FMA: The Brotherhood Diaries – Poetry vs. Prose

Inside the Heart and Mind of The Brotherhood Diarist

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This is the final entry of Ink's weekly column in which he examined the differences between the original Fullmetal Alchemist anime and its re-telling, Fullmetal Alchemist: Brotherhood (based on the original manga). To read previous entries, click here.

The following might seem like it comes out of left field, but it’s important to know how, when, and to what degree I initially became involved with the original Fullmetal Alchemist series in order to understand how I distinguish between and admire both series. A little over six years ago (March 2004), my mother succumbed to a protracted battle with her own heart’s resilience. My brother — who though 7 years my elder acted (and to this day still acts) like a 12-year-old — blamed me for pulling the proverbial cord, which I made the decision to do. Raised by our mother alone for the larger fraction of our lives (our parents divorced when I was 6 and he was 13), my brother and I were suddenly left with no parent but an absentee father figure we had learned not to involve ourselves with too much. I took up the reigns as the responsible parent.

November 2004, just 7 months after the hardest decision I’d yet undertaken in my life thus far, the original Fullmetal Alchemist anime aired on Cartoon Network. It featured closely bonded brothers attempting to defy, via their own grief and skills, the fate that took their mother away. God, how I wanted to be Ed or Al. I wanted that hope. FMA1 gave me that hope by proxy and then exposed me for the fool I was (over the course of the series’ run) for even ever having considered wanting it in the first place ... for being that selfish ... for not accepting the past and moving on ... for not growing despite having been forced to overcome that obstacle and ignorantly forsaking the new point of reference I was inhabiting as home. FMA1 showed me a brother unlike my own, who blindly and stubbornly stuck to his brother’s side and gave him strength through collaboration despite supernatural levels of opposition. And in the end? Those brothers formed a more perfect bond with which to confront the rest of their lives. That storyline struck me to my emotional core, not only as a contrast to the life I had lived but the one I was living as well. It was poetry insomuch as it focused on a singular tragic event and applied it as an extended metaphor, it was overly dramatic and unapologetically so, and everything was image-based (literally visage-based).

I had mixed feelings about the announcement of Fullmetal Alchemist: Brotherhood. By the time of its release, I’d more than come to terms with my own emotional involvement with the first series as well as its correlation to my psyche and past. I was also totally content with the first series as a whole, yet interested to see how the second incarnation would differ — having never read the manga from which it purportedly was so exactingly derived (as opposed to the first series). As accepting as I was of my own relation to the characters despite series orientation, as ready as I thought myself to be to reengage a fantastic series about loss and redemption in an entirely different way, as much as I told myself, “this ain’t yo’ daddy’s FMA1,” I found myself, within the first episodes of FMA2, lamenting the lack of retelling of FMA1 — specifically the depiction of loss and solidarity of brotherhood. And then my brain kicked in.

“You’re not in here for the feeling,” it told me, “you’re in here for the storytelling.” And damned if I wasn’t humbled before my own psychoses right then and there. After the initial shock of being denied the depiction of these brothers’ emotional bonds as portrayed in FMA1, I started to accept any and all depicted events as building blocks and discovered them to be the base material of a well-plotted piece of prose portraying a story pertaining to something greater than my selfish self (ahem ... I mean of Ed’s and Al’s selfish selves). As FMA2 continued, it seemed obvious that its focus was not purely emotional. Instead, sociological and political themes took center stage upon a base held aloft by diverse emotional motives.

As opposed to FMA1’s chronically dependent, fraternal protagonists, FMA2 builds brothers from a common emotional base, lets them grow for a little while together through shared trials and tribulations, and then divides them for most of the series to become their own stronger selves. No one could poignantly argue that FMA1’s Elric brothers were individualistically portrayed as more three-dimensional characters than FMA2’s Ed and Al (although the strength of an FMA1 Ed/Al hybrid vs. FMA2’s individualistic Ed and Al is intriguing). The grief and selfish struggle of FMA1’s Ed and Al might have been handled more competently than in FMA2, but the overall story was only a fraction of what FMA2 seeks to tell. FMA2 separately presents different circumstances for each bother, who has to confront the various issues at hand without the help of his respective brother (but not without the shared memories of each other’s temperament and rationale).

It could even be said that the strength of supporting characters lends strength to FMA2 by not contributing directly to its main characters. FMA1 relied upon supporting and background cast to do nothing but prop up its own protagonists whenever necessary. FMA2, however, endows Mustang, Armstrong (Alex and Olivier), Hawkeye, and many others, even generic state soldiers, with pertinent background stories that support their influence on the overarching plot rather than the motive of the series’ namesake. FMA2 only focuses on the characters to make a statement about the world, whereas FMA1 forsook the world for its characters. FMA2 is a classic example of animated prose, and a damned fine one at that.

I like Fullmetal Alchemist: Brotherhood far more than I’ve let on in the last 64 diaries, but I don’t particularly identify with it. I don’t believe this is due to any fault of the series other than the fact that one of a similar premise preceded it — one which appeared to me at an optimally influential time and place. That said, I believe FMA2 offers stronger overall character development for most of the cast and excels in manipulating story elements concerning the struggle of humanity vs. non-humanity, while FMA1 provides a more defined inner struggle via its depiction of humanity vs. itself. I’d not blame either for the course it has taken nor the results produced. But I leave you with a totally subjective question. Which is the greater example of artistic competence: the technical aspects behind a work’s execution, or the effects upon its intended audience? The answers are as different as our selves.

Thus has been my love affair with the brothers known as FMA1 and FMA2: 65 weeks of analytical thought, 90 pages of column material, and a greater understanding of both series. I want to thank any and all who’ve read this column and definitely those who’ve commented. If by some slim chance this column was what brought you to Ani-Gamers, I ask you to keep coming back and try clicking through a few of the other links spread around the pages here. We’ve got a great staff with vast insight on a variety of topics I’m sure you’d enjoy, and most know their way around anime and manga a lot better than moi. I also want to thank our editor-in-chief Evan (a.k.a. Vampt Vo) for allowing me to rant every week and for diligently catching any grammatical errors induced by lack of sleep, wine, or both.

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FMA: The Brotherhood Diaries – Episode 64

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist anime and its re-telling, Fullmetal Alchemist: Brotherhood (based on the original manga). To read previous entries, click here.

Watch Episode 64 – Journey’s End

FMA1 has a reunited Assembly “reverse the Ishval policy and help them rebuild on their own land,” keeping the socio-political dealings with the Ishvalans relatively vague, which is understandable given the focus of the show is Ed and not Ishvalans. On the contrary, FMA2 shows Mustang legitimately boning up on anthropological issues in order to actively “solve this Ishvalan problem” before he becomes Fuhrer. So FMA2 goes into a little more detail not only about the plan — opening the formerly closed off areas and returning those living in slums to their holy land — but also in the portrayal of some of the backing effort needed to bring it to light. The ground gained through this specificity is lost morally, however, with the way in which Mustang chooses to accept Marcoh’s Ishvalan-made Philosopher’s Stone. He should have said he’d ask the Ishvalans if it was OK for him to use the stone to regain his eyesight to help their people, but instead Mustang intends to use the Ishvalan ingredients without the race’s consent for the greater good he imagines for them. He does recognize the faux pas as well as the subsequent affront the Ishvalans (as well as Ed) may take but decides to “use it anyhow.” He also uses it (supposedly, selfishly) to heal Havoc. And while we’re talking Ishvalans, I’ll mention the fact that FMA2 makes Scar more or less a diplomat for the advancement of Ishvalan integration instead of a martyr as in FMA1.

Treatment of Al’s body at the gate was always something portrayed differently between series. Whereas FMA1 used a vague “his body is still in there ... somewhere” approach, FMA2 makes it known relatively early on that Al’s body was waiting for his soul and eating itself alive with every passing moment. Thus the difference is a quasi-realistic portrayal of muscle atrophy in FMA2 when Ed and Al return to Resembool as opposed to the magically fully restored (sans memories), ready-to-go, 10 year-old Al of FMA1. Again, this is what both series do well. FMA2 tries to make its scenarios as realistic as possible to reap a naturalistic humanity, while FMA1 uses the fantastic to indulge the dramatic.

