Kids on the Slope
My initial impression when I first heard of this title went something like: “Et tu, Shinichiro Watanabe, et tu?”
For the director of Macross Plus and Cowboy Bebop to do a show based in a high school setting seemed sacrilegious, a step backwards. An act of selling out even…
Oh me of little faith! I was reminded of difficulty in confining Watanabe’s works to any single particular genre, so maybe that would still be the case. It was.
The story has hints of coming of age, romance, comedy and interpersonal drama. What I really liked was how natural and unpredictable the narrative felt. On more than one occasion the story would be heading in a certain direction, only for a character to do something, say something, hear something, or see something that would change the course completely. It felt as if the characters weren’t acting according to a script, and that the writers were following their lead instead of the other way round. Better still, for a television series based in and around a high school, there was none of the associated excesses in terms of fan service, melodrama or over-the top histrionics.
My thoughts on the music: “Ah, Yoko Kanno, how I missed you!” The score was her in top form with her idiosyncratic arrangements providing an effective foil to whatever is happening on-screen that requires a musical accompaniment. Then there’s the quality of the jam sessions. Be they rehearsals, improv sessions or full-on duels, these scenes never want for musical intensity. In fact, the climax of episode 7, where Kaoru and Sentaro fill in for the rock band, is one I hope will forever remain etched in my memory.
The animation is well above average for a TV production. Movements are fluid enough, but really come alive whenever a musical instrument is played. It’s all in the depiction of the small details. In most other productions, if a character were to be shown playing a piano, the hands would be obscured in the shot so to save money on animating the finger movements. Not so here, where the camera focuses on Kaoru’s hands as he plays each individual note of the piece. It’s the same story with a drummer or bassist. Elsewhere the studio would simply loop a set of movements repeatedly. Here also we get sustained close-ups of the various hand movements. It’s as if they took the animation in the concert scene from Angel Beats and dialled it to 11.
My final verdict is a favourable one, taking into consideration how tight the narrative is, how detailed the animation is, and simply how much I enjoyed the overall package.
10/10 it is then.