Controversed: Moyatori’s November Workshop (Part III), Considering What Lies Beyond Existentialism in the Execution of Sora no Woto

“I’ve never been a stickler, certainly not Latin names [for plants]; I’ve never known the Latin names, but even just general names, even if it’s good to know. I’ve never been a stickler about it because, in the end, in a survival situation, it doesn’t matter what it’s called. It only matters whether or not it’s poisonous or edible, or useful.” –Les Stroud, Survivorman, Director’s Commentary

Before delving into the third round of Controversed, for readers who are coming in for the first time, this is a special community project that a handful of peers are helping Moyatori of The Moyatorium of with – the aim is to gather a wide range of perspectives on controversy with the goal of inviting discussion and becoming familiar, versed, with controversial topics and criticisms being at the heart of the conversation. In this week, Moyatori has set us up with three prompts this week, all of which are driven by literary criticism rather than controversy – for this post, I’ll be returning to one of my favourite anime of all time to look at where the writings of Jean-Paul Sartre fit into a series that followed a girl and her journey of learning about music’s impact in a world devastated by warfare. The first prompt had been to examine a work using a critical theory of some sort, and admittedly, I found myself having a bit of trouble with this one initially. Fortunately, something has come together in this post, and I hope that it is up to satisfactory standards. In addition, Moyatori also poses the question of whether or not all art is inherently political, a very touchy subject that has seen its share of debate on social media, and lastly, I consider the question of why anime isn’t scrutinised the same as something like literature or film. It’s a wide range of topics this time, and I’ll start with tackling the place of existentialism in Sora no Woto, as well as how this illustrates the need for some practises in the anime community to be adopted such that more interesting and meaningful discussions can be had. Without further delay, then, we delve into Sora no Woto, an anime dating back a decade that was created as a part of the Anime no Chikara programme, which sought to create new and exciting anime not based off any manga or light novel.

• Initially, I was contemplating sitting this round of Controversed out: upon reading Moyatori’s prompts, I realised I was out of my depths with the topic of choice: while I’ve taken literature courses during my time as a university student, my preference was for courses that focused on literature as a representation of society, and how interpreting a work gave insight into technology and science during that work’s period. As such, critical theories, the so-called –isms, were not those that I learnt to wield in great depth. However, while out on a stroll, it hit me that I had spoken of such a topic previously, albeit in more casual terms.

Sora no Woto follows a young girl named Kanata Sorami, who transfers to a remote outpost in a town called Seize. Besides dealing with themes of self-discovery and optimism, Sora no Woto caught viewers by surprise at its halfway point: on the eve of a festival paying respects to the dead, squad leader Filicia Heideman recalls the horrors of losing her original squad-mates during a brutal engagement: these were fellow soldiers that had mentored her and trained alongside her. When an enemy tank managed to flank them during combat, Filicia was the sole survivor, with the remainder of her squad blown to bits. Filicia subsequently wandered the battlefield aimlessly and fell into a subway line. Here, she began to feel the hopelessness of her situation, and succumbed to despair – delirious, Filicia hallucinated a conversation with the corpse of a fallen soldier, who had believed that the world was inherently meaningless, and that all human actions would be futile in the long term. In the black pits of her despair, Filicia even contemplates suicide, wondering what good was left in the world that would be worth protecting. However, in the darkest of moments, she hears a trumpet, and after calling out, finds herself face-to-face with Princess Iliya, a member of the royal family and an active soldier. Filicia is saved, but since then, suffered from the post traumatic stress disorder of losing her old squad and coming close to death herself; every year during the festival of the dead, Filicia becomes quiet and withdrawn. When Kanata arrives, the sheer joy and energy she brings helps Filicia to understand what makes life worth living – the world might’ve been intrinsically meaningless, but it is up to its inhabitants to inscribe meaning unto the world. Thanks to Kanata, Filicia is able to accept her past and honour her fallen comrades without breaking down. This episode completely took viewers by surprise: Sora no Woto had been, up until that point, a light-hearted series resembling K-On! more than Saving Private Ryan.

• I’m not quite sure where the original assertion, that existentialism is Sora no Woto‘s main theme, came from. I believe it began when an anime blog, whose name I cannot recall, wrote that it existentialism was a central piece of Sora no Woto a year after the anime ended, and then someone at TV Tropes took this to mean that existentialism was the main, overarching theme of Sora no Woto and moreover, this was supposedly not a matter opinion because Filicia’s words is, word-per-word, the definition of existentialism. While it is true that existentialism exists in Sora no Woto, the anime’s emphasis on music means that the story is by no means purely about existentialism, and moreover, many attempts to analyse Sora no Woto, especially at 4chan, were unsuccessful because they never explain why existentialism enhances the Sora no Woto experience. With this in mind, I now had the perfect Controversed topic.

The brand of philosophy that Filicia voices in Sora no Woto is existentialism, a form of thinking characterised by the belief that the individual holds the responsibility of giving meaning to a world that, in the absence of a human observer, lacks meaning. Existentialists believe that the world does not naturally have any values or definitions we would be familiar with; that is to say, existence precedes essence. The premise, then, is that by default, nothing has meaning, and that the human consciousness is what creates this meaning as a result of existing in the universe, giving it an essence. In Sora no Woto, both existentialism and nihilism are juxtaposed: in the subterranean halls, Filicia succumbs to despair and wonders why anything exists at all if suffering is the end result – seeing the horror and desolation of warfare, the lack of meaning in her fight, causes her to lose all hope. The despair described in existentialism might be seen as a form of existential nihilism, in which one believes that what qualities make up the individual (and by extension, the universe) have no intrinsic worth. Consequently, in the presence of hope, something to look forwards to, the existentialist necessarily believes that intrinsic meaning or no, the individual has the agency to define the meaning of something for themselves, and this counts for something. Sora no Woto has Filicia subscribe to an existentialist point of view to emphasise its message of optimism and positivity. She had lost her way after her squad perished in battle, and even now, still feels guilt and anguish at their untimely passing. However, with Kanata, Rio, Kureha and Nöel, Filicia begins to appreciate that as long as there are people in her corner, there will be hope. Per the role of hope in existentialism, then, where there is hope, there is meaning and value in living.

However, while existentialism is a means to an end in Sora no Woto, it is by no means an end-all: after the seventh episode aired, anime critics immediately jumped to the conclusion that Sora no Woto was solely a tale of existentialism. The world Sora no Woto is set in is decidedly grim, and while Kanata and her squad manage to find the cheer in the most mundane of things, their world is suffering: global devastation wrought by the last war is eroding the arable land, oceans are devoid of life, and the planet’s capacity to support life is falling. In spite of this, Kanata and the others carry on, resolute in doing what they can to give their lives, and world, hope. It therefore seemed logical that Sora no Woto was indeed an existentialist story. However, this conclusion has long been something I counted incomplete. In a vacuum, existentialism only supposes that the individual has agency in determining their development and actions. This agency exists, but by those terms, it means the individual also has the agency to choose whether or not they end up taking the path to advance themselves. Thus, a purely existentialist theme in Sora no Woto would leave discussions open to the implication that it is sufficient to find meaning in one’s life, but then it is not necessary to act on the meaning:

“It’s the difference between us thinking we are paper-knives, made with a predetermined purpose, as opposed to us actually being bits of flint on the beach which can be MADE into something useful and purposeful in reality.”

This is quoted from one of the earliest, and most well-known assertions that Sora no Woto is purely an existentialist tale: I always found this to be an irresponsible way of thinking, as it implies that people are shaped by their external environment. Further to this, the quoted passage above actually deviates from the definition of existentialism, which requires that the individual be the agent shaping their course. The latter, of course, places responsibility on the individual to make of life what they will (and correspondingly, accept the consequences of their actions). Consequently, to remove this ambiguity, I stepped outside the realm of existentialism and looked to Maslow’s Hierarchy of Needs to clear things up. A quick glance at Sora no Woto, after Colonel Hopkins is defeated, all of the girls’ basics are secured. Rio begins setting her sights on bettering the world, and the first step to accomplishing this is to rebuild a hot-air balloon that will allow her to travel to previously uncharted regions. Rio has not only found her meaning in the world, but she is taking the initiative to actualise her vision and act on her goals. By drawing on a concept completely unrelated to existentialism, I conclude that it was insufficient to merely find one’s meaning, but one must also do something with that knowledge in order to leave a tangible, useful legacy that indicates their agency was one with value. This is what conclusion can be reached about the role of existentialism in the execution of Sora no Woto. The point of extending the discussion was so I could be explicit about where existentialism fits in with the series’ theme: existentialism on its own is not a theme in Sora no Woto, but rather, a part of the theme. The series leaves viewers with the optimistic, hopeful message that through people, hope is rekindled, and through hope, there is meaning that makes pursuit of one’s goals worthwhile and valuable. Themes in a story are nuanced, complex topics that speaks to the author’s views on an idea, and as such, it is rarely the case that an author will merely draw from one critical theory to guide their story. As such, anime critics must also be able to discern the idea that a single theory cannot neatly encapsulate all of a work’s themes into one particular critical theory. I’ve noticed this to be a recurring theme in anime discussions, where individuals oftentimes will only ever reach the comprehension stages of Bloom’s Taxonomy, where they are able to identify a principle or concept by its traits, but fail to do more with it. For the individual quoted above, they’ve demonstrated an understanding of what existentialism is, but do not go beyond this. To really make an insightful statement about existentialism, one must go further and synthesise the observation with other events in Sora no Woto to create a new, noteworthy perspective of it, and then evaluate how successful Sora no Woto was in its execution. Through this examination, my aim has been to illustrate how to effectively bring a critical eye to anime in such a way as to synthesise and evaluate different critical theories as they appear to in works of fiction in general to create a novel idea – the entire enjoyment of reading what others write about anime lies in gaining insight into how they see the world. Simple identification or regurgitation of knowledge does not allow for these more engaging and meaningful discussions to be had.

