Fate/Zero 2

TV (12 eps)
4.536 out of 5 from 23,812 votes
Rank #57

The Holy Grail War wages unabated. The Servants face the impossible task of allying against Caster to win additional command spells, while beneath this thin veneer of amity, their Masters plot to destroy each other. Saber herself must battle not just the monsters bearing down upon her but the doubts inside her own heart about the path of valor she has chosen. After all, what is the place of ancient righteousness in a modern world where the only rule is to win at any cost? As the Holy Grail War enters its deadliest phase, the world becomes witness to both inconceivable horrors and incredible heroism - but the question remains which will prevail.

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Bloody Battle on the Mion River image

Episode 1

Bloody Battle on the Mion River

Golden Light image

Episode 2

Golden Light

The End of Honor image

Episode 3

The End of Honor

The Eighth Contract image

Episode 4

The Eighth Contract

Distant Memories image

Episode 5

Distant Memories

Where Justice Dwells image

Episode 6

Where Justice Dwells

The Assassin Returns image

Episode 7

The Assassin Returns

Knight on a Two-Wheeled Steed image

Episode 8

Knight on a Two-Wheeled Steed

All the Evil in the World image

Episode 9

All the Evil in the World

The Ocean at the End of the World image

Episode 10

The Ocean at the End of the World

The Final Command Spell image

Episode 11

The Final Command Spell

Fate/Zero image

Episode 12


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"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.


This review is for both halfs of Fate/Zero Summary: A silly premise, some interesting characters, gore and solid action sequences elevate what would be an average anime. Fate/Zero is first and foremost a spectacle. The anime aims to be a epic, a collision of multiple personalities and how they react to each other over the pursuit of an epic object that would grant their wish or what they believe that they wish. The premise is good material for this story, with the supremely silly premise amusing on its own. The Holy Grail, a mystical and powerful item, is fought over by mages who use legendary magical fighters, who are based on historical or fictional characters,...and this is being presided over by the Roman Catholic Church, with the Holy Grail War placed in...Japan, a place FAMOUS for its Christian faith. I expected an anime version of Game of Thrones, with ambition and emotions of a few presiding over the fates of the world. What we received is a mess of an anime, with several fascinating ideas crammed together and imperfectly made. Story: The story presented could have been compelling if this was a more disciplined anime. The story of multiple mages fighting over a magical object, each wishing for different ends, is a familiar story that could support an epic anime. The problems with the story presented are character deficiencies, pacing issues, focus on uninteresting people and serious issues with presenting important information, known as exposition.  Characters: This anime has several main characters, but I don't feel like this anime picked the most interesting people to be its most developed characters. Kiritsugu Emiya can be considered the protagonist, as the anime tries to develop him the most, but the emotions of his story are like him: empty and boring to watch. Some characters, like Kariya Matou, are unseen for most of the anime and are used for filling gaps in the story. As a character who is fighting for the sake of a dear friend, Kariya would have been a compelling character to follow as he is directing sacrifacing his body for this struggle. Other characters like Tokiomi Tohsaka are static and grow stale quickly. Favorite characters for this series are Iksander, Arturia and Rin.  Pacing: the pacing for this anime is uneven, with the action sequences separated by stretches of exposition dumping. The overall pace is sluggish and doesn't crescendo to a satisfying ending. What should have been emotional moments are undercut by the feeling of rushed development. This anime should have been about twice as long if the cast was to be fully fleshed out.  Exposition: This issue is large enought to warrant a section of its own. F/Z has trouble delivering its vast swaths of exposition in a way that is both informative and visually interesting. My favorite horrible exposition moments are the first episode, the exposition circle in this episode, and the wine glass universe scene in the other part of the series. Some ideas introduced early are never explored enough and would have been more compelling material than what we were served.  Animation: The animation by Ufotable is impressive, with the character designs distinguishing the characters well. The problem is that the story doesn't serve the animation, as there are vast areas where little of visual interest happens. The CGI was well integrated and will age well as the CGI is concentrated well. Gore: This anime features serious disturbing material, with child murder, extreme gore, and other horrible material. Anyone averse to this material should not watch this anime. Ending: I admire that the anime wants to be an epic story and seems to have the ingrediants for achieving that end. The problems are in the construction and the proper application of those ingrediants as a whole. Islands of brilliance are dulled by the sluggish pacing, boring characters and general lack of care.

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