Arslan Senki (TV) (The Heroic Legend of Arslan)

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Japanese: アルスラーン戦記

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Information

Type: TV

Episodes: 25

Status: Finished Airing

Aired: Apr 5, 2015 to Sep 27, 2015

Premiered: Spring 2015

Broadcast: Sundays at 17:00 (JST)

Producers: Dentsu, Mainichi Broadcasting System, Kodansha, Magic Capsule, Ultra Super Pictures, Graphinica, NBCUniversal Entertainment Japan

Licensors: Funimation

Studios: SANZIGEN, LIDENFILMS

Source: Manga

Genres: Action, Adventure, Drama, Fantasy

Themes: Historical, Military

Demographic: Shounen

Duration: 24 min. per ep.

Rating: R - 17+ (violence & profanity)

Statistics

Score: 7.65¹ (scored by 167,417 users)

¹ indicates a weighted score.

Ranked: #1340²

² based on the top anime page. Please note that 'Not yet aired' and 'R18+' titles are excluded.

Popularity: #623

Members: 374,686

Favorites: 1,731

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7.65

Ranked #1340Popularity #623Members 374,686

Spring 2015TVSANZIGEN, LIDENFILMS

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Episodes: /25

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Synopsis

The year is 320. Under the rule of the belligerent King Andragoras III, the Kingdom of Pars is at war with the neighboring empire, Lusitania. Though different from his father in many aspects, Arslan, the young prince, sets out to prove his valor on the battlefield for the very first time. However, when the king is betrayed by one of his most trusted officials, the Parsian army is decimated and the capital city of Ecbatana is sieged. With the army in shambles and the Lusitanians out for his head, Arslan is forced to go on the run. With a respected general by his side, Daryun, Arslan soon sets off on a journey in search of allies that will help him take back his home.

However, the enemies that the prince faces are far from limited to just those occupying his kingdom. Armies of other kingdoms stand ready to conquer Ecbatana. Moreover, the mastermind behind Lusitania's victory, an enigmatic man hiding behind a silver mask, poses a dangerous threat to Arslan and his company as he possesses a secret that could jeopardize Arslan's right to succession.

With the odds stacked against him, Arslan must find the strength and courage to overcome these obstacles, and allies who will help him fight in the journey that will help prepare him for the day he becomes king.

[Written by MAL Rewrite]

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Related Anime

Adaptation:	Arslan Senki
Alternative version:	Arslan Senki
Side story:	Arslan Senki (TV): Arsen 4-koma Gekijou, Arslan Senki (TV) Gaiden
Summary:	Arslan Senki (TV): Tsuioku no Shou - Dakkan no Yaiba
Sequel:	Arslan Senki (TV): Fuujin Ranbu
Other:	Kigyou Senshi Arslan

More characters

Characters & Voice Actors

Arslan

Main

Kobayashi, Yuusuke
Japanese

Daryun

Main

Hosoya, Yoshimasa
Japanese

Narsus

Main

Namikawa, Daisuke
Japanese

Gieve

Main

KENN
Japanese

Falangies

Main

Sakamoto, Maaya
Japanese

Silver Mask

Main

Kaji, Yuuki
Japanese

Elam

Main

Hanae, Natsuki
Japanese

Etoile

Supporting

Uchiyama, Yumi
Japanese

Andragoras III

Supporting

Sugou, Takayuki
Japanese

Alfreed

Supporting

Numakura, Manami
Japanese

More staff

Staff

Cook, Justin

Producer

Maeda, Toshihiro

Producer

Satomi, Tetsurou

Producer

Hara, Hirokazu

Producer

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Opening Theme

	1: "Boku no Kotoba de wa Nai, Kore wa Bokutachi no Kotoba" (僕の言葉ではないこれは僕達の言葉)" by UVERworld (eps 1-13)
	2: "Uzu to Uzu (渦と渦)" by NICO Touches the Walls (eps 14-24)

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Ending Theme

	1: "Lapis Lazuli (ラピスラズリ)" by Eir Aoi (eps 1-13)
	2: "One Light" by Kalafina (eps 14-24)
	3: "Uzu to Uzu" (渦と渦)" by NICO Touches the Walls (eps 25)

Reviews

Sep 27, 2015

Stark700

Recommended

When thinking about Arslan Senki, I tend to think of this show as a mixture of fantasy adventure, war drama, and a story that really emphasizes the journey of a young prince. Arslan Senki (The Heroic Legend of Arslan) is a show that chronicles more than just the making of a hero. It delivers a tale of adventure that should be remembered like a legend. For its themes and storytelling, I can safely say that this show is one hell of a ride.