• If there was a take-away from this post, it’s that attempting to fit the theme of a fictional work into one critical theory is usually doomed to failure, since authors often draw from multiple viewpoints, and correspondingly, multiple theories, to craft their themes. In Sora no Woto, looking at existentialism in a vacuum is not particularly useful, but seeing how existentialism inspires the characters to do something more with their lives creates a much more exciting discussion. As it stands, I find anime analysis to only really be useful if one can draw conclusions from what they look at in a work, and the best discussions occur when folks begin discussing things like how their experiences impact their perspectives of a given series in the context of a critical theory.

The matter of existentialism allows for a curious segue into the next of Moyatori’s prompts – if we were to extend the ideas in existentialism to literary discourse, that meaning is dependent on the individual, the debate of whether or not all artwork is intrinsically political would be reduced to a matter of personal preference. There are no correct answers for which side of the coin holds true, since whether or not one views a work as political is governed by their experience and background, and so as long as the decision was made by an individual with agency (obtusely, anyone who does not draw upon retweets and upvotes to shape their world views), both perspectives are potentially valid. Some works are naturally more political than others by definition: Tom Clancy’s The Division 2, for instance, can be seen as a commentary on whether or not governments can be trusted in times of crisis, whether or not individuals should act in collective or individual interests and understanding the motives behind our opponents is critical, especially if one does not have a full picture of whom they serve. While it is perfectly fine to approach The Division 2 as a game where the object is to blow stuff up and collect increasingly cool toys to play with, the setting and topics of The Division 2 naturally invite political discussion. Similarly, anime such as GochiUsa are inherently difficult to draw politics into – Cocoa and Chino becoming closer to one another as a result of their adventures is far removed from topics of ecological responsibility and whether or not social issues are a valid reason for imposing sanctions on a nation’s economy. For this particular issue, I fall back on an old classic that my instructors and PIs in the Health Sciences programme stated to be valid: it depends. Here, the outcome hardly matters – whether or not art is inherently political is secondary to how thoughtful the discussion is, and whether or not discussions can remain civil by steering clear of ad hominem attacks, as is usually the case when upvotes or retweets are involved.

• There’s a reason why I’m not insistent on using the –isms of the philosophy, psychology and sociology worlds in all of my talks: in a conference for academics, using the terminology is critical because it streamlines communications; here on a casual anime blog such as this, there is not such a need. Being a good communicator means knowing the audience, and knowing what level of detail one should go into depending on who’s listening. The page quote is from Les Stroud: like Stroud, I’ve never been a stickler for the fancier terms for something because I’m not writing for a specialised reader who’s got a background in philosophy or psychology. I’m writing for any reader who is looking to know what I thought of something and what I got out of it. Sounding impressive isn’t half as important to me as being clear, and if being clear means keeping my concepts simple and cutting down on jargon, then that’s what I’ll do. For instance, if I said I optimised a networking call to ensure that two blocking-operations are not synchronous, that wouldn’t mean much to someone who isn’t a developer. For someone who isn’t familiar with programming, I would simply say I made a function run faster by making sure the screen isn’t waiting for two things to load before updating by reloading the screen whenever one thing is done first. Yes, that takes longer, but now, I’ve become very clear on what I’ve accomplished, and that clarity is worth it.

Finally, on the question of why anime does not invite the same breadth or depth of critical analysis as other works of fiction, such as literature and film, I do not believe that accessibility or popularity is the issue. The reason why we don’t take a philosophical hammer or psychology axe to works like GochiUsa, Girls und Panzer or Strike Witches is because those works do not naturally invite such discussion. Most anime is produced with the intent of entertaining its viewers, not creating a commentary on society or the human condition, and as such, finding any philosophical conversation or psychoanalysis on some series, especially slice-of-life and military-moé anime, is tricky because the work was not aimed at making a statement. Anime conducive towards such discussion do exist, and when properly written, can be as insightful on society as something like Charles Dickens, H.G. Wells or Leo Tolstoy’s novels. The reality is, however, such works are inherently fewer, and there are similarly works that may appear to utilise deep, complex themes and ideas, but utterly fail to adequately (or even correctly) wield them. With this being said, a good analyst can find meaning and insight in almost anything they watch: even if one does not have a particularly strong command of the different theories and principles behind philosophy and psychology, it remains more than possible to write about and participate in discussions on the less obvious facets of a work. The point of critically evaluating a work is to see what the work’s aims were, and how well it conveys its messages, rather than demonstrate one’s familiarity in principles taught in undergraduate courses, and as such, I’ve seen and participated in discussions where folks without a formal background have brought insightful, meaningful thoughts to the conversation. The take-away message here is that critical thinking and literary analysis can occur in all forms, and just because someone does not have a grasp of the terminology does not mean that they understand something to a lesser extent than someone who is happy to throw around –isms all day. Folks who keep an open mind and appreciate that analysis can be conducted in more informal terms will find that critical analysis of anime does exist, having the additional benefit of not requiring the same academic rigour as something like a term paper.

Sounds of the Skies: Beyond the Dream- Sora no Woto OVA 2 Review and Reflection, or, Existentialism is not the centrepiece in the execution of Sora no Woto

“A dream doesn’t become reality through magic; it takes sweat, determination and hard work.” –Colin Powell

Kanata begins to wonder what her dreams are after Mishio poses the question and finds herself without a suitable answer. Klaus arrives with a letter intended for Rio, and Kanata sets off looking for her. As the Fire Maiden festival is upon Seize again, the town is packed with festivities. Kanata runs into Yumina and later, speaks with Naomi, who provides Kanata with some help in finding Rio. It turns out Rio had set off to find some peace and consider the alternative version of the Legend of the Fire Maidens, as well as the fact that there remains conflict within their world even as the amount of habitable land is diminished from desertification. Later that evening, Rio takes Kanata up on a reconstructed hot air balloon, stating that her goal is to reintroduce heavier-than-air-flight and build an airplane. Kanata is moved and resolves to be at Rio’s side in pursuit of her dreams, helping out in any way that she can. On the day of the festival, Kanata is made to play the role of the Fire Maiden, setting off with Nöel, Kureha, Rio and Filicia. Compared to the first of the OVAs, the second Sora no Woto OVA is more contemplative in nature, following Kanata as she strives to determine her own dreams following her own experiences in Seize with the Clocktower Maidens. A simple question prompts Kanata to consider her own future, and in the end, Kanata’s decision shows that her goals are supporting those around her. Evident in her role as a bugler, the path that Kanata chooses is consistent with her beliefs and actions in Sora no Woto. It’s a fitting conclusion to Sora no Woto, and during its runtime, the second of the Sora no Woto OVAs serves one additional purpose in extending the anime’s themes – far more than existentialism, Sora no Woto‘s second OVA deals with the realisation of a dream.

Because I came upon Sora no Woto a ways after its original run, I was spared the five-month wait separating the finale from the second OVA, which serves to provide closure for the anime. The OVA builds upon the ideas of existentialism that were raised in the seventh episode – Filicia, Kanata and the others are aware of meaning in their lives even in a world that hope has appeared to long forsaken by the seventh episode’s conclusion. By the time of the events here, Kanata has chosen to walk the same path with Rio, who has a concrete goal and outline for reaching said goal. The themes in the OVA deal predominantly with working towards one’s objectives with the intent of bettering the world and realising their dreams. In contrast with merely finding meaning, a very abstract and oftentimes, idle activity, the OVA illustrates that a dream only has value if it is actualised. This is depicted through Rio re-constructing a functional hot-air balloon, creating lighter-than-air flight and setting the stage for her goals of heavier-than-air, powered flight. The process is one that involves effort, commitment and sacrifice, and while it can be uncomfortable to make an honest attempt to realise one’s dreams, the payoffs for having the courage to take these steps are enormous. Sora no Woto illustrates how these first steps are taken towards making dreams become a reality, and ultimately, it is in this OVA, released six months after the finale, that completes exploration of themes that the seventh episode began developing, making it an essential and enjoyable addition to Sora no Woto.

Screenshots and Commentary

• As with my previous Sora no Woto post about the first OVA, I’ve taken the time to ensure that none of the screenshots have been duplicated with an earlier post that I wrote back in 2012. This post features thirty screenshots, and compared to the post from five-and-a-half years ago, I think that the differences in writing between the present and five years ago is apparent: since then, I’ve written two thesis papers and published four papers. I’m no longer involved in any academic writing, and this blog is the only place where I write with any frequency now.

• Here, Nöel handles the hot air balloon’s burner unit. Typically, they burn propane, heating up the air within the balloon to lower its density, which in turn allows the balloon to rise. The earliest balloons are of a Chinese origin – these paper lanterns (天燈) were heated by a flame source that work on similar principals and were used for military signalling. The first manned balloon flight was in 1783, with Joseph-Michel and Jacques-Étienne Montgolfier demonstrating successfully balloon flight, and it wouldn’t be until the Wright Brothers’ flight in 1903 that sustained heavier-than-air flight was achieved.

• The second OVA provides plenty of reasons to re-watch, and noticeably absent from reviews of this OVA are some of the spectacular scenery stills that are present. Here, the fields of flowers set under a calm morning sky creates a highly tranquil picture of the area around Seize. It was seeing landscapes such as these in the first episode of Sora no Woto that led me to pick the anime up. As to how I came across Sora no Woto, the story is simple enough to deduce: after I finished K-On!, I was looking for similar anime and saw a recommendation for Sora no Woto.

