Total Recommendations: 64
Humor from misunderstandings, bizarre fluctuations of physics, and cheesy character coloring? Fun characters despite the inability to take anyone (or anything) seriously for too long? Occasional doses of silly action and sweet hearty moments? 20 year difference and a sense of plot/conclusion notwithstanding, the laugh ratio is equally high for both.
Dark environs filled with dull lifelessness, littered with broken technologies born from piteous futures? Overwhelmed characters that struggle to find their hope because that's all that remains? Journeys = Destinations? Themes and stories emitting plenty of somberness but nothing overtly sappy or melodramatic? Aside from robot protags, Casshern Sins is another splendid lovely lonely neo-noir trek across Earth's corpse not unlike DT Eightron.
Both, in theory, are excellent science fiction stories employing a lot of common and popular themes in other fiction and apply them modernly and enjoyably.
The character designs in both series ironically are template based; everyone looks basically the same. They have great OP and END that are too good for their art and music, and have forgettable casts.
Only the stories are really what matter...
...except Fractale doesn't use it's themes good enough relying on fluff, bad mixture of pointless lighthearted antics, and dark violence, and is basically a disappointment.
Zegapain, on the other hand, may waste a few episodes, but in sacrificing means for more enjoyment, it increases the story's potential creating a science fiction classic. No action-y cop out ending here!
Both series are more than capable of offering a multitude of bizarre situations complete with their own purpose without ever losing their entertainment or depth value.
Coupled with this, they employ a wonderful, sensational art style that directly contrasts the show.
Few psychological shows, let alone anime, are this entertaining and this good!
Kuuchuu doesn't exactly have an overall narrative like Tatami Galaxy, but it has subtleties that infer that certain events are connected.
Tatami's stories are culminating. As such, it gambles it all on it's final point.
Both have powerful stories about the human power to survive, as well as to show how small they are to wield such power.
Inspiring and enjoyable, each are rather bold sci-fi made at times where such sci-fi was warmly welcomed.
Age rating aside, both are similar because of their ability to downplay the existence of humans... but also show how resilient they are too.
Shingu is a kids' show, has more episodes, and has a little more world development. It's intensity is also lower, but it's interest factor is not.
Gunbuster is both a pander, tribute, and an expansion to it's target audience. It makes use of it's episodes more, and has a more embracing ending, but it's range to entertain is quite limited too.
Both were created by the same person, and make use of the same humor, characterization, and treat the genre of sci-fi rather differently from it's anime peers.
Both are largely kids' series, as the plots, and pacing are rather slow and inviting.
Also, both plots do tend to get muddled with excessive elements and twists making their characters and messages convoluted to the point where the enjoyment factor gets seriously dragged down.
Very safe shows all in all, but they wear themselves out.
Both are fantasy epics that have superb world creations and equally compelling central plots that're both uniformly affecting, and "off the charts" entertaining.
Both are maturely written, have a great cast of varied, and atypical people that often ponder and adapt to newer developments. Never do these developments detract the message, but always are they interesting and enticing.
Both have amazing technical values that are still beautiful to this day, with equally beautiful soundtracks that match their atmosphere's 100% to the T.
If nothing else, these two are some of the finest in anime period.
Moribito is a little more adult oriented as tweens are less likely to embrace it as FMA's shonen background might.
Moribito is also much more refined in it's art.
Fullmetal Alchemist is longer, with more subplots(but that doesn't detract anything).
Both are kids anime, and are both some of the better of it's kind. Both are essentially mecha(though Shingu's "robot" is a rather light theme), but being good shows place characters and their hardships first.
The best thing that can be said about them is that, for being what they are, they're much more accessible. Which is a very good thing to me.
Also, both have "better than norm" art, and great soundtracks by two seasoned vets.
Gear Fighter is much more action oriented, while Shingu is more slice-of-life.
Gear Fighter is old-fashioned. Shingu is witty, more charming, and laidback.
Both are fairly standard stories executed FAR better and without many of the weaknesses most modern series possess.
While both series already have a scent of being "different" from the get-go, it isn't really touched upon until the final stages of the show.
Genres, lack of depth, and true coordination aside, these are some of the most enjoyable animes one can experience without any strings attached.
Oh, and they're not for those who can't tolerate blood and gore(especially When They Cry!).
Utawarerumono is a fantasy that, while based on a video game, bears NO weaknesses of similar adaptions.
When They Cry is based on a visual novel and uses a more extreme and puzzling storytelling method than most series do. Despite that, or rather because of it, it's even more alluring and fascinating than most animes in general.
