In the Internet Generation, the word “epic” gets bandied about a lot, but once in a blue moon, a series comes along to remind us of the way we used to use it before computers came along. Odysseus defeated the warriors of Troy, then spent a decade at sea trying to get home; Dante scrabbled around in the nine circles of Hell; a party of hobbits took a gold ring to some volcano somewhere for some reason... and now, the battle lines are drawn for another venture into Fuyuki City as seven mystical titans of history fight for the prize of the Holy Grail, an omnipotent entity that can grant the bearer its deepest desires.
Okay, so that may be overstating it slightly, but ufotable has elevated this storyline from merely interesting (as witnessed in its decidedly inferior predecessors Fate/Stay Night and Fate/Stay Night: Unlimited Blade Works) into an event. The premise is not only outlined at great length for viewers new to the franchise, but also illuminates the setting and mythos for more seasoned fanboys. For instance, before Fate/Zero, I never even suspected that Ilya wasn't actually human but was, at least in part, a created species called a homunculus. With this new information, the endings of both previous Fate incarnations made way more sense. My overall sensation was one of a fog lifting over the whole Type-Moon setting and finally seeing the franchise at its peak. We are now seeing what Fate is truly capable of.
And boy, was it worth the wait. In essence, Fate/Zero is a multi-genred title, peppering scenes bordering on slice of life (usually when Rider's out shopping) with enthralling stratagems, conspiracies and well-choreographed fight scenes. Due to its billing as the battle royale to end all battle royales, a lot of focus is given over to the formation and dissolution of alliances, which again, certainly isn't new to the franchise, but is done a whole lot better in F/Z. And it has to be, because the true strength of this series comes from its diverse characterisation and multi-faceted philosophies. What elevates this above being a simple fighting series are the interludes between battles where the characters interact and grow and create new modi operandi from their situations.
The flaw in this, though, is that Fate/Zero becomes more of a slow-burn action serial. There are times when the conversations seem endless (usually the ones between Tohsaka Tokiomi and Kotomine Kirei) and it's worth noting that by the end of the thirteenth episode, only one Master and Servant have been eliminated from the Grail War, which seems a little unbalanced for the battle royale concept. Luckily, the fight scenes, even though few-and-far-between, are entertaining and the sheer precision of the choreography is striking. Ultimately, the success of Fate/Zero is the way that it hides the fact that there are very few actual “fights-to-the-death” – proving that you don't have to have a colossal seven-way fisticuffs in order to provide a memorable scene. In fact, all it takes is a boisterous giant of a man buying a t-shirt with the words “Master Strategist” plastered across it.
As with most recent series, this is becoming an increasingly difficult section to score for one important reason: inconsistency. The character designs are well-realised with returning characters taking on new dimensions (such as Saber and the importance of her armour, not to mention the shimmering cloak of air she has around her sword to hide its true form) as well as new characters who are more than a match for their more recognisable counterparts. Caster and his master, Ryuunosuke Uryuu, are notable examples, where the grotesquery of their appearances complements their actions perfectly.
However, in later episodes, the decline in artwork is noticeable, with characters' faces dissolving into the sum of their parts rather than displaying a whole. At one point,Riderlooks more like a Klingon than a human – but later in the same episode, there's an awe-inspiring battle with literally thousands of warriors, seemingly overcoming the earlier art issues. Unfortunately, this is another one of those times where lack of funding has affected the art of a series. This happened in a thirteen episode stint, so ufotable's decision to split the series into two halves (the second airing in April, presumably after more funding has been sought) is nothing short of inspired.
Other than this quibble though, scenes are crisp and the use of noticeable CG (everything's CG these days so I'm talking about the parts that have flying gloop balls known as Reality Marbles) is fairly seamless. There's little variety in setting but when there is a change in environment, we're transported immediately there by the art, whether it's a desert, a sea at the ends of the Earth or simply a garden at night-time. The fight scenes in particular are also well-judged with even the minutest of details and movements being highlighted for the viewers' tantalising enjoyment. The first battle between Saber and Lancer oozes the artistic and you'd have to go a long way to find a better animated battle anywhere in the anime world.
