If I Went Missing . . . ERASED | Hero Week Review

Posted by Takuto

A brief review of the 12-episode winter 2016 anime “Boku dake ga Inai Machi” (trans. “The Town Where Only I am Missing”) or simply “ERASED,” produced by A-1 Pictures, based on the manga by Kei Sanbe.

Hearing about anime with time travel immediately make me feel two things: Exhilaration and skepticism. The rush of adrenaline is an obvious one. I mean, doesn’t finding out that trial and error will play a key part make you excited? The concept usually entails a character going through repetitive hardships to eventually overcome a goal that will better either themselves or the future or both. Often, however, shows will fail to use the gimmick to its maximum potential, either not developing a character enough to show improvement (or drastic change) or making an inconsistent story just for thrill’s sake.

ERASED executes a surprising mix of these turnouts, and depending on how you interpret the lead, Satoru, by the end, you’ll either walk away awestruck or feeling quite underwhelmed about the whole package.

Dismal 29-year-old Satoru Fujinuma is a pizza delivery man/part-time manga artist/time traveler in modern-day Japan. Well, sort of. He just has these occasional bursts where, right as a disaster occurs, he is sent back a few moments to before the incident. He calls the unexplained phenomenon “Revival,” and he seems to be tasked with saving those facing inevitable peril.

Returning to his apartment from a seemingly normal outing, Satoru finds his mother brutally skewered on the floor and is unfairly accused of murder. Just as the adrenaline is enough to cause his heart to burst, Satoru is tossed back once again through “Revival.” But this time, a few breather minutes beforehand becomes 18 years—1988—and is enough to send him back to elementary school!

A man trapped in a boy’s body, Satoru comes to realize that his mother’s untimely death could be tied to the abduction and killing of a lone classmate of his during childhood, Kayo Hinazuki. Given a second chance at righting wrong and changing his own presently-dull fate, Satoru is challenged to save those lost in the past, protect beloved ones in the present, and ultimately expose the mastermind behind the killings.

Let’s get one thing straight: ERASED is not a good mystery anime. It has mystery elements, yes, but the identity of the killer at large is far too predictable. This mainly stems from the otherwise lack of possible suspects. A good mystery anime wouldn’t toss in a character at the end and label him the murderer—thankfully ERASED doesn’t do that. Where it fails is in the tiny toss up of possible killers. I wanted to say I was truly shocked by the end, but the abrupt change in slower pace and lack of characters to choose from left little room to ponder. Some of the animation cues are also at fault, but we’ll cover that department’s actual brilliance in a bit.

While we’re discussing the cons, I’ll add that the unexplained notion of how or why Satoru undergoes these “Revivals” really bothered me when I reached the end of the series. It’s as if they show us a preview of the power in a few beginning instances, then toss the idea once we hit the halfway point. Being a time travel fanatic, I was disappointed with how it was handled, unless . . . The gimmick doesn’t revolve around needing to save Kayo. Some otherworldly force did it so he could save himself, a man not interested in society and partially life. And where else do you meet friends and solidify family? Childhood. I see each “Revival” as a wake-up call for Satoru, like, “Get a hold of your life, man!”

At least the show’s wild predictability and faulty concept were led by memorable characters, specifically speaking, Satoru, Sachiko Fujinuma (his big-lipped, sharp-eyed momma and arguably best character of the season), and Kayo Hinazuki. The wide screen narrative for his revisited childhood days was fantastic contrast, and it fits the movie theater theme as represented by the opening and the “Revival’s” running film. While the background characters served their purpose, nothing was more entertaining than 28-year-old Satoru’s thoughts being accidently leaked from his little kid mouth. The fixed goal set by his favorite manga hero that is always referenced helps guide his character. I could go on about how smart and well-intertwined these main characters are, but my friend Rocco B laid it all out in his comprehensive review, which I urge you to check out for more depth on every layer.

As for production quality, it’s once again A-1 Pictures and Yuki Kajiura—could a guy ask for more? Honestly, the intense color palette and flowing imagery accompanied by Kajiura’s deeply-felt and haunting main melody brought the story to life. She conveys Satoru’s soliloquy with excellent intensity.

The real question is for ERASED, are you an OP or ED guy/gal. For me, the tune of the ending “Sore wa Chiisana Hikari no Youna” by Sayuri was much addicting and romantic, albeit Sayuri’s voice being a bit on the high and nasally end. Fight me.

With a future thrown into mayhem (Satoru running from the cops and getting into house fires 24/7), ERASED only seemed fun and truly thrilling in childhood; the future seems lost in purpose. Speaking of excitement, where its mystery failed to convince me, its thriller levels were off the charts! It seems every time red flashed across the white 1988 snow, my heart skipped a beat. That is, until you reach the last episode or two.

HERO WEEK SEGMENT: Archetypical Hero qualities represented by Satoru

I’ve taken a quick trip to Google to provide qualities of the typical hero. Let’s briefly exercise each prompt:

Unusual circumstances of birth; sometimes in danger or born into royalty
- Other than the fact that his father is out of the picture, not much can be said for this one.
Leaves family or land and lives with others
- Satoru, as we see it, is on a long journey from age 10 to 28. In the present, he lives by himself with a part-time job and a hobby he wishes to pursue. I assume he moved out not only because he was old enough, but because he wanted to get a job as a manga artist for his hero story, and his career path led him to the city where these kinds of options are more prevalent.
An event, sometimes traumatic, leads to adventure
- The death of Sachiko is the big one, obviously. Satoru lost his one and only crutch supporting him in these seemingly purposeless days.
Hero has a special weapon only he can wield/always has supernatural help
- “Revival” anyone? This is the weakest point, as his power is truly the unexplained supernatural, but all that matters is that he is given a second chance—only he can change fate.
The Hero must prove himself many times while on adventure
- Protect Kayo Hinazuki. Keep Airi out of harm’s way. Prove Jun Shiratori’s innocence. Save Sugita and Nakanishi. Find the murderer. These and many more challenges await Satoru on his rugged journey.
***SPOILERS START HERE***
The journey and the unhealable wound
- Coming in episode 9, Satoru is drowned by the killer, thus becoming ‘erased.’ Though the story proceeds to save his rear with the ‘sudden coma treatment,’ this imprisons Satoru for several years. When he reawakens, he is a changed man—he suffers brief amnesia, but then quickly marks the line between good and evil by pointing out the killer on the cold hospital rooftop. He won’t be able to regain these lost years, but they have changed him for the better, as he is able to see the wonderful lives that have sprouted from those he saved.
Hero experiences atonement with the father
- Upon her sudden death, Satoru melts at being with his mom once again in the past. He uses her passing as a motivator (avengement) for seeking Kayo’s safety, watching over her and struggling against the inevitable.
When the hero dies, he is rewarded spiritually
- THIS is the key one, and tends to affect people’s enjoyment. Clearly Satoru didn’t die at the end, but the part of him that revisited the past and was able to undergo “Revivals” is no longer with him. The traumatic event in episode 9 caused the split in spirit. For his work, Satoru is rewarded with a new start at middle-aged life rife with opportunity and good fortune, contrasting the beginning. But unlike most heroes, Satoru loses his special power, leaving us to assume that his journey wasn’t about a kid saving the lives of many, one about a man seeking redemption through experiencing loss. Because he mentions in the epilogue that he never experienced another “Revival,” we are led to believe that his mission is complete, which somewhat defies the typical hero. He ACTUALLY gets to relive his life, while most retire to death following their journey.
***SPOILERS END HERE***

Good things have been said about ERASED for a reason: Its intense thriller fantasy atmosphere is awesome, the music and animation are top-notch, and Satoru is an exciting main character (voiced by an incredible actor, mind you). Fair enough. The end also gets a lot of slack for being anticlimactic. That I really also agree with. It all comes down to how you interpret the hero’s journey—Was the enemy too easily identifiable, or was Satoru’s reward too gracious? All that can be surely said is that we tend to notice how much we have only once we’ve lost it. In a town where only you went missing, I’m sure I would realize the impact you’ve made.

“Kayo, my fate is my own. There’s no need for you to feel responsible. I’m sure that what’s become of me was a result of something I wanted.” – Satoru Fujinuma

Being entertaining is not the same as being well-written. A solid “Cake (4/5),” ERASED was definitely my favorite from the winter 2016 season, then again I only watched two anime. What did you think of the show? How did you interpret the same issues everyone had with it? FEEL FREE TO TALK ABOUT SOMEONE IMPORTANT IN YOUR LIFE, or how you thought Satoru was a good/bad hero! I want to celebrate the cause with all of you! Until next time, this has been

– Takuto, your host

Just look at how happy momma Fujinuma is. Best mom 2016!

What do we have in Common? WE ARE HEROES!

Posted by Takuto

There’s a reason for my frequent absences. Hosts hold social get-togethers, and I feel I’ve been failing a bit in that department.

