Fate/Extra Last Encore – 10 (Fin) – Hakuno Picks a Third Way

FELE’s last episode for a while elaborates on the plan devised by Rin and Rani to bring a Master to the Sixth Floor, and they relay those plans to Hakuno on the roof of a high school down on what I assume to be the level where he started.

Waking up in the ladder with Saber, Hakuno explores his code casting powers, which apparently contain all of the weapons and skills of the masters who died before him. That combination of abilities adds credence to Saber’s insistence that he is himself and no one else, and must proceed as such.

When they reach the Sixth floor, it is a white wasteland piled with long-unused lances. Suddenly, Rin appears in her Lancer garb and attacks Saber, and a giant Rani sneaks up on Hakuno. Then Rin and Rani fight each other, more Rins show up, more Ranis show up, and Hakuno and Saber basically get a very efficient course in what’s been happening for about a millennium.

They realize the lands and waters are littered not just with weapons, but corpses of endless Rin and Rani copies. But there is one place where there are no corpses, and Hakuno determines that’s where they should go.

While pondering what the heck is up with all the Rin copies, the “real” Rin arrives, but like her “soldier” versions, she’s only a digital copy, and a fragile one at that. She’s just able to lead them to the central dome when she starts to disperse, a process she tells them actually hurts quite a bit.

Within the halls of the dome, recorded video of Rin and Rani is projected on cross-shaped supports. They once fought as rival Masters on this floor, but Moon Cell deemed their fight a draw just before the Holy Grail War was suspended, leaving them in a horrifying limbo of fighting and killing each others’ endless digital copies as the “originals” lay dormant.

It’s a stalemate, but it’s also a bug in the system that’s gotten way out of control, so they both sent avatars of themselves to guide Hakuno here, so he could end the cycle and choose a winner and a loser, something Moon Cell couldn’t do.

However, Hakuno doesn’t choose to kill either Rin or Rani. Instead, he tries to revive both of them. Only Rin survives, while Rani passes on due to the “peculiar” nature of her digital body. But she’s grateful for the attempt, and Rin is grateful he succeeded in bringing her back. Once Rani is laid to rest, she commits herself to continuing to aid Hakuno until the end.

“Fate Spin-off By Shaft” was met with mixed and polarizing emotions, but I for one enjoyed it immensely. It took the parts of Fates I’d seen before and liked and placed them in a gorgeously-rendered distant and unsettling future where a tiny glimmer of hope still remains thanks to a walking talking manifestation of death itself and his trusty, adorable, formidable Roman Emperor of a Servant. I’m looking forward to Part Two.

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Fate/Extra Last Encore – 09 – The Emperor’s Soliloquy

The “film” the female Kishinami Hakuno shows her male counterpart is of her own quest with Saber as her Servant, and a more noble, loyal and true servant, no one could possibly have.

Like the current Hakuno, the female Hakuno learns that she’s neither wizard nor Master, but a “recreation of the data of someone who once existed”; an “NPC”. But Saber tells her that’s of no consequence, either to her value as an individual or her role as prospective victor of the Grail War.

It is in She-Hakuno’s moment of deepest despair and crisis of identity that Saber reveals her True Name: Nero Claudius, fifth emperor of the Roman Empire and one history condemns as a raving despot and dictator. Naturally, Nero herself has a more nuanced life story to tell, and that story is told through what appears to be the work of Ueda Hajime, a frequent collaborator with Shinbo Akiyuki who also animated all Monogatari EDs.

Saber makes no attempt to sugar-coat her tale or excuse the life she led, only to lay it all out to provide Hakuno with context in which to consider her sage advice. Nero loved strangers and commoners more than the royal family to which she belonged. She’s proud of bringing the Great Fire of Rome under control, but as her reign went on she became seen as a moody, unstable dictator.

The Senate could not depose her as long as she had the loyalty of the common people, but when push came to shove no one came to her aid when she was brought down, and she died alone, in despair, with the love of no one. Both in its flamboyantly unconventional presentation, themes of adoration and fall from grace, and truly epic scope, Saber’s story parallels that of the vampire later known as Oshino Shinobu in Monogatari.

And now that we finally have the whole picture of who Saber is, and was, we can appreciate just how much weight there is behind her words of encouragement, for both past and present Kishinami Hakunos. She is at peace with her demise, and will set her life ablaze for the sake of those who wish to believe she is beautiful. In other words, who will love her.

Whatever love she had in her lifetime—of family or people—was either nonexistent or fleeting, so it stands to reason she’s not picky about where she gets her love now. Both Hakunos may deem themselves pale imitations unworthy of having a Servant as excellent and wise and kind as Saber.

They are utterly mistaken for thinking that way. Saber doesn’t care from whom she gets her love. In fact, she would prefer if those people did not “mind every little thing” about themselves.

Call it the extension of her affinity in life for those deemed “less than” in the society in which she lived. Commoners. Bastards, cripples, and broken things. And yes, even NPCs who have been killing and hating for a millenium.

Saber’s been dead three millenia, but doesn’t let it get her down for a second. To her, Hakuno isn’t beholden to the person or people he was before. As far as she’s concerned, he’s is a new person, who deserves a fresh start without prejudice. But he has to take it.

Reinvigorated and healed thanks to the ministrations of Rani (or, at least, her ghost), Hakuno and Saber head back out. Saber faces off against Berserker once more.

