I began to feel like I’ve been blogging too much for my (beloved) commenters these days, and that’s just no good, so I’ve decided to write about what I feel like on this blog about how I feel about anime. That’s surprising.
Anyway, Ghost Hunt’s ending theme is amazing not only because the music is beautful but also because of the nature of it’s existence. To begin with, I want too look at the ED itself. Technically, the ED doesn’t fit my loose requirements for being a good ED, since the animation is (at the least, at a first glance) lacklustre. Being the slightly ADD afflicted person I am, unless things are moving and constantly flashing across the screen, it’s going to lose my attention quite quickly. That is, if something else isn’t powerful and/or moving enough to make up for the lack of pretty colours. And “Ending Theme” by Toshiro Masuda is just that.
Although you could (as I did) see the animation as lazy, there are so many connotations between the nature of the show and the animation that it doesn’t come off that way. The song is mournful yet beautiful; it reminds me of something simplistic and strangely nostalgic like a music box or lullaby, something which inherently resonates within you. The small multicoloured spheres floating upwards echo the lighter-hearted side of the series (the parts when it’s not trying to disturb you in as many ways as possible. In fact, as of episode 14 I’ve noticed the show becoming more and more frightening. Not Scream or Saw frightening, but still. Anyway, that’s for another time.) Despite what the name of the show implies, far from ruthlessly hunting ghosts, the ending is focused on the spirits moving on and away from these earthly desires. The way the background slowly brightens reflects how they’re being set free from their suffering to continue on to whatever world is next. In short, it perfectly fits the tone of the series.
It’s interesting that the composer for Ghost Hunt also did the opening and ending themes for the show. That in itself is strange to me, since I’m so used to hearing songs from contemporary bands used in anime to either publicise the bands or vice versa. It’s a mutually benefitial relationship in that the two, if they are high quality, go well together etc, assist each other in terms of marketing and advertising. Then again, from this you do get cut and paste situations where the song is simply used for the sake of it being from a popular band, rather than it actually fitting and even accentuating the show (there are many times when I’ve watched a show more for its opening than the show itself. I’m looking at YOU, World Destruction!). That’s all fine and dandy, everyone enjoys good music, but to choose a song in which the lyrics and music fit the show is to create a more cohesive experience altogether.
Cohesion is generally good, but sometimes you can get just as good results from jarring incongruity.
V Gundam, for example, cheerfully slaughters its way through its cast. One of the moments that its grim nature is really driven home is when an episode finishes with an inoffensive old man being guillotined, and immediately cuts to the visually and aurally uplifting ED, which (to add to the insult) is called ‘Winners Forever’.
First off, great ED almost makes me want to get addicted to Gundam. ALMOST.
Also, the jarring incongruity is the exact same thing that happened with both Clannad and Toradora! a few weeks ago. It could either be seen as cruelly ironic or completely inconsiderate, but with the high quality of at the very least Toradora, I’m more inclined toward the former. Though I have gotten enough of irony for one day (analysing German poetry is a pain.)
The constant contrast in V Gundam is one of the reasons why it ranks as one of my favorites. Uplifting moments contrasting with Tomino being at his absolutely cynical best. I really need to re-watch it again soon.
I guess I would view OP/EDs generally as 3 minutes of marketing exercise more than anything. Though I did once grab a compilation of mecha OPs for series that ran from the original Tetsujin 28 through 1999, and it did provide an interesting progression in music selection and in cliches that developed within the OP animation.
Here’s a case where the same composer does the OP and ED, and still delivers incongruity (although NOT as jarring as The Animanachronism’s example):
The Vision of Escaflowne OP just draws you into a world of mystery and knights and war, then there’s it’s ED which is straight 80’s dance-pop which betrays how much of a teenage romance fantasy it is.
@ghostlightning
Did Kanno really compose “Mystic Eyes”? I was under the impression that it was composed and performed by Hiroki Wada, which is why that song is so jarring in the first place. Kanno did compose “Yakusoku wa Iranai” though.
Cohesion with, but especially relevance to, the series is one of the reasons I really admire the music Takanori Nishikawa does for anime. T.M. Revolution can certainly be considered a big name, popular band, but Nishikawa almost always does research into the series he’s providing music for and writes lyrics based on what he learns. This is pretty obvious in both “resonance” for Soul Eater and “Howling” for Darker than BLACK.
@Emperor J
Perhaps some OPs and EDs even help define the tone of the anime we watch and our experiences with it.
@ghostlightning
Maybe the different style is used to highlight that aspect of the series more? I haven’t seen Escaflowne, so I wouldn’t know.
@Kiri
I didn’t realise that, perhaps that’s the case with other OPs as well. Such as Higurashi’s first OP, conveniently titled “Higurashi no Naku Koro ni”. Then you have those with which the lyrics fit the show, but the music doesn’t at all (looking at you Casshern.)
AIZEN GOES GRAMMAR NAZI ON J00
I have never seen the show nor do I plan to, but that song only sounds mournful to me. It also reminds me of the Holocaust music played in Schindler’s List.
“Such as Higurashi’s first OP, conveniently titled “Higurashi no Naku Koro ni”. Then you have those with which the lyrics fit the show, but the music doesn’t at all (looking at you Casshern.)”
Huh? I found the music very fitting for both. Higurashi’s tech-beat opening is very dark and reflects how dark the show is. Casshern SINS….I don’t now what to say though.
@Aizen
Well, that’s one thing you never EVER want to remind your readers about :s
@Avisch
Higurashi was fine, I was focusing more on Casshern. Awful, awful pop music for the opening of a show about DESTRUCTUION.
Startling video clip created on ghosts hunt. It’s interesting that the creator for Ghost hunt also did the aperture and finish themes for the show.