#or it was at some point and now they're struggling to adapt

[xylionet]

They can probably all see a bit of themselves in Omega, even if they don't quite understand it. She's like the version of themselves that could have been, if not for Kamino and being raised as child soldiers.

I think part of the reason Hunter focuses on Omega is that she's the one thing he can actually do something about. Can't do anything about Crosshair, can't do anything about the Empire, doesn't feel like he can do anything about Cid and is probably hoping that just following her orders will eventually yield a good result, even though it never does.

But Omega looks at him with those big brown eyes like he hung the stars and only wants stuff he can actually give. She is a source of positive feedback and affection and frankly probably the only thing keeping him sane (see S3, where he kinda went off the deep end the second she's gone).

Realistically, Hunter has always kinda had the Dad/Ori'vod/Big Bro vibes, he was just used to applying them to three chaos gremlins around his own age and with a common military background. Cut's child rearing advice was just a bit of a tweak to his existing process to be a bit more Very Smol Baby focused.

However, Cut's running away advice was much, much scarier. Basically "stop doing the only stuff you know how to do". Cut himself had Suu to support him through that transition. Hunter and the boys don't. They would if they stayed together but I also think at that point in S1 he kind of thought they'd be able to retrieve Crosshair and things might go back to "normal" relatively soon.

If you've read any stories written by kids who were raised super isolated from the outside world and how they struggled to adapt - they're like that. But I don't think they know they're like that.

They've had so many experiences, but not the ones they need now. They're in a position where they don't know they don't know and nobody is telling them. They're very smart, but they just have so little exposure to those different to themselves.

If we compare S1 Hunter to Old Hunter from the end of S3, the difference is palpable. Not just because he's older but because support was provided.

I can absolutely see Shep and Phee getting all the local parents and grandparents and aunties and uncles who can give good advice together, cracking out some BBQ and beers, and lubricating the boys until they talk about their issues. So they can finally get them some damn help.

---

Anyway, I'm really glad you enjoyed it. It feels like the most coherent thing I've managed to write in a while, and as you can see, it still gives me feels. It was kinda spawned from reading too many "why didn't Hunter try harder to rescue Crosshair?" posts.

They are so messed up is why. They're broke and homeless is why. They are this close to living in a cardboard box under a bridge and they don't even know. They can barely rescue themselves, let alone Crosshair.

Clone Force 99 was in trouble

We don’t really talk about just how bad a situation CF99 was in post-Aftermath.

So we have a group of guys who have been raised as soldiers and have functioned in a military their entire lives. They have been fed, clothed and supplied by a military their entire lives. Zero experience with anything else. And then they have to run away from everything they know with nothing but a ship, whatever is on that ship, whatever they are wearing and +1 child.

We then see that they really have no clue how to function outside the military. They have a fairly limited understanding of the value of a dollar. They do not know how to get a job, despite having valuable skills. There’s no indication they are living anywhere but on their fairly small ship.

Most importantly, they are unable to identify that they are being financially manipulated by Cid. Tech occasionally mentions that she’s unreliable and shorting them pay, but none of them seem to understand that she is systematically taking advantage of them. Cid is effectively a loan shark, intentionally locking them in with arbitrary debt and using their financial naivety to keep them working for her.

Echo is the only one to point out that they could just leave, but they don’t. Rex even comes along and offers them a way out. Hunter isn’t wrong to say they want something different, but he’s struggling to achieve that and doesn’t really know what the options are.  It kind of feels like he misses the big picture of what is being offered.

Rex is in a much better position because he is a bit more worldly but also has support from Ahsoka and other contacts outside the military. People who can help him with all of the things that CF99 is struggling with. He also has a goal and a sense of community with other clones that CF99 lacks.

It does feel like CF99 takes comfort in having a chain of command and being in a position where someone is taking care of supplying them, even though it’s actually digging them a deeper hole. It isn’t until mid-Season 2 when Phee comes along and introduces them to a community that they start learning how to cope outside of those structures.

Crosshair is kind of in the opposite situation. He’s still getting supplied by the military but he’s also getting love bombed by the fascists with his fancy new title and all the fun explosives and stuff. He thinks he’s being valued for being special, rather than being used as a convenient tool. He feels like they could just have all this great stuff too, if only they come join the Empire, when in reality he is also in a lot of danger.

It’s rather ironic that Crosshair and Hunter are both able to see each other’s situations for what they are, but not their own.

[anaalnathrakhs]

throwback to when my parents would cut out the internet at night. and i told them "hey can we not, this doesn't help me sleep it just makes me watch tv bored out of my mind or straight up bang my head on the walls". and they still did lmao because if the solution doesn't work then the problem should try harder to be solved maybe.

[vanderdyks]

I geniunely cannot stand when allistics try to say Resident Alien is actually making fun of autistic people because they believe Harry is too childish now because I JUST-

In the beginning, Harry tried SO MUCH HARDER to fit in with the humans around him. He mimicked their speech patterns, consistently observed them, emersed himself in their activities so they wouldn't suspect he was different.

The Harry now? He doesn't care. He's loud in places he should be quiet. He talks how he wants. He laughs FREELY. He's learned large crowds of people? Not for him. He doesn't like being touched by strangers.

