The first Honey and Clover series seems to be much appreciated because, even if many of the situations are implausible, if not in themselves then at any rate when taken together, people apparently could relate to it. The major reason for this is that, at the end of that season, there is a clear lack of resolutions as characters act without the overblown characteristics of your typical fictional account, instead making compromises, disengaging when things get too heated and accepting it when things don't work out. To many, the questions on purpose and value asked also reminded them of their own student days (I, myself, was once more reminded how much I hated those years).
Then came the second season, which, though probably only revealing what was intended all along, turned much of the effect of the first season around. Suddenly, resolutions are sought after and found, characters act with relatively uncharacteristic vigour and decisiveness, and for good measure some high drama is added in the second half which seems completely out of place when compared to the more subdued first season.
While these changes in pacing and mood do not necessarily result in situations that are altogether implausible, even if, again, there seems to be too much going on with too limited an amount of characters, and some issues may still be eminently recognisable (one storyline in particular coming far too close to something I mostly want to forget all about, although the anime has a more happy ending), this second season drifts more towards a soap opera than anything else, with rather too many 'troubled person of the week' plot lines.
Perhaps, when taken on its own, Honey and Clover II can be considered a prime dramatic show, but when seen as the continuation of a series it is, being set rather soon after the first season, the sudden shift in focus reflects ill on both this sequel and its prequel.
One could say that this doesn't matter, that both seasons should be considered on their own merits. For the second season, this means that it could use characters already introduced, meaning that no time needs be wasted on their basic depictions, and play their individual stories. The stories are more tightly focused and actually get somewhere.
At first, this pays off. The depictions of the one-sided loves of Mayama and Yamada, though hardly original and infused with too many additions used to garner sympathy, is played well, mostly because the two are properly displayed as wavering between what they know is right and what they want.
From there on, though, backgrounds are added that only add to the improbability of it all, that removes the relative tightness of setting and size, and that start to take themselves far too seriously. Morita's story was just plain unnecessary (while undermining some of the earlier scenes that were clearly introduced as comical nonsense) while the happenings around Hagu's injury fully conform to a standard girl-in-hospital drama. This results in characters that are ostensibly developing but actually continuously getting closer to archetypes.
Art and music really aren't too different from the first season, though things are a touch more polished. Much of the world still lacks detail, being painted in broad strokes in a limited palette, and it is apparent that there still was a lack of budget to more convincingly portray animation, in particular the movement of vehicles (often a sore point in anime). Quality of voice acting remains rather high and is, for once, partly the result of good scripting: the characters know full well when what they're saying is cheesy or highbrow and reflect on this themselves.
In all, Honey and Clover II is a charming drama that is at its best using already established characters for some dramatic story lines that are themselves rather trite but pretty well-crafted. It seems clear that the direction chosen in this season was what originally was intended for the series.
Yet, this original intention results in resolutions that feel rather forced, following as they do on how the first season went on its way, and isn't the height of story-telling in the first place. The show is heavily dependent on its characters, mostly to its betterment, but especially in the second half veering close to having them become clichéd.
For the moment I remain undecided, leaning towards 'No': 'Yes' for many of its characters and the still somewhat subdued pacing, 'No' for the useless additions, sudden shift in style and forced resolutions. |