It’s kind of interesting that Piano no Mori didn’t feel rushed to me when I thought it was ending in one cour, but kind of does now that I know it’s 24.  We’re well past the point of the manga where I’ve sampled, so I truly have no idea where this story is going.  But much more so than it did during the childhood arc, the story feels like it’s steaming towards a conclusion – when in reality it’s barely a third of the way finished (and the manga is of course 26 volumes).

What remains consistent for me is the sense that in terms of an arc, it’s Shuuhei who has the real story to tell here – and that’s despite the fact that he gets little respect in the narrative.  I like Kai a lot as a character, but where’s the conflict with him?  He’s a genius, a natural – what is he striving towards?  To be more technically sound?  That’s kind of an anti-climactic personal quest.  To be more of a natural and a genius?  That’s kind of self-evidently a non-starter.  Shuuhei, by contrast, is the one battling the demons, the one with something to prove to himself.  His quest is simple – to find the place in his soul where playing the piano resides, and finally connect his head and his heart as a performer.

To that end, we find ourselves in Warsaw at last.  The Chopin Competition is a very big deal (both in real life and Piano no Mori), and it represents the first time since childhood that Shuuhei is going to try and face Kai head-on.  The pre-qualifying is a straightforward matter for him – his technical skill is so sound that he can stand out without having to close the circuit he desperately wants to close.  Kai (who’s befriended a snarky Japanese youth named Hirata who’s transparently envious of Shuuhei) actually struggles some here – showing real nerves for a change.  In fact it’s only a timely intervention by Shuuhei which centers him enough to get through the first round.

It was pretty clear why Shuuhei did what he did.  What good does winning the Chopin Competition do if he doesn’t have to beat Kai in the process?  Both of them are sort of mocking the competition in their way – or at least ignoring its stated purpose.  For Shuuhei this is all about facing down Kai, not his other rivals.  For Kai, any sort of competition using the piano as a weapon feels wrong – he’s only competing against himself (which would be vain coming from someone less genuine).  Again, for me it’s not hard to see which of those perspectives is the more interesting from a narrative standpoint – but your mileage may vary.

Shuuhei is also living out the same dilemma his father did, of course – but as Youichirou says, Shuuhei at least has the chance to fight his rival.  That was taken away from him by Ajino’s injury (though Ajino lost a lot more, of course).  One wonders whether Shuuhei would consider it a triumph to be able to have the career his father has – respected and successful, but ultimately unsatisfied.  As for Ajino, he’s finally on his way to Warsaw after a farewell with Rei – who gives him a key from the forest piano as a good luck charm for Kai.  I’m not sure he needs it – he’s clearly the favorite son in Piano no Mori to begin with.