The vividness and true that Sound! Euphonium contains

(This entry is reprinted from subculic. All imaged via subculic.  Thank you,  tatsu2)

I have thought that to read putting the original of Sould! Euphonium after anime version telecast ends. However, I cannot finish enduring and have put out its hand to it.

Being possible to read while comparing it with anime is very interesting. Anime version of Sound! Euphonium draws one original volume by the episode of 13. When anime is reviewed after the novel is read, I noticed the thing that an original scene only anime version happens frequently.

For instance, a way back of impressive Kumiko and Reina in the fifth story. That scene to which Reina pushes back her hair is an original scene.

To begin with, Kumiko in the original calls Reina, her last name, from the beginning. There are some differences in the sense of distance of two people. Two of anime versions are mutually located in the remote place a little. The purpose of it might emphasize the relationship of Kumiko and Reina.

Therefore, it was born in the effect special ceremony that Kumiko called Reina with her last name in the eighth story. Which should I call her by the family name or last name? Sound! Euphonium of anime version tries to put the emphasis on the nicety and the sense of distance in such youth.


Also, there is a common feature in Tamako Love Story.

They describe feelings to which adolescence swings, and are animations like taking their documentaries. The line of vision of Naoko Yamada is included in them. That’s why I felt the common feature between Tamako Love Story and Sound! Euphonium.

The description of the interpersonal relationship of Sound! Euphonium is more solemn than Tamako Love Story. And, it does not run away from drawing fresh beauty and ugliness. I did not make the true colors of the “Freshness” a word for a long time. Because I think the reason has something not replaced by the word reality in various parts of this work.

There is something that is not anime but anime like the way of using hand that treats it as if the character existed in the presence. It is the record image of high school students in worry and the conflict in youth.

Such atmosphere is in the film of Naoko Yamada. A photograph is taken from life screen making to consider the depth of field is the part of it. For example, “River” and “Train” that appears many times in her work. When appearing the river, it is the time that is a nonchalant scene in the story will change. Instead, they are used as a pronoun of dividing into parts and the connection. The river and the train are places where the drama progresses.

Train that Kumiko takes every day and the river by which she stops on her return is not a particular place. However, Sound! Euphonium has the line of vision that those documents are youth.


“3D art director”, is an official position being not accustomed to hearing. The person in charge is taking a picture of “Put some air” to the background art that can be called a particular kind of miniature.

An exact depth and the art of experimental atmosphere is a trait of this work. And, another element is the acting ability of Tomoyo Kurosawa that performs Kumiko Ohmae. You may say that her play that slightly changed the temperature whom she speaks is her understanding of this work.

Viewers have put the impression on Kumiko on anime by Kurosawa’s acting. And, an existence of Hiroyuki Takahashi, who is an instrumental animation director that participates in the number of all stories is also important.

The optical addition and subtraction that the wind instrument produces is in the 80’s like mechanic drawing.


“This might be making of the alibi” It is a dialog that Aoi threw on Kumiko on the second story. The word that Kumiko asks back and explains from Aoi of the original as follows.

“If I resign the club, my opinion can be made even if you are told ahead. ”

The explanation is not in the anime. However, I thought that the subtraction was exquisiteness.

In this scene, the mind of the character has talked not the dialog but the picture. The judgment assumed that you may cut down the dialog because it is expressible by the picture seems to be anime indeed. As for us, not being explained too much feels the reality more. The difference between the grammar of the anime and the novel is interesting.

Another noteworthy point of this work is how to use the comedy expression.


The width of swinging of seriousness and the gag in this work is unexpectedly large (especially, in the episode of Ai Yukimura in charge of Technical Director).

However, they are careful in those balances as excessive comedy taste weakens the reality. Therefore, they are making it in extent in which comedy is not done too much, and the charm is felt lovely. Cartoon-character costume might be a boundedness in Kyoto Animation.

Personally, the part I felt like an anime most in this work is an ending scene of part A in the fifth episode.

I want you to pay attention Kumiko’s poses. I love Ichiro Miyoshi-ism!

I think I should talk about the charm of the original at the end. In this work, subtleties of a fresh, painful friendship and love is drawn by the description that overflows in the reality during a complex interpersonal relationship in the club. It is as it were sports in youth.

There is a common feature to “chihayafuru” there, too. The tension of musical performance in front of an audience is the same kind of importance of “Game”. In the original of this work, the masterpiece is volume 3. I thought volume 1 was very interesting. However, there was the real value of this work afterwards. I want to see If the sequel of this work is made. I would be full of tears by the scene of Natsuki.

(source: subculic)


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