Based loosely on the novels and adapting the plot of the manga written by Yoshiki Tanaka, Arslan Senki is essentially a war story. ... In a role that requires more than larger than life dimensions, it is epic in an old-fashioned sense. And how does it achieve that? By its sheer ability to show its rich story.

The setting takes place in an alternative version of the Middle East. And from the beginning, we learn of a warring conflict that erupts between two factions – Pars and Lusitania. At a young age, we meet Arslan and he witnesses the reality of war; bloodshed, chaos, and death by the Lusitanian forces. The premise also establishes that Daryun, a former high ranking military officer gets acquainted with Arslan. The story then goes on to show the adventures of Arslan, Daryun, and others as they struggle to regain Pars. As with the way the premise sets up, there’s a whole load of potential with its direction. In particular, there’s character growth that really becomes evident for Arslan. In addition, we see character relationships that expands beyond just military acquaintances such as the relationship between Arslan and Daryun.

In the beginning though, we must first learn to understand who Arslan is. Thankfully, the pilot episode does just that as we see a young Arslan from the Kingdom of Pars deal with an escaped young kid. Turns out, the kid is a prisoner that escaped and is from the nation of Lusitania. The most important part however is his reasoning for hating slavery. In essence, the show prints an image into the audience’s mind that conflicting ideologies can break out conflicts that leads to bloodshed, war, and death. It’s also clearly evident that Pars and Lusitania have different views on social equality. In particular, religion and slavery become prominent aspects of inspiration for characters’ motivations. I also have to give some praise for the show’s ability to show its reality of war. It isn’t shy to deliver violence when it comes to content. And by doing so, we can see how far some nations can go to get their message across.

While essentially showing that Arslan is a naïve young man, he is also known as the prince of Arslan. By holding such title, the people of Pars seems to hold a respect for him. In particular, we meet others that join him and Daryun along the way helps him in his quest to restore Pars. The journey they take involves obstacles while Arslan himself learns about different views of various countries and factions. For Arslan himself, the young man becomes more confident and even seems to be able to influence some others. His relationship with the people traveling with him demonstrates his loyalty and selflessness. In particular, Arslan and Daryun has a dynamic relationship as the two are nearly inseparable. There’s a mutual feeling of respect the two holds for one another and Arslan treats him like a friend rather than a soldier. In his group, Arslan has a diverse range of characters. There’s Narsus who plays the role of a tactical genius as well as Elam who serves him while developing a respect for Arslan himself. Joining them is Farangis, a priestess archer with a cold yet courageous attitude. We also meet Gieve, a traveling musician and curious adventurer with an infatuation towards Farangis. All these characters come from different backgrounds but forms a group to fulfill Arslan’s ambitions. Throughout their journey, we learn more about each of them individually while characterizing their roles to define their finest moments. In retrospect, they also bring out the best of Arslan’s character as he leads them with a solid ambition.

One thing that stands out about the writing of the story is that each episode adds more and more to the bigger plot. While there is some pacing issues at times, it never derides from the premise. We see the journey that Arslan undertakes towards Pars while also witnessing the political and wartime affairs that they face. The obstacles Arslan encounters are met with various results almost each time but we always learn something new about their world. While the show isn’t always able to capture the interest of the audience, it does present it in a way that is clever in terms of story development. Along the way, we also meet Silver Mask, a character that serves as the antithesis of Arslan. He is cruel, bloodthirsty, and prideful with an intent to capture the throne of Pars himself. As leader of the Luistania army, there’s a sharp contrast between him and Arslan’s personality. Almost each time he is shown on screen, there’s ruthlessness that is enforced as Silver Mask stops at nothing to achieve his goal. What does this tell about such an antagonist? It means that Arslan has a huge obstacle that he must overcome in order to prove himself as a worthy prince.

