In this day and age it is nigh-impossible to find a season of anime without an Isekai. From Konosuba and Slime Isekai to Sword Art Online and Re:Zero, they have invaded the medium. But the genre existed long before these more modern takes. .Hack//Sign did videogames almost a decade before SAO released its first light novel. Meanwhile Inuyasha did the same for fantasy worlds. Predating all of these though we have what can only be called an Epic in scale. Produced by Studio Pierrot during their golden years and directed by Tsuneo Kobayashi, I give you Twelve Kingdoms. Spanning 45 episodes, Twelve Kingdoms adapts the first 3 of 9 novels written by Fuyumi Ono. Novels which are still releasing to this day and that I would relate to Robert Jordan's Wheel of Time in scale and influence.

If that doesn't excite you, doesn't make you want to hear more about this incredible series, then be gone I say! But if your interest is piqued and you want to hear about this fantastical world and Nakajima Youko's role in it? Then read on, and lets dive right into it!

(Disclaimer: I am working to make 50 the new "average". 70 is not an average score people. 70 is above average. Carry on.. You can also find individual episode write ups and comment on this review on my Star Crossed blog.)

Animation/Art

Starting off, Twelve Kingdoms is not what I would call "well animated". Sure, you will occasionally get a nice and crisp cut during the occasional battle scene. But by and large Twelve Kingdoms relies heavily on static shots for its presentation, the battles basically being a coin-flip on quality. Luckily though, Twelve Kingdoms isn't the sort of show that needs heavy animation, it isn't a kinetic series. This isn't a battle Shonen or an action drama, the battles themselves are often the least important events in the story. Rather, Twelve Kingdoms is much more picturesque in it's presentation. It focuses more on striking and memorable scenes that stick in your mind. Think of it like going for wallpaper photos instead of gif-able sequences. It's not something you often find in modern anime production, at least not as successfully as you will here.

This leads me to the general art direction, the bedrock of Twelve Kingdoms' presentation. By and large I found both the color design and general art style to work quite well. Its colorful, but not in the modern moe sense. It's not all pinks and reds and bright blues. Rather it's the harsh orange of dawn, the soft blue of moonlight or a green tint after a storm. And when it really wants to make a scene pop, Twelve Kingdoms will crank up the saturation. This makes the scenes stand out from our own world and really sells the fantasy aspect. This is in no small part helped by the background art of Hiroki Matsumoto, who you can often find working as Art Director on some of your favorite series today.

What sells it for me though is the composite. The art of merging two images and making them feel like they inhabit the same world, like they belong with each other. This can include depth and lighting, but also things like relative speed between foreground and background or layering. If you are interested in a more detailed explanation there is a fantastic article on it over at washiblog. Back to the review, Twelve Kingdoms does a pretty good job at this. The lighting matches beautifully, sizes fit and the characters feel like they actually inhabit this world. It cheats sometimes of course, having them fly in the air or only showing their upper body. But the end result is really all that matters, and it was very rare for Twelve Kingdoms to take me out of story with its composite. The art style did that more than anything else.

You see rarely, very rarely, Twelve Kingdoms goes through an art style change. It's only ever for an episode, or even a few scenes, at a time. But when it does it's very noticeable. Designs shift, they become softer, face proportions become... off. I can't say for sure but it feels like these episodes were outsourced, or deemed less important. That or they had a B-Team to handle the occasionally episode. This isn't a huge misstep, it only ever happens between the big plot points and never really impacted my enjoyment of the show. But it did happen, and it was noticeable. All in all though I think Twelve Kingdoms can often be visually striking, but rarely particularly well animated.

