The third season of Hibike! Euphonium.
Kumiko's third year finally begins! With the concert band at Kitauji High School over 90 members,
Kumiko is now the president and does her best with her final high school club activities to try to win
her long-desired gold at nationals.
(Source: Crunchyroll, edited)
webm(https://v.animethemes.moe/HibikeEuphoniumS3-OP2-NCBD1080.webm) Kyoto Animation, almost without fail, has time and time again showed us the gold standard of anime production. It is clear to see just like many of their shows, it was done with passion, love, and most importantly, they had ample time to work on it. This is the result. webm(https://webm.red/ZlYb.webm) #####
~~~webm(https://v.animethemes.moe/HibikeEuphoniumS3-OP2.webm)~~~ #####~~~(Video includes audio. Be sure to unmute)~~~ From the first episode all the way up through *Ensemble Contest-hen*, Oumae Kumiko’s journey has been one through reconciling her own feelings and trying to become more self-actualized. It’s been a long road getting from there to here, complete with many frustrations, contradictions, confusions, angsts, and apprehensions both from herself and from others that she is privy to hearing about or experiencing. Back then, she was just a student, mending her old relationship with Kousaka Reina and learning to appreciate just how much her senpai Tanaka Asuka meant to her. Here now, at *Hibike! Euphonium* season three, she fully assumes the role of her predecessors as the president of that band, taking on a new level of responsibility to the group to propel them to winning the gold at Nationals, the prize that has consistently eluded them. With a new year and new leadership however comes new rigor—Reina IS an executive now, after all—and with that also comes new urgencies. It’s not just about winning gold; as Kumiko is so reminded by both her family and her teachers (if not also the occasional conversation with classmates), she’s a senior now, waiting on the doorstep of whatever potential and likely-collegiate future might await her, and needing to decide about such things. But not all decisions need to be made straight away; besides, Reina’s dream of performing with Kumiko at Nationals is only getting closer and closer until, of all things, a euphonium sound coursing through the air catches Kumiko’s ear. It’s only a little later that we learn who made the sound: a new girl transferring to Kitauji High School, sporting a navy-blue uniform and a silver euphonium of her own, Kuroe Mayu. Change isn’t on the horizon – it’s right there, as plain as the reflection on Mayu’s euphonium and Kumiko being taken by the sound that comes from it. ~~~img550(https://i.imgur.com/JGUDvEY.png)~~~ ~~~img550(https://i.imgur.com/uHJk1tL.png)~~~ #####~~~(Mayu’s introduction to the season as an unknown, and recurring mirror imagery and conversation employed throughout via [Ishihara Tatsuya’s](https://anilist.co/staff/100055/Ishihara-Tatsuya) direction, parallels Kumiko’s own preoccupations about what awaits her in the future both as the club’s president and post-graduation)~~~ If *Hibike! Euphonium* season three had anything that it could plant during the interim between *Chikai no Finale* and the first episode’s lead-up, it was that you could take certain things more or less as a given that they’d occur. The narrative has always followed Kumiko as the point of orientation (with the notable exception of [Yamada Naoko’s](https://anilist.co/staff/102498/Yamada-Naoko) masterful *Liz and the Bluebird*), and that much has not changed. But, with her now needing to assume greater responsibilities to the ensemble as a whole, it likewise necessitates a major shift in orienting the view of that ensemble. As a student, Kumiko was a participant in the exercises for marching and listening to Taki’s instructions on how to improve a practice’s performance. But in a position of authority, she must take a more centralized birds-eye view of the ensemble (and we, the audience, likewise follow suit), being the person that others would come to with problems and grievances and be expected to navigate through them. That shifted perspective regarding the ensemble accompanies a shift in the music’s usage within the season. In-part because of the single cour’s truncation, there are not as many overt “performances” in the course of the thirteen episodes – there are decidedly fewer times that we see the band collectively working together either in practice or in actually performing before the listening audience, and likewise for the viewer. *Hibike! Euphonium* season three however understands that the performances themselves were never the actual attraction for the series. It’s not that they were outright unimportant or anything of the sort, but rather that they were not the point. The melodrama of the season serves as the ensemble’s true performance, allowing both discordant countermelodies and high emotion to come through as complements to the tone rather than the showboating they might have been otherwise. All of this is realized through its masterful visual-acoustic storytelling and episode directing from some of Kyoto Animation’s most important figures like [Kitanohara Noriyuki](https://anilist.co/staff/103069/Kitanohara-Noriyuki), or newcomer to the directorial side [Miyagi Ryou](https://anilist.co/staff/158652/Miyagi-Ryou), who began their career on *Hibike! Euphonium* season one and now gets to take a driver’s seat role for its final act. ~~~webm(https://files.catbox.moe/xyfwuo.mp4)~~~ ~~~webm(https://www.sakugabooru.com/data/bd4d95140ecb1fd436b8f84f47117743.mp4)~~~ #####~~~(First clip includes audio. Be sure to unmute. Unknown credit for both clips.~~~ #####~~~Kumiko’s new position as the president of the band likewise repositions the presence of music in the series – there is less “performing” directly and more an attempt to integrate in-universe music into the tone of the season rather than as events themselves)~~~ But Mayu is the final, and arguably most important, ingredient to this general reorientation. Her euphonium playing and coming from a previous school known for its prestigious music program brings its own problems into the fore. Mayu heralds that Kumiko’s place as the “one true eupho” is on far shakier ground than she might have anticipated. It’s not just because she’s good, but rather also due to Mayu’s general demeanor of friendliness and wanting to not rock the boat clashing with the inherent approach that Kumiko has in mind. The prior experiences with the trumpet solo audition from freshman year and Kanade from junior year were signs of needed changes. Those changes manifested in the form of Kumiko and Reina working to make Kitauji’s band a place where, regardless of one’s status as an upperclassman or underclassman, the best performances reign and have the privilege to perform at the competition. It’s a doctrine that reads as the ensemble’s credo, and one that Kumiko especially believes is best for everyone. ~~~img550(https://i.imgur.com/mXHbuiH.png)~~~ ~~~img550(https://i.imgur.com/F4jcXlN.png)~~~ ~~~img550(https://i.imgur.com/I4glxMh.png)~~~ #####~~~(If Kitauji’s meritocracy is to yield results, it must by necessity run counter to the idea of everything going swimmingly and people’s feelings not being hurt. Kumiko’s attempts to assuage worries and keep the ensemble from having members drop out is one of her chief tasks as president)~~~ Mayu’s behavior thus makes for a rather ironic response to Kumiko’s own perception of Kitauji’s meritocracy. The entire notion of competing in Nationals means, in-part by virtue of how audition processes work and having only a finite number of players allowed, that not everyone can be satisfied or be having fun. Mayu’s reticence to replace anyone expressed early in the season serves as a challenge to that meritocracy ideology, questioning its legitimacy and whether everyone sincerely feels that way, and her continued insistence provides a point of consternation for Kumiko who just can’t realize how to respond to this peculiar obstinacy. It’s not that Mayu doesn’t want to win gold at Nationals, because she does – otherwise, she’d never have voted to do so. Yet, it’s a heightened form of Kumiko’s own desire to not have anyone drop out that she’s essentially confronting, a reflection of the passive version of herself from previous seasons that she thought she had moved beyond, but now has to confront from a new angle. Confronting Mayu’s insecurity means confronting Kumiko’s insecurity, creating one of the major thematic threads for the season. Mayu and Kumiko’s perspectives are thus each chasing a metaphorical rainbow that run parallel; they may be headed in the same general direction, but they can’t cross. Because of this fundamental inability to see eye-to-eye, they cannot connect as easily. Mayu’s apprehension is just as despairingly resolute as Kumiko’s belief that what she herself believes in is the truth of how she honestly feels. Yet as each episode progresses and we see that perhaps Mayu’s apprehension seems all-the-more to be coming true, it gives dialogue and entire sequences a particular weightiness to each word and interaction. Emotions run higher and tensions run thicker not just because the stakes have increased for the main cast with increased auditions and graduation drawing nearer, but rather because the ensemble collectively is carrying this sort of held breath every time, with confidence wavering in confusion. I mentioned before that the melodrama within the band is the true performance of the season, and it subsequently