Fate/stay nigh episode two unexpectedly breaks from the mold established by the previous episodes. It’s shorter, running only 25 minutes, and that shortness doesn’t leave much breathing room for very thoughtful setting shots that I found so lovely in episodes zero and one.
However, most shows only get a half hour slot to keep us entertained. Sadly, Fate/Stay uses that time to runs its mouth and cover a lot of exposition. I hope you’re ready for some revetting talking!
This is a neckless is a thing reminder! You’ve been reminded!
The sum total of the episode’s activity: Rin explains the holy grail war to Shirou over tea. Then they go to KotomineKirei’s fake church in New Fuyuki and Kirei explains the holy grail again, with a few more details. Then Rin and Shirou leave and encounter their first true opponent.
Sure, the details matter and explanation has to happen sometime but OUCH! That’s really all that happened this week.
As we learned last week, Shirou doesn’t want to fight because he hates the artificial’ness of good guys killing bad guys to save the day. That said, Kirei’s point is simple: a bad person won the grail ten years ago and New Fuyuki was burned to the ground and lot’s of people were killed. Even Shirou himself was seriously injured.
While there was too much of it, the exposition wasn’t dreadful. Unfortunately, Shirou hails from the “repeat what was just said back as a rhetorical question” school of anime, which lengthens and adds nothing to an already drawn out scene of talking.
At least we get a nice moment where Sabre and Shirou get some bonding and renew their vows and establish their determination to win. Cliché? Sure. But touching.
Still, the exposition is unfortunate. It’s wasteful and that would be better spent on what fate/stay does best: establishing mood and showing us — not telling us — what people are thinking and doing. Having both Rin and the priest explain the war was over kill.
tl;dr? This was a talk heavy episode where we learn a lot at the cost of action and mood. Also, Shirou is… kinda bland, actually.
At least the cliff hanger was a giant ass monster servant, apparently easy to identify as ‘Berserker’ and obvious that next week will drop right into a fight.
The second most difficult story to tell, is the story we’ve already heard, that we already known*. What’s there to add, really? Embellishment? Extraneous details? That sounds so dull.
Fate/stay night: Unlimited Blade Works ‘first’ episode does just that. It’s starts the same day as episode zero. It features the same characters and the same events. Only our point of view has changed from Rin to Emiya Shirou.
My God, it’s wondrous!
As before, we begin with a quiet day where Rin is early to school and Emiya is repairing broken classroom heaters. We see he’s doing this partially with magic, which was not stated before, but may not have been important enough for Rin to tell to the audience.
Unlike Rin, Emiya is more interactive with his class mates. He spends a lot of time doing work for (and listening to) the class president, Sakura prepares some of his meals, and Fujimura-sensei is both his landlord and a constant mooch at meal time.
Still, like Rin, Emiya appears a little detached. He’s recently been chased out of the archery dojo by school ass-hat Matou Shinji and he doesn’t even know who these girls are.
To be fair, I don’t know who they are or what their significance to the plot the have yet either…
From Emiya’s perspective, we learn that Fujimura-sensei is quite a bit more competent than we may have suspected from her always on the edge of late demeanor. We also see, though do not know for sure, that Sakura is being abused, presumably by Shinji.
Ultimately, Emiya’s point of view is a great companion to Rin’s. Where she gave us magical world context and a taste of the non-magical people in the world, he gives us low-stakes magic use and a greater understanding of the non-magic human network. Same world, same people, opposite sides of the coin.
The only completely new content is Emiya’s past, which shows his adoption by a mage named Kiritsugu. It also shows Emiya surviving a fiery tragedy 10 years in the past and establishes his motives and frustrations with heroism.
These scenes are superb. They carry a great sense of heat mixed with the stillness of giving up. Magically fueled or not, there is a grand magic to presenting so much chaos, yet capturing the isolation of being alone in the chaos, powerless.
Emiya looks back on the disaster with frustration and sadness. Not everyone was saved — not everyone could be saved — and that conflicts him. As a hero, he doesn’t want to be limited by choice. Who lives or dies shouldn’t be a blessing to those he cares for more than others. It should be a blessing for everyone.
