Tag Archives: Fullmetal Alchemist

For Your Consideration: Hugo Award Graphic Story

The deadline for nominating works for the Hugo Awards is March 11, 2012. Members (as of January 31, 2012) of Renovation, Chicon 7, or LoneStarCon 3 are eligible to nominate. For the Graphic Story category, I have compiled a list of works that could be considered.

It is clear that Hugo readers are not avid comic book readers. There is little overlap of the Hugo nominees and any of the comics-related best-of lists and awards. The Hugo voters are going for fanish titles such as Girl Genius and Schlock Mercenary, along with obscure titles by fan-favorite writers such as Paul Cornell and Joss Whedon, and ignoring outstanding mainstream titles such as The Walking Dead, Locke & Key, Chew, 20th Century Boys, Return of the Dapper Men, and Irredeemable, to name a few. Yes, Y: The Last Man, Fables, and The Unwritten have been nominated, but there’s so much more good stuff not being recognized.

One of the troubles with this category is that much of what’s published is in a highly serialized form, with storylines sometimes extending over more than a year. Publishers typically gather six to ten issues into trade editions, and these are what get nominated. But in reality, these volumes don’t often represent entire, self-contained stories. How can one justify recognizing an incomplete story?

The comics world is producing more top-notch work than in any other Hugo category, yet only seven works made the 5% cutoff last year. Moreover, the Hugo voters have given the award to Girl Genius three years in a row. To his credit, Phil Foglio announced that he would not accept a nomination this year for Girl Genius. It remains to be seen whether this will be enough to convince this year’s Business Meeting to permanently ratify the Graphic Story category. As much of a comics fan as I am, if there is no greater diversity of nominees, I may have to support ending the category. Although the Hugo Award is a popularity contest, it should ideally represent a broad representation of the best of science fiction and fantasy.

The number of graphic stories that are published is staggering. I’ve tried to narrow down my list to titles that I’ve seen favorably reviewed. Nevertheless, I suspect I’ve missed worthy books. Most of the entries on the list are printed. I’m not a connoisseur of web comics, but I know there are some good ones being published. Even so, for a lot of web comics it’s hard to tell where stories start and stop and therefore what is eligible in a calendar year. Check with a site like Top Web Comics for a list of possibilities.

I’ve highlighted a few titles that have appeared on multiple best-of lists or that I have personal knowledge of being excellent. I challenge the Hugo nominators to think carefully about their choices and to not just fill in their ballots with last year’s nominees because you can’t think of anything else.

For your consideration:

Abominable Charles Christopher, Book One by Karl Kerschl

Amulet #4: The Last Council by Kazu Kibuishi

Angel: After the Fall, Vol. 4 by Joss Whedon and Brian Lynch

Anita Blake: Circus of the Damned: The Ingenue by Laurell K. Hamilton, Jessica Booth, and Ron Lim

Anya’s Ghost by Vera Brosgol

B.P.R.D.: Being Human by Mike Mignola, et al.

Batman & Robin, Vol. 2: Batman vs. Robin by Grant Morrison, et al.

Batman: Eye of the Beholder by Tony Daniel

Batman: Noel by Lee Bermejo

Batman: The Black Mirror by Scott Snyder, Jock, and Francesco Francavilla

The Bean, Vol. 1: Riddles & Shrooms by Travis Hanson

The Boys, Vol. 9: The Big Ride by Garth Ennis and Darick Robertson

Blood Work by Kim Harrison, Pedro Maia and Gemma Magno

Brightest Day by Geoff Johns, et al.

Buffy the Vampire Slayer Season Eight, Vol. 8: Last Gleaming by Joss Whedon, Scott Allie, and Georges Jeanty

Captain America: Man Out of Time by Mark Waid and Jorge Molina

Captain Swing, Vol. 1 by Warren Ellis and Raulo Caceres

Casanova, Vol. 1: Luxuria by Matt Fraction and Gabriel Bá

Chew, Vol. 4: Flambe by John Layman and Rob Guillory

The Clockwork Girl by Sean O’Reilly

Cowboys and Aliens by Scott Mitchell Rosenberg

The Dark-Hunters, Vol. 4 by Sherrilyn Kenyon

Daybreak by Brian Ralph

Daytripper by Gabriel Bá and Fábio Moon

Deadpool MAX : Involuntary Armageddon by David Lapham, Kyle Baker, and Shawn Crystal

