Top 10 Demon Hunter Songs

Demon Hunter is one of my top 10 bands of all time, and trust me, there is good reason for that! This band has released solid album after solid album. None of their albums are objectively bad in my opinion. Even their weakest album, "Summer of Darkness", still has so many songs that just pummel you with aggressive metal assaults. Because of how much great content this group has, it was hard to narrow down my top favorite songs by them. But, I managed to do it so here they are!


Honorable Mentions: “I Will Fail You”, “The World is a Thorn”, “This I Know”, “Turn Your Back and Run”, “Carry Me Down”, “Slight the Odds”, “Beauty Through the Eyes of a Predator”

10. "The Tide Began to Rise" (The Triptych)

Demon Hunter is primarily known for their harder material, but one shouldn't go without pointing out their softer songs, some of which happen to be their best and most emotive material. This track is one of the best ballads the band has produced, and may be their softest track in general. Guitars are used at a minimum here, with the song instead being dominated mainly by piano and some absolutely gorgeous strings. The backing musical accompaniment does a great job at bringing out some the raw emotions behind this song, and Ryan Clark's superb vocal performance only serves to bolster the emotion further. The lyrics here are wonderful, with Ryan contemplating on sacrifice in a powerfully introspective way: "If this is all the love my spirit can give/Just take it back tonight/There is not a reason more to live". What Ryan is essentially saying here is that if his love doesn't reflect the redemptive love that Jesus gave, then what is he really living for? That's something that challenged me when I first heard this song, and that is why I will always love it.

9.  "Collapsing" (The World is a Thorn)

This was the first Demon Hunter song I ever heard. Now, it wasn't like I'd never heard rock before (because this song is certainly more rock oriented). But when I first heard this song, I was still taken aback. It was probably the most intense rock song I'd listened to at this point in my life, as it verged very closely into going to metal territory. But I liked it when I heard it then, and I like it even more now. It's not nearly as lyrically deep as some of Demon Hunter's other songs, but its subject matter about denying being in a horrible state of mind is still interesting. What really shines here is the prominent guitar riffs and drumming, as well as the super catchy chorus which will easily get stuck in your head for days. I have no clue why this song didn't get onto some sort of rock station, as I know it could've performed well on there. The biggest highlight in this song is an indescribably awesome guitar solo by featured guest "Speed" Strid. It's some of the best guitar work I've heard on any Demon Hunter song and that is saying something. This song is a good place to start if you've never listened to this group before!

8. "Sixteen" (Storm the Gates of Hell)

It's funny that I place this song right next to "Collapsing", because this was the first song that I heard by Demon Hunter that is more representative of the type of music they usually do as a band. I remember being shocked by Ryan Clark's intense screaming abilities. Years later, I have come to be a huge fan of this song, and will always appreciate it as being my gateway into the metal scene. The intro of this song is one of the most memorable moments of any Demon Hunter album. The combination of an almost ethereal string arrangement along with some huge guitar riffs makes for a haunting feel which fits the very dark and angry tone of the rest of this song. I love the subject matter of this song, as the title cleverly plays off the "fifteen minutes of fame" idea. This song is directed at Christians who don't really believe what they say. But Ryan Clark suggests maybe they deserve "sixteen minutes" of fame because someone could be affected by their words and become a Christian. That is a unique subject matter for a song, but even if Ryan allows these hypocrites an extra minute of fame, he's no less aggressive toward them, angrily belting out lyrics like "Sixteen oh holy day/Your time has come and passed/The rapture we've been waiting for/Has come to us at last/Sixteen to every fake, sixteen to every whore". Wow, those unabashedly brave lyrics still leave me speechless. Ryan has a real self-righteous conviction here, and I love when he uses that anger to get across a well-needed message. Also deserving recognition here is the great chorus with some gorgeous cleans as well as the powerful bridge.

7. "Undying" (The Triptych)

This song is one of Demon Hunters most well known, and why shouldn't it be? From the huge guitar riff in the beginning and ending of the song to the explicitly spiritual lyrics as well as an intense mid-breakdown, this song shows everything that the band is about. Everything about it still works to this day, and the lyrics are still relevant in talking about how our faith should be a presence to everyone: "One final heartbreak/Dying lights will guide our way/Free our blind state/They will call us by our name/Undying". It's inspiring to hear Clark discussing how our ancestors who have gone before us will continue to guide our way in the faith. He's praying that God will use them to make us truly see the world for what it is, and then we will get our eternal reward in death. It's one of the band's most redeeming messages they have to offer in their often dark content, and I think that's why people have attached to this song so much. I certainly have, as it shows us exactly all that the band has to offer. If you haven't listened to this song, you're seriously missing out.

6. "Gasoline" (Extremist)

Demon Hunter's most recent album "Extremist" created a bit of a divide between fans, with some of them hating how soft the album was, while others really enjoyed DH taking the softer route, perhaps because those were the people who enjoyed the group's ballads a little more. My opinions of the album have been conflicting; I certainly won't claim that it is one of the band's greatest releases. But there's one thing on which I and many others can agree on: the fan favorite song "Gasoline" is amazing! This track is one of the most unique songs the band has done. It starts out deceptively as a ballad, but then the chorus has a build-up that feels pretty interesting. Then out of nowhere, Ryan lets out a gut-wrenching scream and we are led into a gigantic breakdown with huge guitar riffs and drum patterns. This happens three different times in the song, and it certainly doesn't get old. This is one of DH's most dynamic songs, and that's the very reason I love it. It also has interestingly satirical lyrics in which Ryan says about people who want him to water down his lyrics, "We'll smother out the flames/With gasoline". Ryan's stance is clear: he will never stop being speaking boldly on what he believes in, and it made me smile to see how he responded to people critiquing him. I love how he utilizes clever sarcasm as well as some more of that righteous defiant anger.