Join Takuto in celebrating “Hero Week” from May 2^nd through the 8^th! To combat my recent stumblings in anime with heroic themes, throughout the week I will be posting reviews of the following anime:

Erased (Boku dake ga Inai Machi)

One Punch Man

Yuki Yuna is a Hero

My Hero Academia (episodes 1-3, possibly 4)

What can you do to help (besides reading and commenting, like ya do)? Comment on any of these posts with your favorite heroes in anime or heroes in real life. These can be both the characters we love and people you value on your side of the fence. Each review will also contain a special mini-segment regarding the values of the hero archetype presented, and any flaws behind their ideology.

I urge you to involve as many spirited bloggers as you can! I want this to be a HUGE project that dominates the café for a solid week and floods it with iconic idols and wonderful people! I’ll be working around the clock trying to respond to each and every comment that comes in as soon as possible (because comments typically tend to slip by me once I unintentionally open them up to preview them). At the very end, I’d like to write a “Café Talk” post to encompass our many ponderings, much like I did with the Revisit of Evangelion and to an extent In Defense of Fairy Dance.

If you don’t have (for whatever reason) a favorite being of justice, feel free to browse around and get to know your other fellow bloggers and the important figures in their lives—Use this as your makeshift Memorial Day if you don’t celebrate such a holiday! Comment below if this interest you, or that you feel you’d like to participate 😀

A small blog like this one can’t do a whole lot on its own, but together, we should be able to have a grand time and spread awareness to the awesome individuals who have dragged us out of darkness at some point in our lives. I’m overflowing with all kinds of crazy ideas, so I can’t wait to start pumping these reviews out! Until next week, stay awesome guys! – WE ARE HEROES –

– Takuto

P.S. (Spread dorky hashtags if you’d like #takutoheroweek #weareheroes :D)

“W” Does Not Stand for “Wonder” in Dimension W

Posted by Takuto

A brief, spoiler-free review of the 12-episode winter 2016 anime “Dimension W,” produced by Studio 3Hz, based on the manga by Yuji Iwahara.

Enter the near future – 2071 to be exact – and you’d find a world transformed and reinvented by “coils,” battery-like bolts which tap into the fourth dimension to channel unlimited energy. Though New Tesla energy company’s coils can be bought off shelves, secretive bootleggers would rather sell illegal coils to earn a living in this seemingly Utopian era.

Not if they are stopped by Collectors, though. These individuals hunt down private companies and illegal coils for a bounty, often living reckless and dangerous lives lit by the night sky. Dimension W enlarges the life of Kyouma Mabuchi, a Collector with a pretty scarred past that caused him to detest coils—He refuses to use them for anything, be it powering his car or a gun. On one particular spree, Kyouma runs into Mira, a robot girl who runs on coils like we rely on blood. As Kyouma grudgingly extends his rough hands for a partnership in the biz, the two uncover the truth of this elusive fourth dimension and how its entire foundation might actually stem from Kyouma’s long-lost past.

Looks are deceiving. Much as how Mira (despite being a robot) is surprisingly more humane than Kyouma, Dimension W has the solid setting to create an unimaginable sci-fi story, yet falls short in nearly every department. Namely, it fails to further explain what exactly a “coil” is. We know what they can power (and what happens when they are disrupted), but we don’t know how they work. And for a science fiction series, breaking down what futuristic concept is being introduced should be the first priority. Now, we did get a half-assed reasoning in the last episode, only to find out it was based on a faulty concept all along. Pretty sure that’s not how energy works . . .

Where this anime does shine is in its characters. Specifically, the leads, Kyouma and Mira. The dynamic between them is great, the vintage Kyouma always muttering “piece of junk” rather than the android’s name as if he defies the idea that coils can produce something so human in nature. In fact, he’s like an old man resisting an iPhone because he knows how unprotected technology leaves folks these days. Kyouma’s veteran past may have left him stubborn and grim, but Mira, for some odd reason, is able to break through his wall and find a beating heart under that worn, red happi coat of his. I mean, Mira is adorable as f***, so it makes sense. Over the course of the series, Kyouma will grow to accept and respect this lime-haired heroine, and that development in itself is a huge driving factor for the show.

The actual plot lacks a cohesive run. Dimension W’s first five episodes are an incredible mix of mystery, high-energy action, and wonder (I even thought for a while there the title’s “W” stood as such), but after an intense two-episode story midway, the setting is shifted towards a location rooted in memories of the past – Easter Island – and the plot becomes unraveling the events which took place back during Kyouma’s Grendel days. We seem to have ditched building on the futuristic setting and the ‘wonder’ surrounding the coils for a lame survival battle with a crap ton of new characters with zero background. Like, what? I thought the show was about Mira and Kyouma and their suspenseful jobs as Collectors fighting off the enigmatic masked cyborg “Loser.” This could’ve been the next Psycho-Pass, but instead we got yet another sci-fi with an unmemorable plot! All was especially disappointing considering FUNimation Entertainment’s first-ever assistance/partnership with the show’s production. I was really hoping for a bang!

At least the technical execution was pretty faithful. Very little has come from Studio 3Hz, but the team managed to pull off a halfway decent-looking anime. While watching Kyouma throw his skewers all over the place was amusing, there were quite a few noticeable shortcuts made. One is that on occasion, characters will be zoomed up during dialogue with solid-colored backgrounds behind them. Another was the lazy animation in the last couple of fights, particularly that of with the show’s lame antagonist. Again, I really enjoyed the character designs and the first few episodes. After that, not so much.

What really got me was Yoshiaki Fujisawa’s epic music. You may recognize his soundtracks in Gate, Love Live!, Yuri Yuri, and others. Watching FUNimation’s Production Diaries on YouTube, we got insight into his inspiration for writing not only DW’s music, but soundtracks in general. Really interesting stuff for a music buff like myself.

By now it should be no surprise to you that I was pretty disappointed with this anime, especially after seeing many behind-the-scenes clips and knowing the work that went into the project. When it comes down to it, the plot is the one at fault. Dimension W had great potential, starting off with strong leads and an impressive premise. Once the ball got rolling, all I kept doing was looking back at the previous episodes (well, that and the clock to see how much more time I had to wade through), and I felt the show itself was doing the exact same thing. The conclusion was also pretty lousy, given that I came in wanting to exploit the coil system rather than the scientists who made it. Fantastic start, but a hard flop to the finish.

“I think things that remain even after time passes are wonderful. It’s proof that the people who made them and used them were alive. By holding them dear, I think it makes the present shine even more.” – Kyouma’s wife, Miyabi Azumaya

Enough about being trapped in the past! What did you think of Dimension W? Did you make it all the way through? I know several decided to drop the show, and while I wish I was able to do that, I’m the kind of guy that needs to see things through ‘till the end. My report: Dimension W will be recognized as a “Coffee” here at the café! Not bad, just a bit too bitter for my taste. I’m still catching up on comments from the last review, but let’s talk more about the show down below! Until next time, this has been

– Takuto, your host

Cowboy Bebop, A Journey of the Blues

Posted by Takuto

A brief, spoiler-free review of the 26-episode spring 1998 anime “Cowboy Bebop,” produced by Sunrise, based on the original story by Shinichiro Watanabe.

Come 2071, planet Earth is not the only home for humans. Most of the solar system has been colonized leaving a densely polluted Earth left behind. With a series of space gates that facilitate quick n’ easy cosmic travel, criminals cower to the deepest corners of space while mafias run rampant in the back alleys of distant planets. The Inter Solar System Police can only extend its justice so far, and as a result outlaw bounty hunters AKA “Cowboys” are deployed to muddy their hands with a huge cash reward dangling in front of their noses.

For cowboys Spike Spiegel and Jet Black, a single woolong (a dumb penny) is enough elicit risking their lives in chasing bounties and hauling dinner. Born as men for the good of the cause, life aboard the Bebop goes south when the ship recruits three new members that will eventually detour its steady course: Ein, the last purebred Welsh Corgi; Faye Valentine, a formidable and seductive cowgirl in her own right, yet currently searching for her elusive past; and Ed, a bizarre lil’ fella’ who knows how to use a computer quite well . . . scary well, actually.

As the eccentric crew aboard the Bebop get themselves into all sorts of mayhem, we gradually uncover the shady events that brought them all together.

There are two reasons Cowboy Bebop has withstood the test of time. One is that the animation by Sunrise is stunning and artistic, encompassing more meaningful symbolism and well-choreographed action scenes in the first episode alone than what I’ve seen in entire shows as of late! Two is the fact that its episodic rhythm followed up with its smooth flow of fragmented “memories” detailing the characters’ bygone lives is more than well-written. It’s brilliant, mostly because it doesn’t feel artificial; by the halfway point, we feel the passionate weight these characters are dragging with them, and how their past influences their present choices. Though the story doesn’t get kickin’ until episode five, the action-packed opening episodes are an amusing gateway to the show’s darker themes.

