Wooper:<\/b><\/span> Nearly six years after hashing out our favorite anime of the 2010s, we\u2019ve gotten the band back together for a look at the best of what the previous decade had to offer, and what we found was that it offered quite a lot. Several of us are seasoned enough to have experienced the era firsthand, while others have begun working back through its classic offerings (as with Lenlo\u2019s Throwback Thursday column), but no matter when you got your start, the 2000s remain an essential period for anime as a whole. It was a time of experimentation, with production methods making the transition from analog to digital and more original works being greenlit than ever before. Meanwhile, some of the biggest manga of all time received modest adaptations that nevertheless captured audiences with their stories and characters. The anime movie canon received several key additions, and even the much-maligned moe boom resulted in a handful of great series. Taking all of this into consideration, the six of us cast our votes<\/span><\/a> and landed on a list of 50 shows and films that we feel best represents this pivotal era. But before we get to that, let\u2019s reveal some of the candidates that barely missed the cut.<\/p>\n If I were to mention Ufotable then the first anime to come to mind would be Demon Slayer or perhaps Fate\/Zero. But in reality the first anime to show Ufotable as an animation powerhouse would be Kara no Kyoukai, or The Garden of Sinners. If you were to take a scene from these films made in 2007 and show it to someone claiming it was made in 2025 then they might actually believe you. I would also say this was the series that put Yuki Kajiura on the map, as despite having the likes of the Hack\/Sign OST under her belt this series was where I began to see her name being remembered. Adding to these two we can also mark this as a first work for Kinoko Nasu, the author famous (or infamous) for the Fate franchise. You can actually see characters who are like prototypes for his later work, but this was also a time where Nasu rather excelled at creating dark urban fantasies. Mentioning all of these creators makes this series of movies notable in itself, but it certainly helps that they are a unique beast all of their own. I say few other films could capture the ethereal, fantastic nature that makes a city feel like an ancient ruin with monsters lurking in the shadows. Their stories can border on pretentious at times, but can nonetheless be fairly introspective with immaculate vibes. It can be a bit of a slow burn, but by movie three it can get its hooks into you and leave you with a melancholic haze by series\u2019 end. If you are a fan of Type Moon works this is a must watch, but it\u2019s also a worthwhile watch for any casual fan as well.<\/p>\n With Aoi Hana and Wandering Son (which would release two years after the former show), Takako Shimura established herself as one of the best yuri mangaka of her generation. It\u2019s easy to see why when you watch Aoi Hana\u2019s 2009 adaptation. Her teenage characters are fully realized, complex and vibrant, vulnerable but totally relatable. Centering on two childhood friends who reunite as teenagers, the show explores their coming-of-age relationships with a level of nuance and empathy still rare in anime. Rather than leaning on melodrama or heightened sentimentalism, it focuses instead on small moments: the awkwardness of first love, the uncertainty of belonging, and the bittersweet process of growing apart even while growing up. Visually, Aoi Hana reflects its themes with a soft color palette, gentle character designs, a tender piano-based soundtrack (that is still one of my favorite anime scores of all time) and calm pacing that invites viewers to sit with the characters\u2019 feelings. Even mundane scenes like walking home after school or exchanging glances in a hallway beautifully capture those underlying emotions. What sets the show apart as well is its refusal to oversimplify these messy relationships. At just 11 episodes, it leaves some threads less developed than its manga counterpart, but what we have still offers a thoughtful, elegantly restrained portrayal of yuri romance that feels both universal and deeply personal.<\/p>\n Noein<\/em> is a difficult show for me to describe, partly because it\u2019s been so long since I watched it, and partly because it\u2019s just a weird show. Do I like it as much as I do because I found it early on in my anime journey, or because it was actually good? Would I like it as much if I rewatched it today? I\u2019m really not sure. For all that I\u2019m about to praise it, Noein<\/em> is far from perfect. It can be a tad unfocused at times, as if the original creator and director Kazuki Akane wasn\u2019t entirely sure how to express himself, and runs into the problem most time travel anime do with the space between timelines A and B not really making that much sense. What I can say, though, is that Noein<\/em> was, for a number of years, in my top 10 anime. The cast, their relationships, the exploration of how those relationships and people change as they grow up, and the ever-classic discussion of free will versus fate are all great. Combine that with an epic and varied OST, and some genuinely great animation at times, and you have what I would call a bit of a cult classic.<\/p>\n Imagine an animated version of Romeo and Juliet where the Capulets are flesh-eating monsters who can assume human form, and the Montagues are a clan of martial artists sworn to destroy them. That\u2019s essentially the premise of Masaaki Yuasa\u2019s Kemonozume, which is just as absorbing and experimental as the man\u2019s pedigree would suggest. The show\u2019s purposefully rough character designs and animation can serve as a barrier to entry, but the love story between its protagonists easily penetrates that abstraction. Sensual, ego-driven, humorous, and complicated by the characters\u2019 ties to their feuding families, it\u2019s a romance the likes of which anime has rarely put on screen, in this decade or any other. Kemonozume also explores ugly topics like prejudice and envy, threading the violent grudges of its older players together with the desires of its younger ones. While the show\u2019s main weakness manifests in the insane revenge plot of a late game villain, it nevertheless offers astute commentary on the wonderful and terrible aspects of humanity, and explores the motivations of those who would willingly discard that dichotomy. And in case you\u2019re still on the fence, you can watch the show for Saru, a cute peach-loving monkey who serves as the protagonist\u2019s combat teacher (and would eventually share a name with Yuasa\u2019s future animation studio).