bookstores but also online, and the format of a publication can be paper-based or electronic. In 2017, manga magazines and tanköbon together generated almost half of all publishing revenue in Japan-660 billion yen ($4.6 billion) out of 1.37 trillion yen ($9.5 billion). The question remains as to how much of this revenue was derived from manga aimed at girls and women, but girls’ and women’s manga seem to occupy about one-third of the space allocated overall to manga in bookstores. As a conservative estimate, then, perhaps at least one-sixth of manga are aimed specifically at girls and women.
From the late 1990s to the early 2000s
People around the world were enjoying two globally broadcast anime: Sailor Moon (based on Takeuchi Naoko’s manga, published 1992-97) and Cardcaptor Sakura (based on the manga by CLAMP, published 1996-2000). When people from abroad discuss these two works, their most frequent and most favourable impressions concern the representation of various conditions of gender and forms of love. Generally, what is understood is that, though gender equality is not discussed explicitly, it is conveyed as an important message. In Sailor Moon and Cardcaptor Sakura – but also in the onginal shojo manga on which these anime were based- an openness about gender consciousness is presented not as exceptional but as rather ordinary.
In my experience, when people who know little of the subject first hear uhe term shojo manga, they tend to assume that it refers to manga in which the main characters are young girls (shöjo). However, although it is a genre aimed at chidren and teenagers, shojo manga has an almost unnoticed history of depicting quite transgressive approaches to gender, as seen, for example, in the celebrated, poch-defining manga Princess Knight. Princess Knight was originally published by Tezuka Osamu between 1953 and 1956 and then again in new variations during the 1960s. It tells how, due to the action of a mischievous angel, the main character Sapphire has both a male and a female soul. Another example is Rose of Versailles (Berusai no bara, 1972-73) by Ikeda Riyoko, in which the protagonist Oscar is a beautiful woman who dresses up as a man. This work played a large part in establishing wider public interest in and acceptance for shöjo manga. Of course when the genre is viewed as a whole, we find many shojo manga from both the past and the present whose protagonists are indeed young girls.
Japanese shōjo manga formed as a genre during the 1950s.
At this time manga artists were predominantly male, with only a few women in the field. During the 1960s, however, love stories were produced by increasing numbers of female artists, who were older than most of their young readers. During the 1970s female artists were now closer in age to their readers and only a few male artists were still drawing shōjo manga. At this point the genre saw innovations that built upon previous works. For example, around the time of the publication of Rose of Versailles, many works were produced featuring only boys, both love between boys and friendship approaching romantic love. Representative of the period are HagiOMoto’s The Poe Clan (Po no ichizoku, 1972), Heart of Thomas (Tõma no shinző, 1974), and Takemiya Keiko’s Kaze to ki no uta (unofficially known in English as The Poem of Wind and Trees, 1976-84). In addition to these works, which also appeared in tankõbon volumes, each one around 200 pages in length, girls’ manga magazines of the time introduced many works whose protagonists were boys and sometimes young men. There were even depictions of boys who due to family circumstances were burdened with caring for young children.
What did shojo manga have to offer by depicting boys as protagonists, or by depicting relationships between boys that included sexual love? Maybe they simply gave girls a chance to see a lot of handsome members of the opposite sex. Or maybe girls and women who found it oppressive to be female took pleasure in human relations and love liberated from femininity. It also seems that readers who suffered in the awareness that their sexual orientation stood somehow in the social minority derived from these manga the courage to live. This message would also have reached readers who were not young girls, and one has the impression that male fans of shōjo manga rapidly increased in number around this time. Evidence for this includes the appearance of numerous shōjo manga critiques written by men. Shöjo manga that depicted the world of boys’ love did not precisely overlap with the stories of male homosexual love drawn by men, or with the real-life experiences of homosexual men, but perhaps it was this openness that allowed the genre to capture the hearts and imaginations of a broad range of readers.