Bebop is not, however, a mind-blowing series of bleak revelations, but a journey cram packed with themes that jive with the soul. It is much more light-hearted, with enough emotional weight to rub the heart in a melancholic way—much like warm chicken soup or a deep blues tune would do—yet not enough turn off the viewer. You can feel this impact with the leads themselves, the subtle placing of the classic jazz-inspired episode titles, or the bluesy soundtrack masterfully composed by Yoko Kanno. All three work together to provoke sorrow, joy, regret, reminiscence, and wonder, in a futuristic world driven by detached hearts and jazz music.

Bebop‘s ending, which perfectly captures the nature of the show.

Most of the light-hearted nature of Bebop comes from the goofy or sassy interactions shared among the crew. Spike (dubbed “Cabbage Head” by my sister) is a way-too-lax and easily irritable man with a particularly complex history that frequently bumps heads with the present. His roots to the mafia come back to haunt him (like the mafia typically does), and his development is found in the monumental decisions he’ll be forced to make regarding the safety of the crew—and that of his own life.

Jet is an ex-cop now bounty hunter. ‘Nuff said. If Spike is the ill-tempered dad who always leaves the house for personal biz, then Jet is that mom who A) won’t tolerate your shit, and B) will cook dinner each night if YOU buy the ingredients. Rough around the edges, yet the one with the biggest heart, Jet serves the plot by being restrictor of reckless actions, even though he occasionally loses his temper. He holds Spike and Faye back from doing stupid stuff that could get them all killed, and as such plays a necessary role for this ragtag crew.

Lastly are the two sisters, one a troublesome teenager, the other a weird child. They are the tough-on-the-outside/terrible gambler Faye and the noodly Edward, and are mainly aboard to service the fans (Faye brings the sexy, Ed brings the laughs). While Faye will go on to have a much darker, richer past, Ed is pretty much there for the ride. The two share one thing in common, however, that being this common question burning the at back of their brains: “Why am I here, and where am I going?” It’s a romantic notion of growing up and dealing with acceptance. And that’s why they both work so well in Bebop—it’s the story of finding your place in this huge, cruel world.

Watching Cowboy Bebop is equivalent to revisiting an old website that you used to frequent back in the day, yet haven’t seen in ages. Does it feel nostalgic? Euphoric? A bit melancholic? Perhaps a bit of all three, but one theme Bebop enjoys feeding us is that internet is more than a tool—it can be a place for some, putting literal meaning to ‘home’ page. For me, this online café has given me a place to chat with and meet new friends. For the characters in the anime, the web is a place for an old man to play one last game of chess before giving his last breath, or for a disabled kid to vent his faith by becoming a God himself. It sounds a bit odd, but seriously, how much does the internet mean to you?

You should watch Cowboy Bebop because, in one way or another, it’s the story of our lives. Everything that challenges the Bebop crew and everyone they meet along the way represent a fragment of our deepest worries and regrets. Should you merely enjoy this anime for the comedy, then hey, that’s awesome, it’s got a lot of funny moments! But Bebop sure does have this genuine way of letting you know you’ve reached the end when it comes. With all of the interlaced light-hearted moments, it’s as if the show is reminding us that “Nope, sorry, this wasn’t the show you signed up for—and you know that.” Instead, you’re probably like myself and most Bebop fans, in that once it’s over, you’ll find yourself detached from the solar system, solemnly jiving to The Real Folk Blues.

“Life will challenge you to do things . . . sometimes, you just have to let go!” – Spike Spiegel

However you watch this anime, here’s advice straight from the Host: DO NOT string your viewings out for THREE months! It’s terrible! I endured this journey with my family, and being like all families, it’s hard to squeeze in quality movie time. But we did it, and now who knows what we’ll watch together, if anything. Rated a “Caffe Mocha” here, did you enjoy my review of this classically-acclaimed space western? Also, what’s your favorite aspect of Cowboy Bebop? Should it have lasted longer? I barely scraped the surface to avoid spoilers, but let’s talk about it in the comments! Thanks for reading and until next time, SEE YOU SPACE COWBOY . . .

– Takuto, your host

End of March Update 4/10/16

Posted by Takuto

Hello cafegoers! March was a big month for me. I finished all ongoing anime that I started way back in the winter and concluded my research over one particularly tedious project. With all slates wiped clean, it’s time to move on to bigger and better anime. But first, we must recap the cool things I finished! Onto the update!

Recently Finished:

Cowboy Bebop – We (my family) arranged a weekend solely dedicated to finishing this classic “space western.” Let’s just say we were in for a long (12 episodes) and emotional haul. The end was a bit underwhelming, yet at the same time being everything that I wanted from a show such as this. The manner in which the crew disperses towards the finale is a sort of wake-up call, like a reminder that this wasn’t the kind of story we’ve been really following. It left a depressing hole in my heart, but that’s not to say I wasn’t satisfied. More thoughts to come in a brief review!

Girls und Panzer – You might recall this lil’ title in a previous haul, but yeah, finally got around to watching it. While the dub was pretty cringy (probably the worst I’ve ever seen), I managed to love EVERY SINGLE MOMENT of this tanks-meet-chicks comedy. I marathoned it in like two or three days, actually! Review on the way!

Baccano! – Mhmm, that’s right, the mafia stopped by to tell me that my job wasn’t over. In just 16 episodes, I witnessed a ragtag chase in the back alleys of the Big Apple, the struggle for immortality by alchemists, and a chain of bloody, grisly murders aboard the continental train The Flying Pussyfoot (HAHA HE SAID PUSSY). This was one of the most confusing anime I have seen, but oh boy, does Baccano! do A LOT of things right! You can bet your sweet tuckus I’ll hit more on it in a future review!

Erased – This one kept me entertained until about the last two or three episodes. It tried – it really did – but I just found the end predictable and lackluster. The thriller vibe it upheld through the entire ride, however, was absolutely incredible. Erased was only the most-watched and reviewed show of the season, so if I do write a review, it’ll be brief like my Bebop one would be.

Dimension W – This was the greatest disappointment of the season for me. I came in expecting so much: It was the season’s only big sci-fi, FUNimation had a part in the anime’s production, and the premise was thoroughly invested in a futuristic concept. It was only natural to expect something grand to come from all of this, but the story fell so short so early on. After episode 6 or so, I lost interest. Don’t worry – I still finished it and plan to write a semi-rant/review.

Yuki Yuna is a Hero – Last but certainly not least is this seemingly innocent magical girl anime . . . Gosh, have there been any pure, fluffy magical girl anime since Madoka Magica? This one takes inspiration from its groundbreaking ‘predecessor’ by throwing all kinds of twists and turns in the typical magical girl system. As such, you can expect it to go from zero to one hundred come two-thirds into watching. I have many good (and iffy) things to say about Yuki Yuna coming soon, particularly why the show falls a tad bit short of PMMM!

Currently Watching:

One Punch Man – That’s right! Takuto finally gets around to the top hitter of last season AND possibly the best anime of 2015! Is it a man? Is it an egg? Is he bored with all things in life? Yes to all! I’m three episodes in, and so far it’s not half bad. Will I like it more than, say, Sound! Euphonium or Food Wars!? Hmm, probably not . . . but I’m very excited to see how the show will carry on without dulling its satire.

Simulcasts I plan to follow this spring:

Kabaneri of the Iron Fortress – HYPE HYPE HYPE ATTACK ON TITAN HYPE HYPE HYPE

Kiznaiver – It’s studio Trigger and it’s not Ninja Slayer. Need I say more?

My Hero Academia – THE REAL HYPE. Mainly watching this to know what all the buzz is.

Mayoiga – I’m a sucker for mysteries, and this one looks genuinely interesting. It also sounds sort of like a survival game, which is another trick to bait Takuto.

Any Sword Art Online fans out there? I wrote this humongous five-part comprehensive analysis over the first season’s second half, “Fairy Dance.” CLICK HERE for the series! Be warned, it’s quite wordy, but it’s so far THE hardest thing I’ve ever written for this blog. I had a blast writing all of it, and I encourage you to check it out if you’ve enjoyed my musings thus far!

Now that the “Fairy Dance” analysis is out of the way, I’ve been slowly working on a lot of new projects behind the scenes. Some involve just tackling new simulcasts, some just checking on previous popular shows, and some are secret. More to come on those later, hyuk-hyuk-hyuk.

I had the time of my life at Naka-Kon 2016! Click here for more!

I’ll also be testing out some new review formats, so be on the lookout for your favorite one and let me know! I normally clock in with 1,000 to 1,400 words per review, but I’d like to try writing these next few in under 900. Partial reasoning for this cut is to practice my wording, but another comes from the fact that most bloggers (and readers) prefer shorter posts. It’s rare to come across a person who enjoys 5,000+ words of analysis 🙂 so I want to try shorter, more meaningful posts! I’m sure we all know the struggles.