<\/p>\n Darker than Black<\/em> occupies a peculiar space within the pantheon of great 2000s anime. In the way that it doesn\u2019t have one. And it is quite perplexing to see how this series seems to slip out of people\u2019s minds so easily. I mean, it shows up here on the honorable mentions list because even I forgot about its existence entirely when compiling my personal list of standouts. Yet Darker than Black<\/em> features all the hallmarks that should make it stand out: it has a soundtrack composed by the legendary Yoko Kanno, it is well-animated and features some really great fight choreography, its core premise features a unique hook that is complemented by some cool worldbuilding, and its protagonist is basically ninja-Batman with supernatural powers. This should really be a slam dunk. It should be heralded as one of the best anime of the noughts. But it isn\u2019t. And I think I sort of understand why that is the case. In the end, while all the ingredients for what makes a memorable show are present here, they fall just short of coming together and coalescing into something truly great. There are bits of brilliance, but there are also narrative decisions that end up being baffling, like the reluctance the show has of breaking out of its episodic mold or the entirety of its second season focusing on a newly introduced character. But a lot of the time, those brilliant bits do shine through and make you wish for what could have been. And at the very least, they definitely make this series\u2019 position in the annals of anime history seem quite harsh and unfair.<\/p>\n \u00a0<\/p>\n Amun:<\/b><\/span> Soul Eater<\/em> \u2013 what a flawed classic. Sneaking its way into the Top 50, it\u2019s placed precisely where I think it deserves to be: right on the cusp of obscurity and greatness. In these postmodern seasons of shounen anime, many of the tropes that we take for granted (power-up arcs, one sided rivalries, hilariously mismatched power level partners) saw their early days in Soul Eater<\/em> arcs. Visually, the show remains a wonderfully unique world of Halloween \u2013 so much so that mangaka Atsushi Ookubo had to bring its aesthetic back for Fire Force<\/em>, his follow-up work. I loved the battle systems, the partners, how they powered up and grew together (and the vast disparities, especially between Tsubaki and Black Star). The world was just so fun \u2013 Death City was creepy, yet endearing. Scary but cute \u2013 the first look at an aesthetic that many teenagers of the 2010s would embrace. With a cast that was always larger than life, and still memorable even now, Soul Eater<\/em> was a wild ride\u2026all the way up until the end. No discussion of this show can omit the atrocious ending \u2013 a tragedy still decried all these years later. Even still, the journey was worth something, and Soul Eater<\/em> is a show of the 2000s worth remembering.<\/p>\n Lenlo:<\/b><\/span> Many people like to call Mushoku Tensei<\/em> the \u201cGrandfather of Modern Isekai.\u201d And while there are a lot of things wrong with that statement, a big one is the existence of .hack\/\/Sign<\/em>. Conceptualized in 1999 as a multimedia project from the very beginning, .hack\/\/Sign<\/em> was the first entry in in the .hack<\/em> franchise, and also one of the earliest, if not the first, \u201ctrapped in a video game\u201d anime ever made. Its legacy can be found in everything from Sword Art Online<\/em> (published in late 2002), with the use of VR headsets and an MMO based setting, to Log Horizon<\/em>, with its detailed world and systems. For all that it shares with its children however, .hack\/\/Sign<\/em> is little like them, focusing less on being a power fantasy and more on the horror of being trapped in a world not your own, that you don\u2019t understand and can never log out of while all of your friends can, with no one knowing what is happening or how to stop it. Add on to that the stunning music of Yuki Kajiura, with .hack\/\/Sign<\/em> being what I would call her big breakout hit (featuring tracks like Key of the Twilight<\/em><\/span><\/a>, Fake Wings<\/em><\/span><\/a> and Obsession<\/em><\/span><\/a>), and you have something great. Is it perfect? No, it\u2019s the first step in a multimedia franchise made by a second-string studio that didn\u2019t really understand the zeitgeist they were tapping into. But for me, almost 25 years later? .hack\/\/Sign<\/em> remains something special.<\/p>\n Mario:<\/b><\/span> Embodying the phrase \u201cevery frame a painting,\u201d Mononoke is a mesmerising, genre-defining series that elevates its supernatural storytelling into a work of art. It blends horror, psychological drama and folklore with one of most distinctive visual styles the 2000s have to offer. The striking aesthetic is inspired by ukiyo-e woodblock prints with bold colors and unconventional editing, creating a surreal, theatrical, almost nightmarish atmosphere that is both beautiful and dreadful at the same time. Each fragment works as a mystery as our Medicine Seller must uncover the mononoke\u2019s Form, Truth and Reason, turning each arc into an exploration of the human psyche. The show\u2019s pacing is deliberate, its eerie tone and the unsettling sound effects deepening the hypnotic effect of the visuals. Though its experimental approach may feel overwhelming or opaque to some, Mononoke rewards patient viewers with a rare combination of artistic ambition and narrative resonance. One piece of good news is that the franchise recently underwent a revival with three new movies that beautifully capture the spirit of the original. It feels like a miracle that an anime this daring and bold is still going strong.