After copying and countering his martial arts moves with Royal Privilege, she unleashes her Noble Phantasm: Kingdom of Heaven and Hell,  the Golden Theater of the Deranged, and Veil of Petals, ending Berseker without any difficulty. It’s a short but gorgeous battle.

That leaves Hakuno to deal with Julius, who no longer has any backup. Julius tries his usual spiel denigrating Hakuno for not being alive or having a wish or any business fighting him. This time, the words don’t hurt Hakuno. Saber has opened his eyes. Julius isn’t talking about him; those were other people, and he’s not interested in hearing about their pasts.

After a trippy zero-gravity battle in which the two Dead Faces fight in midair as their surroundings rotate and reorganize around them, Hakuno delivers a decisive blow. Yet even in his dying breath, Julius assures him that he’ll end up like him eventually.

Hakuno doesn’t worry about those words; he’s recommitted to being the best Master he can be for the best Servant one could ask for, who is waiting for him at the ladder to the sixth level.

Rani and Rin seem poised to remain behind having accomplished their shared goal of getting a “decent Master” to the sixth level. But citing the increased difficulty at that level, Rin changes her mind and follows the pair after all, while Rani vanishes in a cloud of digital code.

Thinking back on this episode, I’m astounded at how much it achieved in 25 scant minutes. It felt like a feature film, without ever feeling overstuffed, while cementing my undying love for this version of Saber, whose story was so vividly and painfully told. My head is still spinning. That was truly awesome.

Fate/Extra Last Encore – 08

The fourth level was apparently so uneventful the series skips it altogether, and we end up on the very rainy and somber fifth level, which takes the form of a enormous jumbled mass of skyscrapers. While the ladder to Level Six is in sight (and just an ordinary physical ladder) and there’s no Floor Master, there is a “homicidal maniac” lurking the floor; Julius Harwey, whom Rin remarks was defeated by Saber and her former master.

All of the hope Hakuno seemed to carry with him from the third floor seems to have faded away, and the more Saber discusses her former master (who was a girl), the harder Hakuno is on himself.

Saber, in another one of her warm, caring monologues, tells Hakuno not to worry about doing anything other than what he’s capable of.

True genius, Saber believes, lies not in one’s talents, but by their ability to bear the cruel truth that not everyone is equal; that everyone has their roles and weaknesses. Basically, she wants Hakuno to buck up and keep doing his best.

But once Julius shows up (with either a Berserker or Assassin Servant), Hakuno and Saber are quickly separated, and Saber needs an emergency save by Lancer-Rin. Saber leaves the Servant to Rin so she can return to Hakuno’s side.

Hakuno, meanwhile, is goaded into summoning his Dead Face, but learns that Julius is also a Dead Face…”unable to save anything or save anyone,” beings whose purposes were torn away long ago.

While taking what would be a fatal blow to the midsection were he actually a living human named Kishitani Hakuno, Hakuno enters a dreamlike state where he’s told exactly what he is: an amalgamation of the massive number of  dead, defeated, and failed souls bearing grudges…a mass of hatred brought about by SE.RA.PH.’s long decline.

He is told he ascends “only to kill”, and was born “only to die.” If Hakuno were to take these words at face value and do as Saber recommended, dying would seem to be the only thing he is capable of doing, so he should do that, no?

Regaining consciousness just as Saber and Rin arrive, the battle is lost almost as soon as it resumes, as Julius reveals his Servant kills with a single blow, and Saber received that blow. Hakuno crawls towards the apparently defeated Saber (Julius and the Servant only flee when a giant arm breaks up the battle that was). He’s sure that she’d have been able to win had he been a real Master…even if there aren’t any of those left.

He descends into darkness, accepting everything he was told in his dream about being born from hatred. He allows himself to think for a moment that he might have been Saber’s former Master reincarnated before dismissing it as folly. But he hears Saber’s encouraging voice once more, asking if he really wants to simply give up at this point.

A door appears, and Hakuno walks through it, into a classroom with projector running. Seated beside it is a girl wearing the same uniform as him, who asks him (in Ishikawa Yui’s voice) to take a seat…because “it’s starting.” Very intriguing.

Fate/Extra Last Encore – 07

The fourth level’s part two starts with a flashback—I think—to an Alice wondering where Hakuno went, and in the process of absorbing various objects around her to replenish resources, transforms into a grotesque monster that forces the Masters to flee to lower floors, and killing and eating those that don’t. None of this seems to be anything Alice the Master intended.

Back in the “present”—whatever that even is—Hakuno, Saber, and Rin make their way back to the castle. The phenomenon that sent them back was only a “respawn”, not a time loop; and all parties involved retain their memories of the first attempt.

Rin (flashing an epic Shaft head-tilt) continues to drop hints to Hakuno about Dead Face without coming right out and saying that’s what he is, DFs being humans “rebooted by their grudges”, and Hakuno not knowing what beyond hatred propels him upward.

When Hakuno starts daydreaming of hanging out with Alice, reading to her and playing tag, Amari is also there in some form. When he comes back to reality, he, Saber and Rin face the monster they’re assuming is the Floor Master’s Servant.

Rin puts up a barrier, but the monster sends a hail of scissors at it, shattering it and her. Hakuno manages to spend another command seal, but before the monster is destroyed and the “game” reset, he ends up back in the dream.