As with Rin’s story, Emiya’s introduces several side mysteries that go unexplained — unexplored even within this admittedly long format episode. A murder is on the lose. Possible gas leaks are making people sick. Sakura’s injuries and, very briefly show, her mysterious acquaintance.
Each one of these mysteries is handled with care and, for the most part, given very little consideration in dialog. As always, Fate/Stay is playing its cards close to its chest.
As it must, Emiya’s story catches up to the initial tragedy told in Rin’s: Emiya witnesses Lancer and Archer fighting at the school and is killed in the hallway. Even Lancer is annoyed that it must go down this way. If only has master wasn’t such a cruel and cowardly one.
Later, following a resurrection that we really only understand because of episode zero, Emiya returns home, Only to fight Lancer again. Fortunately, this time Emiya is ready. Sort of.
Magically increasing the durability of a poster to fight a spear at close range makes for a exciting little fight. From the beginning, we know it’s a losing battle and, given the peeks here and there at Emiya’s pentagram, we also assumed that he would be revealed to be Saber’s summoner.
Even so! That was a satisfying fight and it’s immediate escalation into a servant vs servant fight put a satisfying cap on our retread. Well timed because the episode comes to a tight close face to face with Rin, who actually knows and is willing to give Emiya some answers.
My favorite details this week came from Emiya’s television, which displayed a mixture of japanese programs. Some news. Some dancing mascots harrassing anchors. None of it was relvant to the story. They were just there, for your eye to catch and ponder instead of just staring at talking characters.
That’s some effective world building. Effectively lived-in world building.
Episode One is a little more chatty, though actually has less exposition and more character interaction, which nicely rounds out the experience.
Additionally, episode 1’s magical battles are slightly less spectacular, as Emiya is less magical and can’t participate in the same way in the same way as Rin. However, his personal fight against Lancer with a reinforced magical poster was delightfully unique (even to Lancer) that it more than made up for its reduced after-effects budget.
Really, what is the difference between a 9 and a 10? Certainly, Fate/Stay is superior in every regard to every anime we’ve rated 9 so far this season, but when you’re faced with a second week where you consider giving it a 10, you can’t help but second guess yourself. Really? Is Fate/Stay really as good as every single episode of FLCL, one of the only perfect-score-every-episode anime I can think of?
Yes. At least, so far. And yet, Fate/Stay accomplishes it’s perfect ten so brilliantly in the opposite direction of the FLCLs and Kill La Kills. Where they are masterfully orchestrated spectacles of brilliant action, style and re-watchable overload, Fate/Stay is serene, patiently dolling out story and character development and subtle with their mystery.
Goodness, if there ever was a season for a show to say definitively that it was the best, it’s now. It’s fall 2014’s killer season. Well done Fate/Stay. Well done!
Fate/stay night: Unlimited Blade Works is quietly beautiful. Regal even. The first episode gives us peaceful landscapes and well paced introductions for all of protagonist Tohsaka Rin acquaintances and daily routines before introducing us to her other life. Her magic life.
If I had not been told that UBW was part of a larger, multi-series franchise, I would never have known. The world is shown to us without info-dump or talking head exposition characters and it is all very absorb-able.
This 47-minute slow burn method is most definitely for the best, given how many characters UBW appears to be throwing at us. We’ve met nine of Rin’s fellow students and one teacher, with Rin’s relationship to each being implied through interaction as often as it is strictly spelled out.
We’ve also met 3 ‘Servants,’ which are essentially familiars that help their mage-masters compete in a battle for the Holy Grail, which will grant its winner any wish, and through all of this we’ve learned about the world’s magic. Runes, gems, classes of Servant, the importance of timing, rings of binding and command, what fuels servants — a ton of stuff!
Yet I never felt blabbered at nor disconnected.
UBW opens with a dream or a memory of young Rin saying goodbye to her father. Her isolation in the world, the magical-ness of that world, and her stranding in her family mansion are all clear through the setting, the filters and vibe.
