#there's something really nice about his growth being very understated and natural

[hibiscusangel15]

I'm catching up with Adventure Time right now to watch Fionna and Cake (I literally started over from the beginning bc I stopped in the middle of S6 when it first aired and caught most of Stakes by accident).

And honestly, I really wish I never fell off this show in the first place. I really love how this show matures alongside Finn and that we get to see the show give closure to plot threads previously treated as jokes and D-list (by the show's definition) side characters' plots.

If all the miniseries leading up to the finale are this good, I'm so excited to see what Fionna and Cake holds.

[paintbrush-stan-babeyy]

uhmmmmm so basic of lly? i get it now. i Understand and i Know. know what, you might ask. 

Him

after ep 14 i did nothing but pace around my house like an excitable fool and while doing so jimmied open my brain cells long enough to finally connect the pieces of knife’s character so liek,,,, here’s a really shitty character analysis for anyone who has trouble writing him like i do dhfgdfhjf **disclaimer: idk how to write a character analysis

1. Da Basics so! knife! what’s up with him? well im here to tell you! he is a bastard nd i like him so much. from the official wiki descriptions we know he is a “ surface level jerk...  with his brash attitude and tendency to bully the other competitors” but then had this turn around in s2 after everyone was like “hey,,, u should be nicer”. there’s more to it but I Will Get There. anyhow the flats of his personality really is him being a dickhead to cover up those soft bits he doesn’t know how to express because he compartmentalizes all the time. who doesn’t do that tho lmao 

2. Da Beginning of a Parable   right now you’re probably thinking “wow rib! that sucked we already knew all that” well watch this *goes stupid goes crazy.* in a show that’s all about the contestants, the only way you can really understand Anyone is to pick apart how they interact with others and in knife’s case he does so Very Specifically. how it works is that so far every major interaction he’s had tends to culminate until it hits a breaking point. for example *points at trophy.* everything that happened there is where i like to mark the start of his character arc. da bully? has become da bullied. it doesn’t last very long but having his softer interests- like dora- exposed, mocked, and then held against him shakes knife up to the very least. having him mention how bad trophy’s blackmail was ten or so episodes later really drives in how Much it stuck with him. it wasn’t the senseless violence he was used too and kind of forced him to realize that “oh shit,,,,,,,, people can?? interact with me???” in ways that got under the walls he set up. *points at nickel nd suitcase* these guys? also reinforced that newborn view he’s looking at. like,,,, he’s still a complete ass and doesn’t quite, Get it? and he doesn’t even know that he’s in a character arc yet but i can confidently say the sarcasm and “random act of kindness” shifted something drastically in him, solely because of how understated these traits are. the biggest issue with seeing knife’s trajectory is the subtlety in it. he is absolutely one of the most subtle characters in the show; his growth shown in snippets, pushed aside for bigger storylines and hidden under his brash nature. he still hides the soft intentions under the asshole and that’s important to remember, but it’s also important to remember that the soft intentions is what you need to focus on.

3. Then Why Is He Acting Like That Now its the subtlety babey!!! its also the compartmentalizing in action. he’s always pushed things into boxes and labels, ie “bully”, “jock”, “nerd”, whatever. in the newest ep he’s doing just that. if you recall, any major external conflict he might’ve had was resolved suuuuper early in the season, so knife has had no way to conflate his problems with the show, unlike other characters. he did all his diagnostics running on the Down Low, influenced by the idea that other characters might know what’s going on in his noggin and then saying “no thanks” to that, all while taking in their advice at the same time. he’s a “take don’t give” kinda guy (except not all the time but I Will Get There). hell, taco technically wasn’t part of the show Either. so basically, his issues? are all internal and ii is really just that to him. a game. y’all might remember a previous post that i made and subsequently lost in the void when i deleted, but when i compared mephone’s memories to the players current situations and then couldn’t for the LIFE of me figure out how knife’s played into it, i was actually lying. my guy’s general “trash” feelings over the show was, at this point, him actually taking it seriously for once. knife got done being “open” once microphone eliminated herself, and it’s back to being selfish because any internal ties, as small as they were, have wrapped themselves up neatly. all that’s left is the game, and gosh darn he really believes he’s got a shot at winning it

4. He Is Not Immune To Being Soft However this is how knickle can still w- “ok then rib, what’s going on in the inside then, huh??” glad you asked! knife has gained delicacy. after suitcase he really did decide to Stop being so thick and actually look at things now, taking up the role of an asshole observer- sort of like mepad in a sense. he got,,, perceptive, coupled with his personal sense of sectionalizing. in the end he likes,,, maybe, three other people, and that influences how he carries any interactions he has later in the series. suitcase? is a ok in his book, and he does give her genuine advice a couple times. microphone is a fairly complex situation that picks up in his box mindset. pickle? hallelujah thats knife’s favorite guy. i can’t say for sure Why he’s knife’s favorite guy but really, there’s no heterosexual explanation on why pickle was the absolute axis of knife’s turning point. ep seven honestly truly is the head of knife’s change overall actually. his random act of kindness Here branches off into any kindness he does Later. suitcase manages to keep up in his head, and microphone probably reminds him of pickle- especially with the similarities of their situations, which is why he pokes and prods at her so much. it’s his very knife way of being nice, it’s him saying “hey, taco? isn’t worth it”. its that hard shell under currented by his arc of playing fair. knife still 100% has a ways to go (apology to marsh in my mouth pls pls pls-) but i can’t wait to see how his one trackedness plays out from here 

[furubabes]

Okay. Somebody Asked. @shoujobell and @cryptidaicat, y’all encouraged this. I’m gonna tag this #long post if you wanna filter.

So here. I got the urge to write and so I ranked the Fruits Basket couples from my favorite to least favorite. These aren’t my complete thoughts because I could honestly do multiple full meta posts on each pairing, but I tried to justify and explain all my choices. Standard disclaimer, this is subjective and we can agree to disagree.

Part 1: Just the reasonably popular ones

1. Kyoru: Someone’s gonna call me unoriginal for this but it’s fine. Kyoru is the main romance of Fruits Basket! They bring out the best in each other and build each other up as characters. Kyoru is basically my gold standard take on Sunshine Girl x Grouchy Dude, and I’m not even usually into that trope otherwise. Their romance is one of the few that feels so genuinely necessary to the story. They love each other and like each other. Kyo understands Tohru in a way no one else in the narrative does, and vice versa. They’re in love like soulmates and also like awkward teenagers. Kyoru invented romance. If it’s boring to like healthy romances with realistic development, I’ll be boring.

2. Tohrin: If Tohru didn’t end up with Kyo I would only want her to be with Rin. I guess they have some of the same appeal as Kyoru for me - Rin reads Tohru in a way a lot of people don’t. I also like how honest and raw they are with each other. They yell! They fight! Rin is down to just straight up knock Tohru over to keep her from rushing off. Also, they’re both absolute fashion icons. Goth x Prep rights. I firmly believe Tohru Honda is bisexual.

