STARR 023: Fullmetal Alchemist Special

Fullmetal Alchemist

"Humankind cannot gain anything without first giving something in return. To obtain, something of equal value must be lost. That is alchemy's First Law of Equivalent Exchange."

Taking an ancient and philosophical method and adding a fantastical element of "equivalent exchange"; Fullmetal Alchemist is bursting with original thought and influence. Creator Hiromu Arakawa is onto a good thing here and isn't afraid to delve deeply and dramatically into her creation. Young brothers Edward and Alphonse Elric study alchemy, a business their estranged father practised before his sudden disappearance. They train hard and become prodigies in the art that has become a science in the alternative world they inhabit. Alchemy is the main source of scientific progress in this world, and the abilities it enables masters of it is enormous. Because of this near-limitless power, and the desires of unknowing youth, Ed and Al attempt the taboo: resurrecting their mother from the grave. Pooling the base elements that are the make-up of a human being, they try - and fail - at bringing her back, creating a soul-less, hideously deformed something that can barely breathe let alone be their mother. Not only that, following the rules of equivalent exchange, Ed's left leg and Al are inadvertently taken in the process, dragged towards a monolithic gate filled with black arms, eyes, and the unknown. Exchanging his right arm for his brother's soul, Ed transmutes his disembodied brother into an empty suit of armour with a blood seal and regains what he can of his little brother.

Now, fitted with metallic artificial limbs called automail courtesy of childhood friend Winry Rockbell and her grandmother Pinako, Edward and Alphonse set forth to find the Philosopher's Stone, which in this world supposedly amplifies the alchemic power of it's user tenfold and ignores the rules of alchemy. That means no equivalent exchange, and the incredible temptation to restore Ed and Al's bodies to their true form. To achieve this goal, Ed enlists as a State Alchemist, a soldier of the state that uses alchemy instead of guns or bombs to achieve their ends. With the vast amount of information at hand by becoming a dog of the military, Ed (under the title of Fullmetal Alchemist) and Al can study the Philosopher's Stone with greater resource and begin their journey to discover the origins of the Stone and the truly horrifying truth behind truths. Over 51 episodes Fullmetal Alchemist starts of simply enough, but soon enough gets pretty damn serious. Despite being able to easily slip back into a lighter tone, often thanks to others mocking the diminutive stature of Edward, as the series progresses it shows it's not afraid to get dark and simply horrifying. But since these two sides of the coin are balanced well, you don't feel like one is impeding upon the other and the same can be said of Ed and Al's relationship.


Seems the traumatic event of losing your brother's body, an arm, a leg, and an incomplete human transmutation of your mother creates an already strong bond between Edward and his brother. Like true siblings, they will fight, and they will make up, but it's never suss and never feels unnatural, despite Alphonse inhabiting a hollow suit of armour. If you remember that it's just a child embodied in that large, metal mass, you'll know why the empathic Al acts like he does, the sobering yin to Ed's raging yang. With a short temper to match his short height, Ed is more brash and impulsive when provoked, though that doesn't stop him using alchemy in fantastic and inventive ways when under pressure. The relationship and bond of the Elric brothers is the glue that holds Fullmetal Alchemist together, all the way through to the very end, and it's a wonderful relationship indeed. Another great aspect of this series is it's supporting cast. Practically everyone is fleshed out more than proficiently and the regular characters are each given at least one moment to shine. It could be argued that a lot of this has attributed to the extended length of the anime, but the self-contained stories and the ones that add to the overall plot are just as skilfully and carefully told, it's entertaining to watch to say the least.

Mainstays like Colonel Roy Mustang, whom Ed reports to in the military, offers guidance and witty quips to fuels the boys in their search and the loathing Ed has for him. Alex Louis Armstrong, with his pristine heritage devoted to the beauty of everything cannot help himself in showing off his talents (re: his perfectly sculpted muscles) any chance he gets. The forlorn and distanced relationship between the Elric brothers and Winry, and how she cares just as much for autodial as she does for those two. The many Homunculi, who are the trade-off's for human transmutation, and their varying effects on characters and the plot, and Scar, the dark-skinned, red-eyed Ishbalan hellbent on avenging his people who have become outcasts and refugees by killing any and all state alchemists. Then there's all the others I'd write about if it didn't drag on. Let's just say it's an extensive and varied cast each with their own unique offerings to the story. But the tale of Fullmetal Alchemist isn't just about the Philosopher's Stone, there are other facets that integrate intriguingly into the plot. There's the plight of the Ishbal people, the relationship between condemned prisoners and the creation of a Philosopher's Stone, an assassination of a key character, and the relationship between Ed and Al and the teacher who taught them proper alchemy. These are the main ones, because there are lesser/shorter - though just as well-told - tales spread out the length of Fullmetal Alchemist.