5. "My Throat is an Open Grave" (Demon Hunter)

This is undoubtedly my favorite ballad by this band, as well as one of my favorite ballads of all time. Everything about this song from the group's debut album is done perfectly. If you listened to this song alone, there's no way you could tell this band was new at this time. The song starts off with an interesting dark ambience before going into a memorable guitar riff that goes throughout the rest of this song. Ryan's vocals are a bit higher on this song than many other DH tracks, so that only serves to make this song more unique. I love the metaphorical sensibilities the lyrics have: "This isn't me I used to say/All the love was so gone/It feels so good to be alive/I've been dead for so long". Even though Ryan is now alive because he's found redemption, the song still feels bittersweet as Ryan continues to acknowledge how long he's felt dead inside. The memory of the darker times will never leave him, and in the tone of the song, he feels so truthful in saying this, albeit with regret. In the context of the album, which feels somewhat conceptual, this song becomes more redemptive. As a stand alone, this is a song that make me emotional every time I hear it, especially the beautiful ending where it's just Ryan and some backing strings. The reflective side of this band is just as good as their intense side, if not even better. That's why I'll always hold songs like this one in high regard.

4. "I Play Dead" (Summer of Darkness)

This is easily the best song from "Summer of Darkness", and because it's so unbelievably good, it shines well above the rest of the tracks on the album. Right from when the huge guitar riff came in that led into a soft acoustic guitar and Ryan's surprisingly quiet vocals, I knew I was in for something very different from this band. Out of all their songs, I would say this one feels like one of the most distinguishable. I can't exactly describe it, but I've never heard Demon Hunter do another song like this before. The lyrics talk are a metaphor for addiction that Clark says is turning him into something he doesn't want to be. So, he actually "plays dead", meaning that he acts like a shell of himself, so people can't actually see what he's going through. This feels relatable in so many ways, and maybe that's why I always feel for Ryan when he says this. The way he expresses his feelings of pain are legitimate. This song also has an excellent payoff in the bridges and chorus, where Ryan determines he won't let the pain inside him have control: "I've got to find a way to stop before it starts...I won't, I won't leave without a trace/I won't be erased". In what is the band's darkest album, this song feels like a breath of fresh air as it shows there is a light at the end of the tunnel. I've already talked some about how I love this song musically, but the best thing about this song is how it seamlessly transitions from Ryan clean singing softly to absolutely unleashing on his unclean vocals.

3. "God Forsaken" (True Defiance)

At almost six minutes long, this song is nothing short of an epic. It certainly feels like one, starting with a slow fade in, then having an explosion of big drum beats and some of the hugest guitar blast beats that Demon Hunter has ever produced. This song also has a nice groove to it that reminds of something from the classical metal age. Ryan's screaming here is great as usual, but it's his clean vocals that really sell me on this song. This is one of his best clean vocal performances, so much so that I'd prefer to call this metal track beautiful in its own way. He nails it in the chorus, making it one of the most memorable DH choruses to date. The lyrics are also good in serving as a parable of sorts, warning the listener about how easily we can stray away from God: "A fall to the fires of hell never fails to awaken/Though my soul ascends, in the darkness of my heart again/I'm god forsaken". The idea of being god forsaken is a clever double metaphor, as Ryan mentions how straying away from God makes him feel personally forsaken, but he is also forsaken by God. But the best part of this song is the ending. This song has a huge payoff by ending with the longest Demon Hunter breakdown to date, and it's a delight to the ears. It hits as hard as you'd hope it would, and it will get your head banging. I can't describe it perfectly to you if you haven't heard it; if nothing else listen to this song for that breakdown alone, as it's something that you need to hear. This song gave me everything I love about the band, it just multiplied it tenfold.

2. "Tie This Around Your Neck" (The World is a Thorn)

If you enjoy Demon Hunter sounding brutally angry, then you will love this song. I know I did; I've never heard Ryan scream so intensely before or sing with such passion about what he was discussing. Here the subject of the song is the idolization of materialism, and Ryan wastes no time in establishing how it has effected our world: "This is the age of the dead/The generation of pagan and self-led/You can feel the bones shatter beneath our feet...The heathens will say/Tie this around your neck...Fool". The gory imagery here, especially of Ryan saying that if you give in to this idolization you are tying your own noose, is tough to hear. But much like "Sixteen", it's convicting and convincing. To add on to the extremely dark lyricism, there is the best drum work I've heard in this song as well as a guitar that is all in your face. The chorus of this song briefly takes a break from the intensity to provide some clean vocals, but only for a brief instant before it goes back into a song that feels like it could take place in a war movie. Everything about this song works. DH nail the tone, and this is only one of quite a few darker songs on what could be the band's most aggressive release. This song certainly isn't for everyone, but I think it should be able to please even the most particular of metal fans.

