Render 17 is trapped in anime during the Summertime

It looks like summertime Render cycles through different ways seemingly every episode. It is clearly quite intentional, the way one ep has a very different personality. I do not know that this is either a product of Watanabe-senseis, Tanaka Yasunoris or a hybrid of the two. What I know is that [t]t the number one thing I know.

I’m fascinated by how Summertime Render cycles through different modalities seemingly every episode. It’s obvious, it’s totally intentional, this is the way each ep is different to everyone. I don’t know if this is a product of Watanabe-senseis, Tanaka Yasunoris writing style or some hybrid of the two. I know that in less, it can be a distraction but here it serves the material very well. The tone is always the same as the content and can be used for Summertime Render if it was constructed other way.

One of the things I still cannot agree is why Mios shadows have a personality that is so different from the original, but that doesn’t seem the norm. It’s impossible for Mio, since her shadow knows her hang-ups, but it lacks the perfect gene to kill it. She calls Mio out on her self-loathing (which amounts to her tomboyish nature, and lack of Ushios exotic European features), and threatens to spill the beans to Shinpei over her true feelings, if no original does, and has not done so herself. And credit it when you were notified, to the evidence it seems to have worked near the end of the episode.

In his opinion, Hishigata-sensei is trying to justify his actions to his son and admits that her mother, Sous, died four years earlier. He notes that the Hishigatas have been doing the shadowing for over 300 years, as if this somehow makes it justify her actions. You can’t but see, the shadow phenomenon forces people to rely on hard decisions mostly on the human. Take Nezu-san, for example. It seems that he has shadows who died of his wife nailed to the floor of his house. It seems, while he hasn’t thought of the consequences, he can make it to finish it off. He is trying to sneak off and do it, although Ushio refuses to let him. She could have done to that what she did to shadow Mio, but it would still have done what it did and, as far as I know, that’s something Nezu just can’t get past.

She follows her advice and sleeps a few hours, and here things are not so clear, I am not. Shinpei says the time retreated a bit giving him more loops to play with, but it is not obvious (to me at least) whether this is because he got some rest, or because it was because of another reason. Of course this is good news for the guys who are about to shirt off into teams to do their final chores before the festival, even though the festival is really going to hit the fan.

Before they do, Mio gives Ushio some hair she’s recovered from her bathroom. I use it to regenerate her- hair? Maybe it was all she had for. It wasn’t possible to make the most practical choice. She and Shin-chan are studying for the home of the old teacher, Hitobuchi-sensei Bucchi. The news isn’t good, and since Bucchi played a role in their childhood, the two of them have a little extra incentive to make the shadows pay. Perhaps the most important part of the scene sees Ushio apparent possessing noting that Haine is a fool, because she can never recover without a single force, because she and her body are both dispossessed.

One of those people think that one of them acts like a married couple. The teams are meeting and it seems that shadows are lying low, that they can play it safe until they execute their grand plan at the shrine festival. If only it could be stopped, then there is no way to do that, the priest’s cooperation: Karikiri-san (Konishi Katsuyuki). So Shinpei arrived for the meeting, which he was on his way back from the beginning of every affair, before being so rudely interrupted by a bullet to the head. Karikiri-san seems the last step in the puzzle, the final variable whose role has been unexplored in all this has been ignored. But everything, with certainty, has a point to change.