Speaking of homecomings, FMA1 had two, and both were vastly different from the one in FMA2. The first was that of the aforementioned restored Al. Though we don’t see how he got there, there is the fact that we see him with Izumi, Pinako Rockbell, et al at play and a family dinner type setting. It is at the latter when we see Al’s determination to go about learning alchemy in the hopes of getting his brother back. This finally makes Al akin to FMA2 Al via asserted individuality. The second is Ed’s arrival through the gate from our world. This one is so flooded with action, there’s little time to cry over Mustang’s devotion to depression over a missing Ed, Winry’s undying hope for Ed’s return ... sorry, got a little choked up just thinking about it. OK, so there was more than enough room for tears too. However, While FMA1 was waiting for the fantastic to happen, FMA2 makes a noble stride in the portrayal of Ed and Al’s combined homecoming by having the brothers go back home together as a fully restored pair. FMA2 plays up Al’s condition, Winry’s war wife walk to the front door (and subsequent tackling of the brothers), even the faithful dog ... and all those things combined made me need one heck of an absorbent tissue.

And I’ll say it: most appropriate wedding proposal ... ever! Although in FMA1, Ed and Winry never managed to consummate their mutual attraction/devotion — duty always called Ed away and Winry was forced to be always at the ready for him — it was always there in subtext. FMA2 however, true to its stronger character development, has the love formerly unspoken betwixt characters be issued outright and then make the characters still go their separate ways (to be reunited at least enough times and with enough time to have kids). Awwww.

A human mother raising a homunculus son is also a similarity of both series’ endings. FMA1 has the Rockbells take in Wrath, and FMA2 has the Fuhrer’s wife (re-)raise Selim. The difference is that FMA1 sees fit to just leave Wrath installed as a rogue family member unit (the angsty teen, if you will), who eventually comes around to save Al and further the story by sacrificing himself (not altogether selflessly). FMA2, however, uses the “adoption” as an experiment, monitored by the state, to see if homunculi can be raised to peacefully coexist with humans. This, again, emphasizes (if not directly embodies) FMA2’s dedication to the socio-political ... especially as there is very little emotion in the scene when the government threatens to kill him if he ever shows signs of stepping out of line.

That’s it for the episode blow-by-blow! Of course there have been many slight differences throughout this series’ run that I never touched upon, but that was only because there have been so many more juicy and thought-provoking differences that pleaded for pontification. There’s one final diary left. I’ve (overly) indulged in the analytical up until now, but the next diary will be my thoughts on both series overall, taking into account aspects both personal and logical.

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FMA: The Brotherhood Diaries – Episode 63

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist anime and its re-telling, Fullmetal Alchemist: Brotherhood (based on the original manga). To read previous entries, click here.

Watch Episode 63 – The Other Side of the Gate

What equates to Ed’s final boss battle concludes with an implosion that brings Father back to the gate. There, free from their oppressive circle, Yin dot (dwarf in a flask homunculus) fights Yang dot (the world, god, etc.), and the two have an after-school discussion about self-esteem and selfishness ... about how separating oneself from one’s emotions does not a more perfect creature make. That may sound harsh, but really, FMA1 is no better. Its boss battle, betwixt Ed and Dietlinde Eckhart aboard a jet creeping with soldiers infected with truth, shamelessly and blatantly blurts out how hate is derived from fear and that intrigue leads to envy which leads to suspicion and fear. “It’s human nature. We can’t accept what we don’t see in ourselves. We fear it, reject it. And that is the beginning of war. When I look at you, I see a beast. That is why I can take your life.” Both series are equally heavy-handed in the delivery of their morals via talkative confrontations, and both ironically blame the lack of understanding about relationships on the outside world.

After re-watching the final “episode” of FMA1, there is a partial line of dialog between Ed and Eckhart that describes the motive behind the desire for inter-dimensional conquest – “obsessed with any world but this one” – that, while trapped in the FMA1 universe, very nicely applies to both series. Ed and Al in FMA1, as well as dwarf in a flask homunculus in FMA2, never seem content to grow within the world at hand. The characters always seem to search for something better, out of desperate hope or pure greed. The difference is that FMA1 rewards its truth-gluttons due to their sacrifices, while FMA2 strikes down its transgressor because of his insensitivity to the world at large. Both stay true to their series, with FMA1’s focus on helping others at any cost and FMA2’s focus on the undeniable participation and personification of the one-ness of the universe and everything therein.

FMA2 Ed draws a human transmutation circle similarly, though not nearly as elaborate as in FMA1, to get Al back. The difference in circles is superficial but can be explained by the circles’ respective purposes: transportation to the gate and human sacrifice. What’s sacrificed is also interestingly similar and dissimilar. At the end of the FMA1 series, Ed sacrifices himself and brings back Al, who returns to the flesh sans memories of all the years that have transpired since the brothers tried to resurrect their mother. In FMA2, it is Ed that gives up the intangible ability to perform alchemy, his own inner gate, in order to restore Al to the proper space-time continuum.

Along the same lines, FMA2 Ed physically brings Al back from the gate, as opposed to FMA1, where Al is restored a parallel dimension away from his sibling and later has to sneak back into his brother’s life. FMA2’s scenario shows an older brother fulfilling his promise and selfishly being able to reap the benefits, while FMA1 shows an older brother who is selflessly moving on under the auspice that he probably brought back his brother in another world and they are both continuing with their lives separately. So, true to their natures, FMA1 showcases inseparable brothers to make the end separation (and subsequent reunion) all the more dramatic, and FMA2 uses the distance between the brothers to make them stronger characters and to make the rescue seem smarter. Both, however, show a great growth in character via sacrifice.

Some last minor but mentionable differences include Mustang succeeding the Fuhrer in terms of duty (unclear in what position), while FMA1 has him demote himself and return to enlisted man status to serve his country in humble fashion. Also, Hohenheim does not die in the jaws of a permanently transformed talking dragon named Envy as in FMA1, but kneeling at his wife’s grave. This results in a touching sight and suitable end that befittingly contrasts FMA1’s dramatic sacrifice.

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FMA: The Brotherhood Diaries – Episode 62

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist anime and its re-telling, Fullmetal Alchemist: Brotherhood (based on the original manga). To read previous entries, click here.

Watch Episode 62 – A Fierce Counterattack

Hohenheim standing up to Father in this episode is akin to his FMA1 counterpart denying Dante. While FMA1 has Dante gain the upper hand in a more or less one-on-one fight and banish Hohenheim to our world to set up a stage for something greater later on, FMA2 uses Hohenheim’s power to strengthen the ultimate anti-Father force, representing wisdom that only comes from a combination of experience, regret, and penitent resolve. Respectively, FMA1 and FMA2 use the boys’ relationships with Hohenheim to highlight drastically different intentions of emotionally selfish sacrifices and battle-appropriate ones.

FMA2’s Hohenheim is given the role of comrade-in-arms to Ed and Al as opposed to a father figure ... at least by Western standards; Japanese culture might see Hohenheim’s actions as very fatherly (emotionally separated but present and protective). This enables the building of a strong bond betwixt him and his sons by requiring more constant interaction and alliance. However absent and emotionally distant he is from his boys throughout the majority of the series, FMA1 Hohenheim is the perfect Western father: letting his kids become themselves by themselves while looking out for them on the sidelines. Also, his final sacrifice in opening the gateway back to Amestris from Shambala is the ultimate parental sacrificial apology.

FMA2 has a nice FMA1 moment wherein Father brings back the dead most meaningful to his opponents’ sentimentalities (King Xerxes for Hohenheim, a baby for Izumi), but it lasts all of a minute or so. This is hardly enough to conjure the emotional impact of FMA1’s homunculi, but the event does serve FMA2’s greater purpose of tactical maneuvering. Using the shock of seeing these lost loved ones, Father tries to wipe out his opponents in a very strategic sucker punch.