Each scene in Fate/Zero uses its music to blend in with the action, meaning that, while there's no stand-out tune that becomes synonymous with the series, there's also nothing that seems out of place. There's a variety to the background score that does elevate the series above the usual fare – the use of choral voices, then a thumping techno beat and then a swirling whirlwind of strings within a few minutes should sound schizophrenic but oddly, every switch of genre seems natural. The sheer mix of inspiration from the classical to traditional Japanese music and even stretching into African tribal beats is a true treat for the ears.
The opening and ending songs are inspirational in the sense that they sound epic, as if they were a call to war, which is all the more impressive when you consider that the vocalist sounds as though she's just graduated J-Pop University. The instrumentation of the opening in particular is technically astounding and as with the rest of the series, is a jumble of different genres melded together to make a successful whole.
Where the series really scores points though are the voice actors. From the insane ramblings of Caster, to the earth-shaking laugh of Rider and the naïve but self-assured voice of Saber, every character has the perfect accompanying voice. The voice actors convey as much emotion (or lack of, in some cases) as any I've seen across the anime spectrum and there is not a single character who can be singled out for letting the side down. In a cast as vast as Fate/Zero's, that's pretty spectacular.
Good characterisation consists of two qualities: diversity and depth. Fate/Zero has huge vats of both and definitely isn't afraid to show it, with a whole gamut of characters that'd even have Baccano! quaking in its boots. The Fate universe has always had the complicated conundrum of pitting well-known historical figures against each other, and while previous incarnations have failed at this, F/Z raises the bar through the roof. Whole histories are explored and become vital to the characters in a variety of differing ways – the fact that there are three Kings among the Servants, for instance, becomes a pivotal nugget of characterisation when all three sit down for a drink and a chat.
But it goes beyond that. I could witter on endlessly about the philosophies thrown up by each character and about their differing moral codes, but the real crux of the matter is that all the characters seem real. Every action they make is realistic. Every character acts and reacts according to their deep-seated beliefs as well as to their stature. Archer is portrayed as being constantly bored, which is consistent with his background as a king who owned pretty much everything. Rider has an innate desire to conquer, unsurprising for a Macedonian king whose empire encompassed most of the known world. Even Ryuunosuke Uryuu, Caster's master, who is fairly anonymous next to his bug-eyed Servant for most of the series, has a crucial moment where he explains his motivations to an extent that we can understand what has driven him to take such pleasure in torturing and killing his victims. This is all done without any false sympathy or overdone dramatics, but simply by understanding the relationship between cause and effect and how a person's mindset affects everything they say and do.
Having said that, some characters are more likeable than others and luckily, the directors spotted what a scene-stealer they had in Rider. His pairing with a wimpy teen with self-confidence issues only heightens his affability factor, and I think it's fair to say that, even among the goliaths inhabiting Fuyuki City, Rider stands head and shoulders above the rest.
It is my belief that Fate/Zero has set a new standard in the action genre. Never has there been an ensemble as well-developed as this and for that reason, the series is littered with memorable scenes. The fight scenes admittedly take a long time to arrive but when they do, they're stunningly produced. But above all, F/Z understands the concept of consequences: Everything has a consequence – when Saber's arm is injured in a fight with Lancer, it's still a hindrance to her a dozen episodes later. Compare that to Bleach where each energy-sapping fight-to-the-death is followed quickly by another one with the protagonists apparently regaining their strength in the short time between them (at least Dragonball Z had the decency to invent senzu beans) and you quickly see why Fate/Zero comes out on top.
The major point I'll take away from this series though, is the fact that, despite knowing King Arthur is really a guy and despite knowing Alexander the Great is of much shorter stature, the world Fate/Zero invokes is believable in its entirety and considering how important suspension of belief is to both the fantasy genre and the supernatural genre, it just goes to show that this series knows exactly what it's doing.
Overall I am very satisfied with Fate/Zero. I have been looking for a solid anime with an interesting story and complex characters.
Ever since I watched FMAB I have been looking for something with the same type of "substance" and Fate/Zero did not disappoint.
