Fate/stay night Review

Reading reviews for Fate/stay night (hereafter F/SN) in 2013 or later probably means that, like me, you're considering this series well into its lifespan. By now, there is a prequel series, an alternate story arc film, recap OVAs, specials, character spin-offs, and a forthcoming spin-off series (F/SN meets mahou shoujo... judgment withheld). If, like me, you're considering this series well into its lifespan, you may also be wondering where to start. A quick glance tells you that another series called Fate/Zero (hereafter F/Z) comes first chronologically and second by release order. As this review is written after the completion of both F/SN and its prequel F/Z, it will reference both and be primarily directed at those who have seen neither. The first focus of this review will be to aid you in deciding which you want to watch first and the advantages and disadvantages of either decision. The actual review of the series and what to expect as an adaptation of the source material will follow. To skip past all that junk and go straight to the review, hit Ctrl+F and jump to "---" (without quotes).

The first thing that you should be aware of is that F/SN and F/Z are penned by two different writers and produced by two different studios. Given that, there are differences in characterizations, animation, style, and tone between the two. Some of them are quite subtle. Some will be immediately apparent. Overall though, the continuity is well-constructed and the complete package doesn't feel disjointed or broken. It often happens that a second visitation of a story becomes virtually unrecognizable when the property switches hands (see: Gunslinger Girl). That isn't the case here, so those doubts may be laid to rest.

An obstacle often insurmountable for writers in prequels is to tell a story that is original, engaging, and contains plenty of new material and surprises before handing off to its parent story. While watching a prequel, your mind shouldn't be preoccupied with "I wonder how this builds to X." With a successful prequel, you should be thoroughly engaged, thinking more about what you're watching than what follows it. Without standing on ceremony, almost every prequel in history has failed in this task. When we know the ending, what's the point of the story, right? If this is a concern of yours, let me offer some relief in saying that Gen Urobuchi, the author of F/Z, has accomplished the thought-impossible of delivering a prequel that gives you plenty to sink your teeth into by focusing not on arriving at the (rather straight-forward) narrative of F/SN, but in developing the most interesting character from either series and digging deeper into the philosophy and subtext that was always floating around somewhere in the background of F/SN, but never addressed. If narrative was a factor in your decision of which to watch first, know that watching either first will provide you with a fresh experience for both rather than an obligation or rehash of the other.

So your decision should come down to other factors. Ultimately, there is no "correct" story to watch first, even though one was definitely written first, even though one definitely takes place first. What you need to decide as a viewer is what you want out of the complete package, because your choice will affect which specific aspects will engage you the most.

The skinny:

-F/SN is a more action-orientated series that focuses on the relationship between the two leads, Shirou and Saber. If you're familiar with shounen in general, you should have an inkling of what to expect. It is the more accessible and romantic of the two.
-Watching this first will spoil a major plot event of F/Z, but will keep you guessing on character motivations and revelations. It will make you more emotionally invested in the male characters of F/Z, Kiritsugu, Kirei, and Archer (true name withheld to avoid spoilers).
-The first portion of the series unfolds gradually, granting the viewer a comfortable pace to understand the setting and characters. If you have not played the game or read the manga and watch this before F/Z, you will have no problem immediately entering the story.

-F/Z is a more philosophical series that focuses on character development and motivation. If you're familiar with Gen Urobuchi, you should have an inkling of what to expect. It is the heavier and more mature of the two.
-Watching this first will spoil details and character revelations of F/SN, but no major plot events. It will also make you more emotionally invested in the female characters of F/SN, Saber, Rin, Sakura, and Ilya.
-The first episode of the series drops an A-bomb of information on the viewer. The setting is quickly unveiled and the characters are introduced at a breakneck pace. If you did not read the manga or novel and watch this before F/SN, you may find the first 40 minutes of the series overwhelming due to all of the new information to process.