1. "Thorns" (Storm the Gates of Hell)

This song still makes me feel emotional even when I listen to it now. Let's get the musical aspects out of the way first. This is one of Demon Hunter's just straight up hard rock songs. These are rare to find. The song is also accompanied by a subtle piano which works with very well with the song. Ryan uses clean vocals the whole time, and he sounds simply amazing; this is in my opinion his best vocal performance to date still. And that might be because he has such a passion for what he's talking about. I don't know if this song was meant for a fan, but Ryan is addressing someone who cuts in this song, and talks about their condition in tragic detail: "In your thoughts you played a symphony of self/But your soul had bled a darker song of close to nothing left". That alone makes this song extremely heavy. A subject like this needs to be treated carefully. Ryan does this very well, not once mentioning God in a cheesy way in this song. Instead he chooses to use Jesus's suffering on the cross as the relatable factor. He tells this girl (and whoever else is suffering) that Jesus already got cut and bled for you, so you don't have to do it yourself: "You will find it in the dead of night, where solitude is born/In the emptiness of broken flesh, at the mercy of the thorns". The way Ryan expresses Jesus's suffering is done so subtly, and because of that this song can work for multiple people. I've read convicting stories about how DH saved people with this song, and I can totally see why. This is the band's most important song. I can feel the passion they put into this track, so it comes out to be one of their most redemptive songs to date. This song is the one that proves Demon Hunter will always be a band to stay in my top 10 list. They have a passion for creating quality music, and they have a passion for delivering a much-needed message to a broken world. For that reason, I will forever be grateful for this band being a part of me.

Creeper "Eternity, In Your Arms" Album Review

By: James Southworth
Rating: 4.5/5 Stars

Creeper is a band name many people reading this won't have heard about. But this horror punk/rock band is certainly gaining traction. Part of that reason is for their very unique aesthetic, including characters they made up called The Stranger and James Scythe. They also have clothing with artwork which clearly draws influence from bands like The Misfits. The band clearly has a passion for making a unique name for themselves, and you can see their ambition by how consistent they are at communicating with their equally passionate fan base via Twitter and all their other social media sites. Their debut album "Eternity, In Your Arms" has been highly anticipated by fans. Before this album, I would've counted myself as a casual fan. After listening to this album, the "casual" label changed to "enthusiastic".

This album gets off to an explosive start with what is easily my favorite song off the album, "Black Rain". This song bleeds out rock theatricality, and that makes for a delightful listen. Everything about the track is huge from the bombastic guitar riffs, the incredible drum work from Dan Bratton (his drum work is one of the biggest highlights of the whole album), the passionate vocals from lead singer Will Gould, and the superb backing vocals/keyboard work from Hannah Greenwood. This song offers ample evidence that there is not one weak member of the band; all of them are great. The lyrics of this song even feel epic: "And in the rain/I screamed your name/So darling, just you shut your pretty mouth/I know I mean nothing to you now". This song is easily one of the best songs of the year so far. This track is strongly followed by "Poison Pens", which has a crazy and aggressive punk rock assault. This song is in your face the whole time, and I loved every minute of it. "Suzanne" is another huge favorite of mine on the album, boasting what is in my opinion the catchiest chorus of the whole album. I also love the way Creeper uses gang vocals on this track, as it adds even more energy. The lyrics are very enjoyable, as Gould is not afraid to call out the generic pop radio: "Suzanne, I want to die holding hands/Running from this world's demands/All those radio bands never made me feel". The song screams the theme of rebellion, and it doesn't ever feel like it's forced or pandering.

The strong streak of great songs continues with another single "Hiding With Boys", which is a solid standard rock track with some good lyricism about a girl that's cheating on Gould. He never comes out right and says it, but rather subtly implies it: "Hiding with the boys in the bedroom/Hiding the evidence of dying youth...". If this track is the more traditionally fun relationship track, then "Misery" is on the total opposite side of the coin as one of the most heart-wrenching tracks on this album. This break-up song does not feel cliched in any way, and that comes primarily through the way Gould uses his voice. You can tell he's really giving his all, expressing his emotions as much as he possibly can. The repeating mantra "Misery never goes out of style" only adds to the depressing nature of this track. We go from this song into a track that feels like it could do well on a radio rock station, "Down Below". This song does everything right in the musical department, with the guitar riffs being in your face and the drum work sounding as good as ever. I love the ending of this song especially, as the rest of the band backs up Gould's singing and it creates this big choir effect. The theatrical side of this band is evident here once again, which makes this song yet another huge highlight in the midst of so many other highlights. "Room 309" is similar to "Poison Pens" in how it is intense from the very beginning, but it has a surprisingly quiet acoustic ending where Gould and Greenwood beautifully harmonize, making the song have interesting variety. The track effectively transitions into easily my favorite ballad on the album "Crickets", which is headed by Hannah Greenwood. Hannah shows herself to be a very capable vocalist. Her raw talent shines through the whole track. The heartbreak expressed hear feels very real with the powerful metaphors used: "My love is a nail I can't pull out with plyers/The lovers I've had have been gaslighting liars". Lyrically this might be the best song of the album, and it certainly shines because of Hannah's dynamic vocal performance.