manifests in inner-band friction both collectively and between individual members that is true *Hibike! Euphonium* spirit. ~~~img550(https://i.imgur.com/SmntuMB.png)~~~ ~~~img550(https://i.imgur.com/jV3teIz.png)~~~ ~~~img550(https://i.imgur.com/W1oRoYP.png)~~~ ~~~img550(https://i.imgur.com/H2LNKsf.png)~~~ #####~~~(Mayu’s reluctance to perform if it means someone else loses a spot in the ensemble is a double-edged foreshadow – it hints not only at why she has this outlook to begin with, but also reflects the attitude that will actively clash with both Kitauji’s meritocracy policy and Kumiko’s own self-reckoning)~~~ And that spirit of conflict always has its inverse; that of optimism and understanding. Between Kumiko’s presidency, Mayu’s apprehension, Reina’s perfectionism, the new freshmen, Tsukamoto providing insights of his own, Kanade’s own rounding out of her edges, and everything else, *Hibike! Euphonium* season three is juggling a lot of ideas within its thirteen episodes. It would be easy to assume that it would crumble under the weight of it all, yet like magic, it doesn’t. The endgame for the season is more or less a surefire conclusion, but the route it takes to get there walks the twilight between crushing and soaring (even if it might change entire details of the original source material to achieve that). No matter how much it may pull out some brutal pathos punches or moments of sheer deflation, it never tries to leave its characters out in the cold forever; there will always be something to pull them back from the precipice. That may just be its most optimistic message of all for its audience, and one that the series has been comfortingly saying since the very beginning with that flashback that started it all – there will be hardships and times when you have to come face-to-face with your own disappointment, inability, or uncertainty. Sometimes, it may seem cruelly unfair, or you may feel like you’ve taken two steps back for every one step forward. But underneath it all lies the tenderness of love and friendship, bonds worth holding onto no matter how late they may have been forged. If this is indeed likely to be the final installment of this franchise (I imagine [Kyoto Animation](https://anilist.co/studio/2/Kyoto-Animation) would want to move on to other properties to develop and see what lay within their imagination), then it could not have chosen a better way to finish. Its characters left Kitauji High School better than when they came in. They bettered themselves not just musically, but personally. That’s the true finale that the series had been building to since the beginning. All the desires to improve, all the tears, all the notes, all the drama, all the smiles, and all the goodbyes – season three is the culmination of everything *Hibike!* in the end. ~~~webm(https://v.animethemes.moe/HibikeEuphoniumS3-ED2.webm)~~~ ~~~img550(https://i.imgur.com/aLGUkyh.png)~~~ ~~~img550(https://i.imgur.com/6YwScS6.png)~~~ #####~~~(Video includes audio. Be sure to unmute.~~~ #####~~~No matter what sadness or difficulties the year may bring, the feelings left behind for the characters are always optimism for the future and a reaffirmation of love and friendship)~~~ ______ ~~~To you, the reader - let YOUR next piece begin.~~~
***
__Part 1
Dichotomy of Wants__
Reality is often disappointing
Every day you follow a routine of eat, sleep, go to school, meet friends, learn what you gotta learn, hang out, appreciate the sunset as you walk home, kill off some time at home, sleep, and repeat. The life of an adolescent is in the middle of seeking wonder through the mundanity, but at the same time restricted by their youthful ignorance. The dreams we have that we couldn't reach, some may be devastated, and some may have avoided performing altogether in fear of failure, but if you set yourself in the shoes of Kumiko Oumae (Tomoyo Kurosawa) in Sound! Euphonium, where you are in the middle of “I'm not good enough” and “I gotta be better."
A dichotomous fine line exists between being sure of what one person wants while being aware that you can't really reach what you dream of. Kumiko is the type of character that in the first few episodes you couldn't really get into because of how much she distances herself from other characters and just lets things play out, but she has her hands out for them and guides where the characters in the series want to go—for the sake of their happiness.
The more you keep your distance from the core instrument you play, the more you feel dissatisfied with the performance you give. But at the same time, the more you push yourself hard to get away from the mundanity, it often makes you disappointed when you cannot attain the achievement you want. It's not just Kumiko who experiences these dichotomies, but the majority of the characters in Sound! Euphonium does in its own way.
Some have persevered through the rough and have shined more than a diamond, but that's not real life. When one shines, the others fall, and no matter how much you've practiced and exerted efforts at your best, reality often reminds you that there is someone who is better than you, while you tell yourself that it's better to just step down because that high position you seek is just not for you, and most of them do step down. Most of them have already left the path, and now it's your time to leave.
But this is what you want
Even after the defeat, the chances of you coming back are slim, but with sheer determination, you are the main benefactor to leave the mundanity of life that you refused to go back to. You keep doing your best, and eventually you will level with the rest. Sound! Euphonium shows the harshness of reality where life can easily drag you down, especially when you are unsure with the passion that you're holding dear. Sometimes, it is okay to not push further if it's something that you don't want, and it's okay to lose sometimes. As a cautionary tale for these characters and for you, don't hold things against you for failing when the chances of another try is always available for you. ***
__Part 2
A Frustrating Melody__
One of the main selling points of the series is its use of a high school orchestra as the main theme. The series does tackle the technicalities of the creation of music, translating sheets of music to a beautiful melody, and working together as a team to ensemble a magnificent and calming piece. This is greatly highlighted by Kyoto Animation’s high standards, keeping attention to minute details from the animation to the instruments hitting real notes from the drawings and the real-life note. However, the show does not mainly focus on the technicalities of the instruments and the creation of music but on the social aspects and group dynamics of music creation.
Through the calmness and beauty of a soothing melody, behind it, there's weeks of exhausting practice between people who exert too much energy that leads them to be exhausted and impulsive and the people who have exceeded their limit but still not enough for the standards of the piece. The group dynamics of an ensemble can often shatter down when one little mistake catalyzes into a greater problem, and the series shows this realistic portrayal that's stress-inducing and utterly realistic. I, as a viewer, recall memories of group-centric events and the messy, uncooperative corporation that you just want to escape for the sake of your sanity but remain inside the chaos because of guilt, obligation, or perseverance of one's wants.
Sound! Euphonium offers a realistic take on the dynamics of characters, offering realistically disturbing yet relatable, well-written characters from the main characters, side characters, and even background characters. This aspect of the show feels like a place you don't want to go back to because of your own personal experience in this environment, but you are intrigued by the portrayal. ***
__Part 3
Season 3__
After underwhelming OVAs and movie sequences, the series finally got its proper third season with a new stake in our characters' lives. For the past 2 years in the band, Kumiko Oumae has experienced the highest and lowest moments inside the band. Now that she's in her third year as club president, she must endure the challenges that lie ahead of her. From the introduction of the freshman and their struggles, and facing familiar incidents she experienced during her first year popping up once again in her last year in the club, This is her last year as an ensemble, and the club decided to aim for gold. This redemption arc is where the series gives it all and delivers each sequence in a quiet yet powerful manner, speaking with Kyoto Animation’s signature silky and subtle animation and Tatsuya lIshihara’s brilliant and engaging direction.
Unlike the first two seasons, Oumae takes center stage for being a proactive member of the club, as well as putting center stage on the external and internal struggles inside the club with her role as the club president. Moreover, the series greatly explores Oumae’s inner struggles outside the club. As the end of her high school life approaches, she's been faced with the slap of reality of transitioning to the next education that decides her future. However, she's once again at a dilemma about the career she chooses next, as she is not sure of herself which one fits best for her while at the same time not repeating the mistakes she experienced prior to her third year. Oumae’s journey is subtle and relatable for all of us, and you are sold on her as the main character we follow throughout the series.
