K-ON! Season 2

Naoko Yamada's K-On found immense success for one key reason. A factor so instrumental and important that, if absent from the get-go, may have resulted in the show's cancellation after its freshman season. Instead, the sequel got greenlit faster than you can say "lycopene". Yamada's team were back in business as early as 3 months after the production of S1, catering to droves of fans hungry for more K-On. Since this was all happening way back in the early-2010s, most of you might need some context on what exactly K-On did to earn such infectious demand in its heyday. Fret not, I've got you covered! Here's a shocking hint: the largest contributing factor to K-On 's popularity has almost nothing to do with the reasons discussed in my breakdown of S1.

Whenever you're ready, click the spoiler-free tag below to uncover the truth.

The show's never-before-seen commercial reach managed to bring in audiences who hadn't previously frequented anime. Viewership of males and females were also relatively even during the heights of "K-On Fever", indicating a wide-spread appeal significantly unaffected by individual differences in taste or genre preferences. And echoes of this broad appeal can still be observed today amidst the anime community, long after the show's explosive popularity has faded away. We now can identify a plausible cause for the franchise's success, but the source of K-On 's longevity is a different matter altogether. What makes this show so universal and timeless? Time to find out, let's jam!

To clue us in on how KyoAni tackles the girls' sophomore season, we need to bring up a prologue to S2 that isn't discussed frequently enough. I do sympathize with why no one talks about it, the reason being that it's by and large the weirdest episode in all of K-On. Airing the week after S1's finale, "Winter Days" (S1 Ep13) goes against the CGDCT grain and delivers possibly the most stress-inducing bonus episode I've seen thus far. Most OVAs would be content with throwing in fan-service scenarios and crafting low stakes for its characters. But for a series where "lowkey fun" is already the default, this episode provided Yamada & Yoshida the opportunity to tackle a narrative prompt neither Kakifly nor the production staff had worked on up till that point. This experiment opens on Houkago Tea Time (HTT) at their clubroom, before spending its second act following separate storylines from each girl's POV. With HTT momentarily parting ways, the show tries its hand at exploring the girls outside of the group dynamic, and the results are kinda unnerving. Yoshida's script is a mini "variety hour" of unexpected detours, which I'll rank here based on the distance each arc left between my jaw and the floor:

Of course, this is still K-On at the end of the day, and these side stories wrap up in sweet fashion. With no bearing on the rest of the series moving forward, this episode is by no means a landmark moment for the franchise. If anything, the script having to juggle 5 mini-arcs within 20 minutes leaves these plot points feeling rather bare-bones. That's not to say that K-On 's oddest installment isn't noteworthy either. Stripped from the series' chirpy BGM and warm color palette, this winter episode's cold tone deviates heavily from the laid-back sitcom we've come to know and love. As the storyboard artist for this episode, Yamada evidently influences many of the stylistic and visual choices here. In particular, scenes featuring Ritsu are arguably Yamada's most mature in all of K-On , and bears closest resemblance to the director's critically-acclaimed output of recent years. In summary, this bonus story displays the production team's willingness to bend and break the CGDCT mold, in favor of taking a more comprehensive deep-dive into the band members' life experiences. The weird experimentation of "Winter Days" formed rough outlines at worst, but provided a conceptual blueprint for an endearing second season to come.

In essence, K-On 's mission statement in its sophomore season is change. Change is evident as early as its iconic opening sequence; the two series premieres are distinct in approach. Yui, the once-aimless first-year who did the whole "girl running with toast" thing, only to end up arriving at school early on accident, is now punctual on purpose. She's shown practicing an opening riff in the clubroom, with an initiative built up over two years with the club. Outside her window, cherry blossoms signal the entrance of Spring, and a new season of change. The typical K-On fare of upbeat slapstick is supplanted with a more melancholic tone. As the third year of HTT's founding members commences, so is the underlying sense that change is on the way. Now, we'd be remiss to expect some radical overhaul. A majority of S2 retains the cutesy comedy of its predecessor. Outsiders criticize HTT for lazing around in their cozy clubroom, but don't be mistaken. Impermanence between seasons and across the span of S2 showcase organic growth. This is a gentle change, as slow as it is inevitable, and S2 seizes opportunities to catch viewers off-guard with its presentation, much like with this opening scene.

