#fma analysis

the more i think about it, the worse it gets. nina didn’t realize what happened to her. she was just a girl, excited to spend time with her dad, excited to help him with his research. i wonder how quickly that excitement morphed into confusion. did it hurt? was she scared? questions ed and al still ask themselves, years after it happened.

oh, and speaking of ed, he still wakes up thinking about it. obviously, for the sheer terror of what happened, the heinousness of the crime, the tragedy of what he saw.

but less obviously, he wakes up thinking about alchemy as a whole. because for edward, its so much more than just a tragedy. its a crisis of faith. it was the moment ed realized that alchemy- his creed- wasn’t the pure, righteous discipline he thought it was. he had seen alchemy perverted, twisted.

but deep down? he always knew alchemy wasn’t perfect. he knows that because of human transmutation.

edward knew, from the moment he saw that grotesque, black mass that should have been their mother, that alchemy was not always noble or right. from the moment he drew a transmutation circle in blood for alphonse, to save the only person he had left, that alchemy had an undeniable twisted nature, hidden beneath a guise of brilliance. edward always wanted to believe that alchemy was a force for good. but deep down? he knew better.

so when nina happened, it wasn't just about the horrific cruelty of the act itself. it was a cruel reminder of what he and al did. a reminder of greed and its consequences. and shou tucker? a warning, of who he and al would have become, if they had let that greed consume them.

Wrath, as a human, would have blue eyes - while this is something we pretty much already knew just by watching eps 28 through 30, if you look at Ed's eye color then you'll realize that they're very close to being inverses of each other!

Also Wrath is cool colors (Blues and greens, blacks and purples) whereas Ed is warm colors (Yellows and reds, whites and oranges). I think that's another contrast or inverse between them to show who they are as characters - with Wrath being a homunculus he is colder colors like the tones of a dead body or just generally not something alive, while Ed has warmer colors like a living human would.

There's more differences between them! Wrath's iris shape is (in the picture and originally) more circular than Ed's - who's is more ovular. Wrath also has slightly larger eyes than Ed, giving him a bit of more childlike appearance though his facial shape keeps him appearing as though he is of similar age to Ed. (I remember reading somewhere once, and please correct me if I am wrong but I personally believe this greatly, that Wrath was made with the goal kept in mind that he'd be an opponent to Ed of similar age and similar in other ways as well.) Wrath also has sharp teeth whilst Ed has dull flat ones - oddly enough Wrath's ears are pointed slightly and Ed's ears are rounded, furthermore giving the visual feel that Wrath isn't human. He must appear rather uncanny to Edward or to any human - same with the homunculi in general - because he looks human but with subtle things that make him... Off.

Wrath is all smilely too, whereas Ed looks more serious or weary; Showing off Wrath's inital innocence (which stays there throughout the series until he was betrayed by Dante and Envy, and I will fight anyone on that) and Ed's lingering distrust for Wrath. Fun fact, in CoS he seems to trust Wrath more even though the two never see each other again. Oh, they're gonna be the end of me. ED FUCKING ACTED LIKE HE KNEW WHAT WRATH WOULD WANT, which leads me to believe they had a talk or just SOMETHING during ep 51 that was cut out.

I have no idea what this image is from so please let me know if anyone knows! I've been curious for a while.

Anyway, Wrath:) He's poking out from behind Ed, and there's more things to point out between them!

Wrath is wearing dark clothes whereas Ed's wearing light ones. Like usual, Wrath's hair is down and messy while Ed's is up and neat. This is the offical art that made me realize that Ed has longer, thinner eyebrows than Wrath - who has thicker ones!

Also Wrath seems to be staring directly at Ed, but I personally can't read his expression as anything? Maybe curiosity? I'm not good with reading facial expressions lmao.

I only added this one bc WRATH LOOKS SO SILLY WHO THE FUCK PUT HIM IN A LIL SUIT??? HOW THE FUCK DID SOMEONE PUT HIM IN A SUIT???

I'm looking for a clearer image for this so I may update this post at some point to put the clearer one there if I find it!

Anyway so Wrath and Edward are standing back to back. They have a slight height difference with Wrath as the shorter of the two (I bet Ed is very happy/j)

Ed's expression is more angry or solem while Wrath's is a grin - but both can be said to look angry I'd think.

