As someone who grew up watching the Spanish dub of the 1970s anime Candy Candy uploaded onto YouTube, original soundtracks (OSTS) play a quintessential role in my enjoyment of media. From Baby Driver to Whiplash, a foolproof OST can unravel layers of complexity that cannot be solely captured through the media itself. Anime as a medium heavily relies upon the implementation of openings (OP) and endings (ED).
An OP is the viewer’s first introduction to a medium, so an OP formidably teases the fundamental basics that the viewer will be exposed to. Through euphonic melodies, the tonality of the song lures the viewer in, producing an effect that, when combined with captivating visuals, provides a stimulating feel, effectively engaging the viewer. Past the basics, an even more adept OP goes a step further by asserting a distinctive tone that, in theory, cuts deep into the psyche of its characters, all while expressing themeatics unique to the plot. To seal the deal, a well-done ED delivers the final blow by masterfully executing the depiction of certain symbolism and imagery that foreshadows the plot without disclosing future arcs.
For example, “Tank!”, the OP of the 2001 anime Cowboy Bebop, and arguably one of the most impactful openings of all time, triumphs this established consensus. The beginning startlingly alerts the listener, before introducing a riff that lets the listener prepare for the sultry yet short vocals that make up the lyrical aspect of the song. Perhaps the sole lyrics of, “Okay, three, two, one, let’s jam,” do not do enough to warn the listener of the state of jazz they’re about to be transported to.
Anime OPs can be pretty hit or miss with non-anime fans, no matter how good they are on a subjective level, but “Tank!” breaches this precedent by bridging the gap between anime fans and general music lovers.
“Wait, this is fire!” said OH junior Emma Auten. “The saxophone solo and the intro are pretty nice; I also like the trumpet parts a lot. They’re super funky.”
For a show based on the theme of nihilism, “Tank!” does well enough to express the neo-noir vibe visuals that are filled with striking colors with the only distinguishable forms being silhouettes of the characters that can only be classified as a prospective inspiration to the openings that would be later seen in James Bond films such as Casino Royale.
With the Reze movie coming out sometime in the fall of 2024, the anime Chainsaw Man which was created by mangaka Tatsuki Fujimoto, author of Look Back, and Fire Punch, and produced by MAPPA studios, proposes the nuance of incorporating not just 2 but 12 different endings for one season, all which expand on characterization and or foreshadowing of the plot.
While Kick Back is undoubtedly one hell of an OP, Chainsaw Man is one of those rare animes where the EDS are unmatched. Each ED allows for the artist to let their uniqueflare and style shine through the unequaled aesthetics of each song even if most songs are classified as Japanese Pop or Japanese Rock. Not to mention that the art direction with the endings is simply insane.
Performed by Jpop group People 1, the 10th ED for the show, “Dogland”, tackles both characterization and foreshadowing. The name considered the song itself highlights the dog, a representative metaphor for Denji. Without spoiling anything, my interpretation of the dog motif is that it’s an expressive symbol of Denji’s desire to keep on living. Despite being exploited and used as a tool by the adults around him (mainly Makima) to fulfill their ulterior motives, he operates on the survival of the fittest, choosing to ignore his needs as a human. It can be asserted that his experiences with adults have impacted his psyche, turning him into someone who willingly obeys the command of anyone who offers some sense of protection, much like a dog who knows their place. Reflecting this idea, at the beginning of the song, a faceless Denji is shown sitting surrounded by dogs it goes even deeper. The addition of 3D dogs to the key visuals of the ED suggests that the dog is a truer version of Denji himself than the actual Denji, who is only ever depicted in 2D. On a musical basis, the steady hypnotic rhythm feels like a guiding order, which makes sense considering the lyricism suggests giving up your personal autonomy to someone else much like how the sudden change to the first person point of view at times gives the viewer control over Denji.
As a long-standing form of media, it is impossible to feature multiple anime OSTs in one article, and while I could, I think one should explore. A recent favorite OST of mine is the Jujutsu Kaisen, which features formidable artists like Eve, ALI, and King Gnu. Although it’s fairly new to me its nostalgic sound allows me to reminisce on my past, and I swear this is not just because I went through an utaite phase and was heavily fixated on Eve songs back in middle school. But in theory, I suppose it does just what it does for me.
42Fiftys very own post-niche internet micro-ecelebrity (mid geoguesser player) that lived through a chronic gas leak that was going on in their house for a little over a year without their knowledge. Their only qualification is that they bring a silly goose vibe to the geese party.
