Heralded as the series that changed the Western world’s perception on the genre as a whole, Cowboy Bebop is considered by many a modern classic, and almost unanimously a masterpiece by Western critics. Pivotal in introducing a new generation of Americans to the genre, Cowboy Bebop went above and beyond the mecha or sci-fi genre and proved anime was more than simply giant robots and people fighting one-another—a stereotype only exacerbated by the massive popularity of titles like Mobile Suit Gundam and Dragon Ball Z in the ‘80s and early ‘90s.

The brainchild of director Shinichirō Watanabe and screenwriter Keiko Nobumoto, the 26 episodes (known in the show by the more musically-inclined name of “sessions”) chronicle the travels of a bounty hunter crew aboard the titular spaceship Bebop. Taking place in 2071, the near “future western”, ostensibly a seinen adventure series, in actuality explores complex philosophical ideas including existentialism, ennui and the existence of a higher power.

Originally limited to a run of only 12 episodes (and a TV special) due to excessive violence and sexual content, the show eventually went on to air the full 26 due to overwhelming popular demand. While the first half of the series are essentially self-contained vignettes, the latter portion delves into the past of main protagonist Spike Spiegel, and his mysterious past with the Red Dragon Syndicate, a mafia-esque criminal force. Although the series ends on an unsatisfyingly vague note, an accompanying feature film—in theatres worldwide, nonetheless—provides a more substantial conclusion.

More than simply a phenomenal take on the “future western” genre—replicated countless times from Joss Whedon’s short-lived Firefly, to HBO’s smash hit Westworld—Cowboy Bebop is standing proof that anime can be action-packed yet still maintain substantial plot and emotional depth. The first anime to ever air on Cartoon Network’s Adult Swim block back in 2001, the series marked a newfound appreciation for Japanese animation. While easily relegated to the simple bounty hunter shtick, Bebop is in fact cultural pastiche at its finest, as influenced as much by Western media as the show influenced Western media. Branded as “a new genre unto itself”—a tagline that appeared before and after every commercial break during the original Japanese and eventual US broadcast—the series combined elements of thriller, detective, comedy and film noir, with the final product much more than the sum of its parts. With references spanning the work Jon Woo and Bruce Lee to Stanley Kubrick's 2001: A Space Odyssey, Ridley Scott’s Alien and Steven Spielberg's Strange Encounters of the Third Kind, Bebop is densely packed with layer-upon-layer of homage and sub-text.

When creating the characters, Watanabe—with the help of character designer Toshihiro Kawamoto—envisioned the main cast as extensions of his own personality, all unable to function within society by no fault of their own. Spike in particular represents an inability to adhere to the law, yet at the same time possesses a profound sense to do good. This contradiction is perfectly encapsulated through his wardrobe. His everyday uniform of navy suit, unbuttoned yellow shirt and skinny tie are timeless. Even though his attire hints at a more buttoned-up approach, Spike is constantly disheveled and seemingly cavalier, despite his formal attire. A former assassin (aka, a position where you need to be a “professional” in more ways than one), the jacket’s exaggerated broad shoulders emphasize his physique and imply his brute strength despite a relatively lean build. The futuristic kimono style closure—almost straight out of Kris Van Assche’s Dior Homme Spring/Summer 2012 collection—is both a nod to traditional Japanese style and serves as a reminder of his proficieny in hand-to-hand comabt. All that said, the ever-present cigarette reinforces the idea that Spike—for all his style and swagger—really could care less. More than simply clothes, Spike’s outfit provides crucial information on a character shrouded in myster. Consider his fighting style, based heavily off of Bruce Lee, and suddenty his omnipresent yellow shirt takes on a whole new meaning.

Apart from its cultural significance, Cowboy Bebop is a massively entertaining, and fairly easy starting point for the anime novice. Boasting a string of dynamic lead characters, clever storytelling and preternaturally cool style, the show is both approachable yet foreign enough to act as the metaphorical blue pill. When speaking to American anime fans, it’s not uncommon to hear Bebop mentioned as the catalyst to inevitable anime interest. Tune in for a session or two and rest assured you will know what we are talking about.
See you later cowboy.

Arguably the most esoteric entry on the list, JoJo’s Bizarre Adventure is an expansive story taking place over several generations and multiple continuities. Primarily focused on the extended Joestar lineage, each section of the story (otherwise known as “Arcs”) follows a member of the family. Originally a manga published by mangaka (Japanese for manga artist) Hirohiko Araki, the shonen series premiered in Weekly Shonen Jump in 1987, running semi-consistently until 2004. Following its near 20 year run, it moved to monthly seinen magazine Ultra Jump, allowing Araki to work on a looser deadline and explore more adult themes.