He's just Harry. Himself. Because he can be. Because he's realized even if some of the people of Patience find him strange, it doesn't matter. They'll never guess he's from outer space.

Have you noticed that every other alien we have seen is not like Harry? Not the greys, or the half human hybrids, not even Heather. When Heather is around humans who know she is an alien, we get to see the difference, but when she isn't? She fits in so well with any other neurotypical human.

Not Harry though. So yes, he is autistic because I said he is. Because I am autistic. And if you're allistic, you don't get to tell autistic people they shouldn't headcanon Harry as autistic (even though it is very obvious they're purposefully playing him as neurodivergent now.)

When you take an autistically coded character that a lot of autistic individuals relate to, and try to argue the character is actually a "child" and being "infantalised," you're actually being ableist.

You're saying that the traits we have resonated with are childish... Harry seems like he's "regressed" because instead of trying to adapt and pretend to be human, he is becoming something else entirely. Not human, but not fully alien either.

The body of doctor Harry Vanderspeigle was once just a disguise. Now it IS Harry's. It's his body, his own skin. And he's gotten comfortable in it and you know this because you deliberately witness times where he might be holding his hands like he would his claws (primarily when he's sleeping.) His brain doesn't realize he's not in his normal form, because in many ways, this is his new normal form.

He has emotions. He cares. He's in completely new territory and finding himself. And in doing so, that carefully crafted human mask? It's fallen a bit.

So that thing you label as "regression" is a thing I label as progress. He's learning still. Let him learn. Let him be. And give it time. And I hope to GOD Harry never becomes fully human to the point we can't recognize him. I hope he never loses his unique inflictions, or his love for pizza and pie. I hope he continues to love the quiet. I hope he ALWAYS laughs obnoxiously. I hope he always runs like he doesn't know what to do with his limbs. I hope you always see his emotions throughout his body because they simply cannot be contained. I hope he continues to jump when excited or pace when he's angry. I hope he stays obsessed with Law & Order forever.

Because if you take all that away, you're taking away the bits that make him Harry. You want a carbon copy human. I want the autistic alien struggling to understand human nature.

That being said, of course you can express your opinion him. And it can be discussed because everyone is going to have a different perspective.

But you don't get to dictate an autistic perspective if you are not autistic. Or try to cancel anyone for it either.

I love Harry. And I relate to him SO MUCH. And I love how much representation I can see him through him for me. Because I personally believe Alan and the writers have chosen to keep presenting this character as ND.

It's okay to dislike the direction of his character development. It's okay to find the flaws. It's okay to share that perspective. What's NOT okay is dictating the feelings of others because they might not agree with you.

I don't find him childish. I see him as an autistic individual trying to navigate a society that his brain hasn't been hardwired to understand.

And if you think he's too childish, please look closer at the why you think he is. Really be introspective on this one.

Because Harry is a parent. And has a child. And he has relationships. And he takes care of himself. Not only that, he is the town doctor and takes care of everyone else too. He is the smartest. He is the strongest. None of the characters have had to worry about the wellfare of Harry specifically. Its why no one realizes the greys have captured him. Because of course Harry would be fine, hes the alien expert. He knows what he's doing. So while everyone else spent so much time worrying about each other, no one was left to worry about Harry.

So ask yourself why you believe Harry has become "too childish" and if your answer comes down to any of his quirky traits or his misunderstandings of human nature, then you really need to consider if what you're actually uncomfortable with is autism/autistic traits.

[eliasorchard]

Hey Vin, what’s up?

I hope that you are doing well. Anyway I wanted to share an idea that got into my head.

Imagine a situation where William somehow ends up in the modern times and meeting you. And like, you introduce him to everything in our times and at some point you end up introducing him to video games (mostly because he caught you playing a video game and ended up getting curious about what that is, lol)

But anyway, I found the idea of introducing him to video games and teaching him about how to play them and even letting him try to play really adorable.

Now, I don’t really see him as someone who would be much of a gamer but I do see him play video games from time to time. I see him being more into board games to be honest.

Ah btw, this isn’t a request (which you definitely can tell I guess. But I thought it would still be good to make it clear.) I just thought I could share my idea cause I found it really cute

Anyway, have nice day/night ✨

AUDJDJ i'm sorry that this is rather later, i was planning on answering it but i forgot. anyway, i can imagine the culture shock he'd experience. but he's someone that can adapt to situations, that's practically all he's done throughout his life 🗣️ you have a great mind

one day, william notices you engrossed in something. something fast paced, or a story driven game with deep strategy? (idk, whatever type of game you like playing) either way, his curiosity would get the better of him.

william's interest piqued when he heard the clicking of the controller in your hands. he silently approaches, standing close behind you, breath warm against your neck as he leans in —ncasting a shadow over your screen.

"what is this?" william asks, voice low. you can feel him studying not just the game, but also you.

ever the observant mind.

"it's a video game," you try to explain. "you can control characters, go on adventures, solve puzzles... people play them for fun." it'd take some time explaining how a glowing screen could take you on adventures and whatnot.

he'd watch you curiously, like a child mesmerized when going to an aquarium for the first time. it's new to him.