Alphonse’s protection of May bears a heftier toll on his metal shell than did the effects of animating a soulless Nina doll in FMA1, but either way the erosion of his temporary body bends Al’s mind to self-sacrifice. The difference is intent. FMA2 Al, knowing his own body cannot fight and his soul is in danger from cracks in his own shell threatening an already all-too-exposed blood seal, has no choice but to give his soul back to the gate in trade for the return of Ed’s arm so that Father can be brought down. While this act has a sense of indebted brotherly loyalty to it, the sacrifice is made for more tactical gains than out of love (he expects Ed to come back for him). FMA1 Al’s sacrifice was done so out of pure brotherly love and the loneliness of a character that was truly missing his other half ... not to mention that Al never expected to see Ed again.

All illustrated via posturing, I rather like the way FMA2 shows Ed and Al to be components of their father’s personality ... perhaps even paralleling the offspring of Hohenheim to the homunculi created by Father. This comes into play particularly when we see Al posed to protect May from Father’s blast and Hohenheim similarly posed to protect Izumi. FMA1 Hohenheim is always a source of emotional tension, whether it is the hatred stemming from abandonment or Ed’s hatred of himself for slowly forgiving his father despite his actions. In either case, Ed never seems to be his father. However, FMA2 Ed, after regaining his body, takes on Father in a show of alchemic talent equal to displays we were privy to in Hohenheim’s underground battle with the same.

Hooray for humans! Though naught but an insect bite to Father, regular human soldiers play a role in their own destinies by diverting Father’s attention and coming to the aid of the alchemists in an all-inclusive battle. This comes into play in two ways, via Briggs forces fighting Father directly and from Alchemist-aid Hawkeye acting as Mustang’s sight (pun fully intended). As I hoped, FMA2 continues its theme of humanity (civilian, soldier, alchemist, chimera, host) vs. monster (homunculi), which as previously stated contrasts FMA1’s strict alchemist vs. monster M.O.

Speaking of hosts, all Greed wants is friends? I mean, of course he wants friends; Greed wants it ALL, which would include friends. However, all that Greed wants for is not friends. Weakest homunculus motive ever, especially for one hell-bent on world domination. What is this, some opinion that all wannabe despots want to be is loved and through love can unite the world in friendship? This human sentimentality sounds very cheesy and out of character. And while that may sound like FMA1 homunculus territory, it’s not. FMA1 homunculi, tormented by trace memories of the people the alchemists were trying to bring back to the world, resented and rebelled against such sympathies and tried to kill those affiliated with them.

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FMA: The Brotherhood Diaries – Episode 61

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 61 – He Who Would Swallow God

Of course an obvious difference in this episode is that Bradley dies (please pardon the pun) at the hands of Scar in FMA2 instead of Selim’s misguided compassion and Mustang’s vengeful alchemy in FMA1, but the subtle difference (and even more subtle similarity) is how the Fuhrer’s deaths represent the nature of both series.

FMA1 has Mustang finish off Bradley at his mansion more or less in the presence of his own (adopted) family. The bane of Mustang’s political aspiration and target whose death would serve to avenge Hughes’ death, Bradley represents two final hurdles for Mustang: those of acquiring the throne to change the country for the better (miniskirt army!), and the resolution of a deep personal conflict (the loss of Hughes). The former, minus the miniskirt army, is more of FMA2’s territory, and it shows. Before he attacks Bradley, FMA1 Mustang runs into Ed and makes it known he has no chance at performing a coup and retaining the favor of the people thereafter. Thus FMA1 rather brilliantly puffs out its chest and says, “I’m all about my feelings, and the Fuhrer’s gonna pay for dropping my best buddy.” The emotional motivation trumps the political.

Surprisingly, FMA2 pitting Scar against Bradley does have a similar emotional edge, that of retribution for all but succeeding at Ishvalan genocide. However, even that motive is more politically poignant than dramatic given FMA2’s constant integration of racial themes. What makes the battle personal is Bradley bringing up Scar’s heretical acts of alchemy, and then Scar’s use of the intense light only experienced during a solar eclipse, the alignment of which is likened to God in the series, to blind Wrath while he carries out his attack on Scar’s faith. (Can you say, “awesome”? Good. I knew you could). Emotional ties also rear themselves in the form of a sort of reverence for Scar’s brother’s alchemic research via inner monologues from Scar when the battle is concluded and he emerges as victor. But even this revelation is used for strategic gain as opposed to emotional resolution.

Reasoning for Father’s moon-lust is given via a flashback to Ed and Al’s early days of alchemic study against the juxtaposition of the currently occurring lunar eclipse. Well-used Romantic imagery aside, the pace at which FMA2’s logic jump exhausts itself (seemingly ... there can yet be more) pales in comparison to FMA1’s use of a parallel reality. Whether or not you cared for it, FMA1 stuck to its decision, plausibly tied it in with its existing world, and used it for all it was worth throughout the final episodes and subsequent movie. So far in FMA2, Earth has no moon because it was swallowed by a dwarf who lost the power to keep it down but is still fighting the hiccups (or at least shows signs of it early on and then seems to be A-OK). Inconsistency would be the named difference here, but, there’s an odd consistency between series as well. Slight though it may be, the similarity is in the “all Amestrians are dead, oh ... now they’re not” sacrifice in FMA2, which almost frighteningly parallels FMA1’s “my brother’s dead, oh ... now he’s not” sacrifice in FMA1. But there are still three more FMA2 episodes, and a lot more can happen in that time, including poignancy.

There’s also something very worth noting in the way FMA1 and FMA2 deal with the relationship between Ed and Hohenheim. I’m not talking about the familial contempt, but the way in which FMA1 has Ed pretty much bat clean-up after the monster his father helps create in Dante (and is helpless against), and the way FMA2 has Ed pretty much sit on the bench as his father waits for the chess board to come into alignment with the vision he had 300 years ago (figuratively speaking ... or not). That is to say, at least in terms of battling the big guys, Ed plays only a very small part of a very effective team in FMA2 as opposed to the MVP he is in FMA1.

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FMA: The Brotherhood Diaries – Episode 60

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 60 – Eye of Heaven, Gateway of Earth

I wanna concentrate on brown-skinned people for a while. FMA2 has already used Ishvalans beyond their static representation in FMA1 ... or has it? In fact, the Ishvalan difference reflects the same overall theme that the other differences between any other aspects represent between the series: personal vs. political. FMA1 dealt statically with political strife suffered by the Ishvalans, but dynamically with the emotional pain of being ostracized and segregated both their people (even family) and spirituality (God), while FMA2 uses the brown-skinned, red-irised race to showcase the political ramifications of segmentation rampant throughout Amestris. Evidence for the latter includes overheard pieces of conversations from military lackeys and civilians alike who worry about Ishvalans amassing around Central, but sociological strife is wonderfully woven into this episode with a shot of a mother screaming in fear and protectively cradling her child while two Ishvalans very calmly ask her about something on a map. This can be seen as akin to the two children who looked at Scar as being a traitor to their people for having alchemic (heretical) symbols etched into one of his arms. But whereas FMA1’s example is intra-racial, FMA2 is interracial.

This brings us to something just as surprisingly different between the series, Scar’s use of full-blown alchemy. FMA1 restricted Scar from performing alchemy because he could not reconstruct as he only had one of his brother’s arms (or, if you’d rather believe, because he did not want to commit any further sin against God). This made his brother’s sacrificial gift of the alchemic ability of destruction Scar’s curse and driving excuse. In FMA2, a smarter Scar reads through his brother’s notes and adopts the heretical symbols onto his free arm because, as holds true for most of the characters’ intentions in this series, such an action might have potential strategic applications in foreseen and forthcoming battles. What this shows is humans learning, another theme throughout FMA2, and evolving to conquer overwhelming adversity at the cost of their own stagnant and unfounded moral viewpoints.

I haven’t commented on the animation in some time, but it seems to have been getting progressively better. It seems the more surreal the subjects, the better the detail ... or perhaps I’m just getting used to it. I have no inherent qualms with the increase of quality per se, but one note on the situation. Seeing as this is a series so focused on the struggle of humanity, it would be nice if some of the most beautifully animated scenes were applied to the regular human characters (not just those victimized in the Ishvalan War of Extermination). That being said, I love the image of Father climbing out of the Earth and howling at God (the moon), but this also brings up a difference between series: that of their conclusion-oriented jumps of logic.

