Before I begin, we’ll pause to reflect on my mission statement and the three entries prior (which you can find here, here and here.)
Anyway, let’s do a quick recap: a subversive take on the magical girls genre is number 5. A subversive take on a toy marketing vehicle is number 4. And, lastly, an atmospheric space western is number 3. You ready for number 2? Good, because it’s Fullmetal Alchemist.
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I should be clear that this is the 2003 show, not Fullmetal Alchemist: Brotherhood. Qualms aside, I hate having to make the distinction; after all, one has the word “Brotherhood” attached to it! Isn’t that enough? I guess not, since fans still don’t get that they’re differently titled and, therefore, not the same.
Fullmetal Alchemist is the story of two brothers, Edward and Alphonse Elric, and their attempt to revive their dead mother using alchemy. Unfortunately, it backfires and nearly kills Alphonse. Edward attaches his brother’s soul to a suit of armour, but he loses an arm and a leg in the process. Desperate to reclaim their bodies, the two join the military in hopes of finding the legendary Philosopher’s Stone. But all isn’t what seems in the military, as the higher ups are harbouring dark secrets that are upsetting the delicate balance of the world.
Let’s get the obvious out of the way first: the show looks great. It has those jerky limitations of early-2000 anime, and the budget isn’t as high as some of Studio BONES’s later endeavours. That much I won’t deny. But so much passion and detail went into the show that it overcomes that. Besides, if we don’t criticize the original Star Wars films for their limitations, then we shouldn’t fault Fullmetal Alchemist.
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Perhaps one of the best aspects is its directing. Like Cowboy Bebop in the previous entry, Seiji Mizushima is an auteur, and the show looks unbelievably cinematic for a Shonen series. I’ll admit that some of the shots border on pretence, like the panorama swerve during Episode 49 that doesn’t serve any other point than showing off the mansion it takes place in, but it’s clear that he really cared and wanted everything to resonate. This is also prevalent in the show’s mood lighting and shading, such that everything about it is as polished as the camera shots. There’s no other way of saying it: Fullmetal Alchemist is really pretty.
That level of finesse extends to the score, composed by Michiru Ōshima. If Kanno is a more varied, experimental composer, than Ōshima is the more conventional one, although that’s not to slight her. Everything about Fullmetal Alchemist’s soundtrack, right down to its recurrence of the tune “Brothers”, is unique, varied ear candy. True, a lot of tunes are overused, but when a track is that good…does it really matter?
I also love how this show uses its cast. Fullmetal Alchemist has a ginormous roster of recurring characters, major and minor, such that it theoretically shouldn’t function. And, to be fair, it wouldn’t in a lesser series. But it does, so much that it’s actually amazing. Every character of relevance gets exactly the amount of screen time deserved, and absolutely none are wasted. You can argue if some aren’t given the end-fates that are warranted (see Colonel Archer), but that’s so minor that it’s almost nitpicking.
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What’s even more impressive? Ed and Al never once feel shafted. The show frequently puts them on the back burner, but it never once forgets that this is their story. Additionally, every plot thread comes back to their journey to fix what they lost. In that sense, there’s a “big story, small story” feel to the 51 episodes that makes this subtle, heartfelt tale stand out from more conventional Shonen.
The fight scenes are also pretty great. They’re not mind-blowing, with one or two exceptions, but they’re weighty. You feel each strike, punch and attack as it happens, which, again, is uncommon for a standard Shonen. And, thanks to some clever direction, music and dialogue, they resonate. I can’t rank a list of favourites, but that doesn’t make them any less special.
I’ve heard complaints from die-hard fans of the Manga about this show departing from the source material, which can be rationalized with context. For one, Hiromu Arakawa gave the show her blessing, so the deviation complaint doesn’t hold weight outside of personal preference. And two, anime isn’t Manga. Adaptations should do what works for them, and if it means changing certain details, then by all means they should do so. Besides, the new content, right down to open-ended finale, works. I don’t care if you disagree, it makes sense.
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Which isn’t to say this beautifully-written and executed series is flawless. For one, its use of Manga Iconography is distracting. It frequently clashes with the more refined animation of serious scenes, making it awkward. And besides, why must comedic animation be so over-stylized? Slapstick has limits before it becomes ugly, and Manga Iconography is often that limit. It doesn’t look good at all, essentially.
Secondly, the humour in the show is inconsistent. Some of the jokes, like when Gracia Hughes is giving birth, are fantastic and generate laughs every time. But, sadly, many don’t. This is especially true with the weird character quirks, all of which are forced attempts at levity. I don’t know about you, but Ed freaking out over his height was more embarrassing than funny!
Thirdly, Episode 10 is flat-out painful, as is Episode 37. Both are weird ideas meant to kill time, but each fails for a different reason. The former’s a dumb homage to the Lupin III franchise, introducing an unnecessary character and having its ending feel tacked on and pointless. And the latter, save one scene, is obnoxious and embarrassing, with pretty much all of its jokes falling flat. I get that the show needed slots to fill, but did it have to be these options?
