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Tag: chainsaw man

  • ‘Tatsuki Fujimoto 17-26’ Is a Joyously Unhinged Look Into the Young Mind of Manga’s Wildest Auteur

    With rare exceptions like Star Wars: Visions and Love Death + Robots, anthologies have become a dying breed in anime. Gone are the days when studios—seemingly already at the height of their powers—banded together to make once-in-a-generation pastiches like Robot Carnival and Memories, showcasing their flair, artistry, and the magic of anime’s unique visual language.

    These projects launched directors like Mamoru Oshii (Ghost in the Shell), Katsuhiro Otomo (Akira), and Yoshiaki Kawajiri (Wicked City, Ninja Scroll, and Vampire Hunter D: Bloodlust) as visionaries whose influence still shapes animation today. These relics offer viewers a kaleidoscopic portal into wildly varied tales, each with distinct tones, styles, and moods, affirming animation not as a blueprint for live-action but as a standalone art form worth marveling at.

    And now that lost form is seeing a revival, spotlighting the humble beginnings and abstractive range of one of manga’s most unpredictable auteurs, Tatsuki Fujimoto.

    In 2025, few creators are more visibly beloved in the anime industry than Fujiimoto. Over just two years, the Chainsaw Man legend (and unabashed cinephile) has seen his one-shot manga, Look Back, adapted into a stirring Studio Durian feature rivaling the work of Studio Ghibli, and Chainsaw Man – The Movie: Reze Arc explode into a box-office hit via Mappa. Both films showcase his flair for sentimentality, whimsy, romance, and bombast. Hell, even Chainsaw Man’s first season had the unprecedented distinction of unique outros in every episode, and its openings referenced Hollywood films before the title became one itself. The dude has motion.

    As if winding back the arms of a grandfather clock, Prime Video capped Fujimoto’s banner year with Tatsuki Fujimoto 17-26, a vivid anthology of his pre-fame works.

    Tatsuki Fujimoto 17-26 sees the unified effort of studios P.A. Works, Zexcs, Lapin Track, Studio Kafka, 100studio, and Studio Graph77 adapting eight short stories Fujimoto wrote from ages 17-26, before he became a household name with his first published series, Fire Punch.

    Despite the conceit of the anime anthology being short stories from the same author, none of them feel like the kind of fast-food smattering of the same ingredients dressed up as a different meal. They all feel like a medley of Fujimoto’s wild, creative tempest. Clearly a mangaka student of the game, Tatsuki Fujimoto 17-26 embodies a wild imagination that seeks—almost unconsciously—to break the fabric of tropes, turning them into exaggerated parodies or subversively inverting them.

    100studio’s Sasaki Stopped a Bullet © Prime Video

    Tatsuki Fujimoto 17-26 is a painter’s palette laid bare, with each story serving as a rough, radiant smear of color, revealing the early chaos, tenderness, and wild ambition of a mind destined to set the manga and anime world ablaze. Each story shows early flashes of the emotional range and genre-defying bravado that would make Fujimoto a household name. From the post-apocalyptic bond in A Couple Clucking Chickens Were Still Kickin’ in the Schoolyard to the adolescent anguish of Sasaki Stopped a Bullet, Fujimoto’s storytelling already shows signs of being unrestrainedly far-reaching, a fuse that would erupt into Chainsaw Man and Look Back.

    Likewise, Love Is Blind spins romantic comedy into cosmic absurdity, while Shikaku dives into the twisted psyche of a lovesick assassin. Mermaid Rhapsody offers a tender underwater romance; Woke-Up-as-a-Girl-Syndrome explores identity beyond gender; Nayuta of the Prophecy traces siblings caught in a cruel fate; and Sisters captures the friction and growth between artistic siblings and rivals. Some stories, like Sisters and Nayuta of the Prophecy, read like first drafts of what would evolve into Look Back—Fujimoto’s viscerally tender ode to art—and the self-referential groundwork for Chainsaw Man Part 2.

    Together, they form a kaleidoscope of diverse art styles and moods that are thought-provoking, deeply hormonal, and full of raw imagination. And all are a testament to Fujimoto’s uninhibited genius, unpredictability, and uncanny way of making the most obscene premise land as earnestly moving (be they to tears or laughter) even in his earliest strokes.  And that’s saying something, given these short stories are from the same man whose fame came with tales in which he asked, “What if a guy with a godlike healing factor was on fire all the time?” and “What if a teenager had chainsaws for arms and a head?”

    The true beauty of Tatsuki Fujimoto 17-26 isn’t just in spotlighting the creator’s wild adolescent musings and alchemic ability to make the absurd somehow touching. It’s in how the anthology elevates the studios behind it—virtual unknowns even to the most seasoned anime faithful—into names worth watching.

    Each studio, some under the direction of acclaimed directors like Woke-Up-as-a-Girl Syndrome‘s Kazuaki Terasawa (The Ancient Magus’ Bride), Mermaid Rhapsody’s Tetsuaki Watanabe (Blue Lock), and Love Is Blind‘s Noboyuki Takeuchi (Fireworks), pours its full creative self into every frame. Whether animated 2D with a touch of 3D or laced with live action, they all coalesce into a unified tapestry of crisp, lovingly crafted work. The visuals speak for themselves: sunsets feel like lush velvet. Depictions of agony take on a rough, sandpaper texture. Action glints like firecrackers glimpsed through squinted eyes. My favorite of the bunch is the final tale, Sisters, directed by Osamu Honma, for how rawly and tenderly it explores girlhood and sisterhood—woven together as the backdrop to artistic rivalry.

    While some viewers have questioned whether Fujimoto’s contemporary works are as profound as online discourse suggests, Tatsuki Fujimoto 17-26 invites viewers to set those thoughts aside and simply engage with the stories. Fujimoto urges us to play—to revel in absurdities like a student’s love for his teacher, defying all logic so intensely he can stop a bullet. Or how the classic coming-of-age dilemma of confessing unrequited love to a classmate can be pushed to its absolute extremes, undeterred by romcom tropes or acts of god, as if the boy might combust if he doesn’t spit it out. Some tales are short walks. Others long. But all feel like scenic routes viewers unsuspectedly get enraptured in as they waltz down memory lane of one of manga’s boldest creators.

    Tatsuki Fujimoto 17-26 isn’t an armchair anime connoisseur’s fodder for think pieces—it’s a “let’s go outside and play” kind of fun. The kind of anime that rarely feels allowed to be endeavored anymore without a self-serious thesis to justify it. It’s pure, animated joy.

    Tatsuki Fujimoto 17-26 is streaming on Prime Video.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    Isaiah Colbert

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  • Box Office Meltdown: ‘Regretting You’ Tops Worst Halloween Weekend in 31 Years With $8.1 Million

    Paramount and Constantin Films’ romance-drama Regretting You — the second Colleen Hoover book adaptation to hit the big screen after It Ends With Us — is proclaiming itself the victor of this year’s Halloween box office contest.

    According to Sunday estimates from David Ellison’s new regime, Regretting You placed No. 1 with $8.1 million from 3,245 cinemas in its sophomore outing.