There's a discernible bump in visuals across the board. Of course, that includes the storyboards, which are bursting with a fuller non-verbal command of the medium — a hallmark of both the director's and studio's illustrious track records. A bigger budget and more streamlined production pipeline enabled Yamada's heightened influence over the series' visual direction. Depicting new backdrops both within and beyond HTT's school campus, S2 marks an impressive improvement in both scope and detail. The production team displays a good eye for foreground, background and off-screen interplay. Characters enhance their surroundings by interacting all across the frame, even in places one might not expect. One more key upgrade lies in S2's naturalistic tweaks in art direction. Where its predecessor would rarely shy away from loose linework and chibi cutaway gags, S2 instead strikes a more grounded approach towards the band members' visual vocabulary. Horiguchi's versatile character designs are instrumental in this regard, enabling more realistic mannerisms that convey both comedy and personality. The idiosyncratic "Yamada-isms" incorporated further evolves the characterization K-On already excelled at during the season prior. These aesthetic adjustments allow K-On to deliver two different kinds of key experiences throughout both seasons, which I'll let you compare for yourselves here:

K-On 's first season can be described as having built itself around big "landmark" moments. A new member joins, a band trip takes place, a major school concert happens, and they do it all over again in Year 2. The predictable nature of this sitcom structure does lend S1 a consistent momentum in terms of pacing. But because high school lasts just a year longer for HTT, simply repeating the same rigamarole for the sequel wouldn't work without some adjustments. With twice the episode count and half the chronological time period, S2 decides to double- no, quadruple -down on its mundanity. Understandably, consistency gets thrown out the window with certain episodes feeling even more uneventful than before; "Hot" (S2 Ep11) sticks out in my mind as an especially exasperating example. Despite this downside, this change in approach works wonders for the K-On franchise. Watching the ways HTT laze their days away may not sound appealing on-paper in terms of entertainment value. But as moments that showcase the girls' tight-knit cohesion and chemistry, these small scenes become as important to K-On as their key highlights. Where S1 was tasked with portraying a growing relationship between band members, S2 is given free rein to deepen its core bonds beyond the context of the club. Plot points revolving around school trips, cultural festivals and sports days are almost obligatory when it comes to every high school SoL. That being said, these beats in S2, as well as other less-orthodox premises (S2 Ep7), further flesh out the world around the girls, while contextualizing their experiences as touchstones of their youth. If Kakifly's 4-koma resembled a newspaper comic strip in structure, S2 decisively shatters that perception in entertaining fashion, while still building upon its defining character comedy. Further iterating on the groundwork set by "Winter Days", K-On engineers fresh premises and explores new dynamics within the clique. Sharp characterization grows from strength to strength, as Yoshida frequently finds new ways to comment on and play around with established pairings. Episodes that are self-aware of its formulaic moe trappings (S2 Ep16) and dare to break that cycle entirely (S2 Ep13) prove that its fun is not (entirely) mindless. The "landmark" occasions I spoke of feel more important thanks to added buildup and catharsis, allowing the sequel season to one-up itself with every milestone.

The lowest points of S2 are offset by its emotional peaks. This CGDCT sometimes blindsides viewers with powerful scenes that fully tap into the series' potential as a coming-of-age story. From tedious start to heart-wrenching end, and the gradual changes in-between — K-On 's most memorable moments result not from goofs and gaffs, but from documenting the precious high-school years of HTT's founding members. Sure, there's every chance that these experiences are mundane and unremarkable on the surface. But as the saying goes, there's no time like the present. And the present moments mean everything to these young girls.

# [ "K-On" mostly only has female characters appear in it. And yet, [Yamada's] thoughts were not about making it focused on “moe” but instead making its theme about “adolescence” to [deliver] a kind of freshness that hadn’t been felt before. For me, I wanted them to appear more than just being cute; I wanted them to feel “alive.” Also, I wanted to impart that feeling of “they’re living in no other point than at this moment.” ](https://ultimatemegax.wordpress.com/2016/01/07/k-on-staff-interviews-pt-1-director-naoko-yamada-series-composer-reiko-yoshida-dialogue/)

--- Reiko Yoshida, Series Composer

What makes K-On an impossible classic? Readers, I think we finally have an answer.