*This review is for the first season eps. (1-13)*
Because I have not watched Fate/Staynight or any others, I have nothing to compare Fate/Zero with and did not have any expectations for this show. It is fortunate that I did not have high expectations because I would have been seriously dissapointed.
Overall the story is basic do to the extreme lack of detail or explanation for any of the events that are occuring. Seven people are chosen by the holy grail to compete in the Holy Grail War. The qualifications for being chosen by the grail are that the chosen have a wish that is worthy to be granted though the qualifications for the worthiness of the wish is never mentioned. Also not mentioned are most of the characters wishes. Each of the characters recieve a magical servant to fight for them in the Holy Grail War and the servants must fight each other for the grail. Each of the servants also have a wish that they want to be granted by the grail; these wishes are also not specified for most of the servants. This consistent lack of detail made the show very boring for me. I love to see a character passionately fighting for a worthy cause. All I really saw was characters fighting and even the fight scenes were less than impressive. Unless you have some prior knowledge (unlike myself), then you really have no idea what's going on until about the tenth episode. The story progressed little from the beginning. In the midst of the war, a servant and his master decide that they no longer care about the Holy Grail and instead just concentrate on getting God's attention by mass homicide of mostly children. The other servants are forced to put the war on hold and form an alliance to destroy the homicidal servant and master.
I must admit that the show had fairly good music for the fight scenes. I mean c'mon who doesn't love a face melting distorted guitar solo while your watching magical servants kill each other for a holy grail? It was very typical action music, but it added a little more intensity. There was also some unique animation on one of the servants named Berserker, which made him ghostly and added dimension to the animation.
However, the music and animation did not make up for what the show lacked in character development. To start there is no real protagonist. So, you didn't really know who you wanted to win. Lack of developement also added to this issue. However, the idea of the servants was very intruiging to me. The servants were spirits of past heroes, conquerors or kings. Among them were Alexander the Great, Gilgamesh, and King Arthur. Most of the servants were portayed very well by their characters, but once again the lack of developement in both the servants and their masters made it hard to pick favorites.
In conclusion, I gave Fate/Zero season one a 5/10 and I am probably not watching the second season. If you like to watch shows with good music, a simple plot, and no character developement then you will love this show! If that is not what you like, don't waste your time.
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 ...
Notice: This review covers both seasons. They are part of the same story so they don’t need separate reviews.
Fate/Zero is the adaptation of the prequel light novel to the all famous Fate/Stay Night visual novel. And no, it is not the prequel of the homonymous anime, nor do you need to watch that first in order to understand what is going on in the story. The storyline there was mixed up in a way that is different from the game.
I have very little to say about the story, since in all honesty there isn’t much of a plot to talk about. The first season was about getting to know the characters and see them sparring, the second about seeing them killing each other. There is nothing more in-between those two facts, unless you count as plot endless well-written dialogues and technobabble around in-show terminology that is not contributing in any way to the story.
The premise is about seven people with seven spirit heroes fighting each other and the winner will get his wish granted. Yup, the death tournament routine, it ain’t much and if you are aware of the events in the older show you already know it won’t be about getting the Holy Grail at all. It is more about the character interactions and their chemistry; what does one mean to the other, how do they think and act, where did all their sadness came from. Meaning, the actual story was not good before and it is not good now; it is all about the characters.
It must also be made clear that this is not a heavy on action show. This is not a shounen fighting tournament but a heavy on dialogue seinen. The battles are more about the mentality of the cast and getting to know each other’s tricks, rather than going all out to kill or be killed. If you expect awesome battles you won’t get many, and for those that are indeed cool, they will feel like an eternity for being stretched out with long dialogues during the battles and unimpressive for ending by simply releasing ulti attacks on each other. Some of them will even be resolved out of screen.
It’s not like the talking is bad though; it is very well written to the most part and half the characters are fleshed out well; in just a few episodes I feel like I already know them well. I wouldn’t say many develop though; aside from Emiya and a bit for Saber all the rest are just there and as soon as you learn all there is about them in the first season, what follows in the second is them… dying. Furthermore only half of them were given enough time to become likable, as the other half were thrown to the side and were treaded as minor support despite being presented as very important at first. Several of them are neglected and never manage to make a strong impression on you. Assassin and Kariya are two striking examples; not to mention the whole rivalry between Emiya and Kirei.
