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#anime ending
demifiendrsa · 1 year
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Chainsaw Man ED4
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dangrr-2-societyy · 1 year
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N O S T A L G I A
Adult Swim had bangers although it aired mad late
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sekaiichi-happy · 2 months
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WONDERFUL↑POWERFUL↑MUSIC!! sekaiichi-happy's precure challenge ♡ favorite endings [4/8]
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animemusicbrackets · 5 months
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Anime ED Showdown!!!: SEMIFINALS
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“Roundabout” by Yes
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“OverThink” by Fan Ka
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alternate link for if crunchyroll is not available in your country:
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tetrix-anime · 2 months
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Ao no Exorcist: Shimane Keimei Kessha-hen (Blue Exorcist: Shimane Illuminati Saga) - Ending Theme "Gakkyuu Nisshi" by Ima Mulasaki Jacket Illustration. Release: 6 March 2024
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soranatus · 8 months
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Yamato in One Piece ED “Raise”
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cinycesum-fan · 5 months
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The Attack on Titan anime did better job than the manga:
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As a devoted fan of Attack on Titan, both the series and its manga, I must emphatically assert that the anime transcended the source material in certain key aspects. It's not about drastic alterations, but rather the subtle nuances that granted the anime a heightened level of clarity.
In the manga, there were lines that managed to infuriate the readers. Take, for instance, that moment when Armin expressed gratitude to Eren "for being a mass murderer for our sakes." It was a glaring misfit with Armin's genuine sentiments about the Rumbling. However, the anime rectified this by replacing it with the poignant dialogue about their reunion in the afterlife. Notably, the manga seemed less explicit about the fact that Eren "had no choice," leaving room for substantial criticism regarding his actions, his tears for Mikasa, the tragic demise of his mother, and the grim reality of only eliminating 80% of humanity. The anime, on the other hand, masterfully conveyed the inescapable nature of Eren's path, illuminating that no matter how hard he struggled, the outcome remained unchanged. Those like me who harbored disdain for the manga's conclusion primarily had their qualms rooted in the dialogue of that pivotal chapter. It's baffling that the "10 years at least" line persisted, but I digress, for the anime handled this with remarkable finesse.
I won't claim to adore the ending, but neither do I hate it. The anime, through its presentation, managed to mitigate some of the cringe factor, and the music, as always, elevated the emotional depth. It faithfully adhered to the source material, whether we found solace in its culmination or not. It's a testament to the anime's prowess that it took the source material and, for better or worse, enriched the experience.
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anime-captured · 2 months
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シュガーアップル・フェアリーテイル ED
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pochqmqri · 11 months
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In celebration of the premiere of the 26th Detective Conan movie, “Black Iron Submarine,” the official YouTube channel posted a cover of the 60th TV ending theme, “Sissy Sky" by Ai Haibara’s voice actress, Megumi Hayashibara, sung as her character. The ending theme of course, is themed around Haibara, as is the most recent movie.
The original video on YouTube is region-locked and appears to be only available for a limited time only until May 7, so here’s a mirror.
The official Twitter announcement included a message from Haibara herself:
Congratulations on the release of the anime-based movie, “Detective Conan: The Black Iron Submarine,” as well as File 1111 of the original manga.
This is the one year where I can’t be in hiding too, so I’m even doing my best to move around as much as I can.
While making an effort, I was able to experience recording a cover for the first time.
I was very nervous, but the entire staff was kind, and moreover, the original artist of the song, Airi Miyakawa, even came to support me, which made me very happy.
You might say, that I did this to prevent Edogawa-kun from singing, right...? Haha.
Please listen to the song, “Sissy Sky,” covered by me, Ai Haibara.
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animehouse-moe · 9 months
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Link Click Season 2 Opening & Ending Explained
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Praise be the powers that be that allowed the original musicians behind season one's electric performances return to double down on their work for this new season (and even collaborate on them!). Of course, they're not the sole attraction as stunning visuals and incredible solo efforts weave two very different and unique stories for this opening, which I'd love to explain here today.
Vortex - JAWS
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This opening is incredibly interesting for countless reasons, but arguably the best is that it's a solo effort that incorporates the unique experience and background of its talented creator, Somei Sun (who you can find here). Seriously a very cool endeavor that starts with Somei's forte of CGI in an incredibly uncanny-in-a-good-way scene of a teddy bear floating upward.