They both have a hand on their hip (Ed's in his pocket but Wrath doesn't have pockets, L) and the opposite arm resting more languidly at their side. They're both standing straight, Ed's head is tilted slightly downward while Wrath's is tilted up - no one else is shown standing back to back. Only Wrath any Ed. Al is there, standing beside Ed, but Gluttony is standing with his side to Alphonse, and Lust is more off to the side and facing the others rather than with her back to anyone. I think it is to further show that Ed and Wrath are such parallels (and Lust is standing a little to the side, possibly showing how she isn't really obeying anyone but herself - showing how she betrayed Dante and went to help Ed get Al back in exchange for becoming human again; But we know how that played out..)

I'm not really gonna talk about these here, as one of them is simply a scene redraw, and they're more Izumi focused if you look at them - with Izumi appearing somber while Ed looks weary or even fearful, and Wrath is just.. Being a kid. Running and flipping, and then in the redraw fighting Ed and Al.

The same could be said about these!! They aren't really interacting - in the first image Wrath is asleep at a table with the other homunculi, and in the second he does appear to be staring at Ed; But again Ed isn't focused on him.

Probably some of the ONLY FUCKING COS OFFICAL ART I HAVE FOUND with Wrath in it. Wrath and Ed are facing opposite of each other. No one, other than Wrath in the image, is fully facing at a side profile - which at first I thought represented how he had died, but Alfons is there and so is Eckhart.

Ed looks wistful, not angry but not happy. Sad perhaps, which is what he seems to be a lot in CoS. But Wrath, he looks down right angry. Yelling maybe? His mouth is opened wide and showing his sharp teeth, his visable eyebrow furrowed, he looks dirty and tired. Clearly this is during his fight with Gluttony, or. OR, this is just showing what Edward last remembers of Wrath. An angry boy always yelling and violent, but also determined and weak - and this fucks me up because out of EVERYONE in the image, only Wrath is the one Ed never sees again. Except like.. Riza but this aint about her. I love that they're seperated by the margin, representing the Gate kinda - Armestrian characters on one side, 'our world' characters on the other.

Again, this isn't really Ed and Wrath in particular. But I want you all to really look at Wrath. He's licking his Ed arm. In a similar fashion Dante does to Lyra's arm after possessing her body, and basically asking Hoenhiem to.. Yk, fuck. While I definitely don't think Wrath is doing it out of sexual desire or reason (although i do not know his intention), I do believe he's doing it to mimick or copy Dante. Wrath could've seen that she liked Hoenhiem, which is putting it lightly but for the sake of the sake I'll just say she liked him, and then copied her by licking said limb out of liking Ed or desiring his body/limbs. To become human.

Also jfc Envy is buff, go back to being a twink you loser.

Ohhhhhh, that is SUCH a juicy topic and I probably can't even begin to touch up on all of it... but let's get started, shall we?

Sometimes that I always deeply loved (and found horribly frustrating) is how convincing Ed and Al are written as teenagers. Genius teenagers, maybe, but teenagers nonetheless. We see this wonderfully in the very first episode of the anime, when Isaac McDougal (what a delightful name) tells them that there's something wrong with the country, that the military is involved in that, and Ed literally tells him "I don't care. You have a philosopher's stone, right?".

Like.

WOW.

Plot of the whole show could be over right then and there if Ed had only stopped to listen. But, of course, that's not what a teenager would do, especially one so guiltridden he can only see his incredibly selfish goal right in front of him.

We are at the beginning of the story, after all, and there needs to be some room for character development.

But Ed and Al never quite lose that selfish, teenage viewpoint even as they grow (Ed comparing the bombing of Resembool with the genocide of Ishval to Major Miles' face, Ed throwing a hissy fit when they join forces with Scar even though Winry has made peace with it, Al sounding all of five years old when he repeats "Hughes moved to the countryside" like a child whose favorite animal just "ran away") but they do grow. Considerably.

They were always good kids. They always had an inane sense of fairness. But by the end of it, that sense of fairness has grown beyond them and their immediate surroundings. They can see farther than just themselves and Winry and the handful of people they call friends.

By the end of if their good deeds changed enough in the hearts of the Amestrian people to allow a certain degree of unity.

But how does that relate to power and the military?

Now, you see, Amestris is presented to us as a military state and we quite often get the sense that the military is the most common career path available to most of the country. At least if you want to eat. Somehow the Amestrian military has to feed all these endless wars after all, and that only happens if people join up voluntarily.