Then teenage Rin wakes up and goes to school. She remarks on how empty it is — how no one seems around — and we know something is afoot. Something magical.
Then Rin learns her clocks are all an hour ahead and that a perfectly reasonable explanation for the emptiness is around, but the mood stays and we know, as Rin knows, the world is still off without being told directly.
Though hinted at strongly in school, we don’t see Rin dabble in magic nor learn what that magic is until later. At home, she is warned that her time is up and only two Servants remain: Saber and Archer. Saber is the only one Rin wants.
Rin performs a ritual, we learn a little bit about magic and can guess the meaning of other parts of it, and her Servant is brought forth. Upstairs. And he’s made a bit of a mess.
Unfortunately, Rin has forgotten her clocks being ahead and has mistimed the height of her magics (mana) and her new Servant has come in a bit off. While he doesn’t let this on immediately, he is not only testy but not entirely sure who he is.
However, he is certain Rin is the only Master for him. Albeit, after Rin expends an unnecessary amount of magic and wastes a valuable resource she should have saved for later.
After some bonding, some probing of each other’s bounds, we become comfortable with Archer, Rin’s servant as much as she does and, for his benefit and our own, Rin skips school and shows Archer around her town.
The following day we learn a little bit more about magic and the world we will be viewing. This time in the form of an evil barrier being built around Rin’s school, most likely by a novice but dangerous regardless. When activated, it will liquefy all the humans inside and allow their souls to be eaten by a Servant.
Later that night, while attempting to destroy the barrier, Rin and Archer meet their first enemy. Battle ensues and it is lovely.
The battle ends quickly, but not before displaying animation skill saved for the best sword fighting anime sequences you will ever see, and an innocent is killed. Rin drains her pendant to revive the student (who we must wonder how and why he was there in the first place) but realizes later that the student will remain a target.
With Archer at her side, Rin dashes off to rescue the student again, or thwart her enemy along the way, only to run into Saber the servant she wanted to summon.
Then the episode ends.
UBW is not very colorful in anime terms but it drips with detailed environments, depth of field focus, and a patience with everything that is enviable. That greatness aside, UBW’s magical fighting puts almost every anime to shame. It’s fluid, impactful, vibrant and the integration between the mage and her familiar is exciting.
The music, which is unobtrusive but masterful orchestral work, is good too.
If I were willing to nit pick, I might ding UBW for Archer’s amnesia. It’s a bit …trope-y… but, I get the sense that it, too, is something we’re not being told about. The very fact that ‘Archer’ wields 2 swords and has yet to pull out a bow, and how he occasionally responds to his enemy and his master leads me to suspect he knows more than we do. More than Rin.
In short, Fate/stay night: Unlimited Blade Works is nothing short of fantastic and utterly mind blowing as an opener to a show. Have an hour? WHY AREN’T YOU WATCHING IT RIGHT NOW?
The elephant (or rather various assorted circus animals) in the room—Ayaka’s harboring of Medusa and her underlings—is dealt with this week…sort of. Because the six fugitives have knowledge about Honoka’s seals being broken, and her mother’s unhealthy passion for vigorous interrogations, Ayaka is certain moms’ll find out if she gets ahold of them, and so does everything in her power to stop that from happening.
To that end, she merges with Medusa through the sharing of an “Apple of Ignorance”, resulting in perhaps Ayaka’s coolest-looking battle mode getup yet (seriously, girl’s got more dresspheres than Yuna). But it doesn’t do any good, as Kazane breaks easily out of her petrification. Honoka draws upon his powers, but only succeeds in him and Ayaka switching bodies (and clothes, the full effect of which we don’t see). They’re both locked in a dungeon deep beneath the school, but soon escape when Ayaka does something intimate with Honoka again—specificially, clean out his ears with a Q-tip.
While it’s nice to see the bond between the two so close, and we salute Honoka continuing to try to do what little part he can in protecting Ayaka as she protects him, this episode still had a couple problems. First of all, if Ayaka really didn’t want Medusa & Co. to be found, why the heck did she keep them in an unlocked room in Honoka’s house? When they got bored, they predictably broke out and got discovered by Kazane, who kept coming over (but brownie points for Mei and Kotetsu’s refreshing lack of modesty throughout the confrontation). Another problem: Kazane apparently releases Tanpopo and the others before interrogating Medusa, then has her snatched away by other witches.