So yeah, that’s about it. I’ve been busy with music and academic competitions these past several weeks (studying, practicing, studying). As you can see, I have no problem fitting in time to watch anime. It’s just hard to get around to writing about it, publishing a post, reading other posts, commenting, then replying to everything – WAH! But I enjoy reading from you guys, and I definitely get motivational-boosters from reading the comments you leave. 😀

In other news, it’s getting much warmer here . . . so much so that some afternoons are unbearable, ugh. Why can’t we get more rain?? I’ll be up all night drafting reviews for the many shows that I want to talk about, so I better end things here. What shows did you recently complete that knocked your socks off? Y’all have a pleasant week, and until next time, this has been

– Takuto, your host

CAFÉ NOTICE | Aftermath of Being Logged in ALO

Posted by Takuto

Hello café-goers, how should I start this? Well, it’s evening here, so perhaps “Good evening, all!” or something to that effect. What I’m about to talk about is more on the serious side, but don’t worry, it’s that good kind of serious – that satisfactory seriousness that comes from adult praise, for instance. The topic? You read the title. I was logged into ALO for admittedly far too long, and you’ve probably realized that. Also, I lost a lot of you guys from my first anticipation post of the project, haha! What happened?!

I started to analyze Reki Kawahara’s Fairy Dance not by choice; I was sick and tired of nearly every goddamn anime fan beating up on SAO’s second half, and I had to change that by defending it as my sole right as a reviewer and a fan. We stick up for things we appreciate, see, and we also criticize the aspects that could’ve been better. But this was a defense series for the positive aspects, not the negative ones. I’m not saying Fairy Dance is pure gold – Oh gosh, no – but aren’t there other series out there begging to be picked apart like the literary vultures we are?

Now you probably think, “What about all those fans out there that praise SAO as the chief of all anime, huh? We must stop their ignorance!” Well, I agree, you can tear Sword Art Online limb from limb, whether that be the anime, the novels, or both, but the series’ problem is rooted in the the lead character himself, and sadly I can’t do much about that. However, I can point out a few of the cool tricks the series performed correctly. Hence, my motives for writing this.

This journey of 10,000 words starts with a single letter. Cheesy as it sounds, it is what it is. Clocking in at around 10,000 words altogether (parts I through this reflection), this is one of my greatest achievements as a blogger. A Word document this large is at risk of EXPLODING! Am I proud that I threw a sh*t ton of words on a page and called it an analysis? Not necessarily. I proclaim this to be one of my greatest achievements in blogging because this is my grandest collection of argumentative text on this blog. I dare say it means more to me than my reviews . . . This is a project I can look back on and actually feel really, really proud of the hours of work that went into this. I went into it thinking it would just be another review series. Hah, how little did I predict the longstanding effects it would come to have.

I realize this topic is taboo by bloggers, but here I go. “In Defense of Fairy Dance” had quite possibly one of the worst ‘statistical’ receptions on this blog – and THAT’S FINE. I believe it to be one of my highest of highs even though the number of likes and comments dictate it was one of my lowest of lows. It just means that you as a reader didn’t want to, well, read it, and that’s totally okay. Read what won’t waste your time, after all. That’s how I’ve always seen it. Just know that despite my efforts (and I don’t blame you AT ALL for not knowing the struggle), they ultimately mean so little, statistically. Thus, I’d like to extend my warmest thanks to those who stuck around, read, liked, commented – You know who you are. Thank you, it is an absolute joy reading your comments overflowing with your own responses and opinions!!!

If you’ve learned anything by now, it’s that Sword Art Online is a franchise rich with irony. Dramatic Irony ringin’ any bells? Gosh, we’ve beaten this horse quite dead. I won’t rattle on more, but I hope you’ve been able to take out this popular theme and apply it to other media. SAO doesn’t do anything particularly special with it; it just does a fantastic job working it into the story and characters. I also hope that, through reading this, you’ve been reinforced with the thought that “appearances aren’t everything.” Oh, it’s a juvenile theme, but one that applies itself here in many more ways than one.

Lastly, before I bow out of this enchanting land of fairies and bid the franchise farewell, I have one last lesson to reign it all in. You question, “What could possibly be more important than dramatic irony, Takuto???”

La vie est drôle

“Life is Funny,” eh?

You might recall this phrase rolling off the tongue of Ragyo Kiryuin from Kill la Kill, but its meaning is can be equally applied to the entirety of Sword Art Online.

A story of kids who finally get their hands on virtual reality, only to get trapped in it with death as the only escape.

How about when they finally do manage to return to the real world, and the main character’s lover has been relocated into another cage?

Or even when she gets out, and a mysterious marauder threatens to kill players in-game with one pull of his trigger?

Heck, even a girl struggling through terminal illness seeks refuge in the game world.

What about a blogger who expended his time, energy, and soul into a project that got less hits than his dinky little haul post? I think you get the picture.

When you look at it, life sure is funny, eh?

I’m using the wings I gained from ALfheim Online to soar to new heights. This experience has been troublesome, yet surprisingly a wake-up call much-delayed as well. I am still trying to work out a review format I am comfortable with, and this comprehensive review stuff has helped reduce my options (because at this point, I just can’t decide). Maybe now you’ll get to endorse yourself with tastier content. Or, perhaps, things could take a sour turn. Anything could happen, and so whatever does come our way, I’d like to reaffirm my thanks to all who have flown by my side during this journey. Don’t feel bad if you didn’t – I’m sure there’s a reason for your absence. Just know that we had a grand ol’ time here with dramatic irony, right fellows? Yeah, don’t answer that.

With more positive announcements on the horizon, I sincerely hope you have emerged as enlightened as I have! Keep on rolling with the punches, and until the next post, thank you very much for reading!

– Takuto, your host

Oh, before I leave, I’ll be dropping the headers for each section of the series below. You are encouraged to click on the image (if my computer’s not being fickle) to direct you to the page. Everything under “In Defense of Fairy Dance” will be compiled under the “Cafe Talk” section of the blog for future reference! 🙂

Overfly, To Be So Close Yet So Far Away | PART V & FINALE: In Defense of Fairy Dance

Posted by Takuto

This is part five and finale of the five-part series “In Defense of Fairy Dance,” a collection and comprehensive analysis defending the positive aspects of Reki Kawahara’s “Fairy Dance” arc in Sword Art Online. Research was gathered from the anime (sub and dub versions) and volumes three and four of the light novel series. This is in NO WAY written to justify all of the second half of the series, nor is it to say that it is particularly well-written. Instead, it is a half-full glass of the neat things the series did, and why I enjoyed myself with most of the content despite the glaring flaws. HEAVY SPOILERS EXIST.

Well readers, we’ve reached the final stretch! Instead of boring you with another wave of novel quotes and anime screenshots, I decided to go out on a limb [insert World Tree joke here] and bring in sound to this comprehensive analysis. Specifically, Sword Art Online’s second ending (my favorite song) “Overfly” by Luna Haruna. For this post, I’d like to seek the great YouTuber and vocalist Amanda Lee and her cover of “Overfly” to wrap everything up, as its lyrical brilliance encompasses the heart and soul of the “Fairy Dance.” Even though the multi-meaningful lyrics can be applied to practically all characters in the franchise (dramatic irony and all), I want to tag-team with AmaLee and let one Sylph in particular shine above the crowd.

I DO NOT OWN “OVERFLY” OR THIS COVER. THE SONG BELONGS TO LUNA HARUNA AND THE COVER BELONGS TO AMANDA LEE.

First, a note from AmaLee herself. If you read the description box, she quotes:

“I wanted to chime in about this song (rare, I know!) If you’ve watched the anime you can probably see that this song is written from Sugu’s perspective. (spoiler warning) Throughout the song she’s realizing that her love is one-sided and is trying to deal with that heartbreak. I know many people don’t like Sugu but I just want to give her a big hug after singing this song~ ;;;A;;; I the lyrics are extremely touching because everyone knows the feeling of wanting something so badly but ultimately knowing that no matter what you do, you can’t make it happen. Betcha didn’t think this song was that bittersweet when you heard it in Japanese!”

Oh yeah, then why the Asuna picture instead of Suguha? How does this play into the sad irony we’ve thoroughly established?

Ah yes, the truth is polarizing. Onto the song!

ENGLISH “Overfly” Sword Art Online (AmaLee)

Hands up high Raise them high

And cast your worries to the sky

There’s no doubt Not one doubt

As I make my wish and let it cry out

Two hands in the air not only represent a surrender, but also an “AGH, I give up!” action. And that’s exactly what Suguha’s doing here – She’s throwing her burdens and troubles towards the heavens in hopes that – without doubt – she will be able to dream without worry and just let it all out.

If I gathered all the love in my heart

That grows with every passing day

I would find a confusing puzzle

That changes and rearranges

Every day, Sugu’s love for Kazuto grows more and more. Love isn’t an emotion to stop by for an hour, sip on a drink, then depart. No. Each passing moment she shares with him adds to the complexity of the scenario – Should I love him, should I not . . . ? Sugu knows the chaos that would spread should she declare her love to her brother, and that not only hurts but confuses her. Shouldn’t she be entitled to pursue love passionately and freely? In this case, society (and some health studies) indicate otherwise.

