Anime: Alexander Senki

I suppose that one has to be at least slightly familiar with ancient greek history and philosophy in order to fully appreciate all the events and characters depicted in the series. The ancient world where the series is set is on the brink of a paradigm shift. The legacy is represented by Aristotle, Plato and the pythagorean cult, who embrace a more abstract and mystical outlook of the world. That worldview slowly gives way to a more pragmatic and scientific way of thinking. Alexander seems to know that this change is under way, but he is by no means its master. In fact, he is shown to acknowledge the future rule of Ptolemy, as a representative of a new world order. by It’s a pity that this trend is only present as an undercurrent, and not presented more obviously.

For the most part the plot unravels as expected, with Alexander overcoming the obstacles to his throne, and then starting a campaign of conquest towards the neighbouring kingdoms. The focus shifts regularly from personal fights to strategic meetings to large-scale battles, and as an added bonus there is at least some gore and nudity throughout the series. There is also a fantasy element in the subplot of the pythagorean cult, and a science fiction element in Alexander’s vision of Alexandria. In short, the series caters to many diverse interests, if one has the patience to wait it out.

The timeframe of the series is difficult to pinpoint. Naturally a lot of warfare is depicted, and it seems to consist mainly of troops on foot or on horseback, wearing metal armour and using spears and swords as weapons. Side by side, there are also huge war machines and self-driven chariots. Outside of the battlefield, people seem to do business on a level much like ancient Greece with a few exceptions, such as some more sophisticated medical tools.

And then there are zombie soldiers and flying zealots. On the whole, I would say that technology is akin to that of ancient greece, with a few steampunk/”atlantean” infusions. As expected, the graphical depiction of this world is equally eccentric. The setting is, for the most part, realistically drawn, from the open air market and implements of war to the elaborate courts and arenas. Outside of organized settlements, the world takes a more abstract view, with landscapes seemingly composed of nothing but wireframe geometrical shapes. All the focus of the artists is places on the proximity where the characters live and act.

Unfortunately, said characters do not seem to advance and develop as the series progresses. Alexander, in particular, is patently bland and unfazed, although perhaps he is presented so on purpose in order to appear calm and inspiring. This appearence gives us no input concerning his motives and outlook, however, so the fact that the whole series follows him around loses some of its interest. The only point where he is shown to express human emotions of doubt and ambition are during his meeting with Diogenes.

The rest of the characters are more complex, although not by much. Alexander’s supporters are one-dimensional due to their devotion to him, to the point of self-destruction. The most developed characters are the antagonists, such as Lord Attalus and Ptolemy, who are shown to experience the whole spectrum of human emotion, from hate to adoration, during the series.

The designs of the characters themselves are rather eccentric, with men and women equally scantily clad (the most common ensemble seems to be shirts and thongs, for both sexes), toned, spindly and with androgynous facial characteristics. It is not an unpleasant design, but it does take some time to get used to it.

The voices are well cast, with nobody standing out as misplaced, but no notheworthy performances either. The score, whenever it does exist, is likewise competent but nothing particularly special.

On the whole, I think that watching Alexander Senki was interesting, as it is one of the few visits into ancient greek history; it is interesting to see the japanese take of what elements of historic events and myths need to be changed and modernized in order to make them watchable. The outcome might seem a bit off-key at first, but as a alternative history drama anime it is eventually fulfilling.

plot synopsis and review in my blog,
http://animouliasma.blogspot.com/2009/02/alexander-senki.html

AESTHETICS

As a Greek I was curious to see how a steampunk version of the life of Alexander the Great would be like. Being animated by studio Madhouse, just added fuel to the hype. Turns out the aesthetics were the only thing I liked, and even those are not for everyone. The artstyle is very distinctive; once glance, and you know it’s from the guy who did Aeon Flux and some Animatrix shorts. Being someone who got sick and tired of seeing the same anime style repeated in almost every show, I found that very refreshing.

