Author: SuperWooper

Several weeks ago, I wrote about my desire for the show to continually check in with Shizuku’s character – not just to put her on screen, but to show us how she’s thinking and feeling, now that her previous partner is sidelined and her new one clearly wants to be partners in more than one sense. In the fourteen days since the last episode, I developed the expectation that I wouldn’t be wild about this new installment unless Shizuku was a major part of it. And while she did make an appearance, both in the present day and in a flashback, she didn’t have a single line of dialogue, plus she was subjected to some heavy objectification on Gaju’s end. Why, then, was I so happy with Ballroom this week? I’m going to assume that if you’re reading this review, you’ve already seen the episode, so we’re skipping any sort of plot summary and moving straight to my favorite scene, which came near the end of our 22 minutes.

When Tatara comes home from a grueling practice session with Mako, he’s greeted by two things: popped blisters on his feet, and the sound of his father’s drunken phone conversation. The lights are off, and as he passes by his dad, Tatara hears him say, “He’s such a hopeless kid.” Let’s stop right there for a second and consider how dark this scene is. The blisters are, to Tatara, a symbol of his inadequacy, since he thinks to himself that experienced dancers would never have such a problem. So, he’s entering his home with the thought in his head that he’s not good enough, and on the way to his room he hears the only parent in his life confirm his self-diagnosis – talk about mental damage. Until this episode, Tatara’s home life had been portrayed as a happy one, featuring bright mealtime scenes and his dad functioning as a concerned, but understanding, parent. Here we see the exact opposite, and to make things even worse (or so it seems), the person on the other end of the call is Mako.

It turns out she’s been dealing with blisters, too, and her first instinct is to apologize for her lousy dancing. Like Tatara, she lacks confidence, and they take turns apologizing and deflecting until he decides to share that his parents are divorced. The show uses this fact to explain his commitment to restoring the Hyodo/Shizuku and Gaju/Mako dance partnerships, but Mako sees that resolve as a part of his character, and starts to gush about how thoughtful he is. This was the make-or-break moment for the scene, because anime often falls into the trap of praising their heroes for being sooo thoughtful and sooo nice, as opposed to creating stories that allow them to demonstrate those qualities in an authentic way. But Ballroom leapt over this pitfall by contrasting Mako’s opinion of her new partner with his own self-perception. As she assures him that everyone at Ogasawara is watching and admiring his progress, Tatara wonders to himself whether he’s worthy of their gaze. He feels thankful that anyone notices him at all, and considers it a miracle that any girl would want to dance with him.

This is real shit. These are the naked thoughts of a kid from a divorced family, who doesn’t like school, considers himself to be untalented, and comes home to a father who self-medicates with alcohol. As Mako expresses her wish that he’ll keep dancing, we get a shot of Tatara’s feet – they’re the only place he can bear to look, given how foreign and inappropriate her praise must seem. But although his voice is small when he manages to find it again, he says thank you. He’s accepted guidance from coaches and challenges from rivals in the past, but now he accepts the kindness of someone who really respects him, and maybe likes him a little bit. Both kids are blushing by the end of the conversation, and it’s worth noting that Mako must have asked somebody at the dance studio for his phone number in order to make the call, so rumors about the pair may already be buzzing. I’m not totally on board the Tatara/Mako ship just yet, but I couldn’t be happier about the way they serve as anchors for each other in the harsh world of competitive dance.

There was more to the new episode than just this scene, but I’ve written enough as it is. Next week’s Ballroom will feature the Tenpei Cup, with our main couples going head-to-head, so I’ll try to integrate some of the stuff I didn’t cover this time into that post. Feels good to be back on the Ballroom bandwagon (at least for now).

Ballroom aired a double feature last week, so this review is either a few days late or a few days early, depending on how you look at it. Either way, there won’t be a new episode this coming Saturday, with the next one scheduled to appear on August 12^th. Personally, I welcome the break as an opportunity to reset my expectations for the show, which seem to have been too high. This series isn’t a mold-breaker of any kind, but rather a traditional shounen anime with non-traditional subject material. “Partner” was likewise a straightforward episode, but it did manage to properly introduce two very different characters, and adjust the motivations driving several of our main players. Not a bad way to wrap things up before a two-week break, all things considered.