• The premise was quite intriguing, and so, I decided to give the series a spin. Upon watching the first five minutes of Sora no Woto, I immediately knew I was watching something of an uncommonly high quality, and found myself immediately drawn in by Kanata performed back during the second episode of Sora no Woto. I do not believe I’ve shared the story of how I came to find this masterpiece of an anime until now. Back in the second OVA, Kanata’s skill with a trumpet has become apparent, and she’s now able to perform the morning call with unerring skill, rivalling Rio with respect to the quality of sound and precision of her notes.

• Mishio asks Kanata what her dreams are here, and Kanata is unable to answer. Knowing what one’s goals in life are are not always so straightforwards, and one of the things characterising Millenials, myself included, are being uncertain of what one’s future might entail. I myself did not set my sights on iOS development and systems architecting until two years ago; since then, I’ve been striving to make good on these goals. It is this phenomenon that leads folks of my generation to take a bit more time in exploring their career options, or colloquially, “find themselves” – my seniors have long held that disciplined skill building and refining value is the priority for folks around my age, and while I subscribe strongly to this branch of thought, this is a view not everyone shares.

• I hold that life’s priorities at my age involve developing one’s skillset and saving money for the future. While folks contend that travel is necessary to broaden one’s horizons, travel without a well-defined purpose does very little to build one’s value in the long run, boiling down to procrastination from doing what is necessary in life. Back in the calm of a spring morning, the girls get a haircut before washing up. While it’s best to wash one’s hair after a haircut, this may or may not always be practical, leaving one with a bit of an itch.

• There’s not one way to live life correctly, and there will be plenty of time to travel later on in life, so for the present, while I remark that I’m ready for a discussion on priorities in life at any time, I will return discussion fully to Sora no Woto for the present. My assertion that it’s a spring morning is drawn from the presence of flowers in full bloom, as well as the slightly reduced saturation in the skies compared against the dark blues of the hottest of summer days: the air still has a cooler feel to it, while vegetation suggests a season for growth.

• Klaus hands Kanata a letter intended for delivery to Rio. It is this letter that sparks off the rising action in the OVA, and one of the great strengths in Sora no Woto, as well as slice-of-life anime in general, is that seemingly mundane or trivial occurrences can serve as the prompt for an adventure. The characters thus create memories from enjoyment of the more subtle aspects of life, and this is one of the reasons I’m so fond of the genre; it’s not necessary to spend a great deal of money or journey very far all of the time in order to make treasured memories.

• In my original talk on the second OVA, I had a very similar frame, although the corresponding figure caption did very little to explain what the context of the image was. My blog was written with a much looser style to it back then, reflecting on how it was really more of a secondary resource. Once I began utilising WordPress more frequently, it became abundantly clear that WordPress is the superior platform, and so, discussions have become longer on average: more posts now have thirty screenshots, against the twenty that was the standard a few years earlier.

• When I first watched Sora no Woto, I had just finished my entry-level driving exam and was still uncomfortable with driving. I’ve been driving actively for around six years now, and I can say that I did not drive like Kanata at any point of my driving career ever since I got my GDL. It was a different story when I started out: I took my learner’s license exam after my first year of undergrad, but because it was later into the summer, I only took the first exam the next summer. I did not fare so well on parallel parking or right turns on green, but otherwise, passed. By my advanced exam, I nailed the exam and very nearly got a perfect score.

• Kanata’s lack of skill is presented as comedy in Sora no Woto, but poor drivers are the bane of my existence in reality. One of the biggest grievances I have with other drivers include driving below the posted speed limits, unsafe lane changes and my personal favourite, tailgating. It always surprises me that folks who are evidently incapable of following rules somehow manage to get their operating licenses, but I suppose that there is only one effective countermeasure I can employ to stay safe: drive defensively and maintain situational awareness so I can avoid trouble.

• Yumina is treated to a terrifying drive when the jeep Kanata’s operating goes down a staircase, but she promptly recovers after they reach the church and Kanata sees everyone’s ema. These shinto plaques are used for writing wishes upon, and their presence in Sora no Woto suggest that Shintoism has endured even after the great war that regressed humanity to World-War Two era technology. The exceptional blending of cultural elements in Sora no Woto proved to be one of its strongest assets, creating a richly detailed world that few anime have since matched.

• Kanata’s reaction to Seiya’s ema is one of embarrassment and flattery: he wishes to marry her someday, perhaps attesting to the change in perspectives he’s had owing to Kanata’s actions and influences throughout Sora no Woto. Of course, as Seiya is still a child, his wishes could be counted as being precocious; children often express familial feelings as love out of naïveté, although it’s no less valid an indication that his thoughts of Kanata have definitely changed since their initial encounters.

• Kanata’s quest to find Rio takes her to Naomi’s shop, where she runs into glassmaker Maria. The glass dolphin that Kanata longs to buy slowly drops from the narrative in Sora no Woto as the story progresses, although it’s through a conversation where it’s implied that the oceans are devoid of life. Subtle remarks made in the passing further enhanced the world-building aspects of Sora no Woto, and one of the biggest pastimes that Sora no Woto fans undertook was creating speculation charts. In a project I undertook some years ago, I went ahead and introduced new charts into the community to ensure folks who were curious would be able to read the charts more easily.

• I used the old charts, created by anonymous members of various imageboards, as templates and distilled out all objective elements. For the second OVA, I opted to eliminate any interpretations of the anime from my chart. The original asserted that Sora no Woto was an exercise in existentialism, and that each of Kanata, Kureha, Rio, Filicia and Nöel are meant to represent standalone war stories despite their archetypes. However, I find that the characters are intended to illustrate the sort of impact that optimism and open-mindedness have on a group, as Kanata has done. Through her naïve world-view, Kanata introduces a sense of hope that drives each of the characters to change.

• Consequently, Sora no Woto is not a collection of war stories as Battlefield 1 portrays it, but rather, it’s a narrative about the positive impact one individual can have if they are in the right place at the right time. The interpretations of Sora no Woto are incredibly varied, differing between individuals, so my main aim in remaking the final chart was to remove any personal opinions and allow readers to draw their own conclusions. Back in the final OVA, Naomi points Kanata in the direction, leading her to some ruins. The choice of colour makes this site a particularly memorable one, with the verdant grasses and browns of ancient stone monuments being offset by the blues of the sky and purples of flowers.

• The ruins create an immediate sense of loneliness and peacefulness. It is here that Kanata finds Rio and shares with her a conversation about what Rio’s dreams entail – their exchange drives much of the themes in the OVA, and is befitting of the episode’s title. Rio shows Kanata a map of the world, revealing to audiences that the events of Sora no Woto occurred in Japan. This would have been a shocking revelation to audiences, and some folks remain unable to accept this as plausible even to this day.

• I originally supposed that massive damages to the surface led to large-scale population migrations, and that the architectural choices leading surviving humans to rebuild modern-day Seize is a consequence of the cultures of said populations, so I had no difficulty in being receptive towards this information. Whereas I had another perspective of Nöel suppressing Shuko with a pan in the first of the Sora no Woto OVA discussions, here, I feature one of Rio looking back at Kanata (in my original discussion for Sora no Woto‘s second OVA, the camera was placed behind Kanata). This moment reveals a bit of the farmland in the valley below.

• The state of the world was only alluded to in Sora no Woto proper, but when Rio travels to the more remote reaches of the world, she sees a sight that would truly be sobering: desert as far as the eye can see, consuming all former traces of the civilisation that once ruled the world. While the formation of deserts is a natural process arising from shifts in climate and solar intensity, desertification refers to the formation of arid lands as a result of soil loss, usually from a human cause. In Sora no Woto, the loss of arable land to desert is a direct consequence of the war with “Them”.

• Even though the world is slowly dying, there is nonetheless a sort of melancholy beauty in this OVA when the desert landscapes are depicted: here, the sands of the desert give way to open ocean. Far from leading Rio to despair, her knowledge inspires her to take action and explore the world to see if there are lands where human populations may continue to survive.

• I’m actually not certain why discussions of Sora no Woto stop at existentialism, as opposed to accounting for the efforts required in realising one’s goals as a result of the motivation arising from finding meaning in life. A conversation with a friend left me with the answer that some people (especially in online communities) have an aversion to effort and failure. Consequently, it becomes uncomfortable to consider what action is necessary towards achieving any goals they might have, and such individuals tend to avoid deviating from the status quo for fear of this effort or failure, preferring to remain in their comfort zones of merely talking about things. I hold that failure is just another milestone towards learning something new, so from my perspective, actions always hold more value than idle talk.

• Early the next morning, the Clocktower Maidens prepare to launch their hot-air balloon at the ruins. The site is modelled after Alarcón’s Torre de Armas o del Campo in Spain, located some eighty clicks from Cuenca: it’s a tower dating back to the medieval age, and the tower is the first thing visitors will see when entering Alarcón. This area has a population of 159 and dates back to the Roman period, although its recorded history begins with Arabic occupation, which is when the castle was built.

• With Nöel handling the controls, Filicia calls her to release the ballast keeping the balloon in place. At 1080p, stars are visible in this pre-dawn moment: Sora no Woto is one of the few anime I have seen that is rendered at native 1080p, and on the iPad Air 2, remains of an exceptional quality. Of course, technology has marched on since 2010, and at present, 4K is becoming the new standard for high resolution, although anime has yet to enter this domain.

• Kureha watches as the hot-air balloon takes off under the gradually-lightening sky. I remark that today is the autumnal equinox, a time of year when lengthening days marks the gradually dissipation of summer and the return of winter. Autumn is now upon us, and with an excellent (if hot and smokey) summer behind us, the weather has definitely taken on a much chillier character as of late. We’ve also gotten some much needed rains in the area, allowing crews to combat the wildfires in the province with greater efficacy. At the time of writing, Waterton National Park has reopened to the public, and officials are counting the fires as being under control.