    Or did it? Universal is likewise estimating a first-place finish for Blumhouse’s Black Phone 2 with $8 million from 3,425 cinemas. Most rival studios also show the horror sequel, now in its third weekend, coming in ahead of Regretting You).

    But Paramount has good reason to be bullish. Last weekend, Regretting You did switch positions with Black Phone and place No. 2 when final numbers came in, with Regretting You beating the Blumhouse pic by a safe margin. Monday will determine the correct order of the Oct. 31-Nov. 2 frame and whether Paramount was being too aggressive in the hunt for a good headline.

    Generally in such situations, a studio in Universal’s position would call the contest a tie, but in this case, no one complained, considering overall ticket sales for the weekend came in at $49.8 million — the worst showing of the year to date.

    But that’s not the most frightening fact — it was the lowest-grossing Halloween weekend in 31 years, according to Comscore. This excludes 2020, when the COVID-19 crisis forced theater closures for months.

    The last time Halloween weekend revenue came in lower was in 1993, when combined ticket sales reached $49.2 million, and that’s not adjusted for inflation, according to Comscore chief box office analyst Paul Dergarabedian.

    “While this was a truly scary weekend for the industry, a confluence of factors created an imperfect marketplace storm wherein Halloween festivities along with one of the biggest sporting events on the planet [the World Series] dominated the zeitgeist over the weekend and thus had the effect of taking the spotlight off the movie theater experience,” says Dergarabedian, adding studios and cinemas should be commended for doing what they could up the holes.

    This year’s Halloween weekend meltdown — which follows the worst October in 27 years — is due to the lack of a big commercial title on the marquee, such as 2024’s Venom: The Last Dance. This year, exhibitors had to rely on an eclectic batch of holdovers; rereleases, including Back to the Future; and the expansion of Focus Features’ awards darling and specialty offering Bugonia.

    Halloween is alway a tough holiday for Hollywood and cinema owners, especially when the actual day falls on a Friday, as it did this year. Regretting You took a major hit that day since its target audience — younger females — were otherwise occupied. On Saturday, sales spiked 200 percent.

    Domestically, Regretting You has earned $27.5 million in its first 10 days. Overseas, it earned another $8.2 million from 56 markets for a foreign tally of $23.3 million and $50.8 million globally.

    Black Phone 2, a major win for Blumhouse, sailed past the $104 million mark over the weekend after finishing Sunday with a domestic tally of $61.5 million and $43.3 million internationally, including a weekend haul of $7.3 million.

    As expected, the acclaimed Japanese manga pic Chainsaw Man – the Movie: Reze Arc fell off steeply in its second weekend of play at the domestic box office, declining 67 percent to $6 million for a 10-day domestic tally of $30.8 and a dazzling $139 million globally. Sony’s Crunchyroll division is handling Chainsaw Man in the U.S. and a number of foreign markets, excluding Japan. Its share of the total gross is $87.4 million.

    Bugonia, from Focus Features, placed No. 4 with $4.8 million as it expanded into 2,043 theaters after first launching earlier this month in select theaters. That is the widest break ever for a film directed by Yorgos Lanthimos, whose credits include Poor Things and The Favourite. Emma Stone (Poor Things) and Jesse Plemons lead the high-profile cast. Overseas, the specialty film earned $4.4 million from 47 markets for a foreign total of $5.3 million and $11.1 million globally.

    Disney provided a moment of levity when reporting grosses for the 40th anniversary rerelease of Back to the Future, saying it earned $4.7 million from 2,290 theaters in its “2,105th” week for a cume of $221.7 million (that isn’t adjusted for inflation). The classic pic placed an impressive No. 5 domestically and even beat Bruce Springsteen biographical drama and awards hopeful Springsteen: Deliver Me From Nowhere.

    Also from Disney, Deliver Me had to settle for No. 6 after falling off a steep 57 percent to $3.8 million from 3,460 theaters for a domestic total of $16.3 million. Overseas, it took in another $4 million from 40 material markets for a foreign tally of $14.3 million and $30.6 million globally. The filmmakers and Disney are hopeful the pic will have staying power because of its subject matter, originality and solid audience scores.

    In addition to Back to the Future and perennial Halloween favorite Rocky Picture Horror Show, other rereleases included screenings of all five Twilight movies timed to the 20th anniversary of Stephenie Meyer’s seminal first novel in the romance-vampire series. Fathom and Lionsgate partnered in bringing the movie adaptation of the books back to the big screen for five days, beginning Oct. 29 and concluding Nov. 2. Roughly 1,500 theaters participated and played a different film each night. Ticket sales through Sunday are an estimated $3.5 million, including $1.5 million for the Oct. 29 showing of the first film. (Because of the way it rolled out, the rerelease did not make the weekend top 10 chart).

    Paul Thomas Anderson‘s awards frontrunner and Leonardo DiCaprio starrer One Battle After Another, however, did remain in the top 10 chart in North America in its sixth outing, earning $1.2 million from 954 runs for a domestic total of $67.8 million. And defying the naysayers, it is approaching the $200 million mark globally after finishing Sunday with a foreign share of $123 million. It is far and away the filmmaker’s top-grossing film; his previous best was 2007’s There Will Be Blood ($77.2 million), unadjusted. And 2024’s Licorice Pizza, topped at at $37 million, which was considered a success for an indie title. (Granted, One Battle sports a far bigger budget but nevertheless is hanging in there, unlike a number of awards players.)

    Elsewhere, another special event pic trying to fill the gap mentioned by Dergarabedian was Depeche Mode: M, a concert pic from Sony Music Vision and Trafalgar that grossed $1.1 million domestically and $4.7 million overseas for a total of $5.7 million from more than 2,600 cinemas across 70 countries after opening midweek (Imax screens ponied up 29 percent of all ticket sales). Conceived and directed by Mexican filmmaker Fernando Frías, the concert pic celebrates the band’s global influence while also delving into the profound connection between death, music, mortality and Mexican tradition the band captured during their 2023 Memento Mori tour. 

    Nov. 2, 12 p.m.: Updated with revised estimates.
    Nov.2, 4:15 p.m.: Updated with additional foreign estimates.

    Pamela McClintock

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  • The ‘Chainsaw Man’ Movie Carves Up a Box Office Win

    In a weekend of music biopics and romantic melodrama, the big winner in theaters was none other than Chainsaw Man – The Movie: Reze Arc.

    Per the Hollywood Reporter, Mappa’s anime movie made $108 million worldwide. It’s been out in Japan and other countries since September, and as of this weekend, made $90.7 million internationally. This weekend marked its North American debut, where it exceeded expectations of $11-12 million and wound up grossing $17.3 million. It’s another victory for Sony and Crunchyroll following the domestic debut of Demon Slayer: Infinity Castle back in September.

    Chainsaw Man’s gotten pretty strong reactions from critics and audiences, as THR boasted its A Cinemascore and Rotten Tomatoes in the high 90s. The movie adapts the “Reze” arc of Tatsuki Fujimoto’s dark fantasy shonen, where Denji meets a teenage girl named Reze and develops a crush, which goes…not great for him or everyone else in the city, suffice to say. Helping the film’s success is the fair amount of buildup to it; not just trailers playing before movies, but it also had a New York Comic-Con panel earlier this month, and Sony’s made sure to promote its music and get the film on IMAX screens.

