| Samurai Champloo | |
 Key art depicting (left to right) Jin, Mugen, and Fuu | |
| サムライチャンプルー (Samurai Chanpurū) | |
|---|---|
| Genre | |
| Created by | Manglobe |
| Manga | |
| Written by | Masaru Gotsubo |
| Published by | Kadokawa Shoten |
| English publisher | |
| Magazine | Monthly Shōnen Ace |
| Original run | January 26, 2004 –September 25, 2004 |
| Volumes | 2 |
| Anime television series | |
| Directed by | Shinichirō Watanabe |
| Produced by |
|
| Written by | Shinji Obara |
| Music by | |
| Studio | Manglobe |
| Licensed by | |
| Original network | Fuji TV |
| English network | |
| Original run | May 20, 2004 – March 19, 2005 |
| Episodes | 26(List of episodes) |
 Anime and manga portal | |
Samurai Champloo (Japanese:サムライチャンプルー,Hepburn:Samurai Chanpurū) is a 2004 Japanesehistoricaladventureanime television series. The debut television production of studioManglobe, the 26-episode series aired from May 2004 to March 2005. It was first partially broadcast onFuji TV, then had a complete airing onFuji Network System. It was licensed for North American broadcast onAdult Swim, and for commercial release first byGeneon Entertainment and later byCrunchyroll. It was also licensed for English releases in the United Kingdom byMVM Films, and in Australia and New Zealand byMadman Entertainment. A manga adaptation was serialized inMonthly Shōnen Ace during 2004, later released in North America byTokyopop the following year.
The series is set in a fictionalized version ofEdo period Japan, blending traditional elements with anachronistic cultural references, includinghip hop. The series follows the exploits of tea waitress Fuu, vagrant outlaw Mugen, andronin Jin. Fuu saves Mugen and Jin from execution, then forces the pair to aid in her quest to find a samurai who smells of sunflowers. Structured similar to aroad movie, the series focuses on tolerance and acceptance of minorities contrasted against its setting, with a central theme being the portrayal and acceptance of death.
DirectorShinichirō Watanabe began planning for the series in 1999, creating the characters and premise during his work onCowboy Bebop: The Movie andThe Animatrix, and began pre-production in 2002. The staff included character designer and animation directorKazuto Nakazawa and writers Shinji Obara andYukihiko Tsutsumi of Office Crescendo. The music was composed by hip hop artists Shinji "Tsutchie" Tsuchida ofShakkazombie,Fat Jon,Nujabes andForce of Nature. The production was unstructured, with the scenario going through multiple revisions, and Watanabe bringing in multiple guest creators to ensure a high animation quality. Reception of the series has been positive, with praise focusing on its animation and music, and proved a commercial success in the West.
Samurai Champloo opens in a small town where Fuu, working as a teawaitress, is harassed by the son of the town's corrupt prefect. Theoutlaw Mugen arrives in town, and Fuu begs him for protection, which he gives in exchange for food. Meanwhile, theronin Jin, also a new arrival, kills the prefect's bodyguards when they abuse a peasant, ending up in conflict with Mugen when the latter mistakes him for one of the prefect's men. Mugen and Jin fight, destroying the tea house. The pair are captured and sentenced to death, but Fuu saves them. The pair attempt to restart their battle, but Fuu tosses a coin, saying if it lands on heads then the pair can continue their battle, but if it lands on tails they postpone their battle to help her find a samurai who smells of sunflowers, whom she has sought for years. She wins the toss, and they embark on a series of adventures alongside Fuu's quest.
During the closing stories, the three finally arrive at the town ofIkitsuki, with each ending up in conflict with a group of assassins sent by the government to kill the "sunflower samurai", Seizo Kasumi—Fuu's father. Fuu finds Kasumi, seeking revenge for Kasumi abandoning Fuu and her mother, but she relents as he is already dying from an illness. One of the assassins kills Kasumi before he is defeated by Jin. Mugen and Jin then have their duel, their swords shattering, but choose not to kill each other as they now consider each other friends. Fuu learns her father played a part in theShimabara Rebellion and went away to protect her. Fuu also reveals she lied about the coin toss result, which briefly annoys Mugen and Jin. Recovered from their final fight, the three part ways grateful for their shared adventure.