There are some weak points in this album, and they unfortunately come at the end of the album. "Darling" is probably the weakest track on the album, feeling like it checks off everything that is required for a standard pop/punk song. It even reminds almost too much of Green Day. While I like that Creeper is most likely paying tribute to their influences, it still doesn't feel unique in comparison to other songs. I overall like "Winona Forever", but I still think that the use of Winona's name sounds awkward in context of the track, so that brings it down just a bit. "I Choose To Live" ends the album out on a somewhat forced sentimental note; it doesn't hold the same emotional weight as "Misery" does.

Creeper's debut album is something unique to behold. Raw talent and passion bleed in nearly every moment of this album, and even the weaker tracks on this release still shine above a lot of other radio rock songs. At the beginning of the review, I mentioned I was a casual Creeper fan. But now I can say I am totally rooting for them, as I see that they have the ability to redefine the rock genre and bring in a new wave of talent. I can't wait to see what these guys do next!

Favorite Songs: "Black Rain", "Suzanne", "Down Below", "Crickets", "Misery", "Poison Pens"
Least Favorite Songs: "Darling", "I Choose to Live"

"Get Out" Movie Review

By: James Southworth
Rating: 4.5/5 Stars

The horror genre is one of the most primary for being known as a cesspool of bad content. In the earlier years especially, it could be REALLY tough to dig through all the mud and find any movie of redeemable value. But I would claim that in recent years, horror movies have gotten a lot better. There have been a great amount of gems; I'd say 2016 in particular was an excellent year for quality horror movies. It seems like 2017 might be even better off. "Get Out" is the directorial debut from Jordan Peele. If you're familiar with that name, you might question why on earth he'd make a horror movie. After all, Peele is much more well-known for teaming up with Key, making one of the best comedic duos of all time in my opinion. But on seeing this movie, you will be surprised. This movie is one of the most clever horror movies I've seen, with pitch perfect direction and quite a few superb performances. The basic plot is this: young black man Chris visits his white girlfriend Rose's mysterious family estate.

One of the best things to commend about Peele's first directed movie is that he effortlessly combines horror and satire together. Let's talk about the scares first. One of the things I really appreciated about this movie was that there weren't really that many jump scares. I counted maybe one moment where I jumped, and that was about it. Otherwise, we are treated to scares that make your skin crawl. Some of the scares I don't think I've ever seen before. There's this one incredible scene where Chris is getting hypnotized by one of Rose's mother. He gets thrown into this world known as The Sunken Place. I won't go into many details about it, but this moment is surreal. You are just thrown into this weird world, and it's creative what they do with it. There are plenty of other moments here that are bone-chilling, such as a creepy Bingo game and Rose's insane family. There are some good supernatural scares, but a lot of the scares come from real people. That makes the scares feel all the more harrowing. The satirical aspects of this film usually work hand in hand with the scares. For example, you are meant to be scared of the black people in this film, but once you realize what's really going on, Peele's message of subtle everyday racism is revealed. The whole time you're at the Armitage's house it feels as though you are on a plantation, and that is exactly what Peele wants you to think. The Armitage family tells Chris he's free to go, but just how free is he really? The themes that arise out of the satire are insanely clever, and I don't want to spoil too many of them.

The actors as well as the characters they portray are also great in this film. Daniel Kaluuya as main character Chris Washington is just wonderful. Right from the beginning you instantly attach to this character. You find him interesting because even when subtle racist things are done to him, he accepts them. But as the movie goes on, it is revealed why he just goes along with them, and it makes you think more about how minorities have had to adapt to America's racist culture. Kaluuya brings so much to Chris, making every moment with him great. His fear feels very real, and when parts of his tormented past are revealed, the audience is able to sympathize with his raw emotions. This actor also has a knack for seemingly being able to cry on the spot, which is something that I admire. Catherine Keener and Bradley Whitford are also great as Dean and Missy Armitage. They both do a good job at making the seeming friendliness of their characters feel creepy. I found Missy particularly interesting with her hypnosis abilities. The best of the Armitage family in my opinion was Caleb Landry Jones, who plays Rose's brother Jeremy Armitage. Unlike the rest of the family, he wastes no time in revealing that he despises Chris, and that makes him much more interesting. Jones brings some legitimate menace to his character; I always felt very tense when he was around. There's a great scene where the whole family along with Chris are eating at a dinner table and Jeremy arrives. The lines that Jones delivers in this scene are pitch perfect, and they made me feel uncomfortable. But perhaps my favorite performance of the whole film was Lirel Howery as Rod Williams. I feel like Peele was speaking a lot through this character, as much like Peele himself, this character is gut-wrenchingly hilarious. His commentary on how black people are always the first to die in horror movies is great. Any time he was on screen, I was cracking up. I want to see this guy in a comedy, because he clearly has a knack for it. Honorable mentions go to Marcus Henderson and Betty Gabriel as Walter and Georgiana, two of the black folks working for the Armitages. They both gave some of the most clever scares the movie had to offer. The only weak point of this movie to me was Allison Williams as Chris's girlfriend as Rose. I never found her particularly interesting. She played her character blandly. While I understand this character trait almost contributed to the film's themes, I still felt Williams could've given Rose more personality.

