Everyone’s subtly hiding their true feelings and gathering in the safest direction.
Kumiko has a clear picture of the ideal scenario in which she and Reina make up, but rather than approach her and say anything, she procrastinates. Hazuki and Midori don’t want to interfere too much, but it’s starting to get ridiculous.
Kumiko’s hesitation makes sense: she believes Reina expects some kind of apology, but doesn’t feel like she’s in the wrong. She’s worried her true feelings will create conflict, so she avoids contact. Mind you, avoiding Reina forever is simply not realistic when the two are in the same band.
As the newly-assembled band is introduced to the instruments and asked to choose which one they’d like to play, it’s a case of Kumiko not wanting to take the safest course, but rather looking for something new.
It’s never been that she’s loved the Euph; the Euph was simply thrust upon her in grade school and middle school because no one else would play it. And while she may be simply messing around, the energetic senpai Asuka seems to see that long-standing relationship with the Euph in Kumiko’s face.
When Kumiko’s neighbor Aoi lets slip Kumiko’s an old hand at the Euph, her fate is sealed, but on the bright side, Hazuki (who is chosen Cinderella-style by the Tuba) and Midori (contrabass) will be in the same section as her.
Speaking of neighbors, I continue to like how standoffish with Shuuichi Kumiko is, as if she can barely stand his presence…especially when he relays his interest in switching up his intrument. Like the Euph, he’s an example of something that just fell in her lap in life and she ran with it, without seriously weighing her choices. For his part, Shuuichi seems to want to remain on cordial terms with her—after all, he’s the one who’s approached her both times now.
Then Taki-sensei, the band’s director, shows up and gives his students a choice: will they go for the Nationals, or just play to have fun? It’s up to them; he’ll support them either way, but won’t go easy on them if they want to compete.
They put it to a vote, and suddenly Kumiko finds herself looking Reina’s way. Not surprisingly, Reina has her hand raised to go for the Nationals. Suprisingly, Aoi, raises her hand to have fun. Unlike the Euph or Shuuichi, here’s a non-circumstantial choice being given to Kumiko when she has the agency to make it…and she abstains, again worried either choice has its risks.
That nice line up at the top is spoken by Aoi after the band meeting. It’s the third year the band has voted for the Nationals, and they’ve never gotten close; a little cynicism on her part is understandable. But she also knows why so many people voted for rather than against, which is the same reason Kumiko doesn’t want to tell Reina she doesn’t want to apologize for being less emotionally involved when they lost back then, and the same reason Taki asked the kids what they wanted to do: it’s all about finding those safe places of minimal conflict.
But not all conflict is bad; some conflict breeds creativity and innovation, and greater things than could have been achieved in those safe places. So Kumiko, hiding behind her bookbag, finally approaches Reina at the sink. Reina simply asks her if she’s playing Euph again, and Kumiko says she is…and that’s it!
Now, this encounter is far from the perfect yet impossible scenario Kumiko envisioned, but that scenario only lived inside Kumiko’s head. Here, she’s not in her head going around in circles about how Reina might feel or how things might go. Instead, she’s taking one small baby step outside of that safe zone, as herself. As Aoi says, three years can flash by all too fast…and she knows Kumiko will regret spending them hiding in her head or behind her bookbag.