    Before Reze’s release, Mappa hoped the film would elicit enough excitement that the studio would get to make another season of the anime series. Last month, studio head Manabu Ohtsuka mentioned wanting to do right by Chainsaw Man fans, and only saying more when it was in a position to do so. Slightly less vague, vice president Hiroya Hasegawa talked about reevaluating how to tackle the anime going forward: “‘Are we going to do it as a series? Are we going to do it as a film?’ It’s another question we’ll be asking ourselves [after Reze],” he said.

    The next few weeks, Chainsaw Man’s got some big competition in Bugonia (October 31), Predator: Badlands (November 7), and Running Man, Keeper, and Now You See Me: Now You Don’t (November 14). Some of those will take its IMAX spots, so good to see it while you can.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    Justin Carter

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  • Another Anime Movie Conquers the Box Office This Weekend

    Here’s what you need to know about Chainsaw Man – The Movie: Reze Arc.
    Photo: Tatsuki Fujimoto/Sony Pictures/Everett Collection

    This article originally ran on October 24. This weekend has seen Chainsaw Man beat estimates and top the box office this weekend.

    There’s yet another action anime blockbuster based on TV series based on a manga that has torn up the American box office this weekend. This one is called Chainsaw Man – The Movie: Reze Arc, and the Sony/Crunchyroll movie happens to be a fitting spooky-season release. Like Demon Slayer and Attack on Titan before it, the Chainsaw Man TV series, which is streaming on Crunchyroll and Hulu, is part supernatural horror, part coming-of-age story. The film serves as the latest chapter of the TV show, which is an adaptation of creator Tatsuki Fujimoto’s original manga. That made it a must-watch theatrical event for Chainsaw fans in the States and elsewhere. It dominated this weekend’s theatrical receipts, topping newcomers like Springsteen: Deliver Me From Nowhere and Regretting You as well the film that was expected to win this weekend, the still-hot Black Phone 2.

    So what is Chainsaw Man – The Movie: Reze Arc all about, and how did it conquer the box office like prior anime and anime-inspired animated films like Demon Slayer: Infinity Castle and KPop Demon Hunters? Here’s a quick rundown of the new film’s whole deal.

    Very: Latest estimates have it coming at $17.2 million for the weekend, which is about $6 million more than was anticipated by many observers before the weekend. For comparison, the popular, Blumhouse-produced horror sequel Black Phone 2 brought in a current estimated $13 million, per Deadline, while the new Colleen Hoover adaptation Regretting You is coming in a close third at $12.8 million. Meanwhile, the Jeremy Allen White-fronted Springtsteen: Deliver Me From Home is hitting its lower-end prediction with around $9.1 million.

    For starters, it’s a very literal title. One of 2022’s most exciting debuts and produced by the animation studio MAPPA, the anime is a hodgepodge of demonic violence, crude humor, and speculative fiction. In the world of Chainsaw Man, World War II never happened and now “devils” run amok. At the start of the series, the Chainsaw Devil meets a young man named Denji, and together they become the Chainsaw Man, a superpowered tough guy with spinning chainsaws that stick out of his hands and head, and join a squad of devil-hunting cops.

    Light spoilers incoming: After a bloody battle against a demonic villain called Samurai Sword (picture Chainsaw Man, but instead of chainsaws, he has samurai swords sticking out of his hands and head), the first season ended with a mysterious young woman cryptically wondering whether Denji would prefer to be a country mouse or a city mouse. Manga fans will know that that woman is Reze, a.k.a. the Bomb Devil, a girl whom Denji will fall for romantically — a series of events complicated by his prior attraction to his fellow devil hunter Makima. The trailer tees up his infatuation rom-com style before spinning into explosive action.

    In international markets, it has already earned $68.3 million since debuting on September 19, according to the theatrical tally the Numbers. While it’s unlikely to dethrone fellow Sony-released title Demon Slayer: Infinity Castle’s record-breaking box office, anime analyst Miles Atherton told Polygon it’s still among the most popular anime titles in North America. (Crunchyroll doesn’t share viewership numbers for its series.)

    Theatrical titles like Demon Slayer, Dan da Dan, and Attack on Titan all spun TV series into box-office moments, big and small. The release model has worked before for distributors Crunchyroll and Sony Pictures Releasing, which hold the international rights to Toho’s Chainsaw Man franchise. Similarly, the anime-inspired KPop Demon Hunters managed to make back the cost of nearly its entire production budget over just one weekend with a limited singalong theatrical event, despite being released straight to Netflix months earlier. That one is coming back to theaters for Halloween because it worked so well the first time around.

    For now it’s only in theaters, but eventually, like most of the aforementioned anime titles, we can expect to see it on Crunchyroll. We can’t be certain when, though. (Remember the monthslong wait for The Boy and the Heron?) Unlike American live-action films and their now ubiquitous 30-day windows, anime titles tend to circle most of the globe internationally before they go to streaming release.

    It probably couldn’t hurt to dive deeper into the lore and relationships, but the movie is relatively self-contained. Chainsaw Man is generally pretty direct — did I mention it’s about a man with chainsaws for hands? — so if you’re worried you’ll be confused, don’t be. Or watch a YouTube recap or two beforehand. It’s worth a spin regardless.

    There is. We won’t say too much as that would risk getting too deep into the events of the film, but we will say: Don’t miss it. It doesn’t tee up the next season or anything, but it does put a nice capper on the events of the movie.

    Eric Vilas-Boas

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  • ‘Reze Arc’ Is ‘Chainsaw Man’ Polished to Explosive, Lush, and Unhinged Perfection

    ‘Chainsaw Man – The Movie: Reze Arc’ captures studio Mappa in full bloom at the apex of the anime medium as we know it.

    Isaiah Colbert

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  • ‘Chainsaw Man – The Movie: Reze Arc’ Team Teases Expanding From Series and Manga, “Amusement Park Ride” Action Scenes

    Chainsaw Man – The Movie: Reze Arc assistant director Masato Nakazono, president of MAPPA and the film’s supervising producer Manabu Otsuka, and CGI producer Yusuke Tannawa appeared at New York Comic Con on Sunday, where they discussed delivering one of Chainsaw Man’s more popular arcs. 

    According to Nakazono, for the team — which was led by director Tatsuya Yoshihara — it was important that the film “inherited the strengths of the TV series, so we worked together to highlight the essence of the original manga” as well as the show in the best way for a theatrical film. 

    “For example, in terms of the visual look, Makima’s hair color has been changed. [We] would make it more vibrant, more color that will stand out in a film,” Nakazono said via a translator. “We wanted to inherit the anime series, but size-wise, [it] is different. We had to make sure that all the background would fit in the theatrical frame as well, so we worked hard on that.”

