Plot Summary
The major plotline of Alexander Senki is, of course, the life and works of Alexander the Great. Set in an alternate universe where technology and culture differ from ancient greek standards, the series follows many of Alexander the Great’s noteworthy historical footsteps, from his birth in Macedonia to the pinnacle of his conquest, deep in the heart of Asia.
There are several secondary plots, of course. There are constantly attempts to usurp or manipulate the throne and its inheritance, first by the royal advisor, Lord Attalus, then by Queen Olympias, King Philip himself, and various characters of Alexander’s entourage. There is also an abstract artifact of mystical power called the Platohedron, which Alexander attempts to possess and various agents try to destroy in order to depower him.
The series ends on a much more positive note than historical truth. Having survived illness, poisoning and assassination attempts, Alexander is poised to continue his attempts to push the boundaries of his empire, embracing his role as reformer of the world.
Review
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.
Stats
Type: TV Series
Length: 13 X 20 min
Rating
Production: 7/10
Plot: 7/10
Setting: 8/10
Characters: 7/10
Overall: 7/10
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