UlasanAnime.com – Technology advances at a remarkable pace, particularly in fields with strong economic incentives for innovation. Human-Computer Interaction (HCI) is a prime example of this rapid evolution. Not too long ago, science fiction began to explore the potential of a “next dimension” – not just linear improvements in computing power, but how advanced computers could unlock capabilities previously unimaginable. Artificial intelligence, for instance, is a staple concept, but the act of mimicking intelligence is as old as the first primate learning by imitation.
However, these early visions didn’t heavily feature concepts like cloud streaming, torrenting to cloud storage, or controlling devices via USB. The current reality is that fiction has been surpassed by technological advancements. When Google showcased its augmented reality glasses at Google I/O, the only missing element was the character Densuke from Dennou Coil. The concept of wearable visual augmentation connected to a networked computer was already a reality when the author was in college, a significant time ago. The challenge then was making it practical and identifying its actual use cases, a problem Google and others are still grappling with.
So, what happens when fiction is overtaken by reality? In Japan, the approach has been to introduce a moe heroine and imbue new technologies with a certain aesthetic. While entertainment and fan service are undeniable aspects, Sword Art Online (SAO) tackles the concept of virtual reality by drawing on the experiences of dedicated MMORPG players. This refers to games like Ultima Online, EverQuest, or Final Fantasy XI, and notably excludes games like World of Warcraft, although WoW does offer some common ground due to its similarities to the earlier titles.
While SAO might not be the first to explore new HCI paradigms, it stands out as the first known work to build upon the concepts introduced with the advent of MMORPGs. By definition, MMORPGs are fundamentally different from their single-player, offline predecessors. Compared to the virtual pets in Dennou Coil, such as Densuke, players might find the mechanics of SAO more relatable. The idea of walking a virtual dog that lives within augmented reality glasses is harder to grasp than walking a real-world pet. In contrast, imagining a virtual reality World of Warcraft experience feels more intuitive, even if it differs from the actual WoW gameplay.
The exclusion of games like WoW is based on the author’s perception that SAO is crafted by someone who understands the frustrations and punishing aspects of certain games. WoW, in contrast, is generally not considered punishing. The narrative of Kirito’s exclusive, high-skill streak feels somewhat unbelievable without questioning the stakes or the story’s progression by episode three. Soloing in a game carries different implications for someone who grew up with FFXI compared to those who played WoW or its successors.
It would be fascinating to observe if SAO indeed leverages the viewer’s or reader’s existing experiences to construct the emotional context of its narrative. Given its status as otaku material, this connection is plausible. Contrasting SAO with Accel World, the author feels this connection is the most significant difference between the two. In SAO, the experience feels akin to playing an MMORPG, albeit with a certain dramatic flair. Accel World, on the other hand, seems to follow a more conventional shonen manga formula.
PS: The prevalence of male characters in the SAO game population is indicative of its “otaku literature” status. In reality, MMORPGs are more widely played by women than any other game genre, at least in Western countries.
You might also be interested in : You Hooked Me at Episode 3