    Speaking to challenges around bringing the manga-turned-TV series to the big screen, Nakazono explained how the film’s team expanded the dialogue from the manga as they adapted it. “There are no speaking words between panels, so we have to create that and make sure the dialogue is going to stand up,” he explained. “The characters Reze and Denji have very personal, intimate relations. Denji thinks Reze is so cute, so we wanted to do things that made the audience feel the same way as Denji would.”

    In terms of the film’s animation, which blends 2D and 3D styling, Tannawa explained how the “wanted to make sure the 2D and 3D coexisted naturally as one visual.” Additionally, with the scale and sizing of a TV series and film being different, “we had to make sure the background would fit into the theatrical frame as well.”

    Addressing why the Chainsaw Man movie’s creative team partnered with Sony to distribute the film internationally — a nontypical distribution approach for anime — Otsuka explained it was driven by them wanting to tell the next story arc after the first season of the anime series on the big screen. 

    “The season one TV series of Chainsaw Man has been praised, so there was talk of making a sequel to that. We wanted to make a sequel as a film, not on TV. There were so many fans who have enjoyed it, so we felt like Chainsaw Man would be [released] as one independent film, and we felt like Sony distribution would help us, and that’s how we decided to collaborate with them,” he said.

    Later in the panel, after screening clips and animatics with live commentary and holding giveaways for fans, the panel shared messages from the director and character designer.

    “With this film, all of us on the staff wanted to convey the fun and the appeal of Chainsaw Man to as many people as possible, so we gave it our all this time,” wrote Kazutaka. “We work to fully capture the charm of Tatsuki Fujimoto’s characters. The action scenes are like an amusement park ride. You can just empty your head and enjoy them.”

    “In Reze Arc, a completely new genre is born — love, violence, action, romance, shark. I believe it’s a film whose impact will differ depending on which character’s perspective you follow. You can feel the thrill and the tension throughout the action, and you can also sense the preciousness of each character through the romance elements,” the message from Yoshihara read. “In Chainsaw Man, devils regain their strength by consuming blood. For Reze Arc, every member of the production team offered up a huge amount of blood, and as a result, the movie is bursting with energy. Every time you go to the theater to watch Reze Arc, it gives strength to all of us on the staff as well.”

    Chainsaw Man – The Movie: Reze Arc will release in theaters on Oct. 24.

    Carly Thomas

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  • ‘Reze Arc’ Teases One Final Look Before ‘Chainsaw Man’ Hits Theaters

    Today at New York Comic Con, Crunchyroll unveiled one more new look at animation studio Mappa’s Chainsaw Man: The Movie – Reze Arc before it revs into theaters later this month.

    To celebrate the film’s impending arrival, Mappa took to NYCC to drop a new PV, as well as tons of behind-the-scenes look at the highly anticipated new movie. You can check out the whole panel here, but the new footage starts around 40 minutes in, if you want to go straight to that:

    Reze Arc follows Chainsaw Man’s 2022 first season, swapping its muted tones for vivid color. In it, Denji meets Reze, a charming new girl who quickly throws him into romantic confusion, made all the worse by her being yet another foe after his heart. Though in the case of his down bad crush on Makima, Reze’s obsession with Denji’s heart is more figurative and romantic (to the extreme) than literal. All the same, Japan descends into chaos as Denji and Reze engage in an explosive, romantic battle for the ages.

    Hype for the Reze Arc movie is at a fever pitch, and for good reason. The anime originally premiered in 2022, but Mappa was radio silent, sharing little information with fans about confirming a sequel season. All they had to sit on was a stinger moment, teasing the arrival of Reze. Plus, understandably, Mappa had been busy with its hands in other anime pies, with the likes of Jigokuraku: Hell’s Paradise, Attack on Titan‘s final season, Jujutsu Kaisen‘s second season, and the Ranma 1/2 remake.

    For a time, Chainsaw Man lingered in limbo, and fans questioned whether it might follow the same trajectory as Mappa’s other titles—Dorohedoro, which teased season two plans in production, or, worse, Yuri!!! On Ice the Movie: Ice Adolescence, the sequel film to Crunchyroll’s inaugural Anime of the Year-winning ice skating series, which Mappa cancelled last year.

    Thankfully, fans were given a sign of life with the awesome announcement that more Chainsaw Man was on the way, as the Reze Arc of Tatsuki Fujimoto’s manga was being adapted into a feature-length film. And since its first trailer hit the internet, Mappa has been hitting the ground running, putting its entire creative effort into all but christening Reze Arc as a film more than worthy to grace IMAX screens on the global stage, standing shoulder to shoulder with another anime juggernaut, Demon Slayer, which just released Infinity Castle, the first of its film trilogy finale.

    While anime movies aren’t uncommon, with the likes of Toho and GKids making it a tradition to host preview episode events as theatrical releases ahead of their streaming debuts—or the modest global release of films that otherwise wouldn’t have had one before their partnership, with the likes of 100 Meters or The Colors Within— Crunchyroll and Mappa are very evidently putting forth a concerted effort to ensure Reze Arc will live up to the hype. In a strategy that aligns with the streaming release of compilation films to catch viewers up to speed, Mappa has been drip-feeding fans with more incentives to check out the film.

    One standout move by the anime studio is enlisting J-Pop icon Hikaru Utada, celebrated in both anime and video game circles. Alongside them, Reze Arc features a musical collaboration between them and series musical artist Kenshi Yonezu, who performed the anime’s platinum-certified theme “Kick Back” and who joins Utada to sing the film’s opening and ending tracks, “Iris Out” and “Jane Doe.”

    In typical anime fashion, Mappa released a catchy AMV of “Iris Out” that serves as a highlight reel (possibly giving away too much from the film’s climax) on YouTube for free, as well as a sentimental live-action music video featuring Utada and Yonezu. Both of which embody both the chaos and the sentimentality that characterize Reze Arc as one of Chainsaw Man‘s most adored arcs as an ongoing manga series.

    Fans have already taken on the role of internet detectives, uncovering Easter eggs related to Fujimoto’s other works, references to the artwork of manga chapters, and hints at events that occur beyond the scope of the Reze Arc in the opening movie. Given that Fujimoto is a big movie enthusiast, Mappa’s Marvel-ification of his manga must’ve had him geeked out. Good for him.

    While Mappa hasn’t said if Reze Arc‘s box office success will result in either a season two confirmation or future feature film adaptations of Fujimoto’s popular manga, it will certainly reevaluate its options depending on how well the film performs.

    Chainsaw Man: The Movie – Reze Arc hits theaters October 24.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    Isaiah Colbert

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  • The ‘Chainsaw Man’ Movie Is Hitting Theaters Even Earlier Than Expected

    Animation studio Mappa‘s upcoming theatrical release of Chainsaw Man: The Movie – Reze Arc has bumped up its premiere date. Now, the film arc continuation of the 2022 anime will hit theaters—including select IMAX screens—a few days earlier than initially scheduled. The film will now premiere in theaters on October 24.

    This date adjustment came with the release of a new English dub trailer of the film. The story, created by Tatsuki Fujimoto (Look Back), follows Denji, a down-on-his-luck young man who, after fusing with his chainsaw-headed pet dog, Pochita, gains the ability to transform into the most feared devil of all, Chainsaw Man. The series is set in a world where concepts that humanity fears, such as guns, war, and blood, physically manifest as humanoid devils. The level of universal fear surrounding these concepts determines the power of these devils.

