Kongming is one of the most accomplished Chinese military strategists of history. Upon his death in 234 AD, he wished to be "Reborn in a more peaceful era," suddenly, he appears today on the streets of Hell (aka Tokyo) in his handmade Taoist robe with his iconic crane feather fan, amid a Halloween celebration! The bewildering party people, who he mistakes for Hell's minions, get him drunk and sweep him into a nightclub. His first real interaction is with an underdog singer Eiko in a nightclub. After discovering her unappreciated skill, he vows to ensure her success and becomes her millennia-old manager. Appearing like a full-time cosplayer, or a delusional history nerd, Eiko takes him in and accepts his help. Little did she know, his background prepared him to be the perfect manager! He instantly concocts 100 million IQ strategies to lure in audiences and keep them engaged, often deviously.
Kaede Hondo kills it as Eiko as she did as Sakura in Zombieland Saga. It's fair to say it does for Japanese hip-hop what Zombieland Saga did for idol music; breathe life into a genre drowning in unfabulous idol fodder. Along their winding road to success, the Eiko and Kongming meet other aspiring rappers and singers. The many other skilled singers rise to the occasion and fit their roles excellently. Everyone here is indispensable. You witness side-stories run side-by-side with Eiko's journey; each one develops gradually into nuanced and likable individuals. "Join us in realizing world peace via music" is one of Kongming's most iconic quotes; it symbolizes the teamwork dynamic the cast of characters radiates. Character development is naturally blended into the music performances, and every song left me wanting more.
Emotional lyrics during the improvised songs lend themselves well to flashbacks. Exposition dumps and tedious monologues are nowhere to be found here, only rhythm, sick beats, and organic storytelling. Neither the story nor the script feels forced; partly because the musicians gain skill over time with practice, none of them begin as unstoppable forces. Eiko starts with the task of finding her voice, and her companions must overcome past regrets and performance anxiety. Their struggles and hardships are portrayed believably; we see them grow over time, making for satisfying character arcs. This is similar to another recent manga adaptation centering on aspiring young artists, Blue Period. Both series, sappy as they may seem, focus on developing self-confidence and that no one is born with skill. It is learned. Though the themes are unoriginal, they're sincerely executed.
Senkuu is a scientist like Kongming is a strategist; they're geniuses capable of feats surpassing human capabilities. The logic surrounding his strategies is not exactly airtight, and that's OK because the anime doesn't take itself seriously, and neither should you. Ironically, Kongming's flaw is his ego. As Eiko becomes a performer, Kongming's new party life challenges his past arrogance. It successfully paints a memorable portrait of Kongming, a godlike being who embodies the essence of coolness that harem protagonists could only dream of possessing. He never misses an opportunity to hype his companions with inspiring speeches. The latter episodes lean more towards drama than comedy. Even though the show is at its least engaging when it plays it seriously, they construct such likable characters you can't help but want to see if they achieve their dreams.
What impressed me the most is how the thematic throughline challenges the status quo; the heroes confront the music industry's need for conformity. The antagonists are depicted as soulless corporate businessmen who value profit over integrity, treating musicians like tools to earn money. Our villains enforce the status quo, and our heroes fight it, adding a layer of depth to the conflict hanging over the show's dramatic final arc. The element of satire at play powerfully exposes how the Japanese music industry coerces artists to compromise their freedom of expression and morals to succeed in a market that values profit over creativity.
Mesmerizing performances are the anime's highlight: colorful, melodic, energetic, wonderfully excessive, and occasionally psychedelic. What easily sets Paripi Koumei apart from its contemporaries is PA Works fabulous production. It's been a long while since I've seen stage performances in anime animated with sound 2D art. Elaborate dance choreography is complicated because TV anime have budget and time limitations. Yet, they never resort to CGI and manage to maintain on-model character (Carole and Tuesday could never). You'd struggle to find a recent anime that pays more attention to details than Paripi Koumei, from the Chinese history lessons incorporated into the beginning of each episode to the little ways the credits change at the end.
Paripi Koumei is a winning combination of outstanding music, fabulous dynamic presentation, screwball comedy, and consistent character development, with a unique premise. On paper, it looked like it couldn't make the magic last an entire season, but it went the distance and beat the odds. It would've been witty, endearing, stylish, and insightful even without the dazzling music, but the music is what makes it truly special.
