Music videos become synonymous with the tracks themselves, and for viewers or fans, it becomes increasingly complex to differentiate between the two as time passes. It stems from the nature of human memory, remembering sounds when associated with images. Thus, music videos become an essential piece of the holistic aural experience. They also serve another purpose, and this is more fundamental at the level of interpretation. Upon creation, the video has now birthed a concrete visualization of what were otherwise lyrics that could be spun in tons of ways. If a director has not operated with fidelity to the artist, they are misconstruing meaning, andthis control has the ability to permanently make or break a track. Suu-funkan no Yell wo follows this creative ambition through a boy named Kanata Asaya who encounters a teacher, Yu Orie, who has abandoned her musical dreams. Conceptually, there should be plenty to explore here about the dimensions of imagination and the diverse relationship between music and, in this case, animated music videos. In reality, the film severely undercuts its potential, and part of the reason is its confused vision.

Suu-funkan no Yell wo is director Popurika's first feature; in fact, it's his first project beyond trailers, music videos, and ending track animation for Kawaii dake ja Nai Shikimori-san. His style is clearly suited for the music videos that his production studio Hurray! is accustomed to, and there are many telltale signs he's new to films. One such obvious instance is the uncanny pauses between scenes or even edits, and there is an unusual lingering silence that can't be categorized as intentional given the absence of expressions or any change in body language. It almost appears as a delay, and there are a number of minor details that are more appropriate for music videos, which aren't focused on emphasizing every second of motion graphics. However, it's indeed impressive that most of the film's production was done in Blender. That's a massive undertaking, and the film being in 3DCG is not inherently a downside, but it does harbor qualities below the standard for any CG production.

Elements like shading greatly suffer in 3D models, and it is difficult to establish a perfectly consistent technique like in 2D. One such issue in Suu-funkan no Yell wo is lackluster lighting, where the two variations are either very bright or utter darkness with a lamppost to direct focus. There's also no real opportunity to show shot composition due to the nature of the camerawork, emphasizing pans and close-ups. On the occasion that there is a different angle, it's either corner-mounted or shaky—akin to a real music video. This redundant combination works when the priority is musicality in a four-minute song, not a feature-length film. Blender is strong in creating assets, but ultimately, outside of landscape shots, the backgrounds here are sterile or out of focus. It's apparent Blender's NLA editor was used for character animation, which is largely one-note movements. The inadequate textures don't provide interesting layouts or equip characters with flesh to make expressions, resulting in a film where everyone has the same face for an hour.

Narratively, Suu-funkan no Yell wo engages in middling melodrama. Set in Ishikawa prefecture, the setting is often near the water at the beach. Kanata is trying to elevate his artistic talents, and there is a minor theme of jealousy when faced with greater talent. However, the main plot pertains to discovering how to accurately depict Yu's song. Kei Sugawara's vocal performance, as well as the lyrics by VIVI, hold an emotional vim and vigor that redeem parts of the film's shortcomings. Storywise, it began with a relatively straightforward approach of enthusiasm, although soon, for the sake of conflict, there is ham-fisted noncommunication between Kanata and Yu that simply does not exist between real directors and artists. It forces the storytelling to plod forward momentarily in place of opting for a wholeheartedly optimistic screenplay from beginning to end. There are some unique visuals in the third act where we witness a live representation of animation layering using action strips, and I can't help but wonder about the idiosyncrasies of 3DCG that Popurika could have playfully presented if most of the film weren't a staring contest. Suu-funkan no Yell wo serves as a solid advertisement(https://youtu.be/OKuuD3VwV2k?si=YMCY4jxH2c2b6igS), and like many advertisements, there is nothing of substance.