Genres and turn of events aside, both share a plot device which, inadvertently, fuel the next steps.
And that would be setbacks. How both series have goals that are wholly attainable given their power and responsibility, but... fall prey to circumstances that no one could have predicted, controlled, or changed.
Seeing that both of their stories were radically altered due to such... a simple occurrence both directly and indirectly showcases both of their ingeniousness when it comes to writing.
Phantom is, outwardly, an assassin show, internally, a serious estranged human one. It's a bit slower, a bit harder to start, even harder to like, but is something that is engrossing all the same.
It's an unusual take on something that is usually cookie-cutter.
Eva 2.0 is just one VERY tasteful piece of something more. It's a rehash, yes, but it's also rethinking it's previous life(the TV ver.), and making more points that are both, more easy to understand, and doubly more horrifying.
For a fan of anime, or even just animation, it's a must-see.
Both are, essentially, yuri. Both have heroines who are best of friends, and openly explains how such events take place.
The personalities of the heroines two are identical; one is sophisticated, talented, different, and the other is closeted, pretty, but otherwise normal.
The majority of the show is donated to flesh out their predicaments only for them to come back to their bond.
Both look good, and sound fine. Both could be enjoyed fairly well by non-yuri fans.
Revolutionary Girl Utena, is more "revolutionary" than Miko. It discusses a handful of social topics, some normal, some not.
Many of them are channeled outward into "battle of wills", which are portrayed as simple sword attacks.
The show's complexity reaches a point where it'll remind people of NGE, or another equally "batshit" crazy show
In comparison, Miko's synopsis comes off a bit weak. The symbolism is there, but it's symbol is a turn off. If one is able to make peace with such elements, then primary story can still take it's course, and leave you quite satisfied.
Both have "Freedom Fighter" casts in that they're fighting to change the world but also reject the powers that be also. Both have an enigmatic, mysterious figure who knows more than they let on, and serve to directly and indirectly teach the young heroes what to do. Both are surprisingly well written given their genres and synopses.
Pacing, enjoyment, characters, and overall shows are better than the norm.
Gundam X i s bit more lighthearted in tone, atmosphere, and destination. There's a primary romance in Gundam X, and it's one side of the story.
Last Exile is something of an experiment of animation, as it employs near 100% CG. It's still, to this day, one of the most beautiful works of animation. The story mixes things with symbolism a bit, which may or may not come off as muddled.
The ending is also, an acquired taste.
Both main casts are "Freedom Fighters" in a sense that they're a small group of well talented people that strive to bring change by repelling the powers that be.
Both series have a plucky, headstrong hero who falls head over heels in love with an emotionally aloof, but super strong-willed girl. Their love is but one part of the series' entire purpose, but are perfect examples of non-gimmicky innocent romance.
Both are above-average mecha series that don't exactly focus on the mecha. Both are paced EXCEEDINGLY well, and are very well written.
After War Gundam X was cut short from it's broadcast run(although... that part doesn't subtract it's goodness), so you may feel a bit saddened by what "could've been". It's mecha fights, whilst not bad, aren't in the same league with Eureka 7. The romance here isn't as potent here either.
Eureka Seven's romance is a bit more prominent since it goes hand-in-hand with it's other story. Likewise the romance progresses faster, with more extremity, and with more daring choices. The mecha sequences are some of the most smoothest, most inspirational ones you'll see around!
Both main characters have a goal in mind, but require them to involve themselves with several conflicting, often similar, viewpoints/destinations. Both main characters ironically share some sort of connection, and develop a bond that allows them to neither hate, nor idolize their counterpart. The result, is two of the more fascinating and intelligent action chanbara animes out right now.
Both have a wonderful composer at their disposal, who creates some funky, and out-of-era, but more-often-than-not a splendid score.
Blade of the Immortal's only real weakness is that it's forced episode count(presumably due to it's lateness and it's time of making), lowers the ability to appreciate it's differential success. Other than that, very little can prevent people to enjoy this. Still... that statement will vary to some.
Katanagatari is a bit more bold with it's existence. Being aired once a month is definitely a flag in of itself. Also, the it's uncanny ability to mix it's individual episodic story with it's own actual story. Many will be taken in more with it's entrepreneurial art and it's interesting dialogue byplay. However... all of these really mean is that the series is far more intelligent and study than your average action period drama.