The world fiction of Arslan Senki is fantastic. Although labeled as a fantasy adventure, there’s little actual fantasy elements that is adapted with the story. It exists though. There are a few instances when magic is presented but the war story elements of the series is what stands out the most. The Kingdom of Arslan is also well structured with impressive architectural design to give off its resourceful feeling. Similarly, Luisitania is a place of prosperity that can easily be seen with their welfare. Later on in the show, we are also introduced to the kingdom of Sindra with interesting aspects of its own alongside its cast of prominent characters.

For everything that Arslan Senki does right, there are also some parts that can be forgettable. In particular, the comedy sometimes feels a bit oddly timed. While it’s mostly tolerable, there’s a bit of repetitiveness going on. Some of the supporting characters are also easily forgettable with what they have to offer. Not to mention, a few of them are stereotypical with their ideologies; in particular the antagonists. The romance aspect of the show is also quite stale as Gieve tries to hopelessly win the heart of Faraganis while being rejected every time. Later on, Narsus attracts the attention of a young girl that becomes a bit of an annoyance for him and the audience. Finally, the plot of Arslan Senki may not be for everyone. While I personally enjoy the direction of the story, patience may be tested for some viewers as the pacing isn’t entirely stellar. In addition, Arslan is a character that people may or may not like depending on personal preferences. If you don’t believe me, just ask Silver Mask himself.

Unquestionably, there’s a familiarity with the character designs. Anyone who has seen Full Metal Alchemist would know this from first glance as Arslan looks like Edward Elric in terms of physical resemblance. After all, the character designs are based on the Hiromu Arakawa’s version of the manga for its adaptation. In essence, the character designs are fitting for someone like Arslan. He is young with his signature silver hair, compassionate personality, and resilient youth. On the other hand, there’s Daryun who stands out as a warrior with his iron clad-like armor and signature spear. In fact, almost everyone in Arslan’s group stands out in some way whether it’s Narsus’ shoulder-length hair or Faraganis’ fierce nature. While I’m not a big fan of all the character designs, I do believe that Studio Lerche captured the intention of the manga when it comes to artwork. Additionally, we have cruel weapons the historical ages, war elephants, and other instruments of war with a decent degree of realism. Violence is no stranger to this show so expect some uncensored violence and blood to be spilled. However, what I give praise for is that Arslan Senki never goes overboard with its violent nature. It’s just enough. And finally, the action is blockbuster hit that is hard to ignore and qualifies with classic moments.

Arslan Senki is also known for its breathtaking soundtrack. The war-like drama orchestra combined with the riveting nature of the show brings out each episode to life. The OP and ED theme songs are also memorable for its ability to tell a story just by its scenario of important scenes. However, the real strength comes from the voice actors and actresses. Each character demonstrates a personality that we can find fitting for their role. Whether it’s Daryun’s undying loyalty or Silver Mask ’s ruthlessness, it’s very believable. Speaking of which, I had some doubts at first with Yuki Kaji playing the role of a main antagonist. However upon seeing Silver Mask’s voice and role on screen, it’s actually quite fitting.

Why should you watch Arslan Senki? In the end, it’s up to perspective. If you’re interested in a war story with interesting storytelling, strong characterization, and the journey of a prince, then you’re in for a treat. Each episode expands on the story that keeps the audience wanting for more. Each episode shows us more about the characters that we want to know. And each episode captures the reality of war really is like in their world. Despite some concern with the comedy and pacing of the story, there is a lot of fun watching the show in the end. It’s not just about fighting to win a war but also making a difference for the young prince known to the world as Arslan.

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Sep 28, 2015

ZephSilver

Mixed Feelings

**this review will contain minor spoilers**

Yoshiki Tanaka, you may not recognize his name but you've undoubtedly heard of his highly acclaimed behemoth Legend of the Galactic Heroes; a seminal war epic that influenced many series in its wake, with a legacy that still ripples through the world of anime and manga to this very day. When I heard that another one of his creations were going to get the anime treatment with Arslan Senki, my interest was immediately piqued. I was expecting another grand series with rich themes of political warfare, larger-than-life moments littered throughout and a far-reaching cast of developed personalities to carry it ...

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Aug 11, 2016

nep-nep

Not Recommended

Prestigious parents often bear a burden of expectations for their children. Much to the doteful disappointment of the audience however, “The Heroic Legend of Arslan” turns out to be something of a black sheep. Lovechild of original creators Yoshiki Tanaka (LOGH) and Hiromu Arakawa (FMA: B), Arslan shines a bright glow of mediocrity under the shadow of its peers.

