Sword Art Online… The name itself can evoke strong reactions, and not always positive ones. Many fans argue that the second season surpasses the first, but let’s set the record straight: they are sorely mistaken. Approaching this season with an open mind, determined to judge it on its own merits, the conclusion is unavoidable. Sword Art Online should have ended with the Aincrad arc. Even if that initial arc had its issues, it possessed a certain level of dignity that subsequent arcs, starting with Fairy Dance, completely obliterated.
Sword Art Online Season 2 unfolds across three distinct arcs, beginning with Phantom Bullet (episodes 1-14). Set one year after the harrowing SAO incident, a new threat emerges in the form of “Death Gun” within the popular VRMMORPG Gun Gale Online (GGO). Players are reportedly dying in the real world after being killed in-game by this enigmatic figure. Kirito, once again drawn into virtual danger, is tasked with entering GGO and participating in the Bullet of Bullets tournament to uncover the truth behind Death Gun’s deadly actions.
To claim this arc is superior to the initial SAO arcs is baffling. In many respects, it’s just as flawed.
Firstly, let’s address Kirito. Despite fan proclamations, he is not a complex, intelligent, or compelling character. He embodies the “Gary Stu” archetype, a blank slate designed for wish-fulfillment, allowing viewers to project themselves onto a character devoid of genuine depth. His female-presenting avatar in GGO is utterly ridiculous and serves no narrative purpose. While the concept of a player choosing a female avatar exists, the series plays it up as if Kirito is female, complete with an unnecessary and jarringly out-of-character “girly voice.” The method of obtaining this avatar is equally absurd. MMORPGs do not typically assign predetermined avatars, and the sheer improbability of Kirito randomly receiving one of the rarest options strains credulity.
Then there’s his weapon of choice: a lightsaber – and yes, it is undeniably a lightsaber, complete with the iconic sound effects. The show handwaves this with the flimsy justification that “if it can be bought, it can be used.” However, the fact that no other GGO player has considered utilizing such a weapon, leaving it conveniently available for Kirito, highlights the lazy writing. It reinforces the notion that Kirito’s exceptionalism is not earned but rather imposed by writers unwilling to develop actual skills or ingenuity. Claims of Kirito not being a Gary Stu ring hollow when the narrative consistently bends over backward to showcase his effortless superiority.
Enter Shino Asada, or Sinon, the female lead of the Phantom Bullet arc. Her backstory revolves around a childhood trauma: at age 11, she shot a bank robber in self-defense, leading to a crippling phobia of guns and gun-like shapes. She immerses herself in GGO as a form of exposure therapy, hoping to conquer her fear.
But what becomes of Sinon’s character arc? Predictably, it becomes entangled with Kirito.
Sinon, initially presented as a character with potential, quickly devolves into another damsel in distress, mirroring the unfortunate trajectory of Asuna. Like Asuna and Suguha before her, Sinon’s character arc is sacrificed at the altar of Kirito’s dominance. A pattern emerges: introduce a promising female character, pique audience interest, then dismantle everything that made her compelling, rendering her dependent on Kirito. This formulaic approach makes investing in any female character in Sword Art Online a futile endeavor.
Sinon’s “exposure therapy” concept is inherently flawed. Reliving the very scenario that caused trauma is not a sound therapeutic approach. Furthermore, her therapy arc is ultimately meaningless. Kirito solves all her problems, and she achieves nothing independently. Kirito’s supposed PTSD from SAO is conveniently downplayed to amplify Sinon’s vulnerability and dependence. Instead of a partnership where they mutually support each other through their respective traumas, Sinon becomes reliant on Kirito, her character reduced to serving his narrative and, according to the reviewer’s sarcastic tone, her physical attributes. Both Kirito and Sinon’s PTSD conveniently appears and disappears as plot demands, demonstrating a profound lack of understanding or respect for the complexities of post-traumatic stress. Sinon’s condition is less PTSD and more “Plot-Triggered Stupidity Disorder.”
The antagonist, Death Gun, is a blatant “edgy Darth Vader knockoff.” His design and presence lack originality and any genuine sense of menace. He comes across as evil simply for the sake of being evil, his villainy falling flat.
The Death Gun persona is revealed to be a facade orchestrated by a trio: Shouichi Shinkawa (Red-Eyed XaXa), his brother Kyouji (Spegiel), and Atsushi Kanemoto (Johnny Black). XaXa embodies Death Gun in GGO, while Kyouji or Johnny Black infiltrates the victim’s real-world home to administer a lethal injection, timing it with the in-game “death” to create the illusion of virtual murder. Kirito unravels this elaborate scheme with no prior information, demonstrating an improbable level of deductive reasoning. His deductions are not based on clues or investigation but seem to materialize out of thin air. Adding to the absurdity, the inability to log out during the GGO tournament—a glaring oversight—further facilitates Kirito’s convenient involvement.