Both have over-analytic protagonists who often reads FAR too much into what he's doing, perceiving, thinking, and/or deciding. Both take things a little too easy for comfort as the circumstances are HARDLY.... easy. Both of their plots are similar in nature to recognize, yet are QUITE different from, not just each other, but from others in general. Both are a blast and a fun, fun ride.
And both have some strangely interesting art.
Tatami Galaxy doesn't just have humor, it mixes it cleverly, yet still noticeably with it's own masterpiece of a plot. The character cast is SIGNIFICANTLY smaller than Zetsubou's. The main character is naive in nature, in contrast to Zetsubou's. The animation is also a touch higher too. Also(but this is fairly obvious), it's shorter and with no sequels.... as of yet.
Sayonara Zetsubou-Sensei is a black comedy satire that pokes fun at almost anything and everything primarily because the main character in a mercilessly, yet hilarious light! The cast is, surprisingly, huger than many people would think. And while many of them have enough personality, they're often played for gags. And there's no overlying plot.
Similar in humor and ease of enjoyment. One does not need to watch much anime to get either. Both use what's commonly known in the world, as well as their own situations/characters/circumstances for humor. Both also mix humor and drama far more successfully than most do now. Both also don't use standard anime fare for supplementary attraction(moe, excessive fanservice, annoying antics, etc)
Each of their core messages are quite mysterious, both in "where they go", and what it means.
And both are a little obscure.
The Tatami Galaxy gets more and more intricate with it's core message. In a practical sense, Tatami's message is FAR more important and critical than Edo Rockets. Despite the gravity of the message, however, it never get's burdensome and it lights up on the enjoyment factor.
Oh! Edo Rocket is mostly mysterious in what it's trying to do, rather than just being strictly mysterious. The character cast is vast in it's usage and it's development. The humor is a bit more EXTREME, yet still witty and resourceful. The drama leans more towards romanticism(fulfilling dreams, putting aside differences, what one should keep in mind).
Both are series that aren't necessarily parodies or strict satire. The Tatami Galaxy takes on an extremely mysterious and reflecting tale of "possibilities". Bakemonogatari mixes some mild to heavy predicaments with supernatural folklore to help enhance/clarify the significance of said issues.
Both have strange, eclectic, abstract art that will undoubtedly impress those with it's usage. Both have and make use of some fine music, but... are paled in comparison to their OPs and ENDs.
Both are quite new, and both set the bar for enjoyment too, as the dialogue and insightful observations will cease to amaze.
The Tatami Galaxy's novelty, manner of storytelling, and overlaying mystery is SOO fresh, so enticing, and SOOOOO rewarding that one cannot label it any other name except "classic".
Of course, one needs to see a few anime "brain tickles" first. But, it should work well either way.
Bakemonogatari's atmosphere is supplemented with standard anime fare, which will sit well with others, but might dampen the blow on some of the content the show has. Still, it's characters' are a bit more colorful than Tatami's, yet the topic's mixture with supernatural isn't so well done on some occasions. The ending also won't please some.
Both are series that have a LARGE, and more complex universe, that... really only serves to accent/fuel the actual purpose of the series: The unbreakable bonds formed through identical circumstances.
Both also have some fine art and have a legendary composer(ironically, both composers are primarily known for one or two specific series).
They both start off with simply creating their own peculiar aura as well as setting up their own way of life. It isn't until later when those commonalities serve more as an obstacle than a stimulant.
They both have wonderfully sweet casts.
Sora no Woto's world is touched upon more than Haibane's. Less mystery in that department. Still, character mystery, in addition to secondhand character growth is present. Complementary enjoyable side stories are here too. Admittedly, the topic is a bit darker.
Haibane's world serves as one BIG allegory or theory. Nothing is really answered about those things as they serve to assist with the character's ensuing destinies. The powers that be all also a bit more in control, though with better, purer intentions. Haibane's soundtrack is also more of a home-run than Sora's. Lastly, Haibane's functionality is sooo differently well done that it earns the title of "classic".
Same director, same "epic, fantasy" feel, with good, if not great, pacing, and has some of the better visuals that Gonzo made.
While there are some genre and demographic differences, the same fantastic setting is present within both. Also the main character looks alike and behaves the same somewhat.
Brave Story is a kids' movie and... while not the most DEEP kids' movie around(this ain't no Miyazaki!), it's a blast and is BEAUTIFUL. The characters though are weak as twigs, the message's worth is nullified, and... adults probably won't think so highly of this.
Tower of Druaga has a sequel, is a TV series, is targeted towards general audiences of anime, and is... VERY, very funny! The characters here are more memorable, get along with a "naturalistic" feel to it. Oh, and it has a dub.'