Do Androids Dream of Electric Sheep? Vol. 6 by Philip K. Dick and Tony Parker

Echo, Vol. 6: The Last Day by Terry Moore

Fables, Vol. 16: Super Team by Bill Willingham and Mark Buckingham

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Fantastic Four, Vol. 4 by Jonathan Hickman, Steve Epting, Nick Dragotta, and Mark Brooks

5 Ronin by Peter Milligan, et al.

Flashpoint by Geoff Johns and Andy Kubert

Flight of Angels by Rebecca Guay

Freeway by Mark Kalesniko

Fullmetal Alchemist, Vol. 27 by Hiromu Arakawa

George R. R. Martin’s Doorways by Stefano Martino and George R. R. Martin

Green Lantern: War of the Green Lanterns by Geoff Johns, et al.

Green Woman by Peter Straub, Michael Easton, and John Bolton

The Griff: A Graphic Novel by Christopher Moore and Ian Corson

The Gunslinger – The Battle of Tull by Stephen King, Peter David, and Michael Lark

The Gunslinger – The Little Sisters of Eluria by Stephen King, Peter David, Robin Furth, Luke Ross, and Richard Isanove

Habibi by Craig Thompson

Harbor Moon by Ryan Colucci, Dikran Ornekian, and Pawel Sambor

Hellboy: House of the Living Dead by Mike Mignola and Richard Corben

I Will Bite You! by Joseph Lambert

Irredeemable, Vol. 7 by Mark Waid and Peter Krause

iZombie, Vol. 2: uVampire by Chris Roberson and Michael Allred

Jericho Season 3 by Alejandro F. Giraldo

Jim Butcher’s Dresden Files: Fool Moon by Chase Conley, Jim Butcher, and Mark Powers

Joe the Barbarian, by Grant Morrison and Sean Murphy

Kill Shakespeare, Vol. 2 by Conor McCreery, Anthony Del Col, and Andy Belanger

The Last Dragon by Jane Yolen and Rebecca Guay

Locke & Key: Keys to the Kingdom by Joe Hill and Gabriel Rodriguez

Mangaman by Barry Lyga and Colleen Doran

Marineman: A Matter of Life & Depth by Ian Churchill

Naoki Urasawa’s 20th Century Boys, Vol. 18 by Naoki Urasawa

Philip K. Dick’s Electric Ant by Philip K. Dick, David Mack, and Pascal Alixe

Phoenix Without Ashes by Harlan Ellison and Alan Robinson

Pinocchio by Winshluss

RASL: Romance at the Speed of Light by Jeff Smith

Ray Bradbury’s Something Wicked This Way Comes adapted by Ron Wimberly

7 Billion Needles, Vol. 4 by Nobuaki Tadano

Super Dinosaur, Vol. 1 by Robert Kirkman

Superboy, Vol. 1: Smallville Attacks by Jeff Lemire, Pier Gallo, and Marco Rudy

Superman: Secret Origin by Geoff Johns and Gary Frank

True Blood, Vol. 2: Tainted Love by Joe Corroney

Twilight: The Graphic Novel, Vol. 2 by Stephenie Meyer and Young Kim

Uncanny X-Force: The Dark Angel Saga, Book 1 by Rick Remender, Jerome Opena, Billy Tan, and Mark Brooks

The Unwritten, Vol. 4: Leviathan by Mike Carey and Peter Gross

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Vampire Academy by Leigh Dragoon and Emma Vieceli

The Walking Dead, Vol. 14, No Way Out by Robert Kirkman

The Walking Dead, Vol. 15, We Find Ourselves by Robert Kirkman

Warlord of Mars: Dejah Thoris, Vol. 1: The Colossus of Mars by Arvid Nelson and Carlos Rafael

Wonder Struck by Brian Selznick

The Wonderful Wizard of Oz by Eric Shanower and Skottie Young

Xombi by John Rozum and Fraser Irving

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For Your Consideration: Hugo Award Dramatic Presentation, Long Form

The deadline for nominating works for the Hugo Awards is March 11, 2012. Members (as of January 31, 2012) of Renovation, Chicon 7, or LoneStarCon 3 are eligible to nominate. For the Dramatic Presentation, Long Form category, I have compiled a list of productions that could be considered.