FMA2 turns to the surreal while FMA1 turned to parallel reality. There’s much to be said for both. Many friends of mine were disappointed in FMA1’s sudden linkage with “our” world, a post-WWI Germany, saying it was wrong to get out of the world of Amestris and nullify or completely amend all the rules the series had fought so hard to make believable. FMA2 is certainly sticking with their world, but they’re making it almost hard to believe ... even by fiction standards. I can see the reasoning behind it, and it does fit in with the overall guiding philosophy of “one is all and all is one,” but the drastic increase of power, size, and scope of Father’s ambition seems to me just as desperate a cry for a big “wow, this IS shōnen” ending to rival the tearjerker FMA1 served up. But this is also a familiar cry, one I’ve heard friends and others complain about after seeing the introductory episode of FMA1 when it made its leap. I can only hope the reason behind the interplanetary aspirations of Father deserves as much clout as FMA1’s leap, where death (in all its forms), something Ed had feared since the beginning, in a parallel world, is the equalizing factor of transmutation and something he’d been ignorantly abusing all his life. It was a great dramatic blow to Ed’s psyche, and FMA2’s bigger-than-life homunculus master has its work cut out for it to top such a twist.

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FMA: The Brotherhood Diaries – Episode 59

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 59 – Lost Light

Mustang being pinned down in an alchemic circle at the mercy of Pride and Wrath is reminiscent of Philosopher Stone Al in the proverbial hands of Envy, Dante, and Gluttony in FMA1, and not only in posture. FMA2 Mustang and FMA1 Al are both going to be sacrifices, but the former is subject to it forcibly and successfully, while the latter actively overcomes his captors’ ensnarement in order to sacrifice himself for his own ends. These very acts show differentiation via struggle: FMA2 is very much protagonist vs. antagonist, while FMA1 uses that same initial conflict to segue into an internalized struggle over grief.

Another similarity and difference take place between series with Mustang’s anguish over whether or not to perform human alchemy to save Hawkeye. Taking into account the comparison made above, FMA2 Mustang, like FMA1 Al, has to consider using a Philosopher’s Stone in order to save a person he loves from dying, which he can only do by sacrificing his resolve and morals not to mention his entire possible existence. While FMA2 Hawkeye is alive and FMA1 Ed is freshly dead (“there’s still color in his cheeks”), the motive of self-sacrifice for a loved one prevails in both scenarios. The difference is that FMA2 has Mustang deny his emotional impulses because of guiding glances given by Hawkeye, whereas FMA1 Al goes through with his own sacrifice based on emotions stemming from his determination to make his brother whole again (and because Al can’t plausibly live without Ed anyway in that series).

Slyly defining the homunculus versus all aspects of humanity theme, Wrath delivers a wonderful rant: “Who will take down the Fuhrer of Amestris, and claim fame for themselves? A chimera? The outsider? Mustang’s dog? Or perhaps... (camera focuses on Scar) you’ll all come at me at once?” Not only does this show the clear faction divisions within the heroes, but it shows the diversity of peoples whose only bond is their humanity. In order, the Fuhrer starts with those that are only partly human and part creature (chimeras); then moves onto someone not even from the country who shouldn’t have any particular care about this whole affair (May); then points out the opposite with Hawkeye, who’s directly involved at both personal and military levels; and ends with a representative of a people who have been unjustly treated and assimilated by the state they’re now trying to improve. For such a short rant, it says a lot, and might also serve as a lovely bit of metaphorical foreshadowing.

Lastly, FMA2 Al rejecting his human body at The Gate to continue to fight as a living piece of armor in order to try and help save his friends is a choice never offered in FMA1. This rejection of his own self-fulfillment, however, is again like and dislike his FMA1 counterpart’s decision to sacrifice himself. It is alike in that both Als reject the possibility of regaining the body which they so desperately desire. FMA1 Al does it, as mentioned before, for the sake of bringing back his brother from the dead ... a full-on self-sacrifice. Very pure, very emotional ... damn near broke my heart when I watched it (followed by a little laugh and “oh come on,” when Ed turned around directly and did the same for Al). FMA2, always battle-wise, has Al assess the body he’d regain, realize where he’d regain it (Father’s lair), and then discern it as a tactical disadvantage that would lead to certain death. This is a stronger sacrifice in terms of selflessness and depiction of the choices of a well-developed character, though the FMA1 fan in me would have loved to see scrawny naked Al plopped into the middle of the battlefield for Ed to have to protect.

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FMA: The Brotherhood Diaries – Episode 58

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 58 – Sacrifices

Continuing its course of having humans finish off the Fuhrer, FMA2 has Lan Fan save Greed-Ling from falling and a random Briggs soldier deliver a shot that causes Bradley to fall into a moat below. Of course the Fuhrer floats away to fight another day, but analysis-wise I’m happy to see random soldiers stealing alchemists’ proverbial thunder. The action and identifiable anonymity of supporting cast is precisely why FMA2 has succeeded in returning the FMA series to the shonen spirit in which the manga was supposedly originally written. If I may generalize, most young boys identify easily with action heroes. Vengeance is a simple concept for humanity, and the more character types you have involved in gun fights and sword battles, the more types of young male readers will identify and keep buying your volumes or watching your episodes.

This runs contrary to FMA1, which more decidedly relies upon feelings of regret and loss – themes not as engaging or identifiable to a younger audience, especially younger males (if I may again generalize). This explains the high percentage of younger girls and older otaku of both genders interested in FMA1’s vastly different tone of redemptive and compassion-driven introspection.

The tone for both series greatly affects scenes involving death. In FMA1, very few main heroes die, namely Hughes. Scar and Greed, who start out as villains, can also be considered fallen heroes, but all other deaths are dealt to homunculi, for most of whom FMA1 evokes sympathy due to their human traits. However, deceptive deaths, such as those of Mustang, Ed, and Al, carry great weight due to the careful (if heavy-handed) layering of character. This contrasts deaths in FMA2, those of supporting characters Buccaneer and Fu specifically, because they die a soldier’s death as witnessed by comrades in arms, a possibility they face every day and are hardened towards. This leaves feelings of respect for having carried out their duty and gratefulness for how they served. There is only a small emotional hole allowed for grief in battle, and that is what FMA2 does best, realistically (at least moreso than FMA1) depicting a war-like environment. This also explains the brief lament and subsequent rage into which Greed-Ling flies over Fu’s death.

Continuing the brave evolution of ancillary characters, Falman gets an expanded role as resistance troop commander at the main gate, or rather he starts to become more comfortable giving orders instead of just taking them. Evolution is not something FMA ever let supporting characters be privy to. They either provided comic relief or emotional support, but always at a static distance.

Something else I found to be an interesting difference between series is that Hawkeye is mortally wounded and it is up to Mustang to save her in FMA2, whereas Mustang was mortally wounded and it was up to Hawkeye to save him in FMA1. Going back to what I said earlier about desired audiences, FMA1 plays to sympathetic sensibilities evoked by a strong female character – something I think would elicit identification more directly from females and compassionate/sympathetic older males than younger males – while FMA2 reverts to the classic man rescues girl. Although Hawkeye is still a strong female character in FMA2 (much moreso than in FMA1), she’s made into the damsel in distress for male viewers to want to be saved by their fire-wielding proxy. Her devotion to him and his straightedge path to the Fuhrer’s throne is what makes the defeat of Mustang’s resolve to not use human alchemy so painful, while it is the unspoken love and support built over 52 or so episodes that makes the sight of his bloody body so identifiably tragic to a delayed Hawkeye in FMA1.

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FMA: The Brotherhood Diaries – Episode 57

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 57 – Eternal Leave

I love being led astray. Wrath doesn’t die (yet), but his ego suffers a great wound when Fu’s assault leads to the penetration of the master swordsman’s defenses and subsequent run through. While I said my piece about the implications of having the humans be the ones who draw first blood from Wrath in the previous diary, there is something worth noting via Buccaneer’s surprise involvement: resilience. Humanity’s stubborn nature, as admitted by the homunculi, has been a thorn in their collective sides. This persistence is now personified in battle via Buccaneer continuing to fight despite suffering incurred from mounting mortal wounds, whereas previously this series only showcased (OK, FMAFAN, I’ll finally say it) emotional aspects of determination.

