― Lloyd Alexander
Nowadays, fantasy in anime seems to be synonymous with the isekai - a recluse failing in life is transported to a new world, is allowed a fresh start and is able to live the kind of life most of us could only dream of. Effective and entertaining enough, sure, but presumably it's not long before they start getting repetitive and the need for a breath of fresh air sets in.
Enter 'Serei no Moribito', a 2007 anime directed by Kenji Kamiyama (director of Ghost in the Shell: Stand Alone Complex) and brought to life by Production I.G. In a medium bursting with incredible ideas which aren't necessarily met with the most flawless execution, Moribito takes a simple story in a high fantasy setting and fleshes it out superbly. It follows the spearwielder Balsa, a bodyguard for hire, as she's tasked to protect a young prince from the assassins sent out by the emperor, the boy's very own father. This precarious state of affairs is due to the supernatural being that manifests inside the prince's body, which is perceived as a threat to the future of the kingdom and the reputation of the royal family. Balsa must fend off the emperor’s hunters, subdue foes that resurface from her violent past, fulfill an oath, raise the prince and uncover the identity of the mysterious creature residing in his body - a tall order indeed.
While it does have a decent plot, the story is mostly character-driven. A majority of the important characters are given their fair share of the spotlight - their motivations, fears and aspirations are outlined while they are given room to grow naturally throughout the course of the story. Balsa is undoubtedly the highlight - in this medium, it’s a rarity to see any character, much less a thirty year old woman, being depicted as a sensible, strong and decisive personality and being allowed to be the driving force of a show. A notable point is that there is really no central antagonist here. All the characters have their own beliefs and philosophies, and that is what drives them to be allied or be at odds with one another at any point in the story, with the well-written drama setting up the conflicts and bringing another layer of tension to an already promising concoction. The solid characterisation and drama lead to some very emotional moments throughout, they are powerful without bordering on melodrama - striking a delicate balance. It’s not always all serious though, there are plenty of lighthearted moments that breathe life into the show and add a bit of humour, but they never adversely affect the tone or feel out of place.
Production I.G have always put out anime with quality visuals, never too flashy, but always precise. On paper, they seem to be a perfect match for Serei no Moribito, a fantasy series which has its roots firmly planted in realism. And boy, do they deliver. The character animation is almost always smooth, the fight scenes are very impressively choreographed and animated brilliantly. Where it truly shines though is the astounding background art - the lush fields, rugged mountains, snow-capped peaks lend the show a sense of heightened realism, truly selling the authenticity of the setting.
The soundtrack by Kenji Kawai is, simply put, stellar. Much of the atmosphere can be attributed to the tracks - the light simple tunes carry the rustic charm of the fields and the villages, the rich foreboding notes accompany the shots of the majestic and yet cold palace splendidly, the tense bgm adds to the fight sequences while the sombre tracks echo the sadder scenes. Neither the OP nor the ED impressed me, but I personally don’t think they have any bearing on the quality of the rest of the soundtrack and the show overall.
Kenji Kamiyama deserves immense praise for carrying on the good work from Stand Alone Complex, his attention to detail, penchant for no-nonsense good old-fashioned storytelling, excellent use of camera angles and a rare sense for subtlety are on full display in this particular title as well. There’s a scene wherein after a certain character returns from a perilous quest, narrowly avoiding a certain death, she tells the others the information she gathered. Instead of focusing on their faces and their reactions, the camera settles on her rabbit-like companion close by, which refuses to accept nuts from its master, indignant due to almost being sacrificed earlier to facilitate its mistress’s escape. As the conversation between the characters goes on, so does the silent back-and-forth between the pet and the hand bearing the peace offering, resulting in the rodent begrudgingly relenting and accepting the apology. This short sequence means nothing in the grand scheme of things, but it offers more insight regarding the character while being funny and charming - creative decisions like this make the entire thing feel far more real and plausible. While the dialogue does bear importance, most of the characterisation lies in the subtle gestures, expressions and interactions - essentially encompassing the “show, don’t tell” approach espoused by the average critic.
Although being an excellent show, it’s not perfect. The way the story progresses is pretty straightforward, the climax doesn’t pack as much punch as one might hope (although the show more than makes up for it with the subsequent denouement), Balsa’s ideology isn’t sufficiently challenged, some episodes in the mid-section which help provide more context for some of the characters may feel like filler to a few and the use of CGI for crowds and background characters, understandable given the budgetary constraints, can prove to be annoying for purists.
Seirei no Moribito, while perhaps not being the most stylish or glamorous anime out there, has aged really well and looks set to stand the test of time. If you are tired of current trends and are looking for mature honest-to-God storytelling with sane characters, or maybe need a break in the form of something simple after too many cryptic anime relying heavily on symbolism and visual metaphors, or just want to watch something different, give this a go - it’s great.
