Ranking of Kings is one of the best anime of 2022, and in all of fantasy

The young prince’s self-assurance leaves him as his stepmother looms over him, looking down her nose at him, and literally overshadowing him in a scene tinged with an ominous red, arched eyebrows, and posture all geared to match the sharpness of her admonishments to him. We recognize the hallmarks of this kind of character; we’ve seen this story before. Only, not quite. We see for the first time Queen Hiling. She is a character that, throughout her life, has been incredibly lovable. Ranking of Kings, becomes one of the series’s most selfless characters, driven by her love for her two sons. Many of the characters in Wit Studio’s anime begin with a similar disparity. We see a completely different picture of their visual design and the opaque intent behind what they do later.

Adapted by directors Yōsuke Hatta and Makoto Fuchigami and writer Taku Kishimoto from the manga by Sōsuke Tōka, Ranking of KingsThe story of Prince Bojji follows, who is a young heir of the throne and considered unfit for rule due to his physical inabilities. There’s a lot to love about the show — most immediately its use of sign language, the colorful, graphic art direction, and the frequently goofy elasticity of its characters. The show’s constant upending of nearly every impression it makes by its characters is equally striking.

Hiling being a shining example Ranking of Kings manages many other reversals by calling upon a history of stock characters from classic fairy tales, ones that’ll be familiar to most through cultural osmosis. At first glance, it might look just like the evil stepmother of the Brothers Grimm. Her stepson Bojji is dismissed and she seems to be vindictive, while Daida her younger son earns her respect. But, as we learn about many of the series’ characters, seeing Hiling this way is based on a shallow impression, her sternness coming from a place of love and concern. Each character is constantly shifted and their true nature slowly revealed in dramatic mirrors. This shows how Bojji, despite his physical weakness, is seen and perceived. Ranking of Kings Engaging with archetypes of character that are rooted in folkloric stories can encourage similar superficialities.

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Though, as in the original stories, there’s no wholly unified version of each of these types, Ranking of KingsIt capitalizes on associations and general impressions with similar figures. Bojji himself, somewhat paradoxically, could fit into the “youngest son” archetype, where the physically weakest of a group of siblings succeeds on a heroic quest where his seemingly more capable brothers fail, perhaps as in Grimm’s The story of a young man who sets out to learn what fear isOr The Fool of the World And The Flying Ship (Bojji certainly “never did a harm of anyone in his life”), but especially Esben and the Witch.

This trope requires that there be a dearth of physical ability in the majority of cases. One son is seen as useless or helpless in his chosen field (here, it is King but still). Bojji shows a hidden strength that is due to Bojji’s perceived weaknesses. The show begins to ask that we judge through observation rather than nostalgic memory, perhaps in coupling with how Bojji’s power comes through close observation of people and place. His best friend Kage (literally “shadow”), a former thief born into a lineage of assassins, becomes his steadfast companion. While his older brother Daida (apparently arrogant and vindictive) plays the more antagonistic part in the stories. Daida beat Bojji with a sword sparring match. But he similarly reveals new layers to himself, becoming more in line with his older brother’s selflessness than anticipated.

It is easy to question the goodness and honour of different characters by simply aligning some characters with Daida. The snake handler Bebin — the untrustworthy connotations of his preferred pet dating back to the foundation of Abrahamic religion — turns out to be more benevolent and empathetic than such mythology (plus an assassination attempt and his constant lukring in dark corners) would suggest. Again, appearance doesn’t belie personality, as further evidenced ward, the giant and kindly three-headed serpent Mitsumata, (who turns out vaguely more in line with the folkloric theme of the snake as an imparter of gifts as in the fairy tale The Enchanted Watch(And others of the same type. As a result of this, an early fight between Bebin and fellow knight Apeas looks completely different by the show’s end. The show creates rivalries and split loyalties among the two heirs. However, as the surprising facts about the lineage of the two families emerge and the plot continues to redraw the boundaries between them and the other factions, it blurs the line and then redraws the map.

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Wit Studio

Fairy tales depict a father-king relationship. Ranking of KingsIt is not difficult to see how the paternal roles can have devastating consequences. Bojji, Daida’s father, is the appropriately named King Bosse. He seems to be absent at first, just like every fairy-tale dad. However, he is actually more evil than the typical villainous mom figure. Bosse is actually the worst anime father, as he has participated in several Faustian-style or maybe even sexy events. RumpelstiltskinPower is traded in a similar fashion to the old-fashioned. (That trade of children’s lives for power also isn’t unlike Osamu Tezuka’s DororoJuan Barquin (my esteemed colleague) pointed it out.