Complimenting the fantastic storytelling is the animation by Studio Bones (Eureka Seven, Darker Than Black, Tokyo Magnitude 8.0, RahXephon), which maintains a brilliant level of constancy throughout the lengthy series. The colours, the fluidity of the animation, the character designs, the backgrounds, the complex moments, the detailed close-ups and the range make this one of the finest-looking anime series. The aforementioned length of the show makes this even more amazing, to keep such a level and rarely let it drop is a staggering achievement. The music too, is good. Not as good as the effort put into the animation, but the soundtrack of Fullmetal Alchemist is powerful and suitable. If anything, it needed a few more varied orchestrations to change it up, since the tracks got repeated often enough to become noticeable, again, a pitfall of 51 episodes. The weakest music was kept for the opening and closing credits, comprised of out-of-context j-pop that cheapened the otherwise high-end production put into this series. The direction of Seiji Mizushima understands the material, and obviously respects it, because the time is taken to discuss and explain some of the deeper facets of alchemy and it's still-mysterious power. Mizushima still allows himself to get carried away, trading for occasional melodrama and repeating things which only bog the story down and lessen the impact, even if the reminder might be necessary for some.


Whilst the journey for the Philosopher's Stone and the engaging relationship between Edward and Alphonse are of great importance, I was most entranced by the utterly-original employment of alchemy in this anime. Alchemy is a thing that exists in our world, though only philosophically, and not in this context, but Arakawa's approach is just so interesting and tempting. The power and the laws tied to alchemy in Fullmetal Alchemist is deep and dark. The gate which holds Alphonse's body and Edward's arm and leg ties this seemingly magical (yet considered scientific) act together with startling and terrible truth. How alchemy is more than just using materials to create something and just where that gate leads are just as much of a hook for this show as the actual quest itself. It seems that religion has a heavy part to play in the show too. Though it's cautiously talked about to prevent too much controversy, there's a lot of meaning when the Ishbalan's consider what a mockery to God alchemy is. As a science, it considers no gods, since if proficient enough, an alchemist can be a god. Edward claps his hands together, making a prayer-like pose before using alchemy, and often the simple kneeling over a transmutation circle is also akin to faith. Bringing life back from the dead also argues against God's will and many character's obsessions are sinful, hence why the Homunculi are given names in accordance with the seven deadly sins. Even the finale in an empty church and it's finely-named antagonist push the symbolism of religion vs. alchemy. The true power of the gate and what or who beholds it are all facets deeply explored and intelligently presented to us in Fullmetal Alchemist.

The English dub of the show is considered one of the strongest around, with Vic Mignogna as Edward providing a punchy, though just as frail stance to his character. Aaron Dismuke scored big time as Alphonse, with a true child's voice captures the innocence and confusion a child his age can only suffer even if he sounds like he's reading lines in moments of anger. Travis Willingham goes understated as Roy Mustang, playing the varying sides to this complex character with ease. As well-made, expertly told, and dramatic as it is, Fullmetal Alchemist, like the world, is not perfect. As for it's conclusion, it could have stopped after that first sacrifice and created both a more powerful and emotional end, and prevented it from going just that little bit too far, but then it'd go against the main theme of Fullmetal Alchemist: brotherhood. The bond between the Elric brothers is more powerful than alchemy or the Philosopher's Stone. And besides, Studio Bones wouldn't've gotten the opportunity for a follow-up film, and you can't give a 'true' ending until it's creator Hiromu Arakawa finishes the manga itself - which is very, very close at time of writing. Diverging from the original material about halfway through, Mizushima's approach towards the end is understandably careful, whilst still keeping that element of shock and intelligence to do Arakawa justice. All that said, this really is an anime you cannot afford to miss. To meld real-world ideas with such a flash of inventive brilliance is rarely seen these days in anime, and at this level of depth even rarer. The themes, symbolism, plot, story, characters, ideas, originality, and above all; brotherly love, make Fullmetal Alchemist one of the finest anime series released in the past decade, and ever, for that matter.