<\/p>\n Wooper:<\/b><\/span> Rumor has it that the reason we\u2019ve never gotten a Yotsuba&! anime is because mangaka Kiyohiko Azuma was dissatisfied with Azumanga Daioh\u2019s adaptation. This is baffling to me because, while I can understand an author\u2019s desire to protect their work, I don\u2019t know what\u2019s so objectionable about Azumanga\u2019s TV version. It surely isn\u2019t the music by Masaki Kurihara (of Kuricorder Quartet fame), which is just about the brightest and most whimsical anime soundtrack ever put to tape. I can\u2019t imagine it\u2019s the comedic timing, which is expertly protracted to keep you laughing at the show\u2019s repetitive gags<\/span><\/a>. Nor is it likely an issue with a voice cast who immortalized their characters: Chiyo-chan\u2019s squeaky enthusiasm, Yukari-sensei\u2019s intense mood swings, and especially Osaka\u2019s spacey drawl all made for top tier performances. So what\u2019s the deal, Kiyohiko? Why can\u2019t we have nice things? Well, that\u2019s just it \u2013 we already got something nice with this adaptation of his first full-length work. For all its cat-themed absurdity and uncatchable puns, Azumanga\u2019s loose story offers a feeling of completeness, tracking its students\u2019 progress through three fun-filled years of high school and submitting nostalgic episodes where they narrate their days from sunup to sundown. Even if Yotsuba never graces our screens beyond a cameo in the Nyanbo! ED, Azumanga Daioh will remain a wonderful touchstone in the world of comedy anime.<\/p>\n Aidan:<\/b><\/span> If you happen to be a Silent Hill fan you may be aware of the author of this piece, as this is Ryukishi\u2019s first notable work, and one of the few Studio Deen works to be held in quite high regard. To those in passing Higurashi has been known as the \u201cKiller Loli\u201d anime, but to those who actually watched it you would know that is quite far from the truth. Higurashi is a puzzle box gifted to the viewer and asks you to slowly unravel it piece by piece. At the beginning of the series you are confused but intrigued by its horror and unexpected developments. But as it continues and each piece falls into place you cannot help but marvel at the intricate construction of a mystery. I truly feel that few series have managed to match the level of Higurashi in clever misdirection and revelation. That a story of horror could also be one of trust and friendship. I spent a lot of time mulling over the mystery of Hinamizawa and I loved every second of it, watching characters that seemed simple at the outset reveal hidden complexities. Though the animation could leave things to be desired, it\u2019s a series that leaves an impression few could shake.<\/p>\n Mario:<\/b><\/span> Today, the conversation around Paprika is sadly dominated by two facts: 1) it\u2019s the final film made by the great Satoshi Kon before he passed away, and 2) it\u2019s the movie that inspired Inception (a comparison that does justice justice to neither film). Of course, Paprika itself is much, much more than that. It has Kon\u2019s usual fascination with blurring the line between dream and reality, but it\u2019s also the film where he\u2019s at his most confident to push his vision in a way few animated works have ever matched. The film\u2019s premise \u2013 about a doctor and her dream-diving alter ego who investigate the misuse of a device capable of entering human dreams \u2013 provides Kon with boundless canvas, allowing him to craft a cinematic experience that challenges conventional storytelling while remaining emotionally resonant. What elevates Paprika above its peers is its breathtaking visual language: scenes flow into one another with ease, objects change shape with symbolic purpose, and the parade sequence in particular is iconic even to this day. Yet Paprika is far more than a visual marvel. Its exploration of identity, the subconscious, and dream logic is intellectually challenging and viscerally exhilarating. Ultimately, Paprika is celebrated as one of the greatest anime films of the decade (and at least for me, the very best) because it dares to push the medium to its furthest artistic limit, offering an experience that is imaginative, unpredictable, emotionally rich and utterly singular.<\/p>\n Wooper:<\/b><\/span> Emma is, as its title suggests, a romance anime, but its interests run much deeper than the topic of love. Even if you were to set its romantic relationships entirely aside, its questions of grief, duty, and class division would provide fertile ground for a series all on their own. Thankfully, we don\u2019t have to choose between the show\u2019s themes, as they\u2019re all smartly synthesized across its two seasons, and complimented with the sort of symbolism that lets the camera, rather than the characters, do the talking. Already soft-spoken by nature, Emma falls silent with increasing frequency after a devastating personal loss, and must conceal her true thoughts from maid-outfitted co-workers and gossipy socialites alike. Her strength of character impresses everyone she meets, however, including the first son of a nouveau riche family. From there, just about anyone could take an accurate stab at predicting the series\u2019 plot, but even for someone who values originality over execution as I do, this series is an exception. Emma: A Victorian Romance is an anime by, about, and for adults \u2013 one that uses meticulous period research and keen behavioral observation to achieve a level of authenticity unmatched within its decade.<\/p>\n Lenlo:<\/b><\/span> Normally sports series are more of a shounen thing, all about training hard and besting your rivals. There are exceptions of course, but by and large this holds true in my eyes, as series like Blue Lock<\/em> and Hajime no Ippo<\/em> espouse the virtues of hard work and effort. Not here. If anything, One Outs<\/em> goes directly against those virtues, often feeling more like a gambling anime than a sports one. The series focuses more on how its lead character, Tokuchi Toua, can outsmart both enemies and allies alike to come out on top of any given situation, even if that means losing the match to further his own aims! And as he works his way through the professional baseball circuit, needing more and more dastardly plans or egregious rules violations, he slowly drags his team along with him. All of this comes together to make One Outs<\/em> one of the most engaging sports series ever made to me, something wholly unique across anime that breaks so many conventions of sports anime while never really<\/em> leaving the realm of reality.