    After being lured into enlisting in the Devil Hunter Association by its enigmatic leader, Makima, Denji is thrust into a series of battles with devils as he grapples with the warped contours of his own hierarchy of needs. High on his list is chasing romantic love in a world shaped by violence, control, and the looming arrival of the Gun Devil.

    Reze Arc, which picks up after the anime’s season finale, sees Denji run into a new girl on the block named Reze, sending the lover boy in a tizzy as he weighs whether he likes her more than he likes Makima. Unfortunately for Denji, his meet-cute with Reze gives way to him discovering she’s actually the Bomb Devil.

    To make matters worse, she’s just as crazy about Denji as he is about her and will stop at nothing to get him to join her side with the Devils, even if it means transforming Tokyo into an all-out warzone.

    The English dub of the film will see the return of the Crunchyroll voice actors, including Ryan Colt Levy as Denji and Suzie Yeung as Makima. The film will also have theme songs “Iris Out,” by Kenshi Yonezu, and “Jane Doe” by the incomparable J-Pop regent, Hikaru Utada, as well as an extended version of nu metal/hardcore punk band Maximum the Hormone’s outro song, “Hawatari Nioku Centi.”

    Crunchyroll also uploaded a series recap video to get fans up to speed with the movie. The handy recap represents one effort by Mappa and Crunchyroll to ensure folks are ready for Reze Arc.

    Another is a compilation release of the anime to get people hyped for the film without having any head-scratching questions about, say, why Chainsaw Man is riding the back of a shark into a typhoon to battle a lady with a missile as a head. The two compilation films are already playing in Japan, with plans to hit the U.S. and elsewhere later this month.

    Japanese language fans also got something to enjoy in the assortment of Chainsaw Man news, with a new trailer for the film featuring new scenes of Denji and Reze’s battle and his date with Makima.

    In the lead-up to the film’s release, Mappa president Manabu Ohtsuka and vice president Hiroya Hasegawa spoke to Anime News Network at Anime Expo 2025. In their sit-down interview, the presidents gave an update on the show’s future—sort of. It’s not yet clear whether the studio will continue its adaptation of the anime arcs in theatrical formats encompassing the manga or in episodic seasons.

    “We’re always thinking about what’s the best way to deliver Chainsaw Man to the fans who love the franchise. That’s what’s always on our minds,” Ohtsuka said. “But how we’re going to do it, if we’re going to do it, we’ll announce it when we announce it. We can’t talk about it.”

    “As Ohtsuka-san mentioned, [Reze Arc] is a continuation of the first season. We are being loyal to the original content. We asked ourselves, ‘How are we going to do it?’ We thought that the cinema was the best way to deliver the Reze Arc. After Reze, if we are going to create more Chainsaw Man, we’ll probably follow from there,” Hasegawa said. “And then we’ll reevaluate and think, ‘Are we going to do it as a series? Are we going to do it as a film?’ It’s another question we’ll be asking ourselves at that time.”

    The film’s credits includes the following:

    Seeing as how Mappa is already busy with Jujutsu Kaisen‘s upcoming arc, Culling Game, this coming January, as well as its remake of Ranma 1/2 second season premiering on Netflix this October, and the forthcoming second season of Hell’s Paradise—a manga from Fujimoto’s Fire Punch assistant, Yuji Kaku—it’s understandable that it’d take a beat to wait and see about reception for Reze Arc before officially announcing what lies ahead for Chainsaw Man.

    In the meantime, Chainsaw Man: The Movie – Reze Arc hits theaters October 24.

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    Isaiah Colbert

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  • ‘Terrifier’ Makes an Undeniable Mark on Halloween Horror Nights Hollywood

    The gates of Universal Studios Halloween Horror Nights Hollywood have opened, and this year’s event has some of the theme park’s biggest debuts. Between Terrifier and Five Nights at Freddy’s, the headliner haunted houses really pack a punch, with the terror titan-led Jason Universe house, based on the Friday the 13th franchise, also helping to power a killer season start.

    But that’s not to say there were some lows; surprisingly, HHN’s anticipated Fallout offering fell short of expectations. Some repeat houses managed to hold enough excitement, but the West Coast event—which is smaller than the version mounted by Halloween Horror Nights Orlando—might prove to create uneven experiences for park guests who can’t shell out the extra dough for express passes.

    Express tickets were provided by Universal for media to be able to review all the houses, and that’s a key takeaway from the start: as theme park insiders, it was clear to us that it might be near impossible to visit all the houses if you do general event admission. If you’re locked in to that price point, always be sure to prioritize 3-4 houses and one entertainment offering—between the Blumhouse-themed Terror Tram, the stunt show The Purge: Dangerous Waters, or the Chainsaw Man short film screening. If you really want to do everything in one night, upgrading to express may be your best bet.

    I do have one pro tip from attending in past years: the express pass will sometimes be offered at 50% off near the end of the night and you can buy in to race through all the houses in the last few hours of the event. I’ve done it myself. You can only take advantage if you’re already in the park when the signs go up at the ticket upgrade stations, so keep an eye out for that.

    As an LA local, I’ve also simply spread it out by buying a multi-night ticket (such as the “Frequent Fear” pass) and going once a week to hang out for vibes and scope out shorter lines for houses I’ve missed or want to do again.

    Here’s what we thought of Halloween Horror Nights Hollywood for 2025:

    The Good

    © Gizmodo

    Terrifier: Art the Clown has unofficially solidified his place as a Horror Nights icon. From the moment you arrive at the event, the roaming silent clown killer chillingly charms with his bag of demented tricks. Personally, and like most going to the event, this was my first exposure to the character and the world of Terrifier, having been deterred by some of the divisive discourse surrounding the gratuitous violence of the franchise. However, the Terrifier house cleared up some of my concerns and I think the films fall more into an absurdist gore vibe versus the gritty gore genre (think more Raimi than Roth).

    There are more horrific things, I think, in the Monstruos house with a child being eaten by La Llorona than anything in the Terrifier house. Don’t let that lull you into a false sense of security. Art is still very hardcore but in a hilarious way. We very much enjoyed the Looney Tunes or rather Itchy & Scratchy aura on a very sick cartoony clown’s mission of demonic mayhem. The full display of depravity was such a rollicking good time I went home and watched Damien Leone’s Terrifier 2 immediately. Art the Clown will get new fans (myself included) and this house will please longtime fanatics. Get down to the Clown Cafe as soon as you can because this one will have a long queue. And the water splash warnings? They’re for real; bring a poncho.

    Jason Universe: This is hands down the scariest house in a traditional sense. Jason stalks you alongside memorable Camp Crystal Lake deaths and with the iconic soundtrack, there are jump scares aplenty. If you’re hard to “get,” you’ll appreciate the attention to detail in making a house that encompasses the Friday the 13th legacy. Even with an express pass, this line was long.

