Just preaching to the choir

This is one of those shows that you wish would never end. The kind you stay up far too late for just to squeeze in another episode. From the story and worldbuilding, to the characters, themes and technical execution, it is phenomenal.

Straight off the bat it's made clear that we'll be dealing with some heavy topics, and this is Brotherhood's biggest strength. It doesn't shy away from exploring things like desperation, regret, guilt, anger or forgiveness, and it isn't afraid to delve the darkest depths to do it. Twisted ambition, self-righteous hatred, complete apathy for one's fellow man, for one's own family. More than that it doesn't just consider any of these issues resolved after a single conversation or episode. All throughout, characters are forced to confront their feelings and shortcomings, the most obvious example being the leads, but it permeates through the rest of the cast to varying degrees as well.

Speaking of the cast, the English voiceover is incredible, and the one or two iffy performances are propped up by a great translation. Conversations sound so natural and you truly start to believe that these people know and care for one another. Ed and Al, Mustang and Hawkeye, Maes and his family, the list goes on. Of course, the trappings of the genre mean there is still the occasional sudden-outburst-that-silences-the-room-so-I-can-monologue-a-bit bits, but honestly it's infrequent enough and the characters so well realized that you'll only notice if you're looking (bit of a pet-peeve of mine).

While we're discussing seemingly insignificant things, the sheer amount of attention to detail deserves mention. There's a lot of subtle storytelling that ranges in importance from simply fun coincidence to deciding the fate of the world. It's difficult to give examples without spoiling, but some less important ones include Bradley's fist and Winry's earrings. It's so satisfying how everything ties together. Technically speaking, shot composition helps a ton as our eyes are regularly drawn to these elements.

Composition and choreography shine during the fights, too. Combat styles are incredibly varied and engagements are brutal, easy to follow and, in short, spectacular.

Friction between characters, almost exclusively in the early episodes, can look angsty, and FMA being a shounen, might be dismissed as such. The weight of the boys' burden is quickly revealed however, giving depth to their disagreements. The thought of having to forever look at themselves or one another and be reminded of their greatest regret just hurts that much. Going back to small details for a sec, the gradual change in designs as characters like Ed and Winry get older is one of the coolest things I've seen in a long while. Ed himself is compelling, and the guilt he feels is something many people will be able to relate to. Likewise that he's nowhere near all-powerful, and in fact loses a lot of his fights, something he later acknowledges which is really refreshing. To point out but two more in the long, LONG list of cool characters, General Armstrong and Scar really left an impression.

There were times when things just 'happened', people conveniently being at the right (or wrong) place at the right (or wrong) time, and it was occasionally difficult to get a sense of the passing of time. Usually though, the strong characterization made it easy to mentally explain why someone would be where they were, if not always how they got there.

As for the story, it follows two brothers trying to get their bodies back after an alchemic ritual (this world's magic) goes horrifically wrong. This becomes more of a backdrop as their search leads them to uncover a conspiracy that threatens mankind. It's all very well paced and structured. Even when Ed and Al don't know how to proceed, during times you'd expect a filler episode or two, something interesting and relevant is happening. For a while it becomes strongly reminiscent of contemporaries like Deathnote: each side having to calculate their moves and anticipate what the enemy will do.

One niggle that's difficult for me to explain: Father only needed five people who'd seen the Truth, right? That was the only condition? If so then couldn't they have duped any five really gullible alchemists into creating a portal? Gifted though they may be, Ed and Al were just kids when they did it so it doesn't seem to require immense skill to perform, just will. The current head cannon is that Father had an affinity for them since they're technically related. Izumi and Roy though...they're both supremely badass and Father can't stand to be shown up? Whatever the case it doesn't hamper the experience at all, it's something that only dawned after the final credits had rolled.

Upon reflection, certain moments, while they don't betray expectations per se, do take a radical enough departure from them to narrow ones eyes. Again, trying to keep spoilers to a minimum makes this difficult to discuss. Three examples, remaining as vague as possible: Grumman, Kimblee and Salim. Almost as if to counteract this however, there are also moments when a situation looks painfully predictable only for a character to acknowledge it and scoff. Envy and Armstrong.

Thematically, redemption and forgiveness look so real here. Long, painful processes that call for as much inward reflection as outward practice, processes you can't expect everyone to be onboard with. And yet, despite that, at the end of the day we're all here together and so even if we can't forgive, we should try to see beyond that, toward a better future, one where unforgiveness need not exist. It also made me want to be a son my parents can be proud of.

"A heart made fullmetal", more appropriate final words have seldom been said.

Lastly, two points that don't really fit anywhere else: Order 3066? IS THAT A STAR WARS REFERENCE??? Also Scooby-Doo live-action 2002. You'll know it when you see it, then you won't be able to unsee it.