The prominent OP and ED are pretty distinctive calling cards of anime in general, and seem to play a fair part in the mystique of certain shows. As such, it’s unsurprising that when the time comes for comparing and criticizing, we hand out our imaginary awards to the best of these sequences. Which at least leads us to think about what we like in OP/EDs – and since I’m still composing my thoughts on the recently concluded Druaga and Kurenai, that’s today’s topic. And since it’s a massive topic, I decided to arbitrarily narrow it down to EDs.

Anyway, when we think about what we want from the sequence, there’s a reconciliation to be made between atmospherics and the need to grab viewers. Not every show fits an enticingly poppy introduction after all. That conflict’s inevitably going to define the OPs – but the ED doesn’t have to entice the viewer in the same way. Perhaps that just leads to EDs being less striking?

One wonders, can you “sell out” at the end of an episode? If Kurenai seems to try to start each episode by tricking viewers into thinking it’s a kooky harem (when it’s really a kooky harem with beatings, incest, elegance and gratuitous theme-porn), why the pop ED? Is there any excuse for not using the ED to retain atmosphere, to conclude with a fitting tone?

What’s the ED really for? Making the (managed) transition from ‘fin’ -> life? It’s nice to have a period in which to reflect. The ED can provide an ambience, summing up the style of the show at the end. It’s like signing off at the end of a letter – an issue of tone. Not that we need to be thinking at the end, in fact it might be best not to. Perhaps that’s what Kurenai’s doing, making us forget how much shorter the episode would’ve been if only Benika had remembered to pack her gun. Pop as a slap in the face, a reminder that it’s just fun after all.

Certainly the issue of style makes the ED more than just a good or bad audiovisual sequence. Ideally it becomes part of the experience of being a regular watcher – whether or not we spend our spare time talking about it (except when a merciful Tadashi cut it from Kurenai). It’s something to feel fond of, something to slip into time after time. Or have jump out at you time after time, closing off each slice of show with neat regularity. It can make a good thing better.

The Natsukashii article I linked to above spoke of an emotional attachment to EDs, they were part of the experience. And the originals, in series with multiple EDs, came to hold a mystique – their style defined our idea of the series and our expectations. That idea of the series as a journey you go on – as something to feel nostalgia for, a memory which somehow excedes the sum of its episodes, that’s something which relies on attachment to certain things, sounds, characters – anything that’s repeated.

Let’s go back to Eds as thinking time. How far should the ED intrude? Mushishi and Shigurui have strikingly minimalist EDs. Mushishi’s ending allows us to sit and ponder the show. It serves a similar function to the soothing closing to Kino’s Journey (or Kabia, or Haibane Renmei) – melodicism can be as medititive as mimalism. Which couldn’t be further away from Shigurui’s stark closing – which has you left only with the cruel nihilism which preceded. It’s aggressively blank where Kino is comforting, it challenges the viewer to think (unsexy) thoughts.

Not that thinking time really = clever show. Many of the best shows are great fun. Gurren-Lagann just had to rock out at the end, Haruhi popped out legendarily, FLCL was the Pillows sound really (just like this blog is unnecessary italics). What these shows do is reassert the fun, give you the feeling that you could watch the episode all over again. That’s the joy of pop really, and shows which do achieve The Fun are right to go for it.

Perhaps those fun EDs work so well because it’s tricky to tie a repeated ED to episodes which go in different dramatic directions? Kino, Mushishi and Shigurui (although I’m only part-through the latter two) seem to have a unifying aesthetic. Kino’s world is always beautiful, Mushishi doesn’t drop a sudden cliffhanger, Shigurui seems unlikely to pander to its audience. The ED contributes to this feeling, but it also reflects the content. The tone is fixed over the series, but that isn’t always the case. Perhaps, if the tone of the episodes varies a fair deal (as in Kurenai), it’s really for the best to forget what just happened and dance our way out every week?

In the end, I’m left with very little to conclude with. ED’s can matter, they shape the experience in a small way, and are a pretty important piece of packaging to get right. The ED is still a part of every show I’ve liked or loved, except for the fansubbed Kurenai. They matter, they can be cool, cool things are cool, great insights are not forthcoming. Did you expect this post to go somewhere? Are you disappointed? Depressed? Suicidal? Good. Let us retain aesthetic unity.

Serious Motherfucking Business.