3. Yukeru: This is my favorite Yuki pairing. I followed @yunsoh way back when the reboot first started and her blog has got me absolutely hooked on Yukeru. I think Yuki’s arc would have just made a ridiculous amount of sense if he was gay. It screams comphet. Kakeru is an excellent complement to Yuki, and their bond feels incredibly natural. Honestly I feel like it’s the most organic romantic development outside of Kyoru. I think realistically they wouldn’t have gotten together until post-canon and frankly Yuki shines in his friendships much more than romances, so I’m not absolutely dying for them to be together, but if Yuki’s going to date anyone Kakeru is my pick.

4. Arisaki: Man... I just like them. They strike me as less of an epic love and more of a comfortable partnership. I also read them both as lesbians anyway lol. Honestly I think they both had feelings for Tohru at one point and bonded over it. The way I picture them happening is honestly just Arisa at 25 frantically googling “is it gay to hold hands with my girl roommate who I spend all my time with and also we never date men“ because Saki bought them rings that look like wedding bands but they could just be super close friendship rings and oh god she’s in too deep. They’re dating for four years before they notice.

5. AyaMine: But Jessie! You literally never post about this pairing! Yeah, you’re right. I never think about them actively. But when ranking the canon ships I realized that I like the two of them together because they’re chill and understated. They’re huge loud personalities on their own but as a couple, they just feel like two people who are happy together and like spending time with one another. No drama, no mess, very understated. No plot contrivances driving their relationship. Good for them.

6. YukiKyo: Okay, so I can be convinced to put on my YukiKyo goggles more often than not. It feels iffy because there’s debate about how closely related all the Sohmas are and these two are called “cousins” a lot in school, but since half of the Sohmas are dating each other anyway, I err on the side of them being more of a clan than a proper blood family. Anyway, YukiKyo is my designated angst fuel. I think it would realistically be pretty one-sided from Yuki’s side, since we see him wanting Kyo’s approval from a very young age, but I like exploring the what-ifs of their lives if they’d been friends instead of rivals. In canon, I like to think that after high school they’re not best friends in the traditional sense, but either one could show up with a dead body and the other would help them bury it, no questions asked.

7. Yuchi: Really? Yuki’s wife is my third favorite pairing for him? Look, I adore Machi, and I still like Yuchi. But as I’ve been watching the reboot and reading others’ metas, I think I agree that their relationship could have been very powerful as a platonic one, sort of running parallel to Yuki and Tohru. I like them together but I think there wasn’t quite time for a complete character arc for Machi and her growth sort of begins and ends with Yuki. I don’t object to them being a couple in canon and I think they’re genuinely very sweet, but once again, I think Yuki stands out in his friendships more than anything. I would have liked to see Machi strike out on her own a little more.

8. Haru x Yuki: I don’t have any particular feelings towards them but I love their dynamic already and I think as a couple they’d both be really easygoing and comfortable with each other. I think a childhood crush turned close friendship is honestly the narrative that works best for them so I have no need for the two to date canonically, but every time they interact in the anime it gets a laugh out of me. They’re cool. They’d make a very pretty pair.

9. Mayutori: I’m Mayutori-neutral. I think they suffer from Fruits Basket’s pair the spare syndrome, but out of the side pairings that don’t have too much impact, they’re one I enjoy. Mayu’s fun as a character, and painfully relatable, and I like that Hatori’s eventual romance isn’t with someone who reminds him of Kana or something like that. I also want good things for Hatori. Mayutori has serious heterosexual energy though. I’m not saying this as a pro or con, they’re just very straight.

10. Hatsuzu: Okay, Haru and Rin aren’t this far down because I hate them. I’m perfectly fine with them being together in canon. But I think their romance almost... functions better as individual motivation for their character arcs than it does as an actual relationship, if that makes sense? Rin’s backstory episode is heartbreaking and her motivation to protect Haru is compelling and sympathetic, but their actual scenes together just don’t move me that much. Their romance is the least interesting part of either character for me.

11. Hiro x Kisa: Yeah I never got into it that much. It’s cute, it’s a sweet depiction of childhood crushes, but I’m not a fan of the idea of them ending up together. Kisa’s a cutie and Hiro is entertaining but the two of them together don’t actually do much for me. The dynamic between them is almost like if someone did Kyoru with none of the nuance. Ultimately though, they’re kids. I don’t expect them to have a deep and complex romance.

12. Yukiru: I think it would be a disservice to their characters if they were a couple. People far more eloquent than me have already written plenty of meta on why Yuki and Tohru aren’t what the other needs romantically, so I won’t get into it, but basically I just think their canon friendship is so beautiful and meaningful that I wouldn’t want to change it. Yuki and Tohru support my thesis that not all soulmates are romantic.

13. Tohru x Momiji: Welcome to the subjective dislike corner! This pairing is reasonably popular among people theorizing who Tohru would be with if not Kyo, but for some reason it just sits poorly with me. I can’t rank it any lower because there’s nothing evil or morally wrong about it! I just really don’t like it. I’ve quit a few fics because this pairing came up and I just can’t enjoy it.

14. Kakeru x Komaki: Idk, I just think Kakeru latching onto the one girl who was nice to him and put up with his bullshit and then being with her forever isn’t compelling. Komaki’s also probably his beard. She’s likable as an individual though.

15. Akigure: There’s plenty to say about the age gap, Shigure being in love with Akito since she was a fetus because of The Dream, the implications of a 15-18 year old knowing he’d one day want to be with a then-10-year-old... yeah, you get it. But even if I was able to put all that aside because Soulmate Destiny Logic, I still don’t think I’d like Akigure. I think they’re interesting as bitter, codependent exes, but I don’t like the idea of Akito ending up with anyone who she abused or who abused her. I think she has so much growing to do as a character and staying in a relationship within the Sohma family to do it can’t be healthy for her. I can’t see them living happily ever after, nor do I really want to.

16. Kurisa: I think what frustrates me the most here is that I want to like Kureno and everything about this romance is written to dull his most interesting traits. First of all, the age gap. Yeah, it’s gross, I don’t like it. But even past that, the love at first sight, instant fixation with each other, and lack of actual chemistry just kills me. Arisa’s stated reason to like Kureno is that he reminds her of Tohru, basically piggybacking off the chemistry she and Tohru already have, and his total lack of agency means the plot just sort of carries him along. It frustrates me that Takaya could have done something pretty cool by making them simply friends who have a chance encounter and then build a friendship from there that parallels Kureno’s abusive dynamic with Akito. It would be neat if a stranger’s kindness was the push Kureno needed to get himself out of the Sohmas’ grasp, without all the nonsensical drama about them being in love. It would also be less of a disservice to Arisa, who basically just spends the whole series pining for Kureno after they meet and I hate it. I could write a whole post about this. Maybe I will sometime.

17. Kyoko x Katsuya: I don’t think their story is romantic. I think it’s tragic for Kyoko, and if it were framed that way within the narrative, I wouldn’t object so much to its existence. But... Takaya just really likes age gaps with a younger woman and an older man, so the narrative romanticizes this man marrying his student. Katsuya can be depicted as well-meaning as you want, but he’s still got a ridiculous amount of power over Kyoko. She was also still pretty young when she had Tohru, which doesn’t make things any better because it’s clear that the relationship turned physical when Kyoko was a teen, thus dashing the idea of Katsuya legally marrying her to save her but not actually doing anything creepy. I wish Fruits Basket framed this as a story of Kyoko escaping one dangerous situation by entering a relationship with a huge power imbalance, because that happens to girls all the time and it’s tragic and compelling. The events of the story could stay the exact same and if the framing changed I would be fine with it. But this is not that. This is just a really romanticized teacher/student age gap. I’m not into it.