A number of people are recommending Hugo be nominated. Hugo is by far my favorite film of 2011, but I just don’t see how people can consider it a fantasy. It’s got an automaton as a plot point, but that’s based on a real invention. I suppose Hugo could be considered an alternate history, but that seems to be stretching the definition too much.

A multi-part production such as Game of Thrones or Torchwood: Miracle Day can be nominated in the Long Form category if nominators feel that the mini-series should be taken as a whole, rather than as individual episodes. The dividing line between Short Form and Long Form is 90 minutes running time, but may be adjusted slightly one way or another if a majority of nominators place a borderline work in the other category.

My expectation is that Game of Thrones will be nominated no matter what, so I will use my nominations for other works. I will surely nominate Rango, and most likely Arthur Christmas, Puss in Boots, Rise of the Planet of the Apes, and X-Men: First Class will make up my other choices. The Adventures of Tintin and Source Code would also be worthy, in my opinion.

For your consideration:

The Adjustment Bureau

The Adventures of Tintin  [Annie Award nominee]

Another Earth

Arthur Christmas [Annie Award nominee]

Captain America: The First Avenger

Cars 2 [Annie Award nominee]

Cowboys & Aliens

The Divide

Fullmetal Alchemist: The Sacred Star of Milos

Game of Thrones, Season 1 [Emmy Award nominee]

Gnomeo & Juliet

Green Lantern

Harry Potter and the Deathly Hallows: Part 2

In Time

Kung Fu Panda 2  [Annie Award and Academy Award nominee]

Limitless

Melancholia

Midnight in Paris [Academy Award nominee]

Paul

Pirates of the Caribbean: On Stranger Tides

Puss in Boots  [Annie Award and Academy Award nominee]

Rango [Annie Award winner and Academy Award nominee]

Real Steel

Rio  [Annie Award nominee]

Rise of the Planet of the Apes

Source Code

Super 8

The Thing

Thor

Torchwood: Miracle Day

Transformers: Dark of the Moon

Winnie the Pooh

X-Men: First Class

Fullmetal Alchemist: The Sacred Star of Milos

Fullmetal Alchemist: The Sacred Star of Milos (2011)
Original title: Hagane no renkinjutsushi: Mirosu no seinaru hoshi
Screenplay by Yûichi Shinbo; directed by Kazuya Murata

My rating: 3.5 of 5 stars

Snapshot: An exciting return visit to see the characters that we’ve grown to love, but ultimately it doesn’t add much to the overriding continuity.

(Minor) spoilers ahead!

Last night I enjoyed the English dub version of Fullmetal Alchemist: The Sacred Star of Milos with a packed theater of enthusiastic FMA fans. It was obvious that everyone was happy to see their old friends Ed and Al Elric along with Winry, Col. Mustang, Lt. Hawkeye, and especially Maj. Armstrong. As a stand-alone movie, the events take place somewhere in the middle of the FMA: Brotherhood continuity. The movie is structured so that you don’t need to know anything much about the background of the characters (what little background that is needed is provided through expository dialog–more on that in a moment). There are no mentions of any plot points from the TV series, which is why I place it nearer the beginning of the storyline than than the end. Characters such as Scar, Führer Bradley, Van Hohenheim, etc., are completely absent.

When a powerful alchemist named Ashleigh Crichton escapes from the Central City prison, the Elrics track him to Table City in the western holy land of Creta. They hope he can lead them to a possible unknown form of alchemy that can help them in their quest to regain their bodies. They stop the alchemist from kidnapping his sister Julia, who is part of a dissident faction in the slums of Milos trying to regain control of the holy land that they were forced out of by the Cretans. Table City is aptly named, because it sits on top of a mesa and its waste is dumped on the heads of the Milosian people who live at the bottom of the valley surrounding the mesa.

It turns out that Julia is searching for what the Elrics recognize as the description of a Philosopher’s Stone so she can use it to help the Milosians retake Table City. Complicating things are some nasty wolf chimeras and a mysterious masked man, as well as Ashleigh. There are a few other new characters, too, that flesh out this complicated story.

The animation is top-notch. The visuals of the holy land are stunning. The action is fast and furious, well staged, and smoothly rendered. The music is excellent and the dubbing is quite good (were the lip movements redrawn for English, I wonder?). The dialog has the same mixture of seriousness and humor that we’ve come to expect from the series. All of the voice talent from the series reprise their roles.