Series directorShinichirō Watanabe defined the central theme ofSamurai Champloo as the portrayal and acceptance around death, themes he had previously explored in hisscience fiction seriesMacross Plus (1994) andCowboy Bebop (1998).[5] Another theme outlined in the series pitch was individuality and finding one's unique identity.[6] The series is set inEdo period Japan, roughly sixty years after the end of theSengoku period.[7] While a historical time period, the anime does not focus on historical detail beyond minor inclusions and references, mainly using contemporary-style dialogue and behavior.[5][8] A conscious inclusion was emphasising cultural acceptance and tolerance of minorities including the indigenousAinu people, foreigners,LGBT people, andChristians; the historical Edo period was a time when Japan was highly structured, conformist and isolationist.[5][9] Due to its Edo setting and incorporation of samurai culture and honor codes, Watanabe was worried the anime would be seen as nationalistic in tone, prompting its focus on minorities and tolerance.[10] Watanabe put in as much as he could manage of these themes and subjects, challenging earlier limitations imposed by a lack of historical information from the time and Japanese television codes restricting the portrayal of Japanese minorities in the period.[5]
The main cultural influence on the anime is the music and associated subculture ofhip hop.[11] Watanabe had been a fan of hip hop music from his high school years, citing his first exposure as "The Message" byGrandmaster Flash and the Furious Five. He compared the samurai culture to hip hop through a similar philosophy of self-identity.[12] The use of hip hop also reinforced the series' focus on its minority and counter-cultural cast, creating a cultural reference by using one with the other.[13] Alongside his liking of hip hop, Watanabe attributed a large amount of the series' inspiration in the works of actorShintaro Katsu, particularly his historical dramas. The narrative approach of the finished series was inspired by Katsu's notorious habit of directing projects without a set story structure.[5] The word "Champloo" in the title was derived from the Okinawan termchanpurū, with Watanabe comparing the blending of elements in the anime with the meaning of chanpurū.[14] The food depicted in the show was originally accurate to the Edo period, but eventually expanded to include anachronistic dishes such asokonomiyaki.[5]
The plot is structured like aroad movie, with little connection between stories until the final three-part arc, contrasting against the serial structure of its contemporaries.[8] Watanabe particularly cited the movies about the blind samuraiZatoichi as an inspiration for this style. Other influences on the series includedEnter the Dragon andDirty Harry. One episode was based around the Chinese concept ofQi.[15] During early planning, the series' tone was far more serious, but after the first four episodes had been written, the staff were worried about the tone becoming bleak, prompting a greater focus on comedy.[5] Several episodes incorporate references, homages, and parodies of popular media.[16] The Japanese episode titles usefour-character idioms referencing the theme of that episode's story. They drew from multiple sources, including Japanese and Western sayings (the first episode's title, "Shippu Doto", is a Japanese rendering of the German saying "Sturm und Drang"), philosophical concepts ("Inga Oho" references a proverb about the workings ofkarma), and pieces of classic media (the episode title "Anya Koro" referencesNaoya Shiga'snovel of the same name). The English episode titles were created by translator Ryan Morris. Morris did not directly translate the Japanese titles, instead using alliteration to preserve the rhythm and meaning.[17]
The series follows the exploits of the three leads−Fuu, Mugen, and Jin−when they are drawn together by circumstance and end up traveling together to find the sunflower samurai.[18][10] The main cast was created by Watanabe,[18] who wanted a cast of heroes who were silly, immature, and dangerous, with "a touch of insanity".[5] He described Mugen and Jin as unconventional people not bound by the rules of the period.[19] The characters were designed byKazuto Nakazawa, who had worked as both an artist and director on multiple projects includingAshita no Nadja and the anime segments ofKill Bill: Volume 1.[20] The early character drafts were more to Nakazawa's tastes than the wishes of the production team, resulting in numerous redrafts based on requests.[21] The voice recording included sessions with all three leads together, which caused occasional tensions due to their different work backgrounds.[22][23]
