Ranked #79

Seirei no Moribito

Seirei no Moribito was one of those rare anime that I commenced with an unshakeable sense of anticipation and with high expectations. I can never resist the urge to assume a show will be spectacular based on the staff or studio involved, even if my hopes have all-too-often been crushed (as was the case with Darker than Black). So, when I heard that Kenji Kamiyama, who is largely responsible for some of the finer creative inputs for both seasons of Gits SAC, was going to be heading this show with Production I.G, it instantly became my single most anticipated series of the year. By the time the trailer came along I was well and truly brimming with excitement. However, the show that I got was both different to what I had hoped, and also not as memorable or entertaining. On some levels, the show is a resounding achievement, and there are moments dispersed throughout when it reaches remarkable heights of excitement, emotion and splendour. Yet, when looked at as a whole, the show has failings that can not be ignored; most notably, flaws in the pacing and the build-up of the story.

The element of Seirei no Moribito that most screams for attention is its stunning production, and here is where my faith in Kamiyama is affirmed. The entire series has maintained an unprecedented quality of art and animation. It has the look and feel of a (good) movie, with a sweeping cinematic mode of directing that befits the stories’ expansive fantasy world, and stunningly realised landscapes that bring the show to life. More so than in any other anime I can recall, the background art in Seirei no Moribito left a profound impression on me - this could well be the finest example of background art in anime, not just for its level of detail, but for the way it is used to enhance the atmosphere of the show and draw the viewer in to its vibrant and striking settings. On top of this, the cel animation, while it could quite easily have been blessed with a higher level of detail to match its surroundings, is amazingly fluid and vital when it needs to be. The use of cel-shaded CG has been popularised among IG’s producers it seems, and it’s generally put to good use in Seirei, to animate hordes of extras in scenes such as in the towns, or when the palace assembles its army. This means that these scenes are bought to life in a way that would otherwise not be possible with a tv anime budget, successfully avoiding the common anime trap of either having a surprising absence of people in the background, or have large crowds of people inexplicably still. Unfortunately, it sticks out a bit too much on a number of occasions, providing a nagging distraction.

I think this show’s production also excels in a way that people generally don’t give credit for, and that is the expertise with which it is directed - Kenji Kamiyama’s style of directing is a subtle yet effective one. Unlike the in-your-face stylistic shots of Akiyuki Shinbo’s work (Sayonara Zetsubou Sensei, Tsukuyomi MoonPhase, Petite Cossette), Kamiyama has presented this series in a conventional yet fresh manner. The fight sequences, particularly those in the third episode, exemplify this, where the use of camera angles serves to make the fight more engaging while not drawing from the choreography. The wide and distant shots used in and around the palace are excellent at creating its cold, detached atmosphere, and the overall choice of shots is amazingly good at highlighting the show’s beautiful scenery. As he did with his directing work on Gits SAC, Kamiyama has created a visually captivating series.

The music was a surprising achievement from the veteran, Kenji Kawai, whose scores I generally find bland and uninspired. I’m not sure why this anime marked such a great deviation from his usual standards, but the music in Seirei no Moribito is a really crucial contributor to its dramatic impact - from the urgent and threatening battle theme, to the quiet and hauntingly evocative tracks, the music delivers in every respect. I’m shocked to say that his work here was more compelling than much of Yoko Kanno’s recent work, and he wasn’t even creating music with real instruments. Fitting with the visual style of the show, the score music is very much produced in a traditional cinematic way, which does this show justice.

Unfortunately, the show’s content fails to live up to its gloss, and I think this is mainly a failure of the pacing of the script rather than of the story itself (which comes from a novel series). The bare plot is an accomplished exploration of life and adulthood, and of the connection between humanity and nature. It is set in a fantasy world, but at its core it depicts a very down-to-earth, human ordeal. Fortunately, the intricacies and depth to the characters and their relationships is well incorporated into the show - the connection formed between Balsa and Chagum gives the show most of its emotional weight. The other thing that I found to be well written is the development of Chagum himself, as he is torn from his palace life and forced to experience life and shoulder responsibility. It is satisfying to see him grow as a person as the show progresses. Perhaps the egg inside of him is a parallel to his rearing into adulthood. The problem lies in the amount of time the show takes to achieve this development, and in the unsatisfying climax.

