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If you liked Shinseiki Evangelion Movie: Air/Magokoro wo, Kimi ni add

...then you might like Mahou Shoujo Madoka★Magica Movie 3: Hangyaku no Monogatari add

Hangyaku no Monogatari parallels End of Evangelion in a number of significant ways and it's not just the fact that they are both high-budget sequels to successful franchises that are notorious for playing with the conventions of venerable genres of anime. As expected, the each of two films features top-notch production values, but they additionally both use much of their generous budgets in service of their shared affinity for visual experimentation. However, as the Madoka Magica franchise is already known for its use of unconventional animation techniques, Hangyaku no Monogatari ends up being decidedly more experimental than End of Evangelion with regards to the way that it presents itself. While Gekidan Inu Curry's involvement in the previous installations of the Madoka Magica franchise was mostly limited to scenes in which witches were involved, their signature style is seemingly omnipresent in this film. In other words, many viewers will see this as the most SHAFT that SHAFT has ever gone. The series' signature form of heavily stylized mahou shoujo combat is also the at the best it's ever been. no doubt due to the increased budget. Similarly, with its acclaimed organic mecha design on full display, End of Evangelion features what is arguably the most well executed straight up mecha brawling in anime. Extremely well animated action sequences is not all that it has to offer in terms of visuals, however, and it takes the Neon Genesis Evangelion television series' fondness for symbolism even further with its infamous giant Reis, vulvae that Georgia O'Keeffe would be proud of, and, of course, crosses—can't forget the crosses. The two differing philosophies of visual representation here are the insertion of traditional mahou shoujo elements into the context of expressionistic experimentation versus a uniquely sleek and allegory-laden reinterpretation of the sci-fi mecha aesthetic. Furthermore, each of the two films takes a somewhat different approach to storytelling relative to its respective predeccessor (and relative to each other, of course). As in the television series, hints are scattered throughout Hangyaku no Monogatari while the full scope of the plot is withheld. However, as the television series was already a visually-driven work by nature, the shift toward an even more theatrical and expressionistic style of presentation has a profound effect on the way that the narrative elements of the film are conveyed to the viewer. Not only has choreography become a major motif that subverts the linearity of the pacing, but the ubiquity Inu Curry's influence establishes surrealism as the norm—we are told that, once again, the rules have changed. As a result, Hangyaku no Monogatari has the potential to be a bit less accessible than its predcessor, as the reaction of some early viewers is already starting to reveal. In contrast, the ending given by End of Evangelion is considered by most to be much more accessible than the television ending. The film doesn't dip too often into the highly minimal and abstract style of the later television episodes and even if it is less than straightfoward at times and features quirks like an eight minute musical interlude (which is totally awesome, by the way), End of Evangelion is in most respects a distinctly more conventional and conclusive rendition of the events of Third Impact. As a result, it finds overwhelcming acceptance among the large portion of the fanbase that finds the original television ending to be dissatisfying. Finally, certain choices made in both films can elicit very polarized reactions from viewers and especially from fans. Why that is, I'll leave to you to watch and find out.

If you liked Toaru Majutsu no Index add

...then you might like Strike the Blood add

The protagonist of SUTORAIKU ZA BURADDO, Vampire Accelerator Touma, appears to be just a simple-minded high school Touma who spends his days Toumaing around in not-Academy City, a high-tech city where science and magic blah blah, etc. But in reality, he is the strongest Touma of them all with the power to vampire both science and magic with his right Touma. Accompanying Vampire Accelerator Touma as he white-knights kute girls and fights quirky villains is A Certain Magical Mikasa, his tsundere kouhai with electricity-based powers who constantly attaches herself to him, wanted or not. Vampire Accelerator Touma just wants to finish his summer homework and ride the monorail, but something something science magic wacky hijinx and fight scenes. Fukou da.

If you liked Bakemonogatari add

...then you might like Uchouten Kazoku add

The obvious recommendation for Uchouten Kazoku is The Royal Tenenbaums. That, of course, is not an option here on MAL, but the next closest thing is probably Bakemonogatari. To start, they share a light supernatural element that is based on Japanese folklore and mythology, and soundtracks that are mostly composed of smooth ambient pieces. More importantly, both are fairly minimal stories that lean on their unique and interesting casts to keep the audience engaged with excellent dialogue that is simultaneously clever, funny, and frequently meaningful (another mention of Wes Anderson seems appropriate here). Finally—though stylistically rather different with Uchouten Kazoku being primarily interested in capturing the urban vitality of Kyoto with a strong focus on light and texture, and Bakemonogatari drawing from a variety of influences from 20th and 21st century design and architecture to create environments that can feel more like stage sets than actual locations—they both feature excellent cinematography.

If you liked So Ra No Wo To add

...then you might like Gatchaman Crowds add

So how are these two seemingly very different series similar? The cynical response might be that both shows borrowed Hirasawa Yui from K-ON! to serve as the main protagonist, but that isn't really what I was going for. It is worth mentioning, however, that both "Yui-clones" have ideas that are far more interesting (as ideas at least) than "fun things are fun" (which is more meaningful than it might seem, but that's neither here nor there). Now what I was trying to get at is the fact that both anime are stylistically superb, even if the two aesthetics are just about polar opposites, and furthermore, both shows feature top-notch soundtracks. Good writing and dynamic characterization? Who cares about that garbage.

If you liked Saikyou Densetsu Kurosawa add

...then you might like Watashi ga Motenai no wa Dou Kangaetemo Omaera ga Warui! add

Social ineptitude and rotten luck know not the bounds of age or gender.<br> <br> Kurosawa and Watamote are unique among the works of the cringecore/error comedy genre in that they do not simply portray their protagonists as well-intentioned but misunderstood and pitiable figures. Instead we get to peek into the minds of a pair of delusional and neurotic fools who, as charming as they are, often have nobody to blame but themselves. You want to see them succeed, but for some reason, they're just allergic to competence.<br> <br> And that, of course, just makes them all the more lovable.

If you liked So Ra No Wo To add

...then you might like Suisei no Gargantia add

So Ra No Wo To and Suisei no Gargantia both feature lots of world-building, strong art direction and designs (the primitive "Yunboros" of Gargantia are especially great), and an initially lighthearted atmosphere with more serious undertones. Unfortunately, many of the tone shifts in each series could have been better executed as both sometimes suffer from what I like to call "AIJOU YUUJOU syndrome." You'll see where that names comes from if you watch some of the more sombre episodes of So Ra No Wo To. All that said, if you enjoyed one of these, you should strongly consider watching the other.

If you liked Haibane Renmei add

...then you might like So Ra No Wo To add

While both are essentially atmospheric slice of life series with a focus on world-building, there are some key differences. The contrast between the serious and the lighthearted is more dramatic in So Ra No Wo To while Haibane Renmei's tends to be subtler in all aspects. Furthermore, the post-apocalyptic setting of So Ra No Wo To is beautifully tangible and chillingly possible with the story taking place in a colorful town littered with cultural relics from our own world while Haibane Renmei's magical realist universe is more allegorical in nature with fantastical elements alongside the mundane. Ultimately both series are wonderfully paced atmospheric pieces that forgo plot in favor of letting the characters explore and guide the viewers through meticulously crafted environments.