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The best way to describe the story of Arslan Senki in a more concise way would be:An epic story with a pre-modern way of narration,transcribed into the medium of Japanese animation.The original work a novel that is 14 volumes long, takes inspiration from a Persian epic from Qajar dynasty era.The setting itself is historical as much as possible.However,maybe unavoidably,the heavy use of anime tropes and directional choices which make this story more perceivable to general audience are there.Despite this,over the course of the show,the style and the story don't let go off the seriousness brought by that epic setting in ancient times fully.

Story:Story revolves around ... a compassionate young prince and his loyal followers.Faced with the task of reclaiming the throne,they struggle to reunite while avoiding threats on the way.This basic premise is unexceptional among premises in the first glance.To go further, we need to look into it and ask:What kind of original contribution does the show present itself with?The journey has an element of questioning the role of political figure in the shaping of subjects' world and basically asks "what's the just governance?".In particular,the interactions between Narsus and Arslan allude to this subject frequently.In result of all those discourses the prevailing notion is that a king shoud be wise and calculating.He should not be too rash and maybe sometimes should make bold moves according to strength of his particular resolve.Even in this probing for the right way of governance,there aren't much of a deep,convoluted layer.Although we can say this can be attributed to the nature of the epics,that is to say its didactic way of handling issues limits its potentials,the way which this question handled should've been better.

Another issue i have with the construction of the story is involvement of magic.There can be a counter argument to be made here,as in "in pre-modernity the supernatural was part of nearly every ideology,so where is the problem in depicting it?".That point does explain the djiins or the forces of unnatural order constantly interacting with the natural world and used to explain the holes in perceived causality.However it doesn't offer a satisfactory explanation for using magic as a plot mechanism.Which is sad,since it really cheapens the overall atmosphere.As a side effect it has the role of a balancing variable and can be used at will as can be seen from the way it is used.This balancing feature acts as a counter to the unbending manner of the expansion of protaganist strength compared to its adversary.I can overlook the persistent presence of inhuman strength or quickness as long as they are being utilized to symbolize tragic overcoming.There are various instances in which this sort of dramatization takes place.This is a positive in my book because unlike using magic as a plot device this is almost a requirement to the writing of epic characters.

Themes and ideas that are worth pondering on are while not abundant,at least present.An ultra-religious society brings forth the idea of a mass ideology that takes part in making of the world.I absolutely loved the portrayal of a dynamic religion for it is rare in anime itself.To explore it in the decisions of individual portrayals was an intriguing aspect of the story.

The one aspect of this show that i expect to be the object of lingering admiration is its portrayal of ancient Persia and India.In most anime that task of moderately fantasizing foreign cultures is botched.In Arslan Senki,while it's historical accuracy not to be taken seriously ,the ways in which things may work in other cultures are not sacrificed to the point of rendering it a plaything.I liked the setting as a theater for politics and heroic deeds.The use of a narration voice,special calender and even design of those eyecatches that are in the middle of the episodes gives a feeling of hand-written book.

Characters:I think it's appropriate to group the characters into two categories:1.Voluntary followers 2.Blind silt.
The first batch need a conviction to go somewhere.Their worth as responsible carriers of these convictions are immense.Arslan,even though the title is named after him,almost seems like a mere mediator between these characters.Arslan as a claimant to the throne is kind and approchable.While this may be a factor in regards to loyalty displayed by his followers in every turn,their unyielding convictions contrasts with other equally strong but poorly portrayed convictions of the antagonists and tantamount to inconclusiveness.This has a robust gist of contradiction that needs to be resolved but being left in open makes it carry a significant tension.Hermes,the main antagonist ,doesn't get the treatment he deserves.In portraying him as a raging maniac the show misses the chance of deploying a proper alternative to Arslan and his crew. A glaring failing about the characterization of Hermes is that we don't really spend that much time in his PoV.The causes of his rage is well founded but despite that we can't really be open the possibility of him redeeming himself.

The second batch are those who can be called trackers of footsteps.There isn't much characterization going on regarding these but they have an essential role in elevating the convictions displayed by the heroic types to unexpected heights.

Art and Sound:The drawings of landscapes are done really well.Colors are generally vivid,at least in daytime.While the animation was choppy at times,the use of effects came in to rescue on some of those scenes.Character designs are made to complete the characteristic attributes of the main cast.Some very attractive designs are pleasant to look at while those that are like Farangis' and Alfreed's are disapponting.Voice acting sans Hermes, was one of the show's strong facets.I specifically liked how that soft,caring intonation complimented Arslan's personality.

