2023 in Review: The Best and Strangest of the Year

As we say good-bye to 2023, it’s time to take a look at the highlights of the year as a whole, rather than just individual seasons.

And my, this was a very full year, with over 190 series either debuting or getting new installments this year! The Fall 2023 season was the biggest and deepest I can remember from all of my years of anime reviewing, but the good stuff to be had this year is not even close to limited to just that season. In fact, the field this year is problematically deep, as a plethora of series are plenty good and/or entertaining enough to merit mention, but they just don’t make the cut against stronger competition.

So what was good enough in my book? Let’s take a look!

The Top Ten Series for 2023

In 2022’s edition of this exercise, I remarked that the field of worthy candidates was very deep for the the #9 and 10 positions. This year, the field is deep for all positions. Any of the titles in the #2-5 spots could be Series of the Year in many other years in the past decade, and most of the titles in the #6-10 slots would be top 5 titles in many others years. And this is despite widely-lauded fare like Vinland Saga and Scott Pilgrim Takes Off not being among titles considered here. (I tried to watch the latter, but couldn’t even finish the first episode.)

Series of the Year – Frieren: Beyond Journey’s End

This was actually a fairly close call over the #2 pick, as both series excelled similarly well at the characterizations and themes they were working with (even if those characterizations and themes were as different as could be). Both also had stellar musical throughout, delivered a number of powerful and emotional scenes, and stood far from the norm for their respective genres on the gimmicks they used and storytelling approaches they took. The difference-makers here are that the technical merits are a little better and the use of a singularly uniting theme gives a greater sense of a cohesive whole, despite the episodes so far mostly being individual vignettes.

In general, though, this is just a great series, easily one of the finest fantasy titles anime has ever animated. It spins a compelling, very different tale about an essentially-immortal elf who was the wizard in the party of the Hero who defeated the Demon King, but thanks to centuries of isolation which caused her to lose any social perspective, she did not appreciate how much the time she spent with that party (and particularly Himmel, the hero) meant to her until decades later, after the Hero passed on. In retracing her previous journey with new companions, she gradually comes to understand what transpired before. No series I’ve ever seen explores so deeply and thoroughly what it truly means to be ageless, and each episode offers up numerous little thematic joys and even tidbits of rather funny humor. And on the rare times it engages in action, it can deliver on that, too.

2. Oshi no Ko – It started out with a twisty, turny, emotional powerhouse of an extra-length first episode and features one of the biggest anisongs ever as an OP, but that’s far from all the series has going for it. Dramatic twists and turns are the name of the game as the story focuses on twin reincarnates forging their way into the entertainment industry after the murder of their idol mother. The girl, Ruby, seeks to follow in her mother’s footsteps to better understand her mother, while the boy, Aqua, seeks out their unknown father for revenge, since he believes that man has to be behind their mother’s murder (and his own as well in his previous life). Following those lines, the series delves deeply into the sometimes-dark realities of various aspects of the entertainment industry and deeply analyzes the mindsets of those involved and how they can be shaped by the industry. Episode 6, “Egosurfing,” is a devastating look at how social media lambasting can drive a person to suicide, but the series offers plenty of other strong, timely critiques, too. The series hits too many points too strongly to be denied.

3. Pluto – Boy, am I glad I took the time out from the busy Fall season to watch this eight-hour Netflix adaptation of Naoki Urasawa’s lauded manga spin-off of Astro Boy. At heart, this well-animated series is a murder-mystery where robots are among the victims, culprits, and investigators, but it aims so much higher than that, making scathing commentary on the Iraq War and the broader impact of war in general, especially the way former soldiers integrate back into society (or not). It is intense, dramatic, and philosophical, and delivers quite well on the action front, too.

4. The Apothecary Diaries – I love this series so much that it pains me to rank it this low, but its competition in 2023 is just that steep. Its story about a young apothecary who grew up in a red light district getting kidnapped and sold into the Rear Palace of a Chinese imperial-styles Emperor finds exactly the right balance of humor, mystery, drama, and social commentary for my tastes, all while swimming in a wealth of fine, well-researched visual and storytelling detail. Certainly doesn’t hurt that it features one of my favorite characters in recent memory, either.