Direction

This brings me to the series direction, which is where Twelve Kingdoms true visual strength lies. Previously, I described this series as "picturesque" rather than "kinetic". Relying on well framed and blocked shots rather than moment to moment movement. Examples of this include episode 11, where Enki is framed closer to the camera, making him appear larger despite being a much smaller character, on such a small boat. Or the image directly above using the moonlight to spotlight Nakajima and Keiki, Keiki himself stuck between a rock and Nakajima, framing him in the center. You can see examples of Kobayashi's framing all throughout this post and its some good stuff. In particular I enjoy when Kobayashi is allowed to get surrealist, such as during some of Nakajima's dreams or visions. These are truly some of the most striking sequences in the series.

I would love to be able to say more, but I am no expert on cinematography. So in place of expertise and knowledge, I will use examples. Screenshots from the shows runtime and a few words about why I enjoy them. Take for instance this shot of Kourin's ring, blood pooled around it. The dangers all around from which she tries to protect King Kou, as it begins to seep inside. Or this wide, both establishing the location and just how impossible Suzu's task of cleaning really is, serving double purpose. I think those both get the point across, but this last one should be a final straight forward example. How it uses the design of the window to focus on and emphasize the importance of the messenger bird before it takes flight. These are all small, but they stack up through Twelve Kingdoms' runtime to really enhance the experience.

Setting/Story

Next we come to what is simultaneously Twelve Kingdoms' greatest strength and weakness, the setting/story. Setting wise, I can't think of another anime with a world as well realized as this. Twelve Kingdoms goes through incredible effort to establish this world and it shows. Everything from how childbirth differs from our world to the geopolitical situation has been well thought out, along with their relationships to each other. Take how our leads are treated on their appearance to this world: Normally in Isekai, this sort of event is unheard of. But in Twelve Kingdoms its a common enough occurrence that there are local laws about how to deal with them. How to handle the language barrier, their place in society, even the inventions they bring along with them such as Buddhism or printing. Their effect on this world is very well thought out, as is everything else.

The downside to how detailed and thought out this setting is though is the burden it puts on the viewer. Often, especially early on, you are bombarded with what is basically technobabble for a fantasy world. Kaikyaku, Kirin, Taiho, Chousai, Hanjyuu, Hourai, Nyokai, the list goes on. To say you need a dictionary for this series isn't as facetious as it sounds and this can often get in the way. Imagine being caught up in a scene, a conversation, and suddenly having to remember a specific piece of vocabulary from 10 episodes back. Once you get used to it and come to recognize these terms, it's not so bad. That Nakajima has to do the same thing, that we share in the leads struggle, is helpful to. But it can definitely make for an awkward moment or take you out of a scene until you come to recognize them.

Story wise, Twelve Kingdoms is in much the same predicament. The narrative truly is fantastic, in no small part due to the characters whom we will get to later, and is definitely worth your time. Every single arc but the last was an incredible experience. The pacing was perfect, slowly building everything up while still telling smaller episodic stories throughout. Many of these arcs start off slowly, and I will admit to not being immediately gripped by them. But every time, without fail, Twelve Kingdoms managed hook me all the way to the end. All it took was one magical moment early in each arc for me to see what it was trying to do. This is because no arc in Twelve Kingdoms is the same, each one approaching a new problem in a new way. Forcing you to look at the world, and its characters from a different angle.

Sadly, while the story is fantastic, it does suffer from one major flaw: It doesn't end. As I said at the top of this review, Twelve Kingdoms is based on a novel series. One that is still releasing to this day, with each arc effectively being a new novel. In that sense each arc gets an ending, and the series as a whole gets a rather strong finale in episode 39. But that still leaves 6 episodes and 5+ novels to tell. I'm sure you can see the problem. I am not sure if Twelve Kingdoms was canceled unexpectedly or if something went wrong in the planning stage. But the series truly ends in episode 39, at the end of the second novel, with last 6 episodes feeling... well, largely like a waste. The last episode of the entire series is a recap for goodness sake.

That said, even with this disappointing final arc, the rest of the narrative is without a doubt worth your time. Its so strong, and so incredible, that even with 6 wasted episodes I cannot help but recommend it to people.