Are you more interested in a character-driven or plot-driven story? Watching F/SN first, you'll find yourself wanting to dig deeper into these characters and F/Z will be all the more engaging as a result. Downside, the ending plot twist won't be a twist. Watching F/Z first, you'll find yourself wanting to know what happens and how the overarching conflict is finally resolved. Downside, the big bad guy reveal near the end of F/SN will be of no surprise.

Anyway, you'll have to forgive my long-winded answer to an unasked question. If you're still with me this far, congratulations. You have reached the actual review.

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Story - 7.0
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F/SN is an easily accessible story that makes no large demands of the viewer and doesn't aim to leave you with a different outlook on life, the world, and anime. It's functional. It's serviceable. It's entertaining. What more could you ask of a fantasy series? As any great fantasy writer has communicated to us over millennia, the story should ultimately be a framing device to transport you to a different world full of fantastic settings, rich lore, and memorable characters. Lord of the Rings was about walking to Mordor. Star Wars was about overthrowing the evil empire. Die Hard was about the general annoyance of the elevator being out of service.

But that's not the point. As with any good fantasy series, F/SN provides a well-paced and interesting story that doesn't intrude upon or obstruct the world it builds. It's a package of 24 episodes that flow comfortably and don't fall into habit or routine. Unlike a lot of shounen, there's no "baddie of the week" episodes or arcs. There's little fluff or filler. What is there is well within permissible range of a romance series. The largest deviation is a date episode towards the end. Otherwise, it's one running narrative with a definite opening and definite close. In other words, this is a story that you pick up, follow, and depart with on a satisfying note. There's nothing groundbreaking, but it's a fresh and enjoyable story that successfully strings together the setting, the lore, and the characters.

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Art - 7.0
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While not being the highest production value that 2006 had to offer, F/SN features beautiful character design and fluent animation. The action, like much shounen, is often broken up with bits of dialogue, as few animators seem mastered in the art of having your characters move and talk at the same time, but the bursts of action that do occur are very well done. Camera angles and perspectives offer a fairly varied range of shots that show off the characters and locations effectively.

A notable downside is that while the setting is what seems to be a fairly large town, most scenes take place in about three different locations and always either at midday, sunset, or night, so you'll see a lot of backgrounds and landscapes reused several times. It's not without its standouts. A large underground temple and a castle in the forest break up the monotony of scenery and are quite gorgeous.

Trained eyes will note several cost cutting techniques used as well. There are times when dialogue takes place from a far angle so that faces need not be animated. The "shake the frame" technique is used here and there. We're sometimes treated to extreme close-ups during the action. The use of these techniques ranges from sparing to excessive, but all things considered, this is a well-animated series by a director that knows how to properly utilize an art budget.

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Sound - 8.0
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Of all the technical specifics of F/SN, I consider the sound production to be the most adept. The soundtrack, while not overly inventive, is complimentary, engaging, and one of the standouts of 2006. The voice acting is all very professional. The sound effects seem somewhat recycled, but always adequate. Everything is mixed and edited flawlessly.

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Characters - 6.0
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Archtypes. Archtypes as far as the eye can see. Welcome to shounen.

F/SN features a cast of likeable and relatable characters. The writing and direction allows you emotional connection to most of the cast. You like who you're supposed to like. You hate who you're supposed to hate. I can't fault anything there. The problem lies in that there is not a single character in F/SN that isn't a character you've already seen in a different show in a different skin. Shirou is your standard act-before-you-think "I win because I fight for my friends" hero that you've seen in every teenage male oriented anime ever made. Saber never manages to break the mold of the "Duty is everything... or is it?" romantic interest. You have your token loli that calls the protagonist "onii-chan." The childhood friend that does all the cooking. The tsundere. The emotionless cool guy. Creepy authority figure. Check, check, and check. It's all there. Unless you've read/played the source material, you probably won't have a definite favorite, because this is a series of archtypes. Of all characters, Rin is probably the one that undergoes the most development and best manages to deviate from her archtype. Look for her in the F/SN alternate setting film, Ultimate Blade Works, where she becomes the main female lead.

I want to reiterate though that these are all likeable characters that carry the series. To me, likeable characters are the absolute most important thing of any story. F/SN passes in that regard.