Truthfully, Only Yesterday's main character and moral greatly resembles a supporting(some would call main, including me) character from Welcome to the NHK!.
Both have a past that directly and indirectly lead up to where they are now.
Both characters seem to not be SOOOO greatly affected by their past struggles, but... in reality, realize that it's been a part of them the entire time...
I consider both a MUST-see to all and every who love their slice-of-life stories to be a bit... heavier in topic.
Of course.... people who've exp. similar circumstances might appreciate these stories even more! Which is a plus!!!
OY is.... a bit more audience friendly, which is saying a lot since NHK is practically rated R.
Aside from content though, the OY is quite straightforward. It's purpose becoming more and more prominent throughout the movie. It's not necessarily... a universal topic, i.e. something that everyone's familiar with, but... it's treated with more intent of an eye-opener than NHK is. Ironically... the lead wishes to be where NHK's character doesn't!
Heavy in multiple themes and with a wide array in disturbing content, NHK beats OY as a psychological study, in ADDITION to being having a similar story as OY.
The resembling character used a deterrent inside of directly persevering, which leads to him becoming more in denial than the lead of OY. His story shares a similar run, including his end.... and his epilogue.
Both.... feature their leads' experience a rather troubling time throughout their own lives...
In a way, the combined viewpoints of the lead from Only Yesterday, directly corresponds with BOTH heroines from Asatte.
The primary theme IS how their childhood directly and indirectly affected their present day AND their views. This, obviously, means that their childhood wasn't exactly privileged, winsome, or specifically grand in any particular way. The only REAL spectacular thing they've had was their own raw determination.
Unfortunately..... only those who've exp. such things firsthand(or secondhand) will most likely appreciate these stories 100%
Only Yesterday was composed by MASTER director Isao Takahata.
....which is proof enough to watch already...
In addition, OY doesn't is strictly slice-of-life. I say this because, Asatte DOES contain a "tiny" little supernatural element to catalyst the beginning. I say this ONLY to give those a means of preference; both series do VERY well what they intend to do... regardless of their methods.
Asatte, as per mentioned above, HAS a fantasy element that kicks the story into gear. Also, this series has an additional theme, that being to appreciate, cherish, respect and "learn" from being an adult/child. This additional theme IS, admittedly, present in OY, but featured a bit more.... prominently here.
Both have a peppy, healthy boys who have a strong passion that's rivaled by few. Unfortunately, outward forces prevent them from doing as they please.... or even what's considered the norm!
However.... a female visitor(for one it's an intruder) comes into their lives and eventually becomes the sole(much to both of their chagrins) reason to doing what they want to do. Obviously, this means romance.
Interestingly enough, both end similar in that they're QUITE different from what the initial beginning impression would leave. And.... they're both HIGHLY satisfying, and quite fulfilling.
Edo Rocket has TONS and LOADS of tasteful humor that, instead of relying on "otaku-centric" uses their own universe for it. This.... makes the first few eps, a bit dry. Later eps will have you throwing fits! What's so brilliant about this humor is that it NEVER screws up the dramatic parts, nor does it lightly interfere. Also, the heroine is slightly different in that she's not a "social/emotional bumpkin" and has great fun with the cast. But... her attraction to the hero is HIGHLY similar.
Eureka Seven has.... mecha. Which, could be a plus or minus for some. The hero isn't.... AS lively or spirited as the hero from Edo, but shares the same drive and commitment. His powers to accomplish his mission is limited at first, but grows steadily. The heroine grows the most out of ALL the characters, which... might sound painful but makes a HUGE pay-off.
Romantically, Eureka Seven's power is rivaled by few, but development-wise, Edo Rocket greatly resembles it.
Resembles in more ways than one...!
Besides it "mixing" a few impossibilities along with practical issues, as well as coupling that with a grounded base desire to see things through.... some things are just a "bit" different.
Written by the same person who, ironically, wrote Gurren Lagann(who, believe it or not, wrote THIS story YEARS before TTGL!!!), you can expect to find the same crazy character antic-y humor, some occasionally sweet action scenes. Loads and LOADS of great humor. And a rather deep, profound message.
Put simply, if you're fans of GL(and... who isn't???), check this series out.
Edo Rocket is a bit more humor oriented. The humor is unique in that it relies on the behavior and "character" of it's characters' instead of spoofing or using otaku humor.
Screenplay and script written by the same man who did Twelve Kingdoms and FMA(first), you can expect a near-PERFECT blend of humor and drama that never disrupts the other! It also has a heartwarming, enveloping ending that will leave people happy and sad.