Music:Both opening songs are exhilarating melodies with male vocals in accordance with the tradition.I liked them both but they pale in comparison to two endings,especially the first one.
What can i say Lapis Lazuli is a song that most people would go on to listen to outside of this show's context.But i recommend both!

In summary,Arslan Senki is in most parts a mediocre series with its high and low points dispersed throughout.There are some interesting ideas,especially in its setting,but with decisive limitations these have turned sour in the end.Still,there is some enjoyment to be subtracted for most viewers.

Story:5/10
Art:6/10
Sound:7/10
Characters:7/10
Enjoyment:6/10
Overall:6/10

Monster has a quite deserved fame.A fame that can be described as a carefully carved general story architecture and beautifully interwining,tragic fates of highly disturbed lives. The series has,here and there,very serious set of philosophical and psychological premises,but on the other hand one can track an overarching,fundamental question above all else which has an open ended conclusion about human nature,its nourishment while interacting with outside world etc.A world which has its meaning inside psyche and from there rendered intelligible by social practice.

In all the settings,the ultimate antagonist Johan's presence was treaded slowly but still felt very forceful.Sound direction deserves high praise regarding this special presence.Johan's ... moves,which slowly open themselves to us,combine with an intense subjective perception tool that is sound effect.With this gratified ominity and emotionless countenance,Johan's hollow humanity contrasts with Tenma's gullible trust in people.Throughout the series there are numerous contrasts between characters which posits a fundamental question and that is the research of a stable identity,an identity which you can build on towards simple pleasures.

While i don't agree with criticism of 'side stories' as drawn out extentions of the main clash,i agree those chould've been more compact.In this way the world which carriers of ultimate relevant tension shaped by could have been more impactful.Main failing of the series,from my perspective,is how the background of all the explosive events has been painted as monotone,rather passive figures.Especially the use of repetitive character design and silliness of their constant passivity render them unconsequential in the eye of the viewer.In light of Tenma's ethical maxim "all lives are equal" this background could've been more lively,both in terms of design and content.In direct opposite to this there is a cast of side characters with unpredictable passions,diverse dispositions and motivations,just like in real world.Another thing this series has done well is that despite all the location changing character pov remains immersive enough so that we can identify with that person at that point of their life.Prime example of this can be seen in Martin's story.Martin is a guilt-ridden character and as such constantly in conversation with himself.This use of "subject who's in conversation with himself" builds up a myriad of possiple closures and brings out excitement.Another aspect of these well written character studies is that the way it compliments the main problem at hand.Their dark exposition brings out the worst of human impulses,as well as the possibility of striving towards meaningful creations with whatever may be available in time and space.As this is the juxtaposition of the philosophies of two main characters,they should be threated as part of the main story.
There is a daring attempt to explore bare human condition without positive reinforcement,without role models which made Monster unique in the medium for me.What is the meaning of existance against the background of seemingly unacknowledged and random misery?Outside interventions into Johan's perspective are always things like creating super soldiers,to defeat the enemies of master race etc.However Johan's worldview always remains as a kind of universal nihilism.Johan tries to show that drive towards destruction-even of oneself-is the ultimate human condition that is superior to feeble beliefs of humanity.In various instances Johan was engaged in little destructive plays with no ulterior motives,for example rooftop play.In all these Tenma acts as a counter agent,a challenger.Johan is not actually a pure evil or a beast with only impulses,on the contrary he sees the world as the monster.That's what he means when he says "the monster is in front of me".The monster which Johan speaks of is of course not an entity,it's reality itself that's been attempted to be suppressed in futility.Against this,both Tenma and Grimmer give their answer by consistently acting with an intent to relate to others and in Grimmer's case by clinging to one memory he has(Amazing Steiner)and mold that into something helpful.

The ending of the series is a divisive issue and i find it natural because due to severity of the questions it wrestles with,ending can only be open one.Everyone can come up with their own interpretation and in this way it becomes a living thing.I think in the end,unlike that naive Tenma from years ago,Tenma made a conscious decision to uphold his view by treating Johan not as a monster but as a human being.This is a definitive conclusion for both of them because Johan found a reason to believe in the good parts of human nature.

Lastly,music in the series is fittingly dark.Although the visuals in the op is uneventful it conveys the feeling of hopelessness very well.Sound choices are excellent,they create a feeling of certain tone of suspense that is trademark of Monster in my opinion.