Despite massive success (over 100 million copies in print), the series was relegated to print for the majority of is run—apart from a six part original video animation (OVA), and a feature film, JoJo’s Bizarre Adventure: Phantom Blood in 2007—allowing little in the way of international recognition. In 2012 however, fans finally received a full-fledged anime series, providing anime enthusiasts the world over an opportunity to relive the JoJo’s legacy. Marking the 25th anniversary of the series, the first TV season launched in October, and in the four years since Arcs 1 through 4 have been adapted, with plans to adapt Arc 5 later this year.

Much like its namesake series, the anime is an action-adventure story, inspired by the generation spanning feud between the heir to Joestar family (Jonathan Joestar, the first “JoJo”), and his adopted brother turned nemesis Dio Brando. As the series progresses we learn that certain archaeological items are endowed with mystical powers, and eventually take a headfirst dive into the supernatural with the introduction of Stands—physical manifestations of aura—in the third Arc, Stardust Crusaders. Every arc focuses on a new protagonist—Joseph, Jotaro, Josuke, etc.—who effectively takes up the mantle of JoJo’s.

Convoluted plot aside, the series is filled to the brim with fashion references (primarily in Arcs 4 and 5). A noted fashion fanatic, Araki named several characters throughout the series after famous designers, from the less obvious like Lang Rangler for Helmut Lang, to the more straightforward Miuccia Muller for Miuccia Prada and Viviano Westwood for Vivienne.

Set in 1999—but originally written in 1992—the fourth arc, Diamond is Unbreakable, marked a dramatic shift in the world of JoJo’s. Transitioning from an action adventure story to a more battle oriented series, the show focuses on eccentric characters boasting increasingly absurd Stands. Of particular interest is fan-favorite Rohan Kishibe, a style legend and consistently viewed as one of the most popular characters in the entire series.

An instance of Araki getting very meta within his own series, his creation of Kishibe who—as a wildly successful mangaka himself—accompanies the main protagonist (Josuke) in order to conduct research for his various manga. An exaggerated version of Araki, Kishibe’s commitment to his art borders on fanaticism. Often missing deadlines due to perfectionist tendencies, more than once he brings himself on the brink of bankruptcy in order to finance intense research trips. An unparalleled egomaniac—notably with a demeanor that displays symptoms of antisocial personality disorder—Kishibe refuses to cooperate with others, considering himself superior. Well aware of his near super-human intellect and proficiency as a manga artist, Kishibe is hyper self-critical and fears that if he fails to produce exciting manga his reputation will be tarnished. Constantly teetering between a god-complex and intense anxiety, his legendary wardrobe adequately reflects both his inflated sense of self and desperate need for attention.

Almost comical, Kishibe is constantly changing outfits—in some instances multiple times in one episode. Often clown-like in appearance, his wardrobe varies from baggy suiting to midriff bearing naval uniforms and assorted crop-tops. Calling to memory Vivienne Westwood’s debut Pirates collection, his gender-bending flamboyant style ensures he is constantly the center of attention—exactly the way he prefers. Match that with his constantly changing hair color and ubiquitous pen earrings, Rohan’s look, much like the manga he writes, always makes a statement.

To Araki’s credit, the fashion world took notice, and in the October 2011 issue of Spur Magazine, publisher Shueisha commissioned the mangaka to create a spin-off manga, aptly titled Rohan Kishibe Goes to Gucci. Although never adapted into anime format, working alongside one of the world's largest luxury brands more than warrants mentioning. Written in collaboration with Gucci’s Japan division, the story follows Kishibe as he heads to Florence to uncover the mystery behind his grandmother’s Gucci bag. A part of Gucci’s 90th anniversary celebration, the limited magazine was sold in the Harajuku Gucci store, and every character was decked head to toe in Gucci, naturally.

In terms of style it is clear JoJo’s deserves recognition—the Gucci collab alone is evident as such—Araki’s influence on the medium as a whole is tantamount. The type of generation-spanning storytelling he employs in both the manga and the anime are still being mimicked to this day, with Eiichiro Oda (author of One Piece) and Masamoto Kishimoto (author of Naruto) both citing Araki as a huge influence. Further, the introduction of the Stand was monumental to fantasy manga and influenced mangaka from aforementioned Oda to Mitsutoshi Shimabukuro (known for Toriko and even Yoshihiro Togashi (whose work earned a spot on this very list). As JoJo’s continues to be dubbed and published for audiences around the world, Araki’s enduring influence on the genre will only become more apparent.