The third season highlights the relationship between Kumiko Oumae and Reina Kousaka (Chika Anzai). These characters are the face of the series, and they have truly outgrown each other in terms of emotional reasons since we saw them in the first season. Their character dynamic is far closer, and you can feel the weight on screen that they've definitely witnessed and traversed many obstacles with each other. There are also little moments from the side characters, such as Hazuki Katou (Ayaka Asai), that really elevate the atmosphere and realism of the series. Mayu Kuroe (Haruka Tomatsu) is a good new addition to the ensemble, and her role in the series reflects the past moments in the ensemble. Other characters fit their roles and play them well. ***
__Conclusion__
Despite the somber moments of the series, it does pick itself up and inspires us to walk through with our wants and persevere through the challenges that lie ahead of us. The lighthearted moments of the series serve as a way to connect with these characters in their most relaxed manner rather than the tense environment during practices, which works wonderfully in the show. The long-deserved wait for the third season of Sound! Euphonium steps in and satisfies both long-running fans and the narrative of the entire series.
Sound! Euphonium is some of the most realistic anime out there, tackling realistic issues with deeply humanizing adolescent characters and an accurate portrayal of music and the stress behind the notes of a beautiful piece. Added cherry on top with Kyoto Animation’s signature animation style and attention to minute detail. This anime might not have the same attention given as other anime shows, but it will eventually earn its spot as a timeless cult classic. ***
#__~~~ This review contains very abstract spoilers; however, there will be concrete plot details referenced later on that are direct spoilers, but they are all labeled. ~~~__ ___ ~~~img550(https://i.imgur.com/mCFzmbu.png)~~~
Kyoto Animation’s reputation should come as no surprise to many anime fans, and likewise it would be no exaggeration for me to say that Kyoto Animation's works have shaped me into the anime fan I am today. The unbridled sincerity and joy of youth depicted in Tamako and K-On!, the tribulations and triumphs of life showcased in Clannad: After Story, that tangible desire to belong in spite of their broken selves highlighted in Violet Evergarden, and of course the incredibly subtle yet simultaneously loud themes of love and regret all unpacked in Liz and the Blue Bird: beyond the extensive variety of characters and stories in all kinds of shapes and sizes, whether it makes us laugh, smile, or even cry, there’s always that special “spark” in KyoAni’s impressive catalog, something so profoundly intimate in each and every one of their works that can’t help but to inspire such deep emotions in us, the viewer. Indeed, it’s this kind of gravitas that elevates some of their works over countless others as my personal favorites, and without going off on too much of a tangent, it’s this gravitas, that special something, that allows me to say, unequivocally so, that **Hibike! Euphonium** shaped my life.
___ ~~~img550(https://i.imgur.com/1KcgvRH.png)~~~**Hibike! Euphonium** is, as its core, a highschool music melodrama, and as such its narrative and characters reflect that. For starters, Kumiko Oumae, our main protagonist, is your average, absent-minded highschool girl with nothing too exciting seemingly going for her, much unlike many other types of protagonists seen in other anime. She starts off the series awkward and indecisive, contemplating what is seemingly even the most trivial of choices. She’s complacent with herself, and doesn’t strive for any more, a stark contrast to an individual like Reina, who cries in utter shock and anguish as they fail to advance in their final middle school competition. She confides in only herself all of her personal problems, always afraid to put herself due to any possible confrontation, and rarely did she ever try and go against the norm, usually accepting what is the hive mind. In fact, she only chose to play the euphonium again because no one else wanted to and she felt pressured to do so. And unlike Reina, Kumiko was content in just doing that, playing the euphonium without so much as setting a goal for herself, as she was fearful of committing herself in the first place. But of course, it would not be so much a story had Kumiko remained so stagnant. In what was at first a one-sided relationship, Kumiko placed Reina on an internal pedestal because Reina is someone special, someone that Kumiko subconsciously aspired to be. Reina is someone with pure, innate talent, someone who, without overstatement, is quite literally destined for greatness. Reina’s almost dazzling resolve is what starts to drive Kumiko out of her comfort zone, to venture for something more. It's her excellence that taught Kumiko to strive for that same sort of excellence and likewise be dejected by failure. As shown in the bridge scene in season 1, she cries out about how she wants to improve and be better than everyone—it's unmistakable that she loves the euphonium now. She wants greater things, she wants to become more, she wants to win gold at Nationals: she finally has that yearning for more that allows her to devote her all to music, and likewise she can empathize with how frustrated Reina felt back at the middle school competition, that feeling of anguish so prominent it kills you inside.
~~~img550(https://i.imgur.com/2HcYGtP.gif)~~~**Hibike! Euphonium**, along with many other KyoAni works, stresses the importance of having the ability to embrace one another when times get tough, of being able to come together in spite of it all. Just as how Kumiko herself feels so sympathetic, the series' cast, true to life and with all of their own trepidations, feel equally as authentic. Whether it be Reina and her pursuit of greatness, Asuka and her inner grapples with her personal life and desire to play, Mizore with her introversion and her longing to play for the one she loves, Mamiko with the heightened expectation as the older, adult sister, Mayu and her loneliness and earnest desire to connect with others, or Kanade and her admiration for Kumiko and her desire to perform with her senpai, each and every character has their own personal struggles and motivators that allow them to walk the path they did, and likewise support Kumiko as she traverses down her own path. The love for music, the love for competition, the love for each other, and most of all, the love for your own self: seeing all of these people, branching from different backgrounds, come together in spite of their differences is legitimately so beautiful and motivating to me, and Kumiko’s own journey would not have been possible had it not been for the people that supported her all the way through.
~~~img550(https://i.imgur.com/kDYZcfh.jpeg)~~~ This next stretch will contain **concrete spoilers**: ~! Season 3 is the culmination of all of the interpersonal drama, relationships, character arcs, philosophies, and motivations built up over this season’s predecessors. It revists many of the themes present in the first two seasons and entwines them in season 3’s own narrative. The directing is somewhat different from the earlier installments, utilizing more close-ups and dynamic lighting rather than the wider framing and showcasing of body language used in previous seasons (Naoko Yamada’s departure is surely felt), but it’s still excellent. Reina has remained unwavering in her goal, but Kumiko on the other hand doesn’t know how she wants to take the next step in her life. Simultaneously confronting the unfavorable atmosphere that permeate the band as president, she wrestles with the thought of entering a music university and whether that is truly what she wants. Over the course of the season however, it becomes more and more evident that music university is something that is not befitting of Kumiko. Of course, she loves music, dearly so, but that doesn’t entail music university being a necessary path. There is so much more than a singular path in life, and we’ve seen Kumiko grow and develop in other facets than just music. As Mizore bluntly put it: “I can’t imagine you here”—she can sense Kumiko's hesitance in committing to music in the same capacity as her or Reina (but of course, Kumiko has dedicated much of her life to music, hence her noncommitment). On the other hand, we've seen Kumiko time and time again be more than a capable leader, essentially holding together the band as it was about to burst. She plays the part of a beacon of guidance and support for others in the band, someone who is proactive in addressing her fellow band members' grievances as shown in episode 3 with Sari. The Kumiko at the start of the series would never have involved herself in these types of conflicts, but that is proof of her heartfelt devotion in maintaining the well-being of all her band members and a showcase of her change into a more driven, dedicated leader. !