In the original plan, there were three semi-regular characters that would appear through the series. They were Rekku, a Dutchman claiming to be Japanese; Koku, a traveling priest acquainted with Jin's past; and Sara, afemale ninja who falls in love with Mugen.[8] While their roles were reduced to one-off appearances, versions of the characters survived. Rekku became the character Joji in "Stranger Searching", the priest appeared in "Lethal Lunacy", while Sara was a central character in "Elegy of Entrapment".[8] An early antagonist is Ryujiro, the son of a corrupt government official who loses his arm to Mugen in the opening episode and later plots revenge against them.[29] Historical figures or character homages also appear, for example painterHishikawa Moronobu; Joji, who is a fictionalized version ofIsaac Titsingh; a version of American baseball playerAlexander Cartwright; and Ando Uohori, who is a direct reference toAndy Warhol.[16][30][31]
Samurai Champloo was the debut television production of animation studioManglobe, which was started in 2002 bySunrise veteran Shinichirō Kobayashi.[32][33] The opening animation was contributed to by the studioMadhouse.[34] A production committee to support the project was formed byVictor Entertainment'sShirō Sasaki, partnering withTokuma Shoten and North American companyGeneon Entertainment.[32] Watanabe acted as the series director, in addition to creating the project. Kobayashi, Sasaki, Sanae Mitsugi and Hideki Goto were credited as planners and executive producers,[35] and the producers were Takatoshi Hamano, Takashi Kochiyama and Tetsuro Satomi.[36]
The story was composed by Shinji Obara andYukihiko Tsutsumi of Office Crescendo, with scripts written by Obara,Dai Satō,Touko Machida,Keiko Nobumoto, Seiko Takagi, Ryota Sugi, and Watanabe.[32][35][36][37] Nakazawa wrote and storyboarded episode 15, being credited as Uwadan Shimofuwato in the former role.[38][36] Nakazawa also acted as both character designer and chief animation director. The art director was Takeshi Waki, the storyboard director wasKazuki Akane, and coloring was led by Eri Suzuki.[32][35] Additional characters were created by Hideto Komori.[39] Weapon designs were co-created byMahiro Maeda and Manglobe managing director Hidero Okamoto.[39][35] The cinematographer was Kazuhiro Yamada, with Syuichi Kakesu as lead editor.[35] Numerous guest creators were also brought in for different episodes as artists or animation directors, includingShūkō Murase Takeshi Yoshimoto, Naoko Nakamoto,Hiroyuki Imaishi andTensai Okamura.[40]
The concept forSamurai Champloo was created by Watanabe in 1999, then known for his work onCowboy Bebop. He wanted to create a series antithetical to the largely calm and mature atmosphere ofCowboy Bebop, wanting a complete change due to fatigue after working on one project for such a long period.[18][39] The success ofCowboy Bebop meant he was permitted to develop whatever he wanted for his next project.[41] As with his other projects, he drew inspiration from music, then matched a narrative to it.[42] His approach was combining two of his favorite things, classic samurai adventure films and series and hip hop music, into a single work.[12] He created the concept forSamurai Champloo during this period, but work on it was delayed due to his work onCowboy Bebop: The Movie and his segments ofThe Animatrix atStudio 4°C.[39][32] Kobayashi had invited Watanabe to work on an original project at Manglobe when it was founded in February 2002, and Watanabe sent theSamurai Champloo pitch in May of that year.[32] The pitch included the central concepts for the series, and draft designs for the lead characters.[32][43] Watanabe invited Nakazawa on board as he was a fan of his work and wanted the opportunity to work with him. Obara, known more for his work on live-action movies and television dramas, was brought in through a mutual friend at Office Crescendo.[39]
The eventual unstructured production style was unheard of in anime, and at the outset Obara created a series structure. The three-episode finale was not planned ahead, emerging naturally as part of the design approach.[39] As the project evolved, Watanabe pushed for this structured approach to be discarded aside from the lead characters and premise, and Obara agreed to the new approach. The lack of a structure meant that the series narrative was constructed piece by piece, with few plot details being decided in advance.[32] The fates of the three characters were also undecided during this stage. Watanabe originally planned for all three to survive, but at one point the team considered Jin and Mugen dying respectively in the final two episodes.[39] Even the identity of the sunflower samurai was unknown to Watanabe during the early stages.[15] Due to this approach, pre-production on the series lasted a year.[32] Watanabe had a great deal of creative control and input, including on music selection and editing.[19]