The oldest entry on this list, Lupin The III is an anime adaptation (as opposed to Bebop, an original series). Dating back to 1967, the Monkey Punch-written manga first premiered in Weekly Manga Action, and tells the story of Arsene Lupin III, the grandson of fictional gentleman thief Arséne Lupin from French author Maurice Leblanc’s series of novels. Considered the world’s greatest thief, Lupin III is dubiously clever, irresistibly charming, and, albeit being on the wrong side of the law, considered an agent for good. Constantly on the run from the ICPO’s Inspector Zenigata, Lupin III traverses the globe with a ragtag crew, including expert marksman Daisuke Jigan, and master swordsman Goemon Ishikawa XIII, capable of cutting anything. Somewhere between James Bond and Sherlock Holmes, Lupin III uses his near superhuman intellect and physical abilities to steal the world’s most valuable items, famously sending a calling card prior to each plunder, announcing what he intends to steal.

Created by author Monkey Punch (real name Kazuhiko Kato), the aim was to produce a comedy adventure series that mimicked the tone of Leblanc’s original source material. The result, however, was a fourth-wall breaking, raunchy and often perverse tale. Considered a counterpart to Sir Arthur Conan Doyle’s Sherlock Holmes, Lupin III was almost without equal, but, like Holmes, had one fatal flaw—women. If Jigan was Lupin’s Inspector Watson, then recurring foe-meets-love interest Fujiko Mine was his Irene Adler, often working in tandem until the moment Mine inevitably seduced Lupin III and stole his bounty.

Fifty years after its initial publication, Lupin The III remains exceedingly popular, and has transformed into a media empire, consisting of five animated series, eight theatrical films and countless TV specials. Although the animated series lack the self-awareness and dark humor of its source material, they still hold enough entertainment value and complexity to warrant a viewing. Of particular interest is The Castle of Cagliostro, a feature film directed by easily the most revered and recognizable anime artist in the world, Hayao Miyazaki. Released in 1979, The Castle of Cagliostro is often considered Miyazaki’s breakthrough film and one of the most honest adaptations of Monkey Punch’s classic. Featuring exceptional wit and wondrous animation, The Castle of Cagliostro not only provides a window into the world of Lupin III, but is a fine example of Miyazaki’s singular talent.

Lupin the III’s debut and the titular character's signature look are no coincidence. Premiering in the midst of a newfound acceptance for Western culture in Japan, Lupin III’s slick suiting and skinny necktie are a prime example of the Ivy look that was sweeping the country. In the late ‘50s, Kensuke Ishizu began to redefine style throughout the country with the establishment of Van Jacket, and while Lupin’s dress code had a decidedly French twist, the color scheme and proportions were extremely vindicative of how the youth were dressing in Japan at the time. Although Monkey Punch insists he picked the red blazer as it was a flashy, sexy color (fans will notice that Lupin’s blazer color changes colors—blue, pink and green have all been prior jacket colors throughout his history), the sudden interest in a relatively obscure French novel is no coincidence. Tucked within decades of storytelling, Lupin III’s style coincidentally showcases a side story of Ivy in Japan and newfound interest in Western fashion.

The series that put Yoshihiro Togashi on the map, Yu Yu Hakusho began in 1990 as a manga serialized in Weekly Shonen Jump. Inspired by Togashi’s fascination with horror films and the occult, the series follows Urameshi, a classic yankii (teenage delinquent), who shockingly defies his fate when he jumps in the way of a car to rescue a small child. With the underworld unprepared for his death and lacking space, he is given an offer to return to earth as a “spirit detective” to hunt escaped demons.

As the series progresses, Urameshi learns to master his spiritual powers, and the narrative—much like in JoJo’s—gradually shifts towards a battle-oriented action-adventure series, rather than a horror-mystery. Eventually, Urameshi, along with childhood rival Kuzuma Kuwabara and enemies-turned-allies Hiei and Kurama, battles against progressively stronger demons, eventually pitting themselves against one another in a fight to rule demon world.

