On September 9, 2026, the massive single “Daisuki ♡ Zutto Eien ni ♡ / Kitare Koi, Itare Ai” will officially drop! This release includes the OP and ED themes for Season 3 of “The 100 Girlfriends”, along with the insert song featured in Episode 4 (Episode 28). To celebrate the release, we’re hosting a roundtable discussion with the legendary creators behind each track! For our second installment, we’re spotlighting the four masterminds behind the ED theme “Kitare Koi, Itare Ai”: lyricist Sasa Ando, and composers/arrangers sera (Neko Hacker), eba, and Shuhei Mutsuki. Get ready as these three metalhead guitarists break down exactly how they crafted this shocking masterpiece.
Metal and Cute Voices Are the Ultimate Combo!
── What exactly shocked you the most about “The 100 Girlfriends“?
Shuhei Mutsuki (hereafter, Mutsuki): Since eba and I have been handling the background music since Season 1, the initial shock really hit us when we first read the manga. I remember looking at elements like the “Zing!” moments and wondering, “How on earth are we going to pull this off in the anime?!” I’m in charge of the music for those exact scenes, so there was a ton of pressure figuring out how to translate that visual shock into sound. On top of that, I wrote “Hakari’s Theme” and eba wrote “Karane’s Theme”—and I vividly remember thinking, “This is a massive responsibility, we’re basically setting the entire musical format for these characters!” But honestly, the anime’s character designs are incredibly cute, and we were surrounded by a staff where everyone was aiming for the exact same vision, so the actual work was super fun.
The story itself leans heavily into gag comedy, which is surprisingly rare these days, and just the core concept itself gave me a shock—like, what does it even mean to get 100 girlfriends?!
eba (hereafter, eba): I definitely felt that it perfectly captures the Reiwa era vibe. It’s got a relentless tempo, clocking in at around 200 BPM, but every single character is still fleshed out with so much depth. It genuinely shocked me because it felt like an anime I had never seen before.
Personally, I’m a massive fan of classic rom-coms like “I’s” and “Ichigo 100%”, but this series has a totally different energy that you just didn’t see back in that era. Also, while reading it, I initially thought, “There’s no way you can juggle 100 girls,” but then I thought about it and realized that “Baki the Grappler” actually handles a similar cast size. Plus, since every character has such a strong personality, I started thinking they could actually pull it off—and now, I honestly just feel a sense of security reading it (laughs).
If you look back at rom-coms before the Heisei era, the protagonists were usually way more ordinary. But Rentaro is honestly the most eccentric character in the entire cast. I think that shift really reflects the Reiwa era too.
── It really helps that the protagonist is so charming, doesn’t it?
eba: The times have definitely changed. Even looking at the Isekai genre, I feel like audiences today really demand a strong, capable protagonist.
Mutsuki: The bar for main characters has definitely been raised, and I feel like modern rom-coms really need this level of impact to stand out (laughs).
eba: It might just be that audiences are craving that level of stimulation. Like, “I want to be that guy!”
sera (hereafter, sera): With something like “Ichigo 100%”, half the fun is wondering, “Who is he going to end up with?” But even if you watch “The 100 Girlfriends” and think, “I want to be him!”—it honestly looks like way too much work (laughs).
── Rentaro is already tied to over 10 girls, after all. But if you actually became Rentaro, you’d have absolutely zero free time for yourself (laughs). How about you, sera?
sera: I’m primarily in charge of arrangement as part of the unit Neko Hacker, but my first involvement with “The 100 Girlfriends” was actually playing guitar for the Season 2 ED theme, “Unmei?”. I had been watching the anime the whole time, and what shocked me was that it doesn’t just focus on the chaotic, lovey-dovey rom-com stuff—it also quickly and effectively explores the darker sides of each girl and why they became the characters they are. You find yourself projecting onto them, imagining that a certain behavior must stem from a specific past experience. Those deeply emotional scenes really left a lasting impression on me.
