It’s only recently that I’ve started to believe that “cour” is in fact a word and not just a misspelling of “cur” (as in “that cur of a cour”). As it’s entered into the lexicon of anime over the past couple of years (AnimeNano puts its first use in English around 2011) it has become an easy shorthand for how long an anime series will run for. That word “series” ends up being problematic because - for me at least - it can now mean a whole multitude of things, thanks primarily to the introduction of “split cours”.
oh good another princess and the resurrection of characters who should be dead
As Wikipedia informs me, referring to a television broadcast (internet streaming simulcast etc.) as a “series” is a chiefly British use of the term, and in North America the more common term is “season”. “Season” works better when referring to something like anime because apart from a select few (One Piece et. al.), they can be measured in seasons i.e. winter, summer etc. and substituting “season” for “cour” isn’t exactly complex. However, semantically a problem arises when, as is becoming increasingly common, an anime runs for one season, lies fallow, and then finishes in another. The split cour.
A review of the second Sword Art Online anime series
Some way into this second series of Sword Art Online I found myself thinking that it was quite brave. Taking the clown-shoed silliness of the first series and slowing everything down, focusing on characters and setting, seemed like an odd decision. Like so many other aspects of Sword Art Online II though, I was disappointed. It’s not being brave, just invoking standard shounen-esque time wasting. Meaning if you watched the series as it aired you will have spent several weeks watching wunderkind Kirito and newcomer Sinon sit in a virtual cave in the middle of a virtual desert.
Imagine a character that is part Jesus Christ and part James Dean and you get the idea
I shouldn’t really have expected anything else really. I liked the simplicity of the first series’ bifurcated storyline in a schlocky, intelligence-lite way, but the spark of that first storyline - trapped in a virtual world, die here and you die for real - was gone. Alfheim, the fairy filled fantasy funfair that occupied the second half of that series and is now the staple MMO for the core cast, was bright and cheerful but lacked the tangibility of Aincrad. It’s disheartening then that this second series kicks off by plunging Kirito into the grimy, gunmetal grey world of Gun Gale Online.
A review of the first Attack on Titan anime series
First released: April 2013 Version reviewed: TV
I’m going to jump right to it and say that I enjoyed the first series of Attack on Titan.
With that out of the way: the dilemma when talking about something as popular as Shingeki no Kyojin (Attack on Titan) is that at a certain point you start talking around it, probably about things that can be prefixed with “fan”: be that art, fiction or just vocalness. This isn’t a problem specifically with the anime itself but that the series became an event. It reached critical mass with hype and viewer numbers meaning that if you watched it and were online at the time it first aired, chances are you were taking part in the grand event that was Attack on Titan rather than just watching the show.
looks like a GI Joe doll mated with an angry Christmas elf
The vociferousness of the series’ fans, depending on your viewpoint, is balanced with those rallying against it. Condemning it along with other popular series (Sword Art Online is a common partner) as “baby’s first anime” or for people who don’t know “good” anime. Reductivism would be the easiest retort: oh these sounds and images being interpreted by my brain regress my intellect? But when it comes down to it, I don’t much care about the intelligence of the gladiators on display, as long as they put on a good show. And, for the most part, Attack on Titan does.
There will always be something enticing about the portrayal of MMOs within anime. Like .hack//sign before it, Sword Art Online tickles the fancy of those who revel in finding the glitches, the rare objects, the dark and hidden zones of online worlds that subvert the otherwise strongly governed rules and are all but untouched by the masses. For the first half of the series at least, again like .hack//sign, the pesky outside world cannot interfere, for the players of SAO are locked into Aincard by a nefarious programmer. Reach the 100th level and escape the game, if you die you die for real, if you try and take off the gear used to access the game, you die.
Three simple rules, ten thousand players, starting pistol... Go. From there protagonist Kirito, a beta tester and all-round MMO connoisseur, is able to single-handedly charge through what would otherwise take squads, groups, even whole guilds to defeat. A lovely bit of wish-fulfilment intimating that by relying on solitary skill rather communal co-operation a single person is able to succeed and thrive.
Sword Art Online is the five million selling light novel series by Reki Kawahara (who also penned Accel World) which, having been dutifully animated, is the disputed front runner for most popular series this season. One of the final things female protagonist Asuna says in the latest (tenth) episode, before the cringe-inducing hokum from male lead Kirito, is that she dreamt of the real world and worried that her time in the titual Sword Art Online, would be lost.
reach level 100 and be released from the shackles of this poor simulacra of a world
Having been ceremoniously trapped within the tiered virtual world upon launch, replete with blood red skies and the inflated visage of the lead programmer, it has been almost two years and there have been murumurs of some of the 10,000 original players settling down and starting a life rather than continuing to fight. Asuna's words though brought to mind Plato's fictional dialogue with his teacher Socrates, commonly termed the Allegory of the Cave.