5. Attack on Titan Final Season THE FINAL CHAPTERS – There were two installments of it in 2023, so I think its counts as a series rather than a movie. The ending has been hugely controversial – even some long-time AoT fans hate it – but these two parts, totaling 145 minutes of animation, deliver some of the most spectacularly dramatic action content in recent memory and a number of devastatingly powerful moments as Eren’s former friends and allies gradually realize that saving or redeeming Eren isn’t really an option anymore. These final episodes have all of the subtlety of a sledgehammer on the points they’re pushing, and there is a certain messiness to this, but the story climaxes in exactly the way it has to. I also loved the at-first sweet, then later damning, nature of the epilogue which plays out during the credits of the second episode. Like it or hate it, this content has impact, and that has to be respected.

6. Undead Murder Farce – My pick for the top series of the Summer ’23 season sadly only makes it this high, but it looks like it’s being honored in at least a couple of Anime News Network Top 5 lists, so I feel less bad about putting it this low. Although the series sometimes gets a little too talky for its own good, and doesn’t have quite as strong a start as many other titles on this list do, it still satisfyingly delivers on its supernaturally-themed mysteries and occasional dry sense of humor in both visual and dramatic senses, all while poking in a number of classic literary references. (Sherlock Holmes, Arsene Lupin, and Frankenstein’s monster all make appearances, for instance.) It features lots of entertaining story twists and one of the year’s most enjoyable supporting characters (the half-ogre Tsugaru) as well.

7. The Ancient Magus’ Bride s2 – If I was rating this series just on its last six or seven episodes, it would be in the Top 5. The slow but necessary burn to set up the drama of the last few episodes holds the series back in an overall rating, however. Even so, Philomela’s character development arc is still one of the year’s best, and later episodes in particular recapture the wondrous and sometimes dark nature of magic which made the first season so appealing. The series also deserves kudos for effectively instituting a very-necessary great expansion of its cast while still allowing its established stars a wealth of further development opportunities, too.

8. The Magical Revolution of the Reincarnated Princess – This one was actually my top pick for the Winter ’23 season, so it feels criminal to put it this low in the order. Still, this tale of Anisphia (a rambunctious princess born without magic but with a talent for developing the new, item-based “magicology”) and Euphyllia (a gifted duke’s daughter rescued from a bind by Anisphilia after her engagement to the prince was annulled by the prince) is still a compelling, very different take on the standard isekai formula, one which features beautiful character designs, great character development, and an unequivocal yuri relationship at its core. Watching them grow towards each other and overcome difficulties to become a mutually-supportive couple is a pure delight even if you’re not a yuri fan.

9. Is It Wrong to Try to Pick Up Girls in a Dungeon? IV p2 – Might be playing just a little favoritism here with this pick, but I also truly do think that the second half of season 4 is this good. The dramatic boss battle waged by the rest of Bell’s party against the Amphisbaena, and the way that party proves that it can stand and defeat a difficult foe without Bell, is no slouch, but the real strength comes from the travails of Bell and Ryu as they have to go into Survival Mode in the Dungeon’s Deep Levels. It also allows the pain, loss, self-recrimination, and revenge which forms Ryu’s tragic past to come out in powerful fashion as both she and Bell grow from the experience. Also features some of the year’s best action sequences.

10. The Eminence in Shadow (eps 14-32) – The other two titles most seriously considered for this slot were the more conventional (if also ultimately magical) My Happy Marriage and the very weird Heavenly Delusion, but I ultimately settled on this one partly because I regret not forcing it into my list last year and partly because it’s the one which entertained me the most of the three; I’ve rewatched episodes of it multiple times, but the same isn’t true for the other two. Yes, it’s a reincarnation isekai about an OP protagonist, but I love how rich with irony it is, the way protagonist Cid/Shadow views everything a grand stage and make-believe while the rest of his organization takes it almost too seriously. It finds a great balance between bloody violence, stylish drama, sexy fan service, and (sometimes darkly-shaded) humor and has the most absorbing ambiance of any title on this list. There are some weak points in this run of episodes, which is why I can’t rate it higher, but the strengths more than balance those out.