To my way of thinking, shōjo manga may have been able to foster such a positive reception because in previous periods the genre was driven less by readership numbers and other such statistics than by an interest in untangling the human heart. Having said that, early shōjo manga endeared itself to girls mainly through stories about men and women or mothers and daughters: that is, through stories of human relations that approached conventional social reality. Since the 1970s, however, it seems to have become almost commonplace for shojo manga through settings that are positively unconnected with reality, to depict new gender roles and modes of communication, in tales not just of boys’ love’ but also of science fiction, fantasy and homosexuality. Examples include They Were Eleven
(Jūichinin iru, 1975) by Hagio Moto, Sons of Eve (libu no musuko, 1975-79) by
Aoike Yasuko, / Like John (Johane ga suki, 1979) by Öshima Yumiko, Mari and Shingo (Mari to Shingo, 1977-84) by Kihara Toshie, Star of Cottonland (Wata no kunihoshi, 1978-87) by Öshima Yumiko, Patalliro! (1979) by Maya Mineo and Prince of the Place where the Sun Rises (Hi izuru tokoro no tenshi, 1980-84) by Yamagishi Ryöko. It seems to me that by empathizing with the characters in these manga, the reader learns how to respect those people who are different from herself. On the other hand, perfectly “ordinary” love stories in which the main character is a conventional female girl certainly continue to be popular today.
Through the flourishing fanzine market and Comiket, which has been supported since its founding in 1975 mainly by female contributors, bõizu
rabu (boys’ love) has become a major genre attracting mainly adult women readers. Depending on the size of the book store, the bõizu rabu genre can occupy from one to several shelves of a manga section. The 1980s saw the arrival of manga genres aimed at adult women, along with specialized magazines that continue to be published today. It strikes me as notable, however, that for some reason we have no term to describe as a whole the genre of manga aimed at adult women, and that for the most part even manga aimed at adult women are categorized as shöjo manga. A separate but also interesting aspect of the field is the increasing number of female manga artists who grew up reading shöjo manga and who are now publishing in men’s magazines.
There are many wonderful things about Japanese shõjo manga and the woks to which they have given rise and it makes me happy to know that the genre is becoming more familiar to audiences worldwide.
Sora Yori Mo Tooi Basho
Original title: Sora Yori Mo Tooi Basho
Direction: Atsuko Ishizuka
Genre: Adventure, Comedy
Mari Tamaki is a high school student who dreams of making the best trip of her life, but he is very afraid to do it. Then, she meets Shirase Kobuchizawa, who has been saving time to travel to Antarctica in search of her lost mother. Motivated by her friend, Mari begins working in a store part-time and saving money for the trip. Two other girls join the adventure and the four embark on a boat adventure to the frozen continent.
Original title: Summer Wars
Direction: Mamoru Hosoda
Animation: Hiroyuki Aoyama, Shigeru Fujita, Kunihiko Hamada, and Kazutaka Ozaki
Script: Satoko Okudera
Music: Akihiko Matsumoto
Genre: Science Fiction, Comedy
Duration: 114 min.
Welcome to the world of OZ, the largest social network on the internet! Connecting through a computer, television or telephone, millions of people enter this virtual world and take the form of avatars to lead a new life beyond the limits of reality. Kenji is a shy and highly gifted math student who works part-time as an OZ maintenance technician. Natsuki, the girl of his dreams, invites him to spend the summer with her and her traditional family in her hometown: Nagano. But when a virus attacks OZ, triggering a worldwide catastrophe, Kenji and the entire Jinnouchi clan start a true family crusade to save the virtual world and its inhabitants.
Original title: Sarazanmai
Direction: Ikuhara Kunihiko, Nobuyuki Takeuchi.
Genre: Fantasy, action, supernatural.
High school students Kazuki, Toi and Enta accidentally destroy the statue of a kappa in a temple, the kappa serves as the guardian of the Asakusa district of Tokyo. The students are turned into kappas by Keppi, the guardian of the place. In order to return to their original state, students must obey Keppi’s orders: to fight against zombified kappas and collect certain elements that fulfill the wishes of those who possess them. To defeat the zombies, the students must be together for the attack to be effective.
Spring: longer days, warmer weather and the desire to get out of our burrows to feel the sun on your face.
And there is also the desire to release new treasures in order to prove to everyone that we are authentic Otakus.
