ReLIFE 13 END
The sequence flashing back through the series through Hishiro's eyes, with the overlapping audio and visual editing and the whole-tone influenced harmonies in the piano, was magical. I got chills down my spine. Overall, as incomplete adaptations go, this episode came to a good stopping point that made me feel that a definite character arc had been accomplished.
This show was much better than I expected it to be. Some of that is due to the material being more serious and sensitive than you might expect from a manga with the premise of an adult going back to high school, but the main reason is because the director, Tomochi Kosaka, showed an uncommon amount of skill in handling the material. He's an animator and prop designer who barely has any directing credits to his name, a couple storyboards on DEEN shows and one episode direction credit on Yowamushi Pedal, so what he managed to pull off here is quite impressive. He doesn't seem to have had much resources to work with under him at TMS Entertainment here - the animation and photography work is mediocre at best and often downright poor. Junko Yamanaka's character designs are rough and awkward. Getting Studio Pablo on board for backgrounds is always appreciated, of course, and they definitely helped elevate what would otherwise surely have been painfully bland environments, but they didn't have a whole lot to work with in the setting and sometimes the photography got in the way of their work.
Still, for all those visual weakness, the storyboards were consistently solid in how they framed each episode's events, even engaging in many inventive tricks to visualize the internal emotions of the characters. What also helped with the emotional expression was very strong sound work, work which reminds me of some of the greatest masters of sound in anime such as Hiroshi Nagahama. The voice acting itself was well done, with each character well characterized by their manner of speaking. Kensho Ono must be particularly commended for strong acting as the main character Kaizaki; he gave Kaizaki just the right playful tone when he was fooling around while also giving him appropriate pathos in the more serious scenes. I can hardly believe that Ono also played the eternally monotone Tanaka in Tanaka-kun is Always Listless last season; he sounds like a completely different person there. The music, by jazz pianist Masayasu Tsuboguchi, was deployed in a manner that's unusual for anime. It was carefully edited such that the soundtrack followed every twist and turn of the emotional feelings of the characters. In many moments, the music would consist of small licks separated by silence, and those licks would be arranged such that they each corresponded to a particular moment of character acting. Although I know this didn't happen, since music was reused in multiple episodes after all, it often felt like Tsuboguchi was improvising the score as the episode took place. As a musician, this careful consideration of how to use music to enhance the storytelling, as opposed to the more vague and generalized use of music in most TV and film, is something I very much respect.
I would recommend this show to anyone who doesn't mind dealing with some unattractive visuals, as it is an example of well-done, thoughtfully considered character drama. I hope to see Kosaka get more directing opportunities in the future, preferably with a better visual team underneath them so that what he tries to convey doesn't have to be partially compromised.