There, Hakuno meets Alice in her true form, covered in bandages, lying in a bed, hooked up to all manner of IVs…and dead. The living, walking, talking Alice Hakuno has been interacting with is no more than a dream that dead Alice is watching, and is herself dreaming in Alice’s place, even able to take Amari’s form.

Back at the starting point, after Hakuno washes up and Rin apparently had a bath, they set out once more with Saber, for what Rin hopes will be the third and final time. As they walk through the forest, Hakuno ponders what and where he is: a man with no past and a place where the past has piled up to the point of near-madness.

Hakuno feels of a piece with the place because the hatred that drives him is essentially an obsession with the past; an inability to let something go. Saber tells Hakuno a story of a Master she once had “much like him”, with neither memories nor a wish, aiming to ascend only out of a desire to live on. At Angelica Cage, the highest level, the Master was defeated by “Twice Pieceman.”

Saber’s point, I believe, is that there are no guarantees. If you get to Angelica Cage, you have to beat Twice. If you beat Twice, Moon Cell has to decide to grant your wish. She wants to know if Hakuno will still ascend despite all that uncertainty.

In the dream (and a repeat of last week’s cold open), Hakuno has already won the third round, as Alice conceded the fight by not showing up. He leaves her with the promise he’ll be back once he’s won the Grail. And it certainly seems to be the case that he did return even after failing to win it.

Once back with Saber and Rin, Hakuno acknowledges that he’s no one special; just a fake who made it this far in someone else’s place. But even as a fake, he wants his feelings to be true. His time with Alice in his dreams have spurred him to want to ascend not just with hatred, but with hope.

In the present, however, the Servant still needs to be dealt with, and between Rin seemingly unleashing her trump card—transforming into Lancer, complete with Gae Bolg—and Saber’s coup-de-grace, it feels as much like putting a wretched creature (or ghost, as it were) out of its misery as defeating the floor boss.

It also carries on the Monogatari tradition of lots of discussion punctuated by short, intense bursts of decisive action. On to the fifth level.

Fate/Extra Last Encore – 06

The third level, the “Nameless Forest” is a totally different animal than the ones that came before, both in design and purpose. First of all, it’s way trippier, as Shinbo creates a lush and textured wonderland inspired by the aesthetic of the illusory worlds witches created in Madoka.

These bizarre, whimsical surroundings make for a great backdrop as Hakuno, Saber and Rin attempt to find the Floor Master. According to Rin, the third level is the land of dreams where “ghosts” gather, ghosts being souls transferred into information by Moon Cell.

Rin also kinda answers my question from last week, in that Death Face is “something different” from the other ghosts,embodying a “different concept of death.” She also calls it a thousand-year-old legend, apparently unaware that Hakuno is that legend (or feigning ignorance for some reason).

Things get increasingly weird in terms of time and space, with Saber almost instinctively taking Hakuno’s hand to ensure they won’t become separated. Even so, with all off the multi-colored drawers, tanks containing thousands of playing cards, and most concerning, a preponderance of mushrooms, Hakuno eventually finds himself somewhere other than Saber’s side.

That place is in the presence of the Floor Master whom Hakuno says goodbye to in the episode’s cold open; we see his victory and ascent to the fourth level so we know it happens (or happened in the past); it’s a question of how.

This Master is a ghost named Alice, and this wonderland is where she’s been ever since a war that killed everyone else, and after her life of illness was ended by excruciating pain caused by adults in a hospital.

Alice wants nothing more than to have someone like Hakuno to play with forever and ever. Quite suddenly, Hakuno “snaps out of it” and is once again in Saber and Rin’s presence. A vision.

Rin and Hakuno each have one more vision while in the midst of the mushrooms – both involving Amari Misao, their “classmate” in “high school.”

If ghosts are reproductions of people’s states at the moment of death, Amari’s regrets come through strong and clear; both her insufficient strength (which Rin can sense) and when she tried to seek the week to defeat her enemies, only to find there was no one weaker than her.

Having returned from their visions, Hakuno and Rin find signs of a battle, and Saber goes after a shambling, scissors-shooting construction of various objects as if it were like any other opponent. She manages to slash it in two, but the moment she does she and the other two are instantly transported all the way back to where they started, next to the ladder that brought them there. Even time has seemingly reverted.

Rin surmises this is the work of the Noble Phantasm known as “Nursery Rhyme”, which is being used to ensure they keep repeating the same day forever. With such a power, in such a place, being wielded with such a character as the Alice we met, it’s pretty obvious we’re dealing with Caster. Swords and bullets aren’t going to do the trick this time.

Fate/Extra Last Encore – 05

Last week Rani painted a morose picture: there are only a few thousand humans still alive on Earth, a dire scenario the species hasn’t seen since the last ice age. Combined with the dreadful state of SE.RA.PH, mankind is staring at the edge of oblivion.

It’s a much bigger crisis than I had comprehended at the time (due partially to spotty translation); almost too big a crisis for our MC, who still isn’t sure how many times he’s died and been brought back (though it’s been a lot). All I know is, he may be humanity’s last hope.

It certainly isn’t Dan Blackmore, a knight who fought and was defeated by Hakuno 999 years ago. He lost not due to lack of willpower or clarity of duty, but simply because he had more regrets and thus less resolve, than his opponent.