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This sequence very quickly sets the tone for the opening at large as the theme of the reversal of time appears from the very get go. Even with things as simple as the lighting changing from our quick look outside of the arcade the bear is found in.
Even further than that, the first time we see Cheng Xiaoshi is under this water that the bear is floating up from within. Very clear symbolism for drowning and being forgotten (alongside a few other key objects that will play into this season).
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Soon after this we transition the silhouette of a character obscured in darkness and surrounded by vibrant colors, with various photographs surrounding them. When you slow it down, it's all but obvious that this is Cheng Xiaoshi, and is meant to signify the loss of his sense of self, and the weight that he ascribes to the actions and alterations of the past that he's introduced.
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The whole idea of Cheng Xiaoshi being lost and fumbling for where and when he belongs, stumbling through all these pasts and people, is really well exemplified through this frustratingly good cut here.
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Of course Cheng Xiaoshi and Lu Guang represent Yin and Yang, so what would a sequence about Cheng Xiaoshi being lost in his many pasts be without Lu Guang seeing all the different versions of Cheng Xiaoshi (and even potentially teasing some new ones). Incredible work here, especially with the idea of Lu Guang being "correctly" oriented in time, just instead being frozen in it compared to Cheng Xiaoshi's violent by comparison reversal.
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And the whole idea of Lu Guang appearing in a mirror? That's returning from fracturing? And that at the end of this sequence Cheng Xiaoshi appears again? Incredible symbolic work to summarize their relationship and how they exist both within and separately from each other.
Of course, it only keep getting better as we begin a descent into an incredible collaborative effort between animator and musician. First, we start with this sequence of a a child reaching out to the viewer while a larger hand engulfs them from behind. This is then followed up with a teddy bear erupting into a monster.
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The trick here though comes from this incredible scene. This moment of Cheng Xiaoshi going back in time to attempt to save all of those close to him (and a few "others"), but being unable to reach them he begins his downward spiral through the flow of time once more.
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It forces viewers to pose the question: which way is the right way? Is this the story of Cheng Xiaoshi clawing his way back from the depths of the Abyss, fighting backwards through time to create the present that he desires so much? Or is it his descent into atomization that fractures himself and Lu Guang into fragments of the past?
Whichever you see, it's impossible to not view it as an incredible sequence when paired with the music from JAWS that reverses as the flow of time switches. From start to finish it's a stellar opening that puts it on par with some of the heaviest hitters for this year.
The TIDES - Fanka, JAWS
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This ending is a little more straightforward in its storytelling, as Cheng Xiaoshi and Lu Guang are detectives that guided by Qiao Ling through an abandoned mansion to find something. In that sense it's rather literal, but the imagery shown and story told is more implicit.
Take this first still from within the mansion. A painting that shows a man and a woman together, obviously meant to display the closeness the two have.
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The pair appear through Cheng Xiaoshi and Lu Guang's exploration of the mansion quite often, and in very interesting and leading layouts.
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The idea is that the woman is depicted as beautiful, the apple of the man's eye. A Saint that exists in opposition to his more devil-like existence. Someone that exists across from the man, so close yet so far away.
Regardless, through their exploration, they find figures of the man and woman with their hands reaching out for each other, and once their hands touch a secret door opens up. Through this secret door they find what could only be a time machine.
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If the pieces weren't clear enough, this ending is all about one man's love for his (presumed) wife, one that he lost before himself. One that he could not give up, that he could not forget. A wife that he loved so much he would dare to defy time for. It's a really lovely and interesting story to tell from an outside perspective such as Cheng Xiaoshi and Lu Guang's. Not stronger or better than the opening by any means, but still a very solid ending that tells a unique story.
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Spy x Family Ending 1 Creditless
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demifiendrsa · 8 months
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One Piece ED19
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forever-yours-things · 3 months
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Yu Yu Hakusho, 1990
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sekaiichi-happy · 2 months
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YAY! YAY! YAY! sekaiichi-happy's precure challenge ♡ favorite endings [2/8]
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animemusicbrackets · 4 months
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Anime ED Showdown!!!: FINALS
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“Roundabout” by Yes
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“Wind” by Akeboshi
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tetrix-anime · 3 months
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Kusuriya no Hitorigoto (The Apothecary Diaries) - 2nd Cour Ending Theme "Ai wa Kusuriya" by wacci Jacket Illustration. Release: 7 January 2024 (Stream), 21 February 2024 (CD)
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