The first episode took a long time to polish, being completed around the beginning of 2004, but it and subsequent episodes had an animation quality higher than other series of the time. This was attributed to the working environment of Manglobe allowing for easy communication between staff members, and Watanabe's passion for the project prompting famous staff from other notable anime projects to come on board. The non-standard style of production left some members of staff including Sasaki skeptical that the series would be finished. For the sound mixing, Watanabe wanted the same approach and quality asCowboy Bebop: The Movie, bringing in sound engineer Masashi Yabuhara who had worked withYoko Kanno on the sound design ofCowboy Bebop.[32] The fight scenes were choreographed to appear more realistic than other period dramas, which featured a clashing of swords which in reality would chip them.[39] Uniqueeyecatch artwork was created for each episode based on its themes and content. Woodblock prints portraying the characters, designed by formershojo manga creator Tsubaki Anna, were shown at various points through the series. Nakazawa created the illustration use for sponsor announcements.[44]
Samurai Champloo was Obara's first time working on an anime series, and Watanabe attributed him with bringing a new style of narrative and pacing to the series.[39][32] Sato had worked with Watanabe before onMacross Plus.[32] He described the process of discussing plot concepts with Watanabe and building upon voiced ideas, treating his own contributions like sample discs that might be accepted or rejected.[45] The script meetings were unusually long, beginning with the synopsis and ending up with the final form, alongside off-topic conversation that was sometimes incorporated into that episode's plot.[32] Due to Watanabe's reputation and the success of his projects in the West, the anime was created with a Western audience in mind with the expectation that it would be more successful outside Japan. This resulted in more overt references to Western culture being included.[46] An assassin character who appeared in the second episode was intended to appear during the finale, but he was cut due to time constraints and a general lack of people remembering his earlier appearance.[39]
Nakazawa had trouble getting a feel for the characters, with Mugen's design still going through adjustments when production on the first episode began. For the animation of Mugen's fighting style, the team used gymnastic footage as a reference alongside incorporatingbreakdancing moves. For Jin, Nakazawa "ignored all of the conventions" for sword fighting and kept his fighting style inconsistent throughout the series, basing his reactions and tactics oncombat sports. He broke animation conventions to make these techniques work, confusing the animation team. For his work as art director after joining during production of the first episode, Waki was instructed to create extremes of light and darkness in scenes, creating a realistic impression of the period when artificial light sources were scarce and expensive. The variety and more contemporary elements prevented Waki from growing bored with the Edo setting.[38] The approach to the animation, lacking an overarching plan, was described as a reflection of the lead characters' non-conformist personalities.[19]
Nakazawa designed the men's kimono to resemble contemporary jackets, incorporating homages to sports designs such asAdidas andPuma. Many secondary characters were designed based on both the series' voice actors and staff members.[47] During the production of the second half of the series, it became increasingly difficult for Nakazawa to design all guest characters, resulting in Komori being brought in. Due to most of these characters being older men, when the early plan was for a young cast with several female characters, Komori felt disappointed by his workload. Maeda was brought on for weapon designs when the plan was to have strong antagonists with unique weapons for each episode, but the plan never came about, and when Maeda moved to working onGankutsuou: The Count of Monte Cristo, the design work shifted to Okamoto.[39] The incorporation ofgraffiti was suggested by Sato to further enhance the hip hop aesthetic and tone. He also suggested the inclusion of references to Warhol andJean-Michel Basquiat.[45]
The music forSamurai Champloo was collaboratively composed by Shinji "Tsutchie" Tsuchida ofShakkazombie,Fat Jon,Nujabes andForce of Nature. All were artists from the hip hop music genre, with Tsutchie being a friend of Watanabe.[48] A number of guest artists contributed to different episodes.[49] The opening theme "Battlecry" was composed by Nujabes, withShing02 singing and writing the lyrics.[34] The ending themes were created byMinmi, Kazami, and Azuma Riki. The final episode's ending theme was "San Francisco", licensed from the rapper bandMidicronica.[34][49]
