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Best Anime: Kemono Jihen

If I’m being perfectly honest, it’s very hard to differentiate between my best and runner-up, because I enjoy them about equally, albeit for different reasons. I decided to put Kemono Jihen as my number one, however, because while my second choice is very good at one thing, this show is excellent at many. Not only does it skillfully blend folklore with fantasy, using yokai myths and legends to form the basis of the series’ own specific mythology, but it also manages to consistently treat its character with respect, regardless of who they are and where they come from. This is perhaps best seen in the Akira/Yui storyline (which hasn’t quite ended as of this writing): not only are both twins’ issues treated as legitimate, but Yui’s trauma isn’t downplayed or made to look like anything other than what it is – the sexual abuse of a male child. Given some of the discourse that often goes on around male sexual abuse, this is doubly important, but even if you don’t care for serious topics in your monster anime, the seriousness with which everyone’s lives and experiences are treated is remarkable. That ranges from no one making fun of Akira for being feminine-presenting, to Shiki’s repressed memories about his mother’s torture, to poor Kon just being abandoned by a woman she continues to believe in up through her most recent appearance in the show. Even Mihai’s state as a shut-in gamer vampire has its believable and thoughtful backstory, and he’s largely used as something of a mild gag character. Kemono Jihen, like GeGeGe no Kitarō’s 2018-20 run before it, really cares about its characters, no matter who they are. Dragon I See Dead People Well Technically They are Stupid People But Give Me A Few Minutes Shirt

Also similar to that other show are the lengths Kemono Jihen is willing to go to in order to make its point. Mostly this amounts to a willingness to really delve into topics many series wouldn’t touch, much less take seriously. Akira and Yui’s story, as I mentioned, deals with sexual abuse of a child, while Shiki’s mother is a survivor of sexual slavery, passed off as “okay” by his uncle because she’s a kemono. Other difficult topics include abandonment, repressed trauma, loneliness, and being the only person to stand up and say that what someone else is doing is wrong. That last may be more in line with shows starring a primary cast comprised of children, but it’s really all in the framing. The series does an excellent job of showing us just enough to allow our minds to fill in the horrible blanks, and that makes it effective horror in the more traditional literary sense as well. I’m still not over the mosquito ladies.

Creepy mosquito women aside, this is, at its heart, a story that wants you to remember that no matter what they look like or can do, people are people, and everyone deserves to be safe and happy. I’ll grant you that they aren’t yet (poor Kon), but as far as long-ranging goals go, it’s a good one. I hope that the manga is licensed someday so that we can see it happen.

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