<\/p>\n Mario:<\/b><\/span> ARIA the Animation has a reputation as one of the finest healing anime of its era, and for good reason. Its gentle, melancholic acoustic soundtrack is regarded as a modern classic. Its Venice-inspired world of Aqua is rich, unique and always welcoming. The whole cast of characters are fluffy and full of life. But the best qualities of ARIA lie in its atmosphere and pacing. It has a calm, relaxed and introspective outlook that invites viewers to soak in its world rather than rushing them. Each episode is built around small discoveries: a seasonal festival, a hidden alleyway\u2026 There are always little treasures in every corner of the city. Moreover, ARIA shifts flawlessly between the characters\u2019 silly chibi reactions and their normal selves, making it light-hearted and free of major conflict but still emotional and profound. The older I get, the more I appreciate ARIA\u2019s gentle pacing and its unique ability to be completely still. Not because life goes by slowly there, but because it can take the time to cherish the wonders of everyday life itself.<\/p>\n Armitage:<\/b><\/span> Winter is my favorite time of the year even though it doesn\u2019t snow around here. I think of it as a reward for getting through the hellishly humid summer, for persevering through the ordeals that life may have thrown my way in the previous ten or so months. I love everything about it. I love the partially frozen dew drops on the leaves of our garden plants in the morning. I love the smell of charred fir bark that gets mixed in with the chilly air on days we build a fire in our backyard. I even love the redness of my nose and how my cheeks sting a little every time I step out of my home. But to quote Watership Down<\/em>, maybe I don\u2019t really love the winter, but I just enjoy feeling proof against it. I watched 5 Centimeters Per Second<\/em> a long time ago, but whenever I think of it, I am reminded of winter. Not because I watched it during these months; I didn\u2019t. And only the first of its three parts is set during this season. But what I really remember is two people trying their hardest to be near someone with whom they felt a kind of warmth that they needed to brave through the coldness, both of the weather and of their own lives. Not everyone gets to have something like that. Ones that do often end up losing it before spending the rest of their lives in futile attempts to get it back again. And this film bottles up that entire experience in the space of a single solemn and devastating hour.<\/p>\n Mario:<\/b><\/span> Viewers who watch Kaiba without context could easily mistake it as a kiddie show with cute designs, but Kaiba remains one of Masaaki Yuasa\u2019s darkest works to date (and we\u2019re talking about a guy who has directed multiple shows about flesh-eating monsters). Kaiba presents a clear and thought-provoking exploration of memory, identity and social inequality in a world where people can store and trade their own memories. As bodies can be swapped and identities can be overwritten, the series asks hard questions about what truly defines a person and whether emotional bonds can survive amidst all that. The art style plays an important role in shaping the show\u2019s tone; instead of detailed or realistic designs, Yuasa employs simple shapes, soft lines and bright colors that resemble Tezuka-era styles, creating a gentle appearance that contrasts with the darker themes underneath. Many episodes function like short stories, each centered on characters whose lives have been shaped or damaged by the instability of memory, and together they build a picture of a society filled with both cruelty and moments of kindness. Taken as a whole, even with its abstract tendencies, Kaiba affirms its status as a sophisticated and ambitious exploration of the human condition. Its deeply human message still stays with me long after watching.<\/p>\n Wooper:<\/b><\/span> Before Yuasa became a household name for his Devilman adaptation, before he established his own animation studio in 2013, even before his run of experimental TV series at Madhouse \u2013 there was Mind Game. If you didn\u2019t already know it was a manga adaptation, you\u2019d never suspect it, as the film is so stylistically schizophrenic and bizarrely plotted that it seems to have emerged from the ether, but I suppose that\u2019s what you get when you let one of anime\u2019s foremost auteurs run wild with already bonkers source material. Mind Game journeys from a deathly altercation at a restaurant to an encounter with a shapeshifting God to a struggle for survival in the belly of a whale, and it only gets weirder from there, integrating real world photography into its ramshackle art style and eventually staging one of the most psychedelic sex scenes in anime history. And then there\u2019s the film\u2019s climax (no pun intended): a manic jailbreak sequence that chases perspective-warping action with visions of its characters\u2019 pasts and potential futures. Despite all of this strangeness, the film hangs together thanks to its playful, percussion-driven soundtrack, as well as the protagonist\u2019s successful search for freedom and personal fulfillment. Mind Game may not offer a concrete message, but it\u2019s more than capable of stirring that same fulfilled feeling in anyone willing to brave its fragmentary construction.<\/p>\n Wooper:<\/b><\/span> Prior to his untimely death in 2010, Satoshi Kon may have been anime\u2019s premier formalist \u2013 that is, the director who most emphasized the form of his films, rather than their narratives. You could begin to make that case with any of his works (including the four on this list), but Millennium Actress might be the best starting point, as its melding of the past and present, plus a plethora of scenes from the fictional acting career of its leading lady, make it an editor\u2019s dream. Chiyoko Fujiwara, the actress in question, moves seamlessly between her various roles while describing them for a documentary crew of two, who appear within both her filmography and personal flashbacks via Kon\u2019s trademark wizardry. Though there is a love story to follow, I much prefer catching the many details spread across each of Fujiwara\u2019s pictures, from her turn as a Sengoku era princess to her performance in an Edo period jidaigeki drama. I\u2019ve also grown more appreciative of its muted color scheme with each watch, as the subtle red hues used in Chiyoko\u2019s wardrobe mark her as a constant throughout the movie\u2019s shifting reality, much like our own memories may shape themselves around particular themes. It\u2019s a fantastically assembled work, and though it wasn\u2019t Kon\u2019s last, there couldn\u2019t be a more fitting coda to his oeuvre than the gentle passing of its elderly heroine into a memory of her final film \u2013 or perhaps, into the world of cinema itself.