"fascinating," he whispers softly. "may i try?"

as you hand him the controller, your fingers brush against his in the exchange and you watch as he attempts to navigate the game. william's deliberate — calculating in his every move, but there’s something endearing in his concentration. he's so bewitched by it, trying to take all of the information in, flinching when a jump scare appears.

it's cute.

"i'm not sure this is my kind of challenge," he admits after a while, lips curving into a small smile. he places the controller aside, turning to face you. and his gaze softens.

“but i can see why you enjoy it, (name). i, however, prefer strategy with a bit more… direct engagement. perhaps a more traditional game would suit me better," he continues. "chess, for instance. do you still have that in this time?"

"yes, they're on here, too." you nod, tapping the screen. "but i could always pull out the board game from my.." you trail off. "i think i kept it in the closet? i can try finding it."

"really?" william blinks. he's surprised. perhaps it's because so many things have changed, but he's not sure why he thought chess was no longer available during this time. "oh, no, please. i wouldn't want to bother you. we could try the...'video game' version of chess, as you call it."

"i could teach you." unable to help yourself, you smile. there's a childish excitement in him that you're finding adorable. "… or challenge you.”

william's smile changes to something deeper, and there’s a flicker of something more in his eyes, "a challenge, then."

no matter how much time has passed, william is still, at his core, the same william. though he sometimes struggles to adapt quickly to the modern world we live in due to the drastic changes, his sharp mind remains as keen as ever.

[burr-ell]

What do you mean by 'trying to mighty nein-ify vm instead of having actual character moments'? Not intending to be hostile or aggressive, I just saw those tags and got curious.

That's okay! Mighty Nein-ification is a bit of a misnomer (especially because it's unnecessarily hostile to the Nein). The problem isn't so much making Vox Machina like the Mighty Nein (all indications are that VM was just as rough around the edges as the Nein were when they were starting out), it's that I think they retreated to old shorthands they were familiar with that work well with the Nein and don't work with VM in the time they had.

So when we first meet Vox Machina in the stream, they're already established and respected adventurers at level 9 sent on a quest by a member of the Council of Tal'dorei. They've already killed Brimscythe and the Dread Emperor and saved the Sovereign and his family; while we see their scrappier beginnings in the Origins comics, it's purely backstory in the campaign. With the Nein it's the opposite, where we actually follow them through their low-level adventures as they get to know each other, watching them argue and mistrust each other and slowly build up both their friendships and their clout within the political factions of Wildemount. We watch them go from a gang of slapdicks who no one likes or respects and are constantly fighting to a strong and cohesive team of movers and shakers.

Here's the problem: the cast is now producing an animated adaptation of Vox Machina's campaign, which is almost universally agreed to really pick up around episode 24, the beginning of the Briarwood arc. Between the slower-paced first 20 episodes and the red dragonborn in the room, the Briarwood arc makes the most sense as the starter story. We can't just jump right into that without taking some time to establish VM as a party, right? That's what the opening two-parter of season 1 is for: they need to establish who Vox Machina are as individuals and a party so we have a baseline understanding of them before following them through an iconic storyline. There are different ways they could do this!

And the way they chose to do it was "gang of slapdicks who no one likes or respects and are constantly fighting".

This would have been fine if they weren't starting with the Briarwood arc and leading into the Conclave arcs, which both require VM to have some rapport with each other and the Tal'Dorei Council to work. Instead VM are still on thin ice with the council and honestly don't give anyone a reason not to think of them that way even before everything goes wrong at the feast. (Like, I don't think Scanlan's antics in 1x03 are funny; I think they make him look like a dumbass and they make VM look like dumbasses by association.) Allura and Kima barely tolerate them and Allura is reluctant to speak in their defense when the Sovereign puts them under arrest. I can understand that they thought this kind of conflict would be more interesting, but this is the lead-in to the Briarwood arc. There's PLENTY of conflict here to be interesting! Why not try to build up Vox Machina as a competent party with friendly allies who struggle with but still overcome a difficult challenge, maybe straight-up open on them killing Brimscythe and then lead into a truncated Kraghammer arc?

Because this doesn't just make for a lackluster opening two-parter. Emon being so hostile to the party means they have very little investment in or connection to the city, and as a result, when the Conclave attacks, it lacks emotional weight. Keyleth has a line in season 2 about their home being destroyed that falls flat because Emon wasn't their home; they were kicked out of every tavern and multiple people pointed out how bad their reputation was. The lack of friendship with Kima and Allura makes their meeting in Season 2 Episode 5 very jarring, because they greet each other like old friends when they're not. (I think Seasons 2 and 3 did a good job developing Allura and Kima's friendship with VM, but this is work that should have had its foundation laid sooner.) When Keyleth asks the question of "why are we even together", it's never really answered in the emotional sense in which it's asked. Why are they together? Because at the eleventh hour they finally started acting competent, I guess. Don't get too attached to the idea of that theme, because it's not gonna come up again all season.

