The Infinite Zenith

Where insights on anime, games and life converge

Masterpiece Anime Showcase: Tamayura ~More Aggressive~, A Thank You For the Past Year and Welcoming the Brand New Year

“A year full of new encounters and wonderful experiences has come to a close. In its place, a new one has begun. I’m sure more encounters and wonderful experiences await.” –Fū Sawatari

It’s been a year since Fū returned to Takehara, and while Fū reminisces about all of the wonderful things that had happened in the past year, she is encouraged to try something new after Chihiro sends her a message. Fū ends up creating a new Photography Club at her high school and meets Kanae Mitani, who had taken a picture of Fū which ended up being featured in a magazine. Although Kanae is nervous about the club, Fū welcomes her with open arms, and seeing the photos leads Kanae to join. The Photography Club thus go on a range of experiences together. Fū and Kanae strive to find photos for a festival presentation, participate in a cherry blossom photography contest and even participate in a photography exhibit featuring Riho’s works, all the while retreading the scenery Fū’s father had once known. Chihiro and Tomo later visit Takehara, and Fū encounters one of her father’s old friends, Nozomu Natsumu, during the Path of Longing Festival; despite his cold manner, Fū is grateful to have met him and hear him speak of their time together as high school students. Kanae has come to greatly treasure her time spent with Fū and her frineds in the Photography Club, and suggests a trip over to Mitarai, where Maon had been planning on going to attend a concert. With the end of year fast approaching, Kaoru decides to host another We Exhibition: this time, everything will be organised based on the seasons, and although the event is a complete success, Kanae is saddened at the thought of having to part ways with everyone. During a New Year’s sunrise viewing with Fū and the others, Kanae finally allows her emotions out into the open, admitting she didn’t wish to graduate because Fū had done so much for her. In the new year, Fū’s celebrates her father’s birthday and goes to get her camera repaired, but begins thinking about how she’ll have to part ways with Kanae, Norie, Maon and Kaoru someday. To take her mind off things, Fū’s mother takes Fū out to the spot where her father had proposed to her and reminds Fū of how far she’d come. On graduation day, Fū, Kaoru, Norie and Maon attend to congratulate Kanae, who’s been accepted into her first post-secondary institution of choice. Looking back on the past year, Fū is immensely grateful to her parents, who’ve made all of these experiences possible. Having spent ~Hitotose~ rediscovering her passions, Tamayura ~More Aggressive~ lives up to its title by having Fū take a bold step forwards and leading her school’s photography club. The phrase is derived from Chihiro’s encouragement for Fū: to be more confident, assertive and decisive. Although she’s quite pensive about things initially, being able to start the photography club and make new memories with Kanae helps Fū to become more confident with herself, and in the process, the pair create irreplaceable memories.

Owing to the plethora of pleasant memories that Fū and Kanae share together during their time in the Photography Club, Kanae comes to realise that thanks to Fū’s determination, she was able to do the sorts of things that she’d only once dreamt of doing. Prior to meeting Fū, Kanae had primarily focused in landscape photography, and since she uses a digital camera, she deletes images that don’t turn out well. Conversely, Fū is fond of photographing the people around her, and a film camera means the mistakes are retained alongside the successful shots. While Fū is Kanae’s junior, her approach to photography is inspiring enough to lead Kanae to try new forms of photography, and she ends up gaining new perspective as a photographer. At the same time, Kanae is also able to spend time with Fū and her friends: the excursions that Kaori, Norie and Maon bring Fū and Kanae on become worthwhile photography outings, as well as a chance to learn more about the girl whose silhouette changed her world. These idyllic and enjoyable days feel as though they’ve come out of someone’s dream, and having not really lived quite so fully previously, Kanae comes to wish that such moments could last forever. Tamayura similarly creates a sentimental nostalgia during its run, creating a warming sense of comfort that one can find difficult to turn away from. However, as important as having these memories are, ~More Aggressive~ aims to convey to viewers that it is necessary to also turn one’s eyes to the future. While Kanae would’ve been happy living in the present, Fū’s outlook suggests that the only reason why new memories and moments can be made is because one takes the initiative of creating them. It is with an eye turned towards the future that the present can be enjoyed and shape the memories that one looks fondly back on, so for Kanae, a part of her time spent with Fū also entails finding the strength to part ways and take ahold of the future. In the end, as Fū had managed to take her first steps forward, Kanae is able to do the same: she’s got support from Fū, Kaoru, Norie and Maon, and so, is able to graduate with a smile on her face, ready to embrace whatever lies ahead. ~More Aggressive~ indicates plainly that so long as one has an open mind, the future will always hold the possibility of creating new experiences that one can add to their memories. Moreover, while people might part ways, the memories will always be a part of people who share time together: farewells aren’t always final, but it does take a bit of courage to take this step forwards. Fortunately, with great company in one’s corner, anything is possible: Kanae and Fū are able to do precisely this, and while they only spent a year together, the learnings and memories help both to look towards the future with optimism.

Because ~More Aggressive~ has Fū seizing the initiative to be a leader, it becomes clear that since ~Hitotose~, Fū is no longer just a passenger in life; during ~Hitotose~, Fū had maintained an open mind and accepted opportunities to learn more about Takehara and her friends. However, these events are instigated by those around her. Conversely, the decision to start a photography club signifies how Fū has both made peace with the past and found new joy in her life, enough now to want to share her feelings and expressions with others through photography. Although Fū remains nervous, she also gradually becomes more confident in communicating her thoughts to others: at ~More Aggressive~‘s beginning, she is unable to articulate the Photography Club’s functions to others and botches her introduction at the club president meetings, but as she accepts opportunities to perform at festivals, participate in contests and even submit work for a professional exhibition, Fū finds her footing and is able to guide Kanae, too. Fū is no longer a mere passenger at the end of ~More Aggressive~, becoming a driver possessing a better sense of where she’s interested in going. It is though a combination of support from friends and family, as well as Fū’s own resilience and open-mindedness that allow her to reach this point: as Fū’s mother tearfully notes, Fū was able to do all of this of her own accord, welcoming people into her life and embracing all aspects of life, both the good and bad, as they come. This is consistent with how Fū approaches photography: she keeps all shots whether or not they turned out well, and this symbolises both the enjoyment of happier moments, as well as being mindful of learning moments. The sum of these learnings are valuable to Fū, but they also have a tangible impact for those around her: Kanae’s entry into the Photography Club is a turning point in her own life. While she’d been worried about having no drive or direction for the future, Fū and her friends, plus all of the people in their networks, help Kanae to spot something that hadn’t been obvious: people live life at their own pace, find inspiration at their own pace and cast off towards their future at their own pace. There isn’t any need to worry about what others are doing; so long as one can find their own footing, they’ll be fine. Meeting a more confident, capable and aggressive Fū ends up changing Kanae’s world for the better, as well, and in this way, ~More Aggressive~ absolutely does live up to its title, bringing into Tamayura a dash of confidence, knowledge transfer and exciting new opportunities that only result from a combination of friendship, family and an open mind.