    Pro tip: The Jason Universe-themed foods are low-key the HHN snack war winners. We recommend the gouda fondue bread bowl (we paid out of pocket for it); it’s steeped in Angry Orchard cider and comes with green apple slices. It’s available at the same booth as the Jason mask-shaped s’mores. It might be the best food of the horror fest.

    Five Nights at Freddy’s: The sheer artistry of Jim Henson’s Creature Shop’s puppetry and HHN performer work makes this one an all-ages all-timer with aplomb. The haunted “animatronics” charging at you or springing to life really works and there are even unexpected jump scares with dead kids creeping up on you as you hover awestruck around Chica or Foxy. Our only complaint is that the stage show centerpiece at the start only featured Freddy; Orlando’s HHN got the whole ensemble.

    Chainsaw Man: This import from Universal Studios Japan was an unexpected surprise. Anime fans will delight in a special HHN Japan theater short, which brings the beloved characters (minus Pochita, sadly) into a meta immersive experience where they have to fight demons while attending HHN themselves. The mix of cute, spooky 2D animation and fourth-wall-breaking CG action with a brief adventure featuring the Chainsaw Man gang impresses and I hope we get more overseas fun making its way stateside.

    The So-So

    Monstrous At Ush Hhn 2025 7
    © Universal Studios

    Scarecrow featuring Slash: The HHN Hollywood Scarecrow lore grows with Slash providing a new score. The scares and creature work always make this a standout. However, we were a little underwhelmed by the music; we loved the riff composed by the rock legend but the boom-clap beat made us feel like we were comically in a corn whiskey commercial. It threw the spooky energy off. Hit the bar after.

    Monstruos 3: Celebrating the horrors of Latin American folklore has been a fantastic staple of HHN and really there’s no one scarier than La Llorona (IYKYK) and her penchant for kidnapping children and feasting on their souls. Alongside another killer vengeful cryptid, La Siguanaba, this house makes for a solid scare-filled experience; it just felt a little on the shorter side or perhaps we caught it while there was a cast change, which happens sometimes.

    WWE Presents: The Horrors of The Wyatt Sicks: As an homage to the late wrestler who came up with the entertainment wrestling’s campy horror lore, this house is a sentimental and solid send-off. However, as someone whose horror WWE storylines were Undertaker and Kane, I felt so lost and wasn’t sure how to connect the storyline in the house to the personas in the ring. Could have had a bit more cohesion but the set and costuming were on point; we’ll give it that. Pro-tip: This one has a series of gross-smelling rooms, and you’ll also get sprayed.

    Terror Tram: Blumhouse taking over the backlot could have been great but it ends up being more like an elaborate meet-and-greet area than a haunt. Unless you particularly want to meet Blumhouse figures of fright and get more steps in, it’s probably best to skip. But if you’re a horror movie fan and want to explore where the movies are made, this is a good spot. The photos are always great so that’s an upside. Be warned: this experience takes up nearly an hour of your time so plan accordingly.

    The Bad

    Fallout At Ush Hhn 2025 8
    © Universal Studios

    The Purge: Dangerous Waters: This is tired and while we appreciate the effort in the stunts, there hasn’t been a new Purge movie in ages. This space could have been better utilized, perhaps by Fallout, and we’ll explain why in a bit.

    Poltergeist: Retire this one.

    Fallout: As a fan of Walton Goggins’ Ghoul, there was not enough sassy and scary outlaw Ghoulussy put into this. The Vault scenes were short and focused too much on Lucy’s linear journey rather than giving us a greatest hits of the horrific moments from the Prime Video show. It also wasn’t scary at all and used up so much space in the former Walking Dead year-long house attraction area with few set pieces that it felt over sooner than we would have liked. For a property that’s going to invite long queues, it’s not worth it. A show on the Waterworld stage starring the Ghoul and Lucy squaring off against figures in the wasteland and the Gulper might have been better.

    Pro-tip: The Fallout food is a more fun experience; we recommend the Roasted Radroach Legs but also had a particular affinity for the Roasted Stingwing. There’s also RadAway in pouches for you, in-universe-specific item fans.

    Universal Studios Halloween Horror Nights Hollywood is open now through November 2. Get tickets here.

    Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what’s next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

    Sabina Graves

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  • You’re Getting More New ‘Chainsaw Man’ Before the Movie

    As fans eagerly await the theatrical arrival of Chainsaw Man – The Movie: Reze Arc, Crunchyroll is dropping a couple of treats to help recap the anime’s blockbuster first season. It’s a helpful strategy to lure Chainsaw Man newcomers—or readers of Tatsuki Fujimoto’s wildly popular source-material manga—who want to get a feel for the MAPPA-produced anime ahead of its big-screen moment.

    But the recap films also contain a bonus for existing viewers: the compilation films will include some brand new material in the form of Chainsaw Days, adapting the manga’s own bonus material into new anime scenes.

    Here’s what to expect, courtesy of Crunchyroll. First, an overview, followed by a breakdown of each part:

    Chainsaw Man – The Compilation

    “Denji is a young boy who works as a Devil Hunter with the ‘Chainsaw Devil’ Pochita. One day, as he was living his miserable life trying to pay off the debt he inherited from his parents, he got betrayed and killed. As he was losing his consciousness, he made a deal with Pochita, and got resurrected as the ‘Chainsaw Man’: the owner of the Devil’s heart.”

    Chainsaw Man – The Compilation: Part I

    “Denji is a teenager who lives his life as a Devil Hunter. Aiming to pay off the debt he inherited from his father, he starts hunting devils for the yakuza with his buddy Pochita, a ‘Chainsaw Devil,’ while living a tragically poor life. Just when things seem like they couldn’t get any worse, Denji is summoned by the yakuza.”

    Chainsaw Man – The Compilation: Part II

    “Becoming the ‘Chainsaw Man’ and fighting with an insane, unhinged battle style, Denji finally succeeds in defeating the ‘Eternity Devil.’ After the battle, the members of Public Safety Devil Extermination Special Division 4 return to their daily lives and hold a ‘welcome party’ for the new recruits. During the party, Denji brings up the kiss that Himeno had promised him before the fight.”

    You can watch both parts of Chainsaw Man – The Compilation this September on Crunchyroll, as the hype builds for Chainsaw Man – The Movie: Reze Arc in theaters October 29.

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    Cheryl Eddy

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  • We Need To Know What Happens Next After THAT ‘Chainsaw Man’ Chapter

    We Need To Know What Happens Next After THAT ‘Chainsaw Man’ Chapter

    Chainsaw Man went to a dark and controversial place in the last chapter, chapter 167.

    Denji finally got what he has been looking for all this time, intimacy with a woman, but in a way that left fans feeling just a little uncomfortable and saw the chapter go viral. It was an anticlimactic climax (of sorts) but the fallout in the next chapter could be traumatic.

    Denji’s goal since the beginning of the series was to have intimate physical contact with a woman, not because he is a sex-depraved womanizer, but because he seeks intimacy and connection and sees the act of physical intimacy as being able to offer him comfort. Chainsaw Man‘s creator, Tatsuki Fujimoto has put his titular character through the wringer, with trauma compounding trauma as poor Denji has suffered at the hands of people who should have loved and cared for him.