But I also found it grotesque, since I was essentially watching Macedonians with facial mascaras and tight bikinis. The weird clothes and the cybernetic implants were cool, but the animator has a thing for making everyone look like ugly transvestites. I’m an 80s guy, I am not into this whole sexual acceptance of GLBT. And I know many of you actually believe than most ancient Greeks were pedo-gay-goat bangers, but that is not true, they were admirers of the human figure. What you are thinking is called Romans!

PLOT

As for the plot, they mixed historical events, many good sci-fi ideas, existentialism issues, and metaphysical concepts, making it sort of an illegitimate child of Neon Genesis. It is advised to know what the historical Alexander did before watching the series, since there a lot of artistic liberties, and we don’t want you to be misinformed, do we now? Assuming you care that is, and you don’t mind stuff like Pythagoras’ mystical artifact, cults of cyborg assassins, and preachings of Jewish Kabala having an orgy or weird ideas. It otherwise creates a wonderful blend of concepts that do not contradict one another, like a Sunrise mecha.

But then again, all that are too much to fit in 13 episodes, so the focus constantly switches from one theme, to another character, to another location, to DARN they look so weird in leather. This has the effect of making the story interesting on paper, and yet boring on screen because nothing and no one get enough spotlight. The good part is, no episode feels the same as the rest, the bad part is, you are left with too much to think about and yet very little to take away from it. Which is kinda sad really; I felt like everything fits into place and needed more time to show how it’s all part of a huge machine that ordains the fate of the algorithmic cosmos.

And despite that, it shows Alexander going against this system and thus his own destiny, thus not succumbing to fatalism, an ever-present element in ancient Greek theater, which I happen to dislike since it’s the birthplace of the term Deus ex Machina. It is overused even today, where cheap solutions come in the form of divine interventions. Even when you are losing, the scriptwriter will let you win anyways, because you are the protagonist and that is all the logic lazy storytelling needs to overcome any problem.

The ending is probably going to frustrate a lot of viewers, since it ends right before the final battle, and leaves the outcome open to interpretation. I was yelling “Where is the rest of it?!” even though I knew from history what will happen next. It was a messy way to wrap this clusterfuck of concepts, but thinking back at it, it’s not that bad. Not being shown how it ends, means you don’t know how it ends, therefore following the theme of going against destiny, and not knowing what happens next. That was so subtle, it took me a decade to realize it.

CHARACTERS

Regarding the characters, although I did say the plot constantly switches focus amongst them, it eventually comes back to Alexander, since after all this is his biography, set in a very weird cybepunk setting, where everybody is a queer. So you will probably remember only him as a character, despite having as much personality as all of his generals, and enemies. Which is not that much, but still more than enough to tell such a short story. I can’t say he or anybody else is memorable as a person, since they are closer to personifications of ideals and concepts, and yet still behave more humane that anything Urobutcher ever wrote.

EPILOGUE

Nevertheless, artwork and aesthetics tend to overshadow the cast, since they are simply way more eye catchy than anything the characters say or do. Which in a way is a disadvantage, since you end up caring more about the wrapper called pretty colors, instead of the heart of any story, called the characters. What I mean is that the show has an identity, but it’s not found in the cast within the story. It’s the animator who made it stand out the most. So meta, it becomes aesthetics for the sake of aesthetics, and I am not in favor of that. I did enjoy the show but only on a conceptual level. The presentation was also overbearing and hard to sit through, since I was essentially watching a dozen episodes of ugly ancient Macedonians talking about the meaning of life, before noticing a hole in their stockings.

SUGGESTION LIST
- Aeon Flux, made by the same guy.
- If you dig protagonists who aim to rule the cosmos, then head for Legend of the Galactic Heroes, Death Note, and Code Geass.

i loved this anime all around. it was amazing...the art...the story...everything. i love it because it has some historical value and background and it is just awesome. all kinds of action and it is deep. some times it can become a little confusing but it is definately a buy. if nothing more everyone should atleast see it. the only problem i could see people having would be the art...it isn't that the art is bad, it's that it is different. i think it is kind of a you like it or hate it deal. either way, watch it...or else. ^_^