Part 2: Rarepairs, weird shit, and others (oh my!)

1. Yuki x Kakeru x Kimi: OT3. I’m enamored with the idea of this hot mess polycule.

2. Momiji x Kimi: Chaos meets chaos. This couple would say uwu without any irony and also steal your car keys. They’re both perceptive and smart hidden under a layer of cute and I’d wanna watch them play 4D chess with each other.

3. Kazuma x Kunimitsu: Idk how old Kunimitsu is so if he’s like 20, strike this one from the record. But I saw one post once that was like Kyo slowly realizing Kazuma and Kunimitsu were gay and had been dating for years and it was funny as hell.

4. AyaTori: It’s cute. Opposites attract, black and white hair, and Aya only listens to Hatori anyway. It’s just fun to think about.

5. Megumi x Hiro: They don’t interact in canon I just think Goth x Punk-Ass Bitch is a great concept.

6. Motoko x Nao: They’re both loud as hell and Nao having a gf that towers over him is funny. Maybe Yuki would finally get some peace.

7. Machi x Kimi: I don’t see them actually being compatible in canon but I think they could have a really homoerotic college friendship.

8. Hajime x Mutsuki: This is just YukiKyo, the non angst version.

9. Akito x Hanajima: I’m so wary of shipping Akito with anyone but this is kind of fun. The two are friends in canon and Hana isn’t remotely afraid of Akito. Plus Akito never abused Hana. I can sort of see it.

10. Hiroshi x Yusuke: Makes no sense, wouldn’t be relevant, but if those two just never spent any time apart and continued being a pair for life it would be a really good bit.

11. Akitohru: I don’t think it’s healthy to date anyone who’s previously stabbed you.

12. Kazuma x Hanajima: Stop. Go to jail. Hana’s one-sided crush is funny though.

[spockandawe]

The Disabled Tyrant’s Pet Palm Fish

Okay, legit book pitch time, because I’m doing a terrible job of coherently typing out the premise every time I try to tell a person about this book, and I cannot stop telling people about this book. Bottom line up front: The Disabled Tyrant’s Pet Palm Fish started off a little rough (a combination of everything happens so much in the story itself, and, I think, the translator finding their footing), but I’ve been having such a good time that I am deep, deep in the mtl pit, because I can’t stop reading it.

The premise! This is a transmigration novel, where our hero Li Yu (his name literally translates to ‘carp’, for the record) enters the universe of a novel he just finished. He does not enter the body of a character from the novel, he enters as... a fish. A tiny little ingredient-for-fish-soup tier fish. Before he’s totally figured out what is going on, there’s an attempt to turn him into soup, and even when he flails his way out of the person’s hands, he’s.... stolen by a cat. And then, at the very last moment, he’s saved, and placed into a bowl of water to recover. This is the part of the book where So Much Is Happening and I was genuinely stressed by fish suffering.

But once he’s safe in a bowl, he finally gets to really talk to a System, and gets given some actual instructions. Surprise, sucker! You’re in a book! And he’s tasked with changing the path of that book’s protagonist, who goes from being the fifth imperial prince to eventually being the emperor. He’s like ‘oh my god, are you serious, i’m literally a fucking fish’ and the System is like *shrug* and says that well, he can either do the mission or he can die? So he’s like ‘OKAY, COOL, LET’S CHANGE THIS PRINCE’S LIFE.’ He’s also told that if he completes enough tasks, he’ll regain the ability to become human again, which is where I was like okay, this book is maybe not going to be quite so ridiculously batshit as the summary implied. The initial mission doesn’t say anything about romance, but I was still reading it like ohohohohoho, romance!

And the original book! At first, the fifth imperial prince, Jing-wang, was nominally out of the running to take the throne, because he was born with natural mutism and the emperor was told that this might be passed down to his children. He was his mother’s only surviving child, and she died soon after his birth, so he grew up very... isolated and disconnected, which makes sense given his temperament, even before all the other factors come into play. He’s a very cold, distant man, and in the book, eventually won out over his brothers to become the emperor. A cruel, rigid tyrant of an emperor. But! He did have a husband who he loved a lot. Unfortunately, that husband was planted by his brother and sure didn’t love him. The text calls him a black lotus, and describes that relationship as ‘sadomasochistic’, which I’m not sure is quite the right word, but it sure seems... melancholy, and the relationship seems to make Li Yu sad when he thinks about it.

Now, Li Yu is very worried about how the hecc he’s going to impact this imperial prince’s life in any meaningful way, but from the very start, the people around Jing-wang see him going soft for his new pet fish. His father especially is very moved to see his son finally attached to something that way. And I want to say that even the very early bits are... unexpectedly sweet?? Jing-wang doesn’t angst about not being able to speak, which I’d been worried about (I do hear that the mutism gets fixed eventually, which i’m not wild about, but i don’t feel like he’ll ever be a super verbal person tbh), but it’s really cute seeing him figuring out to interact with a pet where not being able to speak shouldn’t even really be a factor. And especially early on, Li Yu makes an effort to be as cute as possible, and way he pets and plays with his fish is the cutest, CUTEST thing.

(li yu is given an escalating series of unbelievably lavish aquariums, but even one of his earliest ones, jing-wang notices he’s interested in a pearl and just quietly fills the aquarium with priceless gemstones for his fish to play with)

There’s something that’s very hard to articulate about this, but in an early scene, Jing-wang brings the fish with him to a stressful meeting and gets angry, and starts holding the fish in a self-soothing way, and Li Yu is like AGH, TOO TIGHT and wriggles out, but before Jing-wang can even get properly upset at being rejected by his fish, Li Yu circles back around and starts winding through his fingers. Even before romance is a factor, the physical contact and comfort were absolutely precious.

When I’d started reading this, my initial mindset was basically ‘okay, so i can see Jing-wang getting attached to his fish, but love? seriously???’, but honestly, the story handled it in a REALLY nice way. There are around 160 chapters total, and by the mid-twenties, Li Yu gains the ability to occasionally/briefly transform into a human, and by the mid-thirties, Li Yu and Jing-wang have had an extended interaction where they’re both human-shaped. And Li Yu acquires other special powers with time, including interdimensional storage space and Super Jumping Powers, and he is seriously, seriously, the most sketchy-ass fish you’ve ever seen, and Jing-wang is a smart cookie.

At first, it’s little things like ‘okay, while Jing-wang is out, I’mmmm going to explore this room!’ And he does the fish equivalent of holding his breath and hops around for a while before returning to his tank like a good little fish, but Jing-wang comes back and there’s water all over the floor and he’s like ‘..............’ So what does he do? He starts leaving teacups of water all over the floor so that his fish can stop and take a breather without worrying about getting back to his tank. And when his fish seems interested in the work he’s doing at his desk, he sets up a teacup next to where he works so that his fish can watch what he’s doing. And initially, he’s kind of like ‘this is normal fish behavior, probably’, but. Li Yu is so focking sketchy. And it really, really doesn’t take long for Jing-wang to start connecting the dots between the strange young man who periodically materializes in/near his quarters and steals his clothes and his fish.

