Hibike! Euphonium has nearly finished its second season. The storylines have been tight, weaving between the struggles of Kumiko’s senpai and chipping away the mask of Asuka, and Kumiko’s own reservations throughout it all. No-one can fault the talent that KyoAni have pulled together on this project. But even as all the details come together to make something magical, there’s something holding all of it back; a change from the show’s first run that undoes a lot of the synergy that initial arc established between musical performance, social dynamics and narrative style.
In the midst of getting ready for the exciting summer of anime this year, the shows I’ve been watching this past season have made me wish I’d started this blog a lot sooner. I’d have loved to do episode-by-episode reviews of a number of them right off the bat. But alas, I began this blog in the middle of spring and didn’t want half a series reviewed. I stuck with (sometimes unnecessarily long) editorials instead, which has helped me get into the aniblogging groove before summer 2015 starts. And now here I am, looking back at the highs and lows of the first season I’ve ever been so connected to, both to the shows and the communities around them.
I’ve been wondering about something after reading this article; there’s been a lot of talk on the current issue of ‘Yuri Bait’ in Hibike!, and I’d like to share my thoughts on it as the next episode nears.