ALDNOAH.ZERO

DESCRIPTION

CAST

ANIME ActionAldnoah.Zero 2
MANGA ActionAldnoah.Zero
MOVIE ActionAldnoah.Zero (Re+)

REVIEWS

• 

  CodeBlazeFate

  43/100
  Remember when this show was popular? It's ok if you don't; that's probably for the best.

  MINOR SPOILERS FOR ALDNOAH.ZERO

  "Alright! It's time to watch some Turn A Gunda- WHAT THE FUCK?!-" CBF back in 2016.

  So, can we all agree that Aldnoah.Zero (the entire series, not just this first season) is probably the worst show Gen Urobuchi had an active role in? If nothing else, it's certainly the most polarizing work his name has been attached to, even if he didn't do much beyond the script for the first few episodes and a few other ideas in the preparation phase. Now that the man hasn't made anything big in the industry since this piece of crap, why don't we look back and ask ourselves: why did I review season 2 before season 1?

  Oh wait it's because season 2 was more memorable on the sole basis of being an absolute dumpster fire. Remember when this show was popular? It's ok if you don't; that's probably for the best.

  The first few episodes aren't too broken, but they suffer from lacking characterization, a problem that will plague the series for sure. The first half isn't too riveting, even with its many action sequences. Sure, seeing our stale bread protagonist Inaho out mech weaknesses via science is neat in theory, but when the solutions are so obvious or farfetched, it nullifies any satisfaction that would grant. Those only really last until the halfway mark, anyway. When Slaine, the deuteragonist representing the enemy's point of view, helps him take down one of his own, the fucker just blasts him and leaves him for dead. Not only did it cause Inaho to go from a lifeless hunk of tofu to a genuinely erratic character, but it marked the shark-jumping point for the series as a whole. I understand that Slaine was still technically affiliated with the enemy, but he was clearly defecting and trying to get in touch with Inaho and his crew, so it would make so much more sense for Inaho to at least communicate with him before just shooting him down. No one even confronts him about it. The whodunnit assassination plotline isn't done well, and when the villain reveals himself, his motives clash heavily with his methods in a way that the show doesn't take advantage of. Even amidst the blatant plotholes and arbitrary decisions characters make towards the latter half in particular, the biggest slap in the face has to be the ending which opts to shoot Asseylum and Inaho in the face to play the whole "protagonists are dead" card. It's a series of obscenely melodramatic contrivances and cliffhanger situations for the sake of throwing the audience into a frenzy. Geass 1 finale, this is not.

  So, outside of our dismal protagonist, who do we have? There's his rival, Slaine, who might as well be the embodiment of "trauma conga line." His trauma throughout the series gets so brutal and frequent that it honestly becomes comical. He quite literally only exists to highlight how awful everyone on all sides is, especially the antagonists he works for. Every single person who interacts with him screws him over in some way, including our protagonist who just backstabs him after receiving his help in a previous mission. He literally doesn't do anything to deserve the shit he gets, and his characterization pretty much boils down to "good boy gets obliterated and jaded". The only one who doesn't directly bend him over is Asseylum, and she's just a boring "good girl politician" character with a terrible love triangle with Inaho and Slaine. Everyone else is honestly as bland as Asseylum, outside of a few of the side characters with potentially interesting backstories that the show does nothing with. They're better than the antagonists who are just a bunch of mustache-twirling bad guys because only the good guys are allowed to have any kind of nuance, as little as there is to begin with. The only exception is the main antagonist of the first season, Count Saazbum, and his motivations clash with his actions in a way that the show doesn't take advantage of. Outside of that, he's just an evil villain because we need more evil villains being pure evil.

  With most of the negatives out of the way, we finally reach a more positive tone for this review, at least for now. This joint production by A-1 Pictures and TROYCA is honestly fine from a visual standpoint. The CG mechs are somewhat jarring and clunky, but there are a lot of weather effects and surrounding objects for them to maneuver around. Not only does this allow for more dynamic and energetic sequences that have some semblance of weight to them, but it makes the quality of the models less noticeable. The actual character designs are better than the models and designs of the mechs, and the artwork tends to be rather solid. There are a fair number of sequences that blend 2D and 3D animation together in a way that lets both feel kinetic, like when Asseylum's bodyguard drives her around and fends off the battle taking place in the first episode. Ei Aoki's direction is also rather solid at times, highlighting the state of panic most of the characters are in early on. It stops being noticeable as time goes on, but it's never noticeably bad either.

  The music in the show is honestly A.Z's strongest asset. The vocal tracks, while overused, are still pretty good. "No Differences" is the biggest standout, and the background tracks often carry a sense of epicness that Hiroyuki Sawano has become famous for. One of my favorite Sawano tracks actually appears here. The opening isn't as exciting as most of the other songs present here, but it does showcase a sense of urgency and ambition that this project was obviously filled with. While the first ED isn't anything to write home about, "aLIEz" by SawanoHiroyuki[nZk]:mizuki, is one of my favorite ending themes of the decade. The sheer bombast on display is one that I don't think they have topped since, with one of the loudest and proudest displays of the "Sawano Drop" and howling vocals in their discography after such an inviting yet cold tone the first half set and built up.

  This could have been something. It wanted to be something. Instead, it ended up being a worse version of Mobile Suit Gundam and Turn A Gundam, shows which actually deal with politics, romance, and war between earth and space dwellers in a manner that makes sense. I still remember how my moderate enjoyment of the series turned into crushing disappointment by the second half, though there isn't much else particularly memorable about the show despite the plethora of big sequences it had. While it's not a complete disaster, Aldnoah.Zero isn't much more than a disappointment that turned heads half a decade ago, remembered only for heated conversations surrounding its love triangle and cliffhanger, not for being a compelling narrative people cared about even a year after its conclusion.