One place the movie could have been improved was the dialog. It may have been an artifact of the translation and dubbing, but I suspect it was present in the original script. There were a number of instances where “Exposition Man” took agonizing time explaining the obvious or unnecessary. I can understand that the producers wanted to be as inclusive as possible, but realistically, how many non-FMA fans will see this movie?

Another area the movie could have improved was its complexity. Even at 110 minutes, there just seemed like too much was crammed in. There were also layers and layers of plot twists that could have been streamlined, I think.

The story is a thinly veiled allegory of the Israel/Palestine conflict, with Creta standing in for Israel, Milos standing in for Palestine, and Amestris standing in for the U.S. As such, it had the potential to send a very powerful message, something the best science fiction offers. I think it somewhat missed the mark, however, by trying to shoehorn the story into the established FMA continuity. What was powerful was seeing the conflict from the oppressed viewpoint.

Despite some of the drawbacks I’ve mentioned, Fullmetal Alchemist: The Sacred Star of Milos is must-viewing for FMA fans. This is an intricate look into another culture that upholds FMA’s rightful place as one of the top anime adventures of all time. Although the movie doesn’t add to the established continuity, it does add interesting new characters and is a satisfying visit with old friends. Even non-FMA should enjoy this movie. Let’s hope that more exploits of Ed and Al and the gang will come our way!

The Upcoming Year in Movies

2012 looks to be an amazing year for science fiction and animated movies. What will be the hits? Here are some of my predictions, but I’m sure there will be plenty of surprises in store.

January

Fullmetal Alchemist : The Sacred Star of Milos – This feature-length sequel to the hit anime series looks like it will take place somewhere in the middle of the Fullmetal Alchemist: Brotherhood storyline. The release is limited, but hopefully it will come to a theater near you. Click here for U.S. theater/Canadian theater listings in your area.

February

Chronicle – The movie dead zone of February starts with this story of high school students who gain superpowers. Go watch reruns of Heroes instead.

Journey 2: The Mysterious Island – The February movie wasteland continues with an inane adaptation that would make Jules Verne weep.

Star Wars Episode I — The Phantom Menace 3-D – will George Lucas ever stop tinkering with his movies? And nothing could add dimension to the flat characters of Episode I.

Ghost Rider: Spirit of Vengeance – a sequel nobody but Nicolas Cage demanded.

The Secret World of Arrietty – from Studio Ghibli, an adaptation co-written by Hayao Miyazaki (but, alas, not directed by him) of The Borrowers by Mary Norton. The trailer looks great; let’s hope the movie is, too.

Dr. Suess’ The Lorax – finally, an animated adaptation of a Dr. Seuss book that looks like it will be true to its source and actually be funny.

March

John Carter – a live action adaptation of Edgar Rice Burroughs’s Mars series by writer/director Andrew Stanton (WALL·E, Finding Nemo) starring a bunch of unknowns. With a screenplay co-written by Michael Chabon, I have high hopes that Stanton will bring his animation magic to this project, just as Brad Bird did with 2011’s Mission: Impossible – Ghost Protocol.

Mirror Mirror – the first of two retellings of the Snow White fairy tale, this one staring Julia Roberts and Sean Bean.

The Hunger Games – will this be a juggernaut franchise like Harry Potter or a flop like The Golden Compass? A lot is riding on this film, and all signs point to it coming through.

The Pirates! Band of Misfits – Peter Lord (Chicken Run) of Aardman Animations seemingly can do no wrong, and the trailer is hilarious. I have high expectations for this animated film.

Wrath of the Titans – Another underwhelming special-effects laden quest of Perseus doing the gods’ bidding.

April

Iron Sky – You had me at “Nazi lunar base.” This indie will premiere at the Berlin International Film Festival in April. Let’s hope it makes it to the U.S. soon thereafter.

Extracted – Sasha Roiz (Caprica, Warehouse 13, Grimm) stars as a brilliant engineer who invents a device that enables him to enter another’s mind. While testing it on a convict, he gets trapped and must race the clock to find a way out. Debuting at the Austin South by Southwest Festival, this indie could be one to watch for.

May

The Avengers – Joss Whedon’s take on the iconic Marvel team is the dream movie for comic book fans. I’m not a big fan of Whedon, and my concern is that he won’t be able to corral the egos of his large cast of stars, and the film will veer off into incomprehensibility. Nevertheless, this movie should deliver blockbuster numbers, no matter how good or bad it is.