"Get Out" deserves all the praise it is getting. It fully warrants the 99% it has on Rotten Tomatoes, and it makes sense that it is one of the highest earning horror movies of all time. It's unique, the scares feel frighteningly realistic, the funny moments work well in building up the scares, and there are some dynamic performances from a cast of people that aren't very well known. I've got to say bravo to Jordan Peele. I can't wait to see what this multi-talented individual has to offer to the movie world in the future!

"Sword Art Online" Movie and TV Series Review

If you had told me a few years back that I'd be getting into any type of anime show, I'd tell you that you were crazy. I held this negative attitude against anime. From what I'd heard about it, it just all sounded absolutely bizarre to me. But thanks to a good friend, I actually got introduced to anime, specifically through the show "Sword Art Online". What I found through this show was something that is just as intelligent as pretty much any American show. Even though the show is flawed, I have a great affection for it. This will be shown through my reviews of both the TV series as well as the movie that came out this year.

Arc 1: Aincrad
Rating: 5/5 Stars

 
The first arc of Sword Art Online is, in my opinion, pitch perfect. I loved every moment of this arc. Here's the basic plot: there is a new virtual reality game called Sword Art Online (abbreviated SAO) that is getting a lot of buzz. Main character Kazuto Kirigaya is one of the beta testers for this game. The creator of the game Kayaba appears in the reality, however, and reveals that everyone is trapped in this reality. The only way to leave is to beat the bosses on all 100 floors of the steel castle Aincrad. There's another huge twist: if you die in the game, you die in real life. This makes for a weighty premise where people are now literally fighting for their lives in what was supposed to be a fun game. 

There are several reasons why this arc of SAO is the best. One is the characters. Kazuto, who takes on the name Kirito in the virtual world, is at his most compelling here. He is intriguing to watch as this loner who at first refuses to let people in; he instead goes through killing bosses on his own. I like him even more once he met Asuna, who he falls in love with eventually.  Asuna is undoubtedly the best character of the whole TV series. She is a tough heroine who can fight just as well as Kirito. These two characters' chemistry is incredible, and when this arc becomes solely focused on them getting closer to each other is when this show is at its best. The action scenes here are also absolutely amazing, feeling exciting with all the creative characters they have to fight against. 

There are also some absolutely despicable villains in this part of the show), including the frightening Laughing Coffin Guild. This arc has some of my favorite episodes of the whole show, including the touching episode where Kirito and Asuna become parents to Yui (an adorable character who gratefully stays along for the rest of the show). My favorite episode is probably "Murder in a Safe Zone" where Kirito and Asuna are trying to figure out how a player could be killed in the safe zone. Another thing that this arc does so well is making you feel the weight of every character's mortality. You become worried for even the main characters. Those that do die are often very likeable characters, and their deaths are immensely felt. I didn't have a single problem with this arc, as the tone, characters, story, thematic arcs, and action are all nailed perfectly. 
 

Arc 2: Fairy Dance
Rating 3.5/5 Stars 

The first arc of this show set up an inevitably tough standard to hold up against. Because of this, some of the other story arcs in this show are good, while others are certainly weaker. Fairy Dance is one of the better arcs of the series, even though it is undeniably flawed. Kirito has survived Aincrad and we finally get to see the real world again. Here Kirito discovers that Asuna is in a coma. He meets her father, who tells him that his associate Sugo plans to marry Asuna while she is still in a coma state. While dealing with all of this, Kirito sees a screenshot of Asuna in another game called Alfheim. We also get to meet Kirito's sister Suguha. 

There are plenty of commendable things about this story arc. For one, I find the game world of Alfheim to be as interesting as Aincrad. Everyone's avatars in this world are fairies, which makes for some great character designs. There's a sense of mysticism to this game world that reminds of Lord of the Rings, which isn't a bad thing by any means. Kirito remains an interesting character, someone who we can sympathize for in his quest to save Asuna. We get to learn a lot more about him through his relatable relationship with his sister. Getting to see who he is in the real world is a nice change, and it makes his character feel more like one we can attach to. Suguha is the best character of this arc, and she only becomes more interesting when we discover that her avatar in Alfheim is Leafa, who she would rather be than herself. The action is superb, with some cool magic elements being introduced. The villain Oberon is well done, as the creators did a great job of making him incredibly despicable and disgusting. Once you realize who he is in the real world, it only makes his character more disturbing. 

There are a few weak points in this series. Asuna is a sadly wasted character in this series. She is in Alfheim, but her originally tough and independent character is reduced to a damsel in distress. I'm not sure why the show creators chose to do this, as it seems to work against all the themes that were established in Aincrad. She is still a likeable character for sure, but she is hardly ever interacting with Kirito.  Instead we get uncomfortable interactions between her and Oberon, which give off rape vibes that I'm not sure were necessary. While a great character, the creators for some reason decided to make Suguhu in love with Kirito. In fact, it seems every girl that interacts with Kirito falls in love with him, which is just dumb. The audience knows that Kirito only loves Asuna, so why do they need to have all these girls' one trait being in love with Kirito? Also, while I loved Kirito in this arc, there was starting to be a noticeable problem of him being overpowered. I never once felt that he was in any danger in this arc, which reduced some of the tension of the series. But still, this arc is overall great fun to watch, and I would definitely watch it again. 

