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Towa no Quon 2: Dancing Orchid in Chaos
Movie

Towa no Quon 2: Dancing Orchid in Chaos

2011 • Unknown

Woke Score
1.4
out of 10

Plot

The story follows a boy named Quon and others who suddenly wake up with supernatural powers.

Overall Series Review

The movie is the second installment in a six-part animated series set in a futuristic Tokyo where individuals known as 'Attractors'—who suddenly awaken with supernatural powers—are hunted by the authoritarian organization Custos, which seeks to maintain a strict social order. The story centers on the idealist protagonist, Quon, who is determined to save all Attractors, even the morally compromised ones. This specific film focuses on Quon's moral dilemma when an Attractor becomes a serial murderer. The core theme is a philosophical one, exploring the value of individual humanity versus the utilitarian demands of a powerful, oppressive authority. Characters are defined by their unique powers, moral choices, and the depth of their human spirit, not by real-world immutable characteristics. The narrative features strong, supportive female roles that are clearly complementary to the male leads, with one character explicitly embodying a traditional ideal of womanhood. The world-building critiques a futuristic global New World Order and the dehumanizing nature of transhumanism, but not the heritage of any specific nation or civilization.

Categorical Breakdown

Identity Politics1/10

The conflict is built entirely on an allegorical hierarchy of power, where Attractors (the oppressed with powers) are hunted by Custos (the powerful organization). The characters are judged by their moral actions and their connection to humanity, which promotes a universal meritocracy. Race is not a factor; there is no vilification of 'whiteness' and the setting and characters are overwhelmingly Japanese, without forced insertion of diversity.

Oikophobia2/10

The central antagonist is a futuristic, global 'New World Order' organization (Custos) that prioritizes authoritarian social order over individual human rights. The critique is directed at transhumanism, utilitarianism, and this specific regime, not at Western or Japanese civilization itself. The narrative shows a respect for the protagonist's ancient past and his desire to build a more peaceful future, not civilizational self-hatred.

Feminism1/10

Female characters hold distinct and powerful roles, but they are not portrayed as 'Girl Boss' Mary Sues. The main female Attractor is presented as a traditional, supportive figure. Another key female character, a cyborg, has her arc centered on realizing the value of her own humanity and showing loyalty, a plot point that relies on emotional connection rather than militant independence. Gender roles are distinct and complementary.

LGBTQ+1/10

The narrative follows a normative structure, with no inclusion or centering of alternative sexualities. The plot focuses on the philosophical conflict and action, with sexuality remaining private and incidental. A central male-female relationship is deliberately framed as strictly platonic by the creators, which de-emphasizes romance, but does not replace it with an explicit queer theory lens.

Anti-Theism2/10

The conflict is one of moral and spiritual principle, contrasting the protagonist's ultimate ideal of saving every individual with the antagonist's cold, utilitarian goal of absolute societal order. Quon's entire motivation is a form of atonement for his past moral failing and his search for acceptance, which embodies a transcendent, objective moral law. There is no hostility toward traditional religion.