── How exactly did the production process for the ED theme “Kitare Koi, Itare Ai” unfold?
eba: Tomoya Tabuchi laid out the initial direction for the song’s vibe, and we built it from there, right?
sera: I think we all brainstormed together, and the vibe was basically, “Let’s make a Reiwa-era metal anime song!”
Mutsuki: There was actually a step before we even got to that. We had a meeting with the music producer, and they told us, “We have a solid vision for the OP theme, but we don’t have a strict image for the ED, so you have a lot of freedom.” When we started discussing what to do, we realized that eba and the Neko Hacker duo are huge metalheads, so we decided to go all out and create a hardcore metal track sung by cute girls! Of course, we kept it within the boundaries of “cute.” But once it was finished, it turned into something totally insane.
eba: Even before the word “metal” was explicitly brought up, I was already secretly wanting to write a metal track. For instance, there’s a metal song sung by a girl called “Fuyu mo Machine Gun”, and I thought it would be amazing to create a modern Reiwa version of something like that. And it turned out that was exactly the kind of order we received.
Mutsuki: It really is a modern take on metal.
sera: I love metal so much that I’m constantly looking for excuses to write it, so when this opportunity came up, my first thought was, “Finally, my time has come!”
Mutsuki: Seriously, I’m always wanting to write metal tracks too (laughs).
── So it sounds like metal is deeply rooted in all of your musical backgrounds.
eba: Exactly. Our roots are purely in metal—it was the very first genre of music I fell in love with.
sera: That’s why it felt like, “Finally, a place where we can actually make this!”
eba: You rarely get chances like this in the industry.
Mutsuki: Yeah, because we never actually get commissioned to write it for anime! I have an endless stockpile of ideas for this exact type of music.
── Whether it’s metal or hard rock, it really does pair beautifully with cute anime voices, doesn’t it?
eba: It’s an absolutely perfect match. That’s why I felt like our big chance had finally arrived, and I was genuinely thrilled.
── I’m not entirely sure if it was just a lucky chance, or if you guys secretly engineered it to happen… (laughs).
sera: I think we might have engineered at least half of it (laughs).
eba: Actually, after we made the first pass and submitted it, the response was kind of like, “Okay, this might be a bit too much,” right?
Mutsuki: Yeah, we had exactly one retake. They told us, “It might be better if the intro doesn’t hit too hard with the metal vibe right out of the gate.” The original intro featured this aggressively heavy metal guitar phrase from sera, so I think we tweaked it to make it sound a bit cuter.
sera: Right, that’s how it went. We altered the vocals and some other elements, and that seemed to get the green light.
eba: We composed this track like a relay race, similar to how we handled the OP theme.
Mutsuki: It started with sera, then went to eba, then to me, and finally Tabuchi handled the chorus—but at that stage, there wasn’t even a vocal melody yet! We had only created the backing track.
── Wow, so you built the instrumental track first before anything else?
Mutsuki: Well, Kassan—the other half of Neko Hacker who usually handles all their melodies—was ultimately tasked with writing all the melodies for this. He really ended up carrying the heaviest burden of the whole project.
sera: Initially, we took turns building the first chorus, and it honestly felt like we were just showing off our guitar riffs to each other. It was incredibly fun.
eba: It was totally like that movie “Crossroads”. It seemed like Tabuchi really had this vision of us throwing down in an epic guitar battle.
sera: We were basically told, “Don’t even worry about the vocals yet.”
eba: The instruction was essentially, “Just give us the most chaotic instrumental track you can come up with” (laughs).
Mutsuki: Eventually, Kassan managed to brilliantly tie together the first chorus. After that, we decided to fully commit to Tabuchi’s idea of a guitar battle, and that’s how we ended up with that absurdly long guitar solo. We were all thinking, “Does anyone even do guitar solos like this in this day and age?!”
sera: Honestly, that solo gave me a lot of confidence. It seems like guitar solos are getting skipped over more and more these days, but ours is just so undeniably long.
