Kanon Remake – 17

Yuuichi struggles to find a way to deal with Shiori’s condition, trying to talk to Kaori and make her accept her sister’s presence and condition.


I loved how touching this episode was. Even the scenes where Shiori wasn’t even with Yuuichi were so amazing and emotional. I loved the scenes where he was just by himself reflecting upon everything that Kaori said. Not only were the scenes beautiful, but they were so touching it just blew me away. I LOVED how he went to the fox hill an addressed Makoto, asking her what he should do and what it was like for her when she went away Although its not like he’s talking to her ghost or something, which I really really wouldn’t want, it was still so cool to see that she was still mentioned and not completely forgotten.

Shiori’s arc has got to be one of the most tragic arcs there are. Although Mai may be one of my favorites, Shiori and Ayu’s tie in being the most emotional. Even after watching the Toei version multiple times I still find this touching. Hell, even when I watched the Toei version multiple times I teared up at Shiori’s arc, and now with KyoAni doing it it’s brought a whole new depth to it because the surroundings and expressions on everyone will just draw me in. Shiori’s arc is truly tragic in an amazing way. Not just to rant about how emotional it is, it really does have so many levels of complexity. Even Shiori herself doesn’t try to love or get into relationships with people because if she does she is afraid of hurting others and making them sad when she dies. Not only is her death supposedly eminent, but she is making her life until then worse for her for others sake in a way. She even enables Kaori to forget about her, admitting to Yuuichi that she even tries to stay out of her way because she knows that Kaori is doing this so as she isn’t hurt as much. She basically causes herself to be less then human because of her condition because of caring about others. That has got to be one of the best examples of tragedy I’ve ever seen, and it’s being shown brilliantly.


I’m starting to really fear that they won’t include Shiori’s suicide attempt in this version. Not only did they not show her box cutter when she was first introduced, but she hasn’t mentioned her attempt yet. Although there is still more of her arc, perhaps just one more episode, it’s starting to look a little bad for that bit. Which is really a shame because I absolutely loved that part. Not because I’m some weird person obsessed with others killing themselves, but it adds so much more depth and seriousness to her situation. Without things like that her story, although tragic in its own mind, would be mostly about Shiori’s emanate death, but having fun anyways. Which is fine, but its more interesting when they mix in things like how she is suffering because she can’t make relationships with people in fear of hurting them, or showing that it is serious enough that she almost killed herself because she didn’t want to cause others harm because of her condition.

Switching over to Ayu, there was some more advancement of hers this episode. Although not too big, they did mention her hair band. Which, so far is different then the Toei version. Apparently though KyoAni’s version is following the game in which Yuuichi didn’t have the hair band himself and then gives it to comatose Ayu, apparently they don’t have that at all. It’s still some advancement in that Ayu said someone important gave it to her.

One thought on “Kanon Remake – 17”

  1. On the boxcutter suicide attempt:


    The boxcutter will show up in the last Shiori episode. Any earlier and the purpose of the scene would not be achieved; it is of paramount importance in the construction of Shiori’s story because it establishes that the persona that we have been privy to thus far – the sanguine and apparent acceptance of the inevitability of fate – is a facade, thereby establishing the basis on which Shiori’s miracle is achieved.

    Shiori’s famous line about miracles not happening is presented in Kanon as an irony; one of the series’ primary tenets is that miracles do happen if they are desired badly enough. This is why the boxcutter scene is as important as it is, and can only be showcased in the arc’s conclusion; it establishes the reason for the inevitability of Shiori’s demise as her own acceptance of that demise and, at the same time, details the importance of Yuuichi in Shiori’s life. Shiori in the game is a character who is essentially sick of life until Yuuichi comes along and begins to patch things up for her. He becomes the basis of her miracle; the individual who teaches her to fight and eventually survive.

    Without the boxcutter scene, all that goes out the window, and Shiori’s story loses most of its depth and its impact – her story was always written with her survival in mind as its true ending, yet it comes off as overbearingly cheesy and unsatisfying unless if it happens without that justification detailed above. Without the boxcutter scene, Shiori’s story is little more than Yuuichi’s observation of her strength. Without the scene, the viewers are never able to penetrate into the depths of her thoughts and her psyche, and her story ends up unsatisfying and incomplete. It’ll show up in the end. No scene is more important to Shiori’s story than it is.

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