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Enjoyment - 8.0
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While my favorite anime are ones with more substance, I usually find myself gravitated towards the lighter fare. I'll pick up the odd shounen. Maybe a refreshing slice-of-life once in a while. I'll grab a harem comedy if fancy strikes. While 20 solid minutes of dialogue in Ghost in the Shell may have left me with a lot to think about for long after, 20 minutes of fantasy escapism in F/SN holds great enjoyment value here and now. It's a fun ride. Turn off your brain and enjoy it. It won't be difficult.

It should be pointed out that the anime does not follow the visual novel exactly. While Japanophiles are not at all known for their tolerance of deviation from source material, I consider a good story much more important than a good adaptation. By nature, a VN is difficult to adapt because the interaction involved means different story branches. F/SN follows the main branch of the VN, simply called Fate, and sprinkles in scenes from other branches as well. The idea is that while you can replay a VN to get the full story, an anime isn't a Choose Your Own Adventure. It needs to make sense to a viewer not familiar with the source material because homework is not a prerequisite to watching TV. That said, F/SN does not successful manage to fill in all of the gaps in the story. It leaves out some important details found in alternate branches from the VN. Some of these are addressed in the film Unlimited Blade Works and others yet become apparent in F/Z, but again, homework should never be a prerequisite to TV.

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Overall - 7.0
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Watch it. But maybe watch Fate/Zero first. It's up to you. I recommend both.

Fate/Zero Review

Type-Moon have made a habit of finding success with their dark blend of magic and supernatural elements in modern day settings, but with the release of the Fate/Stay Night visual novel on the PC in 2004, the developer seemed to have found its flagship title. Unfortunately things never really work out the way people expect, and while Studio Deen's 2006 anime adaptation of the "Fate" storyline was well received by fans, many who were unfamiliar with the source material found it all a bit ... juvenile.

At the end of 2006 the developer began collaborating with Nitroplus in order to create a prequel light novel series, but this time the story was penned by the relatively unknown Urobuchi Gen (with Type-Moon co-founder Takeuchi Takashi providing illustrations). Set ten years before the events in the visual novel, Fate/Zero chronicles the events leading up to and during the fourth Holy Grail War in Fuyuki City, Japan - the same place where the battle will be held in Fate/Stay Night. After three successive failures in the contest, the Einzbern family recruits the notorious mercenary Emiya Kiritsugu, also known as the "Mage Killer" - a man who is willing to use whatever means are necessary to realise his goals.

Meanwhile, the other principal magic families - Matou and Tohsaka - are preparing for the coming conflict, and although the church is taking part as well, they have also sent someone to assist the Tohsaka family - Kotomine Kirei.

At first glance it may seem as though Fate/Zero is just another action anime, but nothing could be further from the truth. The series has a very different tone than either Fate/Stay Night or Unlimited Blade Works, and in many ways it has more in common with the dark, brooding atmosphere of the Kara no Kyoukai movies. That said, the series does assume that the viewer has some familiarity with the franchise, but this is balanced by a much tighter plot than that of either of its predecessors, and more focus on preparation, planning, and even dialogue between the different parties. The result is that the narrative has far more depth and structure than one might expect in a supernatural action anime, and there are layers of subtext that are gradually added as the series progresses.

One of the most noticeable aspects of Fate/Zero is that it's a far more mature story than the original visual novel or its adaptations, and unlike many other shows, there are very few occasions where the characters engage in pointless conflicts or endeavours. The series carefully tries to avoid insulting the viewer's intelligence by adopting a patient, methodical build-up to the action set pieces, and on many occasions the story focuses on information gathering and planning. In addition to this, the battle lines shift constantly as the combatants form short-term alliances in order to counter the moves of other opponents, but there's always the understanding that the foundation of these is nothing more than "the enemy of my enemy".

In truth, this anime has far better examples of tactics and strategy than anything found in Code Geass, and certain plots are Machiavellian enough to give Death Note a run for its money.