~ ~! And to address a slightly controversial decision made in episode 12, if you found that change deplorable and thought that it “bastardized” the original, or you thought that Kumiko should’ve won the soli and it made everything meaningless, then I’m sincerely sorry to hear that. Of course, no single interpretation is more valid than the other, and if this ruined the season for you then you have the complete right to feel that way and I mean no disrespect to those that do. That being said, I personally believe that viewing episode 12 in that light is a rather insular way of thinking and overlooks all of Kumiko’s meaningful growth she’s undergone over the entire series. Of course, it’s frustrating, immensely so, and it was heart-wrenching to see Kumiko so upset about it. Never in a million years could I have predicted Mayu winning over Kumiko (especially in the way that it had happened), and as saccharine as it may be, I really did foresee Kumiko winning for the final soli piece. However, losing that single achievement does not, in any capacity, outweigh any of the lessons she's learned and the experiences she's gained. For the entire season, we've seen Kumiko constantly reinforce her resolve in the idea that Kitauji is a meritocracy, so Kumiko losing the soli serves a test for her, putting her beliefs in direct conflict with her own desires. But rather than indulging in any of her self-admittedly selfish wants, Kumiko, in lieu of all the emotions bubbling inside of her. is still able to lead altruistically and be proud of herself in a brilliant display of character—THAT is indisputable proof of Kumiko's maturity over her three years in high school and brings real closure to Kumiko's character. After all, the goal isn't the soli, it's winning gold at the National competition, and Kumiko losing the soli does not trivialize the entire band's efforts in getting this far and what winning gold represents for the band. It’s the final antithesis to the Kumiko of the beginning of the series, seeing her cry over losing the soli position and still be able to accept everything with such conviction when the early freshman Kumiko probably would’ve brushed it off and kept it to herself. And naturally, this is not to undermine Reina’s role in this matter. Of course, Reina loves her best friend and sincerely desires to play together with Kumiko, but as Kumiko mentioned earlier, Reina will not change herself for Kumiko and as such chose the performance she thought to be a better fit for the soli, illustrating her unwavering devotion in being the best. She could not choose Kumiko when Reina herself does not have utmost confidence in that decision, and choosing Kumiko when she is so uncertain would be akin to lying and desecrating what they mutually believe in, and seeing someone of Reina’s stature completely break down and wail is a testament to how transcendent their bond has become. The prospect of separation is a key theme that is exemplified in this season, as Reina time and time again urges Kumiko to follow the same path as her in fear of losing her friend. But just because Kumiko and Reina's paths aren't one and the same does not mean their connection has to be severed—just as Mizore and Nozomi let go of one another in Liz and the Blue Bird but still walk alongside one another, that same sentiment is paralleled in the relationship between Kumiko and Reina as they'll always share their bond with each other even as life continues to drift them apart. The result of the final soli audition goes full-circle with the themes of **Hibike! Euphonium** as a whole, remaining true and providing closure to both Kumiko and Reina's individual character arcs. Kumiko learned and achieved many things, so much more than what a single soli can represent. I believe the greater implications for Kumiko’s character in losing the soli are so much bigger than if she had won it. The experiences Kumiko has gone through and the lessons she's learned as president are far more valuable than whatever she would have gained from playing the soli. Months and years after the National performance and it will be all but a memory to her, but the important life lessons as a leader will remain with her for the rest of her life. Ultimately, she remained true to herself and kept her best attitude even after losing, and even if she rightfully regrets losing to Mayu, she wants to be proud of what she's done and the effort she's put in. !~To me, this season is the one where all of Kumiko's astounding qualities are accentuated and brought to life; moreover, it's the season that finally registered to me just how special Kumiko is as a character to me. In my own viewpoint, Kumiko is a true protagonist in every sense of the word: still as awkward and clumsy as ever, but more dedicated and compassionate than ever before. Her transformation from a passive, directionless individual with no purpose to a confident leader brimming with heart and determination is not only heartfelt but also deeply inspiring, and very few protagonists, if any, resonated with me in the same way Kumiko did. Kumiko is not someone that is special in a traditional sense, especially compared to individuals like Reina (the series makes that abundantly clear). But just as every other character has their own personal paths to follow, Kumiko has her own distinctive path to take as well. It doesn’t make you any more or less exceptional than anyone else if someone has a seemingly “grander” path, it just means that there are a multitude of different paths you can take and it’s something we as humans must find for ourselves. In short, Kumiko, supported by the people that had their own, unique share of ideals and motivations, found the resolve to live by her own ideals—ultimately, she’s grown, she’s become more mature, and most of all, she’s become resolute in the path she wants to take in her life.
~~~img550(https://i.imgur.com/sEayOdF.jpeg)~~~ ___ ~~~Throughout the majority of my life, I didn’t really have a sense of direction in what I wanted to do, systematically going through the same mechanisms that my peers around me did. I went to university because, well, that’s what everyone around me did, and I initially chose the major I did because, again, it created the most avenues for a seemingly good career and future and it’s what many people around me did. Just as when Kumiko abstained from the vote to compete for Nationals at the start of the series, I also hesitated in myself and just followed what was the most common path, reluctant to decide on what I really wanted in my future.
~~~img550(https://i.imgur.com/WFzMBWn.png)~~~Consequently, seeing Kumiko herself make that impossible leap and find her passion, whether it be music or something else, is so deeply inspiring. In part thanks to Tomoyo Kurosawa's absolutely marvelous voice acting performance, the sheer relatability is why I can connect with Kumiko so much: when Kumiko is overjoyed, I’m overjoyed. When Kumiko is sad, I’m sad. When Kumiko cries, I can’t help but to tear up, and whenever she makes a realization, I empathize with that as well. Ultimately, it’s Kumiko’s growth and unwavering dedication in spite of her struggles that elicits such strong, personal emotions in me. Just as how Kumiko changed and found her purpose despite the unknowns, I myself strive to live without any regrets, find my own path in life, and discover the things that are uniquely meaningful to me. Even now I’m still not absolutely set on where I want to take my life, but, as silly as it may sound, Kumiko’s journey inspires me to take that next step in discovering that passion. To me, **Hibike! Euphonium** was a truly euphoric, such a profoundly life-changing performance. Even if I one day grow out of watching anime or reading manga, I will never ever forget the influence that a "mere" highschool girl and a fictitious band narrative had on me. So thank you Ayano Takeda, and thank you Kyoto Animation for creating such an affectionately one of a kind piece that evokes such genuinely overwhelming emotions and inspires me to look onwards in my life.
___
I arise today to speak on behalf of the (loyal) opposition. You may be aware by now that certain controversial developments happened in the penultimate episode of __Hibike! Euphonium__. These developments were anime-original plot points created by Kyoto Animation. While I understand why many people appreciate them, I believe that their execution was flawed, thus spoiling the final arc of _Hibike_ and making it difficult to recommend the series as a whole to new viewers. However, before I get to the controversy, I would like to acknowledge the _good_ elements of Season 3. First and foremost, thank goodness that Season 3 was indeed an entire TV season, and not just another movie like __Chikai no Finale__. Because of the necessity of fitting the _Hibike_ Year 2 content into the shorter runtime of a movie, _Chikai_ sped through (or even skipped) plot points that would have made compelling two-episode story arcs in a hypothetical Year 2 TV season. Off the top of my head, the drama between Satsuki and Mirei (a.k.a. Sacchan and Micchan) would have been particularly great to savor for a while longer. Also, it was frustrating that all the relational development between Midori and Motomu happened almost entirely offscreen. Thankfully, the fact that _Year 3_ was made into _Season 3_ means that the plot doesn't feel rushed. Also, the relational development between Midori and Motomu that I just mentioned? We get a much-needed and long-overdue episode to explore that and Motomu's backstory. Aside from the _very_ welcome slowdown of pacing, the animation and music are up to Kyoto Animation's usual high-quality standards. Especially reflective of this is the scene in Episode 2, in which Kumiko and Reina meet on a bench to discuss what the band's free-choice competition piece should be. What transpires is a breathtaking sequence that, I'm calling it here, will be hands-down the best one-and-a-half minutes of animation that will air on TV this year. As Kumiko and Reina listen to the competition piece, "Hitotose no Uta", an utterly gorgeous montage of scenes from the surrounding countryside at sunset flash across the screen in synchronicity with the music. As you can probably tell, words hardly do it justice. So, if you have watched _Hibike_ up to the beginning of Season 3, but simply haven't been able to start watching it for whatever reason, I will say that there is more than enough good to justify going through with watching it. With that said, it's time to address the elephant in the room. __(WARNING: AFTER THIS POINT, THERE WILL BE A LOT OF SPOILERS!)