But this story is so funny. When Jing-wang starts getting suspicious, what he eventually concludes is that oh, this is like that fairy tale about the white snake spirit who seduced a human man to steal his spiritual essence. Or the fairy tale about the fox spirit who seduced a human man to steal his essence. Okay. Awright. And he spends considerable time waiting very impatiently, wondering why isn’t my fish seducing me yet??? He even sets things up so that while Li Yu is on his desk watching him work, he starts pointedly reading erotica about the snake spirit and fox spirit, and I can tell that he’s embarrassing himself, while meanwhile, Li Yu is a modern human trying to read ancient Chinese writing, and he’s like ‘haha, lmao, he reads way faster than me, I have no idea what’s happening.’

(later on, when they’ve managed to do a little bit of communication and work things out, Jing-wang proudly tells someone (writes for someone) that the food he’s eating was made for him by his boyfriend. and when the person is like ‘ah, okay. uh. what... is a boyfriend?’ and Jing-wang is like ‘I’ve got no goddamn idea.’)

Also, you may note. That one of the tags on this story is mpreg. And that was honestly why I dove into it, I was like ‘haha, there’s no way a story like this could sell me on a plot point like THAT, go ahead, try, I double dog dare you’. Well. Last night I reached that plot point. Y’all....... it.... worked. It was still silly, but the character himself was like ‘oh my god, you can’t be serious.’ It was silly and cute. At a slightly earlier point, the emperor sends Jing-wang to take a military force and go fight bandits, so Jing-wang was planning to leave Li Yu safely at home, and Li Yu wasn’t happy and non-seriously said, ‘no, your highness, you can’t leave me behind, I’m... CARRYING YOUR CHILD.’ And he didn’t mean it, but Jing-wang wanted to believe it at first, and was really happy, and was :( when Li Yu clarified that no, physically, he’s... not capable of doing that.

Smash cut to not long later, when the System gives Li Yu his next task in the main mission line and it’s.......... babies. Li Yu tries to plead with the System that no, oh my god, I am not physically equipped for this, but also at this point? The System has straight-up modified his fish body several times. He doubled all his attributes once, not realizing this included size, and got stuck in his aquarium cave. And later on, he upgraded from minnow(?) to koi and promptly... got stuck in his aquarium cave. So they’ve already coaxed me along through believing body modifications. And then the actual fish pregnancy process was very understated and low-key, and then once the fish babies hatched, after nine months, they got the ability to turn into human babies. The story even plays around with the idea of fish babies being capable of much more independence than human babies, and the babies being Displeased with the situation. Guys, they sold me on the mpreg. How did they do that?????

And something I genuinely hadn’t expected is that the relationship takes negotiation and growth. The earliest courting scenes are very... high-handed. Which I was into! I can dig a romance novel like that, where the love interest pins the protagonist to a wall and kisses him so good he sweeps him off his feet. But Li Yu gets to be upset, and push Jing-wang away, and be angry when Jing-wang tries to wiggle around the boundaries he’s trying to establish. He gets to tell Jing-wang he feels disrespected and taken advantage of, and Jing-wang learns to back off. And when he decides that he does want to give this thing a try, he lays out a couple base rules for Jing-wang, and Jing-wang takes it so seriously that he legit hangs them on his bedroom wall. 

And everyone who loves Jing-wang is so happy for him. They’re so happy for every positive development in his life. They’re happy when Jing-wang starts caring for his pet fish, and they’re even happier when he falls in love with an actual human. The main barrier to formalizing their relationship isn’t that Li Yu is a man, it’s that Jing-wang needs heirs, and well, that gets worked out. Even the emperor casually mentions that he used to have a male concubine back in the day.

You guys, I’ve been genuinely Moved by this silly novel about a fictional prince falling in love with his pet fish.

I’m not done yet, I’m almost exactly halfway through, and I’ve got no idea what’s coming next. I assume it will be political maneuvering, because Li Yu’s System told him that it’s guaranteed that Jing-wang will eventually become emperor, but the rest is up to him, and there are still a few other princes floating around who opposed him in the original book. And that black lotus husband from the original book is still around too. But Jing-wang has other allies who would have died in the original novel by now, who Li Yu managed to help save. And I’m so invested! I want to know what happens! Li Yu is periodically unlocking Jing-wang backstory reveals as rewards for completing missions, and some of these things give him a better understanding of Jing-wang in the present, but some open up brand new mysteries about Jing-wang’s past. I have to go do my actual job now, and I’m really unhappy about that, because I want! To read more!!! I’m reading the mtl right now, and if you’ve tried mtl, you know the prose can be barely comprehensible at times (i spent like ten chapters thinking jing-wang had two cousins when he has... one....) but still!!! I’m so, so invested, and I can’t stop recommending this book to everyone who has the misfortune to exist in the same space as me :’)

[aotopmha]

Attack On Titan Chapter 124 Thoughts

Chapter 36, the focus chapter Sasha had, has for the longest time been labeled as a filler chapter, but I maintain that it's thematically probably one of the most important chapters of the story and I think this chapter only adds to this idea.

Attack on Titan has such a strong perspective and thematic core and I think that's what makes this chapter a really solid one instead of just a chapter to drag this story out or just set all the ducks in row for what's coming.

Even if Eren succumbs to the demon inside of him, as Nicolo puts it, and has to be killed to be stopped, there are characters that haven't succumbed to their demons yet.

The story provides at least some source of hope even in it’s most darkest moments and compared to many other stories that go for this kind of exploration of humanity, I actually think this is one of the more balanced ones when it comes to the hope and darkness in the story. Usually the finale for these kind of stories is covered in a thick layer of cynicism, with the real, more idealistic perspective and actual thematic point of the story coming out in a understated, but firm manner - From the New World and Devilman Crybaby come to mind the most to me when it comes to anime.

Cynical stories about humanity to me are stories that have no empathy for humanity and just tell you how horrible it is.

Even as Jean expresses his cynical viewpoint this chapter, it’s full of understanding on the meta level.

As he's been doing since moral ambiguity has taken the center stage, Jean simply tries to rationalize a very difficult situation. It’s not there to say that the rest of humanity deserves this or humanity is shitty and that’s that.

The story has a lot of empathy for Eren's situation as it should because the readers have been with Eren on this journey for a long time and are conflicted just as the characters are.

Some of this material might be redundant (and I think the anime could help out here once more), but to me it's still very effective.

Some of my favorite themes in stories are learning to see the world in a more complex light and fighting against all the negative within yourself and I'm pretty much eating all of this up not only because it's themes that I love, but also because I think they are handled a bit more complexly than usual.

These have been some of the most fundamental ideas of the story since the first chapter: it all started with the most basic idea of standing up and keeping up the fight despite the fear and loss someone experiences and we’re right back here at the end of the story.

As I said in my initial post and what I’d say is the second strongest part of this chapter to me overall behind Nicolo’s speech about having a demon within yourself and leaving the forest, is Gabi's character arc.