So in the end, while she was in a perfect position to learn about Honoka’s secret (which Ayaka warned would mean the end of their normal high school life), but came up totally empty, which is kind of silly considering what a powerful badass she is (though apparently not enough of one to wrench the truth out of Chronoire. Then the episode started building up to this big epic duel between Ayaka and Kazane, only to fizzle out when Kazane refused to fight and sent her daughter home. That was kind of funny and unexpected, but in the end it was an annoyingly inconsequential episode in which no one looked particularly competent.
Shu is moments too late to save Inori, and the newly awakened Mana’s dance begins the fourth apocalypse, as countless people around the world become consumed by crystal. Using his friends’ voids, Shu duels with Gai, but is disarmed and struck down. Just when all hope is lost, Inori calls to him from a crystal flower, and he draws her back out. Her song dissolves the crystal all over the world.
As GHQ headquarters collapses around them, Shu stabs Gai, and the two cross over to the Naath Utopia, which lies beyond the apocalypse. Gai tells him the only way for Mana to be put to rest is by letting her finish her role. Shu returns to the real world, where Inori is almost totally encased with crystal, and eventually disintigrates. Together, theyabsorb the last remnants of the apocalypse virus. Years later, the world is back to normal, Shu survived, and he still pines for his lost love.
Well, it was quite a ride, but all things must end, and end Guilty Crown did. It wasn’t the best ending ever but at least we pretty much knew what was going on, and no last-minute twists or contrivances came out of left field. There was naturally the final boss battle, where Gai who claimed Mana while Shu dug down deep and called upon the power of Inori. Gai was redeemed, as he says in the end he did what he did hoping Shu would come stop him, and he did.
We really dug the new music saved for this finale, including a pretty badass remix of the first ending theme. But we do feel ourselves hard-pressed to offer more than faint praise for this last episode. To be perfectly honest, the trio of sci-fi shows that came around in January (Aquarion, Moretsu and Lagrange) have caused our interest in Guilty Crown to wane. In that sense, it’s a good thing the series is over.
Shu’s father, Kurosu, as Keido, Gai’s father, reminices about his rivalry with Kurosu. With both Shu’s classmates and Funeral Parlor remnants aboard the Kuhouin yacht, Haruka reminices about meeting Kurosu, after his first wife Saeko died giving birth to Shu. Their first child Mana (Inori) discovered the apocalypse crystals after a meteor hit. Kurosu worked alone in a lab, while Keido ran a ‘nursery’ where children like Gai were experimented on. Gai escaped and ended up meeting Mana and Shu. When Keido finds that Kurosu has solved the mysteries he couldn’t, he kills him out of jealosy. Back in the present, Shu and Funeral Parlor disembark for a face-off with Gai, but not before Shu makes up with Souta.
Lots of past covered this week. Lots and lots of technobabble too, unfortunately. Genome intron resonance blah blah blah it all sounds the same to us. What did manage to rise above all the science speak was finally learning about Kurosu, and how much Shu is like him. But as “Shu” means “group”, Kurosu didn’t intend for his son to walk through life alone. Shu’s friends refuse to take their voids back from him, even if his losing to Gai means their deaths along with his. Their fates are tied together, and he won’t have to fight this battle alone.
As for Keido, well, we only learn that he’s a despicable monster who ran human experiments on children. The episode really underplays his evil though, as even his sister Haruka doesn’t stop associating with him and even asks him if it’s okay if she marries Kurosu. Surely she knows what he’s up to, being a budding scientist herself. Finally, we’re meant to believe Mana and either Shu or Gai will comprise the Adam and Eve of the world that will follow the fourth apocalypse. We’re still not crystal clear about the pertinent parties’ motivations for starting the world anew; all we can ask is what will keep them from getting bored with that world as well? How many apocalypses is enough for these freakshows?