<\/p>\n Armitage:<\/b><\/span> The vampire is an interesting and often misrepresented figure in modern fiction (granted you believe them to be purely fictional and don\u2019t harbor any superfluous fantasies Aidan:<\/b><\/span> Princess Tutu is a hard sell for many, as having a children\u2019s magical girl show with themes of ballet and fairy tales isn\u2019t something up most people\u2019s alley. That said, it\u2019s a mistake to judge the show off its premise and rather slow beginning, as there is a subtlety to its story of characters trapped in a tragedy. While there are flaws \u2013 its humor often does not land and some episodes feel more like filler \u2013 there\u2019s also a certain old school sophistication to its presentation and writing, as well as an intriguing meta element to its story. Each episode sets the tone with a fairy tale with an often tragic end which somehow foretells the characters\u2019 fates. It is a unique duck in the way it takes from the magical girl genre and commits to its uncommon motifs. As stated before its faults are mainly in its beginning, where it sticks too tightly to its formula and may be too childish for those unaccustomed to its tone. But for those who give it a chance, there is a story that doesn\u2019t talk down to its audience \u2013 one of pathos and defiance of the roles that people can be forced to play.<\/p>\n Amun:<\/b><\/span> I only discovered this show in the past couple of years, and boy, am I glad I did \u2013 Natsume\u2019s Book of Friends<\/em> ranks in my current top 5 anime. Seasons 1 and 2, which came out in the 2000s, showcase all the things I love about this show: the quiet development of the relationships and emotions between the characters, the episodic exploration of unlike worlds interacting, and our young hero Natsume growing up and finding his own way between the two worlds. Throw in the slow burn development of the mysterious character of Reiko and this is a recipe for greatness. If memory serves correctly, those first two seasons were about the development of the core cast of yokai that would serve as Natsume\u2019s key inner circle, specifically the very fun, very large, very powerful Nyanko-sensei. In the seasons following, Nyanko-sensei is clearly Natsume\u2019s protector, but early seasons saw them trying to figure out the relationship, which mostly hinged on the desire for the quite powerful Book of Friends. While Natsume<\/em> doesn\u2019t feature many humans, a few of the recurring ones (including Taki, who I hope is the future love interest!) were introduced \u2013 most importantly Tanuma, who is probably Natsume\u2019s best human friend. These early years really set the tone that\u2019s been carried on by the many subsequent seasons of a fantastic show dealing with a young man caught between two worlds. An all time favorite of mine, and very deserving to be on this list.<\/p>\n Wooper:<\/b><\/span> Several years after the passing of screenwriter Keiko Nobumoto, comments surfaced from the director of Wolf\u2019s Rain indicating that he wasn\u2019t sure he\u2019d understood her intentions for the series, even while working on it two decades prior. Though he expressed himself awkwardly, blaming his lack of comprehension on the gender gap between them, I can understand his confusion, as her brainchild is far from straightforward. Its story is driven by a mythology that it never fully explains, and its characters journey through a desolate world in search of a \u201cParadise\u201d that they never reach. The concluding OVA, set at the dawn of a new ice age, is some of the bleakest anime produced in this or any other decade. But I believe that Nobumoto wrote Wolf\u2019s Rain with purpose, to pose a question to all who follow its noble beasts across their forlorn planet: when the end of the world comes, how will you respond? Will you prioritize comfort, or strive to accomplish one last task? Will you cling to someone, even if it\u2019s not the person you expect, or will despair be your only partner in death? Will you place your faith in a tenuous afterlife, or trust that only oblivion awaits you? Wolf\u2019s Rain doesn\u2019t prescribe answers to these lofty problems, but rather urges us to consider them for ourselves, making it one of the decade\u2019s most thought-provoking offerings.<\/p>\n Armitage:<\/b><\/span> Code Geass<\/em>, along with another anime further down on this list, was my gateway into this medium. To this day, it remains one of the first shows I recommend to a prospective pilgrim looking to convert to the good faith. And it\u2019s hard to deny that it is easy to love, especially at an impressionable age. It has a catchy hook: a young boy gets to play God, to will any person in the whole wide world to do anything he desires of them. And the show then goes on to layer a series of complexities on top of its original premise, one by one, and puts its protagonist, Lelouch Lamperouge, at the center of a web of schemes and political machinations that get more ridiculous and absurd by the episode. Now, that alone can make for a very compelling and fulfilling viewing experience, but what really elevates Code Geass<\/em> above various other shows that have attempted to capture its magic is the sincerity at the heart of it all. It does feature a narrative that has more twists and cliffhangers than you can shake a stick at, but the ratcheting stakes at every turn only work because you have character relationships that keep them from feeling inconsequential. How these relationships get strained, ruptured, and mended, only to fall apart again, is what gives this story a kind of momentum that builds and builds to culminate in a finale for the ages. It\u2019s a messy and often outrageous show, but it does pay off your investment, and then some.