Regarding the battles therein, FMA1 is never so cleverly indirect in execution. Usually fights consist of metaphorically mano-a-mano battles where the hero faces the villain(s). The only comparable situation is Ed’s fight with Sloth, when he is unsuspectingly aided by Wrath’s mommy complex which ends up paralyzing the reincarnation of Ed’s mother for long enough to enable the final alchemic blow. Both series, however, use the surprise attack exactly according to their strengths. FMA2 has Fu’s proximity to Wrath blind the homunculus’ periphery long enough for Buccaneer to sneak a sword through Bradley’s chest in a brilliantly sacrificial (if only misguided) tactical move, while FMA1 uses overly strong (and equally misguided) familial attachments to bring about the downfall of a loved one.

Failure pertaining to choice and application of incidental background music continues to dog FMA2. When Izumi and Olivier are discussing sacrifices and feelings of longing for the dead, there’s what sounds like a light violin bouncing behind the scene. While the music does offer a stark contrast to what happens next, it is totally inappropriate for the conversation at hand and detracts from the overall tone. Once again, as with Pride’s face-off with Al in an earlier episode, the writing can more than carry the scene, showing FMA2 does not quite know when silence is more appropriate than superfluous noise. FMA1’s music always seems appropriately chosen and implemented, which can be chalked up to the fact that the abundant emotionally dramatic scenes laced throughout are easier to put music to than reflective, intense discussions.

As per the “WTF” moment in this episode, the sacrifice of our favorite taboo-committing alchemists, all I can say is that FMA2 wields human transmutation as a homunculus weapon and means to self-induced physical harm for humans as opposed to FMA1’s self-destructive faux pas that inspires lifelong penitence. Sure, both series use alchemy to level cities as well as sacrifice all the souls within them, but what matters is who uses the taboo and for what purpose.

FMA2 has Dwarf-In-A-Flask manipulate Hohenheim into sacrificing everyone in Xerxes via alchemy to gain immortality and now uses the gold-toothed doctor, creator of Wrath, to sacrifice Ed, Al, and Izumi. While the purpose of the latter is not known as of yet, what is identifiable is that FMA1 never launched an alchemic sacrifice against others. In FMA1, it was always an act of self-sacrifice that led to personal harm. Not to say FMA1 didn’t attempt it via the homunculi plan to sacrifice Al’s body and consciousness in order to turn him into a “true Philosopher’s Stone,” but the plan’s offensive was thwarted by Al’s emotionally driven self-sacrifice to return his dead brother to life. In FMA2, there is no counter to this evil execution of transmutation.

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FMA: The Brotherhood Diaries – Episode 56

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 56 – The Return of the Fuhrer

The value of human souls is once again emphasized in FMA2 via Hohenheim’s “conversations” with those sacrificed for the sake of his own immortality. The closest FMA1 came to this was having Ed break down in Hamlet-esque indecision over whether or not to use those souls sacrificed for the stone to help his brother and himself, or Al’s final sacrifice in the series (excluding Shambala). But FMA2 personifies those lives sacrificed to make the Xerxes Philosopher’s Stone via little scenes from ordinary life and explanations thereof through the recollections of Hohenheim. But for all of the personalization employed by FMA2, the impact is less personally emotional, as in FMA1, than it is supportive of a sense of coalition. Obviously, this suits FMA2 better, as overly sentimental outbursts are not part of its repertoire.

Re-enter Fuhrer Bradley ... with a vengeance. One should expect nothing short of a full-on assault from a homunculus named Wrath, and the details in his storming Central HQ are just as important as its execution is impressive. Cutting to the quick, the first thing to notice is the slicing of a tank cannon shell in twain and the pieces of which subsequently take out 3 different, Fuhrer-loyal, Central soldiers. This is important to notice, as compared to Mustang’s merciful (up until now death-free) coup, because the advance shows blatant disregard for human life by killing friend and foe with the same blade.

Speaking of swordplay, another big inter-series difference is this very showcasing of Bradley’s bad-ass blade. While already featured in previous episodes against Greed, the importance here is timing. If I’m correct in assuming this will be Bradley’s last fight, then a comparison with the same in FMA1 is in order. First off, FMA1 only allowed Bradley to show off his specialty in his fatal battle with Mustang. Aside from some really well animated thrusts, however, the swordsmanship was only cursory, and the most impressive animation was the personal injury done to Mustang. Mostly, FMA1 uses the swiftness of the wielding itself to disrupt airflow and counter Mustang’s alchemy ... and the Flame Alchemist is helpless against it until Selim accidentally causes his father’s downfall. This exemplifies the monsters vs. alchemy theme, which is a steady difference from FMA2. On the other hand there is a similarity between series when Selim betrays his father. Humanity vs. monsters is a steady theme in FMA2, and FMA1’s Selim does indeed enable the killing of Bradley via Mustang’s alchemy. However, true to FMA1, the betrayal is accidental and done out of love — not political reasoning as in FMA2.

Bradley’s slashing skills in FMA2 are already well defined, and now we get to see wrath personified as the Fuhrer slices and dices his way with ease to the front gate. At the front gate, after dispatching with the regular humans with utter effortlessness, there comes another Greed/Wrath battle. The fact that Wrath has such an upper hand against Greed makes the execution of this battle disappointing compared to others betwixt the two, who strategically serve as foils for each other. However, what follows makes the same battle fantastic in terms of analysis: Fu arrives to once again serve as Ling-Greed’s bodyguard. In the few seconds Fu counters Bradley, he seems to have more of an edge in fighting him than did Greed. Cheating a bit by including assumptions based on next week’s preview, I’ll venture a guess that, in line with contrasting FMA1, FMA2 will have Fu finish off Bradley (possibly with help from Greed), furthering the series’ human vs. homunculus theme.

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FMA: The Brotherhood Diaries – Episode 55

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 55 – The Adults’ Way

At no point in FMA1 is the killing of a homunculus attributed to the hands of ordinary humans; the only people chosen to destroy such monsters are those well trained in alchemy (and usually the ones that made the mistake of creating one themselves). FMA2, which pretty much plays the same tune, changes things with this episode, where regular human soldiers join forces to slow down Sloth (irony!) so that the Armstrong siblings and Sig can finish off the rampaging homunculus. The difference is one mentioned before, but it’s so well illustrated by this battle that I cannot fail to comment: FMA1 concentrated on individuals’ battles with their own personal demons, while FMA2 makes the case that humanity coming together to battle its collective demons is a force capable of confronting issues much larger than itself.

That being said, Izumi Curtis and Alex Louise deserve some generous applause for their battle with Sloth. FMA2 Izumi, much like her FMA1 counterpart, is allotted a brief role as combat-ready alchemist tempered with the faux humility of a housewife and pride of an alchemist. As apt a fighter as FMA1’s Izumi is via alchemy, FMA2 Izumi officially joins the ranks of the privileged saviors of Amestris, not by alchemy alone but by her use of martial arts, when she initially takes down a charging Sloth with a shoulder throw ... no alchemy involved. This supplement of her alchemy skill set (with greater explanation via the OAV, Tales of the Master) is further proof of the series’ ambitions in showing regular human action as capable of confronting foes of any nature. FMA1 Izumi is yet another tortured soul using the only gift she had to correct what she was responsible for via the misuse of said gift.

Up until this point in FMA2, Alex Louise Armstrong has been portrayed as powerful but undependable or at the least hindered by sentimentality. The battle with Sloth shows that Alex fights for the protection of his fellow citizens and family with unshakeable resolution and will not waiver from any goal set before him so long as he believes in it. FMA2 constantly belittles Armstrong’s capabilities via his older sister Olivier’s constant chiding and (let’s face it) greater military prowess. This immediately changes when the battle directly threatens those Alex loves. Much in the same vein of this battle, FMA1 uses Alex as a dependable, protective father figure for Ed and Al. He also serves a greater role as comic relief, but not in so much that viewers ever doubt his ability to take down whatever it is that stands in the way of his muscle and alchemic talent. Speaking of muscle, the Sig-Alex buff-off (mine are bigger than yours) in FMA2 does not take place in a civilian meat shop a la FMA1, but the battlefield that has become Central HQ. The resulting collaboration between Sig and Armstrong in taking down Sloth furthers the bond between human and alchemist, illustrating the show’s theme of humanity vs. non-humanity.