The Music of Samurai Champloo was released across four CDs during 2004 byVictor Entertainment under their JVC label. The first two, "Masta" and "Departure", were released on June 23. "Departure" focuses on tracks by Nujabes and Fat Jon alongside Minmi's main ending theme, while "Masta" includes work from FORCE OF NATURE and Tsutchie including "You". The next two, "Playlist" and "Impression", were released on September 22. "Playlist" was dedicated entirely to work by Tsutchie, including "Fly". "Impression" bundles tracks by Nujabes, Fat Jon and Force of Nature, alongside the theme "Who's Theme".[50][51]
Samurai Champloo was first revealed through a magazine spread in the September 2003 issue ofNewtype,[52] and it premiered onFuji TV on May 20, 2004.[53] The series ran for seventeen episodes on the network until September 23, 2004, when they decided to cancel its broadcast.[54][55] The series resumed airing onFuji Network System, referred to as a second season, during the channel's midnight slot;[55][56] the remaining 18th–26th episodes aired from January 22 to March 19, 2005.[57][58]
The original North American licensee was Geneon Entertainment and its parent company Pioneer Entertainment, licensing the anime a year before its Japanese broadcast.[59][60] The dub was handled byBang Zoom! Entertainment, with company president Eric Sherman remembering it as one of his favorite projects.[61] In a later interview, Jin's voice actor, Kirk Thornton, described the dubbing as a rare project where the actors were able to have a greater freedom in their performances, not having to match the Japanese original.[62] It was broadcast in North America onAdult Swim during its late night slot, starting on May 14, 2005.[63] Starting with Episode 22 on February 3, 2007, episodes were streamed through Adult Swim's online Friday Night Fix channel.[64] It saw subsequent North American broadcasts onFunimation Channel starting March 21, 2011;[65] the series re-aired on Adult Swim through itsToonami programming block replacingMichiko & Hatchin starting on January 2, 2016.[66]
Samurai Champloo debuted in Canada on December 24, 2006, on the digital stationRazer.[67] In Australia, the first thirteen episodes were broadcast onSBS TV between March 23 and June 29, 2006.[68][69] It debuted in mainland Asia throughAnimax on January 27, 2010.[70] It was first broadcast in the United Kingdom onViceland in partnership withAnime Limited beginning on August 22, 2017, in its early morning slot. It formed part of a new anime-focused block alongside other series includingCowboy Bebop andTokyo Ghoul.[71] The series was added to the online library ofCrunchyroll in 2016.[72] FollowingSony's acquisition of Crunchyroll and merger with Funimation under the former's brand, the series was fully moved to the Crunchyroll streaming platform.[73]
The anime was first released on DVD in Japan through the JVC label across thirteen volumes with two episodes each from August 21, 2004, to August 25, 2005.[74] A complete collection for DVD and Blu-ray, featuring new illustrations by Nakazawa and a booklet containing an interview with Watanabe, was released in July 2011.[19]
In North America, Geneon Entertainment released the series on DVD across seven volumes, with volume 2, 3 and 4 also releasing forUniversal Media Disc.[75] The volumes were released between January 11, 2005,[76] and January 17, 2006.[77] A complete set followed on July 4 of the same year.[78]Samurai Champloo was among the anime licenses left open for acquisition when Geneon Entertainment ended anime distribution in 2007.[79]Funimation picked up North American distribution rights in 2008,[80] releasing a complete DVD collection on June 30, 2009.[81] A complete series Blu-ray was then released six months later on December 15.[82] Funimation re-released the series for DVD and Blu-ray on May 24, 2011, through the company's original Anime Classics line.[83] The Blu-ray got another re-release on February 5, 2019.[84]
Samurai Champloo was released in the United Kingdom byMVM Entertainment, at first across seven volumes between September 5, 2005, and October 16, 2006. It was re-released as a complete collection on September 3, 2007.[85] It was released in mainland Asia by Singapore-basedOdex onVideo CD across two volumes in 2006, featuring Japanese and English audio and English subtitles.[86]Madman Entertainment released the series as a complete collection for Blu-ray on June 15, 2011.[1]
A manga adaptation written by Masaru Gotsubo was serialized inKadokawa Shoten'sMonthly Shōnen Ace from January 26, 2004,[87][88] to September 25.[89][90] Gotsubo decided not to follow the series narrative, calling that approach both boring and "impossible". Instead, aside from the opening section, he created an original narrative using the central cast.[91] The manga was collected in twotankōbon volumes, released on July 28 and October 26, 2004.[92][93] A compilation of the two volumes was released on January 28, 2011.[94] It was licensed for a North American release byTokyopop.[95] The volumes were released on November 8, 2005, and March 7, 2006.[96][97] The volumes were released in Australia on February 15 and March 15, 2006.[98][99]
