TSURUNE: TSUNAGARI NO ISSHA

DESCRIPTION

CAST

NOVEL DramaTsurune: Kazemai Koukou Kyuudou-bu
OVA DramaTsurune: Kazemai Koukou Kyuudou-bu - Yabai

REVIEWS

• 

  Mcsuper

  86/100
  Kyoto Animation's Ability To Make Anything Great Shines Through Again

  

  ^My feelings towards this season of Tsurune, in a single image.

  Season 2 of Tsurune is something I did not expect from Kyoto Animation, but nonetheless, a very welcome thing. In a winter season of anime that has seen so many delays and production issues, it’s safe to say that Kyoto Animation still holds the gold standard when it comes to consistency in production, as well as a very healthy production schedule. While the story may not be something that stands out a lot, I still appreciated how down-to-earth and grounded in realism it can be, with very organic growth and improvement around the characters, and their kyudo skills. Season 2 felt like a massive improvement to Season 1 due to a more balanced approach to character development, focusing on a wider range of characters. It also felt even more serene and quiet compared to the previous season, and that was a product of how the characters developed. The animation, direction, and sound design were second to none this season, and it proves to me one thing, that Kyoto Animation is still one of the best studios in the industry, and no matter what they do, it will look polished and beautiful all the way through.

  I personally have zero interest in kyudo / archery as a sport, but Kyoto Animation has this power to make anything awesome, even if it’s centred around a sport I have no interest in. In sports shows, the most important aspect is how characters grow and improve. The path to success in any sport isn’t easy, and in this show, there are many opponents and obstacles along the way. My biggest issue with sports anime in general is how the results sometimes don’t feel earned, and the protagonists just win just for the sake of plot advancement, but in this show, every result feels organic and deserved. The work is put in, and it’s not just hard training, it’s realizing your mistakes, whether if it’s a mental block, team chemistry, or something else. The show also doesn’t feel like a conventional sports anime, in that it doesn’t rely on shock value at all, which is a breath of fresh air.

  The animation is pure beauty, and there’s zero debate to be had here. You simply cannot look at this show and call it bad art. Kyoto Animation is a very special studio, and should be a very positive influence on the anime industry as a whole. You can feel the kyudo club’s triumphs through some of the direction, and listening to the soundtrack paired with watching what was on screen made me feel I was up close and watching them shoot every arrow to near perfection. The immaculate animation and soundtrack feels oh so warm, pleasing, and provides me with enough joy that I even shed some tears in some of the matches, regardless of the result of said matches.

  However, truly transcendent anime cannot be carried by animation alone, and while the directing and compositing are virtually perfect, the story and characters are great in their own right. The story isn’t really standout on its own, but combined with the developments of the characters, it works well. The kyudo club has come a long way for sure. Minato continues to be as hard working as ever, and his love for the sport continues to carry him closer and closer to stardom. Onogi is considerably less loud this season, which is a good sign that the team has changed since the beginning. Seiya is as calm and collected as ever, and the most consistent of the bunch. Nanao is still quite happy go lucky, and his interactions with Onogi continue to be a joy, and their dynamic was explored very well this season. Ryohei is a dork as always, while he may be the weakest player on the team, he still strives to get better. I also appreciated the increased role the girls of the kyudo club had this season, though I still wish they had more screen time.

  Another fantastic thing I noticed this season is that each school has a mutual respect towards opposing schools, unlike in other sports shows, where students in opposing schools are constantly obnoxious towards one another. It fits KyoAni’s identity of serenity and calmness very well, and makes for very interesting interactions during and outside of competitions. The schools can even be inspirations for one another, and the students forge nice bonds with each other, which felt very nice.

  The plot may be quite mundane at times, but Kyoto Animation has the power to bring forth beauty in the mundane. They make the art of kyudo look incredible, and brought me great happiness in watching a sport I could otherwise care less about. It has the mark of KyoAni all over it, with it being soothing, healing, and full of heart. It’s a somewhat spiritual journey as well, and even in wins and losses, it doesn’t matter, because every match’s outcome feels earned and correct. Sure, it had its share of melodrama and a few stagnant moments, but that’s more of a nitpick than anything. This show didn’t have me on the edge of my seat, awaiting the next shot, but had me revelling in the sheer beauty that a single shot can have.

  Folks, this is truly what cinema looks like.

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• 

  ZNote

  90/100
  Drew in its breath, took its reassuring shot, and won.