The following is an exchange in FMA1 episode 49:

Izumi: Don’t tell me you’ve risked your careers on the word of kids.
Maria Ross: Those children hold the state’s future. It’s our duty to enable them. At least that’s what Hughes used to say.

Now a similarly timed (storyline-wise) exchange in FMA2 episode 55:

Alex: We adults can’t very well be caught lying down when the youngsters are fighting.
Olivier: What if we adults, who carry the burden of the world, failed to show the youngsters, who will carry the burden of this world after us, the way to live?”

A fundamental philosophical difference between series stands out upon reading both selections. FMA1 lays salvation purely in the hands of the younger generation heroes, with their elders only lending support. This in and of itself lends to an emotional track, as what are children but fleshy sacks of unbridled feelings. However, FMA2 bolsters the role of adults (befittingly, given the title to this episode) as the template to which youth must subscribe to inherit prosperity. This is a well-reasoned and structured approach, which makes the most sense given the alleyways available for advancement concerning the betterment of the state or even humanity as a whole.

There are two last observations worth some mention. First, FMA2’s consistently emphasized protective nature of humans by humans is further exemplified via constant concerns over holding the Immortal Legion to the interior gates in Central. This stands in stark contrast to FMA1, where there was a similar threat to those who would be sacrificed for the Philosopher’s Stone but a decided lack of concern for all those of the State who might have to suffer under continued homunculus rule. FMA1, in other words, didn’t care much for the ordinary people, just its main characters, whereas FMA2 does an excellent job of constantly reminding viewers just why the alchemists are battling so intently. On the same front, FMA2’s rebellion is not as straightforward as FMA1’s, allowing for a countermeasure by the until-recently unseen Bradley.

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FMA: The Brotherhood Diaries – Episode 54

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 54 – Beyond the Inferno

To start, FMA2 makes Hawkeye’s father’s research, Hawkeye’s back tattoo, and the supposed formula for the creation of any flame alchemist responsible for Mustang’s talents. Mustang and Hawkeye are never subjected to such interpersonal development over the course of FMA1. She’s more the supportive lover to his inherently charming and ambitious self. So the tattoo, as well as the back story explaining why Hawkeye initially supported Mustang in FMA2 (changing the state for the better), makes for a more solidly emotional statement on human reasoning and perseverance than FMA1 ever attempted to define in the same characters via understated romantic interest and alluded-to notions of political reform. In fact, FMA1 has Mustang sacrifice any aspirations of becoming leader in the name of avenging Hughes, something FMA2 Hawkeye almost shoots Mustang for considering. After all, FMA2 Mustang and his devotees have set up an elaborate ruse to fool the citizens of Amestris into thinking he’s not behind the coup in order to safely obtain the title of Fuhrer. Having all his compatriots sacrifice themselves for naught would be … well, not equivalent exchange.

The fiery battle betwixt Mustang and Envy in FMA2 that causes this reflection can very readily be likened to that of FMA1’s battle between Mustang and Pride. Both Mustangs are fighting to avenge Hughes’ death. But whereas FMA1 Mustang’s revenge means bettering the nation by ousting the homunculi (a very FMA2 theme), FMA2 Mustang’s revenge means righting his own sense of grief by killing Hughes’ killer (a very FMA1 theme). Of course, FMA2 smartly saves itself from hypocrisy by stemming the emotional killing and focusing on the larger sociopolitical goal.

Also worth noting in this fight is that FMA2 puts Mustang on higher ground morally and alchemically but not physiologically, and yet he still prevails. This directly shows the series’ intent that capabilities and purpose define righteousness, not capabilities and breeding. This may be why Hiromu Arakawa, while advising in the FMA1 production, was ok with its pre-WWII parallel universe. After all, pre-WWII Germany was a nation listening to a man, a future Fuhrer, laud the abilities of one specific race as justification for ruling the world and the expendability of all in their way. Sound familiar?

Not to harp on a singular battle, but another vast difference between the series is seen in the target of Envy’s envy. FMA1 made the homunculus’ source of jealousy his own sense of dejection by Hohenheim, who, through Envy’s eyes, showered affection upon Ed and Al, while FMA2 turns Envy’s jealousy towards the human race in general, which is a smart and logical idea ... if only a bit too cliché in its reasoning. In the same vein, something I hadn’t thought on but thought fairly amusing is that both series make Hohenheim Envy’s father. FMA1 takes the direct approach via the failed resurrection of his child with Dante, and FMA2 has Father, who is “born” from Slave 23, subsequently make the lower-rung homunculi (including Envy).

I’ll end with a point of pure conjecture: if Anime Insider were still around, I’m sure FMA2 Envy ripping out his own worm-heart would be worthy of the “death of the month” just as FMA1 Martel’s slaying-in-a-can (Al) did.

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FMA: The Brotherhood Diaries – Episode 53

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 53 – Flame of Vengeance

If you wanna talk irony, you must be thinking of Mr. Emotional: Roy Mustang. This is the guy who, in FMA1, was all poker face and repression. In FMA2 however, Roy’s search for vengeance is the reason for treason. Not totally unlike the stage set for WWI, the murder of a loved one has sparked (forgive the pun) a war waged out of unbridled, unrelenting agony. Aspects that make this ironic include the fact that FMA2 has been the emotionally understated series from the start, and FMA1’s Mustang almost never showed a hint of any emotion other than frustration or anger (Hughes’ funeral aside). Of course, in true FMA2 fashion, Mustang’s emotional outpouring takes the form of a coup and homunculus battle, not a teary monologue. This invokes an academic sense of emotional vengeance that serves this series well, a truly hell-driven and heartfelt burst of anguish in the form of anarchistic flames.

That being said, the same reserved anger FMA1 Mustang exuded when facing the Fuhrer is present when his FMA2 counterpart starts his fight with Envy. But once Envy reveals who Hughes’ murderer is, this fight devolves into naught but pure and vicious vengeance. Burnt out tongues! Boiling eyeball fluid! Envy’s playing with fire, and Mustang’s not in the mood for games. Here his rage erupts with all the passion of a stopped-up volcano and we get to watch Pompeii melt.

Getting back to the metaphor for Mustang’s emotional outpouring, the battle inside Central is even more brilliant when you look at who’s doing the fighting in his name. Supporting characters on the radio, ancillary citizens/soldiers giving up plot points, and main characters reaping the benefit of influence through absence all make the depiction of this coup a people’s rebellion.

Alchemist be thou for the people, indeed, but be thou for them from afar! This may seem like a silly statement, but it sums up the series’ differences quite well. FMA1 was always hands-on. Its main characters (mainly Ed and Al) helped the little people one-on-one basically in order to build their own reputations, while FMA2 more or less uses only the effects of the main characters’ actions to influence people and allow them to become important to the story in their own right. This not only continues the deviation of those with and without special abilities, but also makes statements on the responsibility those with power have to those who do not as well as the importance of the laymen.

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FMA: The Brotherhood Diaries – Episode 52

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 52 – Combined Strength

Al’s (très impressive) battle with Pride and Kimblee in this episode is more than just Philosopher Stone one-upmanship; it’s a battle about choices between characters who have decided to tread the steadfast path of selfishness (Kimblee, Pride) and selflessness (Al, Heinkel, Marcoh). FMA1 never delves too deeply into intent, as most of its characters wear it on their proverbial sleeves. Because all of the main FMA1 characters are looking for resolutions to their own problems, only selfish motives can be derived from their actions. So battles betwixt characters can take on no other connotation than psyche vs. psyche, which is, after all, the heart of FMA1. But FMA2 uses battles as manifestations of confrontation to address conflicts of social and biological evolution.

Depiction of action (fight sequences in general) in FMA2 has always stood way far in front of FMA1, and the aforementioned battle is no different. However, there is a moment that harkens back to FMA1-style battles of psychoanalysis-evoking stratagem. The moment I speak of is Kimblee talking to Al in the midst of a battle, preying on his frustration over lack of choices for himself and his brother (restoring their bodies or saving everyone). But here, FMA2 actually does one better than FMA1 and manages to apply the conversation to a poignant event in the battle: Kimblee’s (second) freeing of Pride from his Earthy prison.