When it comes to production values, Fate/Zero could be considered the final evolution of everything Type-Moon and Ufotable have learned from each other during their long collaboration on the Kara no Kyoukai franchise. The series looks every bit as good as one might expect, and the darker colour palette is offset by the high standard of animation. That said, although the action sequences are fluid and very well choreographed, the real testament to the quality of Ufotable's work are the subtle differences in the way the characters move.

While there are plenty of new faces in this prequel, it's actually the design of recurring characters like Sabre that really sets the standard. Fate/Stay Night's popularity turned her into one of the most iconic female leads in anime, but while she may appear to be exactly the same in Fate/Zero, there's an edge to her features and a preciseness to her movements that was missing in the original series. This fact is also true for the characters that are unique to this show, and even Tohsaka Rin's "adventure" has been given the same level of care and attention to detail.

The series opens with a well choreographed sequence that blends action with a montage of the main participants in the Holy Grail War, all set to the rather pacey rock song "Oath Sign" by LiSA. Each episode closes with "Memoria" by Eir Aoi, a bittersweet rock ballad that fits well with the images of the heroic spirits as pieces on a game board and at moments in their own history. Fate/Zero also has one of the most diverse scores in a 13 episode anime, with martial themes, operatic pieces, strange little tunes with drums or pianos as the major instrument, and more besides. The audio effects or of a very high quality, and the clash of steel on steel is as sharp and clear as the sound of the lightning whenever Rider makes a dramatic appearance.

One of the areas where Fate/Zero excels is the dialogue, and while there are occasions where conversations go on a bit too long, the script is intelligently written, rational, and insightful. One of the best examples of this is Rider's discourse on the true nature of kingship and Saber's reaction to it, but even that is nothing more than words on paper as everything lies in the delivery - so it's a good thing that the acting is of a high standard.

Kawasumi Ayako reprises her role as the King of Knights (Saber/Arturia) from Fate/Stay Night and Unlimited Blade Works, but her performance here is markedly different. Her portrayal of Saber is colder, deadlier, and far more focused than before, while Tomokazu Seki's performance as the King of Heroes (Archer/Gilgamesh), is more arrogant, more proud. That said, it's Ootsuka Akio in the role of the King of Conquerors (Rider/Iskander), who really steals the show, and his testosterone-fuelled proclamations and battle-born wisdom are one of the pillars that support the series.

When it comes to development, a large group of characters often means that some will undoubtedly fall by the wayside. Fate/Zero neatly sidesteps the entire issue of development because it's first and foremost a prequel of an existing story, but in addition to this the series has created a set of individuals who leave extremely strong impressions on the viewer, and much like Baccano!, there is a distinct lack of a true main character. Because of these factors the series can focus on showing how each of the combatants became what they are, and this plays a major part in one's enjoyment of the anime.

The emphasis on characterisation rather than development allows for a remarkable degree of definition, and although it's ultimately the personalities of each individual that captures the viewer's attention, standing at the top of them all is the King of Conquerors - Rider. His addition to the franchise has been nothing short of a revelation, and while die-hard fans will continue to worship the ground that Saber and Archer (not Gilgamesh, the other one), walk on, Rider's enjoyment of life, his exuberance and almost boyish eagerness for battle and glory, have captured the imaginations of many fans.

In many respects he, more than any other character, is the epitome of the heroes of old, but simply having a bunch of overzealous combat junkies beating each other to a pulp isn't really entertainment (unless you have an IQ equal to your shoe size), so there has to be something to balance it - and there is. Each of the mages taking part in the Holy Grail War is more like a chessmaster, planning as many moves ahead as possible, whilst preparing themselves for anything their opponents may try.

The simple fact is that Fate/Zero wouldn't work as either a story or entertainment if it was just the mages or the heroes, and it's this aspect of the series that separates it from not just its predecessors, but also many other action anime out there.

Unfortunately it's not all sweetness and light.