Eren has been the primary positive representation of this struggle of fighting your demons for a while, but now it's Gabi - she fights to return everyone she loves to Reiner (and her) and does so without throwing anyone else under the bus, while Eren is now the negative representation of that struggle.

Stories about struggling with the bad in yourself don't often have negative examples where people lose against their demons, either, that's why I find Eren so interesting, as well.

The story truly paints nobody or nothing at fault here but human nature and I think you don’t really see that often.

Maybe in some story there is some conspiracy going on with some organization or some individual orchestrating everything that is wrong with the world - see Gurren Lagann, Kill la Kill, Dragon Ball or most other Shounen stuff. I enjoy that stuff - a central antagonistic force that represents everything that the protagonist shouldn't be/is representitive of an opposing ideaology isn't even foreign to AoT - for a time it was the Colossal Titan and the other shifters, the nobles within the walls, then Zeke specifically, all the way circling back to Eren himself and it very much helps to give direction to a story.

AoT just claims the root of all evil isn't one specific antagonistic character or group, but the parts of human nature that might drive us to hurt others.

The shitty nobles of the walls and King Fritz? Instead of the story just telling you how horrible they are, it also says that it’s human nature to grow corrupt - Ymir Fritz got her Titan powers by pure coincidence and naturally, humans took advantage of it. The humanity outside the walls? They aren't just a evil hivemind, in fact most of them are innocent people and the element that causes the most problems is actually ignorance.

Desiring power, being scared and hurting others because of being scared and doing anything you possibly could to survive, even if it also involves hurting others - it’s all shown as something natural, but also something to overcome rather than a inherent, unchangeable part of humanity.

It’s not just “that’s how humanity just is and there’s nothing we can do about it”, it’s “that’s how humanity is, but we can do something about it”.

It's human to succumb to these instincts, but we can also be above them.

This chapter is called "Thaw" and majority of it is about barriers between people melting away - Gabi and Kaya, Shadis and the recruits, the 104th and Gabi and of course, even the barrier Annie is surrounded by melting away.

Eren's presence as an enemy seems to have caused everyone to at least temporarily try and put their differences aside for the sake of survival, so whether Eren planned this or not, on some level unity is being achieved because nobody wants to die. This situation is playing into humanity’s intrinsic desire to survive and strive. Eren’s message to the Eldians really might be something to facilitate at least a temporary truce among all the sides for everyone to survive and if the Eldians play a essential part in stopping this, their contribution would be impossible to ignore and therefore they should get something positive out of this.

I suppose how believable it would feel narratively is up to everyone individually, but I don’t feel like it’s all that naive if you frame it like that.

Looking at it myself, I think some people would fall back to rely on their worse instincts, but I also think some wouldn't - an overly cruel humanity is just as unrealistic as an overly kind one.

There's nothing much for me to say about Annie because the panel of her being out of her crystal says nothing, but her plot thread is now at least addressed.

Finally, some neat details are Armin once again taking action with the Manouver Gear as he did before to be consistent with some physical character growth we've seen of him and Connie taking away Falco to finally also address the plot thread with his mother - if it came ahead somehow, I think Connie finally having enough makes sense and was properly built up.

Nile ultimately had his character arc capped off in a fine way prior to this chapter, so what happened here worked for me.

Looks like Pixis actually didn't get eaten by a female Titan, but rather taken out by a character with the history of being mistaken for a girl, so there you go. Armin also ended his life with respect, which I think also works fine here.

It's also nice Shadis gets to have a little bit of a character development moment of acting instead of just remaining passive.

I think now the plot threads left to address are:

1) The Ackerman powers

2) Levi and Hange

3) Historia

4) Eren

5) Kiyomi

6) The Warhammer Titan

I think the story can do it just fine looking at the timetable with the announced season 4. Some of these don't need very elaborate explanations and can be combined with other stuff - like Connie's mother.

I expect Levi and Hange, Annie, Eren and Historia to all get separate chapters and the other stuff to get mixed in there.

I think it'd work out with 8-10 more chapters.

This chapter, though, was a solid set-up chapter with side character payoffs and closures here and there to me.

I think the story is definitely doing it's best to give closure to everything - Connie's mother and Annie have seemed to be dropped plot threads for many people for a while now, but the story brought them back and seems to wish to address them in some manner.

The story has already broken ground among mystery box stories for actually answering most of it's huge mysteries in time, but as I've gone into in a bunch of my chapter posts for some time now, if it satisfyingly sticks the final landing, even in however flawed way, I think it'll definitely be special just for that.

[veryotl]

Seventeen Teen.age album review

In the past, I’ve posted album reviews generally a few days after new Seventeen album releases. I waited a little bit for this one, so that I could get used to the sound of the album before reviewing, but it’s been about a week now so I’m officially posting my Teen.age album review! 

1 and 13. Intro and Outro 

It’s not a new concept, but it’s the first time Seventeen has made an album with an intro and outro song. There’s not a whole lot to be said for a song that’s under a minute long, but as a general overview I do enjoy these short clips. For intro, I feel like it ties in well with the general album concept and feel, and it bears similarities to some other songs on the album. Similiar piano intro to Without You, low mumbling backing vocals similar to Bring It... I’d be interested to see it fleshed out into a full song, but I’m still very satisfied with the length it is currently. The progression into the slow piano near the outro is satisfying, and in general it has a good feel to it. For Outro, I can’t analyze it much, I’d kind of like to see it analyzed by someone who knows more about music. It seems to blend essential elements from title songs past such as a funky bass with key elements from Clap like a wailing electric guitar and addictive beat. Honestly, I really like the effort to show that the “Seventeen style” isn’t completely going away despite the change in atmosphere in this new album. It reminds us of the previous songs while still transitioning to the new style, and I find it very satisfying.

2 and 6-8. Change Up, Lilili Yabbay, Pinwheel, and Trauma or The B4

Sort of in an effort to keep this post kind of short, I’ve already written up most of my thoughts on the B4 songs, I’ll just link that here and not keep repeating myself. As a summary, Change up is simple but enjoyable, Lilili Yabbay is truly a subversion of expectations pulled off flawlessly, Pinwheel is a little bit expected but still has some really fantastic killing parts, and Trauma makes a lot of smart production choices to perfectly capture the emotion and feeling behind being trapped in traumatic memories of the past. 

3. Without You 

Without you is a little hard to pin down on style, tricking you into thinking you’re listening to a ballad and then suddenly bursting into a louder, slightly intense feel. The song jumps back and forth a few times, possibly causing some people genre whiplash. However, considering the song is only two verses and a chorus which is relatively simple for a song, it’s not a bad choice and it adds a sense of fullness to the song. The lyrics seem to pick up where Don’t Wanna Cry left off, about someone who is still waiting for someone who has moved on without them. It’s a very emotional song about working through regrets and feelings when you’re the only one left, and having to change and adapt to the new life you lead. Altogether it’s quite an emotional song and a nice continuation of DWC, I definitely enjoy the dose of reality of “sometimes people don’t come back even if you want them back and you just need to move on”. I think I would enjoy it more with a bit more structure, and I found the dance a little underwhelming. But altogether, I think they pull it off even though it’s a bit of a difficult song, especially Woozi and The8′s vocals that suit the styling well. 

