Musical-centered anime follow a similar framework to sports anime. The participants usually start with mediocre talent and low expectations, but through the power of bullshit (i.e. friendship), they overcome all/most obstacles in pursuit of their goal. Like when the vice principal challenged the crew to learn the koto in a month and play a song in front of the student body. The subsequent veneration from the student body was a cliched response that has been utilized more times than a crack pipe at Charlie Sheen’s estate…or car, or on the set of “Two and a Half men,” or at Wendy’s as he wears his Burger King crown with glee — “Smoke it your way, bitch!”
Manufactured plot points aside, the characters are recycled tropes of the worst kind. Chika (he’s actually a dude — outré, I know) was the archetypal ‘tough guy’ with a concealed gentler side. With the wisdoms of his father constantly ringing in his head, and the strengthening bonds of friendship, he blossomed into an amiable companion who supported his fellow koto enthusiasts. Satowa, the resident bitch, deceived the various men in her life to do her bidding. One might liken her to a succubus, but let me assure you, she’s not putting out. Similar to Chika, her aggressive demeanor cloaks her insecurities and longings to have friends. Both character arcs proceed accordingly, with no meaningful nuance to distinguish itself from its predecessors.
Takezo Kurata was an apathetic, meek boy who didn’t establish himself as someone worth caring about. His character arc was rather predictable, with a gradual rise in self-confidence as the series progressed toward its finale. The other, initial koto members — Kouta, Saneyasu, Michitaka — were stock characters with no discerning characteristics worth mentioning. Miya Sentarou, a member of a rival koto team, did have a humorous moment when he started ‘powering’ up during a live performance, and reached a state of kaio-ken (or, maybe he was having an aneurysm — tomayto, tomahto). Otherwise, though, Sentarou was rather tropey.
An interesting facet about “Kono Oto Tomare!” was the lack of koto music. Performances were often cut short or relegated to a considerable amount of internal dialogue/flashbacks from the main characters. Frankly speaking, evading the primary focus of the show for a contrived love story and frequent reminiscing seemed like lazy, bland storytelling. The difficulties of learning a new instrument is fascinating in its own right, without the ‘aid’ of superfluous, emotional conflicts. Eliminate the soap opera and focus on the trials and tribulations of the learning process.