Screenshots and Commentary

  • Unlike ~Hitotose~, I actively wrote about ~More Aggressive~ after its airing concluded. As the story goes, after I graduated from the Bachelor of Health Sciences programme, I became melancholy as all of my friends were going their separate ways, and a one-in-a-hundred year flood ravaged my province, in turn removing my chance to hang out with friends and do a kokuhaku. I did receive an NSERC USRA and ended up building a peer-to-peer simulation, which allows different computers to focus on computing results for one area of the body, and then transmit this data to a peer on the network so that each machine could also see results from the other groups. However, this was punctuated by melancholy that seemed quite far removed from the beautiful weather we had following the flood, and I lost motivation to watch anime.

  • For no good reason other than for my amusement, I’ll showcase a moment with Kaoru and her shapely legs while she’s chatting on the phone with Chihiro: Kaoru, Norie and Maon had all noticed that Fū seemed off her game, even more so than usual. Having known Fū for so long, Chihiro reassures Kaoru it’s fine, and that this tends to happen when Fū is making a big decision. It speaks volumes to the support that Fū’s had from her friends over the past year, and that Fū is contemplating something big shows that she’s come very far since returning to Takehara.

  • Because my post on ~Hitotose~ didn’t once have a screenshot of Momoneko-sama, I’ve decided to include one here to compensate for that oversight. Fū’s tendency to get lost in the moment whilst search of a good photo creates comedy, although on this morning, her friends aren’t convinced that Fū’s her usual self. After some coaxing, Fū finally makes it known that she wanted to start a photography club at her high school, even though the path to kicking off such a club would require a bit of work. This decision shows that Fū’s now wanting to share her joys with others, the same way her father’s photos touched the hearts of many. In retrospect, I might’ve benefited from watching ~More Aggressive~ while it was airing: I finally started in September, when my open studies term began.

  • While ~More Aggressive~ did help me to relax, the melancholy I found myself amidst meant that I ended up missing the series’ main themes. The approach of winter, and thoughts of a wasted summer left me in a depression, and I found myself longing to be somewhere like Takehara whilst lamenting the shortening days and cold weather. I’ve always wished to revisit ~More Aggressive~ under happier circumstances, and as such, after I watched ~Hitotose~, I figured that, rather than waiting for September 2023 to do a ten-year anniversary reflection, I figured now would be a good time to go back through ~More Aggressive~. This time around, I feel that I got more out of ~More Aggressive~ than I did eight years earlier.

  • For Kaoru, Norie and Maon, concern turns to excitement as they cheer on Fū’s efforts to run her new club after Kazutarō pulls some strings and manages to secure approval for the Photography Club. However, it’s not easy-street just yet: besides needing to attend club president meetings and give an introduction in front of the entire school to explain her club’s functions, Fū must also recruit for new members. Things become more complicated after Mutsuko Shimokamiyama, a new instructor whom Kazutarō has asked to advise for the Photography Club, becomes excited about photography competitions and shows a magazine sporting a photo that Kanae Mitani, one of the seniors, had taken.

  • While Kaoru, Norie and Maon become worried that Kanae might show up to challenge Fū’s Photography Club, they decide to help Fū out in whatever way they can: during one club meeting, Kanae does show up, but promptly leaves. As it turns out, Kanae is very similar to Fū in disposition, and she’d simply been too nervous to ask about joining that day. These sorts of misunderstandings create the impression that Kanae is disapproving of the Photography Club where in reality, nothing of the sort holds true. I imagine that seeing Fū’s friends also would’ve left a lasting impression on Kanae: while they’re somewhat clumsy, they’re also well-meaning and kind.

  • Kazutarō had only a limited presence in ~Hitotose~ outside of the classroom, but his puns are supposed to be legendary in terms of how bad they are. While a bit hot-blooded, he also cares greatly for his students, and goes out of his way to assist them however he can. ~Hitotose~ had suggested that Kazutarō has a crush on Chimo, and he goes out of his way to impress her however he can. As a teacher, Kazutarō is also highly competent in spite of his bad puns. He ends up suggesting that she participate in a local festival to improve her confidence, and Fū accepts, feeling that it’s a fine chance to also get word out about the Photography Club.

  • Without Norie, Kaoru and Maon around, Kanae is able to share a one-on-one conversation with Fū, clearing up the confusion that had arisen during their first meeting. Kanae is voiced by Ai Kayano, whose resume includes GochiUsa‘s Mocha Hoto and Saori Takebe from Girls und Panzer. It turns out that Kanae had long wanted to meet the wistful-looking girl from her photo; Kanae normally prefers shooting landscapes, but had always hesitated when it came to human subjects. Under the Path of Longing that night, Kanae was filled with a desire to take this moment, and this single photograph would set her on a course to meet Fū, showing how certain moments can bring people together in unforeseeable, but ultimately meaningful ways.

  • With Kanae now a member of the Photography Club, activities entail shooting photos around their school. Kanae is impressed that Fū is able to simply walk up to people and ask them for permission before taking a picture. Fū herself has never realised it, but when she’s in her element, she’s very composed and confident. Kanae herself begins ~More Aggressive~ more timid than Fū had been. Spending time with Fū helps her to mature and become, in the series’ words, “more aggressive”. This phrase sounds a little unusual in English, and I imagine that it’s a bit of wasei-eigo: in the context of Tamayura, it simply means “more confident and assertive”.

  • On the day of the festival, Kazutarō burns his hands while serving customers, leaving him unable to play the guitar. Chimo was originally set to sing for the presentation, but since she’s busy tending to Kazutarō, this leaves Fū and Kanae to go ahead with the show themselves. While they’re initially embarrassed to sing a modified version of MomonekoOndō, they soon find their rhythm and begin performing more earnestly, impressing the crowd with both the show and photo display. This moment shows that when it comes down to it, both Fū and Kanae can do what they set their hearts to. During this time, Fū also becomes curious about a photo of a blossoming cherry tree that her father had taken years ago.

