Part of the interview -

"Maruyama: I’ve been around since the time Japanese animation first began expanding overseas, particularly into the U.S., so I’ve watched the entire process unfold right up to today. We worked hard to promote “Japan’s animation is amazing” in the U.S. with 'Jubei: The Ninja Scroll' (1993), which influenced overseas creators and spread into the live-action world—leading to projects like 'The Animatrix', the animated anthology for 'The Matrix'—while Hayao Miyazaki made his mark on the world in a different way— —As someone who’s lived through this era of repeated challenges, seeing 'Demon Slayer' and 'Chainsaw Man' gain such acceptance made me feel, “We’ve finally made it this far.” Young people in the U.S. are watching these works, aren’t they? I’m deeply moved by the very fact that Japanese anime culture has reached such a wide audience.

It wasn’t just a single work that broke through, there’s a trajectory and history leading up to this point, and today’s success is built upon that foundation. I think it comes down to having material that was able to respond to the right timing in this era. We kept creating works that, while they may not have been hits, were destined to go down in history—we worked hard to cultivate that field, and then Otsuka-kun sowed the good seed of 'Chainsaw Man', watered it well, and the flower bloomed. Feeling that made me very happy. I’d have no regrets even if I died tomorrow (laughs).

Otsuka: I think the strength of 'Demon Slayer: Kimetsu no Yaiba', which was just mentioned, lies in the fact that it’s suitable for all ages. Rather than taking on the challenge using the same approach, I feel like we followed in the footsteps of 'Jujutsu Kaisen' and 'Chainsaw Man' by adopting a style where creators in their 20s and 30s simply poured whatever they found cool onto the screen.

I think the youthful energy of these young people has been transformed into a source of charm. The creators themselves never set out to make “niche” works. In the same vein, the marketing and rights teams never gave up either. While it’s easy to fall into the trap of thinking, “Maybe it has a lot of male fans?” or “Maybe it’s mainly fans of the original manga?”, they refused to rule out any possibilities—believing that “even female fans and high school students who’ve never encountered *Chainsaw Man* before will watch the ‘Reze Arc,’ and we have to make sure they do.” I think that’s precisely why we’ve been able to get this far.

No one, myself included, could say, “We’re aiming for 10 billion in box office revenue.” But deep down, none of us had given up; we believed this work had that kind of potential. It’s about the mindset with which you approach a project—I feel like the “Reze Arc” has given us the confidence to move forward.

Maruyama: My motto is “a charming flawed product.” Personally, I don’t aspire to a perfect finished product, my theory is that as long as there’s one aspect with overwhelming charm, people will follow. Directors, by their very nature, tend to strive for perfection, but I personally think that if you have the money to make fixes, you’d be better off using it for your next project (laughs). What’s wonderful about Otsuka-kun is that while he’s inherited that kind of boldness, he doesn’t go about it as recklessly as I do. He took over MAPPA at the same age I was when I started MADHOUSE, and I think the “Reze Arc” is the kind of project that can only be done by someone young. My first impression when I watched it was, “I could never do something like this anymore! It’s so frustrating!” (laughs).

Otsuka: But conversely, when I watched 'In This Corner of the World' which Mr. Maruyama planned in 2016—the year I became president—I felt, “I couldn’t make something like that right now.” I couldn’t even imagine myself producing that film and seeing it come to completion. I suppose we both share the same sentiment.

Maruyama: I’m sure everyone who watches the “Reze Arc” will dream, “I want to do something like this too,” but I think it’s a work—and a success—that was only possible because of the 10 years of experience MAPPA has accumulated since Otsuka-kun took over as president.

Otsuka: In fact, I don’t think we could make it again (laughs). It’s a work that was only possible because of that moment and that specific team.

Maruyama: That’s true. That burst of energy in the moment is what matters. If you start tinkering with it halfway through, thinking, “Let’s make this even better,” it won’t work. You have to just go for it. I could really feel that they understood that and crafted it that way, and it made me very happy to watch it.