GL, being a mecha show, and a bombarding one at that, has MORE action than most would care to admit. Still.... half of the genius is what and "how" it all comes together. While the overall concept isn't, entirely.... original, it's inspiring, and blood-pumping, exciting.
Both accomplish only what they want to, and only enough to leave an impression.
They aren't necessarily related in terms of genres, but they have the same level of doing their own thing and doing it successfully.
Cutting edge animation, interesting universe, a dash of intriguing characters...
KnK 1 furthers it's story with sequels, but even without them, it tells a deep story offering a surprising outlook on something usually considered abhorred.
Cencoroll doesn't really have a message, but that doesn't mean it stands just to be known as "experimental animation" and nothing more. No sequels are known, but... it doesn't obliterate the possibility...
Both have protagonists who undergo events(many of those events are unclear at first), which coerces them to change themselves radically to, both survive, and achieve their goal(s).
Both stories are quite mysterious in the beginning, but become clearer through clever, and acceptable explanations. The twists all come fruition during the climax.
Both have great art(more so leaning towards Kara), and relatively captivating soundtracks.
KnK 4's central mystery directly relates to it's prequels and doesn't answer anything other than that... KnK 4 shows how the lead gets to where she is, throughout the majority of the overall plot, but doesn't describe much else.
Eureka Seven's development of character is a primary, but not the only focal point. Also the events revolving around the plot, are explained wholesomely, but still haphazardly.
The main leads are unexpectedly thrusted into a predicament that radically alters their being and sense of self throughout the story.
In both cases, the lead had a COMPLETELY different lifestyle that, while not perfect, was something they were, near-constantly, desiring during the story.
However... the lead(s) go through a self-journey to realize the changes and to make peace with them. Resulting in remarkable and inspiring developments.
Both are also bloody, gory, violent, and look and sound PHENOMENAL.
KnK 4 is part of a chain of movies that, while entertaining by itself, should be watched in order to get maximum comprehension. The aspects and plotline however, greatly correspond to Blue Gender's main character's journey.
Blue Gender, in addition to many more themes, deals with the hero's struggles to adapt, and comprehend with whats going on. His disposition virtually changes, but, like KnK 4, his primary existence remains...
Character lead byplay is quite similar. Both in it's mysterious realism and in it's reflection of true character personalities that conflict with the events happening during the story.
i.e. The strength of the heroes are shown quite well through their actions.
The leads' bonding are only the tip of the iceberg, as many other things are going on...
Both also have a unique aura about them, an aura that seems to symbolize the enigmatic qualities.
Both are well made, sound beautiful, are performed by talented seiyus, and have a "more than what it seems..." plotline.
Knk 2 is part of a chain of movies. Therefore, the detail is extremely high-class. And the movie here, closely watches the two leads get closer...
Bakemonogatari's primary heroine's are similar in that they have past burdens that hamper their current happiness. The hero's presence alone solves the majority of the problems, but... not all.
Bakemonogatari's story isn't exactly a complete one, but it manages to finish it's portrait.
Both focus on a deep, more-powerful-than-standard-romance, bond that shows how such a bond can exist and comes into existence.
Both stories are more than it seems to be and both betray all expectations in terms of delivery, payoff, and order-of-events.
The leads have VERY similar personalities, and go through VERY similar circumstances...
They both also have state-of-the-art art/animation, and have an outstanding musical score.
They're both extremely good, even to those who would not care for such things.
KnK 2 is part of a movie series and, therefore, is one piece of an intricate plot.
Being that it IS a movie, the technical values are "slightly" higher than Elfen's.
Elfen Lied shares only the specified aspects mentioned above with KnK 2, and besides those parts, has many more themes pertaining to critical parts of the human psyche, as well as terrific horror sequences topped off with some of the grittiest violence/gore, and the juiciest of fanservice.
Both have a relentless atmosphere about them that hardly ever gives off the impression of joy.
Both stories are, in essence, about humanity. Granted, in two, totally, different situations.
Despite this, they are quite addicting, have a nice and well-rounded cast of characters, have AMAZING art and music. And stand out as truly unique.
But... they not for everyone as they're both highly mature and graphic, and deal with topics that aren't suitable for those who like "4 lumps of sugar instead of black...".
Oh, and they're both slow starters.
Phantom deals with the psyches of killers. It has a better, more detailed, beginning than Tex, and the cast of characters are smaller. It's also a subtle romance too. Has a very special bond that supports and contrasts to said romance, giving hope.
