We don’t know, and because romance stories are like catnip to a certain kind of human (guilty as charged), we worry. That’s the secret sauce of these will-they-or-won’t-they stories. Everything we’d seen so far would argue that this was a romance, even more so than with Ano Natsu de Matteru, which had leaned into the drama far more, and was making serious hay with the drama itself, whereas this was thriving more on the comedy and character bits. The latter seemed to be the obvious path since everything was pointing toward them getting their memories erased-there was no indication that the memory wipes were a lie, for instance, or that Yoake or Onoya would break the rules-but because Yayoi-sensei and the anime team had done such a good job of getting us invested in these characters, I wanted for there to be a way out. If it was a tragedy, they would forget each other and go about their lives. If it was a romance, Kaizaki and Hishiro would stay together in the end. That really raised the stakes haha) This last arc reminded me of Ano Natsu de Matteru in a big way, because the central question I kept asking myself over these last episodes was this: Is this a romance, or is it a tragedy?īecause it could have gone either way.
(Side note: I hadn’t put two and two together until it was spelled out how they would forget each other too! I guess I thought ReLife participants wouldn’t forget other ReLife participants or something. It was Kaizaki x Hishiro all the way, with the unique impediment of both of them being destined to forget each other once their ReLife’s are over. That’s what the final four episodes, under the name ReLIFE Kanketsu-hen, were about. And the premise also led to an unexpected benefit: a unique twist on the will-they-or-won’t-they story. both original creator Yayoi Sou and the entire anime crew rose to the occasion splendidly. I’m just explaining the difficulties it faced early on, and the wonk inherent in the premise. To be clear: I’m not criticizing the premise. It was a fusion of good writing and excellent execution, so even if the premise required significant buy in, once you got on board with it, it was thoroughly worth it. And then there was just the humor, which was delightful, and the visuals, which were simple while conveying the comedy and characters adeptly. And those characters were so very relatable, and their crises were dramatic without slipping into melodrama (much-though I love me some melodrama, so I didn’t mind when that happened either). Kaizaki wasn’t the interesting one so much as all the other characters who he ended up helping, and in the process of helping them, he grew and helped himself. There are so many reasons for that, but most of them come down to the relationships between the characters.
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I’m the kind of binge watcher who will finish a series over the course of a couple weeks, but I devoured the first thirteen episodes in a matter of days. Which is why I was so surprised, and so pleased, by how much I enjoyed the original series.
ReLIFE requires a lot more suspension of disbelief up front. Ditto to this series and something like YoriMoi, which only requires one difference ( Shirase I was sold to civilians for civilian expeditions), and it’s easy to come along with that premise. Compare that to Log Horizon, KonoSuba, or even Death March, which only require one hand-wavey “it was magic” explanation, and SAO’s premise is a much heavier lift. It’s a lot the original arc in Sword Art Online in this it wasn’t that people getting trapped inside a VRMMO was so unreasonable, it just strained credibility that someone wouldn’t figure out a way to get them out. It’s not that a pill that makes people look 10 years younger is that unreasonable, it’s all the ancillary details-that there would be enough money for this, that there would be enough perceived value in rehabilitating people like this, and above all else, all that memory wiping stuff. Its very premise risks breaking immersion from the beginning. When the original thirteen episodes of ReLIFE aired, I was surprised by how much I enjoyed it.
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