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FIELD OF VIEW · Dragon Ball · Dragon Ball GT OP
Tap words in the lyrics for meaning, then use Practice when the verse is in your ears.
Synced lyrics
dandan kokoro hikareteku sono mabushii egao ni
Little by little, my heart is drawn in by that radiant smile.
'Gradually heart drawn-in-becoming, that dazzling smile by.' 魅かれてく contracts 魅かれていく — passive 魅かれる ('to be charmed') + ていく ('continuing forward'), so the attraction unfolds over time.
Title and hook in one phrase. DANDAN here is the romanised reading of 段々 (gradually) — a 90s J-pop convention of writing native words in roman caps for visual pop.
hatenai yami kara tobidasou hold my hand
Let's leap out from this endless darkness — hold my hand.
'Endless darkness from let's-leap-out hold my hand.' 飛び出そう is the volitional of 飛び出す = 'let's jump out'. 果てない (no end) is the negative form of the verb 果てる used as a modifier.
kimi to deatta toki kodomo no koro taisetsu ni omotte ita basho o omoidashita n da
When I met you, I remembered the place I'd held so dear back when I was a child.
'You with met-when, child of around preciously was-thinking place [obj] remembered.' 想っていた is the past continuous of 想う ('to think of, cherish') — a sustained mental state. The closing んだ adds explanatory weight: 'it's that I remembered'.
boku to odotte kurenai ka
Won't you dance with me?
'I with dance-and won't-give?' 〜てくれないか is a polite-but-casual request: 'won't you do (this) for me?' Negative form softens the imposition.
hikari to kage no winding road ima demo aitsu ni muchuu na no
On this winding road of light and shadow, I'm still crazy about that someone.
'Light and shadow of winding road, even-now that-one with absorbed (it-is).' 夢中になる = 'to become absorbed in / crazy about'. The sentence-final なの softens the assertion in a slightly feminine voice.
あいつ literally means 'that guy/that one'. Used here it carries warm intimacy — the singer is talking about the same person they keep circling back to.
sukoshi dake furimukitaku naru you na toki mo aru kedo
There are moments I want to glance back, just a little, but...
'A-little want-to-turn-around become like-that times also there-are but.' 振り向きたくなる = 振り向きたい (want to turn) + なる (become) — 'come to want to turn around'. ような modifies 時 ('times of that kind').
ai to yuuki to hokori o motte tatakau yo
I'll fight on, carrying love, courage, and pride.
'Love and courage and pride [obj] carrying fight [emph].' 〜を持って ('with X in hand') is an idiomatic 'carrying / armed with'. The closing よ asserts conviction.
Classic Dragon Ball values triad: 愛 (love), 勇気 (courage), 誇り (pride). The line lands as the song's mission statement and aligns with the Saiyan-warrior ethos of the GT opening.
dandan kokoro hikareteku kono hoshi no kibou no kakera
Little by little, my heart is drawn to a fragment of this planet's hope.
'Gradually heart drawn-in this star of hope of fragment.' Three の particles stack possessively: this-planet → its hope → a fragment of it.
kitto dare mo ga eien o te ni iretai
Surely, everyone wants to grasp eternity.
'Surely everyone-also-[subj] eternity [obj] hand-into-want-to-put.' 手に入れる literally 'put into hand' = 'obtain'. 誰もが combines 誰 + も (universal) + が (subject).
zenzen ki ni shinai furi shite mo hora kimi ni koishiteru
Even when I act totally indifferent — look, I'm in love with you.
'ZENZEN don't-mind pretense even-if-do, look you with am-loving.' フリをする = 'to act as if'. 〜ても creates concession: 'even if (X)…'.
hatenai yami kara tobidasou hold your hand
Let's leap out from this endless darkness — hold your hand.
Variant of verse 2 — only the English line flips from 'my hand' to 'your hand', signalling perspective shift.
okotta kao mo tsukareteru kimi mo suki dakedo
I love your angry face and your worn-out face too, but...
'Got-angry face also, is-tired you also like but.' Two も particles list both states the speaker accepts. 好きだけど leaves the thought open into the next verse.
annani tobashite ikite daijoubu kana to omou
I wonder if you're really OK living so flat-out like that.
'Like-that rushing live all-right I-wonder think.' 飛ばして生きて = 'live (while) speeding'. 〜かなと思う = 'I think 'I wonder...''.
boku wa nanigenai shigusa ni furimawasareteru sea side blue
I'm thrown around by every offhand gesture you make — sea side blue.
'I [topic] casual gesture by being-swung-around sea side blue.' 振り回す = 'to swing around / jerk about'; passive 振り回される = 'to be jerked around (by)'. The 〜てる ending shows ongoing state.
soredemo aitsu ni muchuu na no
Even so, I'm still crazy about that someone.
'Even-so that-one with absorbed (it-is).' Reaffirms verse 5's hook after the doubts of 13–14.
motto kikitai koto ga atta noni
Even though there was so much more I wanted to ask...