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• 

  ChillLaChill

  75/100
  An entertaining series marked by failed ambitions and missed opportunities walking in the shoes of other mecha shows.

  From the moment the first episode of Aldnoah.Zero concluded, I was immediately captivated. The series had the makings of the next big hit in the mecha genre, boasting the promising combination of Gen Urobuchi's renowned writing and A1 Pictures' high-quality animation. Urobuchi's reputation for crafting complex narratives and A1's visual prowess set the stage for what appeared to be a thrilling new addition to the mecha anime landscape. However, true to Urobuchi's style, the series does not entirely escape the pitfalls and issues that often accompany his works. While it does not completely fulfill the lofty expectations set by its intriguing premise, Aldnoah.Zero stands out as a well-crafted mecha series with several noteworthy strengths.

  The series is set in a future where Earth and Mars have established a tenuous ceasefire. This fragile peace is disrupted when a hyper gate, which previously allowed the Vers Empire from Mars to travel to Earth, is destroyed. This act leaves the Martian fleets stranded in Earth's orbit and sets the stage for renewed hostilities. The assassination of a Martian royal further reignites the conflict, adding an intriguing twist to the narrative. The contrast between the Terrans' weaker mechs and the Vers Empire's superior technology introduces a compelling underdog element to the story. This setup creates a narrative ripe with potential, especially as our protagonist, Inaho Kaizuka, develops counter-strategies to face the technologically advanced Martians.

  Inaho's tactical brilliance initially promises a fresh and engaging approach to the mecha genre, showcasing a protagonist who relies on strategy rather than sheer power. This aspect of the show, which emphasizes careful planning and intellectual combat, is one of its standout features. However, this tactical depth often gets overshadowed by more dramatic and less nuanced elements. As the series progresses, the focus shifts from intricate strategy to high-octane boss fights reminiscent of Metal Gear Rising. This transition can feel jarring, as the show’s initial emphasis on tactical warfare gives way to more conventional and less innovative combat scenarios.

  The story, while engaging at times, falters with numerous twists and turns that ultimately miss their mark. The series is somewhat reminiscent of playing Russian roulette with a loaded nerf gun—full of predictable fake-outs that eventually become tiresome. While there is one significant death that delivers an impactful plot twist, it is surrounded by a series of misleading or inconsequential events that diminish its overall impact. The constant barrage of twists can create a sense of narrative fatigue, as viewers are repeatedly led to believe in dramatic developments that are ultimately undone or reversed.

  The second season of Aldnoah.Zero further complicates matters by reversing even some of the most significant developments from the first season, including Inaho's death. This plot twist renders much of the emotional weight and stakes established in the first season moot. As a result, viewers who continue into the second season may find themselves frustrated with the apparent disregard for the narrative consequences of earlier events. This sense of disillusionment is compounded by the show's tendency to undermine its own dramatic tension.

  One of the recurring issues with Aldnoah.Zero is its handling of the kill/death ratio, which often undermines the show's ability to maintain a sense of tension and seriousness. The frequent and seemingly arbitrary shifts in the balance of power between characters can dilute the impact of key moments and reduce the overall stakes of the narrative. Additionally, character development throughout the series is uneven, with Inaho frequently coming across as an overpowered protagonist. This imbalance can make it challenging for viewers to fully engage with his character, as his apparent invincibility diminishes the sense of genuine conflict.

  In contrast, characters like Slaine Troyard emerge as more relatable and compelling, offering a more nuanced and human perspective within the story. Slaine's struggles and motivations stand in stark contrast to Inaho's seemingly effortless successes, making him a more engaging figure in the narrative. The side cast, unfortunately, often gets sidelined in favor of major battles, and their backstories are introduced through clunky exposition and flashbacks. These attempts at character development frequently feel like they are simply padding out the downtime between action sequences, without significantly enhancing the main storyline.

  Despite these flaws, one of the standout elements of Aldnoah.Zero is its soundtrack, composed by Hiroyuki Sawano. The music offers a high-quality score that significantly contributes to the show's overall appeal. Sawano's work is a clear highlight, providing a powerful and emotive accompaniment to the series' visuals and action. His soundtrack is deserving of a 10/10 rating, as it plays a crucial role in elevating the show's more impactful moments and compensates for some of its narrative shortcomings.

  The series excels in its depiction of survival in a post-apocalyptic setting, capturing the essence of humanity's last stand on Earth. This thematic focus on survivalism adds an extra layer of intensity and stakes to the story, and it is here that Aldnoah.Zero shows its potential for greatness. The depiction of humanity's struggle against overwhelming odds resonates with viewers and adds depth to the show's narrative. However, this potential is not fully realized, as the series ultimately falls short of its initial promise.

  While Aldnoah.Zero does contribute valuable elements to the mecha genre, particularly through its impressive soundtrack and its initial narrative setup, it fails to live up to the high expectations set by its first episode. The show’s potential is evident, but it is hampered by inconsistent storytelling, uneven character development, and a tendency to undermine its own stakes. The biggest risk for viewers is becoming invested in a world that is significantly altered by the second season, which may ultimately feel like a betrayal of the groundwork laid in the first season. Despite its shortcomings, Aldnoah.Zero remains a notable entry in the mecha genre, offering moments of brilliance amid its flaws.

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