Arslan bases itself on the manga, which in turn bases itself on the original novel, which at last takes inspiration from a loosely compiled set of Persian tales. If you weren’t already familiar with the term “suspension of disbelief”, then you’ll be quite capable by the ... end of the 25th episode. The story begins climatically as the “undefeated” king of Pars is defeated by the Lusistinian [European infidel] army after Pars is betrayed. Our titular main character, Arslan, is then thrust into seeking the crown because apparently, inexperience and innocence are signs of excellent leaders. Along the journey, Arslan attracts several companions who force the plot forward, exploiting an array of stupidly overpowered abilities.
If this summary sounds somewhat familiar, it’s because you’ve already watched Akatsuki no Yona. As it turns out, “the King returns” is hardly an original plothook. Arslan fails to differentiate itself from this association. Case in point, Arakawa goes as far as to replace Daryun’s sword from the novel with a spear, in a direct parallel to Yona boyfriend #1. The most disappointing thing about Arslan’s story however is not predictable plot structure, but rather the entire journey we take up to the final episode (queue 2nd season). When Arslan encounters problems, solutions are always in stock. Any meaningful consequences the story has to offer are whimsically avoided. The utter lack of tension stems from the fact that characters are never seriously threatened. This is fairly attributable to the abysmal performance of enemy soldiers, who switch on their autistic mode when faced with the slightest manifestation of “enemy planning”. Such mighty power seemingly retains divine superiority above all things, no matter how terrible the planning actually sounds. Antagonists rarely attempt to think of counter tactics, or even provide a contingency plan. There is little semblance of planning beyond the word “charge”, as depicted by the Silver Mask who just cannot resist the opportunity to place himself in the most dangerous position possible, imitating the likes of Bronze LoL players. And even though they constantly outnumber Arslan’s forces, there is never an attempt to use superior numbers to any tactical advantage whatsoever. In simpler terms, they demonstrate a consistently remarkable incompetency.
But if tactical engagements become so predictable, then what does Arslan have left to surprise us? Magic, apparently. If you had any more than a sniffle of expectation for rationality left, then you’re oft for a nasty awakening. Slightly more halfway through episode 12, xx_sketchy_pedo_assassin11_xx phases through the ground like a clipping ragdoll, staring menacingly at Daryun’s behind before attacking [torpedoing] him. Just… why? Like many characters, magic exists solely because the writers were too lazy to provide coherent explanations for events in the story, shortcutting the pacing of plot progression. This has the added effect of cheapening out the audience’s expectations. When it is revealed that the only reason Pars even lost in the first episode was because of “magic”, Arslan’s entire premise falls apart. Given how ridiculous most of the non-magical events in the anime already are, there doesn’t seem to be much difference.

