After seeing the making-of featurette for FMA: Milos, I got the idea of posting pics of the staff involved. I also took some pics of the Redline staff while I was at it. Even if you follow anime staff members, it’s not very often that you get to see them. You can see interviews with staff members in magazines or at a special event for a particular show, but it’s a fact voice actors are much at the forefront when it comes to promoting these shows. They highly demanded by the anime fanbase in general, so, on the other side, it’s only natural that most staff members tend to stay in the background as a result.
It took a lot of work to get it done, but the MAD for FMA: Milos finally got finished! I helped out a bit on it, but Murad and liborek really did the bulk of the work for this one. The video actually had to be done twice, since it originally came up with some bad looking blocking and overall compression issues. But it worked out in the end.
On a side note, yeah, the Redline MAD got taken down on Youtube due to a copyrights claim. Murad tired to appeal it, but it didn’t work out in the end. Can’t really do much about it.
I received the key animation book for FMA: Sacred Star of Milos a few days ago and I’d thought I’d post a few pics on the blog. The book itself is supervised by animation director Kiyotaka Oshiyama (credited with task in katakana above the rest of the ADs which credited in kanji) and character designer/chief animation director Kenichi Konishi. It has an interview between the two of them, along with a feature on how to read time sheets. The middle of the book also features an interview with Tomohisa Shimoyama, Shintarou Douge, Yoshimcihi Kameda, Gosei Oda, Daisuke Mataga, and Kazuhiko Yabumoto.The book at the end has some editorial notes by Konishi and Oshiyama, surrounded by photos of the staff.
The book is fairly extensive with key animation, key animation corrections, settings, original background art (背景原図), and layout corrections (with the untouched key animation provided to highlight the difference of before and after the layout has been corrected).
It looks like the book is running out of stock in fairly short order, which is no surprise given how good the animation is for this movie. I’d recommend grabbing a copy as soon as you can if you’re interested.
I just came back from watching Fullmetal Alchemist: The Sacred Star of Milos in the theater and it was enjoyable experience to be able to watch this movie with a crowd. I arrived at the theater 25 minutes late, but I easily caught up to what I was going on since the movie slowed down about 3-4 times to lay down the exposition and backstory they came up with just for this movie. Script-wise, the movie was mostly what you would expect from a yearly shonen movie from franchises like Naruto, One Piece or Bleach. There’s a new character introduced, they focus a lot on that character, but not enough on the characters you’ve actually grown to care about (in this case, Roy Mustang, who’s underrepresented in the film). But, while they lay down the plot a bit thick, the story they bring here does at least tie into the themes that you see in the other FMA works– racial conflicts between nations (Daryl Surat said it was the best anime analogy for the Israel/Palestine conflict ever and that’s appropriate to say) and military intervention with a shady ulterior motive. It doesn’t necessarily build upon any storyline in the movie, but nobody really expected it to. I would highly recommend watching this movie with a group of people. Hopefully they are as receptive and into the movie as the crowd I was with, as they really responded positively to the movie and that made the experience better.
You know what also made this movie better? There’s about 100% less jokes about Ed’s height. So assuming they didn’t have 10 of them in the first 25 minutes, this movie is pretty solid in that regard too.
The biggest draw going into the movie for me was the animation work that was being done. You could instantly tell they went in a different direction from the rest of the series just by looking at the poster. The aforementioned crowd enthusiasm in the theater I went to was a bit surprising to me, as all I saw online was vitriolic hatred towards the style they decided to use for this movie. I imagine there will still be a significant portion of the fanbase who will not like this movie simply because of the animation. However, I have to tip my hat to the people at BONES, Aniplex, and whomever else on the production committe that was bold enough to go forward with a movie that totally overhauled the visuals from what was established in the previous anime productions of FMA.