Tex is... more of a psychological than anything else. Has a CRAZY beginning that slowly, and steadily, makes sense. Unlike Phantom, the tone is heavy throughout, never giving an impression hope but a single question: What will happen?
Both mix very good music with some very stylish action sequences. Both are episodic and don't really have an interconnecting story, and both were dubbed amazingly well.
As each episode tells its own story, some of them can be quite emotional, and some can be better than others.
But they both have graphic content, have elements that are targeted towards Americans, and are fun to watch now and then.
009 has more of a 007 approach to the stories, as many of the episodes reference the Cold War, deal with multiple countries, and feel a bit old fashioned. It also has a lower episode count, which could hamper the mileage of enjoyment
Cowboy Bebop has qualities that place it in the traditional sci-fi genre, making it easy to enjoy no matter how many times one watches it. It also has self-contained character stories, but they're anything but innovative. Unlike 009, Cowboy Bebop also has an abundance of insert songs which makes it's overall musical score stand out more.
Both have that spy-fiction feel that reminds us of James Bond. To support that feel, they both have creative character designs; some good to look at and some ugly as sin.
They also have very good music composers who make those action scenes as groovy and smooth as a sarsaparilla(it's a rare drink, but it's good!)
They're basically moody shows, that are easy to take in, since they have American characteristics.
Big O has mecha, has an overarching story, has much better animation despite it's age, and has a strong message.
009-1 is orchestrated in a stand-alone manner, making it a bit harder to enjoy. It's character designs are also a little harder to swallow. And it also contains graphic content.
Both have the most innocent of romances you're bound to find in any anime. And both develop said romances with such fluidity and patience that it almost comes off as plausible... if they didn't have their own unique-ness about them...
They also have good, but not great, production values but have very memorable lead characters.
Midori Days has a weird fantasy gimmick to help accent both the romance story and the romacne development.
Itazura na Kiss has the difference in intelligence as the unique element. It also comes off as more natural (duh).
Both focus more on the core message, topic on hand, or themes present than the actual story and it's development.
Therefore, the endings don't conclude the scenarios, rather they illustrate how affecting their messages are towards real life and how special they apply to their own circumstances. They both contain capable romances, that have touches of impossiblility strewn within.
And both have sublime musical scores.
Zaion doesn't completely capture viewers with it's short time, but it does allow you to see how hard the characters tried to accomplish against odds that overwhelm them. The romance is orchestrated passably but with the feeling of underachievment, and it's last few moments aren't so memorable.
Elfen Lied wields it's messages brilliantly and effortlessly, stringing together multiple harsh human themes into it's thrilling and horrifying story. The romance is extremely memorable, and it's final moments leave you with hope.
Both give off different vibes than initially apparent. The vagueness of both these series slowly but surely gets light shed upon them creating unparalled plot twists, creating an adventure never thought to be concieved based on the first impression.
Both employ reincarnation and past lives ingeniously.
Air is shorter, more moe-oriented, a bit easier to take in, but has a HUGE emotional impact at the end. It's also dubbed better.
Fantastic Children's story is galactic size, the mystery is stretched out to the halfpoint, but it's plot is easier to understand as a whole.
Both have the same bleakness that never completely destroys the enjoyment factor but it doesn't allow viewers to drop their guard either. Both are all too true tales of war and the effects it has on poeple and children.
However, the war itself is not the primary focus. Rather, it depicts it's heroes' journeys to perservere through it all in search of hope. Both are powerfully emotional, expertly written, and are classics in anime.
Fireflies is a decade older than Now and Then, uses a real war, and is more likely to steal a few tears away from you.
Now and Then is a sci-fi series, has a more distinguished cast (which in turn creates more reason for sadness), ends slightly better but it's overall potency of a tearjerker remains.
Both tell amazingly realistic stories of romance by using raw emotions as tools rather than developments. (i.e. melodrama)
Therefore, the characters share one glaring and, potentially, enjoyment-killing flaw: They are very off-putting due to incompetant decision making. Melodrama does not allow direct growth in it's people as a trade-off.
Enjoyable because of curiosity, but, all-in-all, they're hit-or-miss exp.
Kimi ga Nozumu Eien (a.k.a. Rumbling Hearts) utilizes a true tradegy to excuse it's effective melodrama. The characters attempt to grow, but dwindle due to, again, all too real circumstances.