  • Fū’s mother explained that their father had planted one for her, and one for Kō, when each had been born, then left the location a mystery so that he could one day take them to find them. While this would never happen, on the day of the performance, Kō and Komachi had ended up following Momoneko-sama to the trees. Overjoyed, Fū takes a photo of the moment, and finds the tamayura phenomenon in the resulting photo. That Fū and her friends end up finding these cherry trees on their own is a superb metaphor for Fū’s learning to support herself in the aftermath of her father’s passing, and this moment is a particularly momentous one, since the coveted tamayura make an appearance.

  • From a technical perspective, tamayura are better known as backscatter: this normally occurs when camera flash picks up airborne particles like dust or pollen, or matter on the camera lens, creating artefacts in the resulting image. While such artefacts are typically seen as undesirable, Tamayura changes this and supposes that what would normally be counted as a defect is in fact, a blessing in disguise. This particular interpretation of backscattering speaks strongly to the themes in Tamayura and reminds viewers that what’s unexpected, or even unwanted, can actually be beneficial, creating memories and experiences far exceeding one’s original expectations.

  • When Mutsuko asks if Fū and Kanae are interested in participating in a cherry blossom photography contest, both accept with enthusiasm, but are troubled by the fact that since it’s so late in the year, most of the cherry blossoms have fallen off the tree. Kanae is understandably disappointed, but Fū manages to turn the day into a chance for exploration. After the two swing by Café Tamayura, they run into Sayomi, who damaged her Mazda 5 and is working to earn enough to pay for the repairs. She agrees to take them to a special spot where the cherry blossoms are in full bloom.

  • On the day of the excursion, while Sayomi’s banner causes Kaoru and Norie no small amount of embarrassment, the spot she brings everyone to is nothing short of breathtaking. Fū and Kanae take many wonderful photos here, and although Mutsuko is shocked to learn that the deadline for the competition had long passed, both Fū and Kanae ended up having a wonderful time anyways. A longstanding lesson from Tamayura that I still find myself in need of mastering is precisely this: things don’t always go according to plan, but sometimes, surprises end up creating something that far exceeds expectations.

  • During the summer vacation, Fū hits the beaches alongside Kanae, Kaoru, Norie and Maon. A quick look around finds that, while there aren’t any beaches within walking distance of Takehara, islands within the Seto Inland Sea host some pleasant beaches. During the summer, the Seto Inland Sea can become quite warm and reach temperatures of above 20°C, making it perfect for swimming. Fū is more interested in photographing the sights of the beach. If I had to guess, they’re at Ōkushi Beach on the western edge of Osaki-Kamizima Island owing to the presence of mountains.

  • Riho unexpectedly appears with one Harumi Kawai, who knows of Fū’s father through their work together. From what ~More Aggressive~ shows, Harumi was Fū’s father’s junior at work, and this reveals that Fū’s father was a travel agent. Much about Fū’s father remains unknown in Tamayura, and a part of the series’ joys was watching Fū slowly learn more about him through all of the people whose lives he’d touched in some way. It turns out that Harumi and Riho have a surprise planned out for Fū: back in Takehara, they invite her to join them on a trip to Onomichi, a town about 30 kilometres east of Takehara, where Harumi plans on looking around for spots that could be worth including on a tour of the area. While Harumi suggests that she wants Fū’s perspectives to help guide things, she and Riho actually do have another reason for suggesting this trip.

  • Par the course for any outing in Tamayura, ~More Aggressive~ shows how the smaller moments and the unexpected can prove more enjoyable than what was originally planned. Harumi conveys this to Fū: back when they’d worked together, Harumi had been quite the stickler for plans and during their first assignment together, Harumi had promptly shot down Fū’s father and his plans to wander off the beaten track. This part of Fū’s father is imparted in Fū: both share a love of wandering and exploring, and here, I note that I’m quite similar to Harumi in that I prefer following a plan, but if something crops up that causes me to go off-mission, I’m able to roll with it. This happens frequently when I go for strolls nearby, but I’ve also done something quite similar during a trip to Kelowna and Penticton with the family two years earlier.

  • We hadn’t planned on half of downtown Penticton being closed on the day we visited, and I only was able to find one restaurant that was open, Bellevue Café. We thus spent the morning exploring the SS Sicamous before enjoying a brunch here, where I ordered their huevos rancheros. On the same day, after I had planned out a trip to a honey farm in Kelowna, I was surprised to find the big farm had closed for the day. A bit of quick thinking allowed me to find another place to visit, and that particular vacation ended up being super relaxing. I still could improve on my adaptability to changing situations, but I do think that compared to the me of eight years earlier, I’m a ways better now. Tamayura is a love song to the Setouchi region and its immense beauty: the Seto Inland Sea’s regulating effect on temperatures means the whole area has a moderate climate and consistent temperatures year-round.

  • The climate of the area is, in short, perfectly suited for providing Fū with an unending stream of opportunities to discover and explore, although looking back, I would imagine that no matter where Fū had been in Japan, with the right people beside her, Tamayura would’ve conveyed its messages all the same. Between Harumi’s knowledge of destinations and Riho’s professional photography skills, the work gets finished on short order, and this in turn allows for Harumi to focus on what they’d come to Onomichi for beyond her work obligations. The day had been quite special, as Fū was able to learn a little more about the work her father had done, as well as check out some of Onomichi’s sights. However, there’s actually quite a pleasant surprise around the corner for Fū, as well.

  • Riho and Harumi bring Fū to a local bakery with some superbly fresh and delicious looking breads: while such breads are usually associated with breakfasts or lunch, I have picked up a few meat buns and pizza buns and calling it dinner during times where I couldn’t sit down to a standard dinner. In Tamayura, food plays a significant role – whether it be the okonomiyaki at Hoboro’s, or the sweets Norie creates, food adds another dimension to a memory; Fū will forever recall the bread she enjoys before heading over to their last destination for the day. For me, ~More Aggressive~ reminds me most of the poutines I had on campus while the food trucks were over during my time as a student. I still remember watching ~More Aggressive~‘s finale in 2013 with Waffle & Chix’s legendary Fried Chicken Poutine in hand, and since then, I’ve become somewhat of a poutine connoisseur.