Individual Awards

Character of the Year – Maomao, The Apothecary Diaries

There were several other good options here. Oshi no Ko‘s Kana Arima impressed me by turning from an annoying brat in episode 1 to a surprisingly well-developed an interesting cynic over the course of the series, Tsugaru from Undead Murder Farce was a delight as the lackey who disguised his true skills behind the mask of a lackadaisical idiot, the titular character from Frieren: Beyond Journey’s End impressed more and more as the season progressed and her character filled out, Mia from Tearmoon Empire proved much more charming than expected, and even Rentaro from The 100 Girlfriends deserves mention for being absolutely genuine about intending to fully love all six of his girlfriends to date. However, none of them can top this lovable little freak. Sure, she’s a coolly-capable and unflaggingly-pragmatic apothecary and mystery solver, but she she also delights in testing out new poisons on herself and actually relishes the job of being a poison tester. The catlike way she brushes off the too-gorgeous and too-interested Jinshi, the way she gives sexual advice even to Imperial consorts, and the way she just loses it when she gets access to something she loves all endear her to the viewer, as does the way she tackles much weightier matters, like essentially consigning a lady-in-waiting to execution by convincing her that the only way to prevent her crimes from tainting her beloved mistress is to confess to them. A stellar Japanese performance by Aoi Yuki certainly doesn’t hurt, either.

Duo or Couple of the Year – Bell and Ryu, Is It Wrong To Try To Pick Up Girls in a Dungeon? 4

This was a much harder pick, as there were several good options in 2023 but none that stood out. Others worth considering include Saku and Yukichi (the cat) from The Masterful Cat Is Depressed Again Today, Euphyllia and Anisphia from The Magical Revolution of the Reincarnated Princess (my runner-up pick), Koito and Elda from Otaku Elf, Lammis and Boxxo from Reborn as a Vending Machine, I Now Wander the Dungeon, and yes, Pig and Jess from Buteraba. However, I went with this (mostly) non-romantic duo because of how effectively they learn to work together as a team when isolated from any reasonable hope of support and the way each comes off better for it; Ryu helps coach the talented but still inexperienced newbie and reassure with with her calm confidence, while Bell helps the veteran come to terms with how her former familia getting wiped out has long haunted her. Neither would have survived to come home without the other.

Scene of the Year: Ai tells Aqua and Ruby “I Love You,” Oshi no Ko episode 1

Ai’s life and career were so thoroughly based on lies that she feared to say “I love you” to her twins because she wasn’t sure she could say it without those words being as empty as when she sang those lyrics on stage. But when it really, really counted the most, she was able to do it and knew that she meant it. From the moment I first saw this scene, this award was locked in. There were some other scenes that may have been worthy of being considered in other years – Ryu defeating the Juggernaut with the help of the spirits of Astrea Familia in DanMachi 4 episode 22, Akane taking on the role of Ai in Oshi no Ko episode 7, Frieren’s defeat of Aura in Frieren: Beyond Journey’s End episode 10, and Rudeus discovering Fitz’s true identity in Mushoku Tensei II episode 11 among them – but this was the most emotionally powerful scene of the year by far; just rewatching it to prepare this piece teared me up again. It’s not the only reason that Oshi no Ko had one of the strongest debut episodes ever, or that the theme song which referred to it was one of the biggest anisongs ever, but it played an important role in both.