One of the main criticisms of this series is the episode about the young Tohsaka Rin, which many people found unnecessary. Now although there's some truth to that perception, one could also have the opinion that Rin's actions tie-in to an event in the previous episode, and together they lead up to the end of the series. Both are fair arguments, but in all honesty the whole thing doesn't really fit with the rest of the anime, and it seems like nothing more than an attempt to allow Matou Kariya some long overdue screen-time.

Fate/Zero isn't a perfect show, but while it does have several minor issues (and one "filler" episode), it does exactly what it sets out to do - capture the attention of the audience and make them want more. The story is intelligent, and while conversations and discussions can sometimes feel a little tedious, the dialogue is often quite interesting - moreso than the show's predecessor's anyway. Although the series can boast stylish, fast-aced action set-pieces, it also studiously avoids combat for the sake of gratuitous violence.

That said, Fate/Zero is still a prequel series, and at this point only half of the story has been told. Unfortunately the anime industry has a habit of messing things up, but given the quality of this show, the fact that the original story was written by Urobuchi Gen, and the knowledge that the series is being produced by Type-Moon's long time collaborators - Ufotable, fans can be cautiously optimistic about the second installment.

All we can do is wait and see ..

Fate/Zero 2nd Season Review

"Power tends to corrupt, and absolute power corrupts absolutely" - Lord John Dalberg-Acton, 1837.

There are many types of power - financial, military, political, religious, etc - and at one time or another each has been used to further the goals of individuals, organisations, and even nations. The odd thing though, is that even though it has been referenced for thousands of years in everything from legends and myths to folktales and history, magic has rarely been placed in the same category. The problem is that people don't really believe in magic any more, and the subject has been relegated to the realms of fiction and fantasy - even though it was often said that practitioners had the ability to wield primal forces, command spirits, and shake the foundations of heaven.

Everything has a price though, and in order to achieve or seize power of any sort you have to be willing to give up certain ... things. So the question is, what would you sacrifice for the chance to be a god?

The continuation of Fate/Zero opens with two F-15 jets that have been dispatched by the Japanese Air Force with orders to investigate the situation on the Mion River. Archer/Gilgamesh watches with disdain from on high as Sabre, Rider and Lancer continue their temporary alliance, and the pitched battle with the giant creature summoned by Caster/Gille de Rais rages on.

Little do they know that a new player is about to enter the field ...

One of the most noticeable differences between the first and second halves of Fate/Zero is the shift from preparation and planning to all-out action - something that is rather eloquently symbolized by the battle on the Mion River. With much of the preamble over, the storyline is able to place the kid-gloves to one side and ramp-up the tension between the combatants. This is most often achieved by drawing on the conflicting ideologies of each of the characters - with some thoroughly unscrupulous tactics thrown in to drive home the fact that the participants are involved in a war. The plot remains as focused as ever, but there's a palpable change in the atmosphere of the series, and many episodes have a less forgiving, more brutal air about them.

This shift in "attitude" has been handled extremely well by series director Aoki Ei and his writers, and a great deal of attention has been paid to the impact the numerous action scenes have on the characters - something that's becoming a rarity in modern anime. It's an interesting and effective usage of screentime that is markedly different from the patient build-up of the first half of the story, but crafted with the same care and attention to detail that have become a hallmark of Type-Moon/Ufotable collaborations. This prevents the show devolving into a legendary free-for-all, and allows for some very interesting confrontations - several of which have their roots in the layers of subtext that were added during previous series.

With the focus on action instead of intrigue, one might have expected there to be some differences in the visuals. Thankfully there are almost no major alterations present throughout the series - aside from a few cosmetic differences in clothing and apparel. The high production standards have been maintained and character movements are as sharp and crisp as ever. There are a few relatively minor issues with the blending of CG and standard animation, but these are pretty easy to ignore. What does stand out are the rather dazzling visual effects, many of which are bigger and bolder due to the shift from preparation to action. The choreography and timing of these - together with the quality of the character animation - make for some truly stunning combat sequences.