Mutsuki: I mean, it’s easily over a minute long.
eba: It’s pure 80s and 90s era metal.
── That’s wild. I would have expected Tabuchi to write the melody, but Kassan was the one who did it!
sera: To be completely accurate, I think Tabuchi did provide the melody specifically for the chorus. So Kassan ended up writing everything outside of that.
eba: Which is honestly the hardest part! (laughs). We basically just dumped this impossible instrumental on him and said, “Good luck.”
sera: He must have been sitting there thinking, “How the hell am I supposed to fit vocals into this?!” (laughs).
── It’s incredibly rare for five different people to collaborate on composing a single track, isn’t it?
eba: It’s a super unconventional method, for sure. Especially with the instrumental coming first.
Mutsuki: For some reason, the number of people making music for “The 100 Girlfriends” just keeps multiplying.
Sasa Ando (hereafter, Ando): Ahahaha (laughs). It’s expanding right alongside Rentaro’s family…
eba: Looking back, maybe it was inevitable.
The Secret of the “Hot Spring” Theme: Synchronicity Without a Single Meeting
── Ando-san, what was running through your mind when you first got the offer for this track?
Ando: I immediately thought, “Whoa, they threw a crazy one at me!” The impact was massive. However, Tabuchi had already provided some dummy lyrics, so I started writing to fit that existing framework. For example, the opening line “Finding Koi, YES!” was structured as English flowing into Japanese in his placeholder lyrics, so I kept that same vibe and tried to match the atmosphere.
eba: Your lyric-writing process is always insanely fast. The sheer grit is impressive.
Ando: Grit, huh? (laughs). I actually had to do a few retakes on the chorus, so hearing just now that Tabuchi handled the chorus totally makes sense. I was a bit worried if my lyrical imagery was hitting the mark, especially since I just took it upon myself to make the entire theme about hot springs…
sera: That actually caught my attention! I was wondering, “At what point did this turn into a hot spring song?!”
Ando: Well, I really wanted to use the line “Aishiteru aishiteru, wakideru onsen doba-doba aishiteru” (I love you, I love you, overflowing hot springs splashing, I love you).
Once I set the overall theme to hot springs based on that, everything just clicked perfectly. Though, I’m still not entirely sure if it actually clicked for everyone else (laughs).
sera: From the perspective of the team building the instrumental, there’s this really floaty, ethereal part at the very end. We were trying to express this idea of departing for a sacred world, and we were jokingly referring to it in the studio as the “Meitou” (Famous Hot Spring). So the backing track actually had this underlying hot spring element built into its DNA. I kept wondering, “Did someone somehow leak that to Ando-san?!”
Mutsuki: We even threw in a little “plop” water sound effect, right?
sera: Yes, exactly! We purposefully baked those elements in from the start!
Ando: Oh my gosh! That must be why hot springs immediately popped into my head!
sera: No, that’s seriously incredible. I never would have imagined that we’d connect over a hot spring theme purely through the music.
Ando: It feels like the music spoke directly to me (laughs).
── Listening to the song, I honestly assumed that you guys changed the final arrangement to sound like ascending to heaven because of her lyrics.
Mutsuki: With a lot of modern anime theme songs, by the time the track reaches the lyricist, the arrangement is usually completely finalized.
Ando: As a lyricist, I’m actually super grateful for that. It allowed me to pick up on that little water “plop” sound, which ended up connecting to the whole hot spring concept. When writing lyrics, I listen to the instrumental obsessively, and if that sound hadn’t been there, I might never have come up with this idea.
sera: Man, that makes me so happy. I’m so glad I added that water drop! Kassan told me, “I want this section to feel like entering a sacred, famous hot spring and just drifting away to another world,” so I figured I might as well toss in a splash sound. And then, boom—the word “Meitou” literally shows up in your lyrics! We represented the hot spring musically, and the exact word was right there in the vocals. The synergy was just too perfect.