OP of the Year: “Idol” by Yoasobi, Oshi no Ko

There were a wealth of good options here, too. “Hero,” also by YOASOBI, for Frieren: Beyond Journey’s End gradually became a favorite for how perfectly its lyrics described the series’ storyline and underlying themes, while “A Quieted Lineage” by JUNNA (for The Ancient Magus’ Bride s2p2) stood out for its conceptual design, “WORK” by millenium parade X Ringo Sheena (Hell’s Paradise) had the best visual presentation, and “Entertainment” by Mili (Goblin Slayer 2) was the best advertisement for its series and had maybe the best line: “I will win your one-sided game.” However, the full-length version of “Idol” – which has been widely-praised for its multiple viewpoints, skillful key changes, and emotional appeal for those who have seen episode 1 – was the biggest song of the year in Japan, briefly hit #1 on the global charts, and is easily one of the single biggest anisongs ever by most measures. Such a feat has to be acknowledged. It’s also a damn catchy song which, in either version, speaks to the truths of the first episode and has spent more time stuck in my head than any other anisong in 2023.

ED of the Year: “Anytime, Anywhere” by milet, Frieren: Beyond Journey’s End

This one wasn’t even a contest, since “Anytime, Anywhere” blew everything else away from the first time I saw it. The song hits exactly the right note of sentimentality to match the series, but it also matches perfectly with a beautiful animation effort done in the style of complex embroidery patterns. This is a sublime work of art which will make my All-Time-Greats list in this category.

Best Insert Song: “Not Meet Doubt” by Saori Hayami, DanMachi episode 20

Note: I am linking to this version, rather than the official Warner Brothers Japan stream, because this one has translated lyrics

There were also a lot of great insert songs to choose from this year, with seeming every major title having at least one – and that’s without getting into the actual musical shows. However, none of them had the devastating impact that this one managed. It plays during the fall of Astrea Familia before the Juggernaut, and its soulful, aching lament tinged with love (which becomes much more evident when you see the translated lyrics) delivers the emotion of the scene so much more effectively that the more darkly dramatic pieces used elsewhere in the series’ soundtrack could. Fittingly, it is sung by Ryu Lion’s seiyuu.

Oddest Protagonist: Boxxo, Reborn as a Vending Machine, I Wander the Dungeon

This actually isn’t the first anime which has had a sentient vending machine as a protagonist (see also Coffee Samurai), but this isekai series does vastly more with the concept than its predecessor does and, quite surprisingly, makes it work. Though Boxxo can defeat opponents in a mostly-roundabout way, it’s in his ability to alter economies and support his allies by what he provides (and the different types of vending machines he can transform into) where he really shines. He turns the series into a much cleverer work and also manages to bond with lead girl Lammis despite his limited ability to communicate.

Guilty Pleasure: Farming Life in Another World

This award goes to the title that I rewatched most heavily this year despite not being able to acknowledge it as a quantifiable quality title. It’s a relatively simple tale about isekai protagonist Hiraku, who gets reincarnated into a fantasy world and, with the help of a magical tool, decides to create a farm in the midst of what to anyone else would be a hostile forest. Along the way he picks up a diverse array of cohabitants, including demon spiders, inferno hounds, vampires, angels, dwarves, lizard men, beast people, demons, and even a dragon, turning his farm into a village which unwittingly terrifies its neighbors with its potential military might, even though Hiraku is only interested in living a peaceful life. Though it has a few good visual moments, it is hardly a great technical work. Despite that, it is well-capable of winning viewers over with its combination of bucolic charm, plentiful light humor, and the amusing irony of how what the village looks like from the outside utterly contrasts with the inside view. It also wins points for a short arc about one character getting pregnant and some interesting world-building tidbits. Overall, it makes for a light but surprisingly involving view.

Most Bizarre World-Building Detail: The standard unit of measurement in Handyman Saitou in another world

Handyman Saitou was mostly a collection of fantasy comedy shorts about and isekai’d handyman and how he finds more job satisfaction in his new world than his old, and it certainly had its fair share of jokes. Easily the most sputter-worthy one, though, was the revelation that the maderaka (a unit roughly equal to a foot or 30 cm) was based on the length of an early king’s male member.

That’s all for now! I’ll be back on January 3rd for the Winter ’24 Preview Guide coverage.