Dark Shadows – Tim Burton and Johnny Depp team up once again to revive the 1960’s soap opera about Barnabas Collins and his wacky household of vampires and ghouls. I expect campy fun.

Men in Black 3 – another sequel nobody clamored for, but Will Smith will put butts in seats.

Dorothy of OZ – I saw a preview of this animated musical at San Diego Comic-Con last year, and it looked HORR! I! BLE! Why or why can’t someone just make a successful, straight adaptation of the marvelous source material?

Battleship – very loosely based on the popular board game (coming soon: Candy Land, I kid you not), the trailer is just a mess and a half—lots of explosions and women in bikinis. And it will make a ton of money.

June

Snow White and the Huntsman – the second Snow White adaptation; this one a bit edgier than the first.

Madagascar 3: Europe’s Most Wanted – I have to admit that the first two in the series were lighthearted fun, and I don’t expect them to deviate from the formula.

Prometheus – Ridley Scott’s triumphant return to science fiction as co-written by Lost’s Damon Lindelof, this will either be astounding or a big, fat mess. No one seems to know whether this is a prequel to Alien or whether it morphed into something else during filming, but the trailer definitely makes me want to see it.

Jack the Giant Killer – another fairy tale retold, this time “Jack and the Beanstalk” as directed by Bryan Singer.

Brave – Pixar’s big release of 2012, their first starring a female protagonist. The trailer looks amazing, and I expect this will be the animated feature to beat at next year’s Oscars.

Abraham Lincoln: Vampire Hunter – cheesy fun from producer Tim Burton.

G.I. Joe: Retaliation – stars Bruce Willis and Dwayne Johnson should ensure this will be better than the first G.I. Joe movie, but director Jon M. Chu’s background is from the music and dance world (most notably, the Step Up franchise), so it’s hard to imagine it will be much better.

July

The Amazing Spider-Man – July will be the battle of the titans: Spider-Man vs. Batman. This reboot of Spider-Man will hopefully reinvigorate the franchise, but I think it will be overshadowed by…

The Dark Knight Rises – Christopher Nolan’s final entry into the dark world of Batman. Will Nolan be able to pull off a tour de force without a force of nature like Heath Ledger? Most likely it will be an emphatic “yes.” Here is a clever mash-up trailer for the film using footage from Batman: The Animated Series:

Ice Age: Continental Drift – at least we get to laugh at Scrat try to rescue his acorn, regardless of the other dreck that may be in the movie.

August

Total Recall – this new Total Recall will supposedly stick close to the original Philip K. Dick short story “We Can Remember It For You Wholesale” it’s based on.

ParaNorman – this animated fantasy/horror/comedy from the makers of Coraline could be a sleeper hit.

September

Hotel Transylvania – Director Genndy Tartakovsky (The Powerpuff Girls, Samurai Jack) animates Adam Sandler as Dracula in this Sony Pictures Animation presentation.

Dredd – Karl Urban stars in a new take on the ultra-violent British comic book. Without Sylvester Stallone to muck it up, it might actually turn out ok. Lena Headey co-stars.

October

Frankenweenie – Tim Burton’s feature-length stop-motion remake of his infamous 1984 short. Will audiences flock to see a black-and-white animated film in 2012? The hip ones will.

November

Wreck-It Ralph – Disney Animation’s big film for 2012 features the voices of John C. Reilly, Jane Lynch, and Jack McBrayer in something to do with video game characters coming to life.

Rise of the Guardians – Dreamworks Animation brings together the voice talents of Hugh Jackman, Jude Law, Chris Pine, and Alec Baldwin in a story that has Santa, the Easter Bunny, the Tooth Fairy, the Sandman, and Jack Frost banding together to fight the Bogeyman.

December

The Hobbit: An Unexpected Journey – the one every fanboy has been waiting for—Peter Jackson’s long delayed adaptation of J.R.R. Tolkien’s beloved children’s book. My only question is whether it will remain true to its source material or whether it will be Lord of the Rings, Part 4. Either way, it should be awesome.

World War Z – based on Max Brooks’ tongue-in-cheek zombie book, this adaptation co-written by J. Michael Straczynski and staring Brad Pitt could be a surprise hit.

Unscheduled

Robot and Frank – A well-reviewed entry at the Sundance Film Festival starring Frank Langella as a burglar who teams up with a robot to commit his crimes. Co-starring James Marsden, Liv Tyler, and Susan Sarandon.