  Tsurune is an oddity. It’s that one Kyoto Animation property that you've probably heard of, but haven’t seen yet since it gets lost in the wash of the studio’s higher melodramas or more-spirited slapstick and fantastical comedies, its ability to moe-dify art into something both visually and thematically beautiful, or Free! getting its umpteenth sequel. To say I was surprised with this property getting a season two was an understatement. As much as I, like most, love seeing Kyoto Animation come up with something new, I had to sincerely wonder where things were supposed to go. As a focused character study on Minato coming to terms with his own problems on the range and within himself, the thematic arc of the first season was well and truly closed.

  But I was looking for the wrong thing. Tsurune was always sitting quietly within the studio’s bright output, always calmly drawing its breath to find its own ikiai, yet at the price of being outshined by both the studio’s predecessors and progeny. While they emoted, Tsurune ruminated. That contemplative element of being so in-tune with itself was perhaps needed more than we realize. Kyoto Animation is still, to an extent, living in the aftershock of 2019, and although Miss Kobayashi’s Dragon Maid S and Free! concluding perhaps helped assuage some initial worries, the new talent from their nurturing school had yet to be truly tested. Ironically, it was one of the studio’s most calming ventures that would prove just how much creative daring its new blood had. And thank goodness that it exists.

  

  (Cuts like these with the metaphorical divide between outside vs. inside, exterior vs. interior, color contrasts with the hair and clothes, the fisheye-esque lens, or creative perspective within the space, show that even completely mundane moments can shimmer and breathe life into the everyday)

  It would be one thing to point out the sheer technical excellence or general use of its tracking shots, or perhaps remark on the sound and music, which have always been two of the original Tsurune’s most-unsung triumphs of storytelling – the meditative nature of its timbre functions both as ambiance and character psychological profiling. But of particular importance is the presence of Yamamura Takuya, who although being at Kyoto Animation for some time and having done episode directing before, has only taken the full director’s chair thrice, all for Tsurune. Yet if the time between the two seasons is any indication, he has grown by such leaps and bounds for mood-setting and framing as to be a tour de force.

  To call him an emerging figure to continue Yamada Naoko’s gentle flame-like legacy is not, I believe, too much of an exaggeration. Aside from the intentionally more-overt visual signs, such as mannerisms like hair-fiddling or episode six’s use of girl bonding over their mutual passion, he’s also created a production environment of fostering the talent that the studio has had to craft delicate pieces that allow quiet beauty throughout. It can be sensed in each twitch of the character’s finger, every time the group excitedly goes off to shoot, or when a tough conversation is had that requires tough love or a communal bath. Whether it be numerous new key animators getting their very first jobs in the production pipeline proper, or intermingling the new with Kyoto Animation’s more-seasoned veterans by using their sure hands and delicate attention to detail to put the finishing touches on emotional climaxes, the future of the studio is now, more assuredly than ever, in capable hands. As surely as Minato will pick up his bow, or Shuu’s younger sister Sae will quietly cheer him or Ryohei on, the time to draw the arrows AND the time to draw the arrows must come again. The Linking Shot, indeed.

  (This cut specifically by Satou Tatsuya, responsible for some of KyoAni’s most mood-oriented and dramatically-striking moments like the running on the water in Violet Evergarden, perfectly represents the studio’s ideology. The arms and hands show that, no matter what future KyoAni has in store, its staff, both old and new, will approach it together in all its magic)

  Tsurune season two, in that case, was the perfect specimen for this new dawning of studio talent – a relaxed atmosphere in-house with an equally-relaxed atmosphere in-text, having enough drama to set a predictable, but ceaselessly-satisfying trajectory with its expanding cast, both in number and in ever-evolving dynamics. As Nikaido mutters about how there’s no fun in watching a movie when you know the ending, his question is given a perfect response – “Depends on how they play out.” It’s that answer that Kyoto Animation so poignantly understands, and why even an endeavor from one of their ostensibly “lesser” franchises still soars through the air. They found their ikiai a long time ago.

  I’m truly grateful that they share it with us.

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• 

  EeLias

  85/100
  An Elegant and Visceral Journey in Sports

  

  Drawing his "Yumi", once more...Regulating his breathing...Releasing the "Ya" that exemplifies his Sincerity and Purity.

  ---

  White velvet clouds rolls in over a blue sky. A brilliance of a new page upon the canvas of consistent hue. Beneath the marvellous sky in the foreground stands five firm figures entwined in colored bands. The sequence concludes with what very well may be a determining shot. That is the OP–the theme is established and the direction of this series has been determined.