You see what I'm saying here? They didn't go for what would most efficiently tell the story in a way that made sense; they went for tropes—archetypal stories of scrappy underdogs pulling together for a common goal. And while it seems like a quick fix that solves the problem of distilling the first twelve levels of Vox Machina's campaign into a 12-episode season, in the long term it undercuts what the show intends to do later because the groundwork they laid was too focused on using familiar adventure story imagery to try to push audience reaction buttons. That's a problem that has hung over this show for three seasons now, and I think the metapigeons have come home to roost.

[princesssarisa]

Shelley Duvall's Faerie Tale Theatre: The Complete Series

I'm sharing this playlist in response to the post that's been circulating today debunking the "urban legends" about Shelley Duvall.

I was shocked to learn that some people assume Duvall was "driven insane" by the trauma she went through filming The Shining, and think this was why she left Hollywood and became a recluse.

Now, I don't know all the details of Duvall's mental health struggles, but the myth that The Shining drove her into exile is total nonsense! She was active as both an actress and a producer throughout the '80s and '90s – especially in children's shows, as the post that's been circulating points out.

So to thoroughly debunk that urban legend, I've decided the complete episode playlist of the '80s TV series that may be her post-Shining magnum opus: Faerie Tale Theatre.

This series originally ran on Showtime, then was shown in reruns on the Disney Channel in the '90s. Most of the episodes were also released on VHS and later DVD. Each episode is a 50-minute live-action adaptation of a classic fairy tale or fantasy story, with a celebrity cast. Many of the episodes have quirky, irreverent humor, and jokes aimed more at adults than at kids, but they never quite cross the line into "fractured fairy tale" and have genuine heart too. I've written reviews in the past of Cinderella, Snow White and the Seven Dwarfs, and Sleeping Beauty. My personal favorite episodes are probably Cinderella and The Three Little Pigs, but they're all worth watching and were a mainstay of my childhood.

Duvall created and produced the series and introduces each episode in a host segment. In two episodes, she appears as the heroine: the Miller's Daughter in Rumpelstiltskin and the title role in Rapunzel. She also provides the voice of the titular bird in The Nightingale and briefly appears as Snow White's mother in the prologue of Snow White and the Seven Dwarfs.

If you like fairy tales, and if you never knew that Shelley Duvall's career still thrived in the '80s and want to see her work from that era, then watch this series!

[lanschpaket]

Caitlyn Kiramman & Vi (Color/Character analysis S02 Act 1+2) 2/2

I had another thought while analysing the first part and wasn't originially planing this to be 2 parts. But at one point this following thought just didn't fit there anymore and that's why I write about it in this 2nd post

We all remember S01E08:

I want to interpret a little further into this and combine this with the color analysis I did with Caitlyn. In S01 both Vi and Caitlyn can be seen as opposites from the very beginning already. One is from top side, the other from bottom side. One is hot tempered, the other cool tempered. And the thing Vi herself says that they're Oil and water.

I personally like to believe that Vi is Oil and Caitlyn stands for water. Why do I think that? For Vi it's because - Oil is greasy and associated with dirt, many people would say that about Zaun. That's where Vi is from - Oil is also very flammable, so combined with fire it gets really dangerous. Vi has a very short fuse and will easily and very quickly reside to violence. Also fire is associated with red, and her main color is pink/red-ish For Caitlyn it's because - Water is mostly associated with being pure and clean, which you would say about Piltover. That's where Caitlyn is from - Water is adaptable. Many associations with water go into calm and tranquil. Caitlyn is mostly very calm about things and thinks first and will not be heading into something without thinking. Also her being a marksman gives her the skill to be very calm, so that way she does land her perfect shots even in extreme situations. Also water is associated with blue and her main color is blue I'm laying all this out for a further analysis for the things in S02. Through the course of S01 Act 3 and S02 Act 1, a lot of extreme situations happen and they both have to deal with all of them somehow. These situations would definitely shake up a personality, which would also lead to a change of it.

In Vi's case I would say her hot temperedness calms down. And I also kinda thing that a big part of her just gave up on it all. She has no goal anymore and doesn't see any light at the end of the tunnel. So what is there even to fight for. When everything she tried fighting for was lost in the end no matter how hard she tried. This is visible in her apperance:

Vi loses her red, her drive and fighting spirit. The latter is something that slowly goes out as she step by step even loses the brawls she's fighting in. But it's not entirely gone. It's still there, dormant or just shoved aside. But it will never truly be gone, cause it's a big part of her to fight for things when they're important to her. And I think that's a part of her she can never lose. Now for Caitlyn, as I already explained in Part 1 her design integrates more red over the course of S02. We know that she is slowly residing more and more to violence. Therefore we see her add more and more red to her and also the scene framing supports this:

For better stills on her red cloak or the red on her in general in S02, take a look at the other post ;3 Caitlyn is more and more pulled into the attitude towards dealing with the entire conflict of Piltover and Zaun that Ambessa has. With reinforcements and violence. But then again, Cait never really loses herself. She still wears her Enforcer uniform and at some point lays down the cloak, return to a self that kinda is just out for personal justice and not wanting to drag others in that don't deserve to be treated badly. Her sense of justice and right or wrong returns after she reunites forces with Vi. I think the encounter gave Caitlyn back her calm and to figure out what's really important to fight for and how her past actions were wrong. And on the other hand Cait brings Vi back the fighting spirit she lost. Both of them combining their new stand on things, makes them overcome past struggles they were trying to cope with and move on together. Not everything is fixed, but this is the first step into the right direction for them both.

