Sword Art Online the Movie Ordinal Scale Sinon 17
Ilan is a huge fan of anime and video games since he can retrieve himself. He is likewise an aspiring author who wishes to write fantasy novels.
Yuna, the AI idol continued to Ordinal Scale, rewards Asuna with a cheek for scoring the final hitting.
"Sword Art Online"
The concept of established anime series and properties ending up on the big screen is not a new concept by any means. Back in 2013, Madoka Magica: Rebellion expanded on - for amend and worse - the original series' finale. Then around 2005 you had Conqueror of Shamballa, which continued the adventures of the 2003-2004 adaptation of Fullmetal Alchemist.
And even earlier than that, you lot had big franchise movies such every bit The Finish of Evangelion and Mobile Suit Gundam: Char's Counterattack that were released as the k finale of their respective series. And of course, you have almost every unmarried big-proper noun shounen franchise ever, which often releases a hefty amount of films over a very short amount of time.
Ordinal Calibration is somewhat different from the residue, considering while it is meant to be a finale of sorts to the franchise, it'southward more of a celebration for the Sword Fine art Online franchise equally a whole upwardly to this signal rather than a theatrical release used to close the story. Considering in that location is more story after this point; even before the announcement of Ordinal Scale'due south being, it was well-known that the series volition go on past its second flavour.
Simply unlike many other movies releasing equally tie-ins, side stories and just inconsistent greenbacks grabs for other big-proper noun franchises, Ordinal Calibration stands out due to two reasons: for once, it'due south written by the original writer of the SAO lite novels, Reki Kawahara. And secondly, and the reason why I picked this movie for a review, it's a canon.
Information technology has a placement in the serial, a semblance of weight to the overarching narrative, which, to me, makes information technology worthwhile to write about. And hey, Sword Art Online'south first foray into the theatrical scene will at least be pretty to look at.
And so, this fourth dimension our review will focus on the 2017 theatrical sequel to the Sword Art Online series, based on Kawahara's lite novels, directed for the 3rd time in a row by Tomohiko Itō, and produced by A-i Pictures: Sword Art Online the Moving-picture show: Ordinal Scale.
Background Data
Production: A-1 Pictures
Genre: Activity/Drama/Romance
Length: 119 minutes
Release: February 17, 2017
Source: Calorie-free novel
As a non-SAO survivor, Sinon joins Kirito in hunting down an old SAO boss reimagined for Ordinal Scale.
Story and Setting
The events of Ordinal Scale introduce a new device chosen the Augma; being an augmented reality (AR) arrangement, the Augma serves as an alternative to the declining virtual reality engineering used in games such equally Alfheim Online and Gun Gale Online. In fact, the Augma offers its ain game: the titular Ordinal Scale. It quickly becomes the most popular game effectually with its intriguing concept and unique gameplay, and even the principal gang sinks their teeth into it, except for - surprisingly - Kirito himself. The game even works parallelly to Yuna, a popular program dubbed the get-go AI idol in the globe.
Of course, it won't be Sword Art Online without some threat looming over the mysterious game. To the surprise of the players, many bosses in Ordinal Scale are taken direct from the original Sword Fine art Online game, without much of an explanation. At the same time, the second highest-ranked thespian of Ordinal Calibration, Eiji, is revealed to have some connectedness to Kirito and Asuna, and his appearance is related to many SAO survivors losing their memories of the game.
At its core, Ordinal Scale is a spiritual sequel to the events of the first arc in the serial, Aincrad. The original incident that took the lives of thousands of unassuming players has its marks all over this picture show, from full general game design to the motives of the main antagonists.
While there is a lot of sense of humor and fun to be held here, Ordinal Scale is by far the darkest and nearly serious narrative that Sword Art Online has told, even if - spoilers - it doesn't attain the same heights as Mother'south Rosario. Nevertheless, for the most function, Ordinal Scale tells a remarkably gripping - albeit notwithstanding contrived and convoluted - story near loss and memory.
The movie drives home that despite all the tragedies and horrors many of the characters experienced throughout Sword Art Online, their memories of the death game likewise included fun and happy moments that helped contribute to their personal growth likewise as relationships with other survivors.
The very threat of losing these memories and in a way part of their identity is terrifying and painful for some, and it's the first time since the commencement flavor where the stakes are real, allowing for intense drama and raw emotion without making it experience forced or out-of-identify. Aside from Mother'south Rosario, this movie every bit a whole was one of the few times I truly felt for the characters and their struggles constantly.
