Shakugan no Shana III: A Primer on Fade-ins

Intrigued by the power of the fade-in? Shakugan no Shana III has all your answers. If an ending transition exists, Shana III has used it (spoiler warnings):

1. No fade-in, standard ending sequence: episodes 5–7 and 9. The kind of ending you’ll find in most shows, and, unfortunately, the only kind of ending you’ll find in most shows. Can be very enjoyable, just in a manner independent of the episode content before it. Useful for sudden transitions, though rarely used exclusively or even primarily to this end. Can be used in earlier episodes to contrast with more powerful endings in later episodes. Fansubbers used to cut this kind of ending to save disk space and bandwidth.

2. Fade-in, standard ending sequence: episodes 2–4, 11, 16, and 18–23. The good stuff. Makes the ending sequence more than an AMV. Adds drama/tension/feel-goodness/slice-of-livelihood/etc. directly into the episode itself. Creates a smooth transition between the episode content and the ending sequence. Great for cliffhangers because it makes you realize it’s a cliffhanger as you’re watching it. Even for non-cliffhangers, makes you savor the last few moments since you know the episode is coming to a close. Can be used as much as desired without losing its impact. Makes you feel like listening to the whole song since you’re already part-way through it. Sets up a potential fourth-wall-breaking fakeout ending. Can’t be cut, not even by Adult Swim (though they may speed up the ending visuals like they did with FMA’s Tobira no Mukou he).

3. Episode continues through standard ending song: episodes 1, 8, 10, 12–14, and 17. Could simply be an extra treat. More often means serious business. A powerful tool that loses impact if used too frequently. Particularly successful if previous episodes had fade-ins, thus tricking you into thinking you’ll get the ending visuals again, then BAM! You realize the episode will keep going, which is awesome if you actually like the show you’re watching.

4. Episode continues through special ending song: episodes 15 and 24. The ultimate dramatic play. Usually reserved for a special occasion, such as a mid-season turning point or an end-of-season climax. Use more than twice at your own risk.

What makes Shana III’s fade-ins so impressive is the amount of fine-tuning that went into them. Whether a measure was added, two measures were taken out, lyrics were switched up, vocals were removed, or the entry point of the ending visuals was shifted, you rarely got the exact same fade-in twice. Nor did it hurt that the endings were done by Altima, a group featuring the vocal talents of Maon Kurosaki and Mototaka Segawa. In case you know even less about the Japanese music industry than I do, that means each episode of Shana III ended with a mix of High School of the Dead and Initial D.

Why bother with all this effort? Because I’m the only one who liked Shana II, or at least the only one who liked it and wasn’t after Shana’s panties. After all the complaints about Shana II being too slow, Shana III had little choice but to try to be epic. Shana’s lack of “urusai urusai urusai” set the tone perhaps more than anything else. We heard it only twice, both times for dramatic, not comedic, effect. The first came in the middle of a serious battle with each urusai being separated by tense dialogue and growing progressively more emphatic.

Yuuji: blah blah blah

Shana: urusai

Yuuji: blah blah blah blah

Shana: Urusai!

Yuuji: blah blah blah blah blah blah

Shana: URUSAI!

The second urusai x3 came in the final episode right before the first season’s first opening plays through the final battle. (The show also sort of passed the pregnancy test.)

I’m still surprised and impressed by Shana III’s many ambitious creative decisions. However, some of its ambition backfired, for example, introducing a shitload of new side characters and giving them each their own fight. A final season is when you need to focus on what you’ve already built, not bring in tons of new material. It’s also annoying to think that the entire conflict was rooted in misunderstanding, not fundamental disagreement, and that it all could’ve been easily cleared up if Shana and Yuuji went on a date or something.

Final Grade: +


Missed me this past month? Then you must’ve missed me on Digibro Never Shuts Up Episode 4.

You can listen to me live on Anime Talk on Tuesday, December 4th at 11 P.M. U.S. Eastern Time. If you’re unfamiliar with American timekeeping, you’ll probably want to check for your metric conversion. My Twitter account will have a link to the live stream when the time comes.

UPDATE: Podcast available here

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Shana said "urusai urusai urusai" 12 times in the first two seasons

  1. Digibro says:

    Jojo’s Bizarre Adventure does fade-ins with the song Roundabout by Yes as the ending theme. It’s an old English prog-rock song that has this really mellow and dramatic part at the start of the song before exploding into this funky-ass riff, so the show fades with it exactly how you’d expect. Roundabout is a badass song, and the author of the Jojo manga is a big fan of old prog-rock songs, having named a lot of the characters in the series after them, so the inclusion is strangely very appropriate.

    As early as episode 3, it experiments with playing a different song with the show still running for the ending to highten the first big dramatic turn of the series.

    Who knows how many more transitions it may experiment with?!

    • Taka says:

      I thought it was still Roundabout just a different verse?

    • Baka-Raptor says:

      I saw someone on Twitter mentioning Jojo’s had a fade-in. Whoever it was mentioned my name but didn’t add an @ so I can’t find it now. Anyway, I did briefly look into it before writing this post. Couldn’t find the ending with the fade-in, but I did find a TV-size song version and an ending sequence without the fade-in. I can imagine them being dynamite together.

      I’ll definitely be watching Jojo’s someday, if not for your recommendation and the kickass bass line then for this:

  2. The Yoshinator says:

    I do like the ending switch-ups. It’s an interesting little addition. And I don’t read any other blog, so I wouldn’t care about that person.

  3. steelbound says:

    I do love a good ending fade-in but an even more rare way to end an episode is run the credits without the song like with the first episode of Ga-rei:Zero.

    I found it a very unsettling way to finish an episode which helped drive home the surprise that was sprung on the viewers right before the credits started to roll.

    • Baka-Raptor says:

      That ending definitely made an impact. Can’t recall if I’ve ever that sort of transition in another anime. Maybe a movie might pull it off? Or maybe I’m just thinking of movies because of the black screen.

      If I remember correctly, Ga-Rei Zero fades into its opening. Didn’t want to get into openings in this post, but similar principles apply.

  4. It’s hilarious that you talk more about the endings than the anime itself 😀 Sadly enough, music was the only thing I liked about Shana’s third season -__-

  5. […] It has been said by the esteemed Baka-Raptor that JC Staff has a talent for fading in it’s ending songs into the anime itself for maximum emotional impact. I would have to agree. I think this might be JC Staff’s only real talent, but that’s a discussion for another day . […]

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