True Tears uses childhood friends, familial bonds, and the understanding of sadness/happiness. There's quite a lot of love triangles here, but are rarely boggled down. Characters' misunderstandings combined with excessive (but understandable) responses ensue the melodrama. Harder to take in, as the circumstances are less likely to occur.
Both feature characters who have conflicting, often painful, thoughts about their love lives.
The romances themselves also feature hardships that would otherwise break someone into pieces if not properly taken care of. Here however, they're used to grow into people necessary to achieve what they want, even if it could be more trouble than it's worth.
True Tears uses tears and the reason for crying as some sort of idealogy. Multiple main characters have some cross to bear. Romances are handled with appropiate writing.
Koi Kaze is an incest story, using that to create one of the best romance stories I've ever seen. Writing is so tight and emotional, it's almost scary.
Both feature remarkable slice-of-life stories that are both written effortlessly, and are surprisingly addicting lacking every fan-factor necessary for a typical anime.
They also have some really great characters, dialouge, humor, and have some of the best romance stories that anime can offer.
Cross Game has sports elements that accent the slice-of-life features rather than dominate them. Themes of loss, tradegy, grudges, loyalty, and moving on are present. A bit slower paced than Kodomo, but there's never a boring moment.
Kodomo is twice the length of Cross Game, has MUCH more zany humor than Cross Game, borderlining on insanity at times! Themes of social separation, difference of growing up, and nurture vs. nature are present.
Both feature genius' who fight primarily with their minds and the use of psychological warfare. Both shows tend to focus on the lead opponents and, therefore, treat other characters like supporting ones.
The opponents also stand for different morals/beliefs and winning or losing means EVERYTHING.
Death Note tends to cheapen human worth exchange for very addicting storytelling.
Galactic Heroes takes a more natural approach to it's story, emphasizing on outcomes, what each side fights for; and HOW they can fight for it.
It takes it's time developing situations, doesn't use otherworldly elements as an additive, and contains a very human soul.
Both feature characters seeking salvation, unaware of what entails from searching for it. The main characters themselves have problems that are linked to what they want.
Both have high production values, have intense emotional scenes, strong moral messages, and have a harsh atmosphere.
Wolf's Rain has a much more adventurous feel to it, has an infinitely better musical score, more relatable characters, and is generally easier to enjoy.
Casshern Sins has more mystery woven into it, characters that develop more distinctively, a slightly better moral message, but it's a little harsher in presentation.
Both feature stand-alone episodes that discuss life in a symbolic, metaphorical manner.
They are both legends in anime and are powerfully written.
Galaxy Express is very old, yet it's stories are still quite fresh. Has an overarching story that ends, and it's significantly longer.
Kino dicusses more about humanity and their endeavors than anything else. Most of the episodes' tones are heavy and largely depressing.
Both take place in a bleak, unforgiving future full of people who focus on survival, or at the very least getting power.
They are both made by the same studio, have their plotlines mixed with some stand-alone stories, and have similar protagonists in that they seek redemption from their past and are cursed to bring strife wherever they go...
Trigun balances it's oppression with witty, silly humor and combines it with it's forlorn story.
Casshern is more straightforward with it's atmosphere, keeping the tone heavy.
Both have VERY similiar protagonists, in that they are unwilling to do what they're meant to do, even though they have great potential.
Both are great looking series produced with amazing 2D animation. Emotional, touching, and psychological.
NGE has mecha, has a more layered and completed plot, has a symbolic ending, and is more mainstream and popular
Alien Nine only tells half the story, has a more honest approach with it's cast, subtly creepier, and is cuter.
Both are helmed by legendary director/creator Ryousuke Takahashi, both have exquisite animation and feature mecha.
The Mecha genre is treated more of a way to connect into the soldiers minds directly, than being used in awesome cool fight scenes(though that happens too!)
FLAG is significantly realistic in setting, tactics used, and storytelling.
Blue Gender has sc-fi aspects that blend into it's story. It also contains explicit content.
Both were made by the same studio, directed by the same director, take place in space, and focus heavily on the psyches of the characters and their situations. They both deal with realistic themes such as politics, social status, and places in life.
Ryvius is far more intense with the characters' emotions and direction. It doesn't involve it's outward story as much, and it's beginning is more interlocked.
Planetes is easier to take in, being that it's cast are adults. It starts out with stand-alone structure to introduce it's world, and ends more with finality.
Both are INTENSE space operas that focus more on the characters and their situations than the battles or anything else.
Both were made without intending to market, and both are wonderfully different and original
Ryvius is shorter, paced a bit slower, and has mecha.