4. Clap

My first reaction when I heard the preview of clap was “if they can pull this style off, it really will be true that Seventeen can do anything”. I was worried that it would be a base breaker, causing fans of their past fresh style like Pretty U, Adore U, and Mansae might have a hard time adjusting to the new rock style of the teaser, and that they’d end up having a difficult time this era because of the backlash. However, Clap holds up Seventeen’s legacy admirably, building on themes introduced from Boom Boom while still keeping true to the style of pop rock. Despite being shorter than most other Seventeen songs, Clap manages to accomplish two verses, a rap break, three choruses, a bridge and even a drop out of the main instrumentals allowing for an impactful dance break before the bridge. It mixes a wide variety of instruments such as rock guitar, the usual fantastic bass work and creative percussion, and even horns. The music video is legitimately enjoyable to watch, and the dance is engaging and fun with obvious point moves that are easily mimicked while still managing visual complexity. Clap is a fantastic song, and Seventeen has truly proven their capability expressing themselves in a new genre and style without abandoning their special touch.

5. Bring It

While I am a little disappointed they didn’t keep the translated Korean title “Just Shoot Me and Go”, I do really love this track. It didn’t really hit me how good Hoshi would be at writing rap lyrics, but considering how he cleverly spoils us each comeback, comes up with witty choreography like the visual pun in Jam Jam, and thinks on his feet to make jokes in part of the Booseoksoon friendship, it makes a lot of sense. The strong has a similar feeling to Hurricane, but there’s one notable difference which is, of course, the addition of Woozi’s vocals. His transition into the chorus is addictive and smooth, and comes off as so freakin badass. I didn’t expect their dynamic to fit so well with the song, but Hoshi’s energetic cockiness and Woozi’s laid back confidence work so well together. Although Hoshi dominates most of the song, the killing part by no contest is Woozi’s Busan dialect in the bridge which is just so freakin cool. The percussion throughout the song and the sampling marks good production choices even though it might not be the most comfortable genre for Woozi. By the end of the song, you feel pumped up and energized proving that the Hoshi and Woozi really is a killer combo. 

9. Flower

Simply put, Flower is probably my personal favorite song on this album. The balance of sweet voiced vocals like Seungkwan, Jeonghan, and The8 is stacked pretty high against Coups and Wonwoo’s often rough style, Dino being able to swing either way. And yet, they still manage to pull of this song which has a pretty fast beat for how low and deep the song is. The instrumentals switch from intense during the chorus to fairly understated verse and lead in. The vocals also play around with styles, Jeonghan providing a nice light and smooth vocal that contrasts Seungkwan’s emotional and high chorus, and a similar affect takes place with Dino’s upbeat pop rap in comparison to Wonwoo’s rough almost punk-influence rapping. The plucked string instrument leading the minimalistic sections adds an addictive melody to the song that calls back to the strummed muted strings in Trauma. Flower is another song that defies expectations and still manages to be pulled off in an interesting manner that keeps you coming back to listen again. A+ for this mix unit. 

10. Rocket

Rocket uses a lot of American electronica trends including a peppy synth and liberal autotune use. While I don’t listen to this style very often anymore, I can remember when I really enjoyed it and I can honestly say Rocket is an enjoyable, upbeat song. It finds a happy medium between the gentle vocal style of Joshua and the unique vocal color of Vernon’s rap, a strange combination that couldn’t have been easy to bridge stylistically. There’s no particular hard hitting analysis on the lyrics or the style to be made beyond that, and that information is an analysis all on it’s own. Rocket is best enjoyed by just enjoying it. It’s not deep or complex, it’s lighthearted and easygoing just like the two featured vocalists on the song. The style, the lyrics, the vocals, even the choice of autotune all made a connection between two unique voices that create something that is fun to listen to and just groove along with, and it’s just perfect for them. 

11. Hello

Originally, I disliked the song when it was on Seventeen Project. Mostly because it was a cringe inducing performance, but also because it felt sweet but underwhelming. The new version is only changed subtly, however the changes make a world of difference. Firstly, the remade track is ever so slightly sped up, making it a bit more peppy. It’s a good change to make with the style of the song, and it really pays off. The second change is additional instrumental, a cute and subtle synth that comes out to make the chorus stronger, changing the piano from sustained notes to shorter ones making it seem more bouncy, a few added percussion pieces, and some natural development as the song builds. The song suddenly seems more cheery and doesn’t drag as much and feel as empty. A few of the lyrics have been redone as well, helping Mingyu’s rap to flow much smoother. Also, the addition of both a vocal bridge, rap section, and alteration in the final chorus helps the song feel varied and interesting. The changes are pretty subtle at first, but they make it seem like a completely different, more finished, more satisfying song. Of course, the vocal development of DK, the pronunciation growth of Jun, and Mingyu better fleshing out his personal style is a real difference maker as well. All in all, the song is still the same song as before, but still completely redone and made better where it counts so it’s truly enjoyable and sweet.

12. Campfire 

The first time I listened to Campfire, I couldn’t exactly express what I loved about it. It sounded like a holiday - the good kind where you have a party with all your best friends and you laugh and make memories. Now I can truly say what is so satisfying about Campfire. Up until this song, there has been so many sounds on this album. From rock to electronica, from ballad to electrohouse, from punk influence to disco influence, each song is unique and individual. However, at the end, they all gather together into one group and sing a song that is entirely themed towards the idea of harmony. The idea that despite the differences, being together is precious and special and it creates warmth and comfort and joy like a campfire. The song is emotional and nostalgic because of the harmony and the honest feelings expressed by the members in the lyrics. It’s sort of a follow up to Smile Flower, which had a message of “Even though we don’t know what lies ahead, no matter how hard it is, I will always be there for you and hold you in my heart”, Campfire has a message of “When we laugh together and make special memories, it doesn’t matter how scary it is and hard it is in the future because I’ll always have this warmth when you’re in my heart and my memories”. 

And now that I’m crying from how much I love these boys, it’s time to wrap up my official full review of Teen.age! I hope you love this album as much as I did and support Seventeen and appreciate their hard work and love them forever, just like I do. <3

[someguyranting1]

Why Do So Many People Love SAO? The Art of Mass Appeal

Hey! It’s okay! You are allowed to like Sword Art Online. I feel like I needed to explain that before somebody gets the wrong idea and thinks this is just me saying, “I don’t understand how somebody likes an anime that I don’t like!”

I just want to put this on the record: You’re not a bad person for liking SAO. You don’t have shit taste, and you’re not stupid. There are plenty of legitimate reasons to like this show, and, for this review, we’re going to be exploring what those reasons are because any show that can reach over a million people has to be doing something right.

No, this isn’t going to boil down to an insulting and reductive conclusion, like, “Thirsty weebs need wish fulfillment,” although I do think that is part of it for some people. This is a serious, analytical look at the series. The mechanics of mass appeal have always fascinated me, and SAO’s lacking qualities in other departments make it easier to isolate those mechanics than it would be looking at something like FMA.

You really can’t understate the impact that SAO has had on popular culture. It takes a lot of brand recognition for an American product to get a shot on network television, let alone a Japanese one. Much as critics like to downplay popularity as a measure of quality, success like that doesn’t just come down to random luck.