__ At the beginning of Episode 12 (the penultimate episode), we were in suspense as to whether or not this would be Kumiko's redemption arc. The main source of drama for the season had concerned who gets to play the euphonium part for the soli (like a solo, but for multiple players) in the competition piece. As president of the band, Kumiko had gotten the band to go the brutally meritocratic route of having auditions for each stage of the concert band competition (regional, prefectural, and national). Kumiko had won the audition for the soli in the regional competition, but newcomer Mayu Kuroe won the soli audition for the prefectural competition. The entire time this is going on, Kumiko and Mayu are said to be about equal in skill, neither obviously that much better than the other. This sets the stage for the national-level audition in Episode 12. Now, it is my understanding that in the original _Hibike_ novels, Kumiko just wins the soli with relatively little drama, and then Kitauji wins gold at nationals. This was not the case for the anime. The deviation from the novel begins when, in something of a callback to Season 1, Noboru Taki, the band's advisor and conductor, declares that Kumiko and Mayu are tied for the soli, and that another audition will be held in front of the entire band, with the band members choosing who will get the soli. Kumiko then requests that Taki-sensei makes it so that the band can't see who is playing, which Taki-sensei readily grants. The audition happens with Reina onstage playing the trumpet part of the soli while the auditioners are concealed behind a large white curtain. The first audition sounds technically-proficient, but very understated and somewhat low in volume. The second audition sounds more expressive, and audibly has more of a rapport with Reina's trumpet, but it sounds a little bit rough. The vote is tied, when Reina declares that she has yet to vote. With hesitation, she votes for the first auditioner. Taki-sensei declares the first auditioner the winner and asks her to step forward. After a pregnant pause, Mayu takes a step. __While I was disappointed that Kumiko didn't win the soli, I'm sure that I would have gotten over it.__ Here's the thing: The idea of Kumiko not winning the soli, but Kitauji still winning gold thanks to Kumiko's leadership and insistence on blind adherence to meritocracy and "doing the right thing" is kind of appealing, and it actually wraps up the story quite neatly because it leaves no question that Kumiko being a teacher instead of trying music school is the logical and correct choice for her future. Also, on a meta level, I like the idea because we, especially in the West, should probably start deviating from the archetype of "The Hero's Journey" and stories of Great Persons achieving Great Things (mostly) on their own. In contemporary times, great accomplishments and great discoveries are usually made by teams rather than individuals. Recasting Kitauji's gold as a team victory, rather than Kumiko's personal victory via the soli performance, arguably makes it more realistic. I believe that it's also more prosocial, because our focus on stories of individual triumph have led people to embrace a toxic individualism: overestimating how much they achieve on their own, understating the help and assistance they get from other people, and forgetting their obligations to other people as members of a functioning and prosperous society. So, for these reasons, I could live with Kumiko not getting the soli. It's what happens after the audition that's the issue. In another callback to Season 1, Kumiko and Reina have an emotional meeting at the top of the Daikichi mountain trail. In this meeting, Reina reveals that she knew that Kumiko was the second auditioner, but she voted against her anyway. _What?!_ This is where _Hibike_ lost me, perhaps for all time. OK, keep in mind that Kumiko and Mayu have been portrayed throughout the entirety of Season 3 as being roughly equal in skill. Kumiko is not shown to be blatantly worse than Mayu at playing the euphonium _at any point_. In light of that, it's not in-character for Reina to intentionally vote to deny Kumiko the soli. Now, I know the argument in favor of that happening. Reina is supposedly acting in accordance with Kumiko's wishes for strict meritocracy by making the "hard choice" and going with Mayu. But here's the thing... I just can't buy the idea that Reina would ever believe that Kumiko _doesn't merit the soli_. Reina is very talented, but she's also kind of chuuni and doesn't act very rationally. Even if Kumiko vehemently insists that she wants strict meritocracy, the Reina that I've watched over the course of _Hibike_ would not lose faith in Kumiko's talent, nor the synergy that they've displayed together time and time again. I mean, remember the part in __Liz and the Blue Bird__ when Kumiko and Reina basically flexed in front of everyone by playing Mizore and Nozomi's duet part? You're telling me that Reina is going to go from that to thinking that it has to be Mayu instead of Kumiko to take Kitauji to the promised land? Bull. Shit. So, that's my problem with _Hibike_. KyoAni made Reina go out-of-character in the 11th hour just to subvert expectations and generate drama for no reason. Look, I'm not saying that they needed to get married and live happily ever after high school. My point is that __Kumiko and Reina's relational development and their faith in each other for the duration of their time in the Kitauji High School Concert Band is sacrosanct__. Yet, KyoAni just blew it up for no good reason. I did have one test for the final episode that KyoAni could have passed to make me believe that Reina was suddenly pragmatic and/or cynical enough to choose Mayu over Kumiko: If Reina was depicted as having gotten over her stupid (and problematic) crush on Taki-sensei, I would be able to buy the idea that her character had suddenly changed enough to do that to Kumiko. The test was failed, miserably. Not only had Reina not gotten over her crush, she _tripled-down_ on it in the final episode. Thus, KyoAni did not properly sell the idea that Reina's mentality had taken a pragmatic turn that would cause her to go against Kumiko, especially considering that, again, she and Mayu had been consistently depicted as near-equals in talent. Now, I must say, __I love what KyoAni did with the final episode__. The story was wrapped up nicely, in a satisfying way, and the montage of footage from previous seasons that was cut to the music of Kitauji's competition performance was well-done and hit all the right notes emotionally (no pun intended). But Reina's unnecessary and out-of-character betrayal from Episode 12 cast a shadow over it all. Because of that, I don't know if I can give _Hibike_ a full-throated endorsement. (We will always have _Liz_, though. _Liz_ is _art_, in the same way that Studio Ghibli films are _art_. Also, Mizore is a wonderfully positive portrayal of a person with autism in anime. Mizore walked so that Tomori Takamatsu from __BanG Dream: It's MyGO!!!!!__ could run.) So, if they had found a better way to deny Kumiko the soli, I would be declaring _Hibike_ to be an unequivocal masterpiece right now, one that everyone should see immediately. But because of the way they blew up Kumirei... I just don't know. (And I wrote this to tell you that if you're still unhappy about E12 like I am, you're not alone, and you shouldn't let everyone else make you feel like your feelings are wrong and unjustified.)
Img(https://encrypted-tbn0.gstatic.com/images?q=tbn:ANd9GcTb1VGvJOXub6SoQOpxfIJVqhB5W3yqtz9saRo_fd1gcJkSVHEpG4twshAR&s=10) Room 3-3 - the classroom Kumiko Oumae, Reina Kousaka, Sapphire Kawashima and Hazuki Katou are take part in. As seniors in Kitauji High, they hold a big responsability in the current year. It's their last year in school, and also their final opportunity in reaching the Nationals. A goal that was postponed for two years, but always improving in every way each year and after every try. Img(https://i.imgur.com/APFgYnH.jpeg) Kumiko, the club president, holds the trust of not only her classmates but also her seniors who already took their separate ways. Not only trust, but the responsability towards the club's stability due to the seriousness adopted by Reina, creating some conflict with the first years. There, the need to conciliate perfection with friendship and union rises. With it, the biggest and most important task, that should not be ignored in the process: keeping the quality and managing the class so that it won't fall apart in the process. Img(https://i.imgur.com/8suiBaQ.jpeg) Along with all the turmoil and anxiety, comes the internal struggle. The clash between personal wish and objetive duty. The arrival of Kuroe Mayu, and the consequences of this event to Kumiko. The indecision towards the self and the capacity. Everything developed at a moderate pacing, with a plot that grew little by little, with more focus on the characters and their relationships - the bonds and feelings that come along with it. It's really clear that the direction chosen by Tatsuya Ishihara and the main staff leaned more towards the cast as people, and also in their growth along the path they chose. Even though I still don't agree with some changes in the storyline, I acknowledge the courage it takes to surprise the readers of the original material like it was done. As a consequence that came along, most performances were skipped, a decision that made me confused initially due to how the previous two seasons were plotwise. Kyoto Animation didn't disappoint with their level of quality. Everything is classy and beautiful as always; the voice acting is at its best. Chika Anzai, Tomoyo Kurosawa and the whole cast surprised me in several moments throughout this season. Musically speaking, ReCoda and Neiro no Kanata (opening and ending respectively) are two great themes; even though the previous season themes were slightly more catchy to me, these both songs grew on me emotionally every week. All in all, Hibike! Euphonium 3 is a more than welcome and awaited conclusion to one of KyoAni's most memorable works. Honestly and sincerely, even with the change of directions taken later, I am truly glad. Thank you for reading. Img(https://i.imgur.com/BqfSIk6.jpeg)