But now that Dan’s back, he’s not going to let anything get in the way of his winning—in lieu of the Holy Grail or ascending, continued victories are their own reward, and has been for nearly a millennium.

Once Hakuno is over the initial shock of learning what year it really is and how long things have been left to rot, he, Saber and Rani talk Dan, Archer, and strategy.

First, since he was already defeated and died, Dan is no longer a true Master (why Hakuno, who has also died a lot, is a true Master is a head-scratcher for your humble author). As for his servant, Archer’s true name is Robin Hood, an expert in guerrilla warfare, who has two noble phantasms but cannot use both simultaneously.

One allows him to attack undetected; the other, Yew Bow, is more of a coup-de-grace, and is only effective after the first phantasm has been used to shoot the target with a poison arrow. The Yew Bow detonates the poison in the target’s blood, killing them from the inside out.

For the battle, Saber takes on Robin by herself, dodging a number of invisible arrows until one finally gets her, thus exposing her to the poison Robin will use to blow her up. But her part of the plan is simply to keep Robin busy, partly by asking why he still serves a man who is no longer a Master, to which his reply is both concise and logical: Would you tell a knight who’s been brought back to life and fought 999 years to simply give it up?

Meanwhile Hakuno learns more from Rani (in her awesome futuristic motorcycle and sidecar) about Moon Cell’s quandary: while it can manage the “exterior” of humans, it could not understand their “core”—their reactions and emotions—even when it invited them to SE.RA.PH. for observation. So it simply discards those emotions to the bottom floor.

By that same token, there is no physical or observable “world of the dead” on Earth, but SE.RA.PH. made it quantifiable, such that the hatred (and presumably other emotions) of the dead still roam around as “ghosts,” which is exactly what happened to Dan Blackmore. One could also say he respawned.

Hakuno and Rani’s chat is cut short by their arrival at the clock tower, but as soon as they emerge from the forest, Rani is shot and she and Hakuno knocked off the bike. Hakuno finds cover, but Rani is out in the open, obviously bate to take.

Many “ghosts” start to surround Rani, urging Hakuno to forget about her and continue up the tower to defeat Blackmore, but he rejects their certainty and chooses to save her instead, donning the Death Face to gain exceptional speed that avoids the gunshots. Rani is unable to move, but still able to fight.

Deeper in the forest, Robin deems the time is right to use Yew Bow on Saber, only to have it fail spectacularly. Saber, you see, picked up on the fact the detonator targets the impurities—the poison—in the target’s blood. Her answer to that is to simply bleed out, and once Robin detonates it, divert the blood-blast with her sword.

It works like a charm, and Robin isn’t ready when she charges him and runs him through. How can she survive bleeding out? Well, aside from being Saber and thus very tough, she apparently has up to three extra lives provided her body remains intact. Losing her blood now and again isn’t that big a deal…especially if it helps secure a path to victory for her Master.

That leaves Dan on his own against Hakuno, who does not fall for the trap of Dan being at the top of the clock tower just because the bells ring every time he takes a shot. Dan is in fact in the tower of the citadel, firing at the bells, while the clock tower is lined with explosives.

No matter; once atop the clock tower, Hakuno, in Death Face mode, shoots Dan before he can shoot him, and Dan dies with a distinct sense of relief he can finally be with his wife again. Upon his death, the elevator appears immediately, leaving Hakuno no time to get Rani.

But as Saber says, Rani never intended to ascend at all. She was always content to tend to the dead and watch one last “star” ascend, which Hakuno and Saber do thanks to her assistance. 50 years of “rebellion” against Blackmore were enough.

Oh, and Rin’s still hanging out on the elevator as they start their ascent to the third stratum—though Hakuno and Saber aren’t sure why.

Fate/Extra Last Encore – 04

As they ascend to the next level, Hakuno ponders Rider’s dying question to him: Why does he want to ascend? All he can come up with is hatred, and a desire to simply ascent, but Saber, once again demonstrating her lack of modesty, does not consider his motivations relevant; he’ll surely find what he desires as they continue to “climb the ladder”, so to speak; she’ll help.

When they arrive, the setting is a lot simpler than the complex, futuristic city: a vast forest with mountains on the horizon, and a few buildings in a clearing. In one of those buildings, someone has been waiting for them; a aging Master who also desires to ascend—and believes defeating another Master will do the trick.

To that end, he fires shots with his sniper rifle from his perch in the clock tower, and Saber and Hakuno have to flee into the forest.

There, Hakuno makes sure to thank Saber for keeping him alive to that point, and Saber tells him to essentially not forget to stop and smell the roses—to enjoy what is beautiful, whether it’s the forest, some flowers, or her own purty face.

That face is threatened once more, not by the Master, but by his Servant, Archer, who drops a poison cloud on Saber and Hakuno and stays invisible, shooting invisible arrows, one of which pierces Saber’s shoulder.

Hakuno must expend a command seal so Saber can raze all of the forest around them with fire (she IS Nero after all, isn’t she), but that’s just what Archer wants: a clear shot.

Archer’s arrows don’t find their target, however, because they’re destroyed by a surprise ally to Saber and Hakuno, the Servant-less Master Rani VIII. She takes them to her home, where she explains she is the last “rebel” Master fighting against the sniper, and has been waiting for someone like Hakuno to come along, with a Servant, to arrive on this level.

