Simple assessment shows that the well-received end sequence for Hyouka may not be as novel as was believed upon first glance – having been compared to the ED of Denpa Onna, similarities are admittedly abundant.
Hyouka’s ED is certainly no imitation, or so one would like to hope.
Denpa Onna has a very abstract ED, as can be noticed on the right half of the chart below, and Hyouka’s end sequence proved surprisingly reminiscent to it in more ways than one. Both EDs are highly distinguished in their traits – and it is for that reason, one wouldn’t have thought any other anime ED would share such near-identical details. A few alike specifics here and there wouldn’t have been too noteworthy, although the ED for Hyouka truly unfolds in the same manner as that of Denpa Onna.
Both have their own defined atmospheres – boasting palettes of hues exclusive to their name, and each incidentally give emphasis to the sky. Hyouka’s ED has more than a fair share of scenes which are rather familiar to those of Denpa Onna’s – and they’re delivered in a manner no different. The camera gives focus to the heroine in Hyouka’s ED much in the same fashion as Erio receives in Denpa Onna – and likewise, attention turns towards the sky analogously, with both EDs concluding uniformly with a mix of moe and natural environment.
One should note that the concepts in each pair of frames are almost spitting images, even if not visually mirroring one another – take for instance, the infamous nopan shot of Erio lying on a red pillow. Comparing that to the corresponding Hyouka scene, the idea is much the same.
While one would like to pass this all off as a grand case of coincidence, the shimmering up-close faces of both heroines makes it hard to accept that as the truth – this isn’t a case of blatant copying or anything of the sort, although perhaps a member at Kyoto Animation is quite a fan of SHAFT’s work as this is definitely far too comparable to be mere chance.