And it only happens if the benefits are good enough.

Which is exactly how Roy gets them. He dangles hope in front of their small, traumatized faces and makes it quite clear that the military is the only way to get what they want.

They need research materials, power, and the oversight of the state. They get all that by Ed joining up with the State Alchemists programme. As a civilian, all of that would be restricted and inaccessible to him.

But -- even in the beginning -- Ed never really identifies with his identity as a Dog of the Military beyond his title. He, in odds to all other State Alchemists, is known as Hero of the People, because while the rest of the Amestrian military exploits and the State Alchemists break with their promise of "be thou for the people" Ed and Al do give back. They do help. They do free towns from corrupt military officials, they do fight terrorists on trains, they do fix a street vendor's broken radio.

Ed is uncomfortable with the power he theoretically holds. When Maria Ross and Danny Brosh call him "sir" and use his official rank, Ed asks them to just call him Ed, saying that he's nothing special. We never once see him lever his status as "major" over any of the lower ranking officers. Later, we see him desert with no regards to his future career, and by the end we know he quit because the military was only ever a means to an end. And he reached that end. He reached his goal.

Ed never shows respect for authority figures (but he does salute Hughes once, so he must have had some formal training on how to behave), he doesn't claim the power he is theoretically owed beyond the independence it allows him, he has no invested interest in the politics of it all (even though he is aware of them), and he actively fights the corruption within the military when personally affected by it (even if he is way too selfish in the beginning to see the bigger question).

And both he and Al hate killing. They seem to accept it as a part of a soldier's job -- their problem isn't death, I don't think, considering how unbothered they are by dead bodies throughout the show - but the act itself is so abhorrent to them, that they try to stop even tangentially related murder plots simply because they want no part in it. It is naive -- the show tells us so. Many of its characters tell us so.

But.

But it is also a reclamation of Ed's agency. And it is hope for the future. Because Ed knows that he has become a Dog of the Military, he knows -- on some level -- that he's just sold his soul to a monster far bigger than him, but he will keep this one part of his innocence for himself. He will not kill in the name of the Amestrian government.

And you know what? Riza Hawkeye is impressed with him for that. Because she pulled the trigger when ordered to, and Ed is her hope for the future. Because he is the next generation. And he refuses to do what she once did.

(I think it is interesting to investigate under which circumstances Ed would kill and how that would influence his character and what would be the consequences of that, but for the sake of the show itself, I think it is a wonderful visualization of the world healing beyond what Riza and Roy and Armstrong and Marcoh and Kimblee did to it)

Now, how does that all tie together?

Well, I think it is Ed's youth that allows him to disregard much of the military's power over his life, and it is his stubborn teenage-ness that allows both him and Al to hold so steadfast to their ideals, be that the selfish goal of self-realization or the refusal to kill. Not once does either character strive for power, and even at the end of the series, once they're all grown up, we see them long for a simple life. For interesting travels, good food, family, and a future worth living.

The military is a tool, for Ed and Al - because the military state ensured that they would have to use it.

It is interesting, really, because Roy joined up because he believed the propaganda, and once he recruits the Elrics he's been firmly broken by that belief -- and the Elrics join up even though they distrust the military (the Rockbells seem firmly anti-military all things considered) simply because it offers the resources they need.

If Ed was any other protagonist this would be a very different story, because they handed a twelve-year old a whole lot of power and a pretty high-up rank and the worst he did was blow up a few buildings and buy ugly clothes.

These panels are PARALLELS.

In both scenes, an alchemist is having his world rocked by a challenge to his fundamental understanding of the universe. To convey this, the challenger reaches into the frame from outside the page, providing an additional layer of meta.

The first challenger is Truth, and the second is Al.

Earlier, in chapter 4, Alphonse said he wants to get his body back, “even if that means doing the impossible and going against the flow of the world.”

THIS IS ALPHONSE ELRIC REWRITING THE LAWS OF THE UNIVERSE.

+ Full panels, because they’re fascinating in contrast:

Bonus beneath the cut:

During the final fight, the automail attachment zone on his shoulder is still there when he regains his arm and you can literally see bits of the metal sticking out of his flesh.

Not to mention that the whole time he had lost that right arm, it was atrophying in the Portal of Truth (or whatever else you wish to call that location).