The Kanonisation?

Fa-uchi wheels Ay-ille off-stage.

So I finished Kanon.

I don’t like to begin by emphasising what little I can say, partly because doing so seems a little too introspective for my taste and partly because it could be a trick: practiced orators sometimes claim to be rough-spoken so that the audience will drop their guard (I’ve noticed David Cameron occasionally does this). In this case, however, there’s a fact backing me up: I can’t objectively assess Kanon, as a whole. Or, at least, I can’t say much more than ‘It’s better than Shuffle!‘, for I have a nasty case of genre-blindness.

Satellite Kanon

The buzz about Clannad shows little sign of abating, so I continue to steadfastly avoid watching it – indeed, my disinterest could probably kill a goat at twenty paces. Ishihara‘s Kanon, however, is much less discussed these days and I’ve somehow managed to remain unspoilt on its plot despite being a faithful reader of Mega Megane Moe. So, on the principle that it’s good to watch things outside one’s genres of choice, and most definitely not just so I can make a pun in this post’s title, I’ve begun to watch it.