The revelation of Kyouji’s involvement as part of Death Gun is telegraphed so early that his motivations become the primary point of interest. However, the narrative then veers into gratuitous territory with Kyouji’s attempted sexual assault on Sinon. The series’ repeated use of attempted rape as a shock tactic is both offensive and lazy. Defending such poorly conceived and offensive writing only perpetuates the problem. The trivialization of sexual assault, following similar instances in the Fairy Dance arc, establishes a disturbing pattern and raises concerns about future storylines relying on this cheap and harmful trope.
Why does Sword Art Online resort to such tactics and escape criticism? According to the reviewer, it’s because audiences tolerate it.
The Phantom Bullet arc is riddled with character stupidity and plot contrivances. A prime example is the revelation that Death Gun is a former SAO player and a Player-Killer, just like Kirito. However, Kirito inexplicably fails to learn Death Gun’s identity when given the opportunity, dismissing it because he “never thought he would see him again.” This nonsensical oversight undermines any semblance of logic or thoughtful writing.
Despite attempting to approach the arc with an open mind, the Phantom Bullet arc reinforces the reviewer’s negative perception of Sword Art Online. It is, in their view, a descent into predictable mediocrity, only marginally better than the Fairy Dance arc due to the absence of incestuous themes. It remains, however, a disappointing continuation of what the reviewer considers one of the worst anime to emerge in recent years.
The second arc of Season 2, Calibur (episodes 15-17), shifts focus to a side quest within ALO, where Kirito and his “harem” alongside Klein, embark on a quest to retrieve the Holy Sword Excalibur.
The purpose of the Calibur arc is virtually nonexistent. It serves as filler, adding nothing of consequence to the overarching narrative. Events in the Calibur arc, and indeed everything after episode 14, feel inconsequential. It’s as if the writers ran out of ideas and resorted to showcasing Kirito’s “awesomeness” to appease viewers. The arc embodies the sentiment: “It takes an idiot to do cool things. That’s why it’s cool.” This encapsulates Kirito’s character: an unremarkable individual performing extraordinary feats, designed for vicarious wish-fulfillment. Kirito, as a blank slate, allows viewers to project themselves and their desires onto him.
The most glaring issues in the Calibur arc are Sinon’s continued presence, deemed as pointless as Asuna’s, existing primarily for fan service and contributing little to the plot. Kirito’s personality also undergoes jarring shifts, transitioning from a traumatized survivor to an insensitive jerk. Even in a low-stakes side quest, his unwarranted rudeness towards his friends is perplexing. However, as the protagonist, his actions are largely unchallenged.
Despite these flaws, the reviewer concedes that boring filler is preferable to the preceding and succeeding arcs.
The final arc, Mother’s Rosario (episodes 18-24), is often lauded by fans as one of the season’s best. However, the reviewer vehemently disagrees, placing it alongside Fairy Dance as one of the worst arcs in the entire Sword Art Online series. It initially promises a semblance of quality, only to devolve into manipulative melodrama and a blatant disregard for audience intelligence. Mother’s Rosario, in the reviewer’s opinion, is the ultimate betrayal of audience expectations within Sword Art Online. It solidifies their resolve to maintain a consistently low opinion of the series.
Mother’s Rosario shifts the spotlight to Asuna. Kirito’s presence is diminished but strategically deployed for plot convenience. Asuna is recruited by Yuuki Konno (Zekken) into her guild, the Sleeping Knights, who aim to defeat a Floor Boss with a limited roster before disbanding.
Asuna’s character, defined solely by her desire to be “Kirito-kun’s waifu,” lacks depth or agency. Her character arc remains stagnant, revolving around this singular, shallow motivation. The arc introduces a conflict with Asuna’s mother, who attempts to dictate Asuna’s future, a relatable parental concern. However, the narrative framing positions the mother as entirely unreasonable, overlooking the validity of her concerns about Asuna’s future prospects beyond online gaming. The mother’s past actions, including arranging a forced marriage for Asuna, are used to discredit her current anxieties, creating a simplistic and unbalanced portrayal.
Asuna’s response to these real-world issues is escapism. Instead of confronting her mother directly, she retreats into the virtual world and Kirito’s embrace. This reinforces the reviewer’s criticism of Asuna’s character as childish and weak, substituting virtual skills for genuine personal growth. While Asuna eventually confronts her mother, it feels forced and ultimately results in the mother being demonized while Asuna learns little. She remains defined by her relationship with Kirito, her ambitions and achievements secondary to her “waifu” role.
