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Nov 27, 2013
Originality is sometimes only so welcome a concept until, in retrospect, it's seen as a negative deviation rather than a positive interpretation. Fullmetal Alchemist is no exception.
Unfortunately, time hasn't been very kind to Fullmetal Alchemist, critically anyway, as the appreciation for its novelty has diminished in favor of Brotherhood's execution. But, this series still stands as an enduring classic of the past decade, and in my opinion, of all time.
As just previously mentioned, Fullmetal Alchemist is now a decade old. You wouldn't necessarily notice it though. The technical aspects of the show are still excellent, even for contemporary standards. The art is slightly less
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lustrous and lacks some of the detail exhibited in current anime, but that's really where its age stops showing.
Fullmetal Alchemist is one of the finest animated shows you're likely to find. Bar none. This is one area that cannot be stressed enough. I'd go so far as to say the action set-pieces in Fullmetal Alchemist are animated better than Brotherhood's. That's no slight either, this show really is a visual treat.
The quality of the audio, on the other hand, is more of a subjective issue. Most have their preference on dub vs. sub, but don't worry about the former being particularly inferior to the latter. The dub is very good, and stands equal to its Japanese counterpart. The soundtrack has a few memorable pieces, such as "Brothers" or "Beaming Sunlight" which are poignant enough to wet most eyes. The series also has four openings and endings. Each opening is initiated by an almost melancholic monologue by Al and, and later Ed, speaking in a manner that implies they're reflecting on the events of the series. An interesting notion for sure.
That aside, as most are aware, Fullmetal Alchemist veers from the plot of the manga. It's essentially an extrapolation, but one that isn't far in accuracy nor a significant downgrade in quality. The first 10-15 episodes seem largely unrelated to the main plot, but afterwards, the plot quickens and tightens until it reaches a conclusion that's equal parts satisfying and frustrating but ultimately, justifiable.
Another important distinction is the story's tone. Fullmetal Alchemist is a more mature tale than the source material. Be forewarned, characters in the manga who live, face more depressing fates in this version.
But violence alone doesn't make a story more mature, just more explicit. The story is mature because of what it doesn't show, rather than just what it does, and in turn, the questions it asks with the knowledge there are no easy answers. More simply put, the same introspection Fullmetal Alchemist subjects its characters to, is the same kind it expects from viewers.
And speaking of the characters, they're the limelight of the series. Most of the major characters are the same, although increased attention is given to Shou Tucker and Rose, who play more vital roles in the story. The primary difference in the characters, between the manga and the show, lies in their characterization, specifically the Homunculus, Mustang, Scar and Ed.
This is one area where Fullmetal Alchemist usurps its source. The Homunculus are considerably more humanized in this version, which makes them easier to sympathize with. They're more independent, more nuanced and more complex overall. They aren't just a physical manifestation of a sin. Rather, they're a contrasting mess of old desires, memories, and emotions resurrected and personified. They're just as much victims as they are aggressors.
As are Mustang and Scar. Both are men haunted by their pasts and carry large amounts of guilt. Mustang is a more fragile character and Scar, a younger and more emotional one. As the series progresses, both increasingly look to finally rid themselves of their respective burdens.
Lastly, there's Edward, who is less naïve and less of an idealist than his manga counterpart. Even so, Edward's staunch belief in the philosophy of equivalency stays adamant until the end, when he learns from both Dante and from the Gate, that there isn't a universal way to quantify fairness. In some ways, despite all he goes through, Edward is the one main character who changes the least. But to his credit, he is called Fullmetal.
I suppose I wrote all this to get one point across: Fullmetal Alchemist is a masterpiece. Nothing else really needs to be said.
Reviewer’s Rating: 10
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Jun 28, 2013
The anime industry is not unlike any other industry in that popular themes or ideas are often duplicated. Some themes or ideas become mainstays, like shows centered around a group of girls doing aimless things, while others don't catch on as much such as the brief "young girl detective" phase that spawned Gosick and Kamisama no Memochou.
Hataraku no Maou-sama! looks like to fall into the latter category. Arriving right after Maoyuu Maou Yuusha, it could end up being the last new series chronicling the unlikely relationship between a Hero and Demon Lord. Which may not be such a bad thing.
Hataraku no Maou-sama!, which I from
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hereafter will abbreviate as HnM, chronicles the blue collar struggle of the titular Maou as he works to be the best MgRonald's employee he can be whilst simultaneously dealing with new arrivals from his fantastical homeland of Ente Isla and a Hero who wants him dead and all without the aid of his magical powers, mostly.
My biggest gripe with HnM's plot is that the series establishes quite quickly that there won't be much animosity between Maou and Emilia (the Hero) and that it is more content to depict their misadventures rather than expound on the war on Ente Isla or detail a serious effort by the characters' to return home. This results in a plot that stutters between the average, realistic life of the characters and supernatural developments. Both of which are mingled with comedy. And speaking of the comedy, it is undeniably HnM's strongest asset. Unfortunately, it can't bear the weight of a story that trades progression for levity which, in turn, has the effect of weakening any ambition put forth by the cast.
Which brings me to the characters themselves. To put it simply, none are particularly developed and if they are, marginally so. To make matters worse, there's glaring dichotomy between how the Ente Isla natives behaved in Ente Isla and how they behave on Earth. There's some consistency, from character such as Olba and Sariel, who are one dimensional anyway, but otherwise, what appeared to be hatred and cruelty built from years of vicious war, dissipate almost on arrival.
This would be understandable if we were subjugated to only the humans' perspective of the demons but it's quite obvious the demons are everything they're said to be...they just don't act like it. The same could be said for Emilia, who never looks convincing in her quest to kill Maou despite having more than enough reason to do so. The characters motives and history are defined but their actions are often to the contrary to the without proper reasoning or sound evidence.
As for the sound itself, the seiyuus do a commendable job for each character although I didn't think much of the OST, in fact I don't recall a single track. Similarly, the art is of a fine quality and the scenes that involve depictions of supernatural powers are well animated. Simply put, I didn't have a problem with either.
Hataraku no Maou-sama! is a show that never seems to have any sense of urgency and it creates an ambivalent plot and questionable character behavior. Still, it's by no means a bad show and while I did mention there likely could be no more new shows based around demon lords and heroes, it doesn't mean that this will be the last season of this one. Which may not be such a bad thing.
Thank you for your time.
Reviewer’s Rating: 7
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Jun 27, 2013
I could write an extremely detailed and verbose review of all the things I dislike about Nisemonogatari. I could. Instead, I'll just say that I found it to be a disgusting sequel to a superb series.
Thank you for your time.
Reviewer’s Rating: 5
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