9.5/10.


Fullmetal Alchemist the Movie: Conqueror of Shamballa

Following on from the end of the anime series, Fullmetal Alchemist the Movie: Conqueror of Shamballa tries to bring a 'fuller' conclusion, one that hopes to appease the fans and tie up loose ends. Two years have passed since Edward Elric was taken from his world and through the Gate of Alchemy into the parallel world, which just so happens to be Earth, our world. The time is 1923, and the world as we know it is a world without alchemy for Ed. Coping without his beloved technique, using lesser-equivalent automail, and generally being a drifter, Edward has met up with his alternate reality-version of his brother Alphonse, known as Alfons Heiderich. Alfons is a young German rocket scientist whose discoveries have intrigued Edward as a way he may possibly return to his true home. Though polite to Ed's cause, fatal lung disease means Alfons cares more about making his mark on the world before he perishes. Travelling to a demonstration of rocket power, they hitch a ride with Gypsies, the equivalent to the people of Ishbal in Ed's world. They are outcast folk who the people look down upon, especially in times of growing tension on a historical scale. One of the Gypsies, Noah, has the ability to read a person's fortune, and has success in connecting with Edward.

It's not long before a thickly-woven tale emerges, with Germany as the main villain. As mentioned, this is a revolutionary and horrible time in the history of Earth, Hitler and his Nazi regime are coming into power, and his interest in any sort of mystical power makes alchemy the perfect format to apply to war, just as it has been in Edward's world. Though alchemy cannot be used in this realm, that hasn't stopped efforts by Dietlinde Eckhart from meeting the expectations of her Führer. Using ancient 'magic', the help of Edward's father Hoenhiem, and a surprise showing from one thought lost, Eckhart has achieved the impossible and made a gateway into the other world, one she refers to as Shamballa, which is expected to be a fantastical utopia and offer new resources in the upcoming war. On the other side, in Ed's world is Alphonse, who has trained hard learning alchemy and figuring ways to bring his brother back. After an initial test by Eckhart shows through to his world, and shows a way to get there, Al embarks on figuring out a way to open and travel through this portal. What will happen when these two worlds collide?


Taking very little time to establish a backstory, Shamballa expects it's viewers to have seen the original series. Luckily there's quite few of them and prevents it from turning into a recap movie like so often is made. Newcomers will have to go back and watch this to make sense of what's going on. The original draft of this movie was keyed in at over three hours, so a fair chunk has been taken out to achieve it's 100 minute runtime. This shows when it comes to fitting in other key characters, namely Roy Mustang and Winry Rockbell, who are each given only enough time to provide an 'essence' of where they stand, instead of fully fleshing out what has happened and where they go by the end. The case especially so for poor Winry, who is only briefly reunited with Edward before he's just as quickly gone, with poor resolve in the viewer's eyes. It was okay for Ed to disappear this easily in the show, because he made it back, but I was left wanting a lot more interaction between those two. A lot of other characters exist in momentary glances, either as a nod to fans to just let them know that they do exist and are still the same, while others are seen only in the world of Earth, in their parallel form, making it fun to spot them and see what their alternate selves do. Fritz Lang? Seriously?

Showing off their bigger budget this time, Studio Bone's animation in Shamballa is excellent, often using finely-created 3D models in the mix. The action sequences are fluid and exciting, but despite this and the overall sheen of it's production, the same level of warmth and care seems lacking. The same can be said of the music, which does an ample job of creating excitement; flounders in the more emotional sequences and couldn't really work. As intelligent of a plot it is, and how well the key pieces fall into place in regards to itself and the anime series, it does get a little too heady for it's own good. You can make sense of it, sure, but it's not as fun or effective as it could have been, maybe three hours would've made it easier. The humour that punctuates the serious tone in the series is rarely used this time around, and it feels a lot more stern and harsh. Equally so is the representation of Earth. I guess Director Seiji Mizushima wanted to use the most despicable humans as the bad guys when showing how evil mankind can be, and contrasts the brighter, more colourful world of Edward's with a grim, drab Germany in the early 20th century. As a final conclusion, this can be seen as the end of Mizushima's Fullemtal Alchemist; one of intelligent ideas and a strong push for sacrifice and brotherly love. Is it perfect? No, but for an animated film finale to a superb anime television series, it stands with few peers.

8.5/10.


