Ani-Gamers staff writer Ink contributes a weekly column in which he examines the difference between the original Fullmetal Alchemist and its re-telling, Fullmetal Alchemist: Brotherhood. To read previous entries, click here.
Watch episode 1 on FUNimation.com!
Having never read the manga (I don’t read US comic books so I’m not about to start reading right-to-left either), I can only assume this to be a primarily supplemental episode when compared to that of the original anime series (FMA1). Still, this re-envisioned FMA series (FMA2) has the same job to do as its predecessor, so let’s get down to what it chooses to do and how it does so.
First off, instead of starting with the darker and enigmatic tones of desperation and loss of the original taboo committed in the Elric brothers’ basement, FMA2 starts with a “new” alchemist, Isaac McDougal, The Freezing Alchemist (aka Isaac the Freezer), who immediately introduces the concept of a corrupt military and seems to be using a scheme those who’ve watched FMA1 know to be something akin to the final “Scar” tactic.
Another huge difference is of introductions, in that many more mainstay military characters are introduced initially instead of contextually (though not inappropriately so). Such characters include Colonel Roy Mustang (The Flame Alchemist), General Alex Lois Armstrong (The Strong Arm Alchemist), Fuhrer King Bradley (and his swordsmanship), and even Kimbly (The Crimson Alchemist).
Although it employs less show-don’t-tell than the original, the degree of off-screen violence (notably on McDougal’s part) is impressive, lending an inescapable drama to the action somewhat empirically lacking in (though not altogether omitted from) the original. Totally contrary to the original, however, is the place of residence for the Elrics; in FMA1, the brothers stayed with The Sewing Life Alchemist upon moving to Central…setting up an initial moral dilemma, but they are introduced in FMA2 as staying with Lt. Colonel Maes Hughes, which just serves to introduce another main character for its own sake of doing so. Hughes meets the Elrics for the first time in Mustang’s office and already has Elicia, as opposed to the original, where Hughes meets Ed and Al in combat and is awaiting the delivery of his precious and soon-to-be-in-everybody’s-face daughter. This implies that Hughes accepts Ed on the basis of reputation as opposed to action and lends a degree of absent-mindedness so delightfully absent from the FMA1 character.
Aside from off-screen violence, FMA2 is noticeably more action-packed than the original. Whether or not this is due to the introduction of so many characters at once, this assumption, as applied to an entire series, can hardly be determined by the screening of the first episode. Within this episode’s action, however, one can clearly see an Ed who shows a bit of a darker, more aggressive side when people press him on his original taboo.
There are other differences as well: not beginning with the initial action in Liore (but mentioning it), learning of Alphonse’s bonded soul directly (via McDougal), and not having any insight into (nor flashbacks to) the original taboo. There are other differences too, large and small, but enough with the contrasts…FMA1 watchers will also want to know what will stay the same.
Rest assured, fellow FMA1 fans, you will enjoy a similar animation style, the short Ed jokes and reactions thereto, the pink sparkling diamond confidence of Major Armstrong, and the mix of humour and atrocity that is humankind’s free will as well as all the consequences that come with it. There is still the charismatic mix of playful and tragic, but be prepared for more aside-driven comedy than integration. Deformation plays a larger role in the animation more immediately in FMA2 than FMA1, but to no significantly different effect.
Most important is my final observation: notice the mention of the Philosopher’s Stone and disappointment in the lack of finding it; this manner of plot infers the episode-by-episode search that the manga was known for but the original anime series built upon in terms of expanding the ramification thereof. In short, what was a fantastically story-driven anime has been imbued with the formulaic, and, in having accepted such rules, has challenged itself with not only fighting against such tedium but the success of an overseas, linearly driven collaboration as well. I wish the new series nothing but luck and promise to stick with it (and you), for better or worse, until the end to see where this all ends up.