Looking at various interviews about the series' development, a recurring theme brought up by staff members was that of K-On prioritizing "atmosphere" over story. Audiences are treated to a backstage, all-access pass to the atmosphere of HTT — these girls' lives behind the curtain as both band mates and school companions. The show deals with band experiences not because they're meaningful to musicians, but because they're meaningful to them as a collective of close friends. This same meaning manifests in the mundane day-to-day scenarios that make up a majority of the show. From rockin' out in front of a packed hall to spending an entire afternoon trying to turn on an AC, the bonds shared within the band remain the primary focus. But in diminishing the impact of the story, the atmosphere needs to fill the gap, and Yamada meets that need like few other creators could. In my S1 review, we touched on how Yamada and Yoshida fed off each other's creative energy. Yamada made Kakifly's characterization comprehensive, with an almost obsessive fixation on the girls' individualistic portrayals. Yoshida, inspired by Yamada's attention to detail, caught on to the task at hand through thoughtful dialogue and screenplays, which in turn gave Yamada more to chew on with her direction. Yamada's team injects an overabundant amount of detail into seemingly underwhelming situations, and the end product is, funnily enough, immersion! Where many other shows attempt to construct hilarious performances worth laughing at (ex. Nichijou , Kaguya-sama , etc.), K-On 's approach has more in common with an inside joke uttered within a group of close friends. "Objectively" it may fall short, but the intimacy created between show and viewer allows for even the dumbest moments to land like comedy gold. "Fun things are fun," regardless of how these seemingly mundane moments are perceived on-paper, because of the intrinsic value of the present, shared alongside the closest of friends — that's life , and this show is impossible for being imbued with so much of it. Whenever K-On does decide to try its hand at more ridiculous storylines, the friends' undeniable rapport remains the grounded core of the show. The sitcom itself is really silly and borderline insufferable at times, yet is a perfect vehicle for our friends to build authentic on-screen camaraderie. I could watch these goofballs do anything and everything. Where a lack of a narrative is often seen as a negative, here it's what allows the series to shine. HTT invites us into the band and the bond they share, with a curated authenticity of being amongst a tightly-knit group of friends that goes above and beyond the details I typically observe and critique in other media. Despite the decade-long attempts of countless CGDCTs and moe -adjacent shows (a couple noteworthy examples you should definitely check out: Sora yori mo Tooi Basho, Bocchi the Rock!) to emulate this success, K-On stands out so deeply to me because I know no other show like it. The sweet kinship these endearing girls develop throughout their detailed daily-life experiences offer a sense of lively immersion that's somehow both fictitious yet real. That's the reason why they make up my favorite ensemble cast of all-time. It's why I laugh along with their stupid sketches, and why it hurts when they have to say goodbye. Change is as slow as it is inevitable, and the series bows out in front of its audience, leaving a question to ponder as the curtain closes:

As much as I adore each of the five girls, I have to admit that Azusa used to be my least favorite of the quintet by a huge margin. Not that there was anything wrong with that, as there was plenty of reason to believe that this consequence was natural and possibly by design. Heck, even Yamada herself wasn't sure if Azusa would be featured in the TV series, and entertained the possibility of limiting the show's focus on the main four from start to finish. Missing out on a whole year with both HTT and the audience, Azusa just didn't feel on-par within the in-group, but ever so slightly seemed like an outsider and odd-one-out. She played the straight man at times where even the level-headed Mio would get carried away, and in the process somewhat sacrifices potential charisma for being somewhat of a buzzkill. The lively, chaotic presence of her senpai O.G.s were sorely missed in episodes where she split off from them. Of course the other 4 cherish and value her all the same, but that distinction still lingers in Azusa and the audience's perspective. She's someone who stumbled across a home in the light music clubroom, and a family in Houkago Tea Time. This means a lot to her, but she sees herself one step behind her graduating seniors. When next Spring rolls around, change will beckon her to keep the club running with new members, thereby opening up the possibility of preserving her home and the club's glory days. Back in S1 Ep 9, the song that Yui plays helped Azusa understand what makes HTT and K-On so special: the precious and meaningful friendship shared among these individuals. For all her musical know-how, Azusa hadn't found bonds so special until she came across the band. And the time had now come for these special friends to leave us both behind. Azusa was my least favorite member when I watched K-On for the first time, because she most closely resembled me, as the audience. And it's for this same reason that she became my most important character on repeat viewings.

Change, as slow as it is inevitable. The TV seasons of tea-drinking (and the few jamming sessions in-between) had come and gone. These 5 friends weren't going to be with each other in the same way. Things were going to be different, but they didn't have to be over. It's a track from the band that gave Azusa answers in S1, and it's fitting that one last song comes to the rescue in the series finale. "Graduation is not the end," Yui sings, as a parting gift from each of the seniors. Change is part-and-parcel of life, but important friends can outlast phases. HTT was formed before the 5 girls became friends, yet those bonds will outlast the short-lived school band. In friendships, what you do doesn't matter, be it making music for a band or stuffing yourself silly with sweets. Rather, it's about what you find as a result of those shared experiences — the highs and lows of life, the sweat and tears, the lessons and laughter, the friends we make along the way. K-On taught me that message by letting me experience the intimate friendship of these girls on a deep, personal level. HTT may never reach Ritsu's lofty dream of performing in front of a packed Budokan. But as they wrap their live set on that school festival stage for the last time, in the peak of their high-school days; Ritsu, Mio, Mugi, Azusa and Yui are eternal. 8/10~

…is what I would have liked to say, but this story has other plans. Can't believe I'm about to make a complaint about filler in a series with barely any plot, but here we are.