While—to an anime novice—that may sound incredibly dumb (author’s note: I grant the premise is not Togashi’s best work) the magic is watching Urameshi transform from teenage bully to bonafide hero. Few characters come to mind who have as satisfying a character arc and, if you manage to make it through the 175 chapters (or 112 episodes), you will most assuredly feel the same way. More than Urameshi, Togashi’s ability to combine buddhist mythology and introduce the concept of planes of existence into a series intended for young children show both his skill and finesse as an artist. In the latter half of the series, we learn that there are multiple planes of existence—demon, underworld, hell, human world—in the Yu Yu Hakusho universe. None connect, but all are in close proximity and maintaining that balance is key to each plane’s relative existence.

Our primary concern, however, is the anime. Spread throughout four series airing between 1992 and 1994, the series provided a much more enjoyable experience, particularly given Togashi’s penchant for taking extensive breaks, failing to meet deadlines and regularly putting the series on hiatus—a habit he has maintained to many fans chagrin in his current project Hunter x Hunter. Directed by Noriyuke Abe with minimal involvement from Togashi, the anime’s brisk pace, coordinated fight scenes and highly-specific style all work to elevate what was a relatively well received manga into a smash hit. Massively successful, the anime ruled the early ‘90s, and won the Animage Anime Grand Prix for Best Anime (one of Japan’s highest honors for the genre) in 1993 and 1994, owning the charts for the entirety of its run. While it is always interesting to see your favorite manga adapted to screen, the fight heavy Yu Yu Hakusho is particularly exciting, as the printed page simply did not do the battles’ massive scale justice. Setting the tone for many martial arts based anime since, fight scenes were frequent, engaging and well-executed.

Apart from pleasing fights and our tight bond with Urameshi, Yu Yu Hakusho is a case study in the day to day life of Japanese teenagers. When we first meet Urameshi, the delinquent—wearing his trademark gakuran boys school uniform—is constantly cutting class and getting into fights. Raised in a single parent home with little guidance or ambition, he is quite clearly frustrated by the rigid structure society imposes. But, following his initial “death,” he finds new purpose. His uniform, initially ragged and untucked, is suddenly pressed and buttoned. He gladly wears (and fights) in his formal dress shoes. Based on Prussian military uniforms, the gakuran (roughly translating to “Western student uniform”), in fact represents what millions of teenage boys across Japan wear on a daily basis. As school gets out, however, kids remove their school shoes, put on a pair of sneakers and maybe a jacket, and head out to go about their day. Urameshi, at first hesitant to wear his uniform, eventually embraces it. However, as we watch him grow up, he transitions into a much more casual wardrobe, mimicking the journey of many young adults throughout Japan. Like countless other kids, Urameshi begins to experiment with his wardrobe as he matures and school becomes less rigid. Eventually, he goes full on normcore in a red bomber-style jacket, tucked in white tee, high-waist blue jeans and black sneakers. However, even as he transitions in and out of different outfits, he wears his school uniform throughout the show’s run. It’s a reminder that despite his epic journey, Urameshi is still a high school student. Forget Kurama’s Yohji Yamamoto-esque robes or Kuwabara’s legendary all white ‘fit worthy of Sir Elton John, the parallels between Urameshi’s journey and his wardrobe alone are reason enough to make the cut.

The most obvious choice needs neither lengthy introduction nor explanation. Widely hailed as a pinnacle of the medium and by some critics as the greatest anime film of all time Akira is an epic of no parallel. Originally a manga serialized over the course of eight years (1982-1990) in Young Magazine, the story is set in a dystopian future “Neo-Tokyo” in 2019. A cyberpunk odyssey, Akira investigates themes including nuclear fall-out, the navigation of youth in an apathetic society, the tragedies of war and militarism at large. In the Akira universe, an atomic explosion annhilates Tokyo in 1988, triggering World War III. More than 30 years later, the population suffers from an oppressive regime, massive crime and corruption at all levels.

While the manga (now collected into six highly sought-after volumes) is impressive, the film is in a league of its own. Released in 1988—no doubt to coincide with the nuclear explosion in the manga—Akira was considered an instant classic, and one of the most well-received anime films of the era. With an unprecedented budget, ¥1.1 billion, it was one of the first Japanese films to use full cel animation (akin to Disney) over “limited movement”, which at that point was industry standard. With over 160,000 individual cells, pre-recorded voice acting—a rarity in Japanese anime—and limited use of CGI, Akira was not only decades ahead of its time, but set the precedent for big budget animated pictures thereafter.

