UlasanAnime.com – The longevity of an anime’s impact is a fascinating subject, and the “test of time” serves as the ultimate benchmark for its enduring appeal. This concept is particularly relevant when reflecting on the anime released in a specific year, like 2011. Many shows, while popular upon release, fade from collective memory surprisingly quickly.
For instance, consider shows like Mashiro Iro Symphony. It’s easy to imagine forgetting it entirely within six months, only to be reminded of it when a new series emerges with a strikingly similar premise. This cyclical nature of anime releases, where similar shows cater to the same audience with slight creative variations, happens frequently. The debate over whether Mashiro Iro Symphony is superior to its predecessors often boils down to marginal improvements rather than a groundbreaking difference.
However, some anime manage to break this predictable rhythm and leave a more lasting impression. Madoka Magica is a prime example. It’s highly likely that this series will stand the test of time, far surpassing the impact of something like Shana Final, which many might wish would simply conclude its run.
The way our collective memory retains information about media is complex. There are always individuals who remain fans of certain franchises, explaining their continued existence. But can the same be said for shows like OreTsuba? While it certainly made a significant impact, it’s questionable whether it was a positive one. OreTsuba didn’t necessarily disrupt the anime landscape by creatively challenging genre conventions or audience expectations; it was a serious endeavor, and for some, it even ranked as a favorite non-linear narrative in the TV anime format for that year.
Perhaps, then, the true “test of time” for an anime is whether one can still recall it fondly six months later. Our collective memory is selective; it doesn’t easily forget, especially when it comes to things it might prefer to leave behind. The author recalls an anime about a Moon Princess that was somewhat liked. This brings to mind another Moon Princess on air currently, which has a tie-in to yet another anime that the collective memory seems reluctant to acknowledge, along with a previously aired series.
It’s a common experience to have fond memories of many shows, which is often the initial motivation for watching them in the first place. However, not all shows evoke such positive recollections. The author, for example, doesn’t think fondly of Nichijou; it’s seen more as a source of memes than a deeply cherished series. This perspective might extend to how many viewers approach anime like Dantalian no Shoka and Gosick, viewing them less as creative experiments and more as character-driven productions. These series are often cited as blatant examples of pandering, appealing to a specific demographic. Upon reflection, they tend to be unremarkable beyond their protagonists, whose appeal lies more in their inherent nature than their actions within the narrative.
This leads to an interesting observation about a year that also featured the Ro-Kyu-Bu! anime. The author humorously notes that this show served as a satisfactory sports drama, fulfilling that particular niche. While it offered development-driven storytelling with a focused narrative, it also included significant “seiyuu pandering,” evidenced by the author’s purchase of the vocal album solely on that basis, despite its perceived awfulness.
Returning to Nichijou, the author actually considers it a good anime. Its lack of pandering to the otaku audience, while potentially limiting its appeal in some circles, is noted. The author also makes a humorous observation that all anime from 2011 featuring sharks were excellent, evoking a sense of year-round Shark Week. This sentiment is extended to Haganai (My Meat Chunk Can’t Be This Cute), and a question is posed about whether the true ending episodes of Oreimo also fall within the 2011 releases.
As an aside, the anime Astarotte’s Toy is noted for reminding the author of Nene, though it’s uncertain if enough viewers share this sentiment. A less favorable comparison is made between the Gundam 00 movie and Indiana Jones and the Kingdom of the Crystal Skull, suggesting a potential carry-over of themes or qualities from 2010.
Finally, the author ponders whether the audience’s reaction to the similarities between Guilty Crown and Code Geass is a reflection of our tendency to be influenced by past season’s impressions when evaluating new offerings. The question of whether the protagonist, Shu, is merely a tool is posed and answered affirmatively. The absence of sharks in Guilty Crown is also highlighted, with a humorous suggestion that their presence would have significantly improved the show and the protagonist’s chances of success.
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