Which is important now, because now that these two are teamed up again, they start fighting against "the red", which is Ambessa and all her plans she wants to execute. All things Ambessa is trying to get to are things that oppose both Vi and Cait. On one hand Ambessa is trying to take away Vi's dad and on the other hand Ambessa is risking peace and restoration for both Piltover and Zaun, in ways that aren't true justice in Caitlyn's eyes, because to her peace should not come through violent acts. Which takes me back to her talking to Ekko in S01 (which I also mentioned in the 1rst post). It would just be a vicious cyle, and this has to end. And both Vi and Cait go on about in a way they would never have back then with themselves during S01 Act 3 and S02 Act 1. They learned so much and changed together in a way. I think I lost some thoughts along the way and over the course of the day, cause there were a couple of hours between the first post and this one. But I think I stated most of my thoughts that came to me. Thanks for reading and I just want to say: I love this show so much. It's soooooo guuuuudddd and I need more. But at the same time I'm not prepared and am super scared. How are my emotions holding up? They're not. I'm running in circles, this show is driving me crazy xD

[jess-the-vampire]

Since Hunter got sent from family to family he probably has some abandonment issues, right? How does he deal with them and how long do you think the process will be until he's not scared anymore that Caleb and Belos would do the same. I can imagine it's a little hard to let those fears go especially if nightmares plague him or if he gets into a fight or disagreement with Caleb and Belos. Of course, both would be fast to reassure him that he won't lose them.

Ooooo, see, this is actually one of the reoccurring themes of this au, something that really makes it specifically distinct from canon's events with their main cast.

Because abandonment issues are not just something hunter has, but philip, and caleb, and then it extends further to luz, king, collector ect ect. A lot of people in this au are strongly affected by feeling left behind, which is a trait that does eventually pull them together, but absolutely has a negative affect on other aspects of their behavior.

So Hunter's never had a real stable home before he ended up on the isles, being tossed as much as he did between places gave him a sense of being unwanted and that there was something wrong with him. He'd just give up on being adopted and would be found going to his special spot in the woods, the place he was told he was "Found" as a baby, and leave letters and messages to his missing parents.

Hoping they would one day read them and come back for him.

When that never happened, he eventually tried to run away, and this time, he made his way into the demon realm and landed in philip's home by pure accident and luck.

Despite Philip's dismissal at the start, his care of hunter and protectiveness of him very quickly hit something for hunter because this is basically what he wanted the whole time. (Though funnily enough this is due strongly to philip's own abandonment issues). So yeah, hunter starts to actually like living there, he's finally getting used to being in some kinda family, people take care of him, he has his own permanent bedroom.

And philip had been planning to return him to the human realm once he got a fixed portal, and this slowly starts to bother him more and more because he can't help but like what he now has. So much so that THAT is his fear on grom, that philip will actually toss him away just like everyone else.

So yeah, you're right about it plaguing hunter's mind, it's pretty bad if it's his worst fear, and even when he's finally adopted by caleb he still needs reassurance from him that things will be different.

Hunter does sometimes need reassurance, and to be reminded he's home, and this won't be another temporary place for him. Sometimes he asks to sleep next to his dad or uncle that night, because knowing they're there helps him feel more secure.

if they fight, hunter is given his space, but no one threatens to throw him out, he's still brought food and toys and anything he needs. He's not punished for being upset, which is what he needs to reassure him this is still his home and people still care about him.

And philip and caleb relate, because they know what it's like to be orphans, to struggle to find a home. It's what makes Caleb want to adopt hunter into the family, it's something philip sees in himself when he looks at hunter.

Philip feels like caleb abandoned him, now another human arrives after so long, and he looks like his brother, in ways he doesn't want to admit.....he doesn't want hunter to leave him either.

And caleb, so many people have left him at this point, and now his current family is separating themselves from him, keeping secrets and lying to him.

(I guess in a way you can say he's now got a better grasp of how philip felt about what he did, and how he hurt him)

And it makes him react for better and worse, trying to not let himself lose anyone again. Even his leaving to eventually live with philip awhile sparks some abandonment issues for luz, who looked up to him for awhile.

i wanted to adapt some of the traits they had from canon, but in the au, rather then just take from canon. While the show never states directly, there is a strong emphasis philip feels abandoned by his brother, and feels like he needs him by his side one way or another, whether he think caleb did that on purpose or not. And hunter in the show wants a sense of belonging, so might as well put that here as well.

The three of them act out due to loss, to people leaving them, they might turns others away as a result, and sometimes are desperate to fix it and keep what they can by doing drastic things based on emotions.

You can imagine after finally fitting as a small little family, how much it hurt for philip to choose to stay with the collector and leave caleb and hunter on earth

They're not a perfect little family, they've all been hurt before, they all still struggle with abandonment, but they're healing, and none of them feel alone anymore.

[syrena-del-mar]

Boston, the Machiavellian Prince?

