Nicky

Well, this season has no lack of bangers so we’ll have plenty to talk about! Previously, we’ve only talked about OPs in the context of their series, but OP rankings and what goes into an OP or ED are unique parts of anime fandom and so it only makes sense that we give them their own love!

That’s only fair, as the productions often assign directors specifically to showcase the songs with some uniquely stylized animation. It feels like every season there are at least one or two standout openers. And one fitting that bill for this season definitely seems to be Magical Destroyers.

Oh yeah, this show definitely wouldn’t have caught me if I didn’t see this one going viral. It’s a shocking masterclass music video of its own. You don’t really need to know anything about the show when the images are this striking.







Of course, a great OP doesn’t always mean the show is great, which is part of the catch to all this! There are good shows with very workman-like OPs too, but it’s amazing when a good OP can make even the most stinkin’ of shows something memorable.

I don’t know that I’d say Magical Destroyers is bad, but I’ve bounced off of it myself, from the two episodes I’ve seen of it. But there’s still an absolute allure to the way this OP presents the material. It makes me wonder what other shifts might await in the show’s already subversive anarchic magical girl setup, the way the theme song itself just breaks down halfway through, alongside its imagery.







This is a series I probably wouldn’t be willing to give the Three Episode Test to if it didn’t catch my attention this way, which is saying something.

I haven’t had time to check out Destroyers myself, so I’m not pointing fingers specifically, but I’m mostly giving a disclaimer that loving an OP is not always an endorsement of the show itself. However, lots of OPs we’ll be discussing today make me feel hopeful for what’s to come.

A lot of times the premiere doesn’t open with the OP; instead, it’s slotted in at the end like some extra-long cold open. That’s what Magical Destroyers there did with its first episode. Gor a more extreme example, we have the other big viral hit for this season, Oshi no Ko, which sports a feature-length first episode that keeps audiences waiting over an hour and a half to hear the full OP! And they didn’t even have the sequence itself to accompany the song!

Thankfully, YOASOBI had us covered with a whole-ass animated music video, which released at the same time.

While technically not TV length, I think Oshi no Ko‘s full MV here is actually a great example of working the other way around. Instead of being an independently great work of art, both the song and video are actually based on a short story written by Aka Akasaka focused on the character of Ai. YOASOBI‘s song and vocals are powerful on their own, but it really hits once you’ve seen the premiere itself. Lots of shots and lyrics emphasize the depths of the superstar’s psyche, turning its bubblegum sugar-pop super-sweet beat into something else.

It’s the sort of song that’s a perfect fit for something like Oshi no Ko. It collects a multitude of moods into its sub-four-minute runtime, mixing rap and ominous choir elements alongside the idol bopping. The visuals, though ostensibly derived from the short story, still fit the multifaceted aspects that define Oshi no Ko as an overall work.





It definitely makes me curious as to what the opening sequence for the anime proper is going to look like.

Agreed, I’m super curious how they can cut this. From our previous manga discussion it is well known that I was hyped, but I will also totally recommend that 90-minute-long prologue episode just for the sheer roller-coaster ride that this MV encapsulates well. Call me a stan, but I think I’m in love. I’m addicted to this kind of multimedia multi-attack.

You’re not kidding. It’s a slick animated music video on its own, but having the full context for the premiere means some parts absolutely huuuuurt!

Making grunt noises at my screen like some low-level enemy being punched in the face repeatedly for exp.

It doesn’t have to be all emotional damage. Sometimes the attacks are simple, perfectly-honed earworms. This is the case for one of my most pleasant surprises among this season’s openers, the one for Otaku Elf.

I’m not kidding by the way. Since catching the first episode of this show a few days ago and pulling the song up again for this column, it has not left my mind!

This is honestly my first time hearing it but I can already tell that the song is catchy and the animation is fluid. It’s a nice example, because it’s proof that the concept doesn’t have to be super arty or abstract to be good. Sometimes it’s nice just to see an OP that wants to set you up for having a good time!