If you feel that the perfect way to end this review happened 2 paragraphs ago, then perhaps you might empathize with my mixed feelings toward this film. For the record, there's nothing I really dislike about the K-On! Movie. But I've binged the entirety of K-On twice now, and the movie has stuck out as easily the least enjoyable part on both occasions. Simply put, I just think it doesn't need to exist. And no, this isn't me complaining about the anime production deviating from the source material with an original movie; if you need further proof of just how superior the adaptation is to the manga, take a look at how both versions conclude and realize that the heartwrenching plotline of Azusa bidding her seniors farewell is COMPLETELY omitted by Kakifly, who just treats his final chapter like any of his previous sketches. Similarly, my personal gripes with the movie stem from making this distinction. When you have a series finale as phenomenal and fitting as "Graduation!", is it really worth detracting from that with a sequel? Well, the answer turned out to be yes, and I wouldn't be at all surprised if KyoAni greenlit the project due to the mouth-watering boatloads of money possible with the K-On cash-cow IP. Despite it containing a couple of the most funny sketches in the entire series, I don't believe that the movie is a substantial improvement over anything we've seen in the series. Story-wise, it only makes sense thanks to a series of confusing retcons via bonus OVA episodes released after S2's broadcast. Following this, the film's emulation of the structure of the TV show isn't as effective on the big screen, and it meanders between mildly amusing comedy scenes before staging what is essentially an encore of S2's finale. While the movie's big budget is much appreciated, the locales of London don't hold a candle to the lived-in atmosphere of the Music Room. The animation staff likely had a lot of fun traveling in the UK to bring this impromptu vacation to life, and the film's backdrops showcase yet another level-up in the visual department. Still, I don't think Yamada necessarily improves all that much from her work on the TV series, and the introduction of camera shakes for half the film communicate questionable style over comfy substance. Overall, while an above-adequate movie, this sequel is overshadowed by the powerful moment of closure that it aimed to repeat. As painful as it may sound, I wouldn't mind being in a world where the iconic "I AM A BUCHOU" never happened. There just isn't a whole lot to justify the movie's central conceit of shifting the perspective of K-On 's final episode from Azusa to the seniors. However, things finally start to come together towards the amazing last 15 minutes of the movie, which I would have preferred to have seen as a bonus OVA, rather than a full theatrical release. Now, all this isn't to suggest that the K-On! Movie is devoid of merit. I'm just candidly sharing my experiences, and it would be disingenuous of me to suggest that the film makes for the ideal send-off for HTT. I think my reception of the movie is significantly impacted by watching it so soon after S2, so maybe keep that in mind if you're planning on binging the series yourself. Personally, I'd recommend saving K-On! Movie for a rainy day, and giving it a watch as an alternate, less time-consuming means of revisiting the gals. 6/10~

With that cute last encore, K-On had done the impossible and cemented its anime legacy for years to come. With both fictional and real-life iterations of the band having stepped away from music, the IP's popularity did recede with time. Mangaka Kakifly's repeated attempts at reviving the franchise never really got off the ground in quite the same way. As a commercial juggernaut, K-On certainly received more praise for the product than the person who put it together. At the time, Naoko Yamada's contributions to the show may have been understated in the public eye, but they did not go unnoticed within her studio. Kyoto Animation was convinced that Yamada's big break was no fluke. The young animator's short yet exponential rise in the industry demonstrated undeniable talent, with no signs of slowing down. KyoAni's old guard of trusted animation veterans were counting on her to take the studio to new heights. All eyes were on Yamada and her new venture — one made more bold and daring than her last, thanks to a big new development: complete creative control. Was the weight of immense expectations too much, too soon for the aspiring director? Well, we'll just have to wait and see.

But maybe not for long though. Y'all real ones know how slow I was with dropping this review, tee-hee.

Oh, and if you happen to like my verbose rants, feel free to check out my other reviews for seasons past and present. I also frequently post writeups under my list updates, so definitely take a peek if you'd like to see me mald over anime as they hit the airwaves. Peace~