    Now he has the confusion of dealing with Asa and Yoru, two people inhabiting the same body (though Denji doesn’t realize this). Much like a Jekyll and Hyde situation, one treats him well and has a romantic connection with him (Asa) while the other bullies and beats him down (Yoru). The names of this character, or characters, are also interesting as Asa in Japanese means “morning” and Yoru means “night,” a play somewhat on the expression “as different as night and day.” In chapter 166, Denji is struggling with his sexual drive, prompting Yoru to offer to “cut it off.”

    (Tatsuki Fujimoto / Shounen Jump)

    That does not happen, and instead in chapter 167, we see a rather uncomfortable sexual interaction between Yoru and Denji, with the latter initially looking shocked and confused by what’s happening prompting the audience to wonder if consent is really given here. Fujimoto’s use of the two characters in one is used masterfully here, as after the deed is done, Asa comes to the front and is horrified at what’s happened and the mess that Yoru has left behind.

    When is chapter 168 coming out?

    The next chapter will deal with the fallout of the last explosive chapter. With all the trauma Denji has gone through, this may push him over the edge, or at least have lasting consequences throughout the rest of the series. Chapter 168 will likely deal with the initial reactions of Asa and Denji and how the two will navigate this experience.

    The chapter is expected to be released on June 11 at 11 AM (ET) or 8 AM (PT) and will be available to read on Viz and Mangaplus.

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    Laura Pollacco

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  • Denji’s Age Was a Shock to ‘Chainsaw Man’ Viewers and Characters Alike

    Denji’s Age Was a Shock to ‘Chainsaw Man’ Viewers and Characters Alike

    Shounen manga are typically center themselves around teenage male protagonists, but that’s not a hard-and-fast rule. Kaiju No. 8‘s Kafka, for example, is 32 years old. Hugely popular series like Gintama, Cowboy Bebop, One-Punch Man, and Sakamoto Days feature protagonists in their 20s. So a shounen hero doesn’t necessarily have to be 16 or 18.

    Enter Denji, the protagonist of Chainsaw Man. When we first meet him, he’s living a life completely devoid of the usual age markers. He’s forced to work off his father’s debt to the yakuza, seemingly never having had the luxury to attend school. Denji quickly gets recruited into becoming a Devil Hunter, which gives him a government-sanctioned job, complete with white-collared shirt and tie. The uniform makes Denji look less like an immature teenager and more like a (still highly immature) adult.

    The post Denji’s Age Was a Shock to ‘Chainsaw Man’ Viewers and Characters Alike appeared first on The Mary Sue.

    Kirsten Carey

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  • ‘Chainsaw Man’ Has a Movie on the Way, and Here’s What We Know

    ‘Chainsaw Man’ Has a Movie on the Way, and Here’s What We Know

    One of the newer anime in the last few years is Chainsaw Man, another bloody, devil-filled anime from MAPPA. Following the boob-loving character of Denji, the first season was a hit, but in lieu of a second season, fans are getting a movie instead.

    The first season of Chainsaw Man, adapted from the manga created by Tatsuki Fujimoto, aired at the end of 2022, so fans have been waiting a while to hear the fate of the show and its characters. While there has been no official announcement of a second season, the studio has offered us something else instead. The movie was announced on December 17 at the Jump Festa ’24 event, the annual manga and anime festival held in Tokyo, and we also got the title: Chainsaw Man – The Movie: Reze Arc.

    The movie will follow immediately after the events at the end of the first season and gives us a proper introduction to a new central character, Reze (voiced by Reina Ueda), whom we briefly saw at the end of the first season.

    The above video, which has already received 4.2 million views since its release, focuses on Reze, who will act as a love interest to Denji—a bombastic one, at that. The teaser shows Denji and Reze spending time together, hinting at a romantic and close relationship. The film looks to cover the “Bomb Girl” arc of Fujimoto’s manga, which runs from Chapters 40–52 and has been extremely popular with fans. Here, Denji’s relationships will be tested, and the fights and action sequences are expected to go up another notch.

    Chainsaw Man – The Movie: Reze Arc will continue to move the story along, and perhaps we can finally get an announcement on a second season afterward. The first season received such fantastic reviews that a lot is riding on this movie to carry on the same fantastic visuals and storytelling. MAPPA has been producing some quality work recently, with Jujutsu Kaisen doing phenomenally well, too.

    We can only hope though that they address the issues that led to many of their staff walking out and create a better working environment for their animators who bring the stories to life and bring the studio so much acclaim.

    Not much is known about the release date of the movie or where it will be available for watching. We’ll have to wait for the studio to reveal a full trailer and more information, hopefully without too long a wait, but if you wish to reacquaint yourself with the first season, you can head over to Crunchyroll.

    (featured image: MAPPA)

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    Laura Pollacco

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  • 10 Best Anime Openings of 2022, Ranked

    10 Best Anime Openings of 2022, Ranked

    2022 was an all-time great year for anime. We got tear-jerking finales, heart-warming moments galore, and an anime where a guy who can turn his arms into chainsaws befriends a female version of Eric Cartman. In short, it’s a year where we all won. And perhaps the most concise way to distill the quality of anime in 2022 is through one of the biggest staples in the genre: the OP.

    Given the high in the medium in general, it only makes sense that 2022 was an amazing year for anime OPs, as well. Perhaps one of the most striking features of this year is how strongly songs used in anime performed on global music charts. Although I didn’t count film sequences in this list, this is the year a song from One Piece Film: Red displaced freaking Beyoncé in the global Apple Music charts. Add to that the success of songs like “Mixed Nuts” from Spy x Family, and we’re in a very exciting time indeed. Pop music used in OPs doing well on Japanese charts is nothing new. But both “Mixed Nuts” and songs like “Uta’s Lullaby” from Red have some incredibly adventurous moments in them. And they charted. Globally. This, for me, is thrilling.

    10. Attack on Titan, Final Season Part 2

    Song: “The Rumbling” by SiM

    “My War,” which serves as the OP for the first part of Attack on Titan‘s final season, is one of my favorite OPs of all time. I don’t think “The Rumbling” is quite at that level—the animation isn’t as poetic—but it still leaves you with goosebumps. “The Rumbling” highlights how our characters have changed dramatically from where we first met them. In particular, it underscores Eren’s current isolation and his evolution into someone the viewer—as well as the other characters—wonders if they truly know anymore. This aspect is where it truly shines. As with all good Attack on Titan OPs, it gets you in the mindset of, “Oh shit, what’s going to devastate me this week?”

    9. Ranking of Kings, Cour 2

    Song: “Naked Hero” by Vaundy

    While I had some seriously mixed thoughts about the final episode of Ranking of Kings’ cour 2, I loved the show overall—by which I specifically mean that I love Bojji very, very much. Cour 2’s opening shows the series’ shift from its first half, doing an excellent job in displaying what haunts every main character—which means that it’s quite the emotional OP. In particular, the series of shots of Bojji, Kage, and my favorite snake getting coddled by matronly presences destroys me every time. Add to that a song by Vaundy—who also wrote my favorite song for One Piece Film: Red—and you’ve got a doozy.