  • It turns out that the big surprise that Harumi and Riho had planned for Fū was to take her to a Bed and Breakfast run by an older couple who’d known Fū’s father. Long ago, the couple’s children had moved out, and they’d wanted to start a Bed and Breakfast, but things had seemed quite difficult. While Fū’s father and Harumi were in Onomichi, they ended up visiting, and during a conversation, Fū’s father made was once a seemingly outlandish idea feel more and more like a reality. This moment is particularly touching, in showing the positive impact Fū’s father had on those around him – for Fū, it’s the surest sign that even though her father is gone from this world, the wonderful things he contributed to endure.

  • More so than even ~Hitotose~~More Aggressive~ is a celebration of Fū’s father’s life, and bringing Fū to this particular Bed and Breakfast was meant to show the owners Fū is doing well. It’s a bit of an emotional moment, and for Fū, the day ends up being memorable both because it shows how things like a positive spirit and photography can bring dreams to life in unforeseeable ways, as well as how kindness connects people together. Through Harumi, Fū also learns about what her father had done for a living, and in retrospect, being a travel agent is something that someone with a keen eye for creating memories would be suited for. In turn, Fū provides feedback to Harumi and suggests that the best tour experiences seem to come from allowing people to connect with one another through open-ended events: this outcome helps Harumi structure a more enjoyable tour, and ~More Aggressive~ indicates that one act of kindness always deserves another.

  • Once Fū’s back in Takehara, their next major adventure comes when Sayomi offers to drive Fū and her friends all the way over to Shioiri so that they can meet up with Chihiro and Tomo. This drive is not a joke: a quick glance finds that the fastest possible route has a road distance of 775 kilometres and requires around ten hours and eighteen minutes to complete. To put things in perspective, this would be equivalent of driving from my hometown to Regina, Saskatchewan, one province over. The main difference is that our highways have a much higher speed limit, and a distance that would take over ten hours in Japan is something we can cover in three quarters of the time.

  • This speaks to Sayomi’s incredible endurance, although folks wondering about whether or not her Mazda 5 can handle this shouldn’t worry: the Mazda 5 is a brilliant vehicle. Conversely, when Sayomi does arrive in Shioiri near Chihiro’s place, inattentiveness causes her to nearly hit a brick wall, and she manages to stop only just in time. Having driven now for over a decade, I appreciate that ~More Aggressive~ is exaggerating Sayomi’s poor driving habits for comedy’s sake, but this is the sort of thing I complain about vociferously whenever I encounter it. Fortunately for her, Kaoru and the others are on hand to, similarly vociferously, make it clear that they’re not happy about Sayomi’s driving. These funny faces are particularly funny, and Maon’s expression here actually brings to mind the likes of ARIA‘s Akari Mizunashi.

  • For Fū, Kaoru, Norie and Maon, it’s great to see Chihiro again. This time around, Chihiro brings Tomo, and while Tomo had been similarly shy, once she opened up to Chihiro, she chatted away like a tree full of birds. Like Norie, Tomo has a very boisterous personality, although both express themselves differently: Norie tends to squeal in joy, while Tomo asks a seemingly endless stream of questions. Although Tomo seems conscious of this, everyone around her is quite understanding of this and do their best to answer her questions where they can. It becomes clear that everyone gets along as well as peas in a pod might, and once the introductions are done, Tomo and Chihiro take everyone on a tour of Shioiri’s best spots that only locals might know about, including a burger joint that serves burgers worthy of Big Jud’s in Boise, Idaho.

  • That Fū is able to share her thoughts so candidly is another not-so-subtle sign that she’s recovered much of her original spirits. When Tomo asks Fū, Fū is able to be truthful about things, and in this way, Fū is able to help Tomo connect better to her, as well. This sort of sincerity is one of the details that made ~More Aggressive~ so enjoyable to watch. During my first experience of the series some eight years earlier, I commented on how I found the atmospherics to be highly relaxing, but otherwise, didn’t really touch on the themes and small details that really added to Tamayura. I’ll take a bit of time to reflect on my younger self and note that this was because back then, I was a ways more immature and less attuned for these details.

  • According to those older posts, I was in the middle of applying for medical school at the time (I didn’t outright say so, but back then, I held aspirations for a career in medicine). In these posts, my younger self gives every impression that having Tamayura around was simultaneously helpful in allowing me to unwind and, for the duration of an episode, not worry about what the applications’ outcomes would be, but at the same time, it also reminded me of how much I had missed out on during the summer after I graduated. I write at length lamenting how I wasn’t able to travel. Looking back, I was being very ungrateful. That summer, I did end up heading out over to Jasper and Edmonton during late August for a short, but still relaxing and enjoyable trip, during which I picked up the fourth volume of The Disappearance of Nagato Yuki-chan while waiting for a table to open up at The Keg.

  • The me of today knows better, and this is one of the reasons why during the past two years, the inability to go places hasn’t really affected me anywhere as strongly: rather than lament what I can’t do, I’ve focused all of my efforts towards bettering my own situation. This time around, I’m happy to say that my efforts are purely for myself, and in this way, I feel that I was able to apply the lessons from Tamayura to my life more wholly than I had eight years earlier. As it was, being able to go back and rewatch ~Hitotose~~More Aggressive~ has given me the chance to enjoy both series anew: especially in the case of ~More Aggressive~, I feel that I’ve gotten a great deal more out of Tamayura this time around. Going through ~More Aggressive~ again also means that at present, I feel like I’m really able to say I made peace with some of the things I regretted in the past.

  • I suppose this is appropriate: this is, after all, a New Year’s post, and entering 2022, there is much to be grateful for, and much to look forwards to. Back in ~More Aggressive~, during a sparkler competition during the summer festival, Fū is able to experience anew the feelings she had when her father had photographed her during said competition. This side of Fū was one I never expected to see, and as such, knowing that Fū also has a talent for remaining so perfectly still that her movement is imperceptible, adds new dimensionality to her character. In the end, Fū only reaches the quarter finals, but she still has a wonderful time and shows her friends that past memories are a source of inspiration for her now, rather than a cause for grief.