Composer Kajiura Yuki's all-female band Kalafina - the long-time muses of Type-Moon/Ufotable collaborations - open the second season with the operatic rock ballad "To the Beginning", while the main participants in the Holy Grail war are re-introduced in a well-choreographed montage that contains a few hints of things to come. On the other hand the closing sequence is a rather simple yet moving account - told through a series of still images - of the relationship between Emiya Kiritsugu and Irisviel von Einzbern - with Luna Haruna's pop ballad "Sora wa Takaku Kaze wa Utau" adding an uplifting and slightly bittersweet tone. Kalafina also return with the martially themed operatic ballad "Manten" as a special closing track for episodes 18 and 19.

The first season of Fate/Zero featured a very high standard of audio production, and it's nice to see that sound director Iwanami Yoshikazu hasn't allowed anyone to rest on their laurels. The background music is as diverse and atmospheric as ever, and while there are a few tracks that may sound a little off-kilter, this appears to be a purposeful move in order to heighten the mood of certain scenes. That said, there are two areas where this series is arguably superior to its predecessor - both of which have been pushed to the fore by the move to action.

The audio effects are as sharp and clear as ever, but the increase in combat means that the production standards need to be pushed even higher and more diversity needs to be added. In addition to this the quality of the audio/visual choreography - which was already excellent in the previous series - often went unnoticed because of the focus on preparation and planning. Thankfully Iwanami is arguably one of the most experienced sound directors working in the industry, and his skills - developed over many years working on a variety of different anime - really make the difference. The superb effects and remarkable choreography really set the second series of Fate/Zero apart from other shows released this year, and mark it as a front-runner for any potential awards in this department.

Unlike many other anime, the move to an action footing hasn't caused the script to devolve into random shouts, grunts and screams, and the writers have done well to retain the maturity and intelligence of the first season. There is a bit of a change in the delivery though, as with the goal in sight, some of the actors appear to have been encouraged to add more emotion to their roles. This works surprisingly well with characters who were cold or aloof in the first series - Sabre and Archer for example - and the differences in their feelings becomes more pronounced as the story progresses and the battles take their mental toll.

One of the biggest criticisms of Fate/Zero is that it has tried to weave a coherent narrative from too many character and plot threads without relying on a lead role. Now this may seem like an anathema to those who prefer their development to follow a distinct linear progression, but those tales often suffer from an age-old problem in storytelling - every good protagonist needs an equally good antagonist. It's an issue that has affected anime for many years as - contrary to popular belief - creating and developing a good opposite (the antagonist doesn't have to be a villain after all), to a hero/heroine is not an easy task.

Thankfully Fate/Zero takes its cues from shows like Baccano!, and the lack of a lead role is actually a boon to the series as it allows multiple perspectives to come to the fore. Each of the participants in the war for the Holy Grail is effectively the antagonist of one or more of the other combatants, and all of the players bounce around the plot like peas on a drum - colliding into each other and changing their directions, alliances and enemies in the blink of an eye. It's a rarely used and fascinating approach to character development that highlights in particular the ever-changing nature of the battlefield. One big plus is that while the first season was rather staid in its portrayal of the heroes, the second half of the story pulls very few punches - showing clearly the lengths to which several of the combatants will go in order to win, opening the scars of old wounds, and ensuring that the viewer knows exactly what everyone has put on the line for the ultimate prize.

Over the years there have been many anime that have changed focus and tone from one season to the next, but rarely does it happen in the space of one series. The reason for this is because it's often extremely difficult to reconcile what may eventually turn out to be conflicting portrayals of the story and characters - and therein lies the greatest achievement of Type-Moon, Ufotable, and author Urobuchi Gen. The successful blending of two different perspectives has created a remarkable story that isn't afraid to show off its intelligence or maturity, and the second half of Fate/Zero successfully builds upon the carefully laid foundations of the first season - even with the increase in action and combat.

Prequels are often tricky to deal with as they are very easy to get wrong, which is one of the reasons why this series is a little bit special. In addition to shedding new light on the events that occur in Fate/Stay Night, Fate/Zero is also a singular example of just how good seinen action tales can be, and a testament to the quality that can be achieved through long-term studio collaborations.