Metalocalypse returns with a crunchy distorted vengeance in the Adult Swim series’ epic, feature-length conclusion, Army of the Doomstar. Nearly a decade has passed since the massive cliffhanger ending of The Doomstar Requiem – A Klok Opera, which series creator Brendon Small pays off with sadistic animated brutality, an assault of blast beats, and musical anarchy cranked up to 11. Army of the Doomstar is Small’s answer to 1981’s fantasy-trippin’ rock odyssey Heavy Metal for the Headbanger’s Ball generation; it’s also devoted to closing the loop on any hanging threads involving the members of mega-popular death metal band Dethklok, so don’t treat Army of the Doomstar as an entry point into Metalocalypse. It’s one final metalhead extravaganza for the diehards who’ve blasted Dethklok’s Duncan Hills Coffee jingle since episode 1 – go in prepared or get left behind.
Small and co-writer Tommy Blacha (who each voice multiple characters) waste no time heaping lore atop viewers who are hungry for long-awaited answers. Dethklok’s musical hiatus has created a “Dethcession” that threatens the global economy, and an impending Metalocalypse looms overhead as summoned by raspy cold-open regular Mr. Salacia (voiced by Mark Hamill). Where Metalocalypse has long painted Dethklok’s popularity as a harbinger of apocalyptic demise, Army of the Doomstar triumphantly completes their evolution into heroes who must compose a "song of salvation" that saves the world.
The severity of Dethklok’s quest leaves less room for juvenile Adult Swim comedy bits like “Dethklok buys groceries for the first time” or “Dethklok opens a kitty island,” but boneheaded humor still gets a chance to shine. Everything dedicated hordes have come to expect from Small’s bloodthirsty cartoon goes out with a “For Those About To Rock (We Salute You)” bang in Army of the Doomstar, including goregesly rendered fantasy imagery. The illustrated sharpness of Dethklok’s universe blends ’80s medieval fables like The Last Unicorn and ultra-violent animation like the recent (kick-ass) Mortal Kombat Legends series. Metalocalypse always contained high-adrenaline concert footage and A+ kill sequences, but Army of the Doomstar adds a rich, folkloric dimension. Hellfire reds and Murderface’s horror-laced hallucinations contrast runic symbols in neon blue or Dick Knubbler’s enlightening steampunk dojo. Small reimagines Disney’s Fantasia by way of Children of Bodom in a way that’d make metal icons like King Diamond and Scott Ian (both of whom lend their voices to Army of the Doomstar) smile ear to ear.
Small’s desire to make a sincere Metalocalypse finale brings with it a heightened level of maturity: Within this environment, Army of the Doomstar can only afford the briefest of windows for the high-energy shenanigans of infamous, cocaine-loving rock ’n’ roll clown Dr. Rockzo. Small and Blacha challenge themselves to conclude Dethklok’s ongoing arc without goofball distractions, using frontman Nathan Explosion’s struggles with his near-invincible celebrity status to promote the importance of self-empowerment. Dethklok’s ascension from drunkard man-babies into God-like protectors comes full circle with immense presence in Army of the Doomstar, without making us miss the morons we’ve laughed at for years. Small understands what the creators of other Adult Swim programs do not, and champions longform storytelling advancement instead of running the same nonsense comedy gimmicks into the ground. Nathan confronts his unhealthy relationship with adoring fans, Skwisgaar and Toki accept each other as riffmaster brothers, and Murderface finally hits the rockiest of bottoms — arcs that have been building since Season 1. Dethklok earns the versions of themselves they become through hard-fought trials, and Small does a stellar job making us root for the “healthier” numbskulls who can not only save themselves, but humanity as well.
Small wraps Army of the Doomstar somewhat abruptly, but makes up for the structural hiccup with an emotional signoff that flows from the heart. As Nathan graciously addresses hordes of Dethklok fans who’ve rushed to the band’s aid, you can hear Small thanking Metalocalypse fans through the fourth-wall-breaking monologue. Should Army of the Doomstar have been released shortly after The Doomstar Requiem as intended, Nathan’s words would ring softer. Instead, in the wake of a lengthy fan campaign and this straight-to-video resurrection, the impact of Dethklok thanking the animated faithful becomes something unexpectedly special. Stupendous writing proves how intricately Small plotted Dethklok’s character development from the start until his band’s Doomstar ovation, making for an unselfish passion project dedicated to those who fought for its existence.