  • Chihiro accompanies Fū back home to Takehara, where she meets Kanae and Mitsuko for the first time. The fireworks photos that Fū had taken turned out quite blurry, and while both Kanae and Fū are discouraged, Fū ultimately picks up a few tips from Riho (use a low ISO, a small to mid-range focal length and turn the flash off), and Riho invites Fū to participate in a photography exhibit she’s presenting in. Fū feels that she has to earn her place at something of this calibre and promises that, if she can shoot good fireworks photos, then she would submit something for the exhibit.

  • When she and Chihiro recall a promise they’d made as children, where they’d try to find a secret spot Fū’s father once brought them to, they express an interest in taking another stab at finding it. However, Kanae had accepted one of Sayomi’s invitations for a random adventure, and Sayomi ends up pulling everyone aside to a spot far from the festival, from which to watch the fireworks. Despite the show being much smaller, Chihiro feels that this is the spot Fū’s father had been thinking of. The two shed tears at the thought of having been fortunate enough to fulfil a long-standing promise, and ultimately, both Fū and Kanae end up with good fireworks photos.

  • Ever since Fū started the Photography Club, her second year back in Takehara has progressed at a breakneck pace, and even in a series as laid-back as Tamayura, time is flying. Autumn soon arrives, bringing with it the Path of Longing festival, and as yet another reminder of how Fū is more proactive now, she and her friends are active participants now, helping to set the event up so that others may enjoy it. Here, Fū and Kanae make one of the bamboo shoots festival ready by drilling their patterns into it, and the choice of art they provide mirror on their being thankful about all of the people in their lives.

  • At Hinomaru’s shop, Fū gets her latest batch of developed photos back. The focus on showing how Fū and her friends spend appreciating ordinary moments like these exemplify how Tamayura places a great deal of worth on everyday occurrences that we take for granted, acting as a reminder to treasure them because nothing can last forever. Even the act of going to a shop in order to get film developed is now something from a bygone era: I vividly remember that in the early 2000s, digital cameras were just coming onto the scene, and in their excitement, my parents bought one, but never bought a proper memory card for it, so said digital camera could only hold around 32 photos in its internal memory. The image quality was also eclipsed by regular film, so the digital camera became more of a novelty. A few years later, digital cameras with an acceptable 4 MP resolution began appearing, and that was when we finally switched over.

  • Nowadays, the average smartphone sports a 12-16 MP back camera, and using onboard algorithms, can take stunning photos. The world has changed dramatically, and the act of sharing photos has now gone from going to a print shop and ordering prints to mail to friends, to throwing them up onto WhatsApp or FaceTime. In this way, the world shown in Tamayura is also a bit of a love letter to an older time, when things were slower and people could really enjoy being in the moment. Upon returning to Café Tamayura, Fū and her friends run into Nozomu Natsume, a severe-looking man who was friends with Fū’s father and Hinomaru back when they were high school students. He’d come to Tamayura to meet Fū, but his blunt manner swiftly angers Kanae: when he critiques the composition of Fū’s photos, Kanae can no longer hold back and counters that there’s a joy in Fū’s photos.

  • However, Fū’s mother points out (likely for out benefit) that Nozomu’s always found it tricky to properly express how he feels about things. To take their mind off things, Fū and Kanae spend the day photographing the Path of Longing, and here, they run into Riho, who’s attempting to capture an image of Momoneko-sama. However, even with her professional experience, a DSLR camera and remote shutter release, Momoneko-sama eludes her best efforts at a photograph. It’s something that further ties Fū together with Riho, being a reminder that there are some subjects that can elude one’s desire to capture, regardless of their skill level, and but this isn’t something to lament.

  • Fū and Kanae head back over to Hoboro with Riho, where they run into Nozomu. When Chimo overhears Nozomu commenting he’ll probably go somewhere else for dinner because the taste of the okonomiyaki he once knew might have changed, she storms out and dares him to at least try the classic okonomiyaki before commenting. In the end, Nozomu finds himself eating his words; Chimo’s creation perfectly matches the okonomiyaki he once remembered. With dinner over, Nozomu offers to cover everyone’s bills, before everyone heads out to take in the gently-lit streets of Takehara’s old town during the Path of Longing festival.

  • As it turns out, Nozomu still fondly recalls his time as a student, indicating that back in those days, he, Hinomaru and Fū’s father had done some pretty bone-headed things together. He apologises to Fū for not being able to offer anything more substantial, but for her, being able to hear about how her father had always been free-spirited and lived his love to the fullest extent possible. It turns out that Nozomu had been glad to finally meet Fū in person, and he asks that she keep on photographing the way she does now. Although people count me as being quite personable, I sometimes do find it hard to express myself, as Nozomu does, and while this does appear to be a shortcoming, Fū’s mother comments on how the harsher Nozomu sounds, the more he’s struggling to put his feelings into words.

  • From what we’ve seen, then, it’s easy to spot that Nozomu greatly misses Fū’s father, and likely refers to him in a distant manner to avoid recalling the grief from his passing, as well. Seeing that his spirit lives on in Fū gives Nozomu something to smile about. Nozomu is yet another example of how patience is vital towards understanding someone: whereas Kanae and Norie struggle owing to outward appearances, Fū’s gentle and patient disposition means that she is able to speak openly with Nozomu, allowing him to open up, as well. Admittedly, this is a skill that I am always in the middle of learning; it’s all too easy to make assumptions about others without making an effort to understand their own circumstance and thoughts, but as I am shown, both in reality and through works like Tamayura, there is always a story behind people worth listening to, and that, upon listening, one may find that people can be more similar, than different, to oneself.

  • When Kanae realises that there is a finite amount of time between the present and her graduation, she is seized with a desire to do a photography trip. Towards ~More Aggressive~‘s final acts, the focus shifts over to Kanae, who has come to cherish the time she’d spent with Fū and the others. Having seen the level of passion and sincerity that each of Fū, Kaoru, Norie and Maon pursue their interests, Kanae begins to feel a little left behind, as well. The photography trip ultimately becomes a larger experience when Kaoru determines they’ll be hosting another We Exhibition, and Maon’s parents invite everyone to Mitarai for a concert.

  • Kanae’s feelings are something that I’m sure everyone has experienced at some point in their lives; there are days where it can seem like everyone around one has a concrete, well-defined game plan for their future, where as one does not, and for Kanae, she’s also envious of the fact that everyone had a pivotal moment that encouraged them to start on things. However, ~Hitotose~ did indicate that while people pursue their own goals, they may also lose sight of the progress they’ve made, especially if they’ve not reached that goal yet. A major part of things as the New Year approaches is Kanae coming to terms with the fact that graduation is inevitable.

