https://www.sakugabooru.com/data/723cc98ed2babb53b4386824a79340fe.mp4 Tsurune is an oddity. Its that one Kyoto Animation property that youve probably heard of but havent seen yet since it gets lost in the wash of the studios higher melodramas or morespirited slapstick and fantastical comedies its ability to moedify 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 studios bright output always calmly drawing its breath to find its own ikiai yet at the price of being outshined by both the studios predecessors and progeny. While they emoted Tsurune ruminated. That contemplative element of being so intune 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 Kobayashis Dragon Maid S and Free concluding perhaps helped assuage some initial worries the new talent from their nurturing schoolhttps://blog.sakugabooru.com/2020/07/19/thekyoanischooldecadesofcommitmenttotraininganimesnextgenerations/ had yet to be truly tested. Ironically it was one of the studios most calming ventures that would prove just how much creative daring its new blood had. And thank goodness that it exists. 550https://i.ur.com/IKJRq2s.png 550https://i.ur.com/4oBlAUA.png Cuts like these with the metaphorical divide between outside vs. inside exterior vs. interior color contrasts with the hair and clothes the fisheyeesque 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 shotshttps://twitter.com/Yuyucow/status/1626048927093952512?lang=en or perhaps remark on the sound and music which have always been two of the original Tsurunes mostunsung triumphs of storytelling the meditative nature of its timbre functions both as ambiance and character psychological profilinghttps://youtu.be/nPJ4hiSpyAs. 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 directors 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 moodsetting and framing as to be a tour de force. To call him an emerging figure to continue Yamada Naokos gentle flamelike legacy is not I believe too much of an exaggeration. Aside from the intentionally moreovert visual signs such as mannerisms like hairfiddling or episode sixs use of girl bonding over their mutual passion hes 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 characters 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 https://www.animenewsnetwork.com/encyclopedia/people.php?id=233372 animators getting https://www.animenewsnetwork.com/encyclopedia/people.php?id=233940 their very first https://www.animenewsnetwork.com/encyclopedia/people.php?id=233373 jobs in the productionhttps://www.animenewsnetwork.com/encyclopedia/people.php?id=233767 pipeline proper or intermingling the new with Kyoto Animations moreseasoned 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 Shuus 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. https://www.sakugabooru.com/data/b35f13879ecb9fd57fb64a1608301b2b.mp4 This cut specifically by Satou Tatsuya responsible for some of KyoAnis most moodoriented and dramaticallystriking moments like the running on the water in Violet Evergarden perfectly represents the studios 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 inhouse with an equallyrelaxed atmosphere intext having enough drama to set a predictable but ceaselesslysatisfying trajectory with its expanding cast both in number and in everevolving dynamics. As Nikaido mutters about how theres no fun in watching a movie when you know the ending his question is given a perfect response Depends on how they play out. Its 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. Im truly grateful that they share it with us. https://i.ur.com/m3CPkyk.mp4