She concedes that for all of its inherent stagnation, SERAPH may well be an “ideal heaven”, but that’s irrelevant, because it’s on the brink of destruction. When Hakuno sleeps, he dreams of the man in the white coat he met lower down, making him to wonder if he’s trying to ascend to a place he had already descended from.

After all, not only does his thus-far-inexplicable drive to ascend simply “feels like the right thing to do”, but he’s completely clueless about the actual year; he thinks it’s still the 21st Century, but Rani informs him it’s actually 3020. Worse, the humans living in SERAPH will soon be all that’s left of their race; if SERAPH goes, humans go extinct.

It would seem Rani has far grander designs for Hakuno than he himself could ever have envisioned—that will determine not just the course of humanity, but its very existence in the universe. Perhaps, then, Hakuno finally has a reason to ascend…other than hatred.

I was a little confused about what happened to Rin after seeing her in the bath with Saber. It seemed a bit convenient they’d be shorthanded when Archer attacked them. I guess she had other matters to attend to this week?

Fate/Extra Last Encore – 03

Shinji’s attempt to destroy Hakuno and Saber fails when Toosaka Rin shows up, hacks Shinji’s systems, and lends Hakuno and Saber a ride out of the tower on her flying motorcycle—all good stuff. We don’t learn anything more about Hakuno’s “Dead Face”, only that it drew Rin to their location.

Rin takes them to a run-down but still very stylish safe house, and explains why she interceded on their behalf: while she is only a former Master, she is the only one in the city (other than Hakuno) to have not fully surrendered to the stagnation of Mayor Matou’s grand plan.

She’s a resistance of one, and now that Hakuno, a fully-active Master, and his Servant Saber have appeared, that resistance grows to three. The only means of reaching the upper level is to defeat the “king” of the one they’re on: Shinji—who also happens to be an active Master. Hakuno and Saber met his Servant in the bar.

The morning of their assault on Central Tower, Hakuno glimpses Saber resplendent on the rooftop’s morning light, surrounded by birds. This show is nothing if not pretty and sometimes drop-dead gorgeous in its staging of people and places.

Rin assists in Hakuno and Saber’s infiltration of the tower, which necessitates her remaining behind to fight Shinji’s Berserkers, leaving the other two free to ride the elevators to the non-projection Shinji’s location.

Once they reach that location—which appears in the form of a standard Japanese school rooftop, Shinji recalls the victory that got him to where he is today. In light of that victory, he is game for a duel against Hakuno and Saber.

With that, massive walls begin to rise above the cityscape, great hatches open, and the entire level is quickly flooded with water, turning the city into an ocean. I love how intricately rendered this city has been the last two episodes, only for the show to completely destroy it here.

The reason for the transformation is that Shinji’s Servant Rider has a naval theme: she is Francis(ca?) Drake, and leads an armada of flying sailing ships to face Saber and her…saber.

Rider’s Noble Phantasm is the “Golden Wild Hunt” / Temesoro el Draque, and Saber is seemingly overwhelmed and sinks into the deluge, too low on mana to mount a counterattack.

That is, until Hakuno dives to her location on the “sea floor” and transfer his plentiful stores of mana through a kiss, which I don’t believe I’ve seen before in a Fate series.

It works a treat, and Saber rises out of the water and rams Rider’s flagship with a ship of her own, revealing her Noble Phantasm one of her skills is “Imperial Privilege”, which enables her to copy her opponent’s ability. Rider and Saber face off in a decisive dual, but Rider’s flintlocks appear to jam at a crucial moment, while Saber’s sword does not miss Rider.

Shinji gets to have an uncharacteristically noble end when he decides to ascend with his Servant rather than break his contract at the last moment to continue living.

And that’s pretty much Mission Accomplished for Hakuno and Saber. With Shinji gone, the level is restored to its true state: that of a vast, eerie, deserted ruin. That majestic city was only ever an illusion in which cowards could stagnate for all time. While that state wasn’t ideal, there is still a measure of sadness in what was lost…even if I won’t miss Shinji, as usual.

With that, a lift descends for Hakuno and Saber, which will bear them to the next level up. Rin, who obviously did not drown in the deluge, trails right behind them on her flying motorcycle. What visual wonders, challenges, Masters and Servants await them on the second level? I can’t wait to find out.

Fate/Extra Last Encore – 02

Our introduction to this new Fate world and story continues with a classic Shaft-type episode that is dense in conversation and exposition, but festooned with lavish trappings that befit a story of this scope. F/ELE (as I’ll be calling it for brevity’s sake) has a lot that is familiar to fans of Fate, fans of Shaft, and fans of both such as myself.

Indeed, the manner in which Kishinami Hakuno summons Saber when he is on death’s door is essentially a reversal of Araragi Koyomi’s first meeting and rescue of Kiss-Shot, another blonde of legendary status, in Kizumonogatari. And while Hakuno is so far a walking bag of virtues, this new-look Saber, voiced by all-star seiyu Tange Sakura, is a lot of fun to watch.

We also get a Nisemonogatari-esque bath scene, not just in any bath, but a sprawling, elaborate Roman-style mixed bath strewn with rose petals. It’s hardly a Shinbo production without such a bath, where a young man and a young woman talk business utterly unfazed by the fact they’re both stark nakked.