Characters

With the narrative covered we can talk about Twelve Kingdoms' incredible characters. And the best way to start this off is with one of the best female protagonists I have ever seen in anime: Nakajima Youko, played by Aya Hisakawa. Like most of Twelve Kingdoms' content, Nakajima's journey is a slow but purposeful one. We see her start as this entitled and naïve girl, one who tries to please everyone without ever being "Nakajima". But over the course of her incredible journey, through the hellish lows and beautiful highs, we see her transform into a queen. One worthy not only of respect, but fealty. Nakajima's story gets better after this, as she learns how to rule, how to lead, and how the right answer is not always the most just. And while Nakajima may be the best character in Twelve Kingdoms, she does not stand alone in this incredible cast.

The rest of Twelve Kingdoms cast starts small and grows from there. Alongside Nakajima we are introduced to Sugimoto and Asano, two other students from Japan who are sucked into this world alongside her. During their journey both serve as a window of sorts into Nakajima's character. Sugimoto attempts to become the "chosen one" of all Isekai stories, despite being nothing of the sort, contrasting Nakajima's desire to blend in and return home. Meanwhile later on Asano and his inability to integrate into this new world becomes a perpetual reminder of where and just how far Nakajima has come. All the while both get their own arcs of finding their place, discovering who they are and of growth. What makes them even more impressive however is that both are, effectively at least in Sugimoto's case, anime original characters. They speak to just how well director Tsuneo Kobayashi understood this work.

And yet still, they are not alone, as this makes up but a fraction of Twelve Kingdoms cast. There are many I can't talk about, such as Shoukei or Suzu, Rakushun or Enki, for fear of spoiling you. But each and every one is given focus, depth, a story beyond what most lead characters get in anime. They don't simple have an arc and are never heard from again. Rather, their arcs play out in conjunction with everyone else's over large spans of time. Growth in one character is directly contrasted to another, relationships form and change to reflect who characters become, rather than staying static despite great conflict between them. The best way I can sell it is this: I absolutely hated Shoukei and Suzu when they first appeared and I doubted their arcs. Yet by the end, they became my favorite trio of characters in the whole show.

Simply put, to say that Twelve Kingdoms cast is large, complex and compelling is an understatement. It truly has not just some of the best female characters in anime, but some of the best period. Sure, they are not without fault. I think Keiki could do to be a bit less stiff, or Shouryuu given a bit more flak for his lackadaisical attitude. But at this point that isn't me criticizing how they are written. Rather, it is me viewing them as people, complex ones with wants and desires of their own. Their arcs aren't perfect, and the presentation does occasionally let them down here and there. But the writing almost never does and that is worthy of praise in my book. I can only hope that one day we get to see the conclusion of their stories.

OST/Sound Design

Finally we come to the OST and sound design, always the hardest section to try and judge! On initial viewing, Twelve Kingdoms OST sounds surprisingly simple. It makes for good background and travel music, and I especially like the Chinese influence which also permeates the rest of the setting. But it was only after listening to the OST in full did I discover something great: Twelve Kingdoms OST is not a large number of small, simple tracks. Rather it is a small amount of complex tracks that cover a wide range, with different parts of each track being used in different scenes. Many times I found songs that I originally thought were separate pieces but in actually were different parts of the same song. If this sounds bad, how can songs sound so drastically different and still work, I understand, I was surprised to. But here are a few examples.

Take for instance "Kuni-Touhoureiin", which starts primarily as a strings piece before shifting into flutes, then a rolling drum and finally back to strings. I initially thought when watching that each of these came from a different track. Yet when combined, when allowed to listen to the transitions between them, they work beautifully. You can see this as well in "Ifuuoukei" where it starts with a low flute before transitioning into more combative strings and drums. Really selling the shift from everyday doldrums to war and violence. Not to mention pieces such as "Getsumeifuuei" that have multiple versions. One with a slow and contemplative vocals and another with faster paced and more active singing. Its the same song, but the pace and way each are played make them feel unique, especially when you hear how they are used in the show itself. All in all, Twelve Kingdoms OST is fantastic.