Arc 3: Phantom Bullet
Rating: 3/5 Stars 

The third arc is the start of season 2 of Sword Art Online, which, sadly, is noticeably weaker than season 1. This arc takes place in the virtual world Gun Gale. The plot revolves around a character named Death Gun apparently killing characters in game, even though one cannot die in game. Kirito decides, somewhat grudgingly, to go into Gun Gale to figure out just how Death Gun is doing this, as he also suspects that this character could be from the original Sword Art Online. 

Let's talk about the good parts of this arc, because they are still very much present. New character Sinon is the best character of this arc. She is what ultimately made me want to continue watching this arc no matter what flaws it had.. We discover that in the real world, as a child she shot a robber who was going to kill her mother, but we discover that while she did kill the robber, she also mistakenly killed her mom. This tragedy makes us feel great sympathy for Sinon, and want to root for her to get over this tragedy that wasn't her fault. Her character's transformation throughout this series is truly dynamic and interesting to watch. I also find the story interesting. This whole arc is essentially a mystery of trying to figure out who Death Gun is, and the series does a good job of keeping you guessing. I figured out who it was before it was revealed, but that was because I was able to put it together by how cleverly the series was revealing snippets of information. 

Now for some of the negatives. Unfortunately, one of them was Kirito, which was surprising. But, I just was not very impressed by him. His overpowered nature was incredibly apparent in this arc, so I felt no weight to any moment that his life was supposedly in "danger". He would always find a way to kill someone; it didn't matter how close he was to losing. His character was also just too bland in this arc; we didn't learn much about him. Asuna is once again criminally underutilized. This was the first time watching the show that I realized what I was missing: the compelling exploration of Kirito and Asuna's relationship. I don't really care too much about how he interacts with Sinon or his sister or any other girl in the show. They are interesting characters, but Kirito doesn't have much chemistry with them. Asuna does hardly anything in this arc; in fact she only appears in a few episodes. The creators have this wonderful character, and it's frustrating they aren't using her to their full advantage. A final negative is I just didn't find Gun Gale compelling. A shooting game- don't we already have way too many of those in the real world? Aincrad and Alfheim brought innovations into their respective game genres. This game brings nothing new to the table in regards to tackling the shooting game genre. This season was weaker compared to its predecessors, but thankfully Sinon and the often interesting story line saves it from falling into mediocrity.  

Arc 4: Calibur
Rating: 2/5 Stars 

  Ugh, I dread talking about this significant misstep in the Sword Art Online series. Here is the bare-bones plot: Kirito and Leafa discover that the sword Excalibur has been found in the world of Alfheim. They go on a quest with many others, including Asuna, Sinon, Klein, Silico, and Lisbeth,  to find Excalibur. That is literally it. That is the "plot".

Let's talk about the small amount of positives present in this arc. The most apparent one is all of the action sequences. There is not much in the way of character development here, but the action in this arc is some of the best the series has to offer. All of the fights are pretty cool, especially the final one against Thrym. We get to see all of these characters we've grown to like fighting as a team, which is a nice concept. Another highlight of this arc is Klein. He's the only character who gets any real semblance of character development, which made me happy, as I enjoyed him in the Aincrad arc. He almost reminds me of Brock in Pokemon, as he's this hopeless romantic who falls for any girl he encounters. He's great, and offers some much needed comedic relief.

That's about it for the positives. There are way too many bad things about this segment. One of the worst is lack of character development. We learn absolutely nothing new about Kirito or Asuna. This arc could've been chance to further develop characters we don't know as well, especially Silico and Lisbeth. But no, they hardly do anything here. I suppose Leafa is the only other character that we sort of get to know more, but what we do get to know is not interesting. She wants to save this animal population in Alfheim from going extinct by the hands of Thrym. That's about the extent of her character in this arc. Why does she care so much about virtual video game animals? I don't know, and I don't think the show creators knew either. There continues to be the clear problem that we feel no weight to the characters fighting these bosses. None of them are going to die, and they are only going searching for a sword, so what's the point in caring? This arc was just a disappointment. Thank goodness it was mercifully short.

Arc 5: Mother's Rosario
Rating: 4/5 Stars 

By this point, I had been a bit discouraged by season 2 of SAO. Phantom Bullet was only alright, and I straight up disliked most of Calibur. But Mother's Rosario, the final arc of season 2, thankfully puts the season out on a good note. This one focuses almost solely on Asuna as she meets a guild called the Sleeping Knights. There we get to know about Yukki, who along with her friends desires to go on one more quest in Alfheim before they all go their seperate ways. Yukki recruits Asuna to go along with them, and along the way, Asuna learns more about Yukki.

The main thing this arc has going for it is great characters and some powerful themes. This arc has Asuna rather than Kirito as the main character, which is a refreshing change. I'm guessing the creators had heard fans complaining about what they had done to Asuna's character in previous seasons, and so they brought her back to how she was in Aincrad. Because of that, I could easily attach and relate to Asuna, especially as we even get to learn about her strained relationship with her mother in the real world. Asuna becomes just as dynamic as Kirito, and this is accomplished in only seven episodes. Even though Kirito is rarely in this season, there is one super cool scene with him where he takes on a whole army of people by himself. It was an awesome thing to behold. Yukki is an absolutely delightful character, one that I loved. She's easily one of my favorite characters in the whole SAO series. Her optimistic nature about practically everything is inspiring. The audience soon comes to a tragic discovery that Yukki in real life has AIDS, and is on life support. The reason her and her friends are doing one last quest is because Yukki will be dying soon. In fact, all of the characters in this guild are in various hospitals. This is one of the toughest things SAO has tackled, and it does so in a very mature way. This plot point also hones home this arc's powerful theme about living to the fullest, and it comes across as meaningful rather than cliched. One can see Asuna is changed by those around her, and it makes for something powerful. I even teared up near the end of this series. Yukki actually dies, which was heartbreaking, but the way the death is addressed is graceful. I felt as though Yukki's character was properly honored, and her death was not just a cheap emotional device. 