• While I’ve done my best to ensure that no screenshots are duplicated, there are exceptions: this brilliant moment of Rio and Kanata sharing their dreams with one another in the hot-air balloon is one of them is one of them, being set when the morning sun breaks over the horizon, flooding the land in a dazzling light. This is the culimination of the episode, where Kanata chooses her dream as following Rio pursue hers. It is always inspiring to have a senior who motivates one to follow a certain path, and during my course as a university student, one of the graduate students continued being a source of help and inspiration as I learned more about Objective-C and Xcode.

• It was a bit of a surprise to learn that I would get to play on the flip-side some years later, and while I was only able to help mentor undergraduate summer students for one year, at least one of the students from that summer returned to the lab to continue with their project. A wider-angle view shows Shuko decorating the balloon; it’s a far cry from when Rio first proposes to eat the northern white-faced owl after they realise he’s responsible for the ghostly ruckus. For the average viewer, this is a satisfactory explanation, but closer inspection of the different frames in Sora no Woto and the presence of a drama CD reveal that the ghost was real.

• The second OVA is set a year after Kanata’s arrived in Seize: viewers are treated to another festival, although by now, it’s definitely old hat. There’s only really one other review out there, besides my old one, that does the second OVA justice, and this review can be found at Random Curiosity. Their writers tend to focus on different things than I do, and consequently, is one of the reasons why I enjoy reading their content. It’s definitely much more approachable than mine, and their formatting also makes it easier to write posts at a greater rate.

• I am naturally referring to the fact that coming up with the figure captions takes the greatest amount of time when setting up a post: if I were to use the Random Curiosity format, the time it takes to write a blog post and publish it would be cut down by a factor of four. Back in Sora no Woto, while Kanata is initially embarrassed to be chosen as the new Fire Maiden, her mortification is quickly forgotten when she asks the others what they’d written on their ema as wishes.

• Nöel becomes bashful when Kureha and Kanata learn her aspiration is to become a “cute wife”, completely unexpected of her taciturn nature. It’s a rather nice touch that amidst their experiences, each of the Clocktower Fortress’ soldiers nonetheless long for a normal life free of conflict, with Rio and Kanata taking the initiative to determine if there are places left in the world worth finding.

• With this final figure caption, my revisitation of the second Sora no Woto OVA comes to an end. Folks have long expressed a wish for a second season, but with the Anime no Chikara project closed now, any continuation is going to be unlikely. While the folks running Anime no Chikara mention that the exact nature of their learnings from the project are secret, the fact that lessons learned went into the development of Puella Magi Madoka Magica suggest that innocent characters being made to endure difficult trials and the resulting loss of innocence, interwoven with themes of hope and coupled with incredibly detailed world-building that make anime worth watching.

Sora no Woto‘s messages are strengthened through the second OVA: it is true that each of Kanata, Filicia, Rio, Kureha and Nöel find meaning in their world as they share time with one another, especially through Kanata’s positive influence, but in illustrating that there must be a plan to realise a dream, Sora no Woto reminds its audiences that it is not enough to merely be content with an idea. There must also be an execution stage where a dream is made reality. This is where the worth and meaningfulness of life lies, and in fact, the episode’s very title, “Beyond the Dream”, reinforces this notion. These ideas and concepts are explored in a fantastic manner: the Sora no Woto OVA is a thrill to watch from a visual perspective, with vivid colours and lighting being used to capture the optimistic, hopeful sense that the episode aims to convey. In addition, there’s a variation of Servant de Feu that is not included anywhere on the soundtrack to emphasise that the OVA is distinct. As a consequence of its themes, narrative and execution, Sora no Woto remains the cornerstone work in the Anime no Chikara project, and even seven years after it finished in whole, very few anime have come close to matching Sora no Woto with respect to world-building and strength of execution; Puella Magi Madoka Magica appears to have been designed from the outcomes of Sora no Woto, and at last, it appears that the connection between these two anime have been solved, with the latter inspiring elements in the former.

Feast: The Fortress at War- Sora no Woto OVA 1 Review and Reflection

“An intelligent man is sometimes forced to be drunk to spend time with his fools.” —Ernest Hemingway

On a hot summer’s day, the 1121st prepare for an afternoon barbecue. When Kanata and Yumina’s suspicions about the Clocktower Fortress’ source of income threatens to expose their calvados operation, Filicia decides that a contest is in order to determine whether the truth should be disclosed. She covertly spikes everyone’s tea with their in-house alcohol, and the stakes are that, if Kanata and her team should prevail during a mock combat exercise with water pistols, she will explain what is going on. The buzz from the alcohol causes everyone to develop higher spirits, and when Noël unveils a powerful water Gatling-gun, the battle shifts to Kanata’s favour. She manages to corner Rio inside the distillery and defeats her. Later, Kanata agrees to keep the distillery a secret and spends the night with an increasingly drunk 1121st, who take an uncommon interest in Kureha. By the next morning, in the throes of a vicious hangover, Filicia, Rio, Noël and Kanata struggle in the aftermath of their indulgence, while Kureha tearfully records the events of the previous evening and laments her inability to forget what’s occurred. Included with the fourth home release volume, the first of the Sora no Woto OVAs is set between the seventh and eighth episode: in the interim between the sixth and eighth episode, Kanata has enigmatically come into the knowledge of the 1121st’s secret distillery. While the natural progression is not particularly tricky to work out, fans nonetheless counted this as being worth speculating about. The first OVA thus brings some light to this, answering the question of what occurred and also showcasing some good-natured misadventures resulting from the girls enjoying too much alcohol.

Released quite separately from the televised release, OVAs are able to be a bit more overt and brazen with their depictions of events in an anime. While raising some thought-provoking questions, as well as striking a balance between drama and comedy, Sora no Woto‘s televised run remained quite focused on thematic elements owing to the fact that there were only twelve episodes to adequately explore the unique world Sora no Woto was set in. The characters remain quite consistent in manner and personality even if they do mature over the anime’s run, and so, in this Sora no Woto OVA, it was quite surprising, not to mention hilarious, to see the different characters under the influence of alcohol. A world apart from their usual selves, the alcohol leads the characters to act in over-the-top, melodramatic ways quite unlike that of their usual selves. The OVA ends up being a non-stop comedic ride; while simple in premise and contributing little towards the world-building that Sora no Woto is known for, it nonetheless offers the characters yet another dimension to their personality. From its open depiction of underage alcohol consumption to the implications that Kureha was desecrated by the others, Sora no Woto plainly capitalised on the OVA format to present an episode that offers another perspective on the characters which would not have likely been approved for broadcast on television. In the freedoms offered by the OVA format, however, viewers are treated to some nice laughs.

Screenshots and Commentary

• I had done a discussion of the first Sora no Woto OVA some five-and-a-half years previously, and in my Sora no Woto discussions earlier this year, I wondered if it would be worthwhile to go back and do another talk on the OVAs, since I’d already covered them. Looking back, I will be covering the OVA both for completeness’ sake, as well as because the insights I have on the different OVAs have changed somewhat since my initial posts. To ensure that these posts remain fresh and avoid venturing into dank territory, I’ve gone with a completely different set of screenshots; none of the images I have here are duplicates from the original post.

• While it’s only for the briefest of moments, and not shown anywhere else on the ‘net, the “feast” component of this OVA refers to the pile of steaks that the Clocktower Maidens are grilling for lunch, bringing to mind the Chinese-style dinner buffet I attended last Saturday to help out at. Besides the usual suspects at Chinese buffets (sweet and sour pork, ginger beef, lemon chicken, fried chicken, fried shrimp, fried noodles, basa in garlic sauce, roast potatoes, a variety of vegetables and the like), this particular place has a different spin on the carving station: prime rib is grilled on demand, and tastes quite nice.

• In my original post, I had a picture of Noël pressing a plate against Shuko, who’s taken an interest in the steaks being grilled. This is that same moment from another perspective, where Yumina reacts negatively to Kureha’s use of Calvados as a cooking wine. She begins to wonder where the 1121st get their alcohol from, and it takes Kureha some effort to deny that they are participating in anything illegal.

• Elsewhere, a curious Kanata begins wondering what could be on Rio’s mind when she fetches Rio for lunch. This moment features several funny faces from Rio, none of which I’ve featured here. Rio’s behaviours here is most telling that she is unnerved, even though Kanata has made no mention of wondering what’s behind the door she’s watching to any capacity. Instead, her curiosity is piqued by Rio’s insistence that there’s nothing here worth looking at.

• Befitting of the OVA’s light-hearted mood, the weather remains sunny and warm, befitting of a lazy day well into the summer season. Because weather has played such a substantial role in Sora no Woto, it is possible to very quickly ascertain what moods the characters will experience based on the sky conditions and lighting. This is one of the greatest strengths in Sora no Woto, and the lessons derived from the anime have been applied elsewhere to great effect.

• Tea is commonly drunk with Chinese and Japanese meals: some kinds of tea can help with digestion, and so, after the steaks have been enjoyed and their plates cleared, Filicia brings out some tea. Immediately upon trying it, the girls become enamored with it: Filicia only mentions that it’s a “special” brew. With Calvados in it, I imagine that the tea would have a bit of a sweet, apple-y taste to it. It certainly would not go well with my preferred tea, Tieguanyin (鐵觀音): with its leafy taste, this oolong tea is something I ask for whenever I go to a Chinese restaurant and is well-suited for aiding digestion. During my trip to Hong Kong, family members there seem to prefer pu’er tea (普洱茶).

• The alcohol’s effects begin kicking in, and Filicia’s suggestion to have a mock training exercise is initiated, with the victors’ terms being met. In this case, Rio agrees to disclose the truth about what’s happening with the Calvados. The teams are Rio, Kureha and Filicia on one side, working to keep thing secret, and in Kanata’s corner are Yumina and Noël, who aim to win and find out what’s going on. Playing elimination, a team wins when all of its members are taken out, by means of dyed water to make it immediately apparent who’s been hit.