<\/p>\n Lenlo:<\/b><\/span> What is there to say about this classic Ghibli film that hasn\u2019t already been said in numerous reviews prior to this? Should I talk about the gorgeous animation, from the stunning backgrounds to the incredible effects work? What about the story of long-lost loves, war, and self-actualization with one of the most engaging core casts in any anime film period? I could even gush about the film\u2019s music, something often overlooked with how much there is to talk about elsewhere. The point is, Howl\u2019s Moving Castle<\/em> is a seminal work in my life, and contributed greatly to my understanding and enjoyment of animation, topped only by a film further down this list. Watching Miyazaki adapt a 1980s British fantasy novel into a modern 2000s era Japanese film, modifying the plot and characters to fit the story he wants to tell while staying true to the book\u2019s original themes, is beautiful. It is, in my opinion, the best film Studio Ghibli has ever made.<\/p>\n Armitage:<\/b><\/span> Even though they\u2019ve largely faded away in the last decade, Studio Key\u2019s name used to get anime fans excited like few others. Their stories often followed a trademark template: guy comes across (usually multiple) girl(s), gets embroiled in their daily affairs, makes it his mission to help them, and some supernatural shenanigans ensue, leading to an emotionally charged finale. This isn\u2019t a unique outline for a premise by any stretch of the imagination. Romance stories in anime, or any other medium, for that matter, follow this exact template. But in all these stories that resolve in heartbreak or happily ever afters, we never really get to see what happens after said resolution. This is where Clannad: After Story<\/em> sets itself apart. Following directly from the events of the first season, After Story<\/em> gives a peek into the daily lives of its two protagonists, Tomoya and Nagisa, who were high-school sweethearts but are now happily married. They were meant to be together, and so they are. But the trials and tribulations that life has in store for us do not stop at finding the right person to spend our lives with. There are still bills to be paid, groceries to be bought, and various other mundanities that add up over the course of time, not to mention the stress and anxiety of planning for a future in which you\u2019d want to bring another life into the world. None of this is glamorous stuff, but the greatest achievement of Clannad: After Story<\/em> lies in its ability to still make it all seem compelling and even quite beautiful.<\/p>\n Mario:<\/b><\/span> It takes guts, and skill, to open a show with almost 15 minutes of no dialogue (the only other one I can think of is Wall-E). For Texhnolyze, it\u2019s done to establish a mood that is built from atmosphere rather than exposition, relying on visuals \u2013 and more importantly, sound \u2013 to direct and invite the audience into the underground city of Lux. Despite possessing technology where humans can replace lost limbs with mechanical prosthetics, the city is on the verge of social collapse and death, its tech having led to a downward spiral where its people lost their humanity in the process. The show is bleak and mesmerising, with a dull color palette that reinforces Lux\u2019s oppressive environment. Director Hiroshi Hamasaki and writer Chiaki J. Konaka crafted the narrative with deliberate restraint, using silence, muted conversations, and long stretches of visual storytelling to create a sense of isolation and emptiness from the characters. A minimalist soundtrack deepens the show\u2019s sense of inevitable decline, and the final episodes push its ideas to their climax in a haunting apocalyptic vision. Though Texhnolyze demands patience and attention, it rewards the viewer with an uncompromising examination of despair, and the remnants of hope within a dying world.<\/p>\n Amun:<\/b><\/span> Lenlo\u2019s previously written about Hikaru no Go<\/em>, so I highly encourage you to check out his very in-depth review<\/span><\/a>. My fondness for Hikaru no Go<\/em> is a bit more personal, as it\u2019s the first full seasonal anime I ever watched. In fact, it inspired my brother so much that he remains a very good amateur Go player (hovering around 1-dan for those of you who remember the rankings). In recent years, we were able to watch \u2013 and understand \u2013 one of the historic moments of AI development where Lee Sedol took on AlphaGo in a thrilling series (I wish they had named their program Sai instead of AlphaGo\u2026). Hikaru no Go<\/em> is a fantastic journey, not because the protagonist is a genius to begin with, but because he develops his own love and joy for the game from being around his master, eventually inheriting his game. With what I consider the best rivalry in anime, the show assembles a motley crew to pursue Go greatness, with tournaments, tricks, and all manners of shenanigans (Toya getting bullied by having to play multiple games of blind Go is a phenomenal scene). Spanning 75 episodes, Hikaru no Go<\/em> continued its excellence throughout the entire series \u2013 and had one of the most emotionally gut wrenching climaxes of the decade (no spoilers here). If nothing else, I\u2019m certain an entire generation of anime watchers from this era can appreciate and understand an archaic Japanese board game \u2013 probably the goal of the series, in which case, job well done.<\/p>\n Wooper:<\/b><\/span> Fantasy author Nahoko Uehashi\u2019s ethnological background is on full display in Seirei no Moribito, the first of her three novel series to be adapted for animation. From bustling capital cities to indigenous communal settlements to rugged mountain-dwelling tribes, her skill at designing fictional societies is on full display across this series \u2013 and it has the visuals to back it up. At the time of its release, Moribito was among the most lavishly produced TV anime ever, boasting thrilling fight scenes (typically involving its spear-wielding heroine Balsa) and handsome art direction that enlivened its multicultural setting. Kenji Kawai\u2019s classical soundtrack added urgency to its battles and reverence to its depiction of the natural world, and trips to the show\u2019s parallel spirit world allowed it to flex its mythological muscles. But what of the characters? That\u2019s where Moribito has attracted criticism over the years, both for the protagonist\u2019s stoicism and the petulance of the prince she protects. Personally, though, I can\u2019t say I share that perspective. Balsa\u2019s self-discipline makes her an aspirational figure, with the rare cracks in her composure constituting some of the series\u2019 most memorable moments. And having just finished a rewatch, I found that Prince Chagum\u2019s gradual maturation befit the story\u2019s sweeping nature. By the time the two of them were forced to say their goodbyes in the finale, their relationship had captured me all over again.