The prime instigator for the intellectually-triggering planning is Narsus, Arslan’s near-omnipotent advisor. The party constantly relies on Narsus to deal with nearly every possible situation. Need tactical genius? He draws out half-baked bat-shit strategies and maneuvers like they were Yu-Gi-Oh cards. Political know-how? He may have only had court experience for a few years, but he acts the part of a cunning court wife. Family man? Somehow, this guy finds the time halfway through the series to pick up some random hobo broad. Definitely one of the less-human characters.
Daryun serves as Narsus’s “Dynasty Warrior”-esque counterpart, rescuing Arslan himself countless times. He goes beyond the physically impossible, as in episode 12 where he blitzes through time and space, bullet-timing several eurocucks in order to save the prince [princess] from xx_sketchy_pedo_assassin11_xx. I took a few moments to laugh at how ridiculous this shit looked when I saw it, but then I realized that they no longer had any intention of making Daryun even vaguely human. Yona at the very least justifies boyfriend #1 by pitting his efforts against attractive dragon boys. The only time Darius even appears to struggle is during his fight against the giant, where Darius appeared to be on the verge of defeat. Or at least, until we learn that he was faking effort all along so he could one-shot his opponent. Again.
Gieve and Falangies serve little purpose beyond filling in as niche solutions to problems, what with Gieve… being there, and Geese inflicting Stormtrooper-level aiming at will (not that they would have hit anything anyway). Gieve constantly attempts to woo her in an effort at comedy relief, but their relationship doesn’t get any deeper than the surface. Beyond that, I fail to understand why they even exist in the show.
It’s precisely because of the swiss-knife efficiency of his party that Arslan himself undergoes minimal growth all throughout the series. The constant coddling reduces him to the role of “figurehead king”. His first foray into battle actually seems to inspire PTSD in him, as he deals with the horror of slaying a man- Or so you’d think. A few episodes later, he’s back to happily sniping down cavalry. Likewise, he gives minimal thought to his companion’s continuous slaughter of men, instead opting to save his compassion to slaves. In fact, Arslan bases the majority of his motivation for kingship on the abolishment of slavery. In the same manner as post American civil-war, he eventually learns that simply removing slavery does not always make a happy slave- Or so you’d think. Towards the end, he proceeds to announce his intention to eradicate slavery without bothering to plan for an afterwards… But that’s okay since his companions are so terribly OP he never truly needs to learn from his mistakes. This ignorance appears to be something of superior monarchal quality however, since it is the only reasoning his companions provide when asked why they serve Arslan. A truly remarkable display of loyalty.
Of special note is Etoile, a fanatical tsundere crusader who’s given a chance to rise above the communal pit of shame. Her kidnaping-adventure with a young Arslan is what first inspires him to reassess Pars’s slavery, later serving as justification for seeking the crown. Their third meeting performs likewise, spurring excellently reasonable motivation in our timid prince. He finally begins to somewhat confidently takes the role of decision-maker; a quality lacking throughout the rest of the series. It seems that out of all the characters in Arslan, Etoile is the only one that doesn’t pamper or take advantage of him. There is an attempt at backstory in the second half, but sadly, it is rushed over quickly and reduced to nonimportance.

Although sound design is not a common aspect of discussion, the usage of JoJo-like sound effects in combat is very overt. Scenes depicting heavy impacts are accompanied by a blearing amount of bass. What works in JoJo should, nevertheless, stay in JoJo. It sounds terribly misused in an anime that struggles to convey justification, instead suggesting that it merely exists to sound “cool”.
Despite sharing Brotherhood’s character design, Arslan’s general art and animation is a far flung fantasy of a comparison. The opening battle introduces us to a use of CGI that is heavily parodied by modern cinema. An ineffectually zooming camera cuts across a blob-like engagement between two factions of generic, faceless soldiers for an inordinate period of time. This use of clay-soldiers seemingly holds true for any fight that involves large groups. Suffice to say, it is quite ugly. 2D horse animations are frequently terrible, closely mirroring the infamous “quality” horse animation in Spice and Wolf. For a series that sees fit to utilize horses in every single battle, you’d think that they’d have at least put some effort into this regard.
Battle choreography is similarly held in lesser regard. Characters often show little understanding of any martial technique that isn’t a left or right slash when using swords. In fact, Gieve in episode eleven parries the same exact L/R pattern THREE times in a row, a brilliant example of what it might be like to fight Kirito’s mook reincarnation. There are of course, two exceptions to this. In the first OP, animator Satoshi Kimura (probably him) makes excellent use of 3D backgrounds in the Daryun vs Silver Mask duel to incorporate a rotating 360 degree shot around the fight, an innovative technique that not nearly enough animators take advantage of. The penultimate episode’s fight (once again featuring Darius and Edgelord) similarly excels. After whiffing his thrust, Daryun gores into a pillar, lodging his blade deeply into the structure. But instead of trying to free his blade, he gouges across the fucking thing into a follow-up horizontal swing. This no-fucks personality painted by animation certainly doesn’t come across when all we see is character mindlessly one-shotting mass produced soldiers for several episodes.

In the end, perhaps you could say that this particular heroic legend just wasn’t the kind for me. You could go on to suggest that warfare was never a crucial element to the story, and that perhaps, the emphasis of Arslan should be based on its portrayal of woefully ignorant royalty identifying problems within his Kingdom’s internal practices, and going on both a physical and figurative journey to his maturity. But no matter how deficiently optimistic you choose to put it, Arslan never intended itself to be something great. Instead, Arslan basks quite happily in the rays of averageness, and we contentedly conclude that there really shouldn’t have been much to expect anyway.

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