Whether deserved or not, Japanese animation has a reputation for favoring replication. From legions of cheerful Shōnen heroes to interchangeable public school settings, the medium habitually and happily reiterates archetypes. In many ways, Seraph of the End represents both the strengths and weaknesses of this tendency. A slick, vampiric saga of friendship, warfare and revenge, the show's first five episodes execute well-trodden tropes well, but at times falter creatively.
Based on a manga penned by a three-person collaboration and animated by Wit Studio, Seraph of the End: Vampire Reign (Owari no Seraph) is quick to paint a grim picture. In its opening prologue, an unknown virus simultaneously wipes out a vast swath of mankind. Initially, only children under the age of 13 appear unaffected by the disease, including best friends and fellow orphans Yuichiro and Mikaela. In the plague's fiery aftermath, vampires emerge from the earth to herd the young survivors into an underground city, where they periodically harvest them for blood.
In the coming years, the hotheaded Yuichiro grows to accept Mikael and the Hyakuya Orphanage's other former wards as a surrogate family, even as he dreams of overthrowing their vampire captors. Fed up with being treated like livestock, he and the more logical Mikaela stage a daring escape that quickly goes array. Tricked and hunted down by a flamboyant vampire aristocrat, the children end up swiftly massacred for sadistic sport. Pushed to escape by a dying Mikael, who is desperate to see at least one of his friends escape, Yuichiro flees to the surface, coated in the other boy's blood and burdened with revenge.
All you've just read and more takes place within the span of a single episode that shifts from heartwarming friendship scenes to a heartbreaking finale with merciless speed. The result is nothing less than an emotional rush. In an instant, Yuichiro loses the only family he's ever had, moments after he finally accepts them as such. Setting up his rash nature and guarded affection for his little band of friends makes the resulting tragedy all the more potent. Not that the episode doesn't have its fair share of faults. For one, it shares a hasty pace with its manga counterpart. Besides Mikael, most of Yuichiro's friends, though suitably charming, lack characterization besides being adorable. But the episode's ornate gothic scenery and wrenching conclusion more than sell the show's premise.
While they have their own merits, the four episodes that follow don't quite live up to the pilot's potential. Rescued by a squad of vampire exterminators and offered the strength to avenge his precious family, Yuichiro joins up with a force of surviving humans called the Imperial Japanese Demon Army. Rather than put the traumatized boy on mankind's frontline war against vampires and other monstrosities, the laidback Commander Guren Ichinose dumps him in a military academy to learn teamwork. Though headstrong as ever and understandably hesitant to make friends, Yuichiro eventually connects with three other recruits. These include Yoichi Saotome, a wuss with a lot of heart, and Shihō Kimizuki, an aggressive, cynical loner. All three share a drive to avenge or protect a family member - a strong foundation for their budding comradery.
Even as someone who doesn't watch a ton of anime, I couldn't help but recognize the wide range of works Seraph of the End seemingly draws on for inspiration. Its basic plot bears a striking resemblance to Attack on Titan (another Wit Studio work) and World Trigger. All three feature post-apocalyptic worlds and underage military recruits battling against horrific monsters. Rather than build its own unique spin on these traits, Seraph of the End - at least in these initial episodes -tends to lean on conventions. Yuichiro languishes in what is essentially a Japanese high school, complete with generic bullies, classroom brawls and tedious exams. All the while, he's held back from the battlefield and dogged by the playful surveillance officer Shinoa Hīragi. It's easy to sympathize with his frustration.
All that said, the insipid school setting does serve a purpose. To overcome a vampire's superhuman strength and regenerative abilities, humanity's top soldiers must contract with demons to obtain Cursed Gear weaponry. A shrine buried deep beneath the school draws out the recruits who can best resist demonic possession and wield these supernatural weapons. Thus, to harness a literal demon's power, Yuichiro must moderate his lust for revenge and form new supportive bonds with his classmates. Though this aspect of the show reeks of power of friendship, it's at least justified.
Episode Five concludes with Yuichiro and his comrades about to go through the ceremony to gain immensely strong "Black Demon Series" gear. While he's certain to struggle past this trial, his personal demons will no doubt continue to gnaw at him. Since the opening animation already gives it away, it's hardly a surprise when Episode Three reveals Mikael survived his encounter with Lord Ferid, the gaudy vampire who killed the other Hyakuya orphans. Via flashback, we see the cutesy vampiric queen Krul Tepes force Mikael to drink her blood, turning him undead. Filled with guilt and evident self-loathing for what he's become, Mikael teases future melodrama with his quiet, melancholy scenes. The relationship between him and Yuichiro seems poised to form the show's emotional core. With the other vampires plotting to wipe out the Imperial Japanese Demon Army, it will be interesting to see if and how their friendship endures.
Seraph of the End features attractive visuals and capable animation. Rich, milky colors help sell its ominous world without getting too muted or gloomy. Visually, the show offers a diverse mix of imagery. The antagonistic vampires are garbed in gothic attire while human soldiers don Edwardian military uniforms. When placed against the setting's post-apocalyptic landscape of modern Japanese architecture, these archaic costumes can look rather jarring. Character designs are still a strongpoint, however, being both appealing and distinct.
Whether it's Yuichiro slaying a hulking Neon Genesis Evangelion-style monster or testing his blade against an escaped vampire test subject, the show's action is fluid and well-paced. Audibly the show delivers a compelling mix of likable voice acting and immersive music. There's a brooding synthetic edge to the soundtrack, which features heavy use of piano and orchestral strings. Then there's the opening theme, which delivers a heart-pumping intro to each episode, with vocals full of longing and a rich mix of meditative and thrilling moments.
Seraph of the End hits all the right notes, even if they're largely from songs we've heard before. As far as anime protagonists go, Yuichiro is a typical endearing idiot, crass on the surface but goodhearted. So far, his journey through tragedy, vengeance and friendship has been far from original, but enjoyable nonetheless. At the same time, these first episodes, while building up plot fundamentals, hint just enough at a bigger picture beyond the battles between humans and vampires. Both Mikael and Yuichiro appear to be connected to a twisted experiment involving the title's enigmatic Seraphs. Whatever their fate is building to, I'm intrigued enough to give their story's derivative qualities the benefit of the doubt to see what direction it takes them.
Episode Grades
Episode One: A-
Episode Two: B-
Episode Three: B
Episode Four: B-
Episode Five: B