I found the whole stalling thing of the first season to be a cheap trick, as constantly and deliberately someone interrupts a duel and macho talks the rest of the duration as means to prolong the so called war. In theory most could have easily stay hidden and let everybody else kill each other before jumping in to finish the tired and wounded survivors. This does not happen thanks to the convenient excuse of “We don’t know what hidden powers the others may have so we just stare at each other waiting for something to happen.” Although in theory that is correct, it still tends to prolong things too much. At the same time it allows the show to invest enough time on fleshing out each character instead of just killing them right away and not making you care about them.
So in case everybody wasn’t so overprotective, the show would have ended in a few episodes. In the first battle for example most Servants and Masters gather in one spot ready to gut each other but Rider was constantly trying to make them his allies, so he didn’t allow anyone to die. Even when nobody agreed to that, they still only looked at each other, exchanged some threats, and called it a day, even when half of them were ambushed and at the scope of snipers. They couldn’t fight to the death yet you see; they needed 26 episodes of material to fill first. They wouldn’t be interesting if they had all died in a few episodes, right? Well thank you very much, this is a very meta-explanation which only translates to The Rule of Cool. That means, it is just brainless entertainment and hardly the “amazing story and characters” every fan of the source material goes crazy about for over a decade.
The above issue feels bad even in terms of directing and storytelling, since what practically happens in each battle scene is the writer gathering over a dozen people in the same place, at the same time. You get the impression only two of them are talking or sparring, while the rest just stand frozen as spectators, until they jump in to stop the spar and macho talk. It feels like very bad handling of the characters, as it’s as if they are nothing more that plot devises and not plausible personalities with free will. Action and suspense are basically sucker-punching. Something is about to happen but it is stomped by something else, with each character (as well as the viewer) being completely autistic and oblivious to the other 10 people being around them. It is one thing to have a couple of characters mostly talking than fighting, and a whole other to have a dozen taking turns to say their punch-line or stopping a duel that would otherwise suit them just fine not to, while in the meantime waiting patiently for their turn. What is this, a turn-based videogame? I could also complain about their constant boasting and showing off; they otherwise retreat when things look bad. If they weren’t wasting so much time in talking and gloating this wouldn’t be a problem.
But I otherwise fully understand how flavour-wise all this blah-blahing/macho talking is what makes the characters sympathetic to the viewer and slows down the pacing, builds up tension, and stretches the story to last as much as the producers feel like it. It is not practical, it is not realistic, and this is otherwise not a show that cares about all that and mostly aims to impress you with the characters and the setting and NOT the battle tactics or the overall plot. Thus there is no problem throwing in even some loli fan service fillers, such as a pointless episode with little Rin. Or a completely far fetched dogfight between magical airplanes.
The production values are otherwise very good in detail, colouring, and special effects. The cinematics are captivating and yes, Ufotable is eons ahead of that piece of shit Studio DEEN. I fancy the work they did although I don’t consider the soundtrack to be memorable and the animation is not that fluid.
So in all, it looks like a fine show to watch. The characters are very interesting and since Saber’s master is no longer your average teenage wimp like in F/SN, is all you need to like the prequel even more. It’s just that this is not a show for the impatient viewer or the action lover; the pacing is slow and most of it is dialogues and character flavouring. If you like the slow build up and don’t mind how stupid everybody acts in an otherwise death tournament, you will definitely be impressed with the whole thing. It is otherwise like a series-long moody music video like those shitty Bee Train shows where nothing of importance happens, yet you are just mesmerized with the pretty lights and sounds. Your call if you like that. If it mean anything, it is the best anime to date in the subcategory of action/fantasy/mystery in a modern setting.
As for all those nasuverse fanboys & fangirls out there, let me make it clear that I have no doubt the philosophy of the novels is very complicating and intriguing. My negativity is mostly about plot and the pacing, which are the second most important aspect to get to like a series. The Book of Bantora and Shakugan no Shana also have fancy terminology and a weird world image yet the shows themselves are crap because they did little to nothing in terms of proper directing. Sorry to disappoint you Urobuchi fans, he is a good writer but not a good storyteller. Furthermore Ufotable removed many important scenes from his books and further simplified the already messy plot.