While the film was written and directed by Katsuhiro Otomo— creator of the Akira manga —the manga was still in the midst of writing an eventual conclusion, so the director opted to go another route with the film. Initially hesitant to adapt his work to an anime format, Otomo agreed to a feature but only if he could write, direct and produce a stand-alone film. Additionally, he demanded a large budget, incorporation of CGI and full cel animation, which would allow him to create a wide variety of fully-rendered backdrops, something he considered a necessity to bring Neo-Tokyo to life. Rather than give away an ending his readers had been building up to over the course of the previous six years, the second portion of the film diverges drastically from the manga’s intended plot, and instead ends with a vibrant psycho-kinetic big bang.

Akira follows the journey of Shotaro Kaneda, leader of the Capsules, a biker gang that is in the midst of an on-going war with their rivals, the clowns. In the opening scene, a brawl breaks out, and Kaneda’s best friend, Tetsuo, gets seriously injured when he crashes into Takashi. A psychic esper, Takashi escaped with the help of a resistance organization attempting to expose illegal experiments conducted by the government. Following the collision, Tetsuo wakes in a hospital, where the same shady government organization has been running experiments on him. Although they discover his budding psycho-kinetic abilities, Tetsuo manages to escape and return to the Capsules. While free, Tetsuo’s newfound abilities profoundly change him, as he grows increasingly arrogant and violent, prone to psychic migraines and eventually returns to the hospital. As the plot progresses, we follow Kaneda as he attempts to save his friend, navigate the resistance movement, deal with a military coup and uncover the massive deception at the heart of the nuclear explosion that led to the formation of Neo-Tokyo.

While the film lacks the considered pacing and dramatic build of the original source material, it more than makes up for it with mind-shattering visuals, immersive world-building and intricate camerawork. Simply watching the characters interact is immensely satisfying. More than an excellent film, Akira is a case-study in authoritarian dictatorships, government/populace relations and, with this list in mind, Japanese biker gang hierarchy.

Kaneda’s gang, The Capsules, is a textbook example of bōsōzoku. Prominent throughout Japan, bōsōzoku is sub-culture of motorcycle customizers and enthusiasts, not necessarily (but often linked to) biker gangs. Famously chopping off their mufflers to create incredibly loud noises, these crews roam en masse, shutting down streets, racing and causing general mayhem. One of many rebellious Japanese youth subcultures, most bōsōzoku members are in their late teens and early twenties; it’s a sharp distinction from American biker gangs which stereotypically consist of men well beyond high school age. Always lead by a “captain” or “leader”—like Kaneda in the case of Akira— the head biker can never be overtaken and sets the pace, course and tone for the gang proper. These gangs are known for driving recklessly at high speed—not racing, but rather for thrill. To claim their set, members will often wear similar moto-jackets and pants, with appearances ranging from 1950s American Harley-Davidson style, to Dainese racing suits and even punk-style gear. Often, a patch or logo on the back of the jacket—the pill in the case of Kaneda’s Capsule biker gang, for instance— acts both as a sign of membership and alerts rival gangs of your sworn allegiance.

Considering the plot of Akira, understanding the generations-old traditions present in bōsōzoku culture have huge implications. The recurring skirmishes in the film with the Clowns, for instance, where members do battle with wooden clubs and pipes, stem from a deep-rooted history of gang warfare amongst rival tribes. When Tetsuo races off ahead of Kaneda, he violates a long-standing code: never pass the leader. In doing so, he crashes, setting off the chain of events that leads to his eventual destruction. Everything down to Kaneda’s uniform can be traced to this niche sub-culture, the understanding of which is paramount to fully appreciating the films iconic style.

At this point, Akira is more than a cultural icon. Kaneda’s style is so notable, that even casual fans are likely to think of the film the moment they spot a red leather jacket out in the wild. In the nearly thirty years since its release, the film has affected countless designers, from Yohji Yamamoto—whose collaboration with Dainese riffed on eerily similar themes—to Rei Kawakubo, who, recognizing the importance of the film, hand selected illustrations from publisher Nobrow’s archive to make limited edition collage totes, sold exclusively at the Comme des Garçons store in Aoyama.

Beyond fashion, the film has resonated across the creative spectrum. John Gaeta, mastermind behind the iconic “bullet time” scenes in The Matrix, has sighted Katsuhiro’s work—particularly Akira—as direct influences. Kanye West’s “Stronger”, is a direct homage to the film, with Kanye and director Hype Williams openly discussing their admiration for Katsuhiro’s singular vision.

More than simply a film, Akira is at the root of what makes great anime. It is at once highly stylized, imaginative and slightly ludicrous, yet grounded by highly-relatable characters and challenging psychological concepts. At its core, Akira transcends the genre, and is not only a great movie, but a visual spectacle that will inevitably stand the test of time.