With Hyodo occupying the role of brooding genius, the show was missing a more hot-blooded rival character – that is, until now. Enter Gaju Akagi, whose brash personality and loud mouth are perfectly complimented by his ginger mullet. It’s a bit ironic that he insults Tatara’s bedhead just minutes after barreling into the episode, given his own disastrous hairdo. Maybe he lets it grow so long in the back because he’s ashamed of his giraffe neck? Jokes aside, though, Gaju’s dancing is nothing to laugh at, and he supports his claim to become Shizuku’s new partner with some fancy Latin footwork. The last of those three cuts looked rotoscoped to my eyes, but it was also super smooth and a little sexy, which is a tone that has eluded the series until now. I wouldn’t mind if I.G. fell back on this method from time to time in the future.

Gaju’s younger sister Mako can only watch from the sidelines as her partner tries to leave her behind, which is more than a little sad. She’s the meek, sensitive type, which is also a template that Ballroom hadn’t busted out until this week. Tatara is charmed by her shyness the same way he was by Shizuku’s strength, but is unable to sync with her during their first dance (if you could even call it that). Mako’s willingness to be led pays off later in the episode, though, when Tatara activates Prodigy Mode and instinctively guides her where she wants to go, providing some confidence in their future teamwork. Mako will have to exhibit much more improvement if she wants to reach her new goal, though: surpassing Shizuku and convincing Gaju to rejoin her as one of Japan’s best amateur Latin duos.

Also on board with this plan are Tatara and Sengoku, the latter of whom sets up the second meeting between the two shy kids. This might be the first time that Sengoku is actually cooperating with his new student, rather than manipulating or making fun of him, and it’s only made possible by their mutual dislike of Gaju. At the root of that dislike is the shared belief that Gaju is “stealing” Shizuku from Hyodo, but the reality is that Shizuku chose to switch partners of her own will. She claims not to care about Hyodo anymore, but regardless of whether that declaration holds any water, he’s banned from JDSF competitions for six months, so why not let the girl find a new lead? Even if her decision is meant to anger Sengoku, who she rightly calls out for being untrusting, she ought to be allowed to compete for the next half year, rather than being punished for other people’s mistakes. The episode closes on a shot of Shizuku looking pensively into the wall-length mirror at Ogasawara, perhaps wondering whether she’s made the right decision, so the show had better follow up with her character soon – the further she gets from being considered a prize to be won, the better.

If you’d asked me a month ago for my top picks of the season, Ballroom e Youkoso would have been one of them. If you’d asked me two weeks ago to rank the new summer series, this show would have been right beneath Made in Abyss at the top of the heap. If you’d asked me seven days ago whether Ballroom was going to bounce back from its first subpar episode, I’d have wagered it would… but it didn’t. We’re only four weeks into a planned 24-episode run, so this level of pessimism must seem premature to many of you. Part of me knows that it is. The other, much larger part of me is too disappointed to care, so I’m going full nitpick mode for the next 500 words, with the promise that I’ll resume standard coverage next time.

Let’s start with how annoying Sengoku was in this episode, and more broadly, the depths of stupidity to which anime character writing can descend. Hyodo, Sengoku’s star pupil, has been concealing a knee injury that his teacher fears will worsen without rest. His solution is to take advantage of Hyodo’s absence and use Tatara as a substitute, which will disqualify Hyodo, thus preventing him from dancing and compounding his injury. (Let us overlook the fact that he could have simply convinced Shizuku to withdraw, as a later manga chapter will point out.) He then proceeds to blame Tatara, who he roped into this ridiculous plan, for lighting a fire under Hyodo’s ass, claiming that it will be his fault if his rival should bust his leg on the floor. The show hangs a lampshade on how dumb this is by having the background characters accuse Sengoku of being unreasonable, but the show forgets their objections as quickly as it raised them. The kicker is that Mr. Coach of the Year thinks to himself, “I guess it was worth butting in,” when he sees Hyodo dance the tango like a man possessed, and later laughs about the length of his ban from competitive DanceSport.