There are a few weak things about this arc. Asuna and Yukki are the only characters that really have any development in this season. While I liked that the creators took so much time to make these two characters interesting, that put other characters to the side. The rest of the Sleeping Knights guild are not compelling, and I even forgot pretty much all of their names. I think if this arc had more episodes then it could've developed them more. The action scenes are for the most part not as good as they could be in this season either. Other than that, this arc was a huge improvement from the previous two, and it really leaves Season 2 out on a positive note. Most importantly, it left me excited for the movie.

The Ordinal Scale 
Rating: 4.5/5 Stars 

This movie was highly anticipated by all fans of the TV series. I'm guessing that a lot of them were really hoping it would be better than the overall disappointing season 2 and perhaps even go back to being as good as the first arc of season 1. In the year 2026, the Augma is released, which introduces augmented reality (virtual things being a part of the real world). The most popular game of this nature is Ordinal Scale. Asuna, Leafa, and Silica all really enjoy this game and encourage Kirito to play it. He does so reluctantly and realizes that he is not as strong as he was in virtual reality because he does not have much physical strength in the real world. One night, Asuna, Kirito and Klein fight a boss, and the second best player Eiji joins them. An AI named Yuna is also there, and as she sings, she gives extra points to players. At one point in the fight, Eiji whispers "Switch" to Asuna, which Asuna recognizes as a term from SAO. In another fight, Eiji purposefully injures Asuna, and she realizes she is losing her memories of SAO, specifically how she met Kirito and Yui.

The story of this movie is pretty complex, but it is done in a way that is easy to follow. The theme of loss is once again tackled, and it is done very well here. There are different types of loss addressed: the loss of a loved one, the loss of memory,  the loss of power. I liked how the creators attacked loss from different perspectives; it makes for a multi-faceted movie. The characters in this movie are at their most enjoyable since Aincrad. I was able to truly attach to Kirito for the first time since Alfheim. He feels more like how he was in season 1 of SAO, someone who likes being a loner but also values his friendships with others. I'm glad Kirito remained the character to follow in this movie, as we got to connect to him struggling to understand augmented reality. Asuna is superbly done here as well. We are treated to seeing her as an tough fighter once again. Promises of this were shown in the final arc of Season 2, but they are full-on present in the movie. At the end of the movie, I briefly thought that they were going to reduce Asuna as a damsel who Kirito had to save, but they thankfully didn't. We also get to learn more about Klein, Lisbeth, and Silica, which is something I've wanted to see for a while. The new characters in this movie are great as well. Yuna is quite the enigma, but as we get to know more about her, she becomes entirely sympathetic. Even the villains Eiji and Yuna's father are not entirely evil, which is a nice change from how totally nonredeemable the villains usually are in SAO. I saw them as characters who are flawed and because of that, take drastic measures to get what they want. You do feel sorry for both of them once you see how much they're hurting. Finally, the ending of this movie is incredible. It's an all-out fight scene that is nothing short of fantastic. You get to see all the characters in the respective avatars they are known for. Especially pleasing is seeing Kirito in his classic avatar from Aincrad!

There are very few negatives about this season. I suppose the main one is how the movie sometimes feels a little repetitive. There is not much feeling of wonder when the characters go into augmented reality, and the transformation from real world to augmented world is done so many times that it loses some of its intrigue. I also think that the villains, especially Yuna's father, could've been a bit better developed. But otherwise, this movie is excellent and brings SAO back to its best since Aincrad. It's certainly recommended!

Ed Sheeran "Divide" Album Review

By: James Southworth
Rating: 3.5/5 Stars

On initial look, one could see Ed Sheeran as a bit of a cliche in the pop world: he's a solo artist, is known for making relationship songs, and he plays acoustic guitar. He checks off all the boxes for what can make a successful pop star. And that he most certainly is: he's very well-known, and all of his albums have been successful. But I tend to think that Sheeran is a bit different than his pop contemporaries. His relationship songs tend to be creative, often having well-developed stories attached to them. His guitar playing is backed up by a lot of other interesting instrumentation. He is good by himself, too, sounding sincere most of the time when he's playing, and his voice is unique. Sheeran's newest album, "Divide", has some weak spots for sure, but it still overall shows how consistent Sheeran is in delivering some quality pop material.