Will I ever find my place? I’m not sure

Or will I forever feel insecure?

And the moment all the questions fade

I notice my tears

But I can’t hold them back

Will Sugu eventually find a place where she is comfortable with this forbidden lust? She doesn’t know. Perhaps she’ll be clutching that intangible and silly reality forever, like a kid at a carnival still waiting by the Ferris wheel with a ticket despite it having closed hours ago. However, the moment she thinks she’s come up with a solution and/or breaks the ice, Sugu is reminded about how wrong that love is, and cries indefinitely.

Maybe it’s too late

I’ve lost my chance

All of my questions shall go unanswered

Will I keep fighting to find the light or

Will I descend to a bitter end?

It might even be too late! I mean, Kazuto loves Asuna with a desire unlike any other; Perhaps Sugu should just throw in the towel now. I mean, the two are a good match. What would you do – Pursue love passionately and vigorously, or end the struggle only to wallow in more regret, guilt, and heartbreak?

Hands up high Raise them high

And cast your worries to the sky

If you can’t stand

Then take my hand

And I will rise to fight by your side

My beating heart is burning on

And as it races I realize

There’s no doubt Not one doubt

As I make my wish and let it cry out

Chorus time. Toss up those hands in prayer, as all will eventually be fine. Here, I imagine Leafa’s personality peeking through the clouds. The fierce Sylph warrior is reaching out to Kirito’s hand in an effort to help him rise and rescue his seemingly long-lost ‘wife.’ This encouragement, in turn, causes reinvention to take root within Leafa. “Now I have purpose,” and this excites her heart into motion. If he can pursue that wildly at impossible odds, so can she. The wish is back into focus.

I have always danced to my own beat

But you always throw me out of sync

‘Cause around you I am holding back

And I’m mastering a fake brave smile

Sugu is tough on the outside and on the inside. She’s in kendo, and damn good at it, too! Ever since, she’s had her own rhythm – her own ebb and flow. Even in ALO, flying through missions is the only thing on her mind. But romance keeps disrupting the waters; a heartbeat that keeps accelerating. Leafa has to act tough around Kirito so that he is not discouraged, even if her heart is overflowing with anticipation and mixed signals.

Maybe it’s too late

I’ve lost to my dreams

All of my wishes come true only here

If I wake up now, I’ll lose this moment

I fear my dreams will fade around me

Kazuto returned to the real world nicer than ever before, and that also offsets Sugu. “Why is he so kind to me?” As reality keeps tormenting her, indecision crawls back into the forefront. All of Sugu’s greatest dreams come true in the enchanting land of the fairies, ALfheim Online. She can fly, rest, make friends, and most of all, be truly free. If Sugu decides to “wake up” and choose Kazuto over ALO, she knows she’ll lose many things in the process, including her one true dream of flying higher than the clouds.

I’m so close yet so far

I can’t reach out to where you are

I’d give my heart I’d give my soul

But somethings are not in our control

“I’m so close, yet so far.” This is the ideal caption for Sword Art Online’s second half. It ties to Asuna and Kirito being in the same gaming world, yet not being able to meet up. It applies to Kirito standing over her real body in the hospital, yet not being able to say a word. It enforces the thought that Suguha has tragically fallen in love with her own brother, and despite them being closer than ever before (they live in the same house for chrissake), she feels so far apart. How about Leafa wanting to break the flight barrier? She’s so damn close all the time, yet the game has set it so that it’s impossible to breech. It’s all of that damn Dramatic Irony crap we’ve been delving into for the past two weeks!! Everyone on this cruel stage is willing to risk their heart and soul, but whether it be game admins, societal roles, or virtual connections, it’s not for them to decide the rules.

Your hand’s not meant for me to hold

And I’ll be lonely when you’re gone

I’m aware So aware

Only through my memory you’ll be there

A sister knows she cannot be with her own brother in matrimony. Thus, when Asuna and Kazuto go off and wed in the real world, Sugu will feel very lonely. Same with Kirito – Once he finds the princess he’s searching for, Leafa will lose her daring knight and precious friend. Only in reminiscence will she savor these wonderful joys.

It’s not the destiny that I’ve dreamed of

And as I cry I know this is goodbye

How can I ever reach you

When I can’t even see the sky?

She didn’t want to fall in love with Kazuto – That’s why she moved on to Kirito! But when Kirito proclaims his lover’s name, “Asuna,” she realizes that she was just another player in this punishing game of tag. Why she “can’t see the sky” could represent her tears filling and blurring out the view. Or perhaps another hint at the flight barrier which she cannot breech. Even more so could be that at the beginning of the song (and at the end here), Sugu cast her dreams to the sky, and that vision has now become muddied.

Hands up high Raise them high

And cast your worries to the sky

If you can’t stand

Then take my hand

And I will rise to fight by your side

My beating heart is burning on

And as it races I realize

There’s no doubt Not one doubt

As I make my wish and let it cry out

Regardless, the sky will always hold her heavy heart and greatest wishes. If Kirito needs help, then she will help him like he did for her. Simple as that, and this foreshadows the route she takes following the revelation (Sugu finds out) and the conclusion. Fighting with him excites her, and as her heart beats firmly, the Sylph now knows where she stands: In the sky, high above spiraling towers where her desires can cry out, yet out of reach for anyone else to hear. What else could “Overfly” mean?

Thank you for reading! Please, share any thoughts below and stay tuned for a brief REFLECTION!

(I own neither the anime nor the light novel series of Sword Art Online. All images and videos belong to A-1 Pictures and Reki Kawahara. “Overfly” belongs to Luna Haruna, and this English cover belongs to AmaLee.)

The Deadly Power of the Game | PART IV: In Defense of Fairy Dance

Posted by Takuto

This is part four of the five-part series “In Defense of Fairy Dance,” a collection and comprehensive analysis defending the positive aspects of Reki Kawahara’s “Fairy Dance” arc in Sword Art Online. Research was gathered from the anime (sub and dub versions) and volumes three and four of the light novel series. This is in NO WAY written to justify all of the second half of the series, nor is it to say that it is particularly well-written. Instead, it is a half-full glass of the neat things the series did, and why I enjoyed myself with most of the content despite the glaring flaws. HEAVY SPOILERS EXIST.

Much like with PART III, this section will focus on the dramatic irony behind ALfheim Online itself, along with VR gaming altogether. Again, we’ll be analyzing many of the quotes from the light novels to bring the truth to light. The anime does a fair job at captioning the satire of the entire ordeal, so bringing in further clips would only clutter the analysis. There are pictures, though. Many pretty pictures.

“Land of the Fairies,” Eh?

Don’t worry, Kazuto thought the exact same thing. I mean, what’s a bunch of fairies doing in games anyway? After nearly dying in a world of knights and castles, nobody wants to be a dumb fairy – They’re just bloated pixies. But when Kazuto questioned Agil, apparently ALO isn’t just another laid-back, casual MMO. No, in fact it’s “actually pretty hard-core,” as the system is set up to be entirely skill-based so that player skill is rewarded. PK-ing is encouraged as a result. Where each VRMMORPG tests its players, Leafa believes that pride is what was being challenged in ALO. “How hard could you struggle? If you lost, how would you regroup and hold your head high? That was the test, (24, vol.4).” Also, imagine losing to a bunch of fairies. That’s dumb.

Right off the bat irony is up and ready for a home run. That should be every viewer’s first thought – What’s so tough about ALfheim? The second arc’s game is totally based on athletic abilities rather than keyboarding techniques, essentially meaning that if you lose in-game, it means that you literally weren’t strong enough. It’s also funny how they mention it’s basically SAO with magic. Magic. Doesn’t ALO feel magical? Everyone has glittery wings that allow them to fly higher than in any other MMO, and who doesn’t want that? ALO must be a DREAM COME TRUE, no flaws whatsoever. HAH! What a joke.

The Sad, Scientific Truth behind ALfheim

I don’t want to turn this already-way-too-long series into a summary, so let’s just jog our noggins. Sugou inverted SAO into ALO, kidnapping +300 entrapped minds as tools to further his research. That being, to study and prove that if the brain could be significantly controlled, then so could emotions.

“’Ha-ha! You won’t be singing that tune for long. Very soon, I will control your emotions in the palm of my hand. Look, Titania. Can you see them? Thousands and thousands of players, diving into this expansive world, enjoying the game. The thing is . . . none of them has any idea that the full-dive system isn’t just a tool for mere entertainment!’ (102, vol.3).”

Games are meant to be innocent fun, nothing more or less. But here, the grand Fairy King has rewritten the rules and taken control of all pawns on the board. He cheats, abusing the gift of the virtual world to benefit his own research – And at the extent of risking human lives, to which he casts aside! Sugou is a villain in both pixels and cold blood, and I’d say he’s a good one at that. He is, after all, a scientist, and furthering one’s knowledge of the world whenever and WHEREVER possible is sincerely worth pursuing. While you can only go so far to justify his motives, Sugou is still a creepy bastard who treats his soon-to-be wife without any regard, and he also kidnaps kiddos and pokes around their brain while they sleep. His jealousy over Kayaba’s success drove him to be even more passionate, yet he was outraged when the creator sacrificed himself.