In our era—the works of Mamoru Oshii, Hayao Miyazaki, and Yoshiaki Kawajiri—I feel like they had a strong authorial voice. While they all created them as entertainment in the sense that they wanted “everyone to see them,” they leaned more toward art. But from a certain point onward, I feel there was a shift toward a kind of anonymity—a move away from relying solely on the individual artist’s style and toward creating something that truly functions as entertainment by incorporating various elements. While the source material’s elements are still strongly present, the focus is on presenting them in a fun and entertaining way. I think this trend, where entertainment value has taken precedence over artistry, aligns with the expansion of Japanese animation worldwide. Overseas audiences who used to have an aversion to “Japanese animation being a bit too intense” no longer feel that way."

Koukaku Kidoutai (TV), episode 9

Alternative names: Koukaku Kidoutai, Koukaku Kidoutai (2026)

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Kimi ga Shinu made Koi wo Shitai, episode 9

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Tai-Ari deshita. Ojou-sama wa Kakutou Game Nante Shinai, episode 9

Alternative names: Tai-Ari deshita. ~Ojou-sama wa Kakutou Game Nante Shinai~, Tai-Ari deshita. Ojousama wa Kakutou Game nante Shinai, Tai Ari Deshita Ojou-sama wa Kakutou Game Nante Shinai

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Tefuda ga Oome no Victoria, episode 9

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The bracket is finalized! Good luck voting.

I think I removed all mistakes in the final bracket. Will post deletions in a comment. 8 entries have been deleted due to franchise limits, 1 entry has been deleted by being an OP in disguise.

I hope I didn't make any mistakes, if so, please forgive me

I had to rush the posters and eliminations in one hour, I'll try to be a bit more creative from now!

Vote

Nominated EDs

Elimination votes pre-deletion

Elimination votes post-deletion

If anyone has any additional questions or comments please let me know.

Questions of the day:

• What is your biggest seeding surprise?
• What song are you most sad about not making the bracket?

Mujikaku Seijo wa Kyou mo Muishiki ni Chikara wo Tare Nagasu, episode 10

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The anime uses things like stop motion, abstract art, paper animation, flipbooks and whatnot.

Basically everything you can think of, its the most creative use of budget I've seen.

Not to mention the actual animation is such eye candy.

Megami sama should seriously have a fan group, and more art. I understand how competitive anime has become, but I really believe the approach to its production is revolutionary enough to warrant it a NGNL level of cult following.

What was your impression? I'm looking forward to why you think otherwise. I think besides being episodic there is no other downside, and even then, the parody genre uses episodic style quite frequently, so its hardly anything to complaint about.

Sora wa Akai Kawa no Hotori, episode 9

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Don’t worry, your calendar isn't wrong. It’s still September.

You might be thinking it’s pointless to argue about the best character when we have an entire season left of the year. But I disagree. “Always Be Campaigning”, as the titular Glen Gary Glen Ross probably said in that movie with Alec Baldwin in it. I don’t really want to wait till December to start pushing my agenda, and honestly neither should you. So let me kick things off first with my pick for 2026’s breakout character, Akiyama Jan.

Akiyama Jan, or as you might know him Iron Wok Jan, is in my opinion the most fun character of any show to come out this year. He is a menace both in and out of the kitchen, and an inversion of what it means to be a chef. He is not here to tell a story with his meal. He is not trying to create the most delicious experience for your taste buds. He is here to win. And he will trick you, taunt you, even poison you to make it happen. Because victory is his real goal, much more so than taste. And boy oh boy does he make that victory look sweet.

Nobody gloats like Jan. His cruel Ke-Ke-Ke is unmatched as he tears apart chefs he met minutes before with the passion of crushing a life long rival. It comes natural to Jan, his worldview shaped though a childhood of cooking, abuse, and abuse while cooking. Cooking is a means to demonstrate your superiority, and nobody relishes it more than Jan.

And as much as the show can glaze Jan, (seriously find yourself a girl that looks at you like the studio looks at Iron Wok Jan) he is not some fantastical self insert. He makes mistakes, he has peers, and it’s clear that Jan’s view of the world isn’t the healthiest. It’s a toxic and isolating way to live that only looks good when you make some fried rice so enthralling that the chef across from you breaks into tears. But damn does he not make that sound worth it.

Alright, I’m done. I’ll get off my soapbox now. Anyone have any arguments for who could be in second place? Remember, it’s never too early to start campaigning