Ringlet to Continue
Read More From Reelrundown
At the aforementioned time, Ordinal Scale also explores the emotional scars Sword Art Online left on both relatives of fallen players, and players who were forgotten or ignored past guild because they didn't play pivotal roles in immigration the game like Kirito or Asuna. It eventually asks the question of whether it'southward morally okay to go on memories from SAO despite the terror that occurred there, or would it be better to remove those memories because of the aforementioned terror.
All this makes for a genuinely interesting disharmonize that strays away from the generic proficient versus evil plotlines that plagued arcs such as Fairy Dance and Phantom Bullet, all while expanding on the series' lore. In spite of it, the picture show is all the same adequately straightforward in its storytelling without bombarding the viewer with details or condensed subplots that would take batty Ordinal Calibration considerably.
Of course, the moving picture is far from being flawless, as it all the same suffers from the same issues that persistently bothered the Television series, admitting on a much smaller calibration than before. For once, Ordinal Scale still requires the suspense of disbelief with its off-white share of physics-breaking battles, conversations on technology and the organization's integration into daily life. Oh, and we never really encounter how people outside of the game react to how Ordinal Calibration plays, which was a shame.
Likewise, the second act of the motion-picture show feels somewhat rushed and condensed in comparison to the slow, deliberate beginning human activity and the explosive finale. Afterwards crucial members of the cast are taken out of commission, the middle human activity just follows Kirito investigating the incidents while the antagonists are scheming.
It gives alibi for some great action sequences but skimps a lot of potential evolution for Kirito likewise equally further build-upwardly for the villains. Information technology'southward wasted running time that could have been handled much improve.
Finally, further inspection into the pic's plot shows how it is even so carried by plot devices and deus ex machina moments, with a prime number instance being the final clash between Kirito and i of his opponents, with almost no build-up to this resolution besides a very brief blink-and-yous'll-miss-it foreshadowing. And this is present in the entire concluding deed, equally well.
Information technology makes me wonder if the setting and premise of Ordinal Scale may have been a lilliputian too ambitious in picture format, as you are far more restricted in a two-hour format in comparison to fifty-fifty a 12-episode series which has twice the running time. Because as packed every bit this pic was, it is clear it had to cut out a lot to to pass as a moving picture-length feature.
Interestingly enough, Ordinal Scale also seems to benefit from its flaws. It's fully aware of the issues and handicaps it has, but information technology manages to downplay many of them while also focusing on everything that makes SAO stories work: fun and inventive settings and premises, slightly cheesy scripts and admittedly fascinating takes on science and video games.
This leads to a point that, while the movie never reaches its full potential equally a narrative piece - something that it could achieve with improve execution and screenplay - Ordinal Calibration doesn't become every bit injure by its wasted potential every bit much as its predecessors did because it accepts all crude areas and focuses on delivering notwithstanding some other fun, sometimes thoughtful, take a chance.
This is also why the final human activity is an excellent finale; information technology suffers from quick, far-fetched solutions and a handful of convenient moments, but at the same time it manages to both pay homage to everything the series achieved since its inception, and provide an emotionally powerful conclusion to the story and its characters.
Oh, and on a related note; while the movie tin be enjoyed to a certain degree without existence familiar with the franchise, I still suggest people to sentinel the ii seasons that precede information technology. Because in the end, this moving-picture show is more or less a celebration of everything that makes the Sword Art Online serial noticeable, for meliorate and worse.
Kirito, Asuna and Yui listen to Silica singing a song past Yuna.
The Characters
With a few notable exceptions (Sinon, Yuuki), the Sword Art Online franchise has always suffered from poorly adult characters, shallow interactions betwixt them and cookie-cutter archetypes. While Ordinal Scale doesn't do enough to set all these issues, it does manage to do one thing rather well: the human relationship between Kirito and Asuna.
While the villains' plot is the generator of the story, Kirito and Asuna'due south dearest is the driving force behind it. Every bit alarming every bit it may sound, Ordinal Calibration portrays their human relationship competently, including various touching and heartwarming moments without over-relaying on them. Their chemistry this time effectually is a lot more robust and dynamic than previously.
Asuna in detail continues to shine after her wonderful function as Mother's Rosario's main heroine, and the first act of the movie is endemic past her as she climbs through the ranks of Ordinal Scale. Unfortunately, she does go sidelined through the heart act, merely fifty-fifty then the story uses her temporary inactivity to build upon her and Kirito's bond, which - every bit insincere and forced as information technology was in the get-go season - feels warm and genuine this fourth dimension effectually. Her lack of action in the middle deed is besides more than than made up to during the climax.
As for Kirito, he's a lot more than consistent than what he was in the 2d season. The fact that the movie has him starting as a fairly average actor in Ordinal Scale was refreshing as he decided to stay away from information technology. The movie, unfortunately, skips his progress throughout the second one-half and by the time the endgame has begun, Kirito is on par with Eiji equally far as combat concerns.