• Thus begins the elimination match, bringing to mind some of my misadventures in Battlefield 1. During the last weekend, I played several poor matches of domination and was utterly defeated, but the next day, I returned to play my usual conquest; I favoured the medic this time, making use of my syringe and health kits to heal teammates. Although I did not focus on kills as much as playing my intended role, I nonetheless made MVP with a paltry thirteen kills. During that same match, I also unlocked the second tier of the Royal Order of the Stag medal.

• I subsequently grinded TDM modes until I secured a pair of victories, allowing me to earn my first-ever medal of Battlefield 1. It’s about time, too, having been some eight months since I bought the game. Back in Sora no Woto, Noël’s broken off from the others to retrieve a special surprise to aid their team’s victory. During their time together, Yumina and Kanata share a conversation, with Yumina mentioning that she’s from a far removed part of the country where things were quiet.

• While the terrain in and around Seize is filled with sandstone cliffs, Yumina is from a part of Helvetia with more mountains and hills. The landscapes of Sora no Woto are beautiful and contributed greatly to my decision of picking up and following the anime – even if some may consider it a superficial way of determining whether or not a particular show is worth watching, a part of what influences the list of shows I watch in a given in a season is where the story is set. Alternative worlds such as that seen in Sora no Woto or Break Blade have long captured my interests.

• Despite technically being superior marksmen, having trained for longer, Filicia and Rio run into Noël’s ambush and very nearly allows her to score an Ace (killing all enemies on the opposing team on your own). Kureha is at a bit of a disadvantage here, fulfilling the role of a support class while Rio and Filicia play assault. While they manage to evade, Noël and the others go after them, utilising their superior firepower to press the initiative. Noël’s look of anticipation is priceless, and it is one of the few times in the series audiences get to see her genuinely excited about something, even if it is under the influence.

• Under heavy fire, Filicia is eliminated from the match shortly after Rio resolves that they will fight. The siege vehicle Noël devised requires three operators: one to carry the water and one to act as a source of propulsion. In exchange for its firepower, it is slow and cumbersome. Inspection of the dyed water shows that the girls are using similar water to the kind that is present at Seize’s Water Festival.

• In retaliation, Rio returns fire and manages to eliminate both Noël and Yumina after their siege vehicle runs out of water. Kanata subsequently pursues them, leaving the others to on the ground under a pleasant summer sun. Lacking a weapon herself, Kureha can only watch the match progress. Sora no Woto‘s first OVA is set entirely on the Clocktower Fortress grounds: despite the lack of other locales, the episode remains quite exciting and even showcases some parts of the fortress previously unseen. It typifies the slice-of-life genre to have a relatively small number of settings in exchange for additional emphasis on character development.

• Cornered in the bowels of the Clocktower Fortress’ secret distillery, Rio and Kanata find themselves in a standoff. Rio explains the truth to Kanata about the purpose of their project, that it is to enrich their own pocketbooks and has allowed them to live more comfortably than otherwise possible. After additional exchanges of dialogue, Kanata and Rio open fire on one another, with Kanata winning the duel.

• Later, the 1121st take a trip to their on-site onsen to bathe off the aftereffects of their drinking. While partaking in alcohol and bathing in an onsen have been shown in a non-trivial number of anime, it is actually not advisable to take hot baths while under the effects of alcohol, since the combination of impaired judgement and increased circulation in conjunction with increased heat can make one lose quite a bit of water through perspiration.

• Ever since a particularly memorable Christmas party during my final undergraduate year with the Health Sciences programme, I’ve not been able to partake quite as much as folks of a similar build and constitution to myself, so for the most part, I do not drink alcohol. Kureha is seemingly immune to the effects of alcohol and does not suffer from hangovers or the loss of memory. This is purely a genetic trait: I tend to get headaches, while other folks get stomach aches, although like Kureha, I tend to remember what happens even when I’m a bit fuzzy.

• Not much is left to the imagination as to what Filicia, Kanata and even Yumina do to Kureha, although it appears that by the next morning, everyone save Kanata has forgotten everything, bearing only hangovers as the single indicator that they’d had such a wild evening previously. While done for laugh’s sake in Sora no Woto, such actions during war were certainly much more brutal and sobering  in nature, bringing to mind Timothy Findley’s depiction of rape in The Wars, illustrating that war takes away from people totally, including privacy and all that is sacred.

• The next morning, Filicia, Kanata and Rio see Yumina off. Having forgotten the events of the previous evening, Kanata and Filicia are in fine spirits, seemingly over their hangovers, while Rio is still a bit worn from the previous evening. The same dilation of blood vessels is responsible for the headaches, and can cause stomach irritation, as well. I’m actually not too sure what the biological utility of drinking is, owing to all of the adverse effects it has on the body. While social science may suggest a social function, I sometimes wonder if wings and Irish potato nachos are equally as effective at bringing people together.

• Noël, on the other hand, is reeling from a debilitating headache. This is the hangover I experienced after the Christmas party and a mere three drinks: I woke up with my head feeling as though a drum was beating against my cranium. I staggered awake, drank several glasses of water and tried to ignore the headache by playing Halo: Combat Evolved. Fortunately, the headache had abated by the afternoon, and since then, I’ve been more cautious with drinking — my last drink in Cancùn, a lemon daiquiri, while not giving me a headache, did make me immensely sleepy.

• Whatever sort of defiling that Kanata, Yumina and Filicia did to Kureha was apparently so traumatic that she breaks out in tears when forced to recall it. If I were to surmise what happened to any level of detail, this blog would likely be reported for family-unfriendly content. So, I leave it up to the readers to imagine the fire (and in a rare exception to my usually-lax commenting rules, I will excise any comments that go too far). With the first of the OVAs in the books, I will return to write about the second OVA in September to coincide with its release date seven years ago.

At the time of its release seven years ago, I was quite unaware of Sora no Woto and was engaged in summer research at the university, working on a model of blood flow and oxygenation within the lab’s in-house game engine. I had returned from a day trip with the lab out to the mountains, and my project had been progressing smoothly, and I was gearing up to go on vacation to China (Beijing, Shanghai, Hanzgzhou and Suzhou). I’m not quite sure how I came across Sora no Woto, but it is likely that I found the anime while looking for recommendations of shows similar to K-On!: a year later, I came across Sora no Woto and found myself blown away with the overall quality and enjoyment factor the anime provided. I’ve an older review of the episode here that dates back to January 2012, a few months after I finished Sora no Woto. In the five-and-a-half years that has elapsed since then, my blog and writing style have both undergone a dramatic change in style. However, looking through the older post, it’s quite clear that my enjoyment of Sora no Woto‘s first OVA has not changed. The second of the OVAs would not be released for another three months at that point, and while it seemed a long wait for contemporary reviewers, my coming across Sora no Woto after it finished airing allowed me to continue watching the OVAs uninterrupted.

Resound Into the Azure Sky- Sora no Woto Twelfth Episode Review and Reflection

“Music is powerful. As people listen to it, they can be affected. They respond.” –Ray Charles

After Aisha is captured, Hopkins experiences a reversal of fortunes when Filicia takes him hostage. He reveals his plans to precipitate a war between Helvetia and Rome, making use of the “Invisible Reaper” that Noël contributed to restoring. While Filicia secures him to a chair, Hopkin manages to escape and rejoin his forces with the intent of commencing hostilities despite a ceasefire signal. This leaves the 1121st no choice: the Takemikazuchi enters the fray, neutralising Hopkin’s armoured group before making for the main battlefield. A second signal for ceasefire from Kanata is ignored, but both the Roman and Helvetian armies stop their march in surprise when she begins to play Amazing Grace between the two opposing forces. Before the armies resume their march, a royal detachment from Rome arrives, with a Royal Edict from both nations’ leaders ordering the soldiers to stand down. Relieved that war is averted, the soldiers rejoice, and the Roman Emperor allows Rio to return to her old post at the Clocktower Fortress in the aftermath, reuniting with her friends. This brings Sora no Woto to a solid conclusion; contemporary comments asserted that the ending was “unnecessary” or “too happy”, but it is quite plain that these remarks can only result from a lack of understanding of the thematic elements in Sora no Woto: any other closing would have stood contrary to the message that Sora no Woto sought to convey.

This central theme, the keystone of Sora no Woto, lies in the idea that music is an element that transcends cultural and linguistic boundaries. This is unsurprising, given that early instruments have been discovered in archaeological sites once inhabited by prehistoric cultures, being used to convey specific ideas or emotions in conjunction with developing languages. Even at present, there are some moods and feelings that music can convey more effectively than any words that exist within a language, suggesting its significance in human culture. Consequently, Kanata marvels at how music seems to carry the same meaning in its aural properties regardless of what one’s background is, and is able to utilise this to great effect in the final battle to create a sense of forgiveness and mercy amongst the soldiers marching into battle, temporarily stopping their advances. While it is ultimately Rio’s decisions from the tenth episode to accept her responsibilities that end any possibility for hostilities, that Kanata is made the protagonist of Sora no Woto is meant to suggest that sound and music’s ability to convey a clear message cannot be understated (had Rio been the protagonist, then Sora no Woto would have strived to present ideas about accepting one’s responsibilities). When everything is said and done, however, in following Kanata’s journey to become an acceptable bugler for the 1121st, Sora no Woto presents an immensely detailed world, rich in lore and intricate in its depiction of the human spirit, demonstrating the sort of significance that music holds in human cultures as a whole.