It was a foregone conclusion that there would be a Season 3 of Hibike! Euphonium. If not now, then sometime later, and fans who saw Seasons 1 and 2 almost 10 years ago were right not to give up hope. I’m not one of those. I had barely any knowledge about anime - let alone that something like Hibike! Euphonium even existed - back then, and it didn’t occur to me until much later that this medium was full of surprises. More than I could imagine. Knowing the situation of earlier seasons, going into the third one was always going to be an uphill climb. Much like the conversation between Taki-sensei and his wife, achieving results with high school bands is like piling rocks on River Styx. Only, they’re people - in our case, characters. This revolving door of members coming and going was always going to be something we’d have to deal with sooner or rather. ~~~img620(https://cdn.imgchest.com/files/345xced9g67.png)~~~ ~~~ #__An Uphill Climb__~~~ Kumiko’s first year is covered in Seasons 1 and 2, while her 2nd gets no more than 100 minutes, so about 4 episodes. Characters from those two seasons have had time to develop and leave their mark, but their departure was always a given. Asuka, Haruka, Kaori, Natsuki, Yuuko, Mizore, and Nozomi are notable, established characters that would now be reduced to a passing mention at worst, or a brief cameo at best. Characters leaving like this would cause a gulf in their wake sooner or later. But this was also an opportunity to come up with something new. If you can’t break new ground, then rebuild the pavement. And Hibike! comes up with a colorful cast of first-years, with Suzume, Yayoi, and Sari being the standouts, while now-second and third years such as Kanade, Ririka, and Motomu have started coming into their own. While admittedly not the same, they still gave us something to look forward to every new episode. Aside from the usual band duties, Kumiko is now Club President, along with Shuichi as the VP and Reina as Drum Major. This was a tough legacy, not only because those that came before had an arguably better lineup to work with, but they carried themselves with such conviction. If the going got tough for Haruka, there was always Asuka to pick up the slack, and the same was likely true for Yuuko and Natsuki, what little we saw of them anyway. Aside from the human factor, the number of members has drastically increased, leaving Kumiko with lots on the table. While earlier seasons would put an emphasis on the performative aspect of music, deftly marrying it with potent character drama and powerful introspective moments, the final season takes a decidedly sharper turn in favoring the human aspect, and consequently, Kumiko’s transition into adulthood. ~~~img620(https://cdn.imgchest.com/files/b49zc9xk2ly.png)~~~ #__~~~The Third and Last~~~__ National Gold is the goal once more. This is Kumiko's last year and third shot at the Nationals. She doesn’t get a fourth one. The three-audition format marks a departure from the one-and-done approach of past years, and as it turns out, it’s hardly a morale booster as members have to constantly up their game and put their best foot forward. Understandably, this causes a ruckus at Kitauji, and to quell all doubt, Kumiko has to reassure, reinforce, and consult with any affected band members. This format causes its own set of problems, and if the goal of the journey is to get Gold at Nationals, band morale is the pavement they have to walk on to get there, with Kumiko shepherding everyone to victory. This is no easy feat. Add the new third-year transfer student into the picture, and the composition becomes all the more difficult to balance out. If promotional material is anything to go by, Mayu Kuroe is not to be trifled with. As it turns out, she is every bit as talented as it is suggested, but does bear her fair share of burdens. ~~~img620(https://cdn.imgchest.com/files/345xcqjdj37.png)~~~ Mayu is a vexing character. She is everything Kumiko was and isn’t. There is no sense of self within her as she always chooses the path of least resistance and goes with whatever everyone else is saying. True to herself, she is skilled, precise, and never wavers when she’s on the euphonium. When she’s not, she’s a blank slate, a people-pleaser that just goes with the flow. Yet she’s honest to a fault. She only wants to enjoy the band and play for fun, which directly clashes with Kitauji in more ways than one. While some members would happily concur with this idea, they would be a minority. We get a first peek when her viewpoint directly opposes Kumiko’s no band member left behind policy: if someone wants to quit, let them. This is further compounded by the soli problem, where Mayu repeatedly advances her intention to forfeit in favor of Kumiko. Kumiko’s Kitauji is meritocratic, a core principle that defines her journey through the third season, so she naturally refuses. In order to win, they need to field their A team, and to do so, only the best will get chosen irrespective of seniority. ~~~img620(https://cdn.imgchest.com/files/myd5cgp39r4.png)~~~ #__~~~The Price of Ambition~~~__ So let’s recap some of what Kumiko has to deal with: growing unrest among first and second years due to the pressure exerted by the three-audition format and the questionable decisions of their advisor, and a third-year transfer student that is talented, but also a handful. What’s next? Reina. The later half of the season brings to light the disparities between her and Kumiko, as well as her abrasive nature, which causes a massive rift at Kitauji. That there would eventually be friction was known, but it didn’t make it any less difficult to deal with. The OP hints at them growing apart from one another as they’re shown standing back to back with teary eyes, and we see more tinges of that as Reina goes scorched-earth to uphold her Taki-sensei infatuation, even going as far as to call her longtime friend a “failure of a president.” The shock comes with Mayu taking the soli part away from Kumiko furthers this uncertainty. Is Kumiko enough? While prior seasons would often show her practicing undisturbed, that’s not the case anymore. It’s where Mayu’s framing becomes increasingly deliberate as she, knowingly or not, encroaches on Kumiko little by little. Mayu is a great foil for Kumiko in that sense, as she challenges Kumiko’s beliefs at a fundamental level. Episode 12 exemplifies this difference between them. Reina says she wants to play with her friend, but when push comes to shove, it’s Mayu she chooses. She is assured, precise, clinical in her playing, setting the stage for Reina’s trumpet, whereas Kumiko’s euphonium is expressive, commanding, and wants to be heard: the former accompanies Reina, blending into her sound, while the latter speaks to her, responding in kind. ~~~img620(https://cdn.imgchest.com/files/e4gdcoe9xo4.png)~~~ #__~~~Wants and Feelings~~~__ Hibike! Euphonium 3 thus addresses its characters’ convictions with greater clarity than ever before, testing Kumiko’s ideals and wants by putting her in situations where the easier choice would be to renege on those goals. Incidentally, this also stresses her relationship with Reina, who expects nothing less than perfection and is never one for half-measures. The show has been setting this up for a while, and while Kumiko winning was never a given, you’d have hoped to see her get a reprieve of some sort. A lifeboat in a sea of defeat. While unfortunate for optics, it isn’t all bad. This is not a traditional hero’s journey: our protagonist fails time and again, then picks themselves up to face defeat once more. Yet her victory is arguably much greater: she’ll be remembered as the one who led Kitauji to glory. Not Reina, not Mayu, and certainly not Taki-sensei. Kumiko is a people’s person. She convinced Natsuki to continue playing, mediated Nozomi and Mizore’s reconnection, and was the one people counted on to bring Asuka back into the band. And as their ideals are challenged in Season 3, the road taken by Reina and Kumiko is a rocky one. Reina is a solemn, almost mythical being in Kumiko’s eyes, and picking Mayu over her friend is her own twisted way of upholding their promise: being true to one another, because it’s the only way this thing of theirs can last after high school. I find their relationship profoundly beautiful. Kumiko wanted to win on merit, but Reina couldn’t lie to her. The Mt Daikichi scene broke me. It made me physically sick. These two teenage girls, knowing they’re about to plunge into the unfeeling world of adulthood, still chose to cling to this utterly silly, noble ideal, even when it didn’t favor them, because that’s how much it mattered. And they wept to see each other suffer. ~~~img620(https://cdn.imgchest.com/files/b49zc98xn9y.png)~~~ #__~~~End of the Line~~~__ All good things must come to an end, and Hibike! Euphonium was more than good. While I still have a few misgivings about Season 3, most of which have to do with the 13-episode format not being quite enough for this kind of material - a 2-cour season would have given it all the breathing room in the world - this was nevertheless something to remember. I know I'll be thinking about it for a while.
