UlasanAnime.com – This year’s review delves into the anime “Sound! Euphonium,” not for a direct critique, but to highlight the significant impact of Kurosawa Tomoyo’s performance. Her portrayal in Kyoto Animation’s sharp coming-of-age story was particularly captivating.
The anime itself stands out with remarkable animation, a compelling story, excellent direction, and skillful adaptation. The art direction and the intricate inter-character drama were also highly enjoyable, even amusingly so, given the oversea yuri community’s interpretations. Their inability to grasp the nuances of the plot was evident, though in this instance, it led to humorous outcomes. It’s a reminder that perhaps I’m not in a position to criticize other fans for being out of touch.
The musical aspect of “Sound! Euphonium” deserves special attention. Observing the Macy’s Thanksgiving Day Parade offered a stark contrast, showcasing American high school marching bands performing music far more progressive than the recital-style stiffness favored by some Asian audiences and OST enthusiasts. This highlights a different, perhaps more vibrant, approach to musical performance.
This is reminiscent of how “Your Lie in April” utilized its music scenes for dramatic effect. While “Sound! Euphonium” offers a more subtle, precise dissection, akin to a sharp blade’s fine slicing, “Your Lie in April” was more akin to a sledgehammer blow. The impact of “Sound! Euphonium” is felt only after the experience, a lingering bleed, while the former’s dramatic force is immediate.
What is certain is that Tanechan, a character, would greatly benefit from a visit to America. It’s as if Moyochi, during her own visit, “stole” something invaluable. The exact nature of this stolen element remains a mystery.
For those interested in Kyoto Animation’s work, an ode to the studio is available [here](http://www.animenewsnetwork.com/feature/2015-12-02/what-makes-kyoto-animation-so-special/.95559). This article explores what makes Kyoto Animation’s productions so special.
Furthermore, the voice cast’s progression through various roles is noteworthy. From their work in “Amagi,” then “Sound! Euphonium,” and subsequently “Phantom World,” there seems to be a discernible and pleasing pattern. One wonders how the voice of Koroazu, the annoying sidekick fairy, might sound.
I haven’t yet discussed Tamaki’s role in “Love or High Speed,” primarily because I need to watch these works more thoroughly before offering any commentary.
Year-in-review 2015:
You might also be interested in : 2015: A Look Back
- Introduction
- Shirobako, Kurobako
- Sounding Off
- Eventing
- The St@te the Union
- N-Listing