It’s far from the first anime to play with these characters in this way; for starters, anyone looking for a similar visual and/or narrative experience need only turn to Sunao Katabuchi’s lovely and overlooked feature film Princess Arête, perhaps Isao Takahata’s The Tale of Princess Kaguya, or the cutesy mix of folklore and slapstick of Akira Toriyama’s Dragon Ball. You will find the classical taste and confidence you seek with this. Ranking of Kings toys with these tropes is familiar, yes, but that’s part of its warmth, and even part of its deceptively complex presentation of where a character’s destiny lies.

Ranking of Kings is interested in unpacking the psychology of these characters in a way that fairy tales often don’t. As the late Phillip Pullman noted in a piece for The Guardian: “In fairy tales, there is not much psychology. Characters have no inner life, their motivations are obvious and clear. If people are good, they are good, and if bad, they’re bad […] Nothing of that sort is concealed.” But time and again the anime chooses concealment and interiority— a choice that immediately changes the destiny of these archetypes, which usually serve simply as representations of a concept, to catalyze a change in the hero. It’s as simple as this: outside of its gorgeous presentation, Ranking of KingsThis is because archetypes are turned into characters, complete with all of the complexity.

Even the show’s entire aesthetic acts as part of its complication of various first impressions, as its adorable storybook art style smuggles in some complex political intrigue (and later, double-crosses and bloodshed). The consistency of its medieval fantasy landscapes and pastoral countryside beauty means that its metaphysical moments pack that much more punch — it quite literally looks at character interiority as Daida is trapped in what could be called himself, his self-image warping in one of the show’s trippier sequences. But it’s all still couched in that old-school look. Bright and cheerful animations feature soft silhouettes and idyllic backgrounds that suggest a calmer, more tranquil world. Each kingdom has deep, ancient wounds that are still unhealed by Ouken (a once-prince). So, of course, Bojji’s heroic journey runs counter to that. As with other shōnen, he opts for forgiveness and mutual understanding, even when it’s the most difficult choice, in the face of a surprisingly dark story of death, lost love, and various other tragedies.

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Each character and each stock type is gradually revealed in new ways by the series. This helps them to fill out the details of the world. History of Ranking of KingsEvery new episode is revealed incrementally from a different perspective. This allows us to see the real nature of each storyteller as well as the events that have influenced our outlook. Hiling’s introduction into Bojji’s life as his new mother is something she fought long and hard for rather than something of simple political circumstance. Miranjo isn’t simply an evil witch, and we discover this the same way we find out the conflict that characterized the transfer of power between the Gods(!) The current kings. Bojji’s appearance, lineage, and his father’s actions all dovetail. How the kingdom’s past intertwines and links each character is often unexpected as it is thrilling.

Its numerous elaborations on this history and continual upending of our expectations surrounding the characters work their way to the show’s main idea, spoken aloud by Bojji’s late mother: “hate the sin, but not the sinner.” Daida, Miranjo, Apeas, and even Bosse’s mistakes are not beyond forgiveness; they’re not evil just because, and so they make for more exciting antagonists. Miranjo is a bitter and lonely man who uses others to get around their past. Miranjo does not give any humanization to its characters. Tragic circumstances can lead even the most evil. Some things are fixable and there can be lessons to be learned from their mistakes. It’s also part of why the show’s relationship with death is the way that it is — the characters aren’t just symbols or sacrifices needed for Bojji’s personal growth but people with dreams and ambitions of their own, also worth following. It is not the point of killing someone to make it seem like they are.

This broad-based consideration allows for more imaginative moments Ranking of Kings — its metaphysical journeys, a manifestation of its glorious final fight as David and Goliath scenario — based in feeling as much as it is the mechanics of a fable. Although the traditional tales and their motifs are still told, there’s more to them than myopic simplicities. It’s not perfect (its conclusive romance is odd to say the least) but such things can be forgiven. It’s a fable after all.

It’s funny that one of the sweetest and most frequently heartwarming shows of the year stands out because of its playful deceit. Though Bojji is so lovable that all who gaze upon him (in and out of the narrative) just as soon swear they’ll take a bullet for him, Ranking of Kings dedicates much of its season to tricking us — into believing that we can assess the rest of the cast at a glance too. It delights in proving us wrong time after time.