It'due south rather disappointing for Kirito as he was given a decent bound start to grow from, only I practice empathize that at that place wasn't that much time to focus but on his preparation, and at the very least he was given a few scenes that showed his progress, as brief as they were. On the other hand, he maintains good dynamics and chemistry with several characters, particularly Asuna and Sinon.
The other characters that are given as much focus or importance as Asuna and Kirito are of course the new moving picture-related cast; the antagonist duo that is Eiji and Ordinal Scale'southward creator Tetsuhiro Shigemura, and the AI idol Yuna.
Both Eiji and Shigemura stand out from the previous villains of the series for being flawed, heartbroken individuals who act out of grief and anger. Their acts of villainy are frequently as a upshot of their motives rather than shallow sadism, which was a breath of fresh air after a sociopathic game chief, a pathetic molester and a stoic murderer.
Eiji gives a fascinating insight into SAO survivors who, in his words, were accounted not important enough to be remembered by the masses in comparison to directly gainsay players such as Kirito. His contrast with Kirito makes him an incredible new villain at first, and while unfortunately he loses his momentum fashion too quickly, he was still a footstep up in the right direction for the series.
Similar to Eiji, Shigemura gives an interesting example of someone who was securely afflicted past the SAO incident, admitting without being straight involved. I can't talk too much almost him, simply allow me just say that in spite of his brilliant fix-up as the overarching villain, he didn't appear enough to develop as one. His plan is intriguing and his motives are relatable, but he still feels wasted in the end.
Finally, we have Yuna, who similarly tin can't exist talked near without spoiling much of her grapheme. So instead, allow me just say that she'south one of my favorite characters in the franchise as a whole. Despite her advent as an attractive and upbeat idol singer, there is and then much more than to her than simply a walking fanservice girl, and out of all iii movie characters, her personal arc gets the almost closure.
If you're expecting anyone else aside from the aforementioned 5 to have any actual evolution, then y'all'll be disappointed. Yet, Ordinal Scale at to the lowest degree gives the majority of the series' long-continuing supporting characters enough moments to polish on their own.
Klein would exist the best example; the start human activity of the movie gives him an impressive prepare of activeness scenes, and during that time he is noted to be far better than Kirito in Ordinal Calibration before getting out of committee until the concluding battle. Only fifty-fifty though he gets sidelined quickly, I enjoyed him receiving just enough time to found him as a skilled player on par with Eiji and Asuna.
Yous likewise take Silica and Lisbeth who become a bone thrown at them. They get scenes that focus almost exclusively on their friendship and personal interests, with Silica even gaining an amusing singing scene early on. Their respective crushes on Kirito are downplayed to the minimum, and they actually share more scenes with Asuna than with "The Black Swordsman".
Leafa doesn't become much too ane jiggling chest scene, although if information technology makes any Leafa fan feel better: she was excluded from much of the activity due to the fact that her inclusion would have solved the movie as well early, so there's that. Yui and Sinon are mostly at that place to provide technical support, although Sinon in particular also gets a slick team-up with Kirito during 1 action scene, which was really fun to spotter, particularly due to their close bond together.
Agil is just there, to be honest. But hey, it's ameliorate than him being neglected every bit he was in Fairy Dance, Caliburn and Mother's Rosario.
And finally, the motion picture also includes cameos and guest appearances from the majority of the friends and allies, and it all comes together during the terminal battle of the moving picture. Even if those were mere cameos, it was exciting to see almost everyone teaming up with Kirito and Asuna to save the day.
Eiji shows off his skills in Ordinal Scale every bit he easily evades attacks by the boss Kagachi the Samurai Lord.
Animation and Sound
Sword Fine art Online was always a pretty-looking anime; A-1 Pictures proved that they know how to spend their budget on incredibly detailed backgrounds and fluid action scenes. And as a movie, Ordinal Scale has a much higher budget than its television counterparts, spend across a shorter running time, and it shows. Beautifully and then.
The backgrounds are highly detailed, vibrant and lifelike with their realistic portrayal. The bright urban areas contrast well against the ominous and Gothic mode the maps of Ordinal Calibration possess, each packing an insane amount of polish and little details. Y'all could seriously take nigh every shot of the background and it would be a lovely desktop image for your reckoner.
The lighting and textures are exceptional, and I have to admit that the special effects used for scenes such as environment changes to the Ordinal Calibration stages, players transforming into their avatars and enemies being defeated were really damn masterful. It's wondrous, it'south centre-popping, information technology's shiny and it looks absolutely gorgeous.
