All Articles

There is an appealing confidence to the way Kieta Akazukin chan introduces itself as a 2001 anime film. In Kieta Akazukin chan, the premise connects the central character with a close companion and uses identity as an early source of pressure. In Kieta Akazukin chan, rather than explaining every corner of the world immediately, the opening lets behaviour establish the mood. For a story rooted in character drama, that restraint creates a welcome sense of discovery. ⁠ Kieta Aka

There is an appealing confidence to the way Ryuujinnuma introduces itself as a 2001 anime film. The premise connects the central character with a close companion and uses identity as an early source of pressure. In Ryuujinnuma, rather than explaining every corner of the world immediately, the opening lets behaviour establish the mood. For a story rooted in shoujo, that restraint creates a welcome sense of discovery. ⁠ The themes of Ryuujinnuma grow from identity, loyalty and

There is an appealing confidence to the way Baboo Factory introduces itself as a 2001 television anime series. In Baboo Factory, the premise connects the central character with a close companion and uses friendship as an early source of pressure. In Baboo Factory, rather than explaining every corner of the world immediately, the opening lets behaviour establish the mood. For a story rooted in comedy and fantasy, that restraint creates a welcome sense of discovery. ⁠ The prese

There is an appealing confidence to the way Ginga Tetsudou 999: Niji no Michishirube introduces itself as a 2001 anime film. The premise connects the central character with a close companion and uses responsibility as an early source of pressure. In Ginga Tetsudou 999: Niji no Michishirube, rather than explaining every corner of the world immediately, the opening lets behaviour establish the mood. For a story rooted in drama, historical and science fiction, that restraint cre

There is an appealing confidence to the way I love BuBu ChaCha introduces itself as a 2001 television anime series. In I love BuBu ChaCha, the premise connects the central character with a close companion and uses friendship as an early source of pressure. In I love BuBu ChaCha, rather than explaining every corner of the world immediately, the opening lets behaviour establish the mood. For a story rooted in kids, pets and slice of life, that restraint creates a welcome sense

There is an appealing confidence to the way Sakura Wars: The Movie introduces itself as a 2001 anime film. In Sakura Wars: The Movie, the premise connects the central character with a close companion and uses discovery as an early source of pressure. In Sakura Wars: The Movie, rather than explaining every corner of the world immediately, the opening lets behaviour establish the mood. For a story rooted in adventure, mecha and performing arts, that restraint creates a welcome

There is an appealing confidence to the way Salaryman Kintarou introduces itself as a 2001 television anime series. In Salaryman Kintarou, the premise connects the central character with a close companion and uses courage as an early source of pressure. In Salaryman Kintarou, rather than explaining every corner of the world immediately, the opening lets behaviour establish the mood. For a story rooted in action, adult cast and comedy, that restraint creates a welcome sense of

There is an appealing confidence to the way Samurai Girl Real Bout High School introduces itself as a 2001 television anime series. In Samurai Girl Real Bout High School, the premise connects the central character with a close companion and uses courage as an early source of pressure. In Samurai Girl Real Bout High School, rather than explaining every corner of the world immediately, the opening lets behaviour establish the mood. For a story rooted in action, comedy and fanta

There is an appealing confidence to the way Figure 17: Tsubasa & Hikaru introduces itself as a 2001 television anime series. The premise connects the central character with a close companion and uses technology as an early source of pressure. In Figure 17: Tsubasa & Hikaru, rather than explaining every corner of the world immediately, the opening lets behaviour establish the mood. For a story rooted in science fiction and slice of life, that restraint creates a welcome sense

There is an appealing confidence to the way Banner of the Stars II introduces itself as a 2001 television anime series. In Banner of the Stars II, the premise connects the central character with a close companion and uses courage as an early source of pressure. In Banner of the Stars II, rather than explaining every corner of the world immediately, the opening lets behaviour establish the mood. For a story rooted in action, military and romance, that restraint creates a welco

There is an appealing confidence to the way Initial D Third Stage introduces itself as a 2001 anime film. In Initial D Third Stage, the premise connects the central character with a close companion and uses courage as an early source of pressure. In Initial D Third Stage, rather than explaining every corner of the world immediately, the opening lets behaviour establish the mood. For a story rooted in action, drama and racing, that restraint creates a welcome sense of discover

There is an appealing confidence to the way Cowboy Bebop: The Movie introduces itself as a 2001 anime film. The premise connects the central character with a close companion and uses courage as an early source of pressure. In Cowboy Bebop: The Movie, rather than explaining every corner of the world immediately, the opening lets behaviour establish the mood. For a story rooted in action, adult cast and science fiction, that restraint creates a welcome sense of discovery. ⁠ Ide