  • I certainly felt as lost as Kanae did eight years earlier; being in open studies was my gap year, and in the moment, it did feel as though I was spinning my tires. In retrospect, that particular gap year ended up setting the stage for my graduate studies work. During the winter term, I enrolled in an iOS class after speaking to my supervisor about my unsuccessful medical school applications, and in that class, I worked on creating a navigation system for a mobile version of the lab’s game engine. This project was quite unrelated to what I would work on in graduate school, but my supervisor ended up using it as a demo for Jay Ingram to show how we could do 3D fly-throughs of anatomical structures. Jay subsequently asked, could the same be done for the brain using a newer, more efficient game engine?

  • I was tasked with finding the answer using Unity, and within a week, I had not only found the answer was “yes”, but I’d also put a prototype together. This laid the groundwork for the Giant Walkthrough Brain, which itself would form the basis for my thesis work. From a career standpoint, this was the turning point, the milestone that Kanae had been seeking out. She ends up speaking with Kaoru and Norie, as well as Maon’s parents, and from the latter, she gets an answer chock-full of wisdom: people hit their milestones when they hit them, and there’s no need to rush things, because everyone’s different. Maon’s father compares it to waiting for the tides; everyone will set sail eventually, but different people set sail at different times. Kanae is encouraged, and comes to realise her magic moment was when she decided to take the plunge and join Fū’s Photography Club.

  • While out and about with Fū earlier, Kanae had encountered a beautiful girl with raven hair singing a song. When this girl spots Kanae, she greets her with a smile before continuing on with her song. Later at the concert, Kanae is surprised to learn that the girl she encountered is actually the performer. As far as I can tell, she’s never named in Tamayura, but the credits lists her as being voiced as Micco, a member of the two-person band Marble. Micco provides the vocals, and on stage, Tatsuya Kikuchi provides the acoustic guitar. I would imagine that the singer’s likeness is to Micco.

  • Maon is overcome with emotion: it turns out this singer is who had inspired her to one day perform at Otome-za, and it can only be described as fate that she’s able to see this singer perform again. To be able to see such a show in the presence of those most important to her is greatly inspiring for Maon, and in this moment, I couldn’t help but feel the warmth, too, attesting to how well Tamayura is able to convey emotions to viewers. Curiously enough, the song she sings here, 希望のカタチ (Hepburn Kibō no katachi, literally “The Shape of Hope”), is Kaoru’s image song. The Tamayura OST is filled to the brim with warm, sentimental and nostalgic songs that have brightened up my day.

  • Having taken several photographs they’re both proud of, Fū and Kanae end up submitting several to Riho’s exhibition. It is clear that Fū and Kanae’s craft have both improved enough so that they feel confident enough to accept an invitation to showcase their work alongside that of a professional. Towards the end of ~More Aggressive~, the pacing accelerates greatly, and afterwards, the We Exhibition is hosted. Something I failed to notice previously was the fact that Kaoru had done a theming this time around: the showcases are all designed around the seasons of Takehara, with sights, scents and tastes surrounding each of spring, summer, autumn and winter. Kaoru has evidently upped her game with this second We Exhibition; it’s more organised and bolder than the first.

  • This time around, Kanae and Komachi are both present to help out, and even Chihiro sends over a special tapestry that she’d made with Tomo, depicting each of Fū, Kaoru, Norie and Maon in their element. Reflecting the girls’ confidence, this second We Exhibition sees a full house from the very moment it opens, and ~More Aggressive~ spends less time on things, showing how once everyone’s gotten things down, the event proceeds very smoothly. Fū and Kanae are both able to speak of their photographs, Kaoru feels more at home in talking about her potpourri techniques, Norie’s more confident in showcasing her sweets, and Maon’s story is something attendees look forward to.

  • The second We Exhibition feels almost like a side note, secondary to the growth each of Fū, Kanae, Kaoru, Norie and Maon have had: whereas the path to the first We Exhibition had its share of challenges, this time around, things proceed more smoothly, and Fū is able to even include Komachi and Kō’s participation right from the start to create a more cohesive experience for attendees. The second We Exhibition thus feels bigger, more polished and reflect a year’s worth of progress, but at the same time, viewers see a little less of things, too, to show that at this point in time, everyone’s grown enough so putting on an event like this is straightforward.

  • For me, the We Exhibitions have always represented the act of seizing the initiative to do something memorable, and in doing so, came to serve as the culmination of a year’s worth of experiences for Fū and her friends. However, by definition, the nature of the We Exhibition means that Fū has not only made these personal discoveries, but on top of this, is sharing her experiences with the community. By giving back to Takehara, the We Exhibition is the ultimate way of saying thank you to Takehara and its residents for having been an essential part of their journey.

  • This year, Kanae joins Fū and her friends on their New Year’s Eve Shrine visit while Fū’s mother and grandmother speak with Maon’s parents about how far everyone’s come, and how in supporting one another, everyone’s been able to elevate one another to new heights. After praying for another wonderful new year, the girls return to Café Tamayura for some rest. Fū and Kanae spend some time reflecting on the past year, bringing tears to Kaoru, Norie and Maon’s eyes: that Fū was able to shape someone else’s life so profoundly was the surest sign that she’s able to fully stand on her own, and her friends are filled with indescribable joy at this. However, the moment’s calm is shattered when Sayomi shows up with another adventure in mind.

  • Unlike the previous year, where her lethal driving sent her Mazda 5 over a ditch, this time around, Sayomi’s decided to go for an ocean sunrise instead. Compared to the screenshot I had in my original discussion for ~More Aggressive~, this sunrise is far sharper, far richer in colour. My old screenshots look positively drab and faded by comparison. This comes as a result of my using the BDs as a source for my images, but the improved image quality can also be a metaphor for the fact that I return to ~More Aggressive~ with a much different outlook on life, and for this, my resulting experience was far more colourful.

  • The prospect of a new year fills everyone with joy, but it is here that Kanae realises that now that the We Exhibition is in the books, she must turn her eyes towards her own future. Not wanting the year to arrive, Kanae bursts into tears and admits that she’d wanted these joy-filled days with Fū, Kaoru, Norie and Maon to last forever. Tamayura had held the viewers’ hands throughout its run and made it feel as though we were there alongside everyone, every step of the way. The tears Kanae shed here feel correspondingly tangible, and I was gripped with a wish that Tamayura wouldn’t end, either. Such a moment is befitting of a finale, but ~More Aggressive~ chose to show this as yet another moment to remember: the finale is set during the spring, around Kanae’s graduation.