A companion book featuring artwork and interviews,Samurai Champloo Roman Album, was published byTokuma Shoten on June 6, 2005,[100] and reissued in May 2014.[101] An English edition was published byDark Horse Comics on February 21, 2007.[102] Afilm comic adaptation of the opening episodes, intended to be the start of a series, was co-published in 2006 byBandai Entertainment andDiamond Comics.[103][104] American company Triad Toys licensed toy rights from Geneon in 2008, releasing figures of Mugen and Jin.[105]
An action video game adaptation,Samurai Champloo: Sidetracked, was developed byGrasshopper Manufacture and published by Bandai Namco Games in Japan and North America in 2006.[106] It tells a storyline separate from the series, described by the publisher as a "lost episode".[107] Company founderGoichi Suda acted as its director and writer, with Grasshopper's mandate being to preserve the series' original tone and style.[108][109] The music was composed byMasafumi Takada, inspired by the anime's music.[110] A social card battle game developed by Cybird was released in Japan on August 28, 2011, for mobile phones.[111]
The North American DVD release ofSamurai Champloo was a commercial success.[112] The final volumes were ranked byNielsen VideoScan as among the top ten best-selling anime DVDs during mid-January 2006.[113] On review aggregate websiteRotten Tomatoes, the anime has a rating of 89% based on nine reviews.[114] The Western home media releases saw positive responses for their visual and sound quality, though a lack of extras was noted.[115][116][117]
Tasha Robinson, in a review of the first English DVD release forSci-Fi Weekly, was concerned about the opening episode's similarity to the set-up forCowboy Bebop.[3] In a similar review forPlay Magazine, Dave Halverson noted his enjoyment of the story but felt readers should see the anime with as little story information as possible.[118]DVDTalk's Todd Douglass noted the simple premise of the story, but enjoyed each episode's plot and praised the interactions of the main cast and its sense of style.[115] Nick Browne ofTHEM Anime was less positive, faulting its weaker multi-episode stories and uneven treatment of serious cultural issues despite enjoying the humor born from its main cast.[116] Salvan Bonaminio ofThe Escapist described the main cast as stereotypes, faulted the forgettable supporting cast, and called many episodes including the ending underwhelming.[119] James Beckett ofAnime News Network enjoyed the main cast, but negatively cited a lack of cohesion across the series, and strongly criticised Fuu's frequent kidnappings for story purposes as detrimental to her character.[117]
Halverson gave praise to the animation and character designs without specific commentary,[118] while Robinson positively compared the fight choreography and art design to Watanabe's work onCowboy Bebop andThe Animatrix.[3] Douglass cited the anime as a perfect example of Watanabe's visual style,[115] and Browne cited its visuals and technical achievements as high points.[116] Bonaminio included a positive mention of the anime's visible production quality during his summary.[119] Becket felt the animation style had aged poorly, though giving praise to the art style and fight sequences.[117] The music met with general praise for its use and style.[3][116][117][118][119] Becket additionally praised the English dub.[117]
The mixture of traditional elements with hip hop met with some mixed responses. Halverson was enthusiastic about them and called the hip hop representation superior to many Western portrayals.[118] Robinson also enjoyed them, noting that they kept the anime from being too much likeCowboy Bebop.[3] Browne enjoyed the contemporary visual references used alongside the Edo setting, but faulted the show's reliance on them.[116] By contrast, Bonaminio cited its sense of style and unique blend of elements its greatest strength.[119]
As part of a 2007 retrospective article on Geneon Entertainment, David Smith ofIGN called it one of the best anime published by the company during its lifetime, saying it was almost perfect in what it did and stood out from other Geneon properties.[79] Mike Dent ofOtaku USA Magazine, writing in 2015, praised the music for adding to each episode's atmosphere, in addition to its animation quality and writing.[4] In a 2019 retrospective forAnime News Network, Matthew Roe states "the mixture of hip-hop aesthetics and classic samurai tropes seems like a more awkward fit thanBebop's effortless fusion of jazz and science fiction" and further criticized a lack of emotional resonance, but felt the direction of Watanabe and Manglobe kept the series going.[2] Reuben Baron ofThe Verge, writing in a 2021 article on Watanabe's work, calledSamurai Champloo the director's second most popular work afterCowboy Bebop, citing its humor and themes as positives.[120] The ambient soundtrack was ranked byIGN as tenth among their Top Ten Anime Themes and Soundtracks of All Time.[121]
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