“’Mr. Kayaba was a genius. But he was also a fool. How could he utilize that incredible potential just to create a stupid game?’ (103, vol.3).”

But his methods are where I see the crowd diverge. His henchmen find it more humane than exposing test animals’ brains to open air and jamming electrodes into them. “I mean, all they’re doing here is dreaming.” Very true, it’s all one big farce, and the series mentions that research on the human brain is incredibly slow due to the, well, human subjects needed. It’s not like you can get folks to consent on the matter, though. Otherwise we’d be leaps and bounds ahead of what we know! His research is admirable, but Sugou’s methods cross the line of sanity. He’s also an ass, which adds to what makes pure villainy – hatred. He’s supposed to be unlikable, and I think we can all agree that he is without falter.

This is One Tree You Can’t Climb

After giving Kirito the info-dump as to the features in ALO, Kirito assesses that the World Tree – The Master Quest – is essentially unbeatable because the only indication to standing a chance involves guild cooperation. However, the prize is only awarded to a single race that completes the mission, and no one would compete if it just means forfeiting the prize to the other team.

A while later, Kirito truly understands the game’s irony. “’ALO’s a nasty game, testing its players’ greed like this. I’m guessing its designer is a real piece of work,’ (191, vol.3).”

Oh trust me, he is. He is the self-proclaimed “Fairy King.” He’s also a narcissistic fiend.

Even Leafa, while tackling the Tree at the end of the series, feels the unfairness in the omnipresent guardian knights. She’s starting to sense that this world isn’t built around the hopes and dreams that flying fulfills. Something’s amiss. I just love this quote:

“But now, for the first time, Leafa began to sense a kind of malice within the system. Some unseen force, which was supposedly keeping everything in a fair balance, was wickedly, cruelly swinging a bloody scythe at the players’ necks within this arena. There was no way to overcome this trap, (124, vol.4).”

And when Kirito finally resurfaces (because he’s too OP) he becomes speechless. He has some excellent mental grammar, though:

“The grand quest at the center of the game – to reach the city atop the World Tree and be reborn as true fairies – was nothing more than a giant carrot, endlessly dangled out of reach of the game’s player base? So not only was this battle’s difficulty set to the extreme, the door was locked by nothing more than the will of the game manager . . . ? (133, vol.4).”

THIS RIGHT HERE is the MOST SIGNIFICANT piece of DRAMATICAL IRONY found in the work. We’ve covered Suguha and Asuna, but this realization is the ultimate plot underlying Sword Art Online. Even the revelation to Kirito that Sugou – the nasty man trying to steal his girl IRL – is the mastermind doesn’t compare in shock value to this. The game is rigged. It was from the start to its game manager’s end. Those who fought for life in this world – to fly high among the stars and one day, a palace in the sky – is all for not. Hell, the option doesn’t exist. Just like you couldn’t log out of SAO, a freakin’ game, ALO’s master storyline isn’t designed to finish – EVER. What keeps players like Asuna and Kirito coming back to VRs if they only bring painful revelations and ironically cruel clickbait?

Treasures ALO Gave its Players

The irreplaceable positive memories and true friendships formed, that’s what. People form ideals off of scenarios like these. For Kirito, everything was just a game. “Kill what you want, take what you want.” After surviving SAO and enduring ALO, he’s seen enough to realize that “there are things you have to protect and uphold because it’s a virtual world, even if that makes you look stupid, (168, vol.3).” Paraphrasing from the novel: Though it sounds paradoxical, you can’t completely separate the player and the role-playing. Letting your inner greed run wild in the virtual world and that will come back to haunt your real-life personality. The player and the character are one in the same. That’s powerful; it’s an influential statement I’m sure actors, cosplayers, gamers, and the like can relate to.

For Leafa – No, for Suguha – she found true friendship along with hope and purpose through her wings of freedom. When rescuing Tonky from the three-faced giant, Sugu wasn’t going stand and watch the murder of something she’d labeled as a friend and given a name. There’d be no point to playing a VRMMO if it’s all fake! Even when they get out of Jotunheim, she reflects on the happy accident that arose from falling in the first place, and all of the rare experience and friendship they gained being side-by-side.

To think that Sugou can manipulate these emotions is catastrophic, and Asuna of all people knows this by heart. “The research being done here was one of the great taboos, like human cloning. It wasn’t just a simple crime. This was the destruction and desecration of the last vestige of human dignity: the soul, (59, vol.4).” Robbing humans of emotions doesn’t make them human anymore, yet the person reaping the souls of others is the most inhumane of all. It’s almost unfathomable, really, and I only wish the series took this issue more seriously.

Lastly, along with memories, friendships, and ideals comes initiative – the drive to take charge and change fate. In his final bouts, Kirito reflects that ultimately, a virtual world is just a game, and he thought it was all real. He ponders his desire to return to the deadly SAO just because he was that world’s strongest hero. This notion of might clouded his judgement upon landing in ALO to foolishly save the princess without professional help, and it sadly resulted in borrowed mental toughness, nothing more. “I must have been very happy regaining my imaginary power, crushing other players and satisfying my ugly pride and self-esteem, (151, vol.4).” And even though the hideous God of this world is in absolute dominance, Kirito still prays. To a God in the real world? To a system glitch? To fate itself?

The most logical choice is the one whom blessed him with strength in the first place. The God of that old world. And just like that, Kayaba shows up in disappointment at what has become of the ideals which blossomed from their duel – That the HUMAN WILL could surpass a COMPUTER. Kirito wins not because his stats were higher, or that his blade was sharper. He wins because his will overpowered Sugou’s corrupted vision. The God of Old indirectly causes the downfall of the New God by channeling his spirit into the knight that beat him in a past life. That’s golden irony.

Thank you for reading! Please, share any thoughts below and stay tuned for PART V & FINALE!

(I own neither the anime nor the light novel series of Sword Art Online. All images and videos belong to A-1 Pictures and Reki Kawahara.)

Wings of Freedom, Cage of Gold | PART III: In Defense of Fairy Dance

Posted by Takuto

This is part three of the five-part series “In Defense of Fairy Dance,” a collection and comprehensive analysis defending the positive aspects of Reki Kawahara’s “Fairy Dance” arc in Sword Art Online. Research was gathered from the anime (sub and dub versions) and volumes three and four of the light novel series. This is in NO WAY written to justify all of the second half of the series, nor is it to say that it is particularly well-written. Instead, it is a half-full glass of the neat things the series did, and why I enjoyed myself with most of the content despite the glaring flaws. HEAVY SPOILERS EXIST.

For this third part I think we’ll have a little more fun. Are you sick of dramatic irony yet? No? Good, because realizing how large of a role it plays in Sword Art Online’s second half could make or break the experience, and here at the café, enlightenment is something we strive for!

As I mentioned, today’s post a little different. Instead of analyzing one line for +1,500 words, I thought I’d briefly list quotes from the light novels hinting at the rich irony in play, this being the symbolism behind the fairy wings and the birdcage suspended in the heavens. It’ll largely be, once again, a look into Suguha and Asuna.

Wings of Freedom, a Look into Suguha’s Case

“But she knew that when it happened, Kazuto’s heart would be forever beyond her reach, (92, vol.3).”

Ah, this refers to the incest we glanced over due to its taboo nature and my modest stance with the whole thing. Regardless, isn’t it funny that the person whom she is closest to – they live together for crying out loud – is the one person whom she is not allowed to love? Siblings, cousins, or otherwise, that’s pretty cruel.

“. . . Leafa felt the heavy, clinging web of hassles descending upon her. The only thing she wanted from ALO was the feeling of flight, of escape from pressure. To cast aside her troubles and fly as far as she desired. Nothing more. But it seemed that was a naiveté born of ignorance. Perhaps it was just a fantasy of hers, that this virtual world where everyone had wings would be enough to help her forget the gravity of real life, (116, vol.3).”

Apologies for the lengthy passage, but this is the bottom line, the viewpoint through which Sugu sees ALO and gaming altogether. Stats, battles, monsters? She couldn’t give a ‘flying’ flip. How can we tell? She could’ve joined any other game, but she chose the one VR with flight capabilities – Wings of Freedom (no, not a tribute to the overly popular titan-slaying hit). After school when she logs on and becomes Leafa, she believes she can sprout her wings and take off, leaving her problems grounded. She wants to float around, to soar against the moon and the stars, to leave it all behind and fly away from her issues. She knows it’s a foolish thought, yet here she is still playing the same game.

“’I wonder . . . Why does everything have to come down to control-or-be-controlled? I mean, we have these wonderful wings . . .’ (120, vol.3).”