What FMA2 doesn’t manage to get the better of in this episode, concerning FMA1, is background music during the Kimblee and Al fight. I’m assuming the producers wanted something European sounding, something close to a waltz perhaps to show the careful steps between opponents, but the writing carries the conversation so well and with so much tension due to Kimblee’s malicious intent that in truth any background music would be superfluous. So what results is amped-up music that almost mocks the scene with its lighter ambience. FMA1’s scoring was always dead-on — one could say an easy task with a overly dramatic production. The same could be said of FMA1’s lack of in-story pop songs, one of which FMA2 unfortunately decides to impose over a fight between Ed’s crew and the immortal legion. It’s a great shame, because this instance dilutes a tense situation formed from FMA2’s strong sense of battle savvy.

Scar kills Kimblee in FMA1, and seeing as those characters are involved in separate battles in FMA2, that has to mean something right? Indeed. FMA1 uses Scar avenging his brother’s death to further the personal motives behind conflict, while FMA2 has Heinkel (lion chimera) kill Kimblee as part of a demonstrative effort of human tenacity in the face of adversity. Also of note in this battle is the fact that Pride absorbs the mostly-dead Kimblee, which proves the division of values between warring factions by, in essence, showing that Kimblee is considered evil enough to be welcome to “continue living inside of [Pride].” This act can also be paralleled to hosts swallowing a Philosopher’s Stone and, outside the realm of FMA, reminds me of a scene from the movie “The Prophesy,” where the angel Gabriel is sent to collect the most evil human soul to lead their faction to victory.

As always, both featured battles (Ed/Pride/Kimblee and Olivier/Alex/Sloth) are well thought-out and executed, with some wonderful transitions between them. Aside from being adrenaline-inducing candy however, Olivier’s battle features a point where, confronted by Amestrian soldiers after Alex Louis immobilizes Sloth, she attempts to turn ordinary soldiers against their blind patriotism. This manages to keep in line with FMA2s sociopolitical aims and only manages to add to the tense tone of the battle (instead of detracting from it). This proportioning of time dedicated to addressing nominal soldiers is further extended to one of FMA2’s more minor supporting characters, Yoki, who finally gets to play hero while also offering the comic relief.

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FMA: The Brotherhood Diaries – Episode 51

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 51 – The Immortal Legion

As per this episode’s namesake, a very slight yet still notable difference is the use of red liquid (Philosopher’s Stone material) to breathe life into empty vessels. In FMA1, Majhal and Shou Tucker are the only examples of alchemists who attempt this taboo. True to FMA1’s dramatic focus, Majhal uses alchemy (not Philosopher Stone-induced) to animate dolls of his long-lost love, and Shou Tucker uses Al (as the Philosopher’s Stone) to animate a doll likened to the visage of his self-sacrificed daughter, Nina. In each case, the alchemists take great pains to craft vessels that look like (at least to them) their dearly departed. These human-centric deeds show an all-consuming obsession, a heartbreaking insanity that lends to the overall emotional impact of their respective episodes as well as the overall tone of the series.

FMA2, not entirely on the other hand, portrays a secret military program that has amassed an army of cyclopean cadavers with the strict intent of animating them with red water for use as the state’s own loyal army of the undead. This works in several wonderful ways. The first of which is that it fits perfectly with homunculi plans of using humans to wipe out humans. After all, who needs human soldiers once you have an army of immortal slaves that humans built? This army also furthers the portrayal of emotional anguish of those sacrificed for the making of the red water, in the same manner as the screaming faces boiling from beneath Envy’s skin, via the torment of lost souls separated from their bodies. However, this is not so much emotionally effective as it is useful to the plot. I’ll totally admit to the creep-out factor of souls in pain crying out to their victims as they devour them, but mainly this seems to serve as another test. Will Ed kill, battle royale-style, faceless drones in constant agony that only perform acts of malice? It could be considered a mercy killing (a la Scar’s judgment on chimera Nina/Alexander) and would be the next step towards killing a homunculus.

Another notable difference is Al’s use of a Philosopher’s Stone. In FMA1, Al is Ed’s pawn, a little brother wide-eyed about the world and so scared that he does practically everything his older brother tells him to. So it isn’t surprising that Al only uses the power he inherits as an incarnation of the Philosopher’s stone to bring his brother back to life (in return for Ed’s attempted rescue of Al).

FMA2’s Al, already a much stronger and more independent character, still clings to the value of life, but also recognizes the need for independent thought and sacrifice. This is shown near the end of the episode, when Al gets a Philosopher’s Stone from one of Kimblee’s former chimeras and uses it to repair his legs (and possibly the chimera) and take on Pride and Kimblee all by himself. Seeing as a Philosopher’s Stone basically boils down to sacrificed human lives, FMA fittingly uses Al as a vessel for humanity in a fight against something non-human (Pride) as well as a human who exhibits no sense of humanity.

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FMA: The Brotherhood Diaries – Episode 50

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 50 – Upheaval in Central

Since the primary focus of this episode is that of Mustang’s coup, I can say little about it, seeing as its setup and execution have already been noted in previous diaries. There is, however, an interesting difference in the focus on and depiction of Central’s forces between series.

Pertaining to the rebellious faction, FMA1 sticks to giving witty or dramatic one-liners about battle to a few main and ancillary characters — all of whom have a decently developed and reasoned attachment to Ed and Al. They are, after all, kids who’ve grown up in the military’s midst. This follows the series’ emotional focus by providing the affection, comic relief, and even familial tension craved by the story of loss concerning the brothers Elric. Without shame to bowing to clichés, the protagonists usually note the sacrifice of war, whereas the antagonists usually speak about revenge. Both, however, are critical themes to this series and are served well by how the lower rungs of soldiers really don’t get to speak. Since the focus is on the brothers’ struggle, anything not associated therewith is gratuitous and therefore minimized if not cut completely from the story.

FMA2, which has the decisively military-focused aesthetic, gives voice even to Central’s foot soldiers as they struggle against their seemingly impossible task of taking down the “Hero of Ishval” (Mustang) and his small group of traitors. This lends credence to the reactions and realizations not only of the lowly grunts in the field but also of their commanding officers as they receive the reports in their offices as well. Strikingly, the differentiation between realizations of field and office personnel also serves to support the sociopolitical themes of this series. Whereas a field soldier’s reaction — after realizing that no one has died, even against those endowed with skill of a level they could only dream of achieving — suggests that he knows Mustang and company are sparing their lives, the higher-ups translate these actions as tactical, militaristic taunts. This says much in a series that has often portrayed those in power as corrupt and the ordinary man as victim or cog of the military machine.

Another big distinction between series is their depiction of military prowess. From the start, both FMAs show a vast military with a few standout members that, together, comprise an unstoppable attack force. One of the main differences is that FMA1 gives Amestris the tone of an emotionally stable, satiated nation, whereas FMA2 notes that the country is under constant attack and suffering great internal unrest. FMA1 shows this at the end, when Bradley finally has to send troops out to subdue a recent (fictitious) uprising, but FMA2 creates a constant border threat from the beginning with those who share Briggs’ border. The latter also lends to the comparison of Central’s soft forces and Briggs’ combat-hardened elite by Olivier Armstrong, which also helps explain why a handful of rebels can cause as much damage and avoid capture as much as they have so far. A separate tirade of hers furthers the divide between field troops and officers.

Another sharp difference reveals itself in how supporting protagonists serve the Elrics and the overall story. In FMA1, supporting characters are little else (save Mustang on one occasion, when he takes down the Fuhrer separately). Anyone who is not an Elric is in place to support the brothers on their quest in one way or another, even if it’s by being involved in a thinly veiled plot device concerning an insurrection that diverts military attention away from the alchemy-centric struggle. FMA2 uses supporting characters and their specialties to serve whatever portion of the plot in which they're involved, which is of primary focus in this episode. Happily, this includes the return of Havoc as an arms dealer and Maria Ross and Rebecca as arms delivery women. So well-rounded are all the characters who are not Elric by name that this episode almost feels disappointing when we rejoin Fullmetal and troupe on their way to find Father. Oddly enough, this last note carries a resemblance to FMA1 at least in plot, as Ed is heading off without Al to fight the antagonists. Different, of course, is the fact that he has others with him and Al is not the end goal.