Okay, okay, this is definitely too early into the show to establish anything definite, but I wanted to write my thoughts of the first two episodes down to see if I still agree with my initial assumptions at the end. Boston, so far, has been as messy as I wanted him to be when I first saw the initial trailer all those months ago. What makes him interesting and so unlike the others, is that he's incredibly calculative, to the point that the show explicitly refers to him as 'The Hunter'. Personally, when I think of an individual being designated as 'The Hunter', I tend to correlate it with Machiavelli, so it's no surprise here that Boston reminded me of the his renown work, 'The Prince'.

If you know anything about Machiavelli, specifically in ‘The Prince’, he establishes that it's important for a Prince to hunt so that way he is actively learning more about his kingdom, in turn that knowledge maintains his power. Now a Machiavellian Personality is one of what is coined the "Dark Triad", which refers to the three personalities: Narcissism, Psychopathy, and Machiavellianism. Essentially, while they are all distinct, they all fall under the callous-manipulative personality type. As @trilliastra pointed out, that deep red coloring with the soundtrack on Boston really mimics the type of portrayal that is typically seen in psychological horror films. Now bear with me, I don't necessarily think that if someone falls under this personality type it's an instant signifier of "evil" or such notions, but I do think that it takes a larger effort to be agreeable and overcome their more malevolent tendencies, but some don't. So it'll be interesting to see how Boston navigates this side of him that has been consistently show to us.

Now before really diving into the deep end, I'm first going to give a little more information regarding Machiavelli's The Prince and how this works itself into psychology, then I'll be breaking up my analysis into the typical Machiavellian Personality Traits with the correlating quotes from 'The Prince'.

What is a Machiavellian Prince?

If you're not familiar with Machiavelli's ‘The Prince’, let me give you a brief rundown. Essentially, ‘The Prince’ is a political treatise that was utilized to provide advice to rulers on how to gain and maintain power effectively, essentially throwing out morality altogether in order to reach their goals. The central theme really revolved around the idea that to be an efficient leader, one needs to ensure that they are both cunning and adaptable to allow their kingdom to survive in the struggles of power. Similarly, these concepts directly relate to the idea of personality psychology, specifically the Machiavellian personality.

A Machiavellian individual, or personality type, refers to one that exhibits traits that are outlined in ‘The Prince’, specifically the use of manipulation and the belief that the ends justify the means. When it comes to interpersonal relationships, a Machiavellian individual tends to their own interests, manipulates situations and exploits others to achieve their goals. They place an emphasis in having a strategic focus solely on their own self-interest, so as long as they reach their desired end-goal, they're satisfied (even if it means burning bridges).

Manipulation through Vulnerabilities to Establish Control

"At this point one may note that men must be either pampered or annihilated. They avenge light offenses; they cannot avenge severe ones; hence, the harm one does to a man must be such as to obviate any fear of revenge." -Chapter 3, The Prince

In this case, we see this blatantly in one specific scene with Nick and Boston, where Boston uses the knowledge that he acquires almost as a knife. Nick had come clean about his own insecurities and Boston is quick to use that as a 'pet name', completely disregarding that Nick didn't like to be called 'Kinky head'. He's using the one moment that Nick had become vulnerable with him in the guise of a friendly jab, but also an incredibly threat that he is more than aware of where to aim where it hurts for Nick if he crosses any line that Boston has already established.

Boston's camera is another way he exerts his control, which can specifically be seen in how he uses it to take pictures of Nick after his night, positioning him, controlling the development of said picture. Pictures capture moments in time, Boston posed and captured an intimate, exposed, moment for Nick. Boston controls the image while Nick is left vulnerable. That image is fully in Boston's control; to do and develop as how he sees fit.

Now I'm not applying the idea of 'fear' in the sense of physical injury or corporal punishment, but the punishment that Boston seems to hang over Nick is leaving him. Boston is more than aware of Nick's growing feelings for him and he uses that in his interest, because Nick is so willing and eager to let Boston to have his way with him. Now this hasn't even been touched upon in the show, but there is also an almost societal-instilled fear that photos can bring, specifically intimate ones. It doesn't have to be blatantly stated by Boston the amount of damage intimate photos may cause emotionally (even if it's not spread), so when things turn sour, that photo and any personal information that he shared with Boston may very well hang over Nick's head.

Calculating Approach and Exploitation of Emotions

"A prince being thus obliged to know well how to act as a beast must imitate the fox and the lion, for the lion cannot protect himself from traps, and the fox cannot defend himself from wolves. One must therefore be a fox to recognize traps, and a lion to frighten wolves." -Chapter 18, The Prince

Now, @respectthepetty really did a great job at breaking down why Boston is referred to as the Hunter, specifically in the way that he consistently corners people to get what he wants, so for this part I'm going to jump off their meta. He consistently puts all his 'conquests' in a position where they are unable to leave, he puts them in tight spaces, he pins them on walls, he wraps his hand around their neck (one of the most vulnerable parts to a human due to the lack of natural protection and easy accessibility). They're all calculated positions that he puts his hook-ups in to establish that only he can give them the out, he's the one that establishes boundaries. We see this literally when he corners Top in the shower, who is the first that we hear to dare tell him 'no, he's not interested.' Boston doesn't let that sway him, because that's not a boundary respects because he wasn't the one to set it.