Hiragana (平仮名, ひらがな) is a Japanese syllabary, one basic component of the Japanese writing system, along with katakana, kanji, and in some cases rōmaji (the Latin-script alphabet). It is a phonetic lettering system. The word hiragana means “smooth kana”
Thank you, Japanology!
Japan Labor Thanksgiving Day.
November 23th is Japan´s National Holiday to give thanks to its workers
Originally, Labor Day in Japan was a harvest festival, therefore it took place in autumn. The origins of this day come from the rituals of the Asuka period (11th and 12th centuries). Since the reign of Empress Kōgyoku, the people of that time, mainly agricultural workers, thanked Kami (Shinto deities) for the abundance of rice and other products. The sovereign presided over the ceremony making an offering of new rice to the gods before tasting it.
This festival, called Niinamesai, lasted until World War II.
THE INFLUENCE OF THE UNITED STATES.
In 1948, three years after the Japanese surrender to the United States, the Supreme Commander of the allied forces, the military administration of the United States in charge of the occupation of Japan after the war, put an end to the imperial nature of this festival, because he considered his Shinto influence suspicious. It was then that they replaced the holiday with the “day of gratitude to the workers” (Kinro kansha no hi), the holiday as it is known today, it´s a mixture of two American celebrations: Thanksgiving and Labor Day.
A PARTY TO SAY THANKS
According to the Constitution of Japan, on November 23 is dedicated to “honor work, celebrate production,” and encourage people to express “mutual recognition.” The fact that the holiday has evidently evolved since the sixth century, now all sectors are honored, including the service and research industries.
Today, November 23 is a pretext for numerous celebrations in temples and shrines throughout the country that give thanks to those who contribute to the prosperity of the country.
Third post of the last two weeks of our Japanese school for otaku life . Words that we like, that you may not need to use them or that you simply like to learn.
Remember to enter our Instagram account to not miss any news or updates.
Second post of the last two weeks of our Japanese school for otaku life . Words that we like, that you may not need to use them or that you simply like to learn.
Remember to enter our Instagram account to not miss any news or updates.
The most watched anime releases of this season by region.
With the start of the fall season, and with many anime releases going on, most fans have already discovered what their favorite series are.
Here is a summary of the tastes of the viewers by country or region
Which series triumphs more in each region? And in your country? Join us to discover it!
As an explanation, we remind you that these maps only include series premiered this season and not those that have continued since previous seasons, such as Black Clover or Boruto: Naruto Next Generations.
Search your area and have fun learning what animes your neighbors watch.
Europe, region of very different countries where the triumph of Giorno with Jojo’s Bizarre Adventure: Golden Wind is something indisputable, including in Spain and Portugal. Perhaps it is because of its setting in Italy or because it is a series with a very Mediterranean atmosphere, but it has managed to overcome Goblin Slayer, which is less popular here. In second place is That Time I Got Reincarnated as a Slime.
We also have Sword Art Online, Seuran Kanuga, Zombieland Zaga, and Ulysses: Jeanne d´Arc and the Alchemist Knight.
Only Goblin Slayer in the whole country? Because it is the most popular in each of the states! Although the adventures of Rimuru in That Time I Got Reincarnated as a Slime were in second place in practically every state.
The fans of Latin America are full of passion, so they have not been able to avoid placing Goblin Slayer as the most popular series with its harshness, crudeness and interesting background, something that has managed to dazzle the fans of Mexico and Brazil, for example. That Time I Got Reincarnated as a Slime and Sword Art Online: Alicization also has its dose of fans, and even Zombie Land Saga appears in Haiti … although we all know that this series is increasing its legion of fans.
Canada has more disparate tastes than its southern neighbors, and although Goblin Slayer also occupies a large part, there is room for That Time I Got Reincarnated as a Slime, Sword Art Online: Alicization in Quebec and New Brunswick, and even Jojo’s Bizarre Adventure : Golden Wind.
The Internet legends say that in Australia there are a lot of beings that can kill you, but if something does not kill you there are the goblins, or the goblins, as they are also called: Goblin Slayer completely dominates the views of the fans of the country .
Do you agree with this data? What is your favorite anime for this season?