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FMA: The Brotherhood Diaries – Episode 49

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 49 – Filial Affection

FMA2 continues to separate Ed and Al, this time employing the latter as babysitter for Pride inside a small soil dome. If you compare this to FMA1, when Al is kidnapped by Envy just after seeing his mother’s visage destroyed by Ed, a number of ways in which Al is a much stronger character in FMA2 is evident.

In FMA1, a bound Al finds himself a hostage of the homunculi and does absolutely nothing aside from throwing a slight tantrum trying to turn Envy against Dante (FMA1’s “Father/Dwarf in a Flask”). As a psychological attack, this holds true to the head-game nature of that series. It is here that Al ruminates about all of his near-death encounters as well as the souls he now embodies as the Philosopher’s Stone, almost resigning himself to the death which he thinks he’s facing. Again, this plays to the dramatically emotional nature sustained throughout this series. Al is constantly portrayed as the weakest link in the hero chain, so making him the damsel in distress is fitting. That does not stop the situation from being disappointing when compared to the wonderfully (comparatively) three-dimensional FMA2 Al.

FMA2’s Al comes up with a plan, with an assist from Hohenheim, to hold Pride hostage so that he will be isolated from the big battle on The Promised Day. During playtime with Pride, Al also has the courage to lecture the homunculus on denigrating humans. This holds true to the sociological themes running throughout the series pertaining to species dominance. One must also point out an inner strength exhibited by Al, whose very consciousness is slipping in and out, of using his own (self-viewed) handicap — the absence of a real body — as the wining factor in the “test of endurance” that he’s locked into with Pride.

Not only are the situations reversed in terms of who captures whom, but the nature of homunculus nomenclature lends a bit of fascinating diversity as well. In FMA1, Envy — Hohenheim’s bastard son — captures Al and no doubt enjoys every second of lording over him that he’s enduring the emotional pain of being separated from his brother and can do nothing to avoid being subject to the master’s whim as a simple usable ingredient. In FMA2, Al cuts Pride down to size by lording the fact that mere humans have managed to interfere with homunculus plans and decisively trap him. Adding to FMA2’s impressiveness is the fact that Pride is dumbfounded by the Fuhrer’s wife’s sense of selflessness (personifying his name so to speak).

Similarities are not absent however. In both series, Al cannot not be mortally threatened by the homunculi because he is either the fabled Philosopher’s Stone (FMA1) or an important sacrifice that will go into making one (FMA2). On the funny side of things, in each of the Al-captured scenarios, the homunculus confined with Al loves playing with his empty head, either by kicking it off (Envy, FMA1) or beating it ominously like a rhythmic drum in a Japanese play (Pride, FMA2).

Lastly, one cannot overlook the difference of Mustang’s staged coup, which is more guerilla in nature as opposed to FMA1, where he turns a portion of the Fuhrer’s factions back on Central. Of course this is still possible with Ms. Armstrong sitting amongst the Fuhrer’s former cabinet in presence of Father and the Eastern forces still loyal to Mustang (as alluded to by Wrath before his train went boom). As FMA1 is concentrated on the Elric’s struggle, the political strife of the state, as mentioned previously, serves as more of a backdrop or convenient plot device than any statement in and of itself (especially taking into account how glossed-over the re-alignment with rebel forces is). FMA2 has spread its rebels thin and depicts each faction thusly, making for one hell of a believably risky coup d’etat.

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FMA: The Brotherhood Diaries – Episode 48

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 48 – The Oath in the Tunnel

I don’t think any episode of either series has ever gone by as quickly for me as this one. I regret each blink, because every shutter-like moment means I missed something awesome somewhere.

Wrath’s murder of Lust in FMA1 can be likened to Gluttony’s death at Pride’s dark hands in FMA2, but only regarding its homunculus vs. homunculus nature. FMA1’s scene is one fought over issues of betrayal, whereas FMA2’s scene comes out of a desperate move to combine resources in order to win a fight. That being said, FMA1 never directly combined homunculi, but FMA2 makes a fearsome enemy out of the new mega-Pride who, to supplement his own fantastic shadow puppetry and life force, absorbs Gluttony’s sense of smell and ravenous hunger as well as his remaining life, which was whittled down via relentless attacks from Lan Fan and Ling.

What the differences so readily point out is the inherent values behind each series: the varying consequences of individuality. In FMA1, a cohesive bond between people was seen as the epitome of strength, whereas it always painted individuality as pointed towards trouble or death. FMA2, however, has been rather centered around the separation and building of characters outside of the comfort zone of trusted alliances. This brings us to the namesake scene for this episode.

The rather understated reunion of Mustang and his trusted elite manages to be rousing and heartening through an overwhelming sense of conviction in the name of faith for comrades. (A sly visual metaphor for this can be seen in the warm reaction of Black Hayate to Mustang’s hand.) This kind of “absence makes the heart grow fonder” could not have been possible without FMA2’s dedication to growing characters’ individualities, and now that unspoken emotional cohesion can be effectively and believably put to use in solidifying resolve to stage a political coup. This starkly contrasts FMA1, wherein Mustang and company were never separated and always acted as a cohesive cell. By setting up the coup in this manner, FMA2 makes the whole situation a much more three-dimensional event than FMA1, which more or less used it as a backdrop or setting for the forging of a solid relationship between Ed and Mustang.

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FMA: The Brotherhood Diaries – Episode 47

Ani-Gamers staff writer Ink contributes a weekly column in which he examines the differences between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.

Watch Episode 47 – Emissary of Darkness

The most obvious similarity and difference this episode showcases is the use of Al as a host for a homunculus. In FMA1, it is the mist-like Sloth who invades Al’s armor while wearing his mother’s face to control him emotionally and physically in order to defend herself against Edward’s attack. FMA2 has Al permeated by the shadow-lurking Pride, who attempts to use the suited brother to lure Ed into the forest for capture.

One could draw parallels between the forms of said infesting homunculi and the nature of both series. FMA1’s Sloth is water-based and motherly, reflecting the FMA1’s focus on family and emotion, whereas FMA2’s Pride reflects the predatory nature of night itself, bringing about a sense of danger which makes this series so much fun. Neither instance is one-sided. FMA1 leverages the conflict of family bonds to forge Ed’s resilience to emotional trickery as well as take responsibility for their original sin, and FMA2 uses brotherly bonds to create an air of desperate concern for Al’s future well-being by Ed within a homunculus-devised stratagem.

Treatment of Hohenheim of Light also evokes some major differentiation. FMA1, as previously stated, never gave him much in the way of a back-story. This was appropriate. His relative absence from the series forced concentration on the brothers’ issues, most of which (if not all) stemmed from Hohenheim or his desertion. He shows up in the brothers’ lives and then disappears again, keeping in line with what we know of his character and then ends up being nullified as any sort of threat by the homunculi in a showdown that reaped nothing for the brothers (he was trying to get the evil being to leave his sons alone) but filled viewers in one some details.

FMA2 not only gives Hohenheim a more complete back-story, but also ironically makes his character more believably human. Why ironically? Because FMA2 Hohenheim is a Philosopher’s Stone, and this sets up a moral quandary for Ed (though one that is quickly dismissed as even a remote possibility ... at least for now). Possibly breaching its own formerly stymied emotional tract, this advantageous possibility — forcing Ed/Al to use their father as an ingredient in an attack on Father (dwarf in a flask) — speaks volumes as to where the themes come from which are at the center of this series: allegiance, duty, sacrifice … BROTHERHOOD. It would not be off-track in the slightest then to say that FMA1 is most definitely maternally driven, while FMA2 shows its paternal allegiance. Respectively, FMA1 and FMA2 aggrandize emotions we could generalize as stereotypically female and male, but if Hohenheim is to be used by Ed and Al, FMA2 will have managed to leverage both gender-generalized emotional impacts.

And last but not least, seeing as this episode contains not one, but two mentions of reasons not to attempt to regain an original body — possibility of depleting Hohenheim as a source and the chimeras’ fondness for the advantages of their laboratory-contrived forms — FMA2 might be heading for an end where Ed and Al do not get their original bodies back as per FMA1, but learn to live as they are … accepting their sins so to speak. This is only far-fetched when the threat of Al’s slipping consciousness is taken into account, but it would be a great end to the series.

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