That said, luck is a major factor. SAO is often lauded for its great premise, but that’s only half the story. The most obvious factor in SAO’s whirlwind success is that it hit on the right premise, at the right time. When SAO came out in 2012, eSports and Free-to-Play games were becoming huge in the public eye. League of Legends had overtaken WoW as the most-played PC game of the year, and WoW’s death grip on the MMO market had loosened enough so that the landscape of online worlds was becoming more expansive and varied than it had ever been before. It was the perfect time to release any story about hardcore gaming, hardcore MMO gaming in particular, and with the Hunger Games phenomenon just starting to “catch fire” thanks to the first movie’s release, the market was hot for death game stories in particular. Add to that the exploding popularity of the then-new Game of Thrones and Walking Dead, and any series with a similar sense of lethality was bound to do well. Just look at how many articles at the time compare Attack on Titan and SAO to those two shows.

On top of that, anime was about to blow up in a big way in the West. Crunchyroll came to my attention in Fall of 2011, when they acquired the rights to Fate/Zero. I was hooked enough on the series from watching it on their ad-supported site to bite the bullet on a subscription just to get one episode ahead, and I don’t think I’m the only one. From 2011 to 2012, Crunchyroll began offering a serious value proposition by doubling their seasonal anime library, and becoming the go-to place for basically everything coming out of Japan by the Summer of 2012. It might not have been Fate/Zero specifically, but between huge series like HunterxHunter and quality niche stuff like Space Brothers and Kids on the Slope, the streaming service finally had enough content to pull in and sustain a hundred thousand subscribers by September of 2012, and two hundred thousand by March of 2013. Crunchyroll had become the service of choice for the then-niche community. SAO hit right in the middle of the surge in anime’s Western popularity, right at the point when Crunchyroll had enough content to be worth a subscription, but before it became totally unreasonable to watch everything on the service.

As one of the biggest fish in a rapidly-expanding pond, SAO both benefited from and helped spur on the service’s growth. Since it was one of the most popular shows on the service, Crunchyroll naturally put it at the forefront of their marketing push, which only increased its brand caché among anime fans and casuals alike. At this point, SAO was huge in Japan, and within the niche of Western anime fandom. It had proved its market viability enough to become a flagship title for the recently revived and redesigned Toonami block on Cartoon Network in Spring of 2013, and it was both relevant and popular enough to be added to Netflix in 2014, right in time to hype up the second season.

Anime had become a massive wave, washing over popular culture. Like 2013’s Attack on Titan, SAO had the good fortune to start riding that wave while it was still small, and go all the way to the top. The two series’ similar tone, and similar lethality, meant that fans of one were likely the fans of the other, and the cross-pollination only helped them both.

However, if good timing and an enticing premise were all it took for a show to embed itself in the popular culture, we’d be staring down Season 3 of The Unlimited Hyoubu Kyousuke right now. As much as it pains me to admit it, SAO does do some things very right when it comes to its execution that primed it for its whirlwind success. One of the biggest factors in this regard is the look of the show. A1 Pictures has faced a lot of criticisms from anime YouTubers and critics in general for the uniform look of its productions, and indeed, it can get pretty tiring to see the same faces, in nearly identical art styles, over and over again. However, that’s not going to be a problem for the casual anime fan, whose only seen a few dozen series. Their shows might look pretty similar, but they all look polished and professional, assuming they’re given enough time in production. They might not look or feel as nice as something from Ufotable, Kyoto Animation, or Bones, but they can get most of the way there in less time with a smaller budget, and that’s impressive. People like things that feel polished and professional.

If you haven’t seen a million shows like it before, SAO looks really clean and cohesive. It looks like what you expect a good anime to look like. The lineart is sharp and crisp, the characters blend with the environments well (at least, when the characters aren’t moving), and you can freeze on almost any frame and use it as a pretty decent wallpaper, which is all that many casual anime fans look for in a show’s visuals.

A1’s visual style is also very versatile. Its characters look cool, but they’re still very expressive. The girls can be moe cute, the heroes can look badass and youthful, and the adults can look old and hardened, and they all exist within the same world. Despite its “same-face syndrome” problem when put next to other A1 anime, SAO’s main cast has impressively diverse and easily recognizable character designs.

On the subject of design, while I do think that SAO would be a crappy game in real life, I will credit it for looking very visually appealing. The environments are super varied and interesting, from the flower dungeon, to the ice peak where they fight the dragon, to the trippy cave system where they find the Gleam Eyes. As VR spectacles go, this world would be a hell of a draw. The show’s visuals can really pop with vibrant colors, without looking too silly, and those can be muted down for more serious scenes without it looking incongruous with the rest of the show. SAO manages to sell moe, horror, action, and even Looney Tunes-esque cartoon comedy at times, and it all feels like roughly part of the same series.

That highlights one of the show’s other big strengths: plot variety. Because of the longtime scale of its storyline and the way that its setting creates a sort of blank slate for adventure, it can dabble in lots of different plot concepts, and even genres. One episode might be a short tragedy about Kirito watching all of his friends die, while the next is a cute story about saving a little girl’s pet and beating up some cackling Team Rocket villains, and that can be followed with a two-parter murder mystery, and after that, why not, let’s go on a side quest for crafting materials that blossoms into a short unrequited love story.

None of these individual stories have to be particularly great, hell, they don’t even have to make much logical sense because each one is so different from the last that it’s kind of fun to watch just for the surprise of finding out what they’re going to do next. Even if you really hate one storyline, you can rest assured that something new is on the horizon within an episode or two, and there’s a good chance that at least one of the many things the show tries will work for you.

Because Kirito’s character arc is about learning to open up to other people, all of those different plots feel like they’re moving the central plot forward, or at least a little, even if they’re really just filler. That results in a show that feels like it’s moving forward at a good pace. Emphasis on “feels” because if you look at the actual storytelling and logical structure of events, it’s an absolute mess. Just look at the final fight between Kirito and Kayaba Akihiko, it just comes out of nowhere on Floor 75 and it doesn’t work at all. However, if you’re just sitting down for entertainment, how a show feels to watch is paramount, and what sense it makes doesn’t matter so much.

Just to be clear, I’m not saying that it’s dumb to enjoy a show on that level. There’s value in sitting down, turning your brain off, and simply being entertained for the sake of relaxation. Analyzing anime can feel like work. For some, it is work. In SAO, it feels like at least one really important thing happens every single episode, and there’s usually a really cool-feeling action scene every two or three episodes to keep the excitement up. As a result, the show has momentum. Once you start watching, it’s very easy to keep watching without getting bored or confused. The show is consumable, like popcorn or other A1 Pictures shows like Gate.

The show suffers, a lot, when it loses this forward momentum, which I think is a big part of why even fans of the series acknowledge that the Fairy Dance arc kinda sucks. Kirito has a clear goal there, with an obvious solution in trying to rescue Asuna, which means that any diversion from that goal, like going off to fight a random guy in PvP, feels like a true waste of time. Furthermore, Kirito’s character is entirely static during that storyline. He doesn’t grow or change at all. Neither does Asuna, nor anyone aside from Suguha, and even then, only kind of. Therefore, even when the story is moving forward, it feels kind of flat.