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Finally, one of the homunculi has a silly fate. I won’t say who it is, but every time I watch that part I’m left scratching my head. It’s the only part of the story that I actually consider inconclusive and ridiculous, as it achieves nothing and doesn’t even make sense. But I won’t ruin it, as you might end up disagreeing with me. Still, I would’ve chosen a different outcome.
That doesn’t change what Fullmetal Alchemist is: a fun, emotional and cleverly-written Shonen. It’s tight at 51 episodes, and it manages to do stuff with the genre I’d never thought possible. I give it a…
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Join me next time as I reveal my all-time favourite anime series. Your key word this time is gravity. What does that mean? You’ll have to wait and see!
Anyway, let’s do a quick recap: a subversive take on the magical girls genre is number 5. A subversive take on a toy marketing vehicle is number 4. And, lastly, an atmospheric space western is number 3. You ready for number 2? Good, because it’s Fullmetal Alchemist.
I should be clear that this is the 2003 show, not Fullmetal Alchemist: Brotherhood. Qualms aside, I hate having to make the distinction; after all, one has the word “Brotherhood” attached to it! Isn’t that enough? I guess not, since fans still don’t get that they’re differently titled and, therefore, not the same.
Fullmetal Alchemist is the story of two brothers, Edward and Alphonse Elric, and their attempt to revive their dead mother using alchemy. Unfortunately, it backfires and nearly kills Alphonse. Edward attaches his brother’s soul to a suit of armour, but he loses an arm and a leg in the process. Desperate to reclaim their bodies, the two join the military in hopes of finding the legendary Philosopher’s Stone. But all isn’t what seems in the military, as the higher ups are harbouring dark secrets that are upsetting the delicate balance of the world.
Let’s get the obvious out of the way first: the show looks great. It has those jerky limitations of early-2000 anime, and the budget isn’t as high as some of Studio BONES’s later endeavours. That much I won’t deny. But so much passion and detail went into the show that it overcomes that. Besides, if we don’t criticize the original Star Wars films for their limitations, then we shouldn’t fault Fullmetal Alchemist.
That level of finesse extends to the score, composed by Michiru Ōshima. If Kanno is a more varied, experimental composer, than Ōshima is the more conventional one, although that’s not to slight her. Everything about Fullmetal Alchemist’s soundtrack, right down to its recurrence of the tune “Brothers”, is unique, varied ear candy. True, a lot of tunes are overused, but when a track is that good…does it really matter?
I also love how this show uses its cast. Fullmetal Alchemist has a ginormous roster of recurring characters, major and minor, such that it theoretically shouldn’t function. And, to be fair, it wouldn’t in a lesser series. But it does, so much that it’s actually amazing. Every character of relevance gets exactly the amount of screen time deserved, and absolutely none are wasted. You can argue if some aren’t given the end-fates that are warranted (see Colonel Archer), but that’s so minor that it’s almost nitpicking.
The fight scenes are also pretty great. They’re not mind-blowing, with one or two exceptions, but they’re weighty. You feel each strike, punch and attack as it happens, which, again, is uncommon for a standard Shonen. And, thanks to some clever direction, music and dialogue, they resonate. I can’t rank a list of favourites, but that doesn’t make them any less special.
I’ve heard complaints from die-hard fans of the Manga about this show departing from the source material, which can be rationalized with context. For one, Hiromu Arakawa gave the show her blessing, so the deviation complaint doesn’t hold weight outside of personal preference. And two, anime isn’t Manga. Adaptations should do what works for them, and if it means changing certain details, then by all means they should do so. Besides, the new content, right down to open-ended finale, works. I don’t care if you disagree, it makes sense.
Secondly, the humour in the show is inconsistent. Some of the jokes, like when Gracia Hughes is giving birth, are fantastic and generate laughs every time. But, sadly, many don’t. This is especially true with the weird character quirks, all of which are forced attempts at levity. I don’t know about you, but Ed freaking out over his height was more embarrassing than funny!
Thirdly, Episode 10 is flat-out painful, as is Episode 37. Both are weird ideas meant to kill time, but each fails for a different reason. The former’s a dumb homage to the Lupin III franchise, introducing an unnecessary character and having its ending feel tacked on and pointless. And the latter, save one scene, is obnoxious and embarrassing, with pretty much all of its jokes falling flat. I get that the show needed slots to fill, but did it have to be these options?
That doesn’t change what Fullmetal Alchemist is: a fun, emotional and cleverly-written Shonen. It’s tight at 51 episodes, and it manages to do stuff with the genre I’d never thought possible. I give it a…
Join me next time as I reveal my all-time favourite anime series. Your key word this time is gravity. What does that mean? You’ll have to wait and see!