 The album gets off to a great start with the upbeat song "Eraser". This one was a bit of a surprise for me, as it featured Sheeran rapping, which appeared only at brief moments in "Multiply". But Sheeran shows great skill in his rapping, as he has a really good flow and couples it with some great singing. I also really like the lyrical content of this song, as Ed discusses the hardships that can come with a life of always being in the spotlight: "I used to think that nothing could be better than touring the world with my songs/I chased the picture perfect life, I think they painted it wrong/I think that money is the route of all evil, and fame is hell/Relationships and hearts you fix, they break as well". This song is a great way to start off the album, as it immediately establishes Sheeran as someone who wants to connect with his audience and be as personal as possible. With that being said, this song transitions perfectly into what I personally think is the best song on the album "Castle on the Hill". This is the first time that Sheeran has tried to tackle the arena rock style, and he absolutely nails it. The song is great lyrically as Sheeran is reminiscing on his childhood, on a time in which things were simpler. Now, this does sound a little cliche, but the way that he delivers this idea is unique, as he points out events specific to his own life. That makes this song have more connectivity. The guitar work shines in this song, along with the big drums in the background, and the subtle usage of electronic effects adds rather than detracts to the intensity the track delivers. This song will work perfectly in a live setting. What bolsters this song even more is the catchy chorus will get stuck in your head for days. This is easily my favorite Sheeran song to date.

The first ballad of this album is "Dive", and it is probably one of the best ballads on here. It establishes this simple guitar/drum pattern that repeats over and over while Ed sings over it. It makes for a great listen where Ed's vocals are front and center, which is what a song this personal needs. This is clearly a relationship song, but it's one that is filled with sincerity. Ed wants to know if this girl he likes is leading him on or not, and no matter how much he knows her bad reputation, he keeps on coming after her. The song paints this sort of depressing cycle of a one-sided relationship, and it makes you feel for Sheeran's struggle. "Perfect" is a refreshingly sweet ballad where Sheeran sings about how much he loves an unnamed woman. In a world of pop songs where relationships are unfortunately defined more by objectification and sex, this song is a needed change (unfortunately, Sheeran gives into this mainstream mentality at other points on the album, but more on that later). "Galway Girl" is another major highlight on this album, as it is yet again a unique change from Sheeran's typical style. The song is an Irish-tinged dance song, and I have to say, it's a lot of fun. It's a detraction from Sheeran's usually more depressing relationship song style, and I like the change. It makes for a song that can just be purely enjoyed by just about anyone. This song feels like a crowd-pleaser while also being unique.

There are several other songs that deserve mention on this album. "What Do I Know" is an inspiring acoustic song that proudly proclaims "Love can change the world in a moment/But what do I know?". Something about Sheeran's voice sounds particularly good here, which only makes this track that much better. "Hearts Don't Break Around Here" is another love ballad that just feels laced with charm, and that comes out of Sheeran's well-penned lyrics: "She is the river flow in Orwell/And tin wind chimes used for doorbells/Fields and trees and her smell, fill my lungs". The different types of imagery used in this track creates a vivid picture of the relationship the two people in this song have, and it makes for something that feels real and tangible. I love that about this track, making it another highlight. The album ends on the touching "Supermarket Flowers", a song dedicated to Ed's mother who passed away. This song is filled with real emotion; you can hear it emanating in Ed's voice. The piano medley accompanies the song well, and makes for a track that is appropriately somber in nature. I also recommend you check out the deluxe edition of this album, as there are some solid songs on it, especially in the fun "Nancy Mulligan" and the powerful ballad "Save Myself".

This album is not without some weak tracks. I had mentioned briefly earlier that sometimes Ed gives in to the pop cliches of objectifying the people he's attracted to, and also musically detracting from the creative tunes he usually makes. This is all too apparent on the lead single "Shape of You", which is definitely my least favorite track on the album, as well as one of the worst tracks Sheeran has created. I didn't like it much the first time I heard it, and I dislike it more every time I hear it. It has some cliched electronic effects throughout the whole song. Also, Sheeran sounds surprisingly processed and bored in this track. The song objectifies women in an almost distasteful way, as Ed repeatedly admits the only reason he is attracted to this woman is for her body: "Girl you know I want your love/Your love was handmade for somebody like me/Come on now follow my lead/I may be crazy don’t mind me".  I hate that this song is getting way more attention than "Castle on the Hill" (the other lead single), but it doesn't surprise me. The song was clearly calculated with absolute precision to have success on mainstream radio, and that makes me dislike it all the more. "New Man" suffers from similar problems, as Sheeran gleefully talks about how this girl he is with is cheating on her other boyfriend. This song is also musically generic in almost every way possible. "Happier" is a typical break up song with a story I've heard over and over: Sheeran sees the girl he used to love with another man, and he "lets her go" because he knows she'll be happier with him. Ed doesn't present this story in any new or interesting way, and this is one song where he sounds like that usual sad person playing an acoustic guitar. "How Would You Feel (Paean)" feels like it's copying a little too much off "Thinking Out Loud", and nothing in general about the track sticks out.

Overall, "Divide" is a solid album with plenty of great tracks to keep listeners hooked. I can confidently say this is my favorite album by Sheeran to date, as it has songs that I see as a lot more memorable than the tracks off of "Multiply" and "Plus". This album is recommended, even to those who don't usually like pop. Sheeran is good enough to bridge the divide between those who do and don't like pop, as he has a great tendency to let his talent bleed through all his tracks in a way that feels natural. I am definitely excited to see what Sheeran does next, as he seems to be improving with every album he releases.

Favorite Songs: "Castle On the Hill", "Hearts Don't Break Around Here", "Galway Girl", "Save Myself", "Eraser"
Least Favorite Songs: "Shape of You", "New Man", "Happier", "How Would You Feel (Paean)"