“The stronger she grew, the wider her range of activities. Just flying through the sky over unfamiliar territory was a thrill. But as she became one of the strongest sylphs in the game, along with her knowledge came hassles. In time, she felt she was just going through the motions. The obligation to fight for her race became an invisible chain shackled to her wings, (133, vo.3).”

Here’s that punchline again. Imagine having weighty responsibilities in the real world, like most of us do. These obligations are noisome, so we log on a play games to leave these worries behind if only for a brief moment. Now, just because she became attached to flight, Leafa has become a significant figure in the game, and her controlling guild leader has burdened her with unnecessary responsibilities. It’s just a game, sheesh! All the girl wants to do is fly, so quit dragging her off to be a battlefield celebrity!

“Suguha’s stature was far from large for a kendo athlete, but compared to Leafa the sylph, she was rather big-boned. When she moved her shoulders, stomach, or thighs, the muscles rose to the surface of the skin. She thought her breasts had grown quite a bit recently, too. She couldn’t help but feel that the inescapable reality of that body reflected her own inner conflict, so Suguha shut her eyes tight again, (132, vol.3).”

This is another long but good one. We don’t get this in the anime. Also, another point from my heart to Suguha. Sugu is a big-boned, short, well-endowed women. To her, she’s anything but a woman, that being her sylph idol. Leafa is slender, tall, big-chested (as well), yet just as strong, if not more so. That’s not fair. All of her painful kendo training and I look like this? That’s what she probably is telling herself. It doesn’t help that her bro is a perfect fem-boy – Even Klein wants a piece of Kirito’s meat. Sugu, I feel your pain. Any chance I get to create a virtual avatar, I change the hair color to blond (because I’m a brunette), change the eyes to bold blue (cause mine are dull brown), and chop off a good +50 lbs just because I CAN. I’d RATHER look like this! Having body-image issues makes us feel like we have done something wrong, and sometimes, kiddo, that’s just the way this world works.

“She’d be lying if she claimed that loving Kazuto as Suguha and being attracted to Kirito as Leafa didn’t fill her with guilt. But it was Kirito who had taught her that the world of ALfheim didn’t have to be just an extension of a virtual flight simulator, but another true reality. Because of that, Leafa had realized that the feelings she felt here were true, not just digital data . . . ‘This can’t be happening . . . This is so wrong,’ (101, vol.4).”

This is the grand reveal we covered in PART I, and might I add that the entire five or ten pages this encompasses could’ve been marked down as quote material. Obviously, the irony here is that Sugu loved her brother, but that was ‘wrong.’ Thus, she put her mind to VR games like he did and discovered flight. It wasn’t long before she buried those feelings and met Kirito, a gamer who brought a whole new level of experience to her. Her life feels forever revolutionized – that she’s moved on – until the boy (should’ve been obvious duh from the start, as the similarities are off the chart) reveals himself to be the knight she found new love in. She betrayed her own heart, and the guilt is incomprehensible.

“I was on top of the World Tree. The peak of the world. The place that Leafa . . . that Suguha had dreamed of for so long. But . . . ‘There’s no city in the sky’ . . . It was all an empty gift box. Past the enticing wrapping paper and ribbon, it was empty lies. How could I explain this to Leafa, after all of her dreams of being reborn as a high fairy? ‘This is unforgivable . . .’ (137, vol.4).”

Right before the fated reunion in the clouds, Kirito gets a peak at the world of fairies for what it truly is – A huge hoax. I put this here because, as he brings up, this was Suguha’s biggest dream: To soar through the clouds, and beyond. Now, Kirito is high above in the World Tree, only to realize that what the high and mighty sylph was clinging to this whole time was false. There is no master race, only one terrible, greedy man behind it all. Even though I’m not old enough, it’d be like breaking it to your daughter that the Tooth Fairy doesn’t exist . . . I still cry about that one, not that the idea broke my heart or anything, but that almost every other kid will have to go through the same trauma. Why even do it in the first place? You give me wings, ALfheim, but I’ll never truly be free?

Cage of Gold: A Look into Asuna’s Case

“The space between the bars was just wide enough that Asuna could have squeezed through if she tried, but the system prevented her from doing so. The intersecting golden bars stretched vertically before meshing together overhead in a dome . . . Which made this room a giant golden birdcage, hanging from the branch of an impossibly large tree – but no, that description wasn’t right. The birds who came to visit could come and go freely between the metal bars. It was a cell designed to hold a single prisoner: Asuna. A fragile, elegant, beautiful, but cruel cell. (98, vol.3).”

This is the punchline in Asuna’s case. Can you imagine the beauty of a floating golden birdcage with foliage wrapping around the bars and the horizon melting through each day? Don’t be fooled, as its beauty is insulting. The bars are purposefully positioned far enough to feed a sense of escape, but only after a natural attempt would one realize it was all a joke – You can’t actually squeeze through. Birds can weave in and out whenever they please (pair of black and white birds represent Kirito and Asuna’s relationship, BTW), stretching their wings wide outside the bars, and here you are not being able to move a wink. I’m surprised she didn’t go crazy on us and start talking to the birds.

Anyway, this “fragile, elegant, and beautiful” cell is more than cruel. It’s an insult to the prize it has imprisoned, and that mockery is pointed at ALO’s current Fairy Queen, Titania. Remember covering the story of Oberon and Titania in PART II? Well, how does the fairy world’s strongest fairy look now? That’s pretty ironic. Also, who puts a bird in a birdcage OUTSIDE ON A TREE?

“It was that world she longed for now, even more than the real world that she couldn’t be sure actually existed anymore. When she realized that tears were coming to her eyes, Asuna shook her head to get her feelings under control. Kirito was waiting for her in the real world. The only place she truly belonged was in his arms. She had to keep moving to make that happen. This hallway was not quite so long, (57, vol.4).”

So the cage has warped Asuna. While she would love more than anything to fight alongside her best friend and lover, after all she’s gone through, Asuna would rather rest in his arms. Is that weakness? No, that’s what we call settling down, hence the cabin in Aincrad and her “motherly” stance after this season. She just wants to relax with her love and put this cruel mockery of gaming behind her. But, even in desperate times, Asuna is always strategizing and being sneaky, much like her old avatar. Time passes when reminiscing on nice, old, happy memories, which is why the current hallway she is pacing, though identical to the seemingly never-ending one beforehand, went by so quickly, and she’ll cling to these memories to pull through.

“Suguha forgot to breathe when she saw the girl sleeping on the spacious bed. For a moment, she thought it wasn’t a person. It must be a fairy – one of the Alfs, the true fairies that lived on top of the World Tree. Such was the otherworldly beauty of the sleeping girl before her, (72, vol.4).”

Hmmmm, you can put this one together without my help . . . Funny how things turn out, huh? The irony is dripping wet.

“Asuna’s fighting, too. She’s doing her best to resist, to escape this world. There must be more that I can do, (87, vol.4).”

If Kirito’s not already got a sense of direction, then here’s his eye-opener. Asuna deliberately dropped a key card to them from above. She senses Kirito and Yui, and they sense Asuna. With passion starting to reignite, this is the excitement leading up to the fantastic, cataclysmic reveal! In other words, Suguha’s about to find out the cold truth that’s been staring her dead in the eyes.

“’I always believed . . . No . . . I still believe. I did in the past, and I will in the future. You’re my hero . . . You’ll come to save me anywhere, anytime . . . (158, vol.4).”

From peasant fighter, to powerful knight, to heart-warming wife, to caged princess, to freed women, Asuna has grown reluctant to struggling anymore. She hardly recalls the SAO days, let alone her own real home life. The cage has brought unnecessary strife and resignation to the resilient fighter. The quote, however, implies with “I did in the past” that she depended on him, and this could be tracing back to as early as when he saved her guild, or even when they first teamed up, though unlikely. Point is, I’m not surprised that she is tired of carrying the torch. She’s by no means weak all of a sudden, just that the front lines are a place of the past now. Everyone can have a hero in life.

“Her thin arms were resting in her lap, holding a shining, blue, egg-shaped object. Her NerveGear. The crown of thorns that had held her prisoner for so long was finally silent, its job finished, (173, vol.4).”

This is a statement of closure. Do you recall Suguha in her final moments spotting her “shining crown ahead of her” to place it atop her head? Notice how they are both identified as “crowns,” but for different reasons. A crown of thorns is one full of burden, imprisonment, and painful sin; horns, almost. Meanwhile, Sugu’s shining crown is a halo that will transcend her into a free being with wings. Again, both are crowns, but they crown the wearer for drastically different reasons. I honestly wish the story ended here, rather than with Kayaba’s cheap RPG maker egg. This crowning glory where one bestows themselves with it while the other relinquishes it is much more symbolic, much more touching, and much more . . . dramatically ironic.

Thank you for reading! Please, share any thoughts below and stay tuned for PART IV!