I only started watching Sound! Euphonium a few months ago, just before the third season started to come out. I came into this because I recently rewatched A Silent Voice, and it clawed its way into my brain so heavily that I found myself needing to watch the rest of the media that Yamada has had a hand in creating. This led me to wanting to watch Liz and the Blue Bird. I know that you can watch that movie on its own, but I decided it would be nice to watch the source material first. And man, am I glad I did! I absolutely adored everything about the show, including the third season, up until Episode 12, where my feelings start to become a bit more murky and complex. To me, the show has this incredible sense of tension that was almost baked into its very core. Every line of dialogue feels like it's pulling you in two different directions, and the characters feel that tension, and respond in key, as they twist and turn and try to understand the way that they all fit together with one another. It's all very complex and messy and hard to understand, just like real life is, especially for teenagers. The way that it depicts the college admission process in Japan and the pressure that puts on students to abandon their passions, or the problems of seniority and respect, or unrequited love, just feel so weighty and have this power to just stick with you long after you hear Kumiko reassure you that, yes, the next piece will begin. Unlike many, I really did enjoy the majority of Season 3. I thought that the pacing was perhaps a bit fast, and I would have enjoyed seeing the performances and the emotions that they were laden with portrayed on screen, but I thought that Kumiko moving fully into her position as a leader and a caregiver fit her arc perfectly. It also rang very close to home for me. I had intense social anxiety while I was in high school and only began to shake that off in my final year, and like Kumiko, I gradually found my confidence over the years, until I finally became the president of a couple clubs. It was that progress that sprang me into being an RA in college, a position where I blossomed and tried to help others do the same. I originally guessed that Kumiko might decide to became a music therapist, but becoming a teacher was another fitting path forward for her. I also don't buy into the argument that Taki suddenly became useless. I think that he recognized the leadership in his students and, as much as possible, wanted to give them the room to grow into the position. To me, that is the role of a phenomenal advisor: to recognize the potential of one's students, and then to provide them the support they need to find their own strength. We see this play out multiple times throughout the season in the private conversations between Kumiko and Taki. He acknowledges the difficult choices he has to make, and has made, almost as if he's questioning her. "Are you sure you want to do this?" He knows, and he wants to see her find the confidence to recognize her own potential. Kumiko realizes what she wants to be largely because of the responsibility Taki gives to her. I did mention that Episode 12 lost me. I'm still not absolutely sure how I feel about Kumiko losing the soli. On the one hand, there is a poetic beauty to it that echoes a core theme of the show. Sometimes, no matter how hard you might try, things don't end in a clean way, and you're going to be left to pick up whatever pieces are left in the aftermath of that loss. We saw it in their first year, and even more in their second, when it seemed to obvious they'd get silver, only to not even make it to nationals. Shuuichi, as much of a side character as I think he is in the anime, experiences this with Kumiko, and Kumiko with Asuka, and Yuuko with Kaori, and Kaori with Asuka, and so and so on. But on the other hand, it is also a piece of fiction. One that drips with this intense tension and reality, yes, but one in which that beautiful tension really makes me root for and absolutely adore the characters and wish only the best for them. I so desperately wanted Kumiko and Reina to have that moment together, that perfect solidification and "next step" of their connection. I wanted to see them perform together on the national stage, dangit! That was what the whole season was building up to! I won't lie and say that it didn't make me cry, or that I didn't love it and hate it at the same time. I'm left with this muddled mess of feelings, which is, perhaps, part of the point. Maybe I wouldn't feel so sour about it if other things had worked out differently. And on that point, let's talk about Reina and Oumae. I firmly and fully believe that if you don't see the clear, obvious romantic tension between the two of them throughout the entire series, perhaps most prominently in this season, that you are either intentionally and maliciously ignoring it, or are just a very, very dense viewer when it comes to romance. The obvious connection between them is part of what drew me in. I wasn't around when all of the conversations around the show being yuribait were aflame online. Going into the series, my only knowledge of it was of Liz and the Blue Bird's trailer. I actually thought the show would focus on Mizore and Nozomi and that we'd see the clear romantic relationship between them grow. Instead, we got Kumiko, Reina, Midori, and Hazuki as our main big four. Once I realized that, I had no idea what the show was going to be about. Despite that, after a couple episodes, it became so *obvious* to me that the two had something. It was a foregone conclusion to me. The absolute TENSION that lingers between the two is palpable, and yet, you feel some unseen force, some thread of fate (as it's literally displayed in the show) that binds them together and is being gradually, little by little, pulled closer together through their own stories of growth. Time and time again, KyoAni devoted immense amounts of effort and budget into creating these jaw-droppingly beautiful scenes between Reina and Oumae. They confess their love for one another, establish death pacts, build hopes of being together forever, cling their hands together, play songs that speak of burgeoning love... like come on, man! You're telling me that you don't see that? I've watched plenty of anime. I know that real yuri is a rarity. It's very funny to point and laugh at how I "fell for the bait", that I should "know better; it's anime", but what's so frustrating about this is that it was INCREDIBLY WELL WRITTEN! Romance was not the focus of this series, and yet, it managed to depict the burgeoning, awkward relationship between two women who love women in a way that was more nuanced and realistic than most explicitly lesbian media in the world. Let me explain a bit. Oumae clearly has no interest in Shuuichi, but he persists, and the two end up together for a short time. Even in that short period, you can feel the tension between the two of them, the way that Oumae doesn't want to take it any further. She literally stops him from kissing her! That's such a classic burgeoning gay act, when you finally get presented with the reality of a hetero relationship and freeze up. Some part of you that you don't comprehend realizes that this isn't what you really want. They break up shortly after. Her excuse is that she's busy, which has some truth to it, but it's very easy to instead read it as a moment of realization that she really does have no feeling for men, or at least isn't sure how she feels about them. Contrast that to her moments with Reina. The hikes up to the top of the mountain, the raw emotions she feels at the moments of betrayal, whether they be accusations of her being a bad president or the simple act of Reina not waiting up for her after band. The way she freezes up when Reina traces a finger down her lips and confesses her love on that warm, summer night. It's just night and day. Another common refrain is that Reina's affection for Taki should have made it clear that it would never have worked out. If only. As I watched the show, I never interpreted Reina's affection for Taki as anything other than the puppy love of a young high schooler, built when she was literally a young child who was just starting to understand how her romantic feelings worked. Affection for someone older than them who seems to have this confusing world figured out is also very common in gay youth, especially when that relationship is, at least on the surface, hetero and "acceptable". I fully expected Reina to grow past this, as she began to recognize her feelings for Oumae. It actually felt like this was happening! I can't even recall her affection for Taki being mentioned in the season, save for the tension it wrought on Oumae and Reina's relationship when Oumae doubted Taki's decision. That, too, I found beautiful and poignant. Reina holding onto this last shred of her love for Taki, even as she's beginning to doubt Taki because his choices have begun to hurt Oumae, who she cares so much about. Rather than recognizing her feelings for Oumae and realizing that her infatuation with Taki is childish, she refuses and doubles down, something that's very common in both media and real life. She lashes out at Oumae, inflicting her own inner frustration and doubt on the person who is shaking up her world. All of it, and more, and more, and more, just feel so incredibly relatable as a person who, much like many gay folks, grew up closeted, but slowly began to realize their gayness in their high school years. And that's why this season leaves a bad taste in my mouth. For the past three seasons, alongside movies and OVAs, we saw this beautifully constructed, complex romance building, and building, and building, and then it just... vanishes. Reina falls back into her stupid, unrealistic affection for Taki that, as an almost adult, she should have grown out of. Oumae fails to confess her feelings, despite her arc of coming to understand herself and her own growing confidence finally reaching a beautiful crescendo. We don't even get to see them say goodbye, or see them interact as adults. Instead, we're left with this massive gap between them, a literal physical and emotional distance that feels so contrary to the insane intimacy they've built up over the last 3 years of school. Again, looping back to the core theme of messy endings, we could argue this was intentional. Maybe it's truly brilliant writing. But that doesn't mean that it can't leave me, a gay enby who was in love with the nuanced, sapphic relationship