Fullmetal Alchemist OVA collection

Released on DVD after Fullmetal Alchemist the Movie: Conqueror of Shamballa as a collection of shorts, these four extras are just a little something for the dedicated fans to whet their appetite for some final morsels of FMA.


The first OVA is the interactive experience. This was originally shown at Universal Studios in Japan and puts viewers into the position of an up-and-coming state alchemist called into action on their first day. You're welcomed by Führer Bradley who assigns you to Colonel Roy Mustang's platoon. A briefing gives you some general background information on the world of Fullmetal Alchemist with snippets of the series before Mustang takes you and his group to rescue Edward and Alphonse Elric from a trap set by the Homunculi. Mustang hands you a special ring to use since he believes it will get too hectic to draw and transmutation circles in the thick of battle. What follows is pure FMA: delightful humour, exciting tension, dazzling animation, thrilling uses of alchemy, and balls-to-the-wall action. A plethora of regulars assault the screen and any real fan of the show will be grinning wildly at the ensuing madness. But things aren't going the military's way and Mustang calls on you, the viewer, to use that ring he gave you. Whoops, seems you've overdone it, and a massive explosion ensues, destroying everything but killing no-one. The Homunculi escape and the military regroups. Ed and Al thank the viewer for their help and promise to keep an eye out for someone with your alchemic power in the future.


The second OVA is a very short live-action featurette, with a real-life Alphonse Elric in his armour travelling through Japan to find his brother Edward. Emotions are high as Al dictates the hardships he has gone through and what a powerful and important journey it has been. The music pulls at the heartstrings too as we see the inert statue of Ed in different places in Japan, a crowd, a park, a bus stop, before arriving at Studio Bones, where the show is produced. Confident this is the end of his quest and will answer all his yearning questions, the door opens and Ed enters. Or not. Seems he's too big for the door! Children laugh as we realise it's just a joke, but is it really? Is this world Al is wandering through the place he went to when he exchanged his body for Ed's at the end of the anime series? A brief moment of purgatory in another realm of existence? Was the face that he couldn't get through the door an example of why he couldn't come back after the initial exchange? And the laughter of children being the laughter of the child-like beings that inhabit the Gate of Alchemy? Surely I'm overthinking this, but it does make sense, kind of…


The next OVA is easily the funniest. The crew of the anime series and the film are having a wrap party and congratulating each other on the great effort put in. The twist is that everyone is in super-deformed chibi form, so the cute and comedic factors are through the roof. The focus is on parody as bit characters attempt to grab the one lone microphone to get some attention at last, Hawkeye acts as MC and crowd control with her army of black hayates and maintains that the unresolved romantic relationship between her and Mustang kept her free to pursue future goals, something that wouldn't've happened in a life with Mustang, which shatters him. Envy's androgynous form creates uncomfortable confusion with many male characters taking him for a female, and then disappears to mock the characters who passed away during the show at the 'Death Table', where a suitably morose mood hangs over. Two suits of armour from the film pop up and are revealed to be Scar and Lust. Seems since they didn't even get any lines in the film they had to get extra work as suit-doubles too, leaving scar to rip off his scar and throw it at Ed and Al, which misses and hits Gluttony who proceeds to start eating everyone. It ends with a drunk and angry Winry accusing Ed of cheating on her with Noah, whom she believes he is having a relationship with thanks to some graphic fan-fiction.


The final OVA is the most intriguing. Three children resembling the Elric brothers and Winry Rockbell are running about, exploring, and having fun in a way that only kids can. It seems to be a modern day country, and no association with the world of alchemy remains, though the children do stop and a manhole cover in the street and start clapping their hands and hitting the surface just like their alchemic-counterparts would in the show. Are they playing a game? Making rhythmic sounds from the claps and the slaps? Few words are spoken as they pass others, including similarly-aged versions of Roy Mustang and his squadron playing on a sidewalk. Eventually the trio become lost, with the young girl crying as they go to a police officer who looks like Maes Hughes who provides them with directions to their destination. We see where they are going, which is an apartment occupied by Edward, who is distinguished by his long golden hair and automail arm. He's older and bearded, though a clear view of his face is not shown, as we hear the children talk to each other, referring to his as their great-great-grandfather. Edward places a picture of himself and his brother Alphonse onto the table as he exits to greet his guests. A caption appears at the end: "Edward will turn 100 in 2005, somewhere in this world…" I'll leave the interpretation of this one up to you.