(I own neither the anime nor the light novel series of Sword Art Online. All images and videos belong to A-1 Pictures and Reki Kawahara.)

Asuna’s Position Cannot Define Her Personality | PART II: In Defense of Fairy Dance

Posted by Takuto

This is part two of the five-part series “In Defense of Fairy Dance,” a collection and comprehensive analysis defending the positive aspects of Reki Kawahara’s “Fairy Dance” arc in Sword Art Online. Research was gathered from the anime (sub and dub versions) and volumes three and four of the light novel series. This is in NO WAY written to justify all of the second half of the series, nor is it to say that it is particularly well-written. Instead, it is a half-full glass of the neat things the series did, and why I enjoyed myself with most of the content despite the glaring flaws. HEAVY SPOILERS EXIST.

Introductions out of the way, we’re now getting down to business. For this second session, I’ll be taking a look at the target reason why Sword Art Online has a big fat red “X” scarred across itself on many people’s anime list. Her name was Asuna the Flash: Fierce, courageous, vigilant, and a knight for the people. Notice how I said was.

In “Fairy Dance,” our superior heroine was reduced to a weeping twig of a fairy begging for her mighty Kirito-kun to save her from her perverted, slimy (in more ways than one) captors. This unnecessary shift from castle knight to caged canary puts a fowl taste in the mouths of many, but was Asuna really as pathetic as she seems, or, perhaps, was there a special kind of development in play underneath the foliage? Did our coined “Damsel in Distress” actually have an iron backbone under those glittering wings we so frown upon?

Titania . . . That Stupid Name

Finding Asuna alone in the first half of “Fairy Dance” (third volume) is pretty rare. Often her sleazy captor Oberon the Fairy King AKA Sugou is found loafing around her chamber, mocking her hero, her helplessness, and even the game itself . . . We’ll cover that later. What is known is that by being forced into ALO, Asuna is unarmed – but still dangerous, mind you!

The book doesn’t start her off too strong, though. Upon her entrance in chapter three (98, vol.3), our first impression is her ‘silent prayer to Him,’ “’Hurry . . . Hurry and come save me, Kirito . . .’” Yeah, not a good start to our favorite ruby knight. Already, we feel her frailness of being a caged princess, as she first clings to the thought of someone else rescuing her rather than escaping herself.

That all fades away when Oberon graces his darling ‘Titania’ with his presence. In Aniplex’s English dub for the anime, she snappily remarks,

’Stop calling me by that stupid name. My name is Asuna, Sugou.’

In comparison, the light novel uses

’And stop calling me by that stupid name. I’m Asuna, Oberon . . . I mean, Mr. Sugou.’

If you read that second one closely enough, Asuna still reveres Sugou as an adult, hence, the respective Mr. in front. The ellipses further implies a cautioning, while the anime, specifically Cherami Leigh’s role of Asuna, is clearly firm with an unwavering glare to match it. That is one tiny detail where the anime did a better job at maintaining “The Flash’s” fire.

Another variance in tone between the two versions is shortly after, where Oberon requests that Asuna ‘give her heart to him.’ In the English dub:

’Never. The only things I’ll give you are disgust and hatred, and nothing more.’

Ooh, that’s tough talk. How about the LN?

’You will be waiting until the end of your days. All I feel for you is scorn and disgust.’

Interesting. Both are equally fierce and nearly identical in translation, but that wordier LN quote (Japanese language probably has something to do with that) comes across as a bit more, say, romantic, no? Not romantic as in “Oh Sugou, I love you” but more like a sweeter sass than “Never.” That brings us to the next point.

Romantic VS (not-so) Sexy

Anime. Yup, that’s fan service, not motivation for Kirito.

I’ll stop here, but you get the point.

Here is a side-by-side, LN Left, anime Right, same chain scene. The LN looks more graceful, as if to be romantic. Little too submissive, but I think it’s better than the anime’s gritty, busty, shadowed version. The anime tried to be sexier, and it almost worked had we not gotten a full-fledged tongue rape by Sugou. Notice how the shackles are cruder in the anime as well. I realize the LN is cover art, but it is still there to represent the same scene or state of being.

Reading a scene versus watching the same scene visually are two completely different translations. In that regard, the Asuna in the LNs embodies this air of “romantically clinging to hope,” while the anime is more of an “Oh God please save me from this disgusting man.” Support for this comes from the repeated reference to other aspects of nature in the LNs:

The World Tree Warriors are moths, the Sylph are grasshoppers, the Cait Sith are beasts, Kirito is a cockroach, Asuna is a bird trapped in a cage . . . And this all makes sense considering ALfheim’s fairy world theme – Everything is supposed to be lovely, full of wildlife and excitement! Asuna also translates as more of a delicate, gold-shackled woman than the anime’s bustier bod meant to attract your eyes. She is an item for Kirito and Sugou in the anime rather than a prize to be revered and softly handled.

And that’s where people draw the line with the second half – Sugou’s ridiculously inappropriate touching of Asuna towards the end. Was it necessary? Arguably, I think yes. By then, we are asleep. Kirito will reach the top, kill Sugou, and save the girl. The end. So didn’t having the female physically exploited before the MC’s eyes by this atrocious monster fuel the excitement, the rage?! It’s completely disgusting and humiliating (and fan service) in the anime (not that it isn’t in the LN) but you cannot say it wasn’t effective. It was the most infuriating yet engaging moment in the entire second half!

As for the tentacle slug things that nearly raped her? Yeah, THAT is poor, stupid, and totally uncalled-for writing. An alarm system or perhaps HUMAN guards would have not only made more sense, but also would have purified the show even if just a tad bit more. This was plain disgraceful and distasteful, not to mention unjustifiable. *shudders*

Parallels with the Legend

Okay, so it’s not a legend, but Shakespeare’s “A Midsummer Night’s Dream” clearly was the basis for the second half’s cast. Oberon is the ruthless fairy king driven by jealousy and power. He is a man to be enthralled by jokes, and will wickedly pursue his lust by making an ass of his wife, Titania, his object, wife, and queen. Titania is the strongest female fairy in the land, and her struggle against her King’s will puts her foster son, whom she loves more and spends more time with, on Oberon’s wanted list – He even contemplates making him his servant! Now, whom do these characters sound like? I wonder . . .

By Bravely Leaving the Nest, POSITION DOES NOT DEFINE PERSONALITY

If you once thought that Asuna was a weak gal in ALO, think again. Sure, her sword was taken away, but the true sword is her commendable courage (call it corny, but it is true). Asuna could’ve been stuck in that damned cage forever and gotten her mind wiped clean had she been caught by Sugou – Yet this birdie still boldly left the nest. “’That ends today,’” she tells herself. The only sign of reliability at this point is her murmuring “’Kirito . . . I’ll do my best.’” That’s not, “Kirito, come save me when I get out.” That is “Kirito, you’re out there fighting, and I’ll do my upmost to match your spirit.” Know the difference.

And I’m so freaking sick of everyone calling her a “Damsel in Distress!” Urban Dictionary defines it as “a stereotype of portraying an unmarried female who needs to be saved.”

Asuna is married. Childlike in execution, but nevertheless an item with the Black Knight in the first half.
She doesn’t need saving – She’s doing it herself! Why else would she risk her life in the game and in the real world? Kirito is trying her hardest, and she knows she must reinforce her own backbone with the thought that they will both be reunited TO ESCAPE BY HERSELF. This Asuna is just as clever and observant as her red counterpart. Look how she figured out a way to sneak out using the mirror; How about when she did escape, saw the 300 trapped players, and muttered that she would save them, too; Or when she did find a logout source, was pulled away, but took the key with her only to give it to her best fighting option – Her daughter and husband down below the clouds. And she did this all without pissing off her captor enough to have him wipe her mind. She’ll push his buttons and resist as long as she can without closing off any chance of escape.

Asuna shook her hair back, puffed out her chest in resolution, and strode forward purposefully, the way she had once done in a different world . . . ‘I won’t stop. I’m getting back to the real world, alive. I have to see him again,’ she swore to herself, and then resumed her march. (202, vol.3)

Guys, she’s an incredibly talented and valiant spirit on the inside, so please do not let that piece of cloth they call a dress and her whimpering in disgust hamper that belief. This, above many moments in the franchise, shows her true willingness to live and free herself (struggled with when she first arrived in SAO) – That iron will to push through the impossible is the mark of a true heroine. I admit that I’d rather watch her slice and dice demons on the battlefield, but I can, to a degree, at least understand the position/inner conflict (to live, and to do so freely), and why it the series took this route. It’s setting up Kirito as the main hero and Asuna as a secondary character for future content. Again, I don’t prefer it, but observing Asuna endure in this manner was still nevertheless intriguing if you look past the fairy glitter. Queens can be just as resilient as the mighty knights they call upon.

Thank you for reading! Please, share any thoughts below and stay tuned for PART III!

(I own neither the anime nor the light novel series of Sword Art Online. All images and videos belong to A-1 Pictures and Reki Kawahara.

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