The sum of the events, world-building, character development, artwork and sound in Sora no Woto come together to create a masterpiece. The term “masterpiece” is one whose definition is often contested, and amongst audiences, is typically used to refer to a work that is flawless, sublime. However, the proper definition is a little more lenient, being a work of outstanding quality. Sora no Woto certainly is not perfect; narrative elements come across as being under-explored as a consequence of the anime’s short length, and there are minor inconsistencies here and there with respect to the artwork. However, the anime nonetheless counts as a masterpiece, of exceptional quality because of the sum of what it does well – together, these aspects keeps its viewers engaged though much of the anime’s run. From the landscapes and world-building of the first episode, to the gentle depiction of everyday life of the 1121st of the middle episodes, and the dramatic shift in tensions as the threat of war arises, each episode of Sora no Woto offers something noteworthy and unique with respect to the overarching plot. Sora no Woto presents an immensely rich world for audiences, and in conjunction with a colourful cast of characters, gives viewers incentive to continue watching, all the while wondering both what will happen next, as well as what factors could construct such a world, making each episode an interesting one to watch.

Screenshots and Commentary

• The previous episode left off with a shot being fired, ambiguous as to who would be hit. The finale opens, depicting Aisha as having suffered a wound to her left abdominal cavity. On hearing the gunshot, Filicia pulls her own sidearm and holds Colonel Hopkins at gunpoint, ordering him to send his soldiers outside of the Clocktower Fortress and presumably also has him bring Aisha back to their room.

• Yumina tends to Aisha’s wounds while Noël bursts into tears, relieved that the shot was only a flesh wound. It is here that Hopkins reveals his master plan: to use Aisha as an excuse to start a war between Helvetia and Rome, believing that Helvetia’s leadership is displaying submissiveness by participating in the peace talks. It is quite plain that Hopkins harbours an immense dislike of the Roman Empire, and while it would have been nice to gain more backstory into the Roman-Helvetian relations, especially the battle of Vignt, the quiet shelving of the Anime no Chikara project means that any sort of spin-off would be unlikely.

• The full nature of Noël’s past actions are revealed here: she bears the moniker “Witch of Helvetia” for contributions to making operational derelict installation for producing a biological agent that was used against the Romans. Noël was scarred by its effects on the victims and has never quite recovered, hence her immense fear whenever the topic is brought up. My memory has grown quite rusty, since I was under the impression that Noël was involved in weaponising an agent, when in fact, she was responsible for using her engineering expertise in restoring function to a productions system. That same engineering expertise is what allows her to restore the Takemikazuchi into a functional state.

• Previously seen as the easy-going, caring leader for the 1121st, Filicia demonstrates a much more intimidating presence, akin to a mother bear protecting her cubs. She’s willing to openly defy orders in order to ensure those under her command are safe, and while generally quite tolerant compared to Rio, it is Hopkins who goads her past endurance. This is the most indignant we see of Filicia all season: she fires a warning shot that narrowly misses his cranium and asks Kureha to move him to the distillery. However, he has a few tricks up his sleeves, and the naïfs of Tango-Victor-Tango claim that it was a meaningless gesture when it was in fact used to help him escape.

• As the setting sun casts the landscape in a cold golden hue, Kanata arrives to relieve Kureha. The air is eerily silent, and this the deep breath before the plunge. Kanata is equipped with a single-action rifle here, as well, underlining the dangerous nature of their situation. Kureha wonders if Kanata has the resolve to fire a shot in anger, to which she responds that if it was necessary, she would do so. Of the 1121st, Kanata has not seen any combat or its horrors; while it’s easy to say that one can shoot another man, when the chips are down, making the call and dealing with the consequences can be much tougher than one anticipates.

• Kanata’s hearing acuity is capable of feats that verge on the supernatural, and after hearing a soldier issue the ceasefire, she immediately reports to Filicia. Hopkins has already escaped by this point and rejoins his forces, ordering his soldiers to begin combat operations. Noël fears that Hopkins will result in the elimination of all humanity, being a warmonger who lives only to inflict suffering. His introduction into Sora no Woto is late, but he is the closest equivalent to an antagonist within the anime.

• Naomi leaves the castle walls to convey the ceasefire to Hopkin’s protests, and when it is noted that Kanata was the one bearing the message, the entire town stands by her side, attesting to the sort of impact that she’s had ever since arriving in Seize. The citizens refuse to budge, and when Naomi confronts him, he notes that warfare drives progress. There is irony in this statement: all of the technological advances we’ve experienced following the Industrial Revolution, from the internet itself and microprocessors to rockets and nuclear power, were derived from technologies originally intended for military applications and warfare. It’s not as black and white as some viewers make it out to be, although I tend to believe that progress can be made in the absence of total warfare, albeit at a much slower pace.

• Despite learning the identity of the one who’d participated in the wholesale slaughter of Roman soldiers years previously, Aisha forgives Noël, as they both are human, and Noël plainly regrets her past actions. It’s a moving moment, and a message that Sora no Woto has conveyed time and time again: while war might be impersonal and indiscriminate, the soldiers fighting the war are largely still people, each with their own families, goals and desires. Thus, Sora no Woto paints war as last resort that will have unfavourable consequences if allowed to precipitate, hence the importance of bringing to bear the aspects of negotiation and discussion that make us human.

• The gravity of their situation, and Kanata’s seeming obliviousness to it, leads Kureha to lose her composure: while Kureha feels it is impossible to take on Hopkins, Kanata remarks that theirs is a world worth defending. When the others agree to do their utmost to prevent Hopkins from igniting a war, Kureha finally backs down, admitting that she’s been worried about everyone else, doing her best in her own manner to keep things together.

• Ultimately, Kureha is worried about losing everyone, and in doubting their ability to fight, is doing all she can to keep her friends safe. Understanding this, Filicial, Kanata and Noël give Kureha reassurance that things will be worked out. Thus, for the first time in all of Sora no Woto, the Clocktower Maidens ride for war with the aim of stopping the upcoming war. While seemingly a difficult task, the 1121st have an exceptional ace in the hole: fully repaired, the Takemikazuchi is at last ready to sortie.

• The Clocktower Maidens’ actions here in staving off a war is a callback to their mythical counterpart’s actions. During the course of their following engagement with Hopkin’s forces, Servante de Feu plays in the background while a voice-over explains the legend of the Fire Maidens as Aisha knows it. In order to keep Aisha safe, the 1121st decide to take her with them inside the tank.

• While Sora no Woto did not feature any combat up until this point, with the first gunshot fired being in the penultimate episode, the finale’s final half was an exceptional watch. All of the 1121st’s combat simulation exercises come to fruition here as they activate the Takemikazuchi. With an English-language user interface, it is presumed that either Noël knows the language, or else has experimented with the tank while repairing it, allowing the others to roughly know what the indicators and elements are referring to.

• Kanata pops her head out of the hatch to signal that they are about to fire, and proceeds to blast a hole in the gymnasium’s walls. Emerging from the rubble, the tank immediately takes off for No-Man’s land. Spider tanks and their cousins, armoured walkers, are a staple of the science fiction genre: multiple legs give them added stability and a lower centre of gravity, as well as the capacity to navigate terrain that might give tracked vehicles trouble.

• While legged vehicles still seem far-fetched in the present, highly advanced balancing and navigation algorithms are being developed: Boston Dynamic’s “Spot” is a robot capable of automatically determining how much force to apply in its strides based on the terrain smoothness and also balance itself in response to changes in the force. The technology is still in its infancy, but it is not difficult to see what would happen if it were made more sophisticated and scaled up for military applications.

• One of the elements that is a bit more unusual is the Takemikazuchi’s gait: it scrambles across terrain as would a spider, a far cry from the quadrupedal tanks that the armed forces utilise. Spotting the Takemikazuchi scale a cliff sheer, Hopkins immediately orders his armoured column to begin their operations and take out the Takemikazuchi.

• The angry townspeople block them, and even though they are armed, Hopkin’s detachment is outnumbered. The citizens wonder why Hopkins won’t place their trust in Kanata and the others, with Seiya even letting slip that he has a bit of a crush on Kanata. However, in spite of their occupying the way out, Hopkins merely has his forces go around, regrouping in a stretch of no-man’s land.

• According to the Roman version of the legend, an angel descended upon the world to pass judgement, but was injured and healed by the Fire Maidens. But the local populace immediately torched the valley where the angel landed, killing the angel and all but one Fire Maiden. In response, other angels arrived and wrecked destruction until the remaining Fire Maiden sounded a golden horn that signalled for the angels to depart. Her version of the story suggests that humanity was responsible for their own demise, and if this is the version the Roman Empire follows, it might hint at their nation as being less prone to warfare than Helvetia.

• With chassis similar to WWII-era M4 Sherman tanks and Panzer IVs, the quadrupedal tanks are presumably equipped with 75mm or 88mm cannons, plus .30 or .50 caliber machine guns. When Hopkins’ tanks encounter the Takemikazuchi, they open fire with everything they’ve got, but rounds glance off the Takemikazuchi, causing only superficial damage. I recall a discussion wondering if the Panzer VIII Maus could have done anything to a modern MBT, like the M1A2, and the general answer is no: the Chobham armour is equivalent to 0.7 meters of RHS against HEAT and 0.6 meters against APFSDS rounds at the maximum, meaning that unless the Maus hit sensitive components, the M1 would continue to operate and punch out the Maus. The Takemikazuchi would only be more advanced, making period weaponry next to useless against it.

• Conversely, the Takemikazuchi’s main cannon, a coil-gun of some sort, effortlessly disables Hopkin’s tanks: they would have enough energy to punch cleanly through the older tanks, but the 1121st are shooting to disable, rather than kill, aiming for the legs to merely stop the tanks. This weapon has been conjectured to be a coil-gun on the virtue that there is an electrical discharge visible when the Takemikazuchi fires: the discharge could result from the electrical current required to power the magnets for accelerating the projectiles, which would exit the barrel at hypersonic velocities.