You might claim that Sengoku is just a dick, but think about the fact that the author delayed the disqualification just long enough for Hyodo to land himself in the hospital, or that Tatara continues to blame himself for Hyodo’s injury and DQ, even though it’s obvious to anyone with an ounce of brain power that neither of those things are his fault. This series is pushing square-shaped story beats through circular holes, and whenever the peanut gallery shows up to remind you that what’s happening doesn’t make a lot of sense, they get swept under the rug. Some of the same problems are present in the manga, but seeing them presented at a static pace and with no adjustments is a real disadvantage for viewers of the TV version.

Where the anime ought to excel is in the dancing scenes, but they’re just not cutting it for me. Ballroom is pulling the classic trick of cutting from panning stills to amazed reaction shots, and hoping that its real-life audience will feel the same sense of wonder as the faces on screen. I’m starting to see a lot of painted backgrounds that are meant to imply movement, as well – they’re not as cheap as speed lines, but they serve the same purpose. The standing ovation that Hyodo’s tango received near the middle of the episode felt utterly phony, given that more than half of it looked like posing rather than dancing, and that sucked the life from everything that happened afterward. Iwakuma’s brief appearance came off as immaterial, and what could have been a real heart-to-heart between Tatara and Hyodo ultimately felt like a convenient way to move the former boy one step closer to his goal. It now falls to the Akagi siblings (the two characters introduced just before the ED) to breathe new life into this once-charming show, or else the next five months of blogging are going to be tinged with regret.

NOTE: This week, I started referring to the show’s protagonist (Fujita Tatara) by his given name, which should become a regular practice going forward.

Well, there’s no going back now. Ballroom just went full sports anime, and it cut the brake lines for good measure. After the relative nuance of last week’s character introduction, the newest episode treated us to more fanservice, more contrivance, and more shounen formula than the last two combined. Sports series have really stepped up their game over the last few years, with Yuri on Ice and especially Ping Pong busting genre conventions every time they hit the airwaves, but I wasn’t expecting Ballroom to reach those heights – just equaling its sister series Haikyuu would be a fine achievement. The going is still early, but since I’m reviewing the show episodically, I don’t have a lot of praise to dole out this time.

Before we get too negative, though, let’s talk about Fujita’s family life for a bit. There’s a sweet mealtime scene between our young hero, his father, and his grandmother, who we met for the first time this week. Fujita does his best impression of a color commentator as a sumo match plays on TV, allowing his nearsighted grandma to follow along. This heartwarming scene further establishes him as a good kid, but he’s still not disclosing his new hobby to his dad, so I have to wonder when Fujita’s sneaking around will come back to bite him in the butt. Ballroom isn’t one of those series that makes its paternal figures into antagonists, but we already know that he’s concerned about his son’s upcoming high school entrance exams. When he inevitably learns that ballroom dancing is coming before Fujita’s studies, we can expect a B-plot’s worth of material from the resulting conflict.

Notably absent from the dinner table is Fujita’s mother. I’ve been on the lookout for a shrine somewhere in their home, but it appears she’s just living apart from her family. I have to wonder whether Fujita would be more comfortable revealing his passion for dance to a mother figure, but it’s hard to speculate, since all the women in this cast are already part of that world. Tamaki-san is the encouraging type, at least, which is a wonderful trait for a young novice to have in an instructor. Speaking of female characters, I took issue with the way that half of the cast was treated in this episode. This is a shounen property, so I was prepared for a certain level of sexual objectification, but at this point Banba’s role in the story is 80% boob jiggle. The more offensive instance by far, though, came when Sengoku grabbed a handful of Shizuku’s dress during a pep talk and inadvertently bared her breasts. Then they threw in a gushing nosebleed and a camera flash for good measure… I was able to get past the changing scene from last week without much trouble, but if this shit becomes a staple in Ballroom’s playbook, it’s going to put a sizeable damper on my enjoyment of the series.

Excessive fanservice isn’t the only bone I had to pick with this episode, either. The “overheard from a bathroom stall” trope was executed with about as much grace as Fujita after just one dance lesson, and it didn’t teach us anything that we couldn’t infer from the studio above his home and his rigorous practice routine. The show’s attempt to frame another competitor for Hyodo’s fall didn’t even qualify as half-hearted, plus we’ve already seen him fall down a flight of stairs at Ogasawara. And the fall itself was a complete contrivance, not only because it allowed Fujita to hit the floor way ahead of schedule, but also because it will prevent Hyodo from claiming his title. This kind of plotting reminds me of sports anime from the mid-90’s: clumsy and lacking any kind of dramatic tension. Sengoku refers to dance competitions as “battlefields” midway through the episode, but the show handled this one as though it were a mere reenactment.