And now for some impressions regarding the characters. Do not read if you are haven’t watched the show.
THE HEROIC SPIRITS
Saber: After you recover by the craziness of seeing King Arthur being a woman, she will be presented as the least capable in battle, as she is constantly losing no matter whom she fights. If it wasn’t for the cheap stalling trick, she would be dead ten times in a row. But, hey, she is the mascot of this show and is constantly saved at the last moment, plus she has a really hax ulti attack that can beat everyone with one strike as means to have a cop-out good ending. I liked it when her shallow morality was completely trashed when Rider criticized her way of thinking. Oh, and because she is a visual novel character, her ulti recharges with semen… Only in Japan.
Lancer: He is constantly presented as the most ideal chivalrous hero of any cheesy Renaissance romance story but I found his honour to be nothing but croc. He will be constantly trying to be fair (no backstabs even when his enemy is flat footed) and that will only be resulting to the usual “I’m letting you live and retreat, so the story won’t end fast.” He even saves his opponent in one occasion just so he can duel him later. When he is finally trying to fight for real, he gets double crossed and that’s it for him. So much for playing fair in a death tournament you idiot. But anyways, the truth is that he wasn’t fair at all half the time and not because he was aware that he was cheating. This was purely bad handling of his character on-screen. There is a scene for example where he is ordered to kill someone. Instead of doing so, he disobeys orders, disarms him, and then gangs up on him with another warrior. And then he calls that playing fair…
“In the name of selfless chivalry, I let my first target escape because I wanted to gloat while seeing him defenceless instead of just killing him as my orders demanded it. Also, in the name of selfless chivalry I let my second target escape as well, because I wanted to help my master instead of spending a few seconds at following my orders by easily killing the weakened opponent who was barely able to walk away. I am so fair and honourable, let me gloat again selflessly.”
Rider: He sure doesn’t look like the pictures in the historic books… He is by far the sweetest servant despite his brute strength and is constantly trying to become an ally with his enemies instead of trying to dominate everything via force. This is his own excuse for not letting anyone die and stalling time. I liked his philosophy but he kept to it regardless of the repeated times everybody refused to ally with him to the point it became stupid. And guess what, he is eventually owned by someone who really DOES try to rule with sheer strength; so much for trying to be friendly. Funny fact: Ufotable deliberately aired the episode he dies at the same day his historical figure died millennia ago.
Archer: Basically, he was just an anti-Rider, having the same goals with him but from a cruel perspective. He was there to be the constant arrogant bastard that drinks wine and calls everybody his dog. Because he can. He was a cool dude with the most hax ulti attack but he was eventually no match for the plot-armour of the good guys. His greatest punishment is when he finds out whom he reincarnates to later on, hehe.
Caster: A psychopath who likes to torture and gut little kids; a role model to all serial killers. He also had a crush on another servant but this didn’t matter much plot-wise. Eventually he was defeated only because he wasn’t playing by the rules and everybody else ganged up on him for acting like a jerk. I was really disappointed at how they never showed us what he was doing while he was trapped inside Rider’s reality marble. That would really help in fleshing out his final battle.
Berserker: A completely undermined heroic spirit. He has no personality or goals for the most part and when he finally gets some towards the end, he gets defeated out of screen with an implied grudge at how he was very angry for not getting the woman he liked when he was mortal. LAME!
Assassin: By far the worst character in the whole show. He is supposed to use stealth and backstabs, yet all you see him doing the whole show is hiding while looking at people. That was supposed to be part of studying his enemies in order to find the best way to kill them fast. So what happens when he finally decides to attack? He just presents himself, gloats over having outnumbered his targets, and then gets owned easily by an ulti. THAT’S IT! For someone who was studying his enemies for all this time, not only he didn’t use stealth and backstab, not only he didn’t have any cool super attacks like all the rest do, but also died fast and miserably WITHOUT EVEN HAVING A PERSONALITY! I mean seriously, does anyone care about him? Does anyone know anything about him? Where is his machoness? How such a pathetic hero even joined the Holy War??? This sucks!