<\/p>\n Lenlo:<\/b><\/span> It\u2019s hard to explain the special place Great Teacher Onizuka<\/em> has in my heart. At first glance, it\u2019s so much of what I hate in anime. Panty shots, bawdy jokes and slapstick humor wrapped up in an irreverent protagonist. Yet in just a single episode, we learn that behind all of that irreverence and humor is this empathetic core that understands how influential just a few years of high school can be on a child\u2019s life. Basically what I\u2019m saying is, Great Teacher Onizuka<\/em> is the anime equivalent of The Ron Clark Story<\/em> or Dead Poets Society<\/em>. It\u2019s all about a teacher doing their best for their students, both in and out of school, in ways that may or may not be illegal, yet are always to help those kids lead better, happier lives. Combine that with anime\u2019s tendency to go over the top, from showing kids just how dangerous the gang life they aspire to can be before pulling them out at the last moment, to literally breaking down a wall in their house to force their parents to interact with each other, and you have something that truly wants to connect with both students and adults, treating them as equals that should listen to each other. God I love it, and if I were still writing reviews this would deserve one.<\/p>\n Amun:<\/b><\/span> I don\u2019t know of many other shows that have elicited as emotional a response from me as Toradora<\/em>. I rewatched this a few years ago, and I had to take care about the hours when I did it, so as not to wake the rest of my household by yelling at the screen. Taiga \u201cPalmtop Tiger\u201d Aisaka is THE gold standard for tsunderes \u2013 no question about it. The other four main characters, each with their own demons to overcome and selves to find, are one of the greatest quartets in anime history. What\u2019s crazy to me is that the lesser half of the four \u2013 Yuusaku and Minori \u2013 are more emotionally complex and established than most other series\u2019 leads. Their journey of self-realization, heartbreak, and even some minor mental breakdowns, all tells the real story of teenage battles that are so trivial in the grand scheme of things, but feel so huge at the time. Even as adults, we can all remember those days (sometimes not fondly), but appreciate the accuracy of their representation. And ultimately, we get to cheer for these silly kids as they grow up and discover what\u2019s really important. Maybe I rate this show so highly on nostalgia, but Toradora<\/em> will always have a place in my anime pantheon.<\/p>\n Mario:<\/b><\/span> Paranoia Agent is the only series created by the great Satoshi Kon, based on unused ideas that he had gathered from his previous features. That alone explains the fractured, almost stand-alone middle stretch where the show explores different sets of characters who experience their own personal traumas and societal expectations in different ways. The show also contains my all time favorite individual episode (\u201cHappy Family Planning,\u201d for those who are curious) that makes me laugh, makes me cry, makes me feel<\/em>. But most impressive of all, Paranoia Agent strengthens its narrative thanks to these seemingly unrelated stories, tying them up with an original crime thriller that serves as a critique of modern culture\u2019s obsession with escapism, media sensationalism, and the collective tendency to externalise blame rather than face uncomfortable truths. As with all of Kon\u2019s work, the show employs a distinctive style that combines detailed urban settings with increasingly surreal and symbolic imagery, blending reality with hallucinations and dream sequences. Ultimately, these stories suggest that the figure of Lil Slugger functions less as a villain and more as a manifestation of societal breakdown. Paranoia Agent endures as a sharp commentary wrapped in a gripping psychological narrative, offering insights that remain relevant well after its airing.<\/p>\n Amun:<\/b><\/span> Okay, I have to be honest \u2013 me voting for Cowboy Bebop: Knockin\u2019 on Heaven\u2019s Door<\/em> was really just a ploy to get something from the Bebop series on the list. The mainline show missed out on qualifying over a technicality of airing a few years prior (despite the franchise airing in the United States within the appropriate timeframe). However, Knockin\u2019 on Heaven\u2019s Door<\/em> manages to capture the fun (albeit slightly melancholy) spirit of Cowboy Bebop perfectly, making it a suitable proxy on this list. Great action sequences full of physical comedy gags at the convenience store robbery or a fantastic dogfight scene over a smooth jazz soundtrack \u2013 that\u2019s what Bebop is about. The melancholy comes out in the larger villain\u2019s story and vague social commentary on society as a whole \u2013 it\u2019s that hint of tonal sourness that makes the Bebop convocation work so perfectly. While this standalone story doesn\u2019t really affect the main series\u2019 universe, you still get to spend time with these characters (Ed especially) \u2013 and I really can\u2019t complain about that. Cowboy Bebop<\/em> the show may not have a trophy from this list, but we can award one to its relative for all the same reasons that make both great.<\/p>\n Armitage:<\/b><\/span> Honey & Clover<\/em> is my favorite anime. It is the one show I rewatch every year, as the leaves of fall start to turn ash grey. It is my comfort on days I feel lonesome. It is my cup of hot chocolate in December. It is my marshmallows and candy canes. It also breaks my heart every time I return to it, in all the same places. The thing is, I have never found it easy to make friends. I try my best to feign smiles, to start conversations. I\u2019m always the one waiting for the others to join me so we can walk home together, even though they mostly just talk amongst themselves. I\u2019ve tried, I\u2019ve really tried, to keep people from slipping away. But eventually, everyone turns to sand. The cast of characters in Honey & Clover<\/em> truly represent what I have always desired in my life. They are all flawed people, who make mistakes and stumble and fall while running after things they can never have. Sometimes, they end up making empty promises that don\u2019t come true. But no matter what, they make sure to take care of each other and share bonds that feel genuine, celebrating each other\u2019s successes and lifting them up in moments of defeat. They goof around and hang out, sometimes fight, and often end up misinterpreting each other. But they never drift apart for good. They never give up on each other. I\u2019ve never had a group of friends like that. But for a few hours each year, it really feels like I do.<\/p>\nAidan:<\/b><\/span> The Garden of Sinners
