FEATURE: Every Chainsaw Man Anime Ending Theme, Explained

Chainsaw Man

 

When I first heard there were going to be 12 different Chainsaw Man endings, I thought to myself, "Wait...can they do that?" While plenty of anime have showcased special ending insert songs for climatic episodes, I can't think of another in recent memory that allowed such a wide variety of artists to join in on the credits. And when that initial list was released, it was stacked. 

 

After the show's run, I had some time to sit with all of them and think about what made each of them special. But I wanted to look into who exactly created them in the first place. It was through this research I really learned that each of the artists (both music and animation staff) played to their strengths, seemingly given free rein while also highlighting the tone and direction for the episode that followed. So let's take a look at the cool creatives behind each ending of Chainsaw Man and why each one of them ruled in their own way.

 

"Ending 1" "CHAINSAW BLOOD" by Vaundy 

 

 

Sure, this one isn’t truly an “ending” in the way the ones followed, but funny enough, I found myself listening to this one the most. Fans described "CHAINSAW BLOOD" as an “alternative opening theme” for its tone and lyrics, which I agree with, because how else am I supposed to know the main character of something unless it’s part of the chorus like an '80s kids' cartoon? God, that opening guitar riff is so good. And what makes this song work even more is that it gets you hyped for the high-octane action that followed in the series. A definite bop.

 

Ending 2 "Time Left" by ZUTOMAYO

 

 

This was the first ending that answered a lot of questions going forward, and one that showed we would get a unique visual treat at the end of every episode. Hitomi Kariya, who also recently provided key animation on Mob Psycho 100 Season 3’s Episode 8 (the one with all the aliens), did most of the heavy lifting of this ending with their direction of the ending, storyboards, color setting and backgrounds. You'll find that most of the endings that preceded Episode 1 had at least one person in charge of the overall ending, which in my opinion, helps with the artistic focus in each of them.

 

 

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Having Denji start in the trash is very fitting, and I really liked the very simple designs for the main cast. It also laid the groundwork for solidifying the “Hayakawa Family” trio, which will come up much more with other endings. And following the tradition of cool openings to the songs, ZUTOMAYO has a groovy bass riff to open up this colorful ending. Honestly, I'd take a spin-off comedy manga with this style.
 

Ending 3 "HAWATARI NIKU CENTI ("2-hundred-million-centimeter-long blades" by MAXIMUM THE HORMONE

 

 

Hell yeah, this is it. MAXIMUM THE HORMONE is such a perfect pick for a Chainsaw Man song, and "HAWATARI NIKU CENTI" did not disappoint. Largely handled by Yuki Kamiya (who, of all things, has primarily worked on Doraemon movies), this ending provided a bit more of the psychedelic nature that I think people come to expect of Chainsaw Man's source material. And in typical MAXIMUM THE HORMONE fashion, the product hits at 00:31.

 

 

This is also the first ending that started to lean into the “holiness” of Makima, but I just have no idea what they are trying to set up by framing Denji's main love interest as a saintly being with our measly main character bowing down, naked, in her presence, only to reach out and experience quick cuts and violent red. Whatever could it mean? Oh well, nevertheless. 

 

Ending 4 "tablet" by TOOBOE

 

 

It was only a matter of when, not if, Power got her own ending theme. Animator coalowl made sure to bring all the animanie, totally insaney presence that is the Blood Fiend, who canonically does not flush the toilet nor bathe. The highlight of this ending is the little dance Power does at 00:59, which even became a cute little TikTok meme! Coalowl was perfectly able to craft TOOBOE's zany song with Power's eccentricity, which at times sounds more like an alien invasion with the synths in the song. 

 


You may also recognize coalowl’s particular style from the 6 million viewed hit “Piplup Step,” so if anyone was perfect to direct a song with a girl doing some cute little dances, they chose right.

 

Ending 5 "In the Back Room" by syudou

 

 

This was the ending that actually inspired me to write this piece in the first place. Do you know how hard it is to animate a horse? Shirobako had a whole episode about it! And they drew five different kinds of horses in this ending alone!! 

 

 

Hiromatsu Shu really blew me away with this one, who really crafted a pulpy, infinite (fitting for the episode it aired) art museum with an underlying sense of torment underneath. Their pinned tweet really encapsulates their style of highly-detailed pieces that reminds me of the short "PUPARIA" more than anything else. If every frame is a painting, each one in this ending, in particular, belongs in the chaotic modern art museum Shu and the other talented artists built. 

 

Ending 6 "Rendezvous" by Kanaria

 

 

I liked how Ending 6 continued on the Infinity Hotel theme by incorporating M. C. Escher's art to match the feeling the Devil Hunters were going through, but this one struck me more by how much it looked like older Fujimoto art for those familiar with Fire Punch. There are some frames where I went “Angi!?” when they passed by.

 

 

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In full honestly, I thought Fujimoto himself helped storyboard this when I first saw it. Rather, this ending was handled by Saho Nanjo. Nanjo has done a lot of work on music videos, most notably some YOASOBI releases, and has a really immersive style with their usage of soft colors, even though for the Chainsaw Man ending they fully utilized black and white. 