Ando: It really is amazing.
Mutsuki: That’s a pretty hype development! (laughs). Miracles like that actually do happen occasionally.
eba: Her ability to read the intent behind the music is off the charts.
Ando: You’re making me blush (laughs). The thing about “The 100 Girlfriends” is that everyone involved genuinely adores the series. You can feel the intense passion from the staff, and it makes me feel like, “I have to answer that passion!” So I listen to the tracks endlessly and dive deep into the lyrics. I managed to finish writing the ED theme even faster than the OP theme because I felt like I was riding a perfect wave, which was honestly a bit of a miracle in itself.
eba: But seriously, after writing theme songs for three seasons straight, don’t you ever run out of things to write about? I think it’s incredible.
Ando: I definitely do run out, which is why I try to stockpile just the titles in advance. But ultimately, whenever I listen to the music, some kind of lyric always manages to surface.
Feast Your Ears on an Epic 1-Minute-Plus Guitar Solo and a 3-Way Guitar Battle!
── Was the title for this track, “Kitare Koi, Itare Ai”, one of the ones you had stockpiled?
Ando: Yes, it was! I had been saving this title for ages because I really wanted to use it. I briefly considered swapping the center dot for a heart symbol (♡) to make it a bit more flashy, but I felt a simpler look suited this song better, so I stuck with the original title.
── It makes sense, considering you’re passionately declaring love while using a hot spring motif.
Ando: The hot spring theme came later, but the title was locked in from the very beginning.
── The lyrics are also packed with a lot of spoken dialogue, aren’t they?
eba: You really don’t hear dialogue incorporated like this very often.
Mutsuki: Did you come up with all of those lines too, Ando-san?
Ando: I did. When we moved to the full-size version of the song, there was that massive, explosive guitar solo, right? I received a vague suggestion that it might be cool to layer some dialogue over it. I was worried about ruining the guitar solo, but as I tried to give everyone an equal moment in the spotlight, I inevitably had to fill up that space, so I ended up writing quite a bit of dialogue.
── It’s great how you can instantly imagine exactly who is saying what.
Mutsuki: Not just the dialogue, but you can mostly tell who the sung lyrics belong to as well.
Ando: This time around, I had Hahari Hanazono act as the coordinator and also take the lead. That might have been a slightly heavy burden for her (laughs).
── So, who exactly is shredding this incredibly long guitar solo?
sera: We take turns playing it. We decided, “Let’s go absolutely hard on a guitar solo battle!” So I kick things off with a solo for the first few dozen seconds, then eba takes over, and Mutsuki brings it home at the end.
Ando: I desperately want to see this performed live!
sera: Actually, all three of us also played the guitar solo on the OP theme, “Daisuki ♡ Zutto Eien ni ♡”.
── Oh, really?!
sera: I had the privilege of playing the backing rhythm parts, but for the solo, Takizawa-san had programmed his own MIDI version. I spent about half the solo tracing his programmed lines, and then I was let off the leash to play freely for the rest, which was an absolute blast.
Mutsuki: Tracking the guitar solos was incredibly fun. The sheer breadth of musical genres we get to play with is thrilling. I honestly think we might end up covering every single musical genre in existence just within “The 100 Girlfriends”.
eba: It only comes together because Mutsuki-kun is here to anchor it. In the ED theme, there’s a section with a gut guitar—that’s Mutsuki-kun’s part, and it really tightened up the whole track. It kept it from just being a relentless, heavy onslaught from start to finish.
Mutsuki: My parts in the ED theme are actually pretty easy to spot. The moment it gets intense after the gut guitar section, that’s all me. Specifically, right around where Iku yells, “Haaaaa, that’s brutal! Brutal!!” and during Hahari’s dialogue lines.
