Plot
Hiroki Imanishi and Kanata Tokino are two young guys who have been close friends in all their lives. One dark and stormy night, Hiroki Imanishi leapt in front of a car, saving one young girl's life—and ending his own. The moment he leaves his body, Hiroki is joined by an evil spirit named Fhalei Rue, an evil spirit who takes an interest in Hiroki. Hiroki then realizes that his mortal body is possessed by Fhalei. One night, Kanata sees the spirit of Hiroki and communicates with him, and the next day he asks who the real Hiroki is, to Fhalei (who is inside of Hiroki's body). In a fit of rage, Fhalei attacks Kanata, using Hiroki's body, but she goes back to see who tries to drown, because she did not want to kill anyone. Then, Hiroki (his fleshly body) falls off a cliff and Kanata also because of trying to save the first one. Almost drowning, the two parts of Hiroki (the body and the soul) are transported to a fantasy world where they meet Fhalei. There, they discover that Kanata has a special power (a very strong love for Hiroki, which gives light, thanks to its strong friendship). Fhalei understands that is useless to struggle against Kanata, realizing that Hiroki's light belongs to him. Then she pushes back the time, and Hiroki returns to life after the accident. The spirit goes out of the boys' lives. Their classmates look for them everywhere, until finally they appear safe on the beach. The OVA ends with an embrace between the two main characters, as they used to do when they were little.
Read more about this topic: Ryokunohara Labyrinth: Sparkling Phantom
Famous quotes containing the word plot:
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)
“After I discovered the real life of mothers bore little resemblance to the plot outlined in most of the books and articles I’d read, I started relying on the expert advice of other mothers—especially those with sons a few years older than mine. This great body of knowledge is essentially an oral history, because anyone engaged in motherhood on a daily basis has no time to write an advice book about it.”
—Mary Kay Blakely (20th century)
“Those blessed structures, plot and rhyme—
why are they no help to me now
I want to make
something imagined, not recalled?”
—Robert Lowell (1917–1977)