 

Ending 7 "All Kinds of Kisses" by ano

 

 

Remember when I said “every frame is a painting” for Ending 5? Well, all of those paintings now involve vomit.

 

 

The first Chainsaw Man moment I remember seeing before I read it properly was the Fox Devil summon, but the second — and more “they can get away with that?” — moment was the “Himeno Hurl.” Studio Sankaku, whose previous work also includes a Uta music video for One Piece Film Red and Attack on Titan Final Season, threw back to a '90s style with the palate, giving a digital city-pop spin before throwing viewers once again into the delectable scene. I mean, even the title of the song and the lyrics of the song make a cute reference to it, with the chorus sounding like the word “vomit” in Japanese. Have I talked about throwing up enough yet?

 

Ending 8 "First Death" by TK from Ling tosite sigure

 

 

When the initial artist list was announced, one coworker replied “this list makes me feel like I’m about to start frothing at the mouth.”

 

And then followed up with “TK IS BACK?!??!?!??!?!??”

 

 

"First Death" rules, and is a great energetic rock bit after some of the more experimental songs before. It might be one of my top favorites from the whole selection. Yuki Kamiya, from Ending 3, returned to direct the high-paced and energetic ending, leaning heavily into Aki and Himeno's partnership following the bonkers episode that preceded it. Takafumi Mitami also provided the “majority” of the key animation for the ending, according to Kamiya, who’s done some really great work on My Hero Academia and Mob Psycho 100 in the past. Speaking of the Himeno and Aki relationship, that leads us to the next ending  

 

Ending 9 "Deep Down" by Aimer

 

 

When I first read Chainsaw Man in that 60 or so chapter bender, I don’t think Himeno’s death hit me in quite the same way it would have if I kept up week to week. Much like Attack on Titan, the world of Chainsaw Man sets up the monster hunters as a job that’s unforgiving, tiring and could put you in the grave at any moment. With Chainsaw Man’s melancholic tone and direction more of a focus in this adaptation, it actually let me feel Himeno’s last moments just a little bit more, and this ending encapsulates that quite well.

 

 

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Directed by Masanobu Hiraoka, the ninth ending takes it a bit slower with Aimer’s signature voice, while also entangled in Makima’s “bullshit power” as described by Akane Sawatari. Taking a look at Hiroaki’s Twitter page, he seems to be really interested in the rope-like, evolving forms of animations, which work well in the blood and guts featured in the ending itself, as well as their work on Made in Abyss Season 2's latest ending. It’s a complementary breather from Kamiya and TK’s ending before, and one that makes the stakes of Chainsaw Man’s world just a little bit more tangible.  

 

Ending 10 "DOGLAND" by PEOPLE1

 

 

I’m a sucker for whenever anime openings or endings feature live-action footage, just as Madhouse’s Akagi adaptation shows people playing real-life mahjong after just watching people play unrealistic mahjong. Fittingly set in the back alleys and trash heaps of Chainsaw Man’s main aesthetic, Yuma Hirai brings their live-action music video and concert cinematography to Denji hanging out with the good boys. PEOPLE1 also brings an exciting anthem running through all the enemy devils thus far, but my favorite cut by far is the little “bow wow” Denji gives right toward the camera.

 

 

Ending 11 "Violence" by QUEEN BEE

 

 

LONG LIVE QUEEN BEE AND LOVE LIVE AVU-CHAN. Seriously, have you heard that Dororo opening? And the new "Devilman no Uta!?" This was also one of my highest anticipated endings when the list was initially released, as both Avu-chan and the QUEEN BEE band sing some of my favorite rock fusion songs out there today.

 

 

Ending 11’s animation staff is one of the beefiest of the bunch, but Kamada (as they are credited, but also known as Shinpei Kamada) primarily handled this ending. They did something very similar with their opening theme for MAPPA's Yasuke, which similarly has characters immersed and staring off into a particular, liminal space. Power gets one little last dance in these endings that’s a nice treat, but the final shot is one of the best with Denji grasping the sphere of what can be assumed to be blood.  

 

"Ending 12" "Fight Song" by Eve

 

 

Chainsaw Man may deal with a lot, but it is also about one thing: family. And sure it’s a Fast and Furious “found family,” but these folks are far more chaotic. After going through all the blood, sweat and tears the main cast had to go through, it was nice to see them actually just… relax. Super Eyepatch Wolf’s video summed it up well in terms of how this one facet makes Chainsaw Man great, but it’s nice to see all these weird little freaks just enjoy some food and each other's company.

 


It similarly hit me watching Tim Rogers’ Boku no Natsuyasumi review that this ending being set in the summer was no mistake — as it also taps into a core memory-like feeling of those last humid nights of childhood. While the characters themselves are not children, it still gives you that feeling of thinking, 20 years later, if you ever had any other friends like the ones you did back then. Jesus, does anyone?

 

 

 

Kyle Cardine is a Managing Editor for Crunchyroll. You can find his Twitter here.



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