It’s just got a lot of little details I enjoy, like the scene of Koito chasing Elda around the kotatsu only for both of them to wind up dizzily bobbing to the beat. Look at ’em go!

It’s got a lot of expressive character! I feel the same way about another show this season by the name of Skip and Loafer; while it’s less comedic and going for a more soft-focused art style as a drama, it does a good job of creating a fun OP/

The dance sequence in particular is absolutely infectious. Look at these dorks!! It says so much about their dynamic, but it’s also just a nicely detailed sequence of itself.

It makes for kind of an amusing opposite to something like the Magical Destroyers OP. Rather than drawing you in with hyper-stylized, cryptic imagery, Skip and Loafer‘s opening here tells you pretty much everything you need to know about its characters, their dynamics, and their vibes just by showing them goofing around together.



This is a case where the series director, Kotomi Deai, handled the direction of the OP as well, which is probably what ensured the pitch-perfect tone. Deai is also handling the writing for this adaptation, giving one the sense that she’s very hands-on in maintaining the consistency of Skip and Loafer as an anime.

Along those lines, we have the opening for this season’s new Shonen Jump adaptation, Hell’s Paradise. This is one where they’ve got the OP up-front in the premiere, which makes sense, given that this is another high-gloss MAPPA production trying its damnedest to show off.

This is definitely a case where you watch it and go « Yup, that sure is a MAPPA Shonen Jump anime! ». But I’m still very into the esoteric stylized elements alongside these Ringo Sheena/Millennium Parade tunes.

I’m mostly impressed by how well the OP keeps up with some of the manga’s hellishly beautiful imagery.





It’s also a bit different from what I’m talking about since it’s overall pretty dynamic. It’s not enough to be glossy or have a good song if you also can’t keep a sense of timing or momentum for the audience to follow.

Wives are always very important. Especially, if a character is a wife guy.

But going back to adaptations, I’m also super impressed with the Heavenly Delusion opening, or Tengoku Dai Makyō as licensors in North America seem to insist on calling it.

It’s gorgeous and has a great buildup. That one drop just makes you want to hit the ground running just like the characters even if I have no idea what’s going on.

Out of hell and into heaven, it is. Tengoku Dai Makyō‘s OP is an interesting example of the kinds of distinguishing choices in styles we’ve talked about. The actual series sports a densely detailed look at its apocalyptic world, which you’d expect from Production I.G The OP then eschews that for a significantly more stylized approach courtesy of independent animator Weilin Zhang.





Comparing the looks can make for an arresting, and impressing, exercise in contrast!

It also has great use of its song. The animation gives off a mood of contemplation over the quaint and abandoned landscape but really builds itself until it hits the emotional high of the chorus. Breathtaking.

I feel like I’d be remiss if I didn’t also bring up the ED for Tengoku Dai Makyō. It trades in that sweeping, epic feel of the OP for a more down-to-earth depiction of the daily lives of the characters.

Though it’s not above its own esoteric indulgences. Love me some space whales.

EDs can be quite underrated as they’re literally not as forefront as OPs. Still, occasionally you get an ED that’s even more attention-grabbing than the OP, and this time that award goes to the ED for the second season of Mobile Suit Gundam: The Witch from Mercury.

Now you are speaking my language! G-Witch of course experienced no shortage of hype during its first season, but the OP and ED were hardly the most talked-about parts of it. They were fine. Pretty good in places, even! But that made it even more surprising when Takeshi Ohashi returned from the first ED to direct the second one and just…went harder than anyone rightly expected him to.







I almost don’t know where to start with this one, given it feels like every lovingly styled frame merits mention. One of my favorite details is probably the multiple Sulettas, who not only tie into several ongoing theories fans have about the show, but have also spawned plenty of amusing take-offs from G-Witch’s legions of online fan artists.