  • Three months later, Fū and her friends celebrate Hinamatsuri (Doll’s Day), a religious festival in which ornate dolls are laid out to celebrate marriage and family. Fū’s camera has malfunctioned, and she’s taken it in for repairs, so on this Hinamatsuri, there’s no chance to capture photos. This leaves Fū to enjoy the day through her own eyes, a befitting message for ~More Aggressive~‘s finale. Here, Kō and Komachi show up, much to Norie’s chagrin. Kanae appears shortly after with her trademark Pentax Q, intent on photographing everything in sight.

  • As it turns out, Kanae’s made it into her first choice of post secondary and is now awaiting graduation. She’s all smiles now, and the others are happy to hear that Kanae is doing well. The girls subsequently swing by Hoboro, where they learn that Chimo and Riho are going on an all-Japan tour to find the best okonomiyaki places around and gain the inspiration to help Chimo up her okonomiyaki game. This does sound like a wonderful idea, and looking back, okonomiyaki does feel like poutine in the sense that once the basics are present (a wheat-flour pancake with a special sauce and mayonnaise for okonomiyaki, and fries, gravey and cheese curds for poutine), the sky’s the limit. It might be fair to say that besides lighting my desire to visit Japan and eat okonomiyakiTamayura ~More Aggressive~ also made me into a poutine connoisseur.

  • It therefore should not be too surprising that when I hear ~More Aggressive~‘s opening song, Maaya Sakamoto’s Hajimari no Umi, my mind immediately goes to thoughts of enjoying a good poutine and watching a lone motorbike travel along a highway along the Seto Inland Sea. The imagery from the latter comes from Fū’s mother taking her on a short day trip as a means of giving Fū some time to enjoy the world even without camera in hand. They end up visiting Ōkunoshima (more commonly, Bunny Island), a place that was once a chemical weapons development site, but in the present day, it’s become a tourist attraction, famous for its large rabbit population. Even without her camera, Fū greatly enjoys the moment, and it suddenly strikes me that I’d completely forgotten that Fū and her mother visited Ōkunoshima together.

  • The final stop for the day is a gorgeous viewpoint overlooking the Seto Inland Sea: Fū’s mother explains this is where her father had proposed to her, and remarks that Fū had done something momentous, of not only being able to pick her self up after his passing, but also move forward. and seize the future. ~More Aggressive~ ultimately presents the idea that recovery is an ongoing process, and in some cases, being given the right encouragement will allow people to pick themselves back up. Going through Tamayura again has renewed my interests in visiting Japan, and now, on top of an onsen trip, I’d be interested in planning a trip to Takehara and its surroundings, too.

  • This is something I’ll look at in the future; for the present, all eyes are on getting my new place up and running. Back in ~More Aggressive~, Fū’s camera is brought back to an operational state just in time for Kanae’s graduation, and Kanae is now in fine spirits; no matter what happens, they’ll always have their memories of one another. Kanae will always think of Fū as President Potte, and several classmates, upon overhearing this, applaud appreciatively. Fū later returns to the Photography Club’s room and promises that she’ll do her best for the club in the new year, before expressing thanks to everyone who’d made the past year such a memorable one.

  • With this, my time in ~More Aggressive~ draws to a close. I will note that I have previously written about all four parts of ~Graduation Photo~, and reading through my old posts for each of Signs, Echoes, Longing and Tomorrow, I am happy to say that in graduate school, I found my path anew, and moreover, it was through ~Graduation Photo~ that I determined on the career that I would work towards. Altogether, Tamayura is a series that accompanied me through some tougher, uncertain times, and for having been a constant source of encouragement, positivity and inspiration, I count Tamayura a masterpiece for having tangibly improved my life and shaping my world views.

  • With 2021 in the rear-view mirror, I can say that the past year had been unexpected, full of surprises. There were some low points, but there were also highs, as well. I believe that I have succeeded in meeting the resolutions that I had set for myself, and exiting 2021, I take with me several new memories and experiences I am immensely grateful for. The only reason that I was able to accomplish my goals was because of consistent support from family and friends, as well as my peers in the anime community. For this, I’d like to thank my readers for accompanying me through the previous year.

  • To all of my readers, old and new, I’d like to wish you a Happy New Year! 2022 is a brand-new slate, just waiting to be explored, and while there are circumstances now that can make some things challenging, readers should be familiar with the fact that I am an optimist and a pragmatist through and through. Irrespective of what challenges lie ahead, it is my responsibility to handle things in a professional and measured manner. As such, I welcome 2022 warmly: no one will know what 2022 will entail, but the constant is that I whatever I get out of this new year is going to be determined how much I put in, and I look forwards to yet another year with both the people around me, and you, the reader.

Here I now stand, at the beginning of a new year. When I began 2021, I made the resolution to be “open to whatever opportunities arise that require my skills” from a professional growth standpoint, while my personal goal had been “maintain strong relationships with those who matter to me, such as keeping in touch with old friends”. I believe I’ve succeeded on both counts: I’ve become somewhat familiar with Java server and Android development as a result of having taken up a new developer position back in April, and spent some time catching up with friends as able while forging new connections. 2021 was also surprising in that I became a homeowner; between a new job and a new home, the past year has definitely been full of surprises, surprises that I certainly hadn’t foreseen coming into 2021. It is hard to say for sure what the future entails, but as Tamayura suggests, the future is friendly to those with the resolve to take those first steps forward, and a willingness to let others into their lives. As such, my 2022 resolutions are simply to be my best self. That is to say, I will strive to work hard and do right by those around me to build the best possible future, all the while enjoying the most of the present. The themes and learnings from Tamayura have had a nontrivial impact on my life, having found relevance from the time I was a student, right through to the present. ~More Aggressive~ had helped me to take a step back and count my blessings at a time when my future seemed uncertain. At the time, I had graduated from the Health Sciences programme with an Honours Degree, but at the time, I was not sure whether or not I’d be pursuing a career in medicine or software development. Between this, all of my friends parting ways and a failed kokuhaku resulting from a flood that ravaged the province, I’d been feeling very down to the point of sitting out all anime that summer. I ended up learning about ~More Aggressive~ once my gap year started (during which I was taking courses to satisfy medical school requirements and for an eventual entry into computer science), and while watching the anime, I found myself appreciating the sort of experience that Fū went through whilst leading the Photography Club. The cathartic, gentle atmosphere helped to take my mind off the fact that I’d just lost an entire summer, and although things wouldn’t truly recover until the next spring, when I was offered admissions to graduate school and accepted an invitation to work on the Giant Walkthrough Brain, the relaxing and moving story within ~More Aggressive~ did help to get me through a difficult winter. Having the chance to rewatch ~More Aggressive~ under dramatically different circumstances has only resulted in increasing my appreciation of this second season, and this time around, I was able to pick up on nuances that I missed out on eight years earlier: while things were quite tough back then, accepting an opportunity to better my situation via graduate studies set me on a course to where I presently am, similarly to how Fū was able to create new joys and memories with Kanae as a result of her decision to start up a Photography Club.

