Seasonal First Impressions is a column where I detail my thoughts, however brief or long, about a currently-airing anime’s first episode or so.

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Have you ever thought to yourself; “what if classical Chinese military strategist Zhuge Kongming was transported through time to the present day and became an idol manager?” Well, if you have, then you’re a very strange person. Or you’re the original writer of Ya Boy Kongming! One or the other.

Anime as a medium is sometimes underrated (or occasionally, even ridiculed) in its ability to just casually roll with absurd elevator-pitch concepts. A legend of East Asian military strategy as the manager for a modern-day pop singer? Sure, why not. It should surprise no one that the “mechanics” of how Kongming (Ryoutarou Okiayu) ends up in modern Japan are pretty vague and are glossed through briskly in the show’s opening minutes. There’s something about a dying wish for “a life without bloodshed” in his next life, but beyond that it isn’t elaborated upon much. That’s just fine, because Ya Boy Kongming! is primarily a comedy, and when it does dip into other modes it has the good sense to only touch very briefly on how the whole Samurai Jack-ian “flung into the future” thing works. There are other things to be focused on here.

Instead, he wakes up in a random alley in modern Japan during a Halloween celebration. A pair of randos drag him to a club, where one of them makes him drink some tequila. He then comes to the obvious conclusion; he’s in Hell.

^{It will shock you, I’m sure, to learn that I–a professional anime critic–am not really the clubbing type.}

But then, he hears the voice of an angel in this clamorous and disorienting place. That voice belongs to Eiko Tsukimi (Kaede Hondo when speaking, 96Neko when singing), who quickly establishes herself as Kongming’s co-protagonist.

She ends up taking him home because he gets blackout drunk. (This is kind of crazy, if you ask me, and she seems to think so too; muttering to herself that she “must be a saint.”) The following day, she–somewhat reluctantly–helps him adjust to the modern world, all the while still being mostly convinced that he’s just a guy who’s gotten way too into method acting. (Everyone seems to think this, in fact, including Eiko’s boss, who ends up hiring him because he, too, is a Three Kingdoms-era history nerd.)

This is all pretty funny, and Kongming goes from totally lost about present-day society to reasonably able to navigate his way around a smartphone in surprisingly short order. (A joke in here even implies that he learns about cryptocurrency. Truly a terrifying thought.)

Given all this, one might reasonably assume that Kongming! is purely a screwball comedy. But while the series is definitely funny, it’s not only funny, and the fact that it understands that having a beating heart under the gags is important speaks to a certain consideration of its own goals that isn’t ever a given with anime. (Or for that matter, art in general.) The turn begins when Eiko sings a song in her bedroom, seemingly as much for herself as to comfort Kongming. (Who is, understandably, a bit blue over, you know, everyone he knows and loves having been dead for almost 2,000 years, his country having long since fallen, etc.) Eiko has a seriously powerful voice, and the fact that she’s such a good singer is hugely important here, because Kongming!, remember, is also an idol anime.

Eiko’s whole situation is given as much focus as Kongming’s own unusual circumstances. She’s a bartender and sometimes-club singer. And while her boss is a decent guy in his own way, the job itself seems pretty dead-end. This, and the fact that she keeps failing auditions, makes her consider quitting music altogether. When Kongming asks what drew her to music in the first place, we get a pretty damn bleak flashback to her high school years. The short version; she was nearly a train-jumper, until the man who’s now her boss literally grabbed her out of the way. Taking her to his club to perhaps jolt her out of the whole idea, Eiko is moved by an American guest singer’s performance. This whole idea; that music can sometimes quite literally save people, is at the very core of the idol genre, and snaps Kongming! pretty firmly into place within said genre’s modern zeitgeist.

Plus, on a basic level, all this helps Eiko feel like an actual co-protagonist instead of a backup character. But more importantly, it nails down the show’s stakes. Kongming! appears to want to be both a goofy comedy with a casually fantastical premise and a heartfelt story of a struggling musician trying to succeed in a difficult industry. That’s a hard line to tow, but at least one other idol anime in recent memory managed it. If it worked once, what’s to stop it from working again? The show’s general character helps a lot, too. In both more lighthearted and comparatively serious moments, it has a vibrancy to it that’s easy to take for granted but should always be properly appreciated when it’s there.

The episode ends with Kongming convincing Eiko to keep at it–though by phrasing it that way I’m way underselling the scene, which is legitimately heartwarming–and offering her “his services.” What services? Why, just the finest military mind of Chinese Antiquity. Turned toward helping her make it as a musician, naturally.

Grade: B+
The Takeaway: While the apparently history nerd-baiting nature of its premise may scare some off, this is a show with a huge amount of potential, and fans of “music stories” like this should definitely check this one out.

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