When they arrive at the first level, which Saber believes will be the first battlefield of the next Holy Grail War, she is surprised to find a bustling metropolis that, far from being ravaged by war, is united in celebration. At first Saber doesn’t mind this twist at all, and soaks it all in, and we learn that while Tange’s Cardcaptor Sakura says “ho’e,” her Saber says “umu.”

They visit an empty bar occupied by only one, somewhat suspicious woman with pink hair dressed as a bartender. When Saber presents herself as a foe and bids her chosen opponent defend herself, the lady scoffs; surely Saber jests. There is no Holy Grail War here, she says; the Masters have sold off their Servants to live in eternal happiness and peace; that’s what’s being celebrated.

Both Saber and Hakuno seem a bit disappointed by this news, but also somewhat skeptical. When seven splendidly uniformed policewomen arrive, surround the pair, and ask them to accompany them to the Mayor’s office, Saber may gush about how pretty they look, but just as with her outwardly carefree soaking in of the city, Saber is likely staying on her guard and gathering information as if there were a war in progress, which is as it should be.

As they’re escorted to the Central Tower and ride its super-fancy elevator to the top, Hakuno starts to remember some of what happened before he arrived here. Saber said his memory would start to return upon becoming a Master, and his vision of a pile of dead classmates serve to remind him of what had to be done to get this far.

However, the mayor—who turns out to be Matou Shinji, appearing before the pair as a hologram—would prefer if they go no farther. After waxing poetic about the benefits of the AI and NPC-rich Utopia he’s helped build (and performing the Shaft Head Tilt), he finally brings up the price of all this happiness. Citizenship requires all Masters to sell off their Servants.

Naturally, Hakuno refuses, and Shinji stops playing nice, reveally he had physically isolated Saber some time ago with his suite of high-tech digital smoke and mirrors, and sics not one or two but three nasty-looking Berserkers upon Saber. She seems to relish a fight at last, as I did, but at the same time she doesn’t seem that impressed by her foes.

Meanwhile, Shinji’s sexy police all stab Hakuno with their swords. For defying the order of things, the plan is to use Saber as a power source as other Servants have been used, and for Hakuno to simply die.

Only Hakuno didn’t get the right script, and refuses to let a few impalings bring him down. To his attackers’ shock, he pulls out their swords one by one and then seemingly powers-up/transforms, a phenomenon Toosaka Rin senses from the top of a building elsewhere in the city.

Rin calls it “Dead Face.” Whatever that is, it’s clear Hakuno isn’t there to celebrate, or live comfortably, or die. He is there to fight.

Fate/Extra Last Encore – 01 (First Impressions)

After an appropriately intense prologue in which a red Saber is magnificently defeated by what looks like some kind of golden deity. She starts falling and her eyes meet those of a dying girl—perhaps the female version of our protagonist (in a different life). Like Bakemonogatari or Madoka Magica, Shinjo starts things out loud and brash.

Things tone down a bit (or possibly reset), as we settle into a more-or-less ordinary high school class. There, familiar faces abound as our protagonist, Kishinami Hakuno, has interactions with Matou Shinji, Toosaka Rin, Matou Sakura in short order.

These faces are familiar, but the setting is strange, and there are constant flashes to a darker, more sinister reality lurking beneath the bright top layer. Kishinami can sense the death, and he questions what anyone is doing in this place, or why it even exists.

When he goes against a teacher’s warnings and approaches “Limbo”, the incinerator in the bowels of the school, he gets a fresh lecture from a bespectacled teacher. This is indeed an artificial paradise; a “digital hell” made in the image of heaven. He calls it a “Moon Cage”, where those with Master compatibility are sent.

Once the number of potentials reaches 100, there is a purge, and only the strongest selectees survive. An already disoriented Kishinami is quickly stabbed in the back by Matou Shinji (I guess he’s a jackass in any reality!) and as he starts to bleed out, an army of terminators starts mopping up the losers.

But Kishinami refuses to die, not without “vengeance” or “bliss, ” and presumably, not without more answers. As he’s chased by some kind of stone golem, he makes it to Limbo and falls in.

When he’s at the bottom, he finds a red sword waiting to be plucked…some version of Excalibur? His would-be destroyer is breathing down is neck, but Kishinami reaches and grasps the sword in time, summoning the servant Saber, who cleaves the foe in two in a sumptuous display.

By choosing to fight rather than simply run or survive, Kishinami seems to have earned the favor of the most powerful of Heroic Spirits, and a chance at an “encore” to attain vengeance for his plight and the bliss of victory—and Kotomine Kirei seems to be rooting for the kid, in his way.

Hmm…I found this a fresh an interesting twist on the Fate formula, going virtual and combining advanced Matrix-esque technology with the more low-tech history of the various servants. The Holy Grail would seem to be, at least in part, release from all of the layers of virtual prisons; a “true freedom”.

Akiyuki Shinbo directs this much like Bakemonogatari and Madoka, juxtaposing epic spectacles with mundane daily life and not afraid to let things get a bit trippy. While I would like to see a little more humor infused in the proceedings, I understand the need to establish this world with a straight face. Let’s see where this leads.

Fate / Zero – 25 (Fin)

Did the Holy Grail know Kiritsugu would reject it? Who can say? But even if it initially chose him to be its bearer, his order to Saber to destroy it flipped the script. It also flipped the cup, as the Grail’s destruction means the black ooze it contained falls upon Fuyuki, destroying everything in sight, to Kiritsugu’s great despair. Even trying to do the right thing at the right time would seem to have backfired on this exceedingly unlucky and tortured soul.