He's called 'the Hunter' because he knows how to play the game, he excels at it. He can be both the fox, when he plays the interested fling to Nick and Mew's best friend, and the lion when he shows who he truly is with Top. When he tells Mew to be wary, since Top never has a relationship that lasts longer than 3 months and his interest is likely to see if he can sleep with Mew, this doesn't seem to be a touching moment where he cares for his friend but rather an attempt to get Mew to push Top away, because we have no idea if that's really what Top intends. His calculative nature is shown again when Boston tells Nick, "You should be glad that you're my favorite." Man the phrasing of that, at least in the translation, is so incredibly manipulative, it really sets the tone that their relationship is fully transactional, lacking any deeper emotions that are typically found between lovers. It's not a factual admittance that Boston is enjoying the sex with Nick, but rather blatant acknowledgement that Nick should be grateful that Boston even comes back to him for the sex. Not to mention that he rewards Nick every time he acquiesces with a kiss or peck on the cheek.

In Spanish, there's a saying/insult that goes 'te va poner los cuernos', which literally translates to 'They're going to put the horns on you', but really signifies that they're going to cheat on you. That's why I couldn't help but find the irony when when Boston backed Nick into the horn/antler frame on the wall. And while here, Boston and Nick are in no set closed-relationship and they're both aware of that, Boston purposefully strings Nick along, dropping little personal information about his own life that will entice Nick and keep him present in their situationship.

Boston is willing to gamble with his intimate relationships and friendships, because he believes that he has the eagle eye's view on this playing field. He is willing to sacrifice anyone and everyone if it means that he is the one in control, he is the one people worship and claw their way to. To him it's only natural, because he has that sex appeal and he has never met anyone he couldn't triumph. Every one he sleeps with is a conquest. In his viewpoint, he is the kingpin, even in his group of friends, because he believes that he's the one that controls how his friends move since he knows how Mew is developing feelings for Top and is aware of Ray's feelings for Mew. This is a game to him and he believes that he's smart enough to come out the winner.

Power Struggles

“And here comes in the question whether it is better to be loved rather than feared, or feared rather than loved. It might perhaps be answered that we should wish to be both; but since love and fear can hardly exist together, if we must choose between them, it is far safer to be feared than loved.”

-Chapter 27, The Prince

In this case, for Boston what P'Jojo tweeted rings in my head. While he stated it in a more literary way, essentially Boston has an ego. He likes having first pickings and this shows with how he's reacting to the fact that Top is willing to chase Mew, but doesn't necessarily want to have a second round with him. His hubris is his achilleas heel.

Now we haven't seen much of the conflict that is going to arise between Mew, Boston and Top, but we are seeing much of Boston's reactions to what is going on between the two. Boston uses that using Mew's virginity is a weapon, he's the one that is the first to throw it in Mew's face. Boston sees virginity as a detriment, as a stain, a symbol of not being wanted, because he finds his power behind being lusted for. @athousandbyeol, prior to the show even airing, brought up the point that Nick became his favorite because of his availability, Boston objectifies Nick. Nick serves a purpose, an outlet to get rid of the frustration that Boston finds himself accumulating with this pseudo power struggle that he has with both Mew and Top.

He has no consistent leverage over Mew or Top, because Mew doesn't care about his virginity (not in the way that Boston does) and Top does not actively chose nor chase after him, instead Boston is the one that has to be one that corners Top. It's why it drives him a tad nuts that Top is seemingly taking the idea of a relationship with Mew seriously, because it was never part of his plan for Top to actually get interested. That's an ego blow, but there is one person that he consistently has power of: Nick. Even though Boston is aware that he's seeking more, what's to define their relationship, he only gives him two options: Fuck Buddy or Friends with Benefit. And though neither are what Nick truly wants, he still chooses one, because that keeps Boston around and Boston knows this, he counts on this power he holds over Nick. For every damage he takes to his ego with MewTop, it gets soothed and stroked by Nick, literally.

Final Thoughts

“A man who is used to acting in one way never changes; he must come to ruin when the times, in changing, no longer are in harmony with his ways.” - Chapter 25, The Prince

Now, the labeling of Boston as a potential Machiavellian Prince (personality), does not dictate that he is inherently evil and that he will always be, or is, the villain. It's true that he manipulates and is merely interested in pursuits that are personally beneficial, which in turn may hurt others. Yet, the concepts of "evil" and "good" are incredibly binary. So far, we have no idea as to why he behaves as he does or whether he had past-experiences or personal insecurities that shaped him. It doesn’t mean that the pain he inflicts on others will be okay as long as there is a reason or sob story, but it will give us more insight into why he is the way he is.

Machiavellianism is typically easily written off as an evil form of being but arguably, it's just another behavioral guide on how to respond to challenging circumstances. There's a lot of labels that we can so far apply to Boston, narcissist is one that I see floating around a lot as well. Yet, narcissists typically lack self-confidence and overcompensate, Machiavellians typically believe that they are the best and as such do whatever they can to achieve their personal goals that they believe that they deserve. Personally, with what I've seen so far, Boston falls under the latter rather than the former.