Upside Down – A man searches an alternate universe for a long-lost love from his youth. Stars Kirsten Dunst.

The Prodigies – Warner Bros. Pictures is planning to distribute this French animated superhero movie from 2011 sometime this year; my guess in limited release.

Fullmetal Alchemist

Fullmetal Alchemist the manga, written and illustrated by Hiromu Arakawa, was published from 2001 to 2010. It was adapted by director Seiji Mizushima and writer Shō Aikawa into an anime (FMA, for short) that ran for 51 episodes in 2003-2004 in Japan; subsequently released on DVD in the U.S. in 2005-2006. In what is perhaps the fastest remake in history, it was readapted by director Yasuhiro Irie and writer Hiroshi Ōnogi as Fullmetal Alchemist Brotherhood for 64 episodes from 2009-2010 in Japan; released in the U.S. in 2010-2011. I haven’t read the original manga; this review will cover the two anime series (dubbed versions).

Fullmetal Alchemist is set in an alternate reality in which alchemy is an advanced scientific technique within a society that has a mixture of early 20th-Century industrial capabilities and modern sexual equality. Alchemy is based on the principle of equivalent exchange, i.e., “In order to obtain or create something, something of equal value must be lost or destroyed.” The story features brothers Edward and Alphonse Elric, sons of master alchemist Van Hohenheim who left home for unknown reasons when they were very young. Their mother, Trisha Elric, died of a terminal illness a few years later, leaving the two brothers orphaned. The young boys determined to resurrect her, so they dug into their father’s reference books to learn about human transmutation, a forbidden branch of alchemy. Their eventual attempt ended in disaster, resulting in the loss of Ed’s left leg and right arm, and Al’s entire body. Ed managed to bind Al’s soul to a suit of armor, and Ed’s arm and leg were later replaced with automail, a kind of metallic prosthetic limb. The two then began a quest to find the legendary Philosopher’s Stone that they think will be able to make them whole again.

To help facilitate their search, Ed enlisted in the state military, becoming the youngest state alchemist. Ed acquired the nickname Fullmetal due to his automail. Ed and Al soon got caught up in a conspiracy far beyond anything they’re prepared for. They discover a genocidal plot by the top military leaders. Meanwhile, shape-shifting monsters called homunculi, taking the identities of the seven deadly sins, begin preparations to take over the world for their mysterious creator.

FMA followed the plot of the manga until about halfway through, when it completely diverged (after all, the manga was far from complete at the time FMA was produced). FMA’s ending seemed a bit rushed and had some plot holes. Brotherhood followed the manga very closely all the way through, with a more logical and satisfying ending. Brotherhood is less centered than FMA on the Elric brothers, featuring a large cast of supporting characters. The villain of FMA is a little more believable; the villain in Brotherhood is more of a clichéd power-mad megalomaniac.  Does this make one series better than the other? Not really; they are two sides of the same coin. The two share most of the same voice talent (the one notable difference is that the boy who played Al in FMA got too old to continue voicing a pre-teenager, so was replaced by a woman) and the art direction and character designs are almost identical. FMA is darker in tone and has a more ambiguous ending than Brotherhood. Most reviewers prefer the soundtrack of FMA to Brotherhood. The animation of Brotherhood is probably better and more fluid than FMA.

Brotherhood condenses the plot of the first half of FMA to about a dozen episodes. Whether this is because FMA had filler not in the manga, or whether it was because the producers assumed the audience had seen FMA and didn’t want to sit through the entire beginning again, is not clear. For those who have not seen or read any version of Fullmetal Alchemist, I would recommend watching the first 26-28 episodes of FMA, then pick up Brotherhood at about the 12th episode. This will give the viewer a fuller and more nuanced picture of Ed and Al’s relationship as well as more details about their world, and avoid repeating essentially identical scenes. There is only one major plot change before this point that I can think of—one character dies in FMA that survives in Brotherhood—but I don’t think this is enough to hinder one’s understanding or enjoyment of Brotherhood.

Whichever version you watch, or perhaps both, you will be seeing one of the all-time finest examples of anime. Fullmetal Alchemist explores the themes of self-sacrifice, honor, and fighting against all odds for what is right, and does it with action, humor, and compassion in a steampunk world with fascinating characters.