  Sports Anime are often portrayed with great intensity but "Tsurune" observes the inverse. Tsurune S1 introduced us to the sport of Kyudo: a refined form of archery that centres around calmness and composure. S1 excelled in setting the foundation and atmosphere, one which depicts the elegance and spiritual nature of the sport. To achieve the state of "Shin–Zen–Bi"(Truth, Goodness, Beauty). It also acts as the cornerstone for Minato Narumiya, our MC as he relearns and reaffirms his love for Kyudo. S2 not only enhances these constructs but also introduces its own set of novel elements. Visually, S2 is presented through increased contrast and a brighter outlook. And yet what truly differentiates S2 from its predecessor, is undoubtedly, it's plot. The focus of this season gravitates towards the thematic value of ‘Teamwork’.

  

  Teamwork is universally recognized as the collective effort made to achieve a common goal. For the Kazemai boys team, that common goal is Nationals. In order to secure their victory they have to not only sharpen their skills but also refine their teamwork. That means helping each other improve, resolve misunderstandings and placing faith in one another. All of this to ultimately attain "ikiai", an original term which is the symbolic imagery for unified synergy. It is a state that all teams subconsciously work towards such as Tsujimine High, a new rivalling team. And the effects of "ikiai" are evidently observed amongst the Kazemai High Girls team(yes the writer did not forget about them). This season presents an opportunity for the trio: Yuuna Kanazawa, Rika Seo and Noa Shiragiku to vindicate themselves and display their months of effort since their last competition in S1. It underlines the significance of ikiai born from impeccable teamwork and bonds. Most crucially, their participation acts as a narrative tool to exemplify the unity the Kazemai boys team is searching for.

  

  With that being said, greater teamwork is often coupled by stronger bonds; another highly prevalent concept portrayed in S2. This is represented as early as the colored bands we constantly see in the OP which portrays the bonds between our 5 representatives from Kazemai. But it does not end there–Shuu Fujiwara, Minato's childhood friend and rival who is rather detached courtesy of his more privileged background is also seen with colored bands. Our main casts needs no introduction by now but with the advent of a new season, a new story comes several new faces one of whom is Eisuke Nikaidou from the aforementioned Tsujimine High. He is another past acquaintance of Minato who appears friendly on the front but holds onto deep seated resentment yet he can also be identified with colored bands. Regardless of personality, any human being is likely to have made one meaningful connection. As such, those bands represent interpersonal relationships and, perhaps, new ones they have made. Stronger bonds extends to greater teamwork, and this aids in the journey of inducing "ikiai".

  S2 ‘unintentionally’ becomes a character study albeit relatively brief for core characters such as Shu and Eisuke. Their circumstances are expressed with numerous visual imagery. Additionally, it reinforced the personalities we came to know in S1 whilst incorporating purposeful development that we are deliberately made to observe such as Kazemai High Ryouhei Yamanouchi with his self acceptance, and the Kirisaki High Twins nurturing maturity.

  

  ---

  

  Beyond the narrative composition is an abundance of excellent–quality–sensations. The Director and Team waste no time in telling the story; each scene fits into the rhythm of the whole. Adequately well paced transitions and a myriad of camera angles increases dynamism to hook viewers. Despite the serene nature of the sport, these inputs convey the inherent competitiveness of the sport keeping one on tenterhooks hence providing a multifaceted experience. "Tsurune", it's titular significance, defined as the vibration of a bowstring is more evidently captured to further the sensorial appeal. The sharp and bold sounds are easily distinguishable and it is no surprise given that Youta Tsuruoka, an experienced Sound Director, who was also responsible for "The Monogatari Series" and other Kyoto Animation works such as "Hibike! Euphonium" was in charge. Soothing soundtracks that evoke poignant emotions are also incorporated. One aspect that I particularly love is the temperature of the scenes; utilized to convey appropriate emotions and toning in the numerous environments–it truly makes the composition look beautiful. I believe it is no overstatement to say that KyoAni has once again presented a high quality production–enhanced technical elements and mechanical storytelling from its predecessors.

  

  ---

  “What do we get after practising and shooting so much?”

  “Tsurune” is indisputably one of the most serene and captivating (sports) anime to indulge in. Peppered with its share of comedic moments makes it an especially enjoyable watch. In this season, our cast of characters actively and subconsciously attempt to uncover their reasons. This series offers us the opportunity to glean what answers they arrive to, particularly Minato, who constantly pursues his passion for Kyudo to find the "Shin–Zen–Bi".

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