My appreciation of a good story stems from its sense of direction toward a climax that brings together all of the crucial plot threads from throughout the show and culminates them in a burst of excitement of drama that pays off the time the viewer has spent watching it develop. Instead, the big event that the show had supposedly been leading up to was a rushed affair with a surprising lack of tension or emotional potency. The show did not have any filler per se, but by the time the conclusion was wrapped up I felt that a lot of the show’s time was poorly spent on redundant subtleties of its character development. The trailer gave a very different impression to what was delivered. Balsa and Chagum living together was nice a pleasant affair, but it lacked a sense of tension or danger that ultimately dragged down the middle of the show. The exploration of Balsa’s character was far too spontaneous and vague for my liking. I did get a strong sense of her character from her actions throughout the show, but I really think she had a lot more potential and that we were never given the kind of insight into her that was frequently hinted at.

All in all, this show left me feeling unsatisfied, like being left hungry after a serving of fine food. The show is of undeniable quality; however the writers behind it failed to capitalise on its full potential, through sloppy pacing that made its stand-out moments seem like a tease, and through its inability to deliver a conclusion that sends off the show at its peak. I recommend this show to anyone with an ounce of patience, as the subtle development of the characters and their companionship is ultimately its most rewarding component. I think this show also succeeds in its fantasy elements - its portrayal of two intersecting worlds is fascinating. Don’t go into this series expecting non-stop, heart-pounding action, because it’s a laidback show about the endearing strength of the human spirit with only intermittent bursts of excitement.
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Finishing Seirei no Moribito, or Guardian of the Sacred Spirit is much like finishing a good book that you just couldn’t put down. Once the journey is over, you realize how good the trip was and both enjoy what you watched, and feel sad that it’s finally over.

The characters are the real draw of this particular show. The main character Balsa is quite possibly the quintessentially perfect heroine. The beautiful, middle aged spear wielder comes across as powerful and skilled right off the bat. By the time the final episode comes to a close, Balsa has proven that she’s more than just a powerfully skilled warrior though. Her skill and strength with the spear are tempered by her level headedness, her intelligence and wit. Add to that a deep sense of right, and a motherly instinct towards the young, and the whole package is undeniably one of the best new characters to grace anime in a long while, as well as perhaps one of the best anime female role-models ever in my opinion. Some fans could argue that she’s too good, as she really doesn’t have any character flaws that I can think of. But that’s the way the cast is in this show. Chagum and Tanda are very similar characters. They may not have the same skills with a weapon and fighting that Balsa has, but they each have deep inner strength. If you were to have to surmise the general theme of this particular show, it’d be selflessness, as that’s the trait that comes to be associated with so many of the characters.

The only downside to the show is the real lack of an antagonist. Balsa is a truly masterful warrior, and while we get to see a few glimpses of how great she is, the series doesn’t fall back on fighting to keep the viewers entertained, which means there aren’t a great deal of fight scenes. That’s a shame, because the ones that you are given are incredible. Production I.G. really made the fights with the spear a thing of beauty. The fights are pure art, and one of the few complaints against this show is that there just aren’t enough of them. But that again falls back to the lack of an antagonist in the show. Much of the series revolves around fighting fate, growing to accept ones responsibilities and maturing. Those battles aren’t ones that can be won in a fight. Some might complain that it’s a rather slow series, and in the middle it’s hard to argue against that. There’s nothing wrong with a more intellectual series at all, but when your main character is one like Balsa, you really crave more fighting, just to see her in action.

Aside from the characters, the presentation of the show is top notch. Beautiful and scenic views are presented a lot in the early and later episodes, when you’re introduced to new places. The middle struggles with this a bit as well, as the show hunkers down in one location for a bit. But the animation of the characters is smooth and quality throughout. The music is good, but doesn’t stick with you after you’ve finished watching the show. Sweeping musical and orchestra portions do well to highlight a lot of the development going on and fit the time and location well, but this isn’t a show that really lends itself to having a lot of catchy music that people will be singing afterwards.

In the end, Seirei no Moribito is a truly fantastic show. The story is a solid one, although it tends to lag a bit in the middle, and lacks an antagonist that the viewers will want to see the heroes overcome. As a more coming of age/fighting your destiny type of story, this show works great. It’s a shame we didn’t get more scenes of Balsa fighting with her spear, as they rank amongst some of the best anime fights I’ve ever seen. When it’s all said and done, Moribito leaves you with a good feeling, and a sadness that the journey is over. Hopefully, as it’s based on a series of novels, we’ll see Balsa again in the future for more travels. read more