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One of them is fluent in Japanese, and the other is not. In other news, both of them thought all the gameshow rule sets were either completely fucking retarded or totally impenetrable and way—WAY overly verbose. What’s worse is the characterization is effectively nonexistent, and you very quickly get the feeling that when I gave you that little factoid about squids being friendly creatures, I might’ve actually been full of shit. The introduction of each character is literally an on-screen text box that disappears after barely one second has time to pass, and while the thoughtlessness of this presentation speaks for itself, reading the text and actually trying to see these characters as people, let alone as friends, is completely disastrous.
Riveting personality traits such as, “seems to like anime and stuff,” are detailed within. I mean, holy fucking seriously?!?! There’s no way this is supposed to be from God Yuichi’s perspective, right? Was this a description of his best friend, or one-third of the nation of Japan?! Not only are these depictions inane, but they’re simply unnecessary, because there are absolutely ZERO relevant personality traits you need to know about any character to actually watch the show. These people are not friends nor are they people; they’re stock character templates whose job is to stand around passively while getting used or manipulated by God Yuichi without the slightest hint of having any agency of their own, completely sapping the conflicts of any excitement or worthwhile drama, all the while only committing to expressing themselves in the most generic mannerisms that their archetypes allow. I suppose the point is to make God Yuichi look cool so the viewers can use the series as some sort of sadistic self-insert power fantasy to get off on the idea of themselves being this much of an edgelord (please, get real, no one is as godly as God Yuichi), but this has the same effect as seeing LeBron James dunking on blind, deaf, disabled, amputee toddlers. Ultimately, these conflicts are meaningless because everyone just moves right onto the next equally tedious and overblown stage of the Squid Game while effectively nothing has changed or evolved in any real or emotional terms, and this is all true even despite the biggest puff of smoke the series insists on blowing up its own ass: the plot twists. The so-called plot twists in this show are completely empty and have no real bearing on the story in the same way that the conflict has no real bearing on the plot, and some of them—many of them, in fact—are invalidated within minutes. They exist purely for characters to have an excuse to make an edgy face.

pp. 45–48 (47). ISSN 0028-7369. Retrieved December 26, 2021. ^ "Netflix is Currently Funding 30 Original Anime Productions". Forbes. Retrieved June 28, 2022. ^ 第10回CDショップ大賞2018 米津玄師が大賞を獲得 [10th CD Shop Awards 2018, Kenshi Yonezu wins the Grand Prize] (in Japanese). Lawson HMV Entertainment. March 8, 2018. Archived from the original on March 16, 2018.

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Retrieved April 14, 2017. ^ "Magento Commerce". www. paninicomics. com. mx (in Spanish). Retrieved April 16, 2022. [permanent dead link] ^ "KOE NO KATACHI - UNA VOZ SILENCIOSA". ivrea. com. ar (in Spanish). Retrieved April 14, 2017. ^ "Magento Commerce". www. paninicomics. com. mx (in Spanish). Retrieved April 16, 2022. [permanent dead link] ^ "KOE NO KATACHI - UNA VOZ SILENCIOSA". ivrea. com. ar (in Spanish).

One of the issues I had with the manga, and in turn Brotherhood, was the fact that the tale is far more "shounen" than the original adaptation, and this difference in not only plot and story content, but overall perspective as well, is noticeable in a number of areas.
As far as pacing, plot, and depth of story goes, Full Metal Alchemist does lose out somewhat to Brotherhood, however this is partly due to the fact that Arakawa Hiromu had far more time to produce a story that worked, whereas the writers for the original adaptation only had part of Arakawa's work to play with, and had to make up the rest.
Normally this would be the cause for a number of issues, not the least of which is continuity, however Full Metal Alchemist never really suffered from those except where the numerous, and unnecessary, comedy moments were included. That said, what the writers achieved was actually quite remarkable, as they produced a tale that is very clearly about one thing only - obsession - and in that respect, they actually managed to score quite a major coup over Arakawa's tale.
Some of you may be a tad confused by where this is all going, but fear not, it will become clearer as we get into more detail. Let's talk more about the actually show itself for a moment though.
In terms of looks, the original adaptation managed to transpose the characters fairly well, and while they didn't really require any bouts of creativity in general, there were a few new faces as, at the time, the manga hadn't actually introduced all the players. As for the various locations in which the characters find themselves, the first adaptation generally followed the path laid down by the manga, however there were also some surprisingly original and inventive additions to the various locales, many of which are unique to this particular adaptation.
Strangely enough though, the quality of the animation is almost the same as that of Brotherhood, and given the large degree of crossover in both adaptations, this is actually surprising as usually one version is greatly superior to the other. That said, the new series does have the advantage of seven years of improvements in animation, so one would be forgiven for thinking the margin between the two would be bigger.
Where sound and music are concerned, one might expect more pronounced differences between the two adaptations, however this is not the case.