between Reina and Oumae, very disappointed. Now, I can already hear a certain group of people coming out of the woodworks shouting that this anime isn't about romance. And to that, I have to ask whether we watched the same show? While I'll agree that this isn't a *romance* anime, it is one that focuses on the connections between people and how they shift, change, and grow over time, and many of those connections are either dripping with romantic subtext or are outright explicitly romantic. We have an explicit romance between Hazuki and Shuuichi, between Gotou and Riko, and Shuuichi and Oumae. There's also the romance between Reina and Taki which, while one-sided, does serve as a major point of tension throughout the whole series. And then there are so, so many more that aren't outright thrown in our face, but which are heavily implied. Kaori and Asuka, Oumae and Asuke, Yuuko and Kaori, Natsuki and Yuuko, Mizore and Nozomi, Kanade and Oumae, Motomu and Midori, and so on. Moments between these characters oftentimes drip with romantic subtext, and I think ignoring that subtext ends up ridding the show's relationships of a lot of nuance. Yes, it's not a romance anime, but romance is incredibly important to the show. Where does this leave me? Disappointed, of course, and a bit empty. I full heartedly believe that, had they stuck the landing and let Reina and Oumae develop an explicit romantic connection, this would have become one of the most realistic, well-portrayed depictions of adolescent sapphic love, period, all while also focusing on other important themes of growth and coming of age. Yes, I know it wouldn't jive with the novels, but the anime is already far and away in its own canon after all the changes KyoAni made. Why not take it a step further? The author has stated she would have been fine with it, so why not? I don't know. Perhaps it was always the plan for it to be like this, or maybe it was a set of upper level management decisions that stopped it from going forward. Much of the final episode does feel a bit hack-sawed together, in my eyes, so it wouldn't be the craziest theory. Putting rampant speculation about *why* aside, I hate that such a beautifully crafted house of cards came crumbling down at the very end. While Oumae becoming a confident teacher is an incredible end to her arc, it could have been so much more. The concert, in large part because of the decision to have Oumae not perform the soli, felt far less meaningful. Our final moments with most of the characters are fleeting and, in many cases, non-existent. It all felt so... rushed. Again, that may have been an intentional choice, meant to mirror the way that time can pass us by in an instant as things come to an end. But, as a viewer who cares so much about all of the beautiful characters in this show, many of these pacing and story issues left a bad taste in my mouth. It's hard for me to recommend a show when I know that it's ending falls flat. There's beauty in the journey, of course, but also so much sorrow when that journey ends with a flop rather than a bang. In this case, while I personally dislike most of the ending quite heavily, I think I would still recommend the series as a whole. There is so much beauty and depth to be found along the way, and a poor conclusion doesn't ruin that, even if it might taper some of its beauty. Here's to hoping that this isn't the end of Sound! Euphonium, and that, maybe, the pieces can be picked up and built into something even more beautiful. :)
-__This review contains spoilers for content within and preceding this season, and is written from the perspective of an anime-only viewer__.- Coming off the Ensemble Contest OVA from the previous year, Hibike S3 takes on, most of all, the final lap of the journey and answer to Kumiko’s path. The past, present and future truly close in here as the cast reminisces and recalls, many newcomers join in for the present, and the characters we’ve followed along with for years must decide what to do after everything is said and done. With that established, this season had many hurdles to clear; not only as seemingly the final entry for the main series, but coming out of a multitude of real-world events which would have affected the production of this season. If you ask me, I’d say it turned out very well. Hibike S3 carries on the heart, soul, and magic of the series that many, myself included, have consistently returned to for. Week in week out, Kyoani continued to deliver carefully crafted episodes packed with gradual character building, which might feel odd to say because this season went by relatively quickly. It’s no secret that there are less performances than usual this time around, but the pieces that were performed were used incredibly tastefully and are integral to not only the characters but the plot overall, from the ending in Episode 4, the auditions of Episode 12, and the finale. There is a fair bit less breathing room compared to the previous seasons, where I found it to be a major plus for the individual scenes and the overall feel of those seasons, but this time around I find it working thematically with time closing in on our 3rd years, especially with the consistent reminders of Kumiko needing to make decisions. Many of which she has to make here, as she truly steps up as a leader and a person. It’s worth noting that while she becomes much less awkward, some of it still flows in her interactions. Never change, Kumiko. img400(https://i.imgur.com/CjvRGkp.jpeg) img300(https://animetv-jp.net/wp-content/uploads/2024/02/keyvisual-727x1024.jpg) Then there’s the sudden new entrant; Mayu. In an earlier opening visual, she’s depicted walking in a different direction to the others, which had me thinking she’d be the ‘problem person’ of sorts. As reality has it, she’s really a great character not only herself, but for the conflict here; an initially unaccounted for factor who questions not only the methods of Kitauji, but the inner, deepest feelings of the seemingly unwavering President. There was initially a strong air of mysteriousness to her, but we come to learn what’s really going on and why that is. In trying to fit in, she ends up practically standing out the most. Her feelings of being an outsider are incredibly valid and they make her moments with Kumiko sting as hard as they do. All of which leads to the climax of the season — the soli auditions. With this sequence came a bold change in the script. To my knowledge, in the novels Kumiko wins the auditions and gets to play with Reina, which is not the case here. Speaking from an anime-only perspective, I would have loved to see them perform together once more, but I can see why this decision was made. With everything leading up to this, it did appear that Kumiko’s hesitance with going on to pursue music at a professional level was going to affect her performance. In the heart-shattering Episode 12, I personally guessed whose audition performance was whose. It’s a very complicated conflict, and it can be rather difficult to determine which to go with, as both have valid reasons for being chosen. For the sake of Kumiko and Mayu’s particular paths, I believe this is a reasonable and more compelling route to take. Now, a moment to talk about Liz and the Blue Bird! In both movies occupying the second year of the series, a brief moment of the piece playing (or being performed by) with Kumiko and Reina is depicted, perhaps telling of their relationship at the time. It’s a story that is every bit about them as it is Mizore and Nozomi. img400(https://i.imgur.com/OAYVSiU.jpeg) img400(https://i.imgur.com/JDC5thb.jpeg) Now, we’ve officially arrived at the point where it is truly and fully applicable. Over the course of the season, many scenes involving the two are filled with their usual back-and-forth, but there’s also a hint of distance that wasn’t there before. It’s first addressed officially by Reina in Episode 5, leading to one of the series’ most beautiful sequences and one of my personal favorite episodes overall. The sense of urgency and clear passion for each other is STRONG. Reina continues to seek assurance from Kumiko that she’ll stick by, and Kumiko affirms those feelings, but perhaps not in the way she was hoping. This is briefly interrupted by another conflict, but that concerns the methods of Taki-sensei and the desires of the students collectively rather than a personal one. Perfectly in-character for Reina, might I mention. We return to it once again as the rounds of auditions continue, with tensions at an all-time high. With the characters at their most vulnerable, the time comes for the curtains to open, for the bird to be uncaged. Again, the effect of Episode 12, all the heartbreaking it is, is perhaps the most divisive yet effective telling of both understanding and acceptance. This is truly an integral part of Hibike’s modus operandi. img400(https://i.imgur.com/dYiZNbw.jpeg) img400(https://i.imgur.com/MpV712Q.jpeg) And yet despite all the tension and consistent week to week bundle of emotions.. Hibike delivers a truly inspiring, catharsis-inducing finale to wrap it all up. After all this time of practicing, arguing, resting and boundary-breaking, everything is put into one final performance where the past and present meet once more with the outcome that has been yearned for since the very first second this series began. It’s a testament to not only the efforts of the characters we’ve followed for so long, but also how I, a member of the audience, could cry the very same tears of joy the characters did. (In fact, I teared up the exact frame Kumiko does). img400(https://i.imgur.com/OFGp5zx.jpeg) For some extra thoughts – Kanade truly shined this season. I was really hoping to see more of her in light of the much shorter second year, and I very much got that. She’s definitely become one of my favorites as well. Also, the appearances of the senpai from previous years were perfect. It was a blast to see them again, and they also played an important part in reminding us about the future. img400(https://i.imgur.com/GRXodCr.jpeg) Overall, this third season of Hibike! Euphonium has elevated and brought a new experience to what was already a series that meant much to me, oozing with passion in just about every aspect. It really is a special experience. I’d like to give my thanks to all involved, past and present, in the creation of this series. Thank you Hibike Euphonium! To quote the words of Reina Kousaka herself: img400(https://i.imgur.com/WZjQSM2.jpeg)