    8. My Hero Academia

    Song: “Hitamuki” by SUPER BEAVER

    Like another OP later on this list, I love how stylized the sixth OP for My Hero Academia starts out. For about half of its run time, it’s explicitly referencing the art style of the American comic books that surely influenced the series, complete even with “BOOOOOM”s and “RRMMMBL”s. It’s a joy to watch, even more so when it serves as an oasis from the markedly tense events of this season.

    7. Pop Team Epic

    Song: “PSYCHO:LOGY” by BOUNCEBACK

    I love Pop Team Epic truly and deeply. As a parody sketch show, its theme song naturally has to be some kind of meta parody, as well. Season two’s opening hits this mark in genius fashion. It feels like a messy work session gone to hell. The whole thing is set against the gray-and-white squares that signify a transparent backdrop in Photoshop, with various versions of Popuko and Pipimi frozen in place or glitching out. For an additional layer of parody, I’m pretty sure the latter half of the animation and the song itself—which is called “PSYCHO:LOGY”—is a parody of Mob Psycho 100′s trademark OP style.

    For an additional additional layer of parody, this song is sung by Aoi Shouta himself. If you know, you know.

    6. Spy x Family, Cour 2

    Song: “Souvenir” by Bump Of Chicken

    Being in Japan when this OP released was incredibly striking. Even though Spy x Family takes place in a fantastical equivalent to Cold War Europe, it’s impossible to overstate how much this series nails the arrival of autumn in Japan. This is the series’ second OP of the year, and its autumnal nature is the most eloquent way they could have possibly said, “We’re back!” Furthermore, it exudes the warmth and gentle sentimentality that makes Spy x Family so special. And you can’t tell me that shot of the Forgers riding in a convertible as the bridge kicks in isn’t satisfying as hell.

    5. Cyberpunk: Edgerunners

    Song: “This Fffire” by Franz Ferdinand

    Given the pacing and flashiness that Studio Trigger is known for, the OP for Cyberpunk: Edgerunners is surprisingly patient and, relatively speaking, quite still. But that, combined with a gorgeous color palette, is precisely what makes it so striking. Plus, as someone who grew into my pop culture tastes in the early 2000s, this OP hits a bunch of nostalgic points. The animation reminds me a lot of the music video for “Tomorrow Comes Today” by Gorillaz, and the song is by freaking Franz Ferdinand. This might seem surprising for North American fans, but I learned that Franz Ferdinand has quite the following in Japan (the same is true of Avril Lavigne). The result is an OP which is simultaneously nostalgic and fresh-feeling.

    4. Urusei Yatsura

    Song: “aiue” by MAISONdes feat. Minami and SAKURAmoti

    When you announce the reboot of a series that initially aired in 1981, especially one as well-known (at least in Japan) as Urusei Yatsura, there’s a whole mountain of potential issues to consider. Perhaps the most obvious one is, “How do you convincingly draw these characters into the present day?” The 2022 Urusei Yatsura reboot does this effortlessly in the span of one OP. “aiue” starts in the ’80s, referencing Space Invaders and the manga, then slyly moves us into the modern day by counter-balancing smartphone dating apps and an idol concert. It’s colorful, infectious, and fun—everything you need to bring you into the headspace of a reboot of a beloved series.

    3. Spy x Family, Cour 1

    Song: “Mixed Nuts” by Official Hige Dandism

    The top three OPs in this list are all, in my opinion, perfect. Like, actually perfect. How the hell do you rank perfection? I don’t think you can. But I must list, somehow.

    Spy x Family’s first OP is a masterclass in how to create the perfect opening. You’re given a highly stylized first impression of the show that feels straight out of the intros to old spy films. Then, in a brilliant contrast, the style turns to Madeline picture books. The pastel color palette, too, is striking in its contrast. The actual animation style of the show isn’t revealed until about two-thirds of the way in. It makes the “typical anime art style” feel novel and epic.

    But even more than the incredible animation, the star here is the song: “Mixed Nuts” by Official Hige Dandism. The first 10 seconds of this track is straight-up noise and free improvisation, with a catchy bass line weaving beneath to still be able to sell it as a pop track. There’s noisy guitar delicately woven throughout, bombastic drum fills, horn stings that make my inner jazz nerd proud, and a bass line that makes you work up a sweat just listening to it. When you reach the chorus and the vocals really begin to soar … dear lord.

    Long story short, “Mixed Nuts” is a hell of a song. It was in the Top 10 in the Japanese charts for months. For good reason. (Thank god One Piece Film: Red can’t count as an opening, otherwise I’d be forced to figure out how “Shin Jidai” fits in here.)

    2. Chainsaw Man

    Song: “Kick Back” by Kenshi Yonezu

    I don’t know if a single opening has ever made me as happy as Chainsaw Man’s. It captures the series’ spirit perfectly. And it illustrates just how much MAPPA’s animators deeply love Tatsuki Fujimoto’s characters. There is so much fun and care laced into this opening. Even if you can’t catch the plethora of film references, or the moment of heartbreaking foreshadowing, there’s sure to be something in here that makes you smile every time. For me, it’s Denji cracking an egg and then cocking his head confusedly. And, of course, the ending shot of Denji and Power dancing like the giddy idiots they are, which has reached meme status.

    Kenshi Yonezu’s “Kick Back” was obviously written to embody Denji’s mindset, and boy, does it succeed. If you haven’t looked up an English translation of the song, I highly suggest you do so. Here’s the chorus: “Fill up with ‘happy’ / Let’s go until it’s ‘rest in peace’ / That glimpse of hell isn’t so bad / Scatter it with love / I love you, please humiliate me / Rob me of my dignity and laugh, my honey.” That’s Denji, all right.

    1. Mob Psycho 100 III

    Song: “1” by Mob Choir

    Mob Psycho 100 III is the perfect sendoff to one of the best anime series ever made. In keeping with that, “1” is the perfect final OP. I also don’t think an OP has ever made me cry before this one. But that last shot, the first time and last times I saw it, really got me. Even more than that, Mob Psycho 100 deserves the top spot in recognition for something it’s been building for three seasons. It’s something no other anime—or TV show—has ever done, and I doubt another will try to do it again.

    “1” completes a trilogy of OPs that—astoundingly, miraculously—really do feel like a trilogy. Together, they form one complete story that perfectly mirrors the growth of the series’ titular character. For me, Mob Psycho 100′s OPs are behind only the holy duo of “Tank!” and “A Cruel Angel’s Thesis” as the best in all of anime. There is no opening in all of television that looks like a Mob Psycho 100 opening. Both song and animation are “experimental” in nature, serving up what we didn’t expect but exactly what we needed. There’s so much happening in this OP, but it never feels too busy. Its overwhelming moments are overwhelming on purpose, reflecting the characters’ mindsets and struggles.

    And the song’s a banger. Seriously, the way all three OP songs nail the show’s themes is masterful. Look at the English translation of the first verse of “1”: “I realized that youth is grey / The identity of my irritation is unknown / This emotion train runs side-by-side with my brain / As I struggle through adolescence.”

    Pure brilliance.

    (featured image: Bones)

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