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Posts Tagged ‘Fullmetal Alchemist’

Phantomland by Maaria Laurinen perfectly captures the experience of being tossed into a new job head-first and feeling completely out of their depth. Notwithstanding that in this case, the job is joining an elite law enforcement unit that appears to only employ people who have already died.

This is a webcomic that clearly takes inspiration from the “big coat” fashion of Fullmetal Alchemist – just look at these jackets!

Yet that influence isn’t just aesthetic; it manifests in the impeccable paneling, expressive characters and equally expressive inking. The drawing skill on display is remarkable, as well as Laurinen’s grasp of composition and pacing.

Technical proficiency comes paired with characters the creator loves dearly. Chie is relatable as an apprentice who, underappreciated and underutilized, can’t deal very well with her insecurities on top of the amnesia that’s fundamental to becoming part of the “ghosts.” Jon is a grizzled veteran who hides trauma beneath a veneer of indifference and has no desire to be a mentor. Both are typical archetypes for a buddy cop story like this one, but they’re realized well and play off each other into a broader team dynamic as we’re introduced to other ghosts.

It’s obvious I really like Phantomland. It’s aims, at this point, seem simple – give readers a fun romp – but it’s executed so delightfully well I think more people need to read it.

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farewell-1895blog

The year is winding down, and the best I can say is that humanity hasn’t ended in a nuclear conflagration just yet. I have no personal accomplishments to really crow about this time either—no short story sales, very little work done on my still-in-progress necromancy novel, and a general feeling of creative malaise towards the written word.

However, I did turn my efforts towards art, and it’s been a fantastic year on that front. I started seeing some marked improvement, in part because I’ve managed to follow through on the pledge I made some time ago to create something every day, building up from the basics. I tried Inktober for the first time this year, and in balance, it was a hell of a lot more enjoyable than my last experience NanoWriMo, with some tangible benefits at the end.

Now for the usual rundown of media and culture that I either enjoyed or at least made me think.

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fan_art___major_general_olivier_mira_armstrong_by_onelastsketch-db5zppm1

Olivier Armstrong from Fullmetal Alchemist: Because I do fan art now, which brings me that much closer to becoming a monster.

I finished the last volume of Hiromu Arakawa’s Fullmetal Alchemist yesterday. It’s a justly famous and popular comic with endearing characters and some really exceptional pacing—I’d compare the way the panels flow to Jeff Smith’s Bone—but what really struck me was the effortless way Arakawa blended fantasy elements into an early twentieth century industrial setting. While the alchemy of the series is undoubtedly magic, the approach is a scientific one, and outbursts of the fantastic fit perfectly alongside automobiles and rifles.

The visual aesthetic of Fullmetal Alchemist broadly aligns with the various retro-futuristic “punk” subgenres of science fiction and fantasy that boiled up in the 1980s but seem to have solidified and become more of a presence in the 2000s. The terminology began with cyberpunk but has come to mean something different, and segmented to a laughable extent. Cyberpunk was the marriage of high technology with the grimy underclass world of punk rock; steampunk was quite literally a joke word to describe the marriage of old steam technology with the upper crust world of Victorian nobles. Now we have dieselpunk, decopunk, clockpunk, which basically mean re-imaginings of pulp adventure genres from post-Enlightenment eras that operate (more or less) within the confines of that era’s technologies. While potentially fascinating, in practice science fiction and fantasy that embraces the label in North America and Britain has, I’ve found, veered towards confused pastiche and don’t reach a very wide audience.

For whatever reason, the early twentieth century in Europe and America has produced far more appealing visions from East Asia. Fullmetal Alchemist takes names, historical cues, and architecture from central Europe in the 1920s/30s. A more useful point of comparison is the anime Last Exile, which operates on the visual level of dieselpunk’s ideal: giant airships coupled with graceful planes straight out of the interwar years, the brown-and-grey palettes of military and flight uniforms in the era. This type of industrial fantasy has spread to a much greater degree in east Asia than the “punks” of western sf, which is still a largely niche genre that uses the “punk” label to proclaim its own perceived special-ness. It seems every other cover of a pulp novel or comic book or animated series out of Japan has gears and black smoke and heavy machinery, that well-regarded classics like Castle in the Sky create an inextricable link between the feeling of magic and wonder with early twentieth century machinery.

The inspirations for the look are similar but the tradition and the deployment of that look are different. That might be why my comparison here isn’t all that useful; the style of industrial fantasy in East Asia appeals to me much more than what I’ve seen out of most of the “punks” in Anglophone sf, but they are coming from different (more than a geographic sense) places. Something about the anglophone sf tradition makes bringing the same elements together seem awkward where in Fullmetal Alchemist they seem the natural thing in the world to combine. These works, while on a surface level falling into the same category, evoke a very different reaction from me that lies rooted in their approach.

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