── Even within the metal genre, do the three of you have distinct stylistic approaches?
eba: Completely different. sera plays an incredibly modern style of guitar.
sera: Yeah, my style leans modern and technical, whereas eba is straight-up orthodox metal.
eba: I’m all about that gritty, old-school, pure metal sound.
Mutsuki: I feel like I sit right in the middle between the two of them. I love both styles equally.
eba: But you can pull off both! I operate with the mindset of “I’m doing this because it’s what I know,” but Mutsuki-san can literally do anything.
sera: Seriously, he can do anything.
Mutsuki: Oh, stop it, I owe it all to you guys (blushes).
sera: Also, when we were first building the TV-size cut, I was having way too much fun making the metal parts, and then eba layered some amazing stuff on top of it, and just like that, we had easily eaten up several dozen seconds. I started panicking, thinking, “Wait, we don’t have enough time for the rest of the song?!” But Mutsuki-san stepped in and tied it all together like an absolute genius.
Mutsuki: I’ll admit, I think I did some pretty stellar work there. By the time the track was handed to me, it was already pushing 45 seconds—which is practically the entire TV size limit—and I still had to squeeze in a B-melody and a chorus! But since it’s “The 100 Girlfriends” and anything goes, I just rode the same tempo through the B-melody and then abruptly cranked the BPM up by about 40 right before the chorus (laughs).
sera: The way you escalated that was mind-blowing (laughs).
Mutsuki: I figured, “If I do this, we can at least salvage the chorus.”
sera: That move was pure genius. If it wasn’t for that, this ED theme wouldn’t even exist.
Mutsuki: But looking back, it really is an utterly bizarre song structure. It goes: first verse, massive guitar solo, final chorus. You literally never hear that kind of structure anywhere.
sera: Hearing just that, you’d probably assume it’s a super short song, but the guitar solo is just ridiculously long, so the whole track clocks in at nearly four minutes (laughs).
eba: Also, at the very end of the TV-size edit, there’s that line: “Please tune in again next week, ufufu ♡.” That was entirely Tabuchi’s idea.
sera: He told us, “I want to make it sound like a certain Sunday evening anime” (laughs).
Lyrics That Elevate the Melody to Peak Fiction
── As expected, the synergy between Ando-san’s lyrics and the melody is simply brilliant. The line you mentioned earlier, “Aishiteru aishiteru, wakideru onsen doba-doba aishiteru”, is just absolute perfection.
Ando: The animation for that specific part was incredible too, wasn’t it?!
── When you hear the melody, do you instantly just know, “This is the perfect phrase for this”?
Ando: Yes, exactly! It feels like, “This is the exact phrase I’ve been searching for!” and it feels like crossing the finish line. From there, I expanded on the concept, made hot springs the central theme, and that led to words like “Meitou” (Famous Hot Spring) and “Go-ku-ra-ku” (Paradise). The overall vibe of those lyrics ended up matching the melody so frequently, which was a huge relief. Oh, and I also personally love the line “Koi wa mute futtou” (Love is a silent boil) (laughs).
eba: It flows almost like a rap verse, it feels so satisfying to listen to!
Mutsuki: That right there is the defining difference between writing poetry and writing song lyrics. You have musical notes, and your job is to lock words directly into them. It’s a skill not just anyone can pull off.
eba: Completely agree. There really are lyrics out there that actively make the melody sound better.
── For the three composers here, could you share some specific lyrics that you felt locked into the melody perfectly?
eba: I am absolutely obsessed with the spoken line, “Keihin hyoujihou ihan no kanousei” (Possibility of violating the Act against Unjustifiable Premiums and Misleading Representations). I’m a massive fan of the anime film “Paprika”, and that line gave me the exact same chaotic energy as the asylum director in the early part of the movie when his mind gets infected by the dream world. It’s totally abrupt, but it feels incredible, and it gave me a groove remarkably similar to “Paprika”.
