#Fate grand order anime series
And, amusing as they may be, the quirky comedic spinoffs that sometimes drop during the Fate New Year’s Eve Special are too limited in scope to feel like the series as a whole is trying anything interesting.Īfter such a rocky start, the high-profile adaptation of Absolute Demonic Front: Babyloniafelt like a chance to prove that FGO can justify its existence in anime form. The less is said about studio Lay-duce’s takes on each prologue- First Order and Moonlight/Lostroom-the better both flavorless even in the mediocrity of their production, a plain embarrassment for such a big franchise. But understanding their reasoning does not mean agreeing with it, and I wouldn’t shy away from saying that I’ve found the FGO anime experience thus far to be pretty miserable. Being the title that took the franchise’s worldwide popularity to a whole new level, genuinely making it one of the most lucrative series out there, it’s understandable that the people in charge would like to keep things safe. In contrast to those neat iterations on the concept of Fate, the anime adaptations of Fate/Grand Order have made the safest, frankly most boring choice at every turn… save for the consistently stunning commercials by the Shun Enokido and Takahito Sakazume duo, which exist closer to Apocrypha’s anime than to any FGO adaptation. Although the trilogy lost steam by the end, it proved that you can have a Fate adaptation with a personality of its own even on the biggest of screens. That mindfulness of the audience that can come to restrain creators only manifested in their smart decision to add a whole new exciting setpiece to the movie, which ended up being arguably the most fun one in the trilogy and I’m not saying this just because it spawned the running Lancer meme. While he’s a huge fan of the source material, director Tomonori Sudo felt the need to strengthen its core and address shortcomings with plenty of original scenes that widened the story’s tonal range some more.
Most recently-and perhaps most significatively-the highly anticipated theatrical adaptations of Fate/Stay Night’s final route Heavens Feel opened up with a decidedly transformative film, more reminiscent of ufotable’s Kara no Kyoukai work than previous Fate titles. Messy for sure, but with undeniable personality. Though not as dissimilar to the standard idea of Fate as Emiya-san, the outrageous Fate/Apocrypha anime reached historic highs by allowing a new generation of creators to go on a rampage with their highly idiosyncratic styles, while also being unashamedly silly at points. When talking about the series’ range of expression in anime form, the likes of Today’s Menu for the Emiya Family / Emiya-san Chi no Kyou no Gohan will quickly come to mind: a delightfully cozy cooking-themed spinoff that studio ufotable poured just as much effort into as their main entries in the series. Given its immense growth over the years, this very much applies to the Fate series… though perhaps not as much as people who feel fatigued over its omnipresence would be led to believe.Įven nowadays, Fate anime is allowed to be proudly weird on the sidelines, and most importantly, occasionally bold on the main stage. The inherent limitations of commercial products, that sanding off the rough edges that may contain the most interesting aspects of the work, producers applying pressure with varying degrees of subtlety, even the dogmatic idea that artists must comply with preset expectations of an audience-all these aspects grow inescapable the larger of a franchise you’re entrusted with. It’s no secret that hugely popular franchises tend to be at odds with creative freedom. This is how a young team amidst a huge mess challenged anime production standards to create something spectacular.
Creators tend to have their range of expression limited when working on big franchises, and that’s precisely why Fate/Grand Order – Divine Realm of the Round Table: Camelot is such an interesting case.
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