Yuuki Konno, in stark contrast, emerges as the closest Sword Art Online gets to a genuinely likable female character. While the reviewer maintains a generally negative view of female characters in the series, Yuuki surpasses the low bar set by Asuna, Suguha, and Sinon. Yuuki defies the established pattern: she doesn’t fall for Kirito, doesn’t become dependent on him, isn’t relegated to his harem, and even defeats him in PvP combat – a significant achievement given Kirito’s plot-armor. Yuuki seems almost too well-developed for a series like Sword Art Online.
At this juncture, the Mother’s Rosario arc appeared surprisingly decent. Following a string of terrible arcs, and with low expectations, the reviewer momentarily considered that this arc might redeem the series. The familiar issues persist, notably Kirito’s Gary Stu persona, whose flashy displays of skill lack substance. However, the focus on Zekken and the Sleeping Knights offered a refreshing change from Kirito’s usual dominance. The impending disbandment of the guild and Zekken’s personal struggles hinted at genuine emotional depth, though the characters’ reluctance to openly address their issues hindered emotional investment. The reviewer briefly entertained the notion that Mother’s Rosario represented what Sword Art Online could have been, making the preceding arcs’ failings seem even more egregious.
This fleeting hope, however, is shattered in the arc’s final act.
Yuuki’s terminal illness is revealed to be Acquired Immune Deficiency Syndrome (AIDS). Not HIV, but full-blown AIDS, contracted through a blood transfusion in 2011 after her mother’s C-section delivery of Yuuki and her twin sister. The infected blood, unknowingly used by the hospital, led to the virus spreading through her family, resulting in their deaths and Yuuki’s impending demise.
The reviewer’s reaction is one of outrage and disgust. The melodramatic and contrived nature of this plot twist is deemed utterly ridiculous. This revelation confirms the reviewer’s deep-seated animosity towards Sword Art Online, highlighting its tendency to occasionally hint at quality only to plummet back into mediocrity and manipulate audience emotions.
The issue is not Yuuki’s AIDS diagnosis itself, but the implausible and irresponsible manner in which it is presented and utilized as a substitute for genuine character development. The scenario is medically unsound, portraying hospital staff as grossly incompetent. Even in 2011, blood transfusions were rigorously screened for infections. The narrative’s assertion that the infection was discovered only after the transfusion strains credulity. The reviewer questions the writers’ intent: deliberate incompetence for plot convenience or simple ignorance? The lack of medical accuracy undermines the emotional impact and insults audience intelligence. Furthermore, the transmission of AIDS to Yuuki’s twin sister, born moments before her, is medically dubious, further highlighting the lack of research and logic.
The Mother’s Rosario arc is not a “heartbreaking, beautiful, powerfully human tale.” It’s a manipulative and unrealistic sob story, cheapening a serious illness for manufactured emotional impact. While the reviewer acknowledges liking Yuuki, her character development is limited, and she ultimately becomes a vehicle for ill-conceived melodrama. The arc attempts to force emotional responses rather than earning them authentically. Yuuki’s character, initially promising, is ultimately undermined by this poorly executed and insensitive plot device. The reviewer speculates whether Yuuki’s tragic fate is a form of punishment by the author for deviating from the typical Sword Art Online female character archetype and not falling in love with Kirito. Ultimately, Mother’s Rosario epitomizes Sword Art Online’s overall flaws: a series that consistently disregards logic and audience respect. This arc serves as the ultimate culmination of the series’ shortcomings. For the reviewer, attempts at manipulative emotional appeals only elicit hatred.
This pattern of mishandling sensitive subjects is a recurring and significant flaw throughout Sword Art Online, particularly in Season 2. The series repeatedly tackles serious themes like sexual assault, PTSD, and terminal illness with immaturity and irresponsibility. These themes are reduced to plot devices, handled unrealistically, and often portrayed disrespectfully towards those who have experienced these issues in real life. The reviewer argues that such sensitive topics should either be handled with respect and sensitivity or avoided altogether. Their inclusion in Sword Art Online, given their poor execution, is unwarranted and damaging.
In conclusion, Sword Art Online Season 2 is demonstrably worse than the first season. While the first season had a promising start before declining, Season 2 is consistently poor from beginning to end. Any lingering sympathy for Sword Art Online and its fanbase is extinguished. It is a “dumpster fire” with no signs of improvement, repeatedly failing to learn from its mistakes. The trivialization of sexual assault for the second time underscores its fundamental flaws. Sword Art Online Season 2 belongs in the garbage, a fitting destination for a series that consistently delivers garbage content. “Once a pile of garbage, always a pile of garbage.”