I think simply writing Boston off as the "villain" or "evil" is simply disregarding the potential nuance that his character may bring. This show does a great job at showing how messy Boston is and even the different types of messy that they all are. It's important to keep in mind the broader context in which Boston is acting in to fully be able to understand who he is an individual and the consequences that his action may bring. It'll be interesting to see if he comes out of this a changed man or more set in his ways.

[fullmetal-scar-simping]

Here's my fma 2003 (featuring Conqueror of Shambala) character tierlist. If I had to sum up my perception of the 03 cast vs the bhood one, it would be 1) 03 is focused and interwoven, and 2) quality >>>>>>>> quantity.

To be clear: because I feel that the 03 adaptation does not labour under a desperate need to pity and empathize with its war criminals and antagonists (though it does make sure its core antagonists are more than stock-standard villains), there aren't really any characters I vehemently reject the way I did for the Brotherhood tier list. Even the characters that don't particularly catch my interest or are fairly mundane in the grand scheme of the show I see more favourably than the characters in a similar tier level in Brotherhood. Where I find the 09 anime's character lows are abysmally low, 03 highs are imho astronomical.

There are some very, very minor characters that I didn't feel the need to include (my Broho tier list similarly eschewed equally highly minor faces too). I didn't feel like such inclusions would really be in the spirit of a tierlist.

Anyway, here we go:

Lengthy breakdown below the cut [not spoiler free]:

First tier: The SSS-tier. What do I even say about these two that I haven't already repeatedly expressed on this blog? These are the characters I can't stop thinking about. Whose stories, personalities, character arcs, and tragedies I've been mentally unwell about for over a decade+. They're my obsession and they're the highlight of every rewatch for me. Whenever they're onscreen I am rendered into a rabid howling ape (joyful).

Me @ 03 Scar and 03 Lust 5ever:

Scar: My sweetie-pie honeybear sugar-muffin sillymittens babygirl. Look at my damn username. Do you think I'm normal about Scar, especially THIS version of him? A character like him, handled the way the 03 team wrote him, is not only a rarity but a fucking achievement. In a media landscape that relies on regurgitated, jagged strawmen of the violent resistance of the oppressed, of revolutionaries/radicals who exist solely for the writers to strike down with great punitivity, 03 Scar breaks the mould. He manages to subvert every derogatory caricature that a character like him should have fully fallen into, and come out a nuanced, three dimensional character who never truly relents in the fight against the state military. Where Arakawa writes Scar to be yet another in a long line of fictional radicals made to heel at the boots of the military, the fma 03 writers wrote Scar to show why the people who are targets of imperial violence fight back to the bitter end. And, man, the sensitivity they imbue him with on top of that! They allow him to be vulnerable, to struggle with his place in a world that wants everyone like him fully eradicated while also experiencing what it's like to be a pariah amongst his own people; to grapple with his past and also have the capacity to feel for those who have suffered similarly as well. He grasps that there is no half-freedoms. If Ishbal isn't free than Liore isn't free and neither will anyone else be free. He witnesses numerous times that without direct violent action the system carries on its project of wanton human misery. And it often goes unacknowledged, but this Scar does attempt the route of (relative) peace. He renounces his homicide of state alchemists, he joins a group of Ishbalan refugees and follows his master. Yet without fail they are beset by tremendous violence: state-hired mercenaries enact a slaughter of Ishbalans and destabilizing the camp, they're accosted by a racist biker gang solely because the Ishbalans stepped out of their state-designated grounds, and Yoki rats the now-nomadic Ishbalans to the state, resulting in the feds rounding them up and carting them off to a concentration camp. At that point he can no longer stomach this ineffectual path. If the victims of this systemic oppression fail to bite the hand that beats them, then the perpetuation of their suffering never ends. If he must renounce any future he could have had, if it means he must suffer and relinquish his own life, if he must turn away from Ishbala, then he will. "My sympathy will not be spent on soldiers. Neither should yours," SIR. SIR YOU DROPPED YOUR CROWN. SIR. This line alone makes me INSANE.

We get glimpses of his adolescence, the loss he and his brother suffered, and we really get to understand what solidifies Scar's hatred of alchemy early on in his life. It's not just a cultural and religious dictate against the practice (seriously, can we blame the Ishbalan religion for being anti-alchemy), and it's not just the fact that alchemy is a lethal tool of mass destruction that can be used to wipe out an entire country: it's the fact that he witnessed a writhing mass made from the corpse of someone he and his brother cared for, and the loss of his brother's sanity as he pursued the philosopher's stone to undo this travesty he committed. And yet Scar is gifted that same detested alchemy by the brother he rejects, and he has to find some greater purpose that somehow straddles his previous beliefs. He's a resistance fighter struck down, aimless since barely escaping the massacre years ago. He would have died if he stayed back, should have died when Kimbly tracked down their particular group of fleeing Ishbalans, and in a sense [name unknown] has indeed long since perished. And for so long he was unable to face the pockets of Ishbalan refugees with any confidence due to the indelible taboo that is his right arm. He's