Though very short on length, and thus not really worth the price, the Fullmetal Alchemist OVA collection is something dedicated fans will bite into harder than Gluttony. The interactive experience isn't anything grand except for the final sequence, which makes up for any preceding shortcomings, and the live-action adventures of the suited Alphonse isn't dazzling unless you over-analyse it. The real gold is in the final two OVA, with the chibi wrap party sending up the entire series and film with hilarious style, while the 'Kids' short being the most poignant and interesting one of the set.. This is a set you're not going to watch regularly. But after each time you have a massive Fullmetal Alchemist marathon, I highly recommend checking this out as dessert.

7/10.


Fullmetal Alchemist: Brotherhood

Quite a few notable anime have been getting recent re-works/re-imaginings/re-sequels (wait, that doesn't work), and outside of the Rebuild of Evangelion films, Fullmetal Alchemist: Brotherhood has garnered the most of attention. Since the superb first season was made while the manga was still ongoing, it could never be a 'true' adaptation of the manga, despite it being nearly flawless. This then is that true adaptation, sticking closely to the manga (which has now completed) all the way to the end. Don't consider Brotherhood as a sequel or a retelling, but as a brother to the first, this is the Alphonse to the Edward that was the first series. And so I face a serious problem immediately, and a lot of fans will be in the same boat. Just how do you treat such a show when it's already been done?

If you're wondering, about the first 13 or so episodes of Brotherhood will be quite familiar to regulars in the FMA universe, as they essentially cover the first half of the original series, skimming over lesser details to focus on the main plot developments. Some neglected characters make a healthier return later on, and some things merely referenced to beforehand are bought into the light. The first episode is dare I say, superfluous. It's only really there to provide an extravagant re-introduction, appeasing returnees with flair and a plethora of classic characters, and blowing away newcomers with the exciting theory of alchemy and fantastic animation. But the fun is over quickly, as we methodically go through a retreading of the series, which will be fine for the FMA inductees, but wearisome for the familiar. But stick with it! Though the next dozen episodes can (and possibly will) be laborious, things soon expand into the true Fullmetal Alchemist creator Hiromu Arakawa envisioned.


All the regulars are there, brothers Edward and Alphonse Elric and the mission to return their bodies to their natural form, automail engineer Winry Rockbell, Colonel Roy Mustang and his troops, the dreaded Homunculi, the deadly Ishbalan Scar, and the boy's estranged father Van Hohenheim. There are other regulars too, some with expanded roles like Tim Marcoh and the fantastically dastardly Crimson Alchemist Solf J. Kimblee (I cannot praise how exciting his character is this time around), while others assume more subdued parts (Rose, Sheska). The new characters, while initially feeling like they're forcing their way into our already perfect world, slowly and surely become just as integral and involved as the original ones. The array of folk from Eastern country Xing introduce new manners and forms of Alchemy, the soldiers of Briggs led by General Alex Louis Armstrong's older sister, the tough and remorseless Olivier Mira Armstrong, and the powerful and mysterious Father, who makes original series' antagonist Dante look like a kitten. None of these new characters are bad, and like the others are adequately fleshed out enough for us to give a damn about them and their conquests.

Ed and Al are still hunting for the Philosopher's Stone, a near-mythical object that ignores the laws of equivalent exchange, an integral cornerstone of Alchemy, and amplifies the abilities of it's user. It's with this that the boy's hope to regain their original selves. Of course, the evil Homunculi are bound to prevent that from happening, and even have new ones thrown into the mix to keep it fresh. They reveal themselves a lot more willingly this time around, and are equally more powerful too, making for some truly thrilling moments. Meanwhile, there's Scar, wreaking havoc in Central, going after State Alchemists who were responsible for the near-genocide of his Ishbalan people. Roy Mustang is still gunning for top spot, and trying to find a killer at the same time, while the Xing folk are looking for the Philosopher's Stone too, in a competitive race for the Xing Emperor's faith. But everyone is part of something, much, much bigger, with the aforementioned Father and his team of Homunculi making plans that have lasted for centuries.