Speaking of tortured souls, Kariya is still barely alive when he returns to the Matou basement, but while his senses tell him he is reuniting Sakura with Rin and Aoi, in reality Sakura is abandoning him to the Crest Worms and accepting the fate he tried in vain to keep her from.

Perhaps it was the contents of the Grail, not the Grail itself, that mattered most, as those contents fell on Archer, but rather than destroy him along with everything else, it gave him physical form (though not clothes). And because Gilgamesh still had a pact with Kirei, it resurrected him, albeit with no heartbeat.

That literal lack of a beating heart is indicative of his departure from humanity, as is his apparently Grail-fulfilled wish for death and destruction around him, and a hunger to “learn more” and explore the depths of his inhumanity. But as I said, the Grail will never fully satiate; at best it can only lock people—Servants and Masters alike—in a perpetual state of searching.

As for Kiritsugu, he’s done searching. Indeed, he seems to be just about done with everything, owing to the curse bestowed on him by a scorned Grail and his entire life’s work burning before him. The last thing he searches for—a single survivor among the scorched rubble—is something he ironically finds immediately.

By saving that single life—a young Shirou—Kiritsugu himself is saved. It’s a concept a sneering Kirei can’t possibly comprehend enough even to envy.

With that, the clock on the Fourth Holy Grail War reaches…Zero and comes to an end, with the official winner in doubt, though more-or-less claimed by Kirei, since the Grail seemingly brought him back.

Back at his “grandparents”, Waver announces he’s going to set aside his magical studies for a bit, get a part-time job, live with them, and save up enough to travel the world his king once conquered a good chunk of.

Kirei has upheld his promise to his master to look after Rin after he’s gone, likely so that he can observe and absorb all of the grief, pain and suffering Rin is likely to experience on the long, hard road all heads of great families must walk.

Rin maintains a stoicsm beyond her years at her father’s futural, even as she wheels her brain-damaged, delusional mom around. What gets her to crack and shed tears is the Azoth dagger; Kiritsugu twisting the blade like the piece of work he is.

And Saber, poor Saber, is back in Britain, on a battlefield strewn with corpses, having led everyone nowhere but to their own deaths. She remembers Lancelot’s last words to her, about how he only ever sought her righteous judgment for betraying her and falling in love win Guinevere.

Arturia considers herself a failed king who never understood anyone, and considering her surroundings it’s hard to argue with that assessment.

As for Saber’s former Master, he is banned from Einzbern Castle forever, having failed to secure the Grail for them, and never sees his daughter Ilya again. So he adopts Shirou, fixes up the old safe house, and spends the next five years raising his adoptive son and living a quiet but happy life.

One night he tells Shirou how he once wanted and tried to be a hero, but ultimately failed. Shirou confidently promises his dad he’ll become a hero in his place. A heavenly light suddenly shines above Saber; a ray of hope.

Clearly contented by his son’s words, Kiritsugu starts to peacefully pass away, with an answer for his friend Shirley’s question about what he wanted to be when he grew up: he wanted, and still wants, to be a hero.

* * * * *

And that’s it for Fate/Zero! Boy, what a ride it’s been these past five weeks. That was a far better show than I could have imagined…which is why it took so long after UBW to watch it. Burned by previous prequels to beloved works, I was worried knowing pretty much how everything would end would make it difficult for the stakes to matter.

Yeah…I was dead wrong about that. Not only was I far more emotionally invested in Zero, it was a lot more approachable, had a lot more heart, and took a lot more risks than the smoother, shinier UBW. It’s not that UBW is bad, it’s simply a matter of Zero kicking ass in virtually every aspect of the game. It wasn’t just a great anime, it was great television; great storytelling, full stop. So thanks to everyone out there who recommended it to me. It was well worth a look back.

Fate / Zero – 24

Ever since the childhood trauma that set him on his path, Emiya Kiritsugu has striven to be a level-headed, efficient, logical man. It’s partly why he kept Saber at arm’s length: an emotional connection with his Servant isn’t necessary and exposure to her illogical honor can only create inefficiencies in his plans.

So as Saber finds herself struggling with the insane anger and hatred of her former most trusted knight, essentially making her the logical one in her fight, and Iri’s body transforms into the Holy Grail, Kiritsugu never would have imagined it would not only toy with his emotions, but use his beloved logic against him.

But first, by god was I not wrong when I said the duel between Kiritsugu and Kirei would be something. It’s quite different and more minimalist than any previous battle in the show, with both participants sizing up their opponents, approaching them with a certain strategy, and switching up tactics on the fly as conditions rapidly change.

Kirei would have surely killed Kiritsugu relatively quickly were it not for Avalon imbuing Kiritsugu with a virtual “Auto-Life” status. In the slight sliver of a moment Kirei’s guard is down, Kiritsugu takes Kirei’s right arm away with Contender, and the odds are evened.

So even is the duel, in fact, that the Grail itself, runnething over with some kind of dark, blood-like ooze directly above the fighters, essentially calls a “timeout” by covering both in that ooze.

That indicates the War is finally at an end, and the Grail has chosen the victor. At the same time, Saber runs Berserker through, killing him, as Kariya also expires; claiming she cannot atone to him without winning the Holy Grail.