9 responses to “Masterpiece Anime Showcase: Tamayura ~More Aggressive~, A Thank You For the Past Year and Welcoming the Brand New Year

  1. David Birr January 1, 2022 at 07:59

    Heh. When I saw the screencap of Fū photographing Momoneko, my first thought was of a cameo by Tippy.

    Is Sayomi’s driving as bad as Yukari’s from Azumanga Daioh? The horrified looks on her passengers’ faces suggests it is. Somebody put together on YouTube an AMV of Yukari’s driving matched with Weird Al Yankovic’s song “She Drives Like Crazy.” It’s summed up when Ōsaka stammers, in the dub’s soft Texas accent, “We – we ain’t scared of roller coasters no more!”

    Like

    • infinitezenith January 2, 2022 at 11:31

      If I had to guess, Sayomi’s driving would be on par with Yukari’s as far as a willful disregard for safety goes, although the difference appears to be that Sayomi’s just ditzy and not observant of her surroundings, while Yukari is openly reckless (such as tearing through red lights). In other words, both are terrifying in their own right!

      Since Tamayura pre-dates GochiUsa, your point about the similarities between Momoneko-sama and Tippy lead to the question of whether or not Koi might’ve drawn inspiration from Momoneko-sama’s design.

      Like

  2. Michael E Kerpan January 1, 2022 at 09:58

    Thanks again for your advocacy of one of the best anime series ever made.

    I love how this shows balances nostalgia (sometimes tinged with real melancholy), enjoyment of the present, and processing concerns involving the future. I’m not sure any other series I’ve encountered has managed to handle this so well (if at all). It is hard to imagine a slice of life series being more fundamentally real-to-life than this.

    I love how “tamayura” is used here — in a gentle pun-like — for a certain sort of appealing (or annoying, if one is of a different mind) photographic artifact. As I understand it, the word actually means “moment”. And, after all, what do the best photos do other than capturing a treasurable moment — whether of transient beauty or transient togetherness of loved ones.

    It is hard for me to understand how such a precious show as this has gained so little interest in “the West”. It must have been sufficiently popular in Japan to get 3 seasons (the last with 4 higher-budget hour-long movies distributed by a major studio) — but clearly it didn’t resonate here (hardly) at all. This reminds me of the similar lack of interest in Shinji Somai’s incredible Ohikkoshi / Moving — probably the best film about a girl (with two beloved parents) having to cope with divorce and destruction of the way of life she was used to. It is the closest live-action equivalent of a Ghibli film (much more Takahata-esque than Miyazaki-like) I have seen (and it also seems like it could have been a partial influence for Spirited Away).

    I will keep hoping for proper bluray releases of this whole series, but it looks like a forlorn hope after so many years of neglect.

    Like

    • infinitezenith January 2, 2022 at 11:47

      Thank you for offering your thoughts 🙂 You’re right in that even among the iyashikei, Tamayura is standout for its portrayal of healing and putting one foot forward even in the light of melancholy and the fact that the present is fleeting. It’s helped the series to become quite timeless: a decade has passed since its airing, and despite this, the Takehara that Fū and the others experience feels very real. The fleetingness that ~More Aggressive~ portrays is consistent with the definition of 玉響, which is indeed a clever bit of symbolism for things!

      Now, as for why Tamayura is next to unknown on this side of the world, I think you answered that question a while back regarding K-On! (or, at the very least, the answer you provided has commonalities with what might be going on here). I took a quick look at the iyashikei genre and ended up finding a copy of Paul Roquet’s “Ambient Literature and the Aesthetics of Calm: Mood Regulation in Contemporary Japanese Fiction”, which was published to The Journal of Japanese Studies in 2009. Roquet found that the Japanese enjoyment of these cathartic series stems from stressors in Japanese life. Between disasters (both man-made and natural) and the effects resulting from things like the Lost Decade, created a desire for entertainment that portrays a more idyllic, almost utopian world where people can appreciate the ordinary.

      Perhaps, as a consequence of different lifestyles over here in the West, people don’t watch anime to see portrayals of everyday life and the associated learnings because of their impressions of Japan, as a cutting-edge, and oftentimes, unusual nation. In this way, iyashikei could definitely be seen as boring, especially compared to the likes of things like Gundam or Dragon Ball, and if distributors don’t see the potential for a market, risk-aversion then kicks in, hence the lack of any sort of English language release over here. On the flipside, Tamayura‘s continued success in Japan is similarly a cultural aspect: there’s a great deal of warmth in watching someone pick themselves up, especially in a society that values pushing oneself to the limit for the collective good.

      In general, I feel like the West doesn’t really have a taste for slice-of-life as a whole, and television shows that are close to what we might count as slice-of-life anime will inevitably have a comedy component to it, too (e.g. Big Bang Theory or Seinfield). It is unfortunate, but I do find that people over here could stand to appreciate the smaller things in life, too: life isn’t always a sit-com or workplace drama, after all. I’ll see if I can take a closer look at Ohikkoshi as time allows, and I share your hope of a formal Tamayura release in the future, although I will note that I am also grateful that there are at least means (albeit dubious ones) for watching shows like Tamayura, too 🙂

      Like

    • infinitezenith January 10, 2022 at 22:57

      Thanks for the share! From what you’ve shown, it looks like I’ll have a rough go at it if I do decide to try and watch Ohikkoshi, but having your post gives me at least some insight into what the film does well 🙂

      Like

  3. Pingback: The February 2022 Jon’s Creator Showcase #TheJCS | Animated Observations

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