Emiya: Master of Saber and apparently the protagonist. Really? Up until the 2/3rds of the story he wasn’t even doing anything important and then WHAM I am the protagonist. Where did that come from? I never felt he was even a major character next to Rider and Saber. I was also told how the main conflict of the whole story was to show how his rivalry with Kirei began but COME ON the whole thing was completely underplayed. Anyone aware of the game knows they are mortal enemies but the way it was foreshadowed here just came out of nowhere. It’s like they magically knew they would be enemies in the future and simply hated each other, the end.
I also didn’t like how Emiya was using his special powers. I mean he can make time to move really slow and has bullets that can destroy someone’s magic powers yet he was fighting in a most ridiculous way just for the same of prolonging a battle that could have ended in a few seconds. So imagine that instead of just moving fast as light and stabbing his enemy a thousand times in one second, or firing a magic-destroyer bullet at him right away, he instead prefers to booby trap the whole place with traps that have no effect and to run around for hours while using his exhausting time magic to simply run away. Supposed he was trying to force his opponent into using all his protective magic against him and thus destroying all of his powers with one shot. Because, duh, weakening him to half his magic capabilities would still be impossible to kill him with a second shot or, I don’t know, RUNNING FASTER THAN LIGHT FOR A SECOND and stabbing him countless times wouldn’t work for some reason. And anyways, why was he even willing to waste so many hours playing cat and mouse when reinforcements are on their way to flank him? This was no battle to waste so much time; he should use all his power in a massive attack to kill his opponent and get the hell away from there. But it’s ok, since even after the reinforcements arrived he was allowed to escape because we still have a lot of episodes to fill somehow. Oh, right, and because he is the protagonist for some reason…
Later on he is the only character to receive two whole episodes dedicated to fleshing out his tragic past and how he turned out to be such a scheming bastard. Although he had a very interesting and dramatic background, I just couldn’t accept how fast it was told. It had enough events and context to fill 4 episodes instead of 2. As a result it felt rushed and furthermore forced. The way they presented his life as a paradise full of happy people before it all goes to hell five minutes later? Oh come on, how cornier can this get? But then again what is this whole show if not corny?
Finally, I never bought his whole way of thinking. He was all “the end justifies the means” but he only succeeded into being a jerk who never truly accomplished anything other than killing a lot of good people. He even gives up in the end after he realizes it was all for naught.
Kirei: Master of Assassin, the worst character in the whole show, and later of Archer as well, after he stole him from its original owner. A backstabbing asshole and for some reason the main villain of the show. He looks for happiness by betraying people and making others kill each other but other than that he has no really goals in life. That makes sense… He also gets defeated out of screen but magically survives only to be defeated again.
Irisviel: She is a whole bunch of things, such as an artificially created human, a human experiment, Emiya’s wife, the vessel of the Holly Grail, and someone who reads too much bad fan fiction. Jesus, the way she was talking and mocking her opponents felt like something out of Twilight. And the way she was always so worried and passive was making me want to choke her to death.
Archibald: Master of Lancer and a guy who would brag non-stop. After he is owned in battle his crazy bitch of a wife for some reason betrays him and steals his powers. This part is much underplayed since we never truly feel why she did that. Or why she was found and arrested so easily and he was still in love with her; talk about a wasted plot point. Instead, they give us ten minutes of Archibald reading this magic contract that is presented to be godly important yet means absolutely nothing five minutes later.
Ryonosuke: Master of Caster and equally sadistic. Probably the funniest character in the show despite never doing anything more than being someone Caster can talk to.
Waver: Master of Rider and basically your typical shounen dork. He was funny in the way he was constantly mocked and eventually befriended by Rider but overall a very minor character in the plot, since he was more of a lackey who never accomplished anything much.
Kariya: A very underplayed character. He was looking for a way to avenge what they did to him and his family but only ends up being a pathetic peon in the hands of scheming bastards. He has a very minor role in the whole show despite this interesting premise and even his end is anti-climactic.
Tokiomi: Master of Archer and almost like a stunt in the plot, he just mocked Kariya a bit before being backstabbed; the end.