'More want-to-ask things [subj] there-were despite.' 〜のに introduces an unfulfilled expectation: 'there was, but (sadly)…'.
futari no kaiwa wa kuruma no oto ni habamarete toori ni mau yo
Our conversation gets blocked by the sound of cars and scatters down the street.
'Two-people of conversation [topic] car of sound by blocked-and street in dances [emph].' 阻まれて is the passive te-form of the literary verb 阻む (to obstruct). The image: words physically deflected, then drifting like leaves.
舞う ('to flutter, dance') is typically applied to petals, leaves, or snow. Applying it to lost words is a deliberate poetic substitution — the failed conversation becomes a sakura-petal image.
dandan kokoro hikareteku jibun demo fushigi na n da kedo
Little by little, my heart is drawn in — even I find it strange, but...
'Gradually heart drawn-in oneself even strange-it-is-but.' 自分でも = 'even (to) myself'. なんだけど = な (na-adj copula) + んだ (explanatory) + けど (but).
nanika aru to sugu ni kimi ni denwa shitaku naru
Whenever something happens, I want to call you right away.
'Something there-is when, right-away you to phone-want-become.' The 〜と conditional ('whenever X happens'). 電話したい (want to call) + なる = 'come to want to call'.
zenzen ki no nai furi shite mo kekkyoku kimi no koto dake miteta
Even pretending I'm totally not interested — in the end I was only watching you.
'ZENZEN no-interest pretense even-if-do, after-all you of things only was-watching.' 気のない is the noun-modifier form of 気がない ('no interest').
umi no kanata e tobidasou yo hold my hand
Let's leap out beyond the sea — hold my hand.
'Sea of far-side toward let's-leap-out [emph] hold my hand.' 彼方 is a literary word for 'the far distance / yonder'. The closing よ insists, urging the listener forward.
Echoes verse 2's '果てない闇から飛び出そう' but flips the destination from 'out of darkness' to 'beyond the sea' — by the song's end, escape is reframed as adventure outward, not flight from.
okotta kao mo tsukareteru kimi mo suki dakedo
I love your angry face and your worn-out face too, but...
'Got-angry face also, is-tired you also like but.' Two も particles list both states the speaker accepts. 好きだけど leaves the thought open into the next verse.
annani tobashite ikite daijoubu kana to omou
I wonder if you're really OK living so flat-out like that.
'Like-that rushing live all-right I-wonder think.' 飛ばして生きて = 'live (while) speeding'. 〜かなと思う = 'I think 'I wonder...''.
boku wa nanigenai shigusa ni furimawasareteru sea side blue
I'm thrown around by every offhand gesture you make — sea side blue.
'I [topic] casual gesture by being-swung-around sea side blue.' 振り回す = 'to swing around / jerk about'; passive 振り回される = 'to be jerked around (by)'. The 〜てる ending shows ongoing state.
soredemo aitsu ni muchuu na no
Even so, I'm still crazy about that someone.
'Even-so that-one with absorbed (it-is).' Reaffirms verse 5's hook after the doubts of 13–14.
motto kikitai koto ga atta noni
Even though there was so much more I wanted to ask...
'More want-to-ask things [subj] there-were despite.' 〜のに introduces an unfulfilled expectation: 'there was, but (sadly)…'.
futari no kaiwa wa kuruma no oto ni habamarete toori ni mau yo
Our conversation gets blocked by the sound of cars and scatters down the street.
'Two-people of conversation [topic] car of sound by blocked-and street in dances [emph].' 阻まれて is the passive te-form of the literary verb 阻む (to obstruct). The image: words physically deflected, then drifting like leaves.
舞う ('to flutter, dance') is typically applied to petals, leaves, or snow. Applying it to lost words is a deliberate poetic substitution — the failed conversation becomes a sakura-petal image.
dandan kokoro hikareteku jibun demo fushigi na n da kedo
Little by little, my heart is drawn in — even I find it strange, but...
'Gradually heart drawn-in oneself even strange-it-is-but.' 自分でも = 'even (to) myself'. なんだけど = な (na-adj copula) + んだ (explanatory) + けど (but).
nanika aru to sugu ni kimi ni denwa shitaku naru
Whenever something happens, I want to call you right away.
'Something there-is when, right-away you to phone-want-become.' The 〜と conditional ('whenever X happens'). 電話したい (want to call) + なる = 'come to want to call'.
zenzen ki no nai furi shite mo kekkyoku kimi no koto dake miteta
Even pretending I'm totally not interested — in the end I was only watching you.
'ZENZEN no-interest pretense even-if-do, after-all you of things only was-watching.' 気のない is the noun-modifier form of 気がない ('no interest').
umi no kanata e tobidasou yo hold my hand
Let's leap out beyond the sea — hold my hand.
'Sea of far-side toward let's-leap-out [emph] hold my hand.' 彼方 is a literary word for 'the far distance / yonder'. The closing よ insists, urging the listener forward.
Echoes verse 2's '果てない闇から飛び出そう' but flips the destination from 'out of darkness' to 'beyond the sea' — by the song's end, escape is reframed as adventure outward, not flight from.