Mutsuki: We all have those moments where something just feels intensely satisfying on a personal level (laughs).
eba: It might not make sense to anyone else, but for me, that was the most satisfying moment.
Mutsuki: With the melody Kassan wrote, there’s a school chime sound right at the very beginning. I’m guessing he put it there because the story takes place in a school setting, but I was blown away by how perfectly the lyric “Finding Koi, YES!” snapped right into it! Now, whenever kids in school hear that chime, they might instantly hear these lyrics in their heads.
Ando: They might just remember it every single time it rings (laughs).
sera: For that part, I threw in a cheap school chime sound effect purely because the setting was a school, and then the vocal melody basically traced right over it.
Mutsuki: And then, right at the “Hiso-hiso-hiso” (Whisper whisper whisper) and “Garu-garu-garu” (Growl growl growl) parts, the key shifts to minor, right? I am absolutely in love with how it slowly builds this unsettling, chaotic atmosphere before exploding into liberation during the chorus!
sera: Bouncing back and forth between major and minor keys is definitely one of the most interesting aspects of this track. For me, the lyric “Koi wa kakenagashi” (Love flows endlessly like a natural spring) was incredibly satisfying to listen to. The ED animation for this section—where it transitions to the character close-ups—is also phenomenal.
Ando: That sequence is so good!
eba: “Love flows endlessly like a natural spring”, huh…
sera: I’m taking notes.
── It really is a legendary quote. Love just keeps overflowing non-stop…
eba: It truly is a legendary quote. It makes you stop and think, “Wait, is it really?” (laughs).
Ando: Yeah, maybe it actually is (laughs).
── How much hidden meaning do you weave into your lyrics?
Ando: I pack meaning into every single line. Oh, wait, the word “Hizakurige” (Journey on foot) might have just been thrown in for the sheer momentum of it (laughs). But fundamentally, every part has a meaning behind it. I really want listeners to imagine the characters when they hear it. For instance, since Chiyo-chan is singing a certain part, I deliberately wanted to include a line like “Megane kumorasemasho” (Let’s fog up those glasses). I try to visualize lyrics that perfectly match each character as I write.
── When listening to the vocal performances in the finished track, what specific parts do you want fans to focus on?
Ando: Man, every single part was spectacular. Even with the shortest spoken phrases, I was amazed by how instantly recognizable each character’s voice was.
Mutsuki: I definitely want people to carefully listen to the “””Rentaro~~!””” shout right before the chorus. The song is mixed in stereo, and we’ve clearly placed the voices on the left, right, and center, so you should be able to pick out who is who.
sera: It’s like one of those “Aha!” moments when you finally figure it out (laughs).
Ando: For the “Ufu, ufufu, oichii abubububobobo” line, I didn’t actually expect them to read it verbatim; I just wrote it to imply a chaotic, noisy reaction. I figured they’d just process it with effects or something. But then they told me, “She literally read it exactly as written,” and when I listened to the track, she really did! (laughs).
eba: That part turned out so insanely good!
── The song is just packed with highlights. And speaking of the ED animation we mentioned earlier, it was handled entirely by Imomushi-san as a solo animator.
Ando: It’s consistently so adorable!
eba: The transition from the “Love flows endlessly like a natural spring” line into the extreme close-ups of their faces is just phenomenal. That’s the part that spikes my dopamine the most, I literally cannot look away.
sera: And every single girl has a completely distinct expression.
Mutsuki: When we’re making the music, we’re constantly thinking, “You HAVE to listen to this specific part!” and I imagine the animators feel the exact same way about their drawings.
Ando: Up until that moment, the characters are drawn as tiny chibis, so that sudden shift to massive close-ups is just a brilliant contrast.
sera: At the very end, there’s a shot that looks like a bathhouse rest area, and looking at it gave me major “Where’s Waldo?” vibes.
Ando: You just instinctively hit pause to look at everything, don’t you?
eba: They pour an unbelievable amount of effort into the OP and ED animations every single time.