Thankfully, Hyodo’s character remains fascinating, even when the events unfolding around him are not. After seeing Fujita’s excited expression on the dance floor, Hyodo angrily demands that he “give it back,” a clear reference to the passion that he himself has lost. It’s tempting to think that the two trash-talkers from the bathroom got under his skin, but it seems to me that he’s been approaching this breaking point for a while. His enthusiasm for the sport is at a low point, given his lack of challengers and disinterest in training overseas; he may not even want to compete at all, feeling only the need to live up to his reputation or please his parents. Hyodo’s expressions on the floor are often intense, but never are they happy, and that’s where Fujita has him beat. The continued strength of their rivalry will be one of the biggest measures of Ballroom’s success as it goes on – hopefully the rest of the show catches up soon.

After a strong start to its two cour season, Ballroom e Youkoso has managed to waltz its way past all potential stumbling blocks and deliver an even better second episode. There was a lot to love here, including a carefully introduced rival and love triangle, great voicework from Shinba Tsuchiya, and some promising animation during a late solo dance sequence. Ballroom isn’t above including anime tropes like the always-classy ‘interrupted changing scene,’ and lead character Fujita’s latent genius is a bit too evident after just two installments, but the team at Production I.G. is doing a lot more things right than wrong. Let’s break them down step by step.

The episode is named after Kiyoharu Hyodo, the biggest of the three characters it introduces (the other two being Banba and Jinbo, Fujita’s friendly but underqualified dance instructors). Sengoku describes Hyodo as a “monster” who stands in complete dominance of Japan’s amateur DanceSport scene. He’s full of intensity on the floor, but totally aloof when he’s away from it, demonstrating his nonchalance throughout the episode via several cavernous yawns. Even if you think these are intentional, Hyodo is quite agreeable for a rival character in anime, especially given his young age and outrageous skill. He demonstrates a basic waltz step for his new studio-mate with only a slight protest, and keeps his cool when Fujita later interrupts his solo practice. The hitch is that Hyodo is involved in a nine-year dance partnership with Shizuku, on whom our hero has a massive crush.

When Sengoku teases that Fujita might try to steal his partner, Hyodo claims not to care. Shizuku, however, appears to care very much, blushing and pouting at his level-headed response. Thus the love triangle falls into place, with the only question mark being where Hyodo’s affections lie. Attractive and talented as Shizuku is, it’s hard to imagine that he wouldn’t be interested, but he doesn’t seem to be; even when presented with the opportunity to train overseas with her, he’s content to stay in Japan. This is clearly discouraging to Shizuku, who thinks Hyodo is “on another level” and considers herself “lucky he’s my partner.” The hero worship here made me a little wary of potential Sakura Syndrome, where a major female character acts only as a bystander or cheerleader, but the groundwork has been laid for Shizuku to undergo her own arc. Natsu from Baby Steps is a good model for how I hope her character is handled over the course of the series – always improving and competing against rivals of her own, even as she functions as a love interest for two different guys.

On the production side of things, the stills and CG dancers returned for another episode, but all was forgiven during one of the final scenes this week. During a solo practice session of Hyodo’s, the art became more sketch-like and the animation more fluid, giving a powerful, dynamic feel to his movements. Even if it only lasted for a few seconds, this willingness to break model and use a rougher style to capture a different energy is a confidence booster. I especially liked this choice given that Fujita was observing him, and needed to be inspired by what he saw to push the story forward. Speaking of Fujita, Shinba Tsuchiya is a breath of fresh air as his voice actor, imbuing the character with a nice blend of self-consciousness and enthusiasm. Tsuchiya is a newcomer to the seiyuu world, but he’s already drawing comparisons to Daiki Yamashita, who voices Deku on Boku no Hero Academia, so his future looks bright. Hopefully Ballroom’s future remains just as promising as the show starts covering multiple manga chapters per episode.