• Hopkins congratulates himself when he is able to get behind the Takemikazuchi, sneaking up on it with the aim of disabling it, but his shots deal negligible damage. It then proceeds to stomp on the tank, displacing it from its legs without crushing the cabin, before moving on into No-Man’s land to stop the larger battle about to take place. Climbing onto a tower, Kanata signals for a cease-fire, drawing the combatant’s attention.

• The sun is closely tied with Kanata’s playing: whenever she’s about to deliver a moving sound, the sun almost always breaks from the horizon, flooding the land in light. By this point in time, Kanata’s versed enough with a trumpet to deliver a moving rendition of “Amazing Grace”. Its sound pierces the hearts of those on the battlefield, but the forces continue advancing nonetheless. Seemingly a meaningless gesture, tanks from the Royal column soon arrive.

• This moment is probably the single most famous in all of Sora no Woto, as Kanata stands on the Takemikazuchi’s hull overlooking the battlefield. When the anime reached its conclusion, reception was largely positive: praise was directed towards the anime’s original setting and balance of comedy with drama. However, there are some who felt that the anime failed to deliver, feeling that warfare was lacking. Depiction of warfare as a necessity, however, would contradict Sora no Woto‘s theme, and the halting of conflict as we’ve seen is consistent with the message that Sora no Woto aims to convey.

• Thus, the folks who did not enjoy Sora no Woto are those who were looking for a war story, where the thematic elements would be about the atrocities of warfare. The environment in Sora no Woto clearly painted that this would be a series about the people, rather than the weapons or politics, and so, moved in a direction that meant to tell a story in which people communicate with one another through sounds and words, rather than bullets and explosives, to settle their differences.

• I mentioned earlier that I am not a fan of post-modernism with respect to interpretation of media, and that I do not agree with the “Death of the Author”. This is because a work of fiction is intended by an author to paint their particular view of the world, which may be indicative of contemporary thought or else show a dissatisfaction with social circumstances of the time. In more casual works, such as Sora no Woto, the authors nonetheless have a goal (here, to show the strength of music as a medium for transcending cultural and linguistic boundaries) that cannot be ignored when discussing the anime.

• Proponents of the “Death of the Author” hold their beliefs primarily because it is easier to oppose or mold an existing worldview than to create one anew or synthesise one from their own experiences – this is an issue surrounding period Sora no Woto discussions, where the participant’s views on military law and the resultant of the 1121st’s actions seem inconsistent. Realism is not the end-all for a good story, and Sora no Woto‘s ending come as a logical conclusion of Kanata’s belief that there are things that hold magic to them, binding all people together regardless of their ethnicity, religion or creed.

• Riding amidst the two armies is none other than Rio herself, who has married the Roman Emperor and now holds the political power to bind the two nations together as allies. She has here a treaty that orders an immediate cessation of hostilities, and below, the soldiers express utmost joy that there will be no combat. They toss their helmets and service rifles into the air: while some folks from Tango-Victor-Tango claimed that the rifles would discharge on hitting the ground, these bolt action rifles would likely have a safety catch to prevent them from accidental discharge. With this being said, it’s still not the wisest of actions to toss a loaded weapon into the air.

• I strongly disagree with the notion that Rio’s return to the Clocktower Fortress was “too happy” and “artificial”, but I contend that sacrifice need not always be a necessity for something to work out. Rio’s action in choosing to giving up her freedom in exchange for her nation’s, and the intent behind her actions is more than enough to demonstrate that a willingness to sacrifice oneself is in and of itself honourable. I grow tired of folks who believe that a sacrifice must be total in order for its effects to be tangible, and remark that reality is complex enough such that things can go both ways: sometimes, a total sacrifice can result and still fail, while other times, a serendipitous turn of events results in a win-win situation.

• In the case of Sora no Woto, the ending serves to enhance the theme (and anything else would contradict it). With the peace now secured, Kureha and Kanata embrace, ecstatic that war has been averted. Speculation runs in infinitely many directions about who the angels and Fire Maidens really were, with the two most prominent fan theories being aliens or a powerful avian species responsible for the destruction. However, the Roman version of the legend in part suggests that the calamity has a human origin. Given thus, the actual reason, unless the folks running Anime no Chikara write me with a negative response, is that a space-faring faction of humanity succeeded in decimating the Earth’s biosphere in a war against the Earth-bound faction, leaving the planet once its destruction is complete (for instance, if the events of Char’s Counterattack had turned in Char’s favour, or if the SDF wins in Infinite Warfare). Over time, human remnants slowly reach the technological levels of WWII-era humanity. It makes more sense than aliens (who would have taken over the planet and eliminated humanity) or advanced avian lifeforms (who would have increased their distribution around the world).

• Rio is immensely thankful that her actions have helped, and smiles as Klaus gives her a thumbs up. Owing to challenges in the screen capture and the absence of a clean cut of the finale’s ending, I’ve not included many screenshots from the ending, which depict a Seize under the spring as cherry blossoms kick in. With this finale finished, I’m done my weekly recollections of Sora no Woto, and will turn my attention to various odds and ends upcoming on this blog in the near future, including the Hai-Furi OVAs, Amanchu‘s single OVA, some posts about Call of Duty: Infinite Warfare and Titanfall 2, amongst others.

• I will be coming back to talk about the OVAs in the future, but for the time being, I’m going to take some time off and enjoy my evenings in the company of a good book now that I’m done. Writing about Sora no Woto on evenings between work and on weekends when I could be doing other things was no easy task, but I did wish to see through this project to the end. With this series of Sora no Woto posts concluded, then, it’s time to continue on with my misadventures in Battlefield 1, Call of Duty: Infinite Warfare Legacy Edition and Titanfall 2.

Sora no Woto holds a magic to it that very few other anime have achieved: with its distinct combination of familiar characters who wind up being unique in their own right, a fantastical world whose lore and everyday life are thoroughly explored to become immersive, fantastic artwork that captures the world’s attributes and a soundtrack that is at once friendly and melancholy, Sora no Woto is an anime that easily earns the strong recommendation, offering a novel and intriguing anime that proved to be highly engaging. As the flagship anime of the Anime no Chikara programme, Sora no Woto sets the precedence for what original anime can accomplish, and as it turns out, the lessons drawn from the one year long Anime no Chikara initiative ultimately led to the creation of powerhouse anime such as Puella Magi Madoka Magica. Itself a masterpiece amongst many of the viewers, it is quite interesting to learn that its success can be partially attributed to information derived from Sora no Woto. Resulting in no shortage of speculation when Sora no Woto originally aired, this anime might no longer be considered discussion-worthy, but Sora no Woto remains of a very high quality, easily withstanding the test of time and even today, holds up against the newer titles that have come out.

A Visitor: A Burning Field of Snow- Sora no Woto Eleventh Episode Review and Reflection

“It has become appallingly obvious that our technology has exceeded our humanity.” —Albert Einstein

While on patrol duty following a fresh snowfall, Kureha and Kanata discover an unconcious Roman soldier. They bring her to the Clocktower Fortress and treat her for frostbite. The next day, she awakens, but because she does not understand Helvetian, Kanata and the others only learn her name: Aisha. However, it turns out that Yumina is fluent in Roman, learning that Aisha arrived to check out the fossilised remains of the gargantuan creature that Kanata had seen when she’d fallen into the lake. Yumina also brings with her ill-news — the Helvetian armed forces have surrounded the Clocktower Fortress and are demanding that Aisha be surrendered to the Helvetian forces, lead by none other than Colonel Hopkins, the infamous “Demon of Vingt”. Noël is gripped with fear and Filicia conceal both Noël and Aisha from his detachment. Upon recognising Noël as the Witch of Helvetia and bringing up the Invisible Reaper weapons project, Noël succumbs to fear, exposing their position and allows Hopkins to capture them. Meanwhile, the situation deteriorates further when news reaches Filicia and the others learn that the Roman army has mobilised and has entered no-man’s land, driving both nations closer to war. When originally aired, the eleventh episode of Sora no Woto would have completely surprised viewers to the same capacity as did the seventh episode, marking a dramatic departure from the slower pacing of earlier episodes.

In choosing to introduce Aisha ahead of the Roman Army, Sora no Woto reinforces the idea that even in times of war amongst humanity, the combatants remain people, rather than the monsters or dæmons that propaganda portray the enemy to be. The realisation that an enemy is human often drives participants’ appetites for war to dull, and it is for this reason that propaganda played such a major role during the World Wars, urging soldiers and civilians to view their opponents as being less than human, in turn causing savagery on an unprecedented scale. Sora no Woto does just the opposite: even if the Romans are enemies to the Helvetians, Aisha is human. While communicating with her might not be a particularly an easy task, Aisha proves to be accomplished with the trumpet, as well: it is here that Kanata realises that music is a means of conveying thoughts across even if one is separated by a language barrier, and the single act galvinises the notion that regardless of whether or not one is Helvetian or Roman, they are people. This particular conclusion is one that Hopkins’ forces refuse to address. In order to avert bloodshed, humanity must prevail over violence, although Sora no Woto masterfully presents a set of circumstances that threaten to transmute into a full-on conflict. Having presented the Romans as being people, audiences are riveted in anticipation of how Sora no Woto might turn out and would remain hopeful that, even in the darkest of times, a war can be prevented.

Screenshots and Commentary

• In contrast with the cooling but still-predominantly-green landscape around Seize in the previous episode, the snowfall has left the world gently blanketed in a layer of white, conveying a sense of coldness. Here, Kanata and Kureha continue their patrol into the mountains – only Kureha is equipped with a rifle, and she has optics mounted, suggesting that the two are acting as a sniper-spotter unit. However, patrols typically are intended to deal with close to medium range threats, and it would make more sense for Kanata to have a rifle, as well.