Galactic Heroes has a more epic feel, with a huge long plot that spans out across a huge plane of space.
Both are EXTREMELY depressing but potent romance series. They each have very human characters and stories, and have factors too.
Kimi's circumstance would probably happen more frequently in reality. It also is much more bitter than sweet.
Koi Kaze's theme is much more serious and is handled that much more seriously. However, it is a bit easier to watch, and ends much, much better.
Both take place in a bleak, unrelenting future. Both have some interesting characters, are very well animated, and both are heavy psychological.
Texhnolyze is a little more depressing, has a very depressing tone, and... doesn't end well...
Ergo has much more approachable characters, has points of humor, and is easier to enjoy.
Both have a, for the most part, a stand alone plot structure. Have a surprisingly unique and fresh cast of characters. Are easy to watch/enjoy, and hardly ever get boring.
And they both have leads that care MUCH more than they let on...
Gintama parodies multiple cultures, stereotypes, and doesn't take itself too seriously.
Cowboy Bebop has a breathtaking approach to it's stories, is subtly funny, and ambigously ends.
Both are great pieces of fantasy anime, and have their respective awesome moments that pertain to magic and the like...
Both are also the same length.
Druaga is significantly funnier, easier to watch/relax, has a great dub, and a surprisingly twisty plot twist.
Lodoss takes itself far more seriously, for better or worse. Has a lackluster dub, at times, a much better art design(for it's time), and concludes itself (albeit in a incomplete fashion).
Both take place primarily in aquatic environments. They both have compelling casts, a sweet innocent romance element, and are classics in anime.
Conan is shorter, has a more open message on the environment, a little more comical, and is shorter.
Nadia has a more down to earth feeling, has a slightly stronger heroine, a grander scheme of a plot, and a terrible filler arc.
Both take place in a desolate future, with limited resources and not many humans.
Both are also classics in anime, and they each have legendary staffs at their helms.
Now and Then is much more bleak, has harsh and often graphic themes, emotional, morally plentiful, and is shorter.
Conan is more uplifting, comical, adventurous, older, longer, and easier to enjoy.
Both have intense combat sequences that aren't just limited to hand-to-hand.
While Cowboy Bebop's actual plot isn't thoroughly developed. Baccano's is highly incomprehensible until the very end.
Both have great, memorable characters, dubs that fit the era, music that fits the scenes, and an enjoyment factor that skyrockets!
Both involve the main character protecting and guarding their child with initial apethetic reasons, that quickly become more personal and emotional ones.
Both feature intense fighting sequences, brilliant music, takes place during ancient Japan, and have a great endings = Chanbara genre.
Both have the same director, the same feel, the same theme, and the same level of maturity.
Gasaraki has a bit of a supernatural/magic element. Flag features less mecha eye-candy, and more outlook on war/politics.
Both are EXTREMELY good if you open up to them. And have very great dubs to match!
Both are post-apocalyptic, both have messages regarding to our Mother Earth, and both have extremely "hippy" endings.
Blue is MUCH more adult oriented, and Jyu has an adventure feel about it.
They both have fan-service and treat it like a breathing machine.
They have, overall, decent plots and have characters that are, for the most part quite enjoyable.
Yumeria's plot is largely drawn out and boring, and GB is slice-of-life and is slightly more interesting.
Both have an extreme theme about their respective romances. Both have a romance that is socially and morally unacceptable.
Jikan has a more humorous take on it. Koi Kaze is more serious and emotional.
Both have a stand alone episode plot structure. Both have protagonists who have very good reasons for traveling. And both acquire memorable experiences wherever they go.
Kino is more apethetic and distant. Ginko helps any and every.
Both are parodies that use their own unique methods for their humor.
Both have cleverly disguised plots, appearing to be erratic and brainless at first.
Fooly Cooly, has more intricate animation and art, as well as a much shorter story.
Bobobo art is an acquired taste, and the plot doesn't kick off until ep 7-10.
Both protagonists go through an early experience that gets them involved with spirits and the supernatural.
They also involve their friends in it and all of their powers are unique and special to them alone.
Bleach has more friends, longer plot, and a more intricate and complex system.
Yu Yu Hakusho is has less friends involved, has a more traditional shonen feel to it, and the plotting is simplistic, shorter, and compact.
Both are Harems, both can be appropiately romantic when they want to be, both have a full ensemble of well-developed and well-liked characters.
Love Hina is more comedic, while Ai Yori Aoshi is more majestic in nature.
Also, the main heroines are the primary love interest as well.