UlasanAnime.com – Maaya Sakamoto’s lyrics beautifully capture the essence of a positive outlook on life: “Life is a canvas, And the paint is hope and promise. The world is ours, No one could ever take it from us. The sky is blue, The day is new, The sun is shinin’ down, You know life is good. We got each other, And that’s all we need.” However, when contrasted with the climax and resolution of Canvas 2, this sentiment feels like its dark, evil twin. The final two episodes of the series profoundly impacted my mood, leaving me in a state of reflection for days.
Life is a canvas
And the paint is hope and promise
The world is ours
No one could ever take it from us
The sky is blue
The day is new
The sun is shinin’ down
You know life is good
We got each other
And that’s all we need
The emotional impact of the last couple of episodes was significant, to the point where I had to postpone writing about it to process my thoughts. While the series shares no thematic similarities with “End of Evangelion,” my initial emotional reaction was comparable to my first viewing of that film.
A key strength of Canvas 2 lies in its intricate weaving of parallel thematic concepts. Despite its origins as a lighthearted renai/bishoujo game adaptation, the series managed to transcend these roots, even with the occasional visible marks of its source material. The ending’s profound effect on me was instrumental in uncovering and appreciating these interwoven narrative threads, making the experience remarkably thought-provoking.
The writing for Elis’s character was exceptional, exceeding all expectations. Her character concept is both complex and relatable, displaying an appreciation for her circumstances while remaining realistic to her teenage perspective. Her emotional journey, from initial admiration to the eventual realization of her feelings for “Onii-chan,” was subtly portrayed and then dramatically surfaced, much like Tessa’s Tuatha De Danaan in Full Metal Panic. This development was a genuine surprise, showcasing a depth of emotion that far surpassed the typical drama found in similar series like Da Capo.
In retrospect, I believe the Canvas 2 story would have been more compelling if told from Elis’s perspective rather than Hiroki’s. Even by the series’ conclusion, Hiroki struggles to articulate his true feelings, a trait that I found frustrating. Unlike Elis, who underwent a significant transformation from the first episode, Hiroki remained rather uninspired until he finally reciprocated Elis’s affections.
Kiri serves as a fascinating foil, offering a satirical take on a realist’s approach to romance. The writers clearly put considerable effort into portraying their relationship as almost ideal, with much of the perceived fault lying with Kiri’s methods of pursuing the relationship. This idealized romance can be compared to Belldandy’s relationship, albeit without any divine intervention.
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This idealized portrayal is precisely why the eventual parting of ways between Hiroki and Kiri was so emotionally resonant for me, and likely for many viewers. Kiri’s stoic acceptance of the situation, taking it “like a man,” is a testament to her strength. She embodies the qualities of a saint by conventional standards, demonstrating remarkable emotional resilience.
Upon further reflection, the narrative logic suggests that Kiri and Hiroki might have developed a cherished relationship in the past, had it not been for Hiroki’s continued search for “whatever it is” and the complicating factor of Yanagi. Yanagi’s presence added a significant layer of realism to the story, despite his misguided actions.
The supporting cast also deserves commendation. Kana Hagino’s character provides subtle introspective moments, offering concise truisms that hint at the underlying drama. Mami Takeuchi and the Art Club played a more significant role in the earlier parts of the series, and it’s commendable that their contributions were acknowledged, with Takeuchi’s most memorable moments saved for the end. Sumire Misaki’s character felt somewhat sidelined, especially after Tomoko emerged as a standout. However, the narrative surrounding Tomoko Fujinami was particularly effective; one might even wish for more focus on her storyline. Her character resonated with me because of her connection to Elis and the writers’ willingness to employ every available trope to portray her. Tomoko’s fashion choices reflect her inner feelings, and her struggle with loneliness was a theme that Elis also grappled with. Overcoming this loneliness appears to have been crucial to Elis’s maturity. Her ability to reach out and “touch” Hiroki initiated a chain of events leading to the series’ conclusion, underscoring the importance of Tomoko’s role.
It makes me wonder how the writing might have differed if the PS2 version, which featured two additional characters with substantial roles in the anime’s narrative, had been the primary source material.
Some additional thoughts:
- Elis, like Yanagi, was positioned as the “villain” in the love triangle. Could this be why she disliked Yanagi so intensely?
- The situation remains quite unfortunate. While the overarching theme is commendable, the events that transpired highlight a realistic, albeit heartbreaking, approach to relationships. The inability to please everyone is understandable, but a greater effort towards clear communication is always possible.
- Kiri also bears some responsibility, but the more challenging question is to identify what exactly she did wrong.
- I enjoyed the ending theme and the overall conclusion.
- The FINAL trick pulled by Tomoko was undeniably devious. I admit, I fell for it. But then again, how could anyone resist?
In conclusion, Canvas 2 was a remarkable journey. While the pacing could be considered slow at times, with the initial 13 episodes establishing an engaging story that could have been resolved more quickly, the intercharacter drama between Kiri and Hiroki undoubtedly saved the show for many viewers. And then there was Elis… truly exceptional.
This series has made me want to rewatch Koikaze.