It's this new stuff that'll obviously appease fans and keep them glued to each episode, and there's a lot to cover in the 64-episode long series. Despite it's length, the intensity rarely lets up, despite some meandering about mid-way through. It just felt like there was too much getting put onto our plates at some points without first resolving some other matters, or leaving something or someone out of the plot for too long. Practically every episode is set up as a cliffhanger, with these endings getting more and more chest-grabbing as the show progresses. Some extra parts do come up after the credits, so keep an eye out for them, but I heartily recommend you skip the next episode previews, it happened far too many times where I was given a juicy cliffhanger, only to watch the preview and see that all was well. These previews have no sense of suspense and what to properly omit, which I disliked. Keeping with the complaints, those first dozen episodes are plagued with recaps at the starts, which are totally unnecessary for all, especially fans. These drop off later on, but they were thoroughly annoying and almost dare you to stop watching from sheer annoyance.


The music is markedly improved over it's predecessor, with a less blatant soundtrack that feels much more like the world it represents than the militaristic marching band theatrics and melodrama of the first. The opening and closing credits too are treated with more respect this time around, with the fantastic 'Again' by Yui setting the pace from the beginning. There was a dip in the quality halfway through, and it seems Studio Bones cannot resist some completely-unnecessary Winry fanservice like last time. But the music is much, much better, with the final tracks being some of the strongest and most emotional of the lot. I enjoyed the music a lot more this time around, and wasn't put off by it like before. The animation is a little harder to praise though. But don't get that sentiment wrong! The quality of animation in Brotherhood is fantastic, with thinner lines opposed to the originals thicker ones create a more believable presence for it's characters, and when in full motion will look jaw-droppingly gorgeous and fluid, reaching movie-quality levels with some of it's overblown style and movement.

Sticking to the manga in character-design also, characters look notably more mature this time around, and some regulars seem almost new altogether, namely Scar with his smaller, more beadier eyes. You eventually grow accustomed to the look and style, which while still being distinctly FMA still feels different somewhat. The background animation of Brotherhood is a bit of a divider, with s sketchier, more raw style often used, almost like a grim Studio Ghibli was contracted for the work. Lines can vary from sharp and certain to wavy and raw, looking almost cheap. It's certainly a unique approach that's left me still uncertain of whether or not I like it. Admittedly I have no real issue with it, but is it the right choice? In some moments, yes, it is, in others a more defined style might have worked better. Let's just say I'm indifferent about it and move on. There's undoubtedly higher production values invested in the technical creation of Brotherhood, and having proved themselves already, Studio Bones have pulled out all stops.


The final arc of episodes are thrilling to say the least, with the inevitable showdown with Father going above and beyond the expectations of those who haven't already read the manga. In a clever fusion of explaining Father's true motive and the mysteries of alchemy, it's a finely executed conclusion that's as exciting as it is emotional, and it manages to do all this without being melodramatic like it's former. The last two episodes tie up a majority of the leftover strings you'll be yearning to know, and settle some long-time debates and questions. Admittedly, I believe that the overall storytelling of Brotherhood could have been done better. It seems that director Yasuhiro Irie was dedicated to sticking closely to the manga's plotting, too closely if you ask me. If given time, Irie could have woven the same tale more finely and with better execution, trimming up time lost through the midpoint and effectively getting the same result in a more coherent and versatile story. Alas, probably the one true weakness garnered from following it's roots so resolutely.

Because Brotherhood grows and expands onto such a larger scale, with all its new developments and plots and characters, the focus on the Elric brothers' quest almost gets lost amid the action. Seiji Mizushima's first series was blessed with a less dense plot, but achieved more from it by being more personal. We were far more involved in the brothers journey than in this, despite still having serious interest in their conquest. And because it was a tale to be told at their own discretion, Mizushima and co. were able to weave a more fluid tale without any moments of extended hang time. Perhaps Mizushima's iteration should've received the moniker of "Brotherhood"? It seems more true that way. So, is Brotherhood better than the original? Eh, kinda. The animation, music, and vastly expanded story are all good reasons for newcomers to the franchise to consider this an excellent anime, which is certainly is in it's own right, but I believe the first series pulled it off just that little bit better, despite having weaker technical points compared to it's brother. Saying that Fullmetal Alchemist: Brotherhood isn't as good as the original is nothing bad at all, because it has incredibly-high standards to meet. What we therefore have is a very good anime, bursting with thrilling action, sinister intrigue, a more clever explanation for the Homunculi, a memorable cast and a perfectly satisfactory conclusion. And there's still another movie to come. People will wonder, which Fullmetal Alchemist series do I watch? My answer?

Why not both?

9/10.