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satalasersYou have to remember that these characters are fourteen years old. It was sometimes hard to believe, though? But believe me, it makes the slapstick between Kaori and Kousei easier to watch.
- It did feel a bit like cognitive dissonance, watching the first half though. Often it felt like Kaori was forceful and overbearing, getting Kousei to play and overcome his trauma, but I think, ultimately, Kousei did need to meet someone who was firm and push him towards the path -- and him himself does like the results, him jumping over the bridge into the river was certainly a sign of that, that it's supposed to be utilized in a well-meaning way. And maybe this is the best that a fourteen year old can act!
- It's just. I don't necessarily think the whiplash between Kousei angsting and Kaori attacking him for comic effect and for him to 'snap out of his funk' worked that well for me. I disliked Kaori a lot, found her selfish and spoilt, so I didn't really like the romance. And the titular lie just made me even more mad at her, TBH. It wasn't justified that well, but then again, I can totally see a fourteen year old coming up with this lie, and say 'I don't like you, I'm in love with your best friend (but actually I'm in love with you)'.
- I liked the music, and questioning 'why do we play? how do we touch other people with out music? do we make an impact?'; but I'm not... necessarily convinced with the connections with other people. Emi and Takeshi felt fairly shallow, for me.
- I did like Tsubaki, her knee-deep denial, and then her inner conflict of being in love with Kousei, and being annoyed that Kousei was being 'taken away from her because he liked music', and her best friend Nao, who knew her better than that. But I thought her journey felt realistic, and how she tried to balance the two, because Tsubaki knows she's being selfish, but she also isn't quite sure how to deal with these feelings.
- I get a little vindication that Kaori was wrong though, with Watari. She assumes that she'll be easily forgotten, but when you see Watari, and his grief, you know that's not the case. He was probably the most sidelined, but I still enjoyed his presence and his friendship with Kousei.
- Koharu was very cute! Didn't have to do anything, was cute anyway.
- I liked Nagi, who initially hated Kousei, because she thought he was an enemy of her brother Takeshi, but then actually begins to respect Kousei under his mentorship, but maybe because she was a year younger than anyone else, that I liked her brattiness even more. Although I do think it helped that her brattiness also seemed to be daydreams, rather than reality. (Heightened reality, but still.)
- Very little sympathy points for Kousei's mother. I can understand the desperation and wanting Kousei to become a better piano player, I cannot condone the abuse.
This show made me miss Nodame Cantabile, TBH. I'm glad I didn't watch Your Lie In April at the height of it's fame, because I didn't quite get the hype, but it did have it's moments. Seven/Ten.
- It did feel a bit like cognitive dissonance, watching the first half though. Often it felt like Kaori was forceful and overbearing, getting Kousei to play and overcome his trauma, but I think, ultimately, Kousei did need to meet someone who was firm and push him towards the path -- and him himself does like the results, him jumping over the bridge into the river was certainly a sign of that, that it's supposed to be utilized in a well-meaning way. And maybe this is the best that a fourteen year old can act!
- It's just. I don't necessarily think the whiplash between Kousei angsting and Kaori attacking him for comic effect and for him to 'snap out of his funk' worked that well for me. I disliked Kaori a lot, found her selfish and spoilt, so I didn't really like the romance. And the titular lie just made me even more mad at her, TBH. It wasn't justified that well, but then again, I can totally see a fourteen year old coming up with this lie, and say 'I don't like you, I'm in love with your best friend (but actually I'm in love with you)'.
- I liked the music, and questioning 'why do we play? how do we touch other people with out music? do we make an impact?'; but I'm not... necessarily convinced with the connections with other people. Emi and Takeshi felt fairly shallow, for me.
- I did like Tsubaki, her knee-deep denial, and then her inner conflict of being in love with Kousei, and being annoyed that Kousei was being 'taken away from her because he liked music', and her best friend Nao, who knew her better than that. But I thought her journey felt realistic, and how she tried to balance the two, because Tsubaki knows she's being selfish, but she also isn't quite sure how to deal with these feelings.
- I get a little vindication that Kaori was wrong though, with Watari. She assumes that she'll be easily forgotten, but when you see Watari, and his grief, you know that's not the case. He was probably the most sidelined, but I still enjoyed his presence and his friendship with Kousei.
- Koharu was very cute! Didn't have to do anything, was cute anyway.
- I liked Nagi, who initially hated Kousei, because she thought he was an enemy of her brother Takeshi, but then actually begins to respect Kousei under his mentorship, but maybe because she was a year younger than anyone else, that I liked her brattiness even more. Although I do think it helped that her brattiness also seemed to be daydreams, rather than reality. (Heightened reality, but still.)
- Very little sympathy points for Kousei's mother. I can understand the desperation and wanting Kousei to become a better piano player, I cannot condone the abuse.
This show made me miss Nodame Cantabile, TBH. I'm glad I didn't watch Your Lie In April at the height of it's fame, because I didn't quite get the hype, but it did have it's moments. Seven/Ten.
