Fullmetal Alchemist Vol. 5: A Mundane Gem

Fullmetal Alchemist Vol. 5 begins as all great fifth volumes do, with some fantastic artwork that tells you about the place we are traveling to here. One of my favorite aspects of this volume and series, for that matter, is that it shows not tells. In most comics and manga, you would expect a detailed explanation for everything, or at least a serviceable enough discussion on the new place the characters enter, but here, we are just able to soak in it and all its liveliness. Partly this seems to be due to the quality of the writing on display, and partly to the wholesomeness this series produces. Both are much appreciated. One element to note here is the comedy throughout Fullmetal Alchemist Vol. 5, which erupts with glee and that wholesomeness that makes you just smile.
The characters are not as compelling as usual, as this is a less serious volume, though they are still filled with the right amount of charisma and charm that makes you instantly hooked and leave a smile on your face at every turn. In other words, the characters may not be the best written, but the writing for them is truly heartwarming and, at times, great. Though if there was a standin for this, it would be themes. This volume is filled with it. At every turn, it feels like there is a theme of the significance of life—the birth and purpose of it—that just makes you think about life and, in some sense, adds some complexity to the characters it surrounds.
The pacing of Fullmetal Alchemist Vol. 5 is mainly great, with it starting quite fast with a great action scene taking the first half, the middle half being more slowed down, and the final half grabbing that more faster energy, though with moments of slowness for reflection. In other words, it’s a whirlwind, but generally, the pacing is quite wonderful.
At every turn, the artwork bursts with an energetic, laidback attitude that helps to take the edge off from the more tense volumes and condense some fun little adventures into a simple volume. Most importantly, the art style is one element that brings this all to life.
The art style and paneling shine with a sense of attitude and care that leaps each page to life. For instance, the choreography of Edward’s pursuit of Paninya is simply astounding. It truly feels like not just a chase scene, but a look at the world they have entered around them. It’s hard to even put into words the feelings you get seeing an artist put so much thought into every scene like this. Even more, the quality of the character designs in the action scene never loses themselves to simpler character designs, which some works might use to draw less. Instead, it feels as though Arawaka uses the action scenes here to show off her talent—not just by drawing detailed and well-designed characters, but by making thrilling action scenes managed with humor and fun. What makes this all the more impressive are the complex designs that are on full display here. Take Alphonse’s helmet, which would probably take hours for even an experienced artist to draw, and here, Arawaka draws in spades and seemingly casually. There’s a sense of genuine power in seeing an artist at their peak, such as here.
One of the most standout elements, though quite minor but great enough to mention, is the colored panels at the beginning of a new chapter. Take, for instance, chapter twenty and the beautiful artwork on display, and the detail of Alphonse armor and what Edward is standing on—the amount of time it would take to come up with that. True brilliance at every turn.