Hello folks, and welcome back to Wrong Every Time. Today I’m eager to stop by the kyudo range, and see how the boys of Tsurune are coming along. After an embarrassing performance at their recent competition, our team has been forced to reassess not just their approach to kyudo, but also their self-image and personal ambitions more generally. Of course, this is nothing new for Tsurune; kyudo has long served as a metaphor for the bumpy adolescent process of finding your young adult self, whether that involves rising above the past like Minato, or reaffirming what you’ve always valued like Nanao and Kaito.

Those two spent the last episode battling it out in search of a new normal, having grown beyond the childhood roles each served in the other’s life. What they found was perhaps not surprising; as it turns out, their friendship was built on more than just offering each other protection, as their years together had sculpted each of them into an essential part of the other’s life. You can’t follow a simple equation to deduce the value of a personal bond – time spent together will inherently change us, and any bond we’ve cultivated will possess inherent, lasting meaning. As such, the question of who was “following” the other ultimately proved irrelevant; they’ve always valued each other’s presence, and having their hobbies be dictated by each other’s interests proved not a sign of deference or codependence, but of how much each was enriched by the other.

So yeah, Nanao and Kaito seem to have figured their shit out, meaning I’m guessing it’s time for Kyouhei and Minato to grasp towards a new relationship with kyudo of their own. Let’s get to it!

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Hello folks, and welcome back to Wrong Every Time. Today I’d like to check back in on the boys of Tsurune, and see if Minato’s team can drag themselves out of their current funk. Having failed to compete as a true unit in their recent tournament, Masaki ordered all of them to figure out what they’re lacking, and that’s precisely what they’ve been doing. After most of an episode of morosely practicing off the range, Minato seems to have realized he’s lost sight of his team – and what’s more, that he doesn’t actually know what his own preferred style might be.

With the bold examples of Nikaidou’s team proving the variable nature of “correct form,” Minato isn’t alone in this uncertainty. Ryouhei is beginning to doubt the value and nature of “beautiful archery,” while Kaito is realizing for the first time how his own play inherently builds off the performance and mentality of his teammates. Their strategic concerns serve as natural echoes for the process of identity reassessment all adolescents experience; social pressure instigates a process of self-analysis that causes us to doubt our unconsidered modes of behavior, and perhaps consciously assign ourselves new patterns and perspectives. Given this, it’s little surprise that the already self-critical Seiya and highly emotionally intelligent Nanao are weathering this challenge with grace; after all, self-assessment is second nature to both of them. But our other boys will likely need a little help, so let’s see how they’re fairing in a fresh episode of Tsurune!

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Hello folks, and welcome back to Wrong Every Time. Today I’m eager to step back into the sumptuous world of Tsurune, following the conclusion of this exceedingly generous season’s first tournament. After a troubling performance on the range, Minato has been given a shocking order from his coach: no archery for him until he rediscovers what is truly essential to team kyudo. And with the national tournament fast approaching, Minato better get to discovering quickly.

Given last episode’s employment of that persistent ribbon motif, it seems obvious enough that what Minato needs is to rediscover his identity as a member of a larger team. At the same time, the novel paths of his two rivals emphasize that each team has its own internal rhythm, and that strictly following a template set by his teacher won’t necessarily lead him to his own form of kyudo. Therefore, he must find his own unique place within this unit, trusting in and supporting his team while still charting his own path. It’s a tricky, nigh-contradictory challenge, but I’m sure Takuya Yamamura’s team will illustrate every step with outrageous beauty and thoughtful storyboarding, attesting again to Kyoto Animation’s singular mastery of visual storytelling. Let’s get to it!

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Hello folks, and welcome back to Wrong Every Time. Today we’re charging back into Tsurune in the midst of the regional tournament, with our Kazemai heroes having just secured sixteen hits in their first round. Meanwhile, old bonds and new rivalries are emerging and asserting themselves across the board, from Kaito’s reunion with his old teammates to Minato crossing paths with two separate former rivals. It’s a busy narrative stew, but in the hands of director Takuya Yamamura and his incredible team, all of these threads have been interwoven with incredible grace, conflicts often requiring no more than a pointed expression or juxtaposition of storyboarding to clarify.

Through its elegance of form, Tsurune has been consistently demonstrating how formal beauty of animation or boarding are not simply their own reward – they are tools through which novel forms of storytelling are made possible, allowing a theoretically dense narrative to come across as light and effortless. Relationships like that of Minato and Shu can be clarified with a glance and a gesture, rather than engaging in laborious and unnatural acts of exposition. A work like Tsurune demonstrates how the inherent intentionality of every drawn choice in animation can make for a uniquely resonance-rich drama, with every aesthetic element facilitating the story in its own way. Let’s see what new treasures this team offers as the tournament continues!

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Hello folks, and welcome back to Wrong Every Time. Today I am eager to get back into the second season of Kyoto Animation’s Tsurune, a production which has already leapt beyond the standard set by its impressive predecessor. From the premiere’s remarkably seamless storyboard to its personality-rich animation, to say nothing of the graceful composite drawing it all together, Tsurune S2’s first episode was a tiny masterpiece of animated drama. Though anime is often renowned for facilitating individual artist voices within a larger work, a show like this demonstrates just how powerful a unified production can be, with all of Kyoto Animation’s talented artists straining in the same direction, hoping to achieve something both simple and nearly impossible to convey: the felt experience of a human life.

Throughout that first episode, I felt the rush of emotions as the arrow’s song brought memories to the fore. I knew the frustration of not being able to convey my intent through my clumsy hands, and the elation of realizing a slight adjustment in form was all I needed. I shivered with impatience as I consented to delay kyudo practice, and sprang up with excitement as an impromptu practice session emerged. My favorite studio has woven its familiar magic again, and I’m delighted to be caught in its spell. Let’s see what wonders await in the next episode!

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Hello folks, and welcome back to Wrong Every Time. Today we’ll be embarking on a new project that’s also a bit of a homecoming, as we explore the second season of Kyoto Animation’s Tsurune. Tsurune was the last drama Kyoto Animation produced before the 2019 arson attack, and therefore the last show they produced in the mode that essentially drew me back into anime. Back in 2012, Hyouka was one of the first anime to rekindle my interest in the medium, after I’d largely fallen out of watching anime during college. That was followed by poignant, delicately animated dramas like Sound! Euphonium and A Silent Voice, all of which collectively solidified Kyoto Animation as my favorite anime studio, and the studio that best exemplified what I found compelling about the medium.

When Kyoto Animation suffered that attack, my hope for anime’s future, as a medium that prioritizes intimate human stories and captures life as it is truly experienced, was nearly extinguished. The years since have largely proven my fears correct; though other studios have tried, only Naoko Yamada’s own Heike Monogatari has achieved the level of brilliance embodied by KyoAni’s best productions. Anime has been significantly poorer for KyoAni’s absence, but with a new season of Tsurune, it seems like we’ve reason to hope again. After far too long away, let’s see how our young archers are faring!

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