(Meant to post this 2 weeks ago, sorry)
This is the start of a post series that highlights the great animation I’ve seen. These are monthly posts, but they cover the Spring season as a whole. If there’s something that came out in April that I didn’t cover in this post, I’ll probably talk about it next month.
(All links for my favorite cuts come from Sakugabooru)
Top 3 Episodes
The Top 3 slots were taken up by the same show. Whoops.
Tengoku Daimakyou #1
Episode 1 of Tengoku Daimakyou isn’t particularly exciting, but it does its job of setting up the world. Watching Maru and Kiruko explore their environments is engaging because of how natural the character acting looks, adding life to this otherwise melancholic world. There’s only really one action scene and it’s fantastic; Ryo Araki provides some fluid choreography that makes this 40-second fight far more memorable. Overall, this episode sets a vibe just for us to get vibe-checked by the cliffhanger.
Favorite Cuts:
Kiruko acting smug (Thumbnail)
Tengoku Daimakyou #2
Episode 2 follow-ups the previous episode’s cliffhanger, with one of the best action setpieces in the show so far. The low visibility of the dark environment adds tension as the maneater stalks our protagonists, with just enough light to make the action readable. The episode returns to its melancholic vibes after the battle, offering more great bits of character acting, including one from key animator Weilin Zhang (someone I will gush about in length later in this post). Not much else to talk about outside of the maneater encounter, but it’s a beautiful episode nonetheless.
Favorite Cuts:
You know it’s gonna go down when the aspect ratio changes
Tactical Retreat (Thumbnail)
Weilin Zhang animating funny faces
Tengoku Daimakyou #3
(Massive Spoilers Ahead)
Episode 3 is traumatizing, and the fantastic animation makes it more horrific. I can’t talk about this episode without dropping massive spoilers, so just move along if you haven’t watched it yet.
Spoilers
At the end of Episode 2, Kiruko mentions that “my body is a woman’s, but in here, my mind is a man’s”. I think most people saw this and thought it was the start of a trans narrative, but I predicted more of a body swap situation, judging from Kiruko’s make-out session with their reflection in Episode 1. After watching this flashback episode, it turns out I was right, but not even close to the way I expected.
The draftsmanship in the drawings is so good at selling the horror of Haruki’s fate. The way the tendrils of the maneater latch onto Haruki’s arm is drawn in incredible detail, making his struggles to get loose look more believable as you can physically see the hold this monster has on him. I also love the depiction of the brain transplant; everything is bathed in a menacing red hue as Haruki is tied to the ground, forced to watch his sister walk towards the giant face of the maneater. The following freakout is so well-animated and voice-acted, perfectly translating his sorrow of being trapped in his sister’s body with his real sister nowhere to be found.
Basically, this entire episode uses its expressive animation to its fullest when depicting Kiruko’s harrowing past. Every frame elevates the story to heights I don’t think it could have reached without the talents of these animators.
Favorite Cuts (Spoiler Warning):
Best OPs
Best OP: Tengoku Daimakyou
The best OP of the season, and a contender for the best OP of 2023.
The OP was directed by Weilin Zhang, an animator I’ve been keeping a close eye on for about five years now. He blew minds with his key animation work on Boruto and Mob Psycho 100, and he was only 17 at the time. Every appearance he makes in the anime industry becomes an event for sakuga nerds like me; we get to watch a young talent grow and evolve his craft in real time, so it’s no wonder that his directorial debut was astounding.
There’s beautiful imagery peppered throughout this opening, whether it’s Maru’s hand turning into a flower, circuitry morphing into tree branches, or Kiruko’s colors moving out of sync with their linework. These visual metaphors are allusions to future events, but they’re just vague enough to leave it up to the viewer to decipher what they mean (I already have an idea of what Kiruko’s cut is meant to represent).
The only criticisms I have are towards the use of the song. It’s not bad by any means, but outside of those sick guitar riffs, it just sounds a bit too poppy for the atmosphere this show’s trying to convey.
