When we picture an apocalyptic world, creatures like zombies, aliens, vampires, and werewolves come to mind. We—usually—do not think 15-meter-tall irrational humanoid creatures lacking sex organs whose only goal in their existence is to eat humans. Yet, in the popular world of anime, ideas are boundless, and so, I find myself warped in the petrifying world of Attack on Titan, written and illustrated by Hajime Isayama.

Initially airing in 2013, Attack on Titan is a four-season anime that  continues to follow an ensemble of intricately woven characters a decade later. While the prevailing question for this un-industrialized country started as simply wondering what lay beyond the walls, who  knew the answers would be more complex than the question? As we follow the rapid and continuously developing life of the Scouts portrayed through opening theme songs, we glimpse at the overarching theme of human struggle that Isayama adeptly communicates. Throughout each season, especially the finale, viewers are confronted with ideas exploring existential purpose and natural order that governs human life, all which is left to the youth of this animated dystopian world to answer. 

Although ironic,the first part of Season One opens with an upbeat theatrical song. The song quickly transitions from one instrument to the next rising to a crescendo while images of the Scouts moving through the sky and fighting Titans flicker in succession. Cymbals crash and the choir harmonizes in high pitches complementing the animation. The song and images demonstrate that this season is primarily about a growing conflict between the human race and the Titans. The lyric “we are hunters” is chanted, also supporting that the Scouts aim to eradicate the Titans.  Eren, in particular, is illuminated, foreshadowing that he will be an essential part of defeating the Titans. 

The second opening of Season One is an ode to patriotism, with trumpets and anthem-like rhythm while Scouts continue to defeat Titans, but now with a titan-sized fighting mascot to even out their ranks. This illuminates two ideas:  there may be more to the Titans if they are able to befriend and understand the humans, and the goals of the Titans Are beyond extinguishing the human race. The tempo picks up, with the introduction of key characters ( Eren, Mikasa, Armin, Levi, Annie, Reiner, Berthold, and Zoe Hange), all the while lyrics pertaining to determination and strength are belted, cementing these characters are essential to the anime's development. 

Season Two opens with a choir singing a chorus in high pitches, the countertenor lead rising with a repetitive verse, and simultaneous images switching rapidly to the oncoming enemies: an army of Titans With new intelligent Titans consisting of the armored, the colossal, the female, and the beast titan. This season really scrambles the initial plot. Titans who previously were considered unintelligent creatures with little motive seem to be aggregating and plotting with the help of intelligent Titans. Therefore, the question is asked: “Why do they want to kill the humans?” And while I theorized residual anger for humanity or primitive desire to be apex predators, I don’t think I'm getting warmer in this game of hot and cold Isayama seems to be playing. As the song reaches a climatic end we are met with images of two opposing sides and destruction. 

Different from the preceding seasons, the third season opens with a positive, inspirational, and melodic song filled with piano and soft drums. A pastel background composed of tranquil skylines and the characters as children follow this emotional song. Overall, half of this season re-evaluates the characters by sharing their childhood, which slows down the anime, but is essential to understanding the Scouts we are rooting for—obviously Levi. Additionally, this season displays the evolving relationships between the Scouts (especially Eren, Mikasa, Armin and Levi) and their dream to find more in this dreadful world through this hopeful number. 

The second opening of Season Three reverts to the fight, but while the song is upbeat, fast-paced and somewhat cheerful, all the images are slow motion as enemies are revealed and both parties need to reevaluate their position in this war. The singer is the primary focus during the slow motion scenes, while the instruments (drums, trumpets and an electric guitar) and the choir are present during the fast paced scene. The imagery anticipates the impending war between friends who become foes, but again the existential question: “Why?” Everyone is fighting for their own survival, but at what cost? Friends? Dignity? Loyalty? Morality? Isayama navigates these questions and asks the audience what they are willing to sacrifice. As the opening nears the end, images that were slowed now fast forward in a flickering motion. And what is the conclusion? The truth is yet to be revealed, but it is bigger than what the Scouts predicted to be beyond the wall. 

Things take an even darker turn in the opening of Season Four. It is basically a freak show, with eerie circus-themed music and imagery as whiny voices chant to war. Body parts collect on a battlefield, cannons fire, and rainbow smoke collects in the air. Birds fall from the sky portraying a loss of innocence from both sides as humans kill one another. The background remains a bleak gray not only showing the lack of autonomy from the enemy force, but also emphasizing that bloodshed and war are the only things that matter as presented in an array of colors. Moreover, the lack of color makes each party indistinguishable, revealing that they are equal in this war. Particularly, equal in their decisions, their causes, their errors; no one is the “good guy.” In the end, the Titans are only the front men of the true war. Humans are at fault for this conflict and this becomes a classic case of one country against the other. And for what? Well unsurprisingly, greed, power, and security. 

Ignorance is bliss, if only the people of the walls remained ignorant. Season Four continues with the grittiest and most foreboding opening ever. As the singer uses the death growl that trembles with the falling of society, we are met with a screen filtered with blood, wreckage and giant musculoskeletal Titans marching in unison. No longer is the fight between Titans that were used as an instrument of war. We are met with Marelyens (basically Nazis) and the Eldians (fascist revolutionaries—and yes, that is a thing) who blame each other for their miseries. “My friend” and “If I lose it all” are  repeated lyrics in the opening, shedding light on the sacrifices made by both sides as friendships are shattered, hands are stained with abhorred actions, and nobody is a hero. At this moment, I only have one question: “When is right wrong, and wrong right, or, is there such a thing?” 

Through the widely varying musicality of the theme openings (contemporary to death metal), the audience is able to navigate the events presented in each season of Attack on Titan. They serve as a vivid method of foreshadowing the events pertaining to each season. Each opening demonstrates the complicated nature of the plot and characters, and provides a direct reflection of the human race and the complexities of living in both individualist and collectivist societies. Ultimately, Isayama skillfully communicates the ambiguity of humanity through the progression of dynamic theme openings.

November 2022