The Influence of “Keion!” on Anime Songs

Anime Music


When we review the anime song scenes/voice actor scenes of the 2000s, we can say that the period from 2005 to 2008 was the first period of the “swell” that leads to the present.

Back in 2005, the theme song “Happy ☆ Material” of “Magic Sensei Negima!” became a hit, and the theme song of “Haruhi Ryomiya’s Melancholy” “It’s an adventure, isn’t it?” Halle Haru Reyukai”, the theme song of “Raki ☆ Suta” “Moteke! Sailor Fuku” attracted attention, May’n and Ai Nakajima in “Macross F” and Shoko Nakagawa served as the theme song and insert song for “Tengen Breakthrough Glen Lagan”. In addition, Nana Mizuki, Maaya Sakamoto, and Yukari Tamura began to gain great support and began touring arenas and halls in the three years from 2005 to 2008, and it was also in 2005 that Ani-sama, a major event in the anime song scene, was held for the first time.

The hit of “Happy ☆ Material” had the aspect of a festival on the Internet (reference), but it can be said that the flow from the following year onwards was not a hit in the form of a flaming business law, but a nascent period in which it was recognized as a “music genre”. I myself think that this is a point that should be written later with more scrutiny.

Then, in such a period that straddles the 2000s and 2010s, why is it that “Keion!” Has become a presence to be reckoned with in the Japan anime scene as well?

That is to say, it was ahead of the focus on the enhancement of character songs in the anime song scene and the importance of “music” in related events.


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For example, the event “Keion!! Live Event : Come with Me!! In addition to the live parts of the theme songs, insert songs, and character songs that have been released so far, it seems to be fulfilling that it also includes a reading play and cast talks. The reason why we were able to hold such an anime event in the arena class was “Keion!” This was probably because he placed importance on music and had a wealth of character songs and works.

Later, in the anime scene in the 2010s, it led to a trend of a large number of character songs being released. Businesses originating from anime, manga, and game works are diverse, but the production and sale of character songs has turned into content that appeals to fans as a way to increase understanding of the work.

Of course, not all of the works have character songs. However, with regard to anime works, in addition to songs and drama accompaniment, the production and sale of character songs attracts a great deal of attention to the anime itself. This “trend of increasing the number of character songs” in the 2010s increased the number of scenes where “voice actors sing songs” and led to the trend of “voice actors debuting as singers”. This is a different flow from this article, so I would like to omit it.

Finally, “Keion!” I would also like to mention that he changed the style of his work to become a hit in the anime scene. Originally, this work was serialized in a magazine related to Yoshibunsha’s Manga Time Kirara. Starting with the hit of this work, in addition to the pioneer “Hidamari Sketch”, four everyday works of the same related magazine such as “Are you an order rabbit?”, “Kiniro mosaic”, “Gakko Gurashi!”, “NEW GAME!”, and “Yuru Can△” have been made into anime one after another. In addition, the smartphone game “Kirara Fantasia” related to “Manga Time Kirara” will be released. It can be said that the group of works and styles that are called everyday systems have been recognized as one genre after a trend of more than 10 years.

If you say, ‘Keion!’ Without it, these works would have been greatly supported, and the trend of the anime song scene might not have changed much.