Yes, No, or Maybe is a short, one-hour anime that presents a charming and engaging love story, unfolding at a relaxed pace. The film delves into the theme of duality, particularly examining the contrast between outward perception and inner behavior. What stands out is how the narrative remains focused on its core message and concludes within a concise timeframe, avoiding unnecessary drama. The use of anime as a medium allows for creative freedom, yet the filmmakers successfully stay true to their vision, maintaining a clear focus throughout.
The protagonist, Kei, is a TV presenter who projects a polished public persona, concealing his true nature, which is petty and confrontational. He is skilled at hiding his true thoughts to preserve his celebrity image, crucial for his career. Kei crosses paths with animation artist Tsuzuki Ushio during a work assignment, and he plays the part of a courteous and friendly individual, impressing Ushio and his crew. Several days after their initial meeting, they unexpectedly encounter each other again following a bike accident, which leaves Ushio injured. Kei, disguised with a face mask, appears indifferent to Ushio’s injury, angering the artist who takes offense at Kei’s behavior. As compensation for the incident, Ushio coerces Kei into assisting with his next stop-motion project. Though initially reluctant, Kei starts visiting Ushio regularly, helping with the creative process. Over time, a peculiar yet warm bond develops between the two, with Kei maintaining the secret of his true identity.
As their connection deepens, Kei finds it increasingly difficult to maintain the facade, especially when Ushio presses for details about his masked companion’s personal life. The story reaches a surprising twist when Kei realizes that Ushio had already uncovered his secret some time ago. Ushio, during a moment of intimacy, attempts to kiss Kei, triggering the revelation when Kei’s real voice slips out. The film culminates in an intense scene, marked by a passionate kiss and a more explicit and verbal encounter, which contrasts sharply with the overall tone of the film.
The simplicity of the story is conveyed in a sweet and captivating manner, characteristic of the anime BL genre, and the short film’s length adds to its charm. The narrative progresses smoothly, with each plot development flowing naturally, never feeling rushed. The evolving relationship between Kei and Ushio’s masked alter ego is built gradually, with the quiet interactions between the two suggesting the direction of their relationship. Kei’s character is particularly compelling, torn between maintaining the facade of a nice guy and his internal desire to be less kind, making his journey both intriguing and entertaining. Similarly, Ushio’s gradual affection for his unexpected companion feels believable and relatable. The storyline suggests a positive resolution, leaving the audience with the impression of an eventual happy ending.
At one point, I questioned whether the film would include any BL scenes, and I was taken aback when the story abruptly transitions to a sex scene. This scene, which is highly verbal, feels out of place and somewhat unnecessary. It disrupts the otherwise tender tone of the film, especially given how it depicts Ushio forcefully pursuing Kei, despite Kei’s repeated refusals. This moment detracts from the sweetness of the love story up until that point. However, I am willing to overlook this abrupt shift and focus on the more endearing aspects of the film.