It’s doing a great job of beautifully and elegantly building my sense of worry and dread over my dear Gundam daughters.




I am so fearful. I love it.

There’s a reason « Roundabout » resurfaced as a meme once short-form video apps came about, and it’s that!

I don’t know if « Red:birthmark » will be going memetic in the same way, but it’s not like G-Witch is exactly lacking for meme fuel through the rest of it.

It’s also worth noting that the OP is nothing to sneeze at either. Yama’s vocals are haunting, but it’s worth noting that they actually got legendary mecha designer and animator Masami Obari to contribute this time, for those of you that love a good old-fashioned shiny robot sequence.

This is one that does kinda fall into that whole « Character Showcase » school of OPs, but it’s fitting in the context of a second season. It’s also the only place we’ve glimpsed Guel Bob thus far in the first two episodes, as I become increasingly concerned about my boy.




And there are some other neat flourishes in showing off those characters, like the knowing way Elan is always framed using reflections.

Oh yeah, it’s oddly chill, but there are definitely some things I’m looking forward to unpacking as things go on. Like the increasing imagery of Miorinne being trapped or drowned. I also can’t help but be amused by Shaddiq squatting and taking a phone break even though he’s really planning war crimes.

Even amusing in context, it’s still appropriate to the overall tone of this anime. That’s definitely the recurring theme of this particular playlist we’ve run down here: songs and sequences that are quite cool and entertaining on their own, but also encapsulate their series in ways that engage the audience.

Yeah! While we’ve been using rather ambitious examples, there’s plenty of good stuff that isn’t fancy-schmancy. My Love Story With Yamada-kun at Lv999‘s OP is another great example. It’s so cute. I love seeing everyone’s MMO avatars running around, and it has a particularly catchy OP with KANA-BOON and the singer from The Peggies.

It is a match made in heaven and I can hear Nick jamming out to it from here. My Love Story With Yamada-kun at Lv999 is just a strongly directed anime overall, thanks to Morio Asaka, and that’s reflected in the OP as well. Here, we see the characters in their daily lives next to the video game embellishments.





Also, points to consistently portraying Akane as a hopeless doofus.

Wait, that’s how I look on my phone and computer all the time!

Look, a series like My Love Story With Yamada-kun at Lv999 is nothing if not a sequence of callouts.

You are right, though, about anime theme songs not needing to be overly reverent approaches to their material to still properly represent it. And what series knows more about irreverence than Mashle: Magic and Muscles and its ED? This is probably my last standout fave of the season: an upbeat funky dance number celebrating the wonder of…cream puffs.

This is our other Shonen Jump adaptation on the list here, and wow could this not be further from the approach of Hell’s Paradise if it tried.

We’ve also been using examples of great animation, but many EDs have fewer resources and some may not even have any animation at all. The Ancient Magus’ Bride Season 2‘s ED is mostly stills but I like it better than the opening sequence because of how peaceful it makes me feel, and I keep coming back to it.

Aha, the most important metric by which a sequence may be judged: The quantity of shots you want to make into your new desktop background.

There’s something very symbolic and Mood™️ to seeing Chise blissfully laying in the grass to the point where she almost resembles a still corpse, then seeing her get back up again once her new friends approach, but it also proves that all you need to get the audience to feel invested are vibes and a good song. Really, I’m shocked we have so many notable themes this season and it makes me feel blessed to keep seeing and hearing them.

It really feels like an embarrassment of riches. That Magical Destroyers OP might have been the first one to come out swinging, but stuff like the Mashle and Ancient Magus Bride EDs proves that there’s room for sequences of all kinds to resonate with people and these cartoons we enjoy watching.





And as these convenient YouTube links we’ve included have further proved, it’s nice of the powers that be behind these shows to make it easier for us to experience these bite-sized musical encapsulations of our favorite new anime.

Take note, Netflix. If I wanted quick-time events, I’d be gaming, not watching anime.