The Terminator series has become synonymous with mediocrity. With a few notable exceptions, it consists of multiple bad movies and an unfinished TV show. Even Terminator: Dark Fate, while decent enough, can’t match the grimy, cyberpunk vibe of the original or the dynamic moments of T2: Judgment Day. So it’s no surprise that our expectations for Netflix’s Terminator Zero , another potentially lackluster iteration of a once-popular franchise, weren’t high. This solid animated series proves to not only respect the franchise’s legacy, but also offers a unique perspective on its established lore.
Even though The Terminator is set in 1990s Japan (rather than the United States), it still starts off in typical fashion. A Terminator is sent back in time to assassinate scientist Malcolm Lee (voiced by Yuya Uchida in Japanese, voiced by Andre Holland) before he can deploy Kokoro (Atsumi Tanezaki/Rosario Dow) Sen). Skynet’s rival – a rogue artificial intelligence system that will all but wipe out humanity by 2022 – is scheduled to launch globally in 1997. Mizuno), who was sent in the past in hopes of protecting Lee long enough to convince him that his plan would do more harm than good. That’s basically what fans have come to expect from something Terminator-related; for better or worse, series creator Mattson Tomlin has ensured that Terminator Zero follows in the metallic footsteps of its predecessors.
The first few episodes of Terminator Zero are a bit formulaic. Thankfully, it doesn’t take long for the show to branch into new territory. For example, this is the first time the concept of multiple timelines has been formally addressed – Terminator Genisys mentioned a single, altered timeline, but not its splitting into different threads. Interestingly, it does not negate previous events. Instead, Zero hints at the events that led to the series’ time paradox in a way that respects the impact those events might have had on the Terminator lore. It’s a clever piece of writing that helps boost the show’s canon relevance while heightening Eiko’s original dilemma. That she chooses to risk traveling back to the past after learning she’ll never return to the present is both heartbreaking and laudable.
Terminator Zero does a great job of exploring the merits of traveling back in time, the extent to which humans (and machines) can be misguided in their efforts to change a given future, and why the rise of Skynet always seemed an inevitable outcome. It also shows interesting themes about family relationships and what it means to truly have feelings. Every time the show sticks too close to the Terminator blueprint, it makes mistakes. It just needs to contain its own time paradox/plot hole. That said, it’s Terminator Zero’s depressingly dark tone that really sets it apart. Eiko’s war-torn future looked bleak. Things weren’t much better in the past, considering this was just one major disaster, far from what seemed like a worse fate. There’s also the lingering threat of the titular assassin, something Eiko and his companions are caught off guard.
While there are some shootouts and plenty of collateral damage, the focus is on the Terminator’s methodical and often brutal approach to combat. Skulls were crushed, spines were broken, and limbs were torn from the bodies. Things get even worse when it decides to take up arms; since Japan doesn’t have many guns to commandeer other than those used by law enforcement, the Terminator effectively uses a modified crossbow.
The momentum of “Terminator” and the somber atmosphere of “Zero” recall James Cameron’s original film, and how it utilized the more thrilling and sometimes horror-based elements of its plot. There’s no grand spectacle, but a gritty realism that makes the show’s hopeful moments feel worthwhile. After witnessing the hell the humans and their allies have been put through, it’s easy to root for them – thanks to good voice acting and some well-written dialogue.
The American and Japanese cast of Terminator Zero are both great, but there are slight differences in the performances in certain scenes. Dawson sounds great as the AI Kokoro, although the warmth she brings to the character sometimes betrays the robotic nature of her character. Compared to Mizu, Yukinari’s passionate portrayal of Eiko stands out more in the horrific moments. In fact, it all comes down to preference. Aside from text lag when using subtitles (an issue that could be attributed to Netflix itself), there’s no “wrong” choice when it comes to dubbing.
Terminator Zero’s animation isn’t always great. It looks good most of the time, with strong lines and a muted color palette that echoes the show’s overall sense of dread. However, sometimes the frame rate seems to change. Animations become stuttery and characters start to stutter instead of moving smoothly. Considering the Terminator is a cyborg, this works for him, but for humans it could be quite off-putting.
Terminator Zero is a fun animated series that shines when it ventures into new territory. It has a talented cast, an engaging plot, and solid animation that occasionally dips in quality. The show also provides a valid explanation for the time paradoxes (or in some cases, plot holes) found in the Terminator movies. It does have some sticking points, namely its reluctance to shake up the franchise’s staples; not every story has to start out exactly the same way. While it does do a good job of correcting past films, it does go wrong by introducing its own time paradox. Still, Terminator Zero proves that there’s something new to the series beyond its Sarah Connor-related story.