Mutsuki: “Kyun-chi ♡!” and “HAKOBUNE ~100-nin Notte mo Daijoubu~” had so much kinetic movement in them, too.
── How on earth do they manage to pull that off?
Mutsuki: It’s got to be pure love, right?
Staff: There’s no other explanation. It’s nothing but love.
Ando: This production team is hardcore (laughs).
Mutsuki: “The 100 Girlfriends” literally runs on love (laughs).
eba: I honestly wish they could animate a full-length version of the ED. I know it would be a hellish amount of work, but the TV-size visuals were so stunning that I can’t help but wonder what it would look like if they went all the way to the end.
Ando: Seeing the “Go-ku-ra-ku” part animated would be so much fun.
── We might actually ascend to heaven if we saw that (laughs). Finally, please give a quick message to the fans ahead of the September 9 release of “Daisuki ♡ Zutto Eien ni ♡ / Kitare Koi, Itare Ai”.
Mutsuki: If you’ve read this article, I’m sure you’re incredibly curious about what kind of tracks these are. Both the OP/ED themes and the insert song are completely unhinged masterpieces that could only exist within the world of “The 100 Girlfriends”, so please give them a listen!
eba: Whether you’re a hardcore music nerd or a massive voice actor fan, these songs have something for everyone. Especially from the first chorus onward in the ED theme, there is so much dialogue, and the cast is absolutely flexing their voice acting muscles to the max. Please check it out—you won’t regret it!
sera: Since the instrumental versions are included, I highly recommend checking them out too. I am absolutely in love with the music for “The 100 Girlfriends”, and being able to appreciate it as pure instrumentals is a blessing. Though, I will say, the instrumental for the ED theme is literally just straight-up metal… (laughs).
Ando: Hey, maybe fans could even try their hand at writing their own vocal melodies over it!
sera: We should totally hold a contest for that (laughs).
eba: You’d get to experience exactly how Kassan felt (laughs).
Ando: These are songs that completely immerse you in the series, so whenever you listen to them, you’ll be instantly transported back to the world of “The 100 Girlfriends”. We’d be thrilled if you picked up a copy to use as your trigger to jump back in. There should be a lyric booklet included, so I hope you can feel our love shining through the text as well. Thank you so much for your support!
[Written by Junichi Tsukagoshi]
Series Information
Synopsis
Rentaro Aijo, who has achieved the milestone of 100 heartbreaks in middle school, visits a shrine wishing for a girlfriend in high school. There, the God of Love appears and tells him, “You will meet 100 destined soulmates in high school.”
However, the God also adds a catch: if someone meets their destined soulmate but fails to love them back and achieve happiness, they will die…
With destined soulmates appearing one after another—what will Rentaro do? What will happen to his 100 girlfriends?!
Cast
Rentaro Aijo: Wataru Kato
Hakari Hanazono: Kaede Hondo
Karane Inda: Miyu Tomita
Shizuka Yoshimoto: Maria Naganawa
Nano Eiai: Asami Seto
Kusuri Yakuzen: Ayaka Asai
Hahari Hanazono: Sumire Uesaka
Kurumi Haraga: Amane Shindo
Mei Meido: Suzuko Mimori
Iku Sudo: Rie Takahashi
Mimimi Utsukushisugi: Lynn
Meme Kakure: Kanon Takao
Chiyo Iin: Kaori Ishihara
Naddy: Ayana Taketatsu
Yamame Yasashiki: Hana Tamegai
Momiji Momi: Aoi Koga
Yaku Yakuzen: Rie Kugimiya
Kishika Torotoro: Yumika Yano
God: Shigeru Chiba
Narration: Yuji Ueda
© Rikito Nakamura, Yukiko Nozawa/SHUEISHA, The 100 Girlfriends Production Committee
*Some parts of this text have been translated using machine translation