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/HM.-Garden-of-Sinners-2000s.jpg\")
<\/h2>\nMario:<\/b><\/span> Aoi Hana
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/HM.-Aoi-Hana-2000s.jpg\")
<\/h2>\nLenlo:<\/b><\/span> Noein: To Your Other Self
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/HM.-Noein-2000s.jpeg\")
<\/h2>\nWooper:<\/b><\/span> Kemonozume
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/HM.-Kemonozume-2000s.jpg\")
<\/h2>\nArmitage:<\/b><\/span> Darker Than Black
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/HM.-Darker-Than-Black-2000s.jpeg\")
<\/h2>\n#50: Soul Eater
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/50.-Soul-Eater-2000s.jpg\")
<\/h2>\n#49: .hack\/\/Sign
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/49.-hack-sign-2000s.jpg\")
<\/h2>\n#48: Mononoke
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/48.-Mononoke-2000s-1024x406.jpg\")
<\/h2>\n#47: Azumanga Daioh
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/47.-Azumanga-Daioh-2000s-1024x457.jpg\")
<\/h2>\n#46: Higurashi: When They Cry
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<\/h2>\n#45: Paprika
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<\/h2>\n#44: Emma: A Victorian Romance
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<\/h2>\n#43: One Outs
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<\/h2>\n#42: Aria the Animation
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/42.-Aria-the-Animation-2000s-1024x384.jpg\")
<\/h2>\n#41: 5 Centimeters per Second
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/41.-5-Centimeters-per-Second-2000s-1024x480.jpg\")
<\/h2>\n#40: Kaiba
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/40.-Kaiba-2000s-1024x472.jpg\")
<\/h2>\n#39: Mind Game
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/39.-Mind-Game-2000s-1024x467.jpg\")
<\/h2>\n#38: Millennium Actress
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<\/h2>\n#37: Vampire Hunter D: Bloodlust
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<\/h2>\nlike me<\/s>). The 21st century\u2019s most popular piece of vampire media portrays them to be sparkly, baseball-playing pretty boys. And that couldn\u2019t be any further from what the original iteration was intended to be. In Gothic literature (no, wait! don\u2019t leave), the figure of the vampire was intended to be an embodiment of forbidden desires and suppressed immorality. They were to be feared in the same way that you fear your friends and family discovering the Wattpad fan-fiction account you used to update (daily) a decade ago. And somewhere along the 150 or so years between Le Fanu\u2019s Carmilla<\/em> and The Vampire Diaries<\/em>, that image got muddled. But I guess Vampire Hunter D: Bloodlust<\/em> didn\u2019t get the memo. This is a film overflowing with painterly Gothic imagery: misty landscapes with silhouettes afar of crumbling castles and dilapidated ruins, a foreboding moon that hangs above inky clouds, dingy alleyways, and sublime skies. It\u2019s all here. And so too is the sorrow. Of an existence unwanted. Of a life lived at a remove from normalcy. The tragedy of forever trying and failing to fit in, and the solitude that often accompanies the acceptance that you never can. As Jason Isbell\u2019s If We Were Vampires<\/em> goes, \u201cMaybe time running out is a gift, I\u2019ll work hard \u2019til the end of my shift. And give you every second I can find. Hope it isn\u2019t me who\u2019s left behind.\u201d<\/p>\n#36: Princess Tutu
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/36.-Princess-Tutu-2000s-1024x499.jpg\")
<\/h2>\n#35: Natsume\u2019s Book of Friends
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/35.-Natsumes-Book-of-Friends-2000s-1024x410.jpeg\")
<\/h2>\n#34: Wolf\u2019s Rain
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/34.-Wolfs-Rain-2000s-1024x512.jpg\")
<\/h2>\n#33: Code Geass
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/33.-Code-Geass-2000s-1024x400.jpg\")
<\/h2>\n#32: Howl\u2019s Moving Castle
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/32.-Howls-Moving-Castle-2000s-1024x379.jpg\")
<\/h2>\n#31: Clannad: After Story
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/31.-Clannad-After-Story-2000s-1024x490.png\")
<\/h2>\n#30: Texhnolyze
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/30.-Texhnolyze-2000s-1024x460.jpeg\")
<\/h2>\n#29: Hikaru no Go
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/29.-Hikaru-no-Go-2000s-1024x393.jpg\")
<\/h2>\n#28: Moribito: Guardian of the Spirit
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/28.-Moribito-2000s.jpg\")
<\/h2>\n#27: Great Teacher Onizuka
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/27.-Great-Teacher-Onizuka-2000s.jpg\")
<\/h2>\n#26: Toradora
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/26.-Toradora-2000s.jpg\")
<\/h2>\n#25: Paranoia Agent
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/25.-Paranoia-Agent-2000s-1024x534.jpg\")
<\/h2>\n#24: Cowboy Bebop: Knockin\u2019 on Heaven\u2019s Door
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/24.-Cowboy-Bebop-Movie-2000s.jpeg\")
<\/h2>\n#23: Honey & Clover
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/23.-Honey-Clover-2000s.jpg\")
<\/h2>\n#22: Kaiji: Ultimate Survivor
![\"\"](\"https:\/\/starcrossedanime.com\/wp-content\/uploads\/2025\/12\/22.-Kaiji-Ultimate-Survivor-2000s-1024x442.jpg\")
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