Meanwhile the actual sound design is pretty good as well. I can't think of any moments where I was taken out of a scene by the sounds. That said, nothing really stood out to me either. The OST does a lot of the heavy lifting when it comes to setting a scene while actual environmental sounds are usually pretty basic. You may get a steady background of crickets at night, or wind perhaps, but nothing particularly unique or reactive to the scene. Basically, Twelve Kingdoms sound design is... acceptable. It won't blow your mind, its not going to inspire the same way Hajime no Ippo's jet engine punches and screeching tire footwork does. But it also won't ruin your immersion. And for as much as the rest of the show does, that's good enough.

What Isekai have lost: Old vs New

Now we come to the personal part of the review, where I wax poetic about some tangentially related topic. This doesn't effect the final score at all. It only exists to let you readers into my head and to try and explain where my head is at, without the burden of reviewing anything. If that doesn't work for you, or you don't care, then go ahead and skip to the conclusion. For those that are curious, lets talk how Isekai have changed!

Despite what some newer anime viewers may think, Sword Art Online did not invent the Isekai genre. It wasn't even the first video game Isekai, with the .Hack// series and Digimon predating it, just to name two. What SAO did do though was bring it back to modern viewers and with that basically rewrite what the genre was about. Suddenly Isekai was a power fantasy, and I didn't like it. Now the focus was about who was stronger, about harems and wish fulfillment. Characters came to these new worlds with escapist fantasies about being important despite never actually doing anything in the real world. This is the exact kind of character, of world view, that Twelve Kingdoms criticizes through characters like Sugimoto. Suddenly, Isekai was no longer about criticizing our world and our lives through a fantasy lens, but about escaping it.

Compare this to my first Isekai, .Hack//Sign, and its lead Tsukasa. Tsukasa didn't have a harem nor was he really a hero. More than anything Tsukasa is a victim and the story itself is centered around personal growth rather than any world-ending events. The videogame of .Hack//Sign isn't used as a substitute for reality, but rather an extension of it. Actions in the game have consequences in reality, characters have lives and relationships outside the game and it explores how these anonymous people you meet online are living, breathing, complex people. Twelve Kingdoms does something very similar. When Nakajima comes to this world, her problems from Japan don't disappear. Rather they come with her and this new world only reveals and brings them to the forefront. It forces her to confront who she was and grow, rather than run away from her problems like many Isekai do now.

Basically my issue with Isekai today is that they are no longer about growth. Yes, occasionally one comes along that remembers this. But by and large the genre is dominated by escaping reality rather than reflecting it. The characters travel to other worlds to get away from their problems, to avoid growing as people. Similarly the worlds themselves are all the same brand of Tolkien fantasy. Gone are the complex settings such the twelve kingdoms and the Void Sea, or the fully realized bath house of Spirited Away. Maybe I am asking to much with this. Maybe the genre has forever changed, and the time of epic fantasy and real world analogues has past. But if so I can at least remember that time with series such as Twelve Kingdoms.

Conclusion

So with all that, when everything is said and done at the end of the day, how was Twelve Kingdoms? As a journey, it was incredible. Every arc but the last did a great job of bringing these characters to life. Of showing me what it was like to adapt to and live in this world. The characters are also some of the best I have seen in a long time, with Nakajima handily earning her place as one of the best female protagonists in anime. The worst thing I have to say about it is that the true ending comes 6 episodes before the finale. Episodes 40-45 are easily the weakest in the anime and Twelve Kingdoms could be said to end on episode 39. And yet even despite this, I can't help but want more. So is Twelve Kingdoms good? Yes. Should you watch it? Absolutely.

If you want to leave a comment you can do so here or find me over on twitter. Thanks for reading!