The balance between the real world and the virtual world continues to meld in many ways as the aspect of what is crucial and not seems to disappear into the void. The aspect that has always been true with “.hack” in terms of the storyteling process is projections and what people consider real and false in terms of identity in their own life.
Like the concurrent novels, the anime adaptation “.hack/Quantum” takes the structure of quantum computers to create a notion of lost souls able to live on without a physical structure to keep them present in the real world. The narrative motivation here reflects on the increasing amount of plugged-in personalities who start to diverge from the real world since the texture of inhibitions and notions of self take a back seat and become a type of metaphorical idea of what an alternate world would be.
This specific interlay follows three gamers who meet up and travel in “The World”. When the structure of the gameplay seems to deconstruct because of “server maintenance” causing players to actually “hurt”, the balance between administrators and consumers seems to shift, both online and in the outside world. The element of having modern thinking and placed characters existing in an almost sword-and-sorcery world where dragons and monolithic statues of doom seem real creates an interesting dynamic. The statue of doom is particularly impressive because of the sense of scale interrelated with the use of clouds. This anime in its current form shows the balance of 3D and 2D concepts working well together.
The most sensitive of the girls meets up with a young boy/cat named Hermit who seems to have a hacking app inside the world all his own, though his motivations turn out to be more dastardly in an overall form leading to the injury of people on the outside world. The questions that “.hack” continues to ask have distinctifying presence in today’s youth society where people can text but not talk.
In terms of technical, the transfusion between Japanese and English language in terms of structure is negligible except for a bit of hankering around Tokyo. The extras seem to play a little more Eastern than usual. The “Chim Chim” animated interstitials are a bit of world play but simply fail to translate in an overt sense. The short subject of Yuo Oguaa including a quiz and cooking school are overly indulgent though a visit to the animation studio has some fun bits despite a lack of converted information. The promotional videos and trailers for “Quantum” interrelate the growing intent that this idea of connected worlds is different from virtual reality. Of the additional trailers, three that stand out are “Bubblegum Crisis: Tokyo 2040” (simply for its furturistic intensity), “Chrome Shelled Regios (because of its uber “1984” paranoia) and “”Requiem For The Phantom” (just for its pure gothic viciousness).
“hack//Quantum: cointinues to show the intentions in a world split between connectivity and disconnection which is of dire prevalence in our current state.