In an illusory world created by the Grail, an avatar of Iri representing the will of the Grail names Kiritsugu as the winner, and he need only officially pray for his wish to become reality. The only problem is, the Grail, or at least this Grail, cannot give him the miracle he wants. At least, not in a manner that is acceptable.

The Grail then sets to work taking Kiritsugu’s philosophy to its logical conclusion: killing the smaller percentage of people to save a larger one, thought-experiment style; sacrificing the few to save the many.

But if, like his time-altering battle ability, Kiritsugu would continue to whittle down some humanity in order to save another proportion, before long there will be no one left in the world but him and those he cares about the most, presented to him as Maiya, Iri and Ilya.

To save them, he’ll have to kill everyone else. In other words, “saving the world” means destroying humanity. This is the sum total of Kiritsugu’s wish, according to the Grail.

And the Grail stands ready to grant that wish, even though it is not at all what Kiritsugu wants. He rejects the Grail, unwilling to sacrifice the world for his own few loved ones, symbolically murdering both Iri and Ilya in a thoroughly upsetting scene in an attempt to subvert of the nightmare scenario the Grail put forward. The Grail curses him and he is cast out.

Back in reality, such as it is, Kiritsugu has the advantage over Kirei, who rages and fumes at him for refusing and wasting the Grail’s wish. But in killing him it seems Kiritsugu is almost doing Kirei a favor.

This Grail is not omnipotent, and thus would be no more able to reveal the nature and meaning of Kirei’s existence than it could grant Kiritsugu a miracle that would end all conflict in the world. In both cases, the one making the wish does not know what it is they seek.

That being said, the Grail is still immensely powerful and dangerous in the wrong hands, and Kiritsugu decides that no one, including him, has the right hands.

So as Saber and Archer descend on the physical Grail, poised to fight the final duel in the War, and Saber rejects Archer’s offer of marriage and servitude, Kiritsugu forsakes Saber once more, hitting her where it hurts most: he uses his two remaining Command Seals to order her to destroy the Grail with Excalibur…and she cannot disobey.

But perhaps Kiritsugu is right that Saber, like Kirei and he himself before, is merely deluding herself into believing the Grail will grant her wish, only offer shallow illusions in exchange for being possessed by someone worthy. The Grail is not an answer.

Fate / Zero – 23

Before their epic duel, Rider and Archer have a drink together and exchange words of respect. Waver quips that they’re friends, and Rider doesn’t argue with the label: how can he be unfriendly with the one who could be the last person he’ll ever see?

Rider doesn’t mess around with anything other than the best he’s got, and whips out Ionian Hetairoi. Archer looks pleased to be facing such a strong and worthy foe, but he also doesn’t look worried in the least.

While the ancient kings’ battle takes place on the vast expanse of sand, Saber ends up fighting Berserker in a relatively cramped underground parking lot. Berserker seems to feed off of Kariya’s suffering and regret, as Sakura shows up in his head, and while reassuring her they’ll all be together again, Sakura inadvertently reminds Kariya that “they” no longer includes her mom.

Berserker’s penchant for ‘turning’ weapons for his use continues when he makes use of some automatic weapons; Saber can barely get near him, and when she does, her sword bounces off his armor, or the blade merely caught in mid-strike by Berserker’s palms.

Once he does that, Saber gets into her head that he reminds her of some knight she once knew, and on cue Berserker’s Pigpen-like cloud of miasma dissipates and he removes his helm to reveal he IS someone she knew…or rather he WAS. That someone is none other than Sir Lancelot, the greatest of the Knights of the Round Table.

That Saber has no idea it was him until now, and has no idea how he came to be this way after they parted ways, gets to the heart of that seed of doubt planted by Rider about her reckless self-destructive path to kingship, which he didn’t see as kingship at all. Lance would seem to be proof of that, and I can’t imagine Saber wants to fight him, except perhaps to put him out of his misery.

Back in the desert, Gilgamesh reveals the reason he’s so calm with a massive legendary army descending on him: his own, thus-far-unused Noble Phantasm, Ea. As soon as he unlocks and activates Enuma Elish (an extremely strange and cool sequence, as befits Gilgamesh), the dunes begin to collapse, the legions plummet to their demise, and the very sky shatters along with the Reality Marble.

His trump card utterly defeated, Rider has no course but to charge Archer on his own. Even after his horse goes down, he runs at him on foot, getting impaled several times, before being restrained by great chains, his blade inches from Gil’s face. Before he fades away, Iskandar wonders if the lapping waves of Oceanus, the Ocean at the End of the World, was actually merely the dancing of his own heart.

It’s a legendary ending for a truly legendary Servant with whom there was never a dull moment. He was simply outmatched here. And to his credit, Archer is not cruel in his treatment of Waver. On the contrary, when he asks if as his sworn retainer, Waver should not avenge his fallen king, and Waver replies that he was ordered to survive, Gilgamesh salutes his “splendid loyalty” and spares his life, urging him to never let that loyalty tarnish.

Time for Waver to go home; he got far further in the Holy Grail War than most would expect a mage from a “lesser” family to get. While this fight is over and Rider is gone, the stage is set—literally, Iri’s body is on a stage—for the duel between Kiritsugu and Kirei. Will their fight be as bold and flashy as Archer and Rider’s, or Saber and Berserker’s below them? Perhaps not, but it should still be…theatrical.