Gun Gale fixes this problem in a kind of artificial way of giving Kirito sudden onset PTSD to get over, but it does help the story feel more substantial, and fans reacted positively to that. When it does work, even if it doesn’t actually have any idea where it’s going, SAO’s story moves forward with a bold sense of confidence and purpose.

Speaking of boldness, SAO also excels at setting a strong tone for whatever is happening in its story at any given time, particularly early on. Not necessarily the most appropriate tone, but a tone that is powerful and striking nonetheless. The monsters feel scary and intimidating, the comedy feels fun and lighthearted, the romance feels heartwarming and intimate, and deaths feel tragic and poignant. If you’re not invested in the story and characters, a lot of this can feel cloying and emotionally manipulative, but until something happens to take you out of that (like Yui’s death did for me), watching SAO is an emotional rollercoaster.

A big part of that is Tomohiko Ito’s direction. He is really good at placing the camera and cutting in a way that draws out the maximum possible emotion from any given scene. He needs to work with great source material, like Erased or Gin no Saji to really shine, but even working with Reki Kawahara’s leavings, he does a good job. The use of reflections in windows while Kirito listens to Sachi’s last message to him is legitimately incredible filmmaking.

The emotional impact of the series is further enhanced by the work of Yuki Kajiura, Tomohiko Ito’s most favorite composer, who also crafted the amazing soundtrack of Erased, as well as Tsubasa, Madoka Magica, Fate/Zero, Kara no Kyoukai, and some of the Xenosaga video games. Yuki Kajiura is one the most singularly talented composers working in the anime industry today, and it’s hard to understate just how much of an impact I think she’s had on the perceived quality of SAO. Her compositions for the show give it an air of cinematic quality, but they also feel distinctly, and very appropriately, video game-y. In particular, I’d argue that she is the primary reason that people say SAO has good action scenes. Her compositions make fights that are actually pretty stilted and janky, outside of a few sakuga cuts, feel incredibly bombastic and slick. When SAO’s music kicks up, it gets your pulse pounding, and it’s hard to resist getting caught up in it or even humming along to that memorable hook. Watch these fights without the music, and they kinda suck.

Kajiura’s abilities don’t just improve the action scenes, though. Her work is an integral part of that emotional roller coaster effect, heightening the emotion of each scene and connecting the emotional beats so that the shifts in tone feel less jarring than they might otherwise feel. She makes the scary scenes feel scary, the sad scenes feel much, much sadder, and the romantic scenes feel powerful and moving. That brings us to the big reason that I think people love SAO.

Most of the things I’ve talked about so far aren’t totally unique to SAO, and though they are important factors in getting people interested and keeping them invested in what’s going on, they’re not enough on their own to make people care so much that they’ll tell me to kill myself when I badmouth it. To evoke that kind of emotional response, a show really needs to get its audience to say, “Fuck yeah!”

The thing that makes a lot of people say that, myself included when I first watched SAO, is the fact that Kirito and Asuna get together in Episode 10, after several episodes of buildup where other characters notice they have a thing for each other, and it’s just really cute. That’s just not a thing that happens in anime. Even in shows with a clear OTP relationship, nine times out of ten the romance will be drawn out to its breaking point, and the characters will only hook up right at the end of the story, which isn’t just a lazy way to create an emotional arc, it’s tedious to watch.

The “will they, won’t they” is a story we’ve seen a million times, while the equally interesting story about what happens after, the trials and tribulations of actually dating and being in love, is almost never touched upon. You can justify that in a romance anime where the story is about characters sorting out their feelings and finally getting together (Toradora does that and it’s just about perfect), but even there, after a while you start to crave shows that buck that trend, like Ore Monogatari, My Little Monster, and Golden Time.

Also, with shows that have other things driving the plot, there’s really no excuse. There are few things that could really improve on Fullmetal Alchemist, but Winry and Ed hooking up earlier in the story would probably be one of them. Look at how many people loved Mikasa’s confession to Eren at the end of Attack on Titan Season 2. That was beautiful!

It’s a very pleasant surprise to see two main characters of a show like SAO commit to a monogamous relationship this early in the plot, and I think that most people who love the series do so because, in this respect, it doesn’t waste their time. This plot turn changes a lot of story dynamics, too, since Kirito and Asuna can be explicitly motivated by their love for one another, and that love can be made much deeper than the obvious mutual crushes that drive shows less willing to pull that trigger. For a story so driven by its emotional content, that one change makes SAO feel very different from just about everything else a casual fan is likely to have seen, and from what you would probably expect going into the show.

Now if you’re like me, and you think a lot about story structure and plot logic, that effect of that change doesn’t really last. Reki Kawahara is totally unwilling to abandon his harem anime nonsense, so every arc sees Kirito introduced to a new hot girl who wants to jump his bones. In terms of narrative structure, that really undercuts the importance of his commitment to Asuna.

However, if you’re just watching the show to enjoy a show, then it feels very substantial, to the point that fans get very mad at me when I call this harem anime a harem anime, in the same way that all of the deaths early on make the show feel very lethal and dangerous, so long as you don’t realize that all of the key characters have plot armor. If you do buy into it, the scenes of Kirito and Asuna being a couple and enjoying each other’s company are extremely emotionally satisfying. By the same token, if Yui doesn’t bug you the same way she bugs me, her relationship with Kirito and Asuna is adorable. Hell, Asuna and Kirito’s romance is the only part of the movie that I think really works. To get more cynical for a moment, for the segment of the audience that does use this show as pure escapist wish fulfillment, the fact that Kirito can have an emotionally fulfilling relationship with his wife, while still being chased by hotties all because he’s so dang good at video games that he’s basically invincible, those aspects only improve the show for you.

However, I don’t think that most people who love SAO love it for those reasons. I think they love it because it managed to get them deeply invested in its main characters through one very bold plot turn, and once you care about those characters, seeing Kirito be an unstoppable badass stops being eye-rolling, and starts being cool and fun. I think they love SAO because the world that it creates seems like a very appealing place on the surface to spend time in, and you can imagine yourself being one of the NPCs going off and doing something that’s not vital to Kirito’s plotline, like that guy who’s fishing, for some reason. I think they love SAO because it came at the right time in their lives, right when they were getting into anime. If you’ve seen hundreds of anime, then yeah, parts of it are going to feel played out, but if you’ve seen just a handful, SAO is going to feel fresh, and new, and exciting.

Considering that it’s at the forefront of the anime fandom, even today, I think it will be among many people’s first anime for many years to come, and I think that ties into why so many of us so passionately hate this show as well. Because when we discovered it, it had all of this promise and potential, but at one point or another, be it a poorly-executed death or a very, very poorly-executed rape scene, it let us down profoundly, and we were left unable to enjoy this thing that, at one point, seemed like it could be so great, that was, at one point, so enjoyable for us. That disappointment is a lot more cutting than the overt and unsurprising terribleness of something like The Asterisk War or Akashic Record.

But not everyone was disappointed in it in the same way. While I do think it’s fundamentally poorly made, SAO does some things right that are going to be more important for some people than the things it does wrong are for me.