• The dark blues of the sky in this screenshot really accentuate that the weather has shifted, far removed from the warmth seen in previous episodes. Kureha and Kanata returns to the observation outposts seen during the fifth episode: the snow-covered terrain is a far cry from the inviting,  verdant meadows, and here, Kanata spots a figure in the snow.

• The figure turns out to be a Roman soldier who’s suffering from frostbite. Uncertain of what the best course of action is, Kureha and Kanata decide to do what’s right: bring this soldier back to the Clocktower Fortress and in the infirmary, treat her injuries. There is a sharp contrast between what is counted as morally right and what one’s orders are: these lines blur during warfare, and contrary to what the self-proclaimed experts claim, there is no easy means of making a good call during warfare. Actions that are in accordance with orders may contribute to an unacceptable number of casualties, while at the same time, contradict with the idea that a soldier must follow their responsibilities.

• Typically expressionless and quiet, Noël is seen expressing a wide range of emotions in Sora no Woto‘s penultimate episode. The Roman soldier here brings back a startling memory in her past: a dying Roman soldier, and a military official praising Noël for her role in revitalising a WMD that resulted in an untold number of casualties. While the Roman Empire’s presence has always subtly suggested that they were the antagonists, but Helvetia’s use of WMD suddenly complicates the picture — in war, neither side can be seen as innocent or holding the moral high ground, explaining the oft-used phrase that history is written by the victors.

• While looking through the Roman soldier’s loadout, besides a M1911, Kanata also finds a bugle. It comes across as strange that a soldier would be found without their service rifle, indicating that this particular individual may be moving independently of the Roman army. Beyond reaching the conclusion that this soldier is probably a scout, Filicia is uncertain about how to proceed next.

• Under the dark of night, an armoured column advances amidst the snowfall. The mood and emotional tenour surrounding the soldiers of Sora no Woto are consistent with the depiction of warfare following the First World War: previously, to fight in war was considered an honour, and young men would enlist for a chance to prove their worth for the glory of the nation. The Industrial Revolution and sophisticated weapons turned war into death, radically altering society’s view of conflict. Machines now made the act of killing a streamlined, efficient process, and for the first time in history, a single man with a machine gun could kill hundreds of men. It is therefore unsurprising that World War I is considered to be the dawn of modern warfare.

• Under a screenshot of the Clocktower Fortress under a brisk morning, I remark that, contrary to claims that it is “not Felicia’s job as a low ranking officer to decide if she does or doesn’t want war or whether to aid and abet an enemy agent” means that, taken to the logical conclusion, Filicia and the others would have done well to execute the Roman soldier. Such an action would certainly lead to the war that Sora no Woto is so persistently and plainly trying to illustrate as an immensely costly action whose benefits may not necessarily be worth said costs.

• Ultimately, if the 1121st followed orders, the anime would fail to deliver its theme. This point is something that those criticising Filicia’s call do not understand, and consequently, they would be the naïveté, rather than those who support Filicia’s decision. In fiction, actions must be consistent with whatever message that a work is aiming to present: characters acting against military regulations in works of fiction is not uncommon, and they usually do so because their actions are intended by the author to represent an idea.

• Back in Sora no Woto, Noël checks in on the Roman soldier to find that she’s awakened. The Roman promptly attacks her. Noël’s action, to grope her, diffuses things immediately: modesty kicks in and the Roman soldier stands down. It’s probably the only instance where materials of this type is not intended to be taken out of context, although it’s a gamble to execute these types of take downs, considering that not all individuals have the same standards. Moreover, Noël’s intentions are left ambiguous: while my assessment is that Noël is using a simple method to stop the attack, some folks believe that Noël knows she’s screwed and wishes to do one thing before she is fragged.

• Learning that the Roman soldier’s name is Aisha, the others quickly find that their inability to understand Roman (presented as German in Sora no Woto) hinders their ability to communicate and learn more about her objectives. Voiced by Nami Miyahara, who took her middle school education in Austria, Aisha’s German is syntactically correct. However, her Austrian German differs from High German in minor choices of vocabulary and phrasing.

• In order to assess Aisha’s familiarity of the Helvetian language, Filicia administers a simple test that leaves Kanata and Kureha flustered, causing even Noël to blush. Since Aisha doesn’t respond to the phrase, it’s quite plain that Aisha does not speak Helvetian, a language whose spoken form is that of Japanese, and where the written form is French. Such divergence in linguistics, though seemingly unlikely, can result from geographical separation and migration patterns. Owing to the extremities in Sora no Woto, it is conceivable that French and Japanese could merge, although more than likely, Japanese is used simply because Sora no Woto is an anime. To recall Filicia’s question for my amusement:

“You have really nice breasts, don’t you? I’m rather fond of them. I wonder if it would be alright I played with them for a bit? Would be it be alright if I played with your entire body? It seems she’s really unable to understand Helvetian.”

• While initially cold to her captors, Aisha warms up to Noël and Kanata, who spends the most time with them despite their language barrier. The choice to depict a Roman soldier coming ahead of the advancing army is meant to demonstrate that the combatants in both Roman and Helvetian armies are human in the end, contrary to how the Roman army’s lack of portrayal thus far, coupled with the fact that audiences are only aware of the Helvetian perspective, means that audiences are more likely perceive them as antagonistic in nature.

• An accomplished bugler and trumpeter, Aisha immediately begins playing Amazing Grace when Kanata gives her Rio’s trumpet. It is here that Kanata realises that music is a universal: despite their language barrier, the emotions and ideas a song carries can transcend linguistic and cultural barriers. This moves Kanata and ultimately shapes her actions in the finale, but in the present, the arrival of Yumina allows the 1121st to finally learn what Aisha’s mission and objectives are.

• With translation from Yumina, it turns out that Aisha is here in Seize to check out a fossil ostensibly belonging to the dæmons of yore, and that Aisha’s grandmother was once a member of the Clocktower maidens. In the Roman mythology of Sora no Woto, the dæmons are a saviour passing judgement on humanity, saving the species from its own machinations, “cleansing” humanity of its sins. In this interpretation, the remnants of humanity are the ones who are blessed to rebuild the world. Yumina immediately rejects this, while Aisha similarly finds that Yumina’s beliefs are heretical in nature.

• This small-scale disagreement occurs in parallel with the impending conflict between Roman and Helvetian forces. The heavy atmosphere stands in stark contrast with the weather: a cold but otherwise pleasant-looking day. Intentionally done to emphasise that warfare and conflict occur independently of human feelings, this is one of the instances in Sora no Woto where the skies do not mirror how the characters are feeling, reminding audiences that warfare is impersonal and indifferent to who lives or dies.

• Colonel Hopkins, the Dæmon of Vingt, is one of the most feared commanders of the Helvetian forces, who had previously ordered the deployment of WMD, earning his moniker. Arriving at the Clocktower Fortress, he intends to take Aisha and execute her with the aim of starting an all-out war between Helvetia and the Roman Empire. While Helvetians have been shown to be a friendly, ordinary people thus far, Hopkins embodies a sort of evil that is meant to show how both sides have their own dæmons. In response to his arrival, Filicia orders that Noël and Aisha be hidden.

• The placement of the table legs contribute the sense that Noël is caged, trapped within her own mind and memories as a consequence of the guilt resulting from her actions. This is why she fears Colonel Hopkins, and when Aisha learns of Noël’s role in releasing the WMD, known as the “invisible death reaper”, Noël finally caves, letting out a piteous scream that alerts Hopkins’ men to their position.

• The expression, “when it rains, it pours” is used as a narrative device to deepen the gravity of a situation, and here, the phone rings, alerting Kanata and the others to a large contingent of Roman forces moving through No-Man’s land towards Helvetia. The episode left audiences surprised that war could be explored in what was otherwise a seemingly run-of-the-mill anime, and with all of the events in this episode, discussion erupted. Gone were the accusations that Sora no Woto was lapsing into familiar territory, and even the skeptics felt that the anime was exploring interesting directions.

• So tangible was the anticipation that some discussions wondered if it would be possible to watch the episode in real time as it was airing in Japan. Coming to the party a year later, I would encounter no such difficulty, and simply watched the finale immediately after this penultimate episode concluded. While the Helvetians have amassed a sizeable force outside of Seize, the cut outside shows that the Roman Force is no slouch, either: if this conflict came to fruition, the casualties would be unacceptably high for both sides.

• Even in spite of her role in eradicating the lives of countless people, Aisha’s concern for Noël is far greater than her response to having met the individual responsible. Before Aisha can pick Noël off the floor, Helvetian soldiers arrive and open fire, with the shot’s outcome left ambiguous. We’ve finally reached the penultimate episode of Sore no Woto and concluded its review: next week, I will be pushing out the last of the reviews on next Wednesday to conclude my revisitation of Sora no Woto. Being the finale, it will be larger than usual, featuring thirty images rather than the typical twenty.

Aside from the introduction of Aisha, Sora no Woto‘s eleventh episode also places Noël’s story into the spotlight. Her remarks from the fourth episode become clear by this point; she deeply regrets her involvement in the synthesis of a biological terror that decimated enemy forces, human lives, and consequently, closed her heart until Kanata slowly began bringing her optimism and hope. From what Sora no Woto presents in its characters, it is apparent that war has affected each and every member of the 1121st to an extent, but for better or worse, each character must come to understand and accept their own duties within the present in order to have a chance for a better future. Leaving viewers with the greatest cliffhanger of the season, Sora no Woto‘s penultimate episode proved to be a thrill to watch that stands in stark contrast from the tones conveyed by earlier episodes, and with the seventh episode, serves to demonstrate that Sora no Woto is not merely another K-On! knockoff in presenting complex themes that provoke further discussion and considerations.