The character designs as well come off as a lot crisper than I remember, with more polish to them. They possess a more metallic manner to them that is alike to Ufotable's works, making them look slick and sharp.
And finally, the activeness scenes in this movie are some of the all-time - if not the best - Sword Art Online ever had. Fifty-fifty without the numerous merits the story and characters have, this flick could exist sold entirely on being a spectacle to spotter.
There are plenty of action scenes in its 2-hours run and all look incredible both in terms of production values and choreography, non to mention a large assortment of fan-favorite bosses who got a new, polished look. And of course the cherry on top of it is the final battle, which is nada short of spectacular.
As for the soundtrack, Yuki Kajiura returns once more. The score itself tin be all-time summed up as more of the same, which is not bad past all ways; hell, I love the orchestral piece, "The Place We Should Have Reached", which is used for the final fight. But where the soundtrack really shines is with its slew of insert songs used during crucial fights.
All of them are credited as songs by Yuna, voiced by Sayaka Kanda and composed past Kajiura. The variety here is great, from the catchy and upbeat "Ubiquitous dB" to the ominous and atmospheric "Delete" which sounds like it came from a Nier game. That is without mentioning the movie's main theme, "Grab the Moment" by Lisa, with its difficult-hitting vocals and pump-up music.
You also accept songs such as "Longing" which I swear took some musical cues from "To The Beginning" from Fate/Zero, the more than rock-focused and faster paced "Pause Beat out Bawl!" (which also has a version sang by Lisbeth and Silica), and the irksome-paced, melancholic "Grinning For Y'all", which captures the characters of Yuna, Shigemura and Eiji beautifully.
The English dub is more or less the aforementioned every bit before; I still like Bryce Papenbrook as Kirito, Cherami Leigh as Asuna, Kirk Thornton as Klein and the rest. They accept grown into their characters and they have decent chemistry with each other.
As for those who were introduced in this pic: Chris Patton and Jamieson Price voice Eiji and Shigemura respectively, who both have done more than a few roles to assure anyone that they can do excellent voicework. And then you accept Ryan Bartley, who hasn't washed that much in anime, but her work as Yuna was splendid and I hope to see her in more than roles in the future.
Out of a fume screen, Yuna leaps into starting a concert for Ordinal Scale players.
Final Verdict
When it comes down to it, Ordinal Calibration won't convert many detractors into Sword Art Online. Notwithstanding, for fans of the franchise, this is a treat that volition reward them for sticking upwardly with Kirito and Asuna's adventures for the last few years. It's a celebration of sorts for the series, featuring everything that made Sword Fine art Online liked (and aye, there are people who like it) and doubling down on information technology. It fails to completely fix all the issues present in Sword Fine art Online, just that just adds to the moving picture's overall charm, and for its credit - it tries its damn hardest. Rarely do I encounter an anime that tries to improve and evolve itself while retaining its more recognizable characteristics.
This is the best installment of Sword Art Online nevertheless, even if in one case once more the leap is not that impressive. It'south far from perfect, simply Ordinal Calibration is still a pretty good movie in its own right. It tells an intriguing and emotional - if somewhat condensed - story that brings a sense of closure to the original Aincrad arc, and finally gives some sorely needed development to the human relationship between Kirito and Asuna. Fifty-fifty if doesn't revamps the series, Ordinal Scale is even so a visual spectacle with exhilarating action sequences that will surely exit people speechless. And for fans of Sword Art Online, Ordinal Calibration will exist a delightful watch.
The Good:
- Slick, intense narrative with an interesting concept and emotional pay-off that pays tribute to the serial every bit a whole, all fueled by sympathetic villains
- Strong emphasis on Kirito and Asuna's relationship that finally adds depth to the romantic elements, while long mainstay characters go a gamble to shine
- Tremendous production values spent on beautifully detailed environments and stylish action
- Gorgeous insert songs by Sayaka Kanda and Yuki Kajiura that cover a range of genres and styles
The Bad:
- Eye human activity feels rushed and condensed in comparing to the rest of the movie, and skimps over crucial grapheme development moments
- Several plot and setting elements begin to crumble over further inspection, while the story as a whole doesn't become fully realized
- Eiji and Shigemura feel wasted in the terminate, and their grapheme arcs never accomplish their full potential
& the Ugly:
- Seeing how Sword Art Online: Alicization is going to ignore the vast majority of the movie.
This content is authentic and true to the best of the author'south knowledge and is not meant to substitute for formal and individualized advice from a qualified professional person.
© 2019 Raziel Reaper
Source: https://reelrundown.com/animation/Reapers-Reviews-Sword-Art-Online-Ordinal-Scale