Favorite Cuts: God Turn [My Hand] Into a Flower / Unsilent Running
Next-Best OP: Magical Destroyers
I first saw this OP with the caption “How is this real?”. I watched partway through, and it didn’t seem too crazy at first. There were some cool moments, like the color scheme and the cut of Anarchy eating the apple. I just didn’t understand why the reaction was “How is this real?”. Was it the quality of the imagery? Was it the song? I mean, the song sounds pretty good, but the guitars in the chorus sound a bit compressed…
Then, everything got compressed. The guitar solo started skipping like a record player, and the instrumental turned into static, with the repeating refrain “I wanna wake up from recurring dreams”. Everything onscreen turned into a grungy, glitched-out mess, and I felt like I was sent to the darkest corners of the internet and nerd culture. I don’t really care for this part of the song from a music standpoint, but it fits the insanity on-screen so well that it really doesn’t matter.
This OP is the dictionary definition of a hard left turn, baiting viewers with its pretty aesthetics for most of its runtime, then blinding you with unabashed ugliness in the last 30 seconds. It’s too bad Magical Destroyers isn’t as nuanced as its OP, but I can’t say that any other OP this season looks anything like this.
Favorite Cuts: Apple / Presumed Weilin Zhang cut
Best EDs
Best ED: Tengoku Daimakyou
#TengokuDaimakyouSweep
As disturbing as this show gets, Tengoku Daimakyou still has its moments of levity, whether it’s through comedy or by the cast just living their lives in the broken world they live in. While the OP shows off the cinematic nature of the show, the ED shows off the fun moments that tend to get overlooked.
Musically, this is my favorite ED of the season. I like the semi-acoustic instrumental, and the vocals are very cute. The visuals show off some nice slice-of-life moments with the cast, crescendoing into a beautiful segment that looks like it was drawn with colored pencils. It’s such a great closer to the episode, even when it plays right after a shocking revelation.
Favorite Cut: WHALE
Next-Best ED: Oshi no Ko
I have a weird relationship with this ED.
Whenever I see it used in the show, I think it’s just okay. When I watch it on YouTube, I think it’s one of the best EDs this season. I think it’s because the YouTube version has extra animation for the first 30 seconds, letting the strings in the intro stand out more. In the show, the intro plays in the background as it leads up to the ED, and that lack of transition kills the intro for me.
The visuals are beautiful, with fantastic compositing and a neat puppet motif, the shot at 1:09 being especially beautiful. Shoutout to Naoya Nakayama who worked as the solo key animator.
My issues lie more with the music; while well-produced, the song comes off as a bit overdramatic to me, which I guess is fitting for Oshi no Ko. The vocal processing of “I’ve never seen such a liar” on the pre-chorus just sounds really corny, and the song itself doesn’t sound too unique when you take the strings out of the equation. I’ve grown to like the falsetto switch-ups on the chorus though; I initially thought they were annoying, but they harmonize really well with the strings.
Still, this is visually the second-best ED to come out this season.
Favorite Cuts: 2nd Best Girl / Cinema
Shorts
JRA
This is a commercial for the JRA (Japan Racing Association). It was solo key animated by Hitomi Kariya, who also Solo KA’d Chainsaw Man’s second ED. It’s very pretty and I appreciate the artistry, but it’s hard for me to take it seriously, being a horse-racing ad (Uma Musume is valid though).
Genshin Impact: Pact Sworn Pantheon
This is a cool fan animation with great fight choreography and storyboarding. I don’t have much interest in playing Genshin Impact myself, but it’s cool to see how artistically talented the fanbase is.
Favorite Cut: Bro think he Captain Levi
Idol
This is the music video for YOASOBI’s “Idol”, the opening theme for Oshi no Ko. It’s colorful, cute, and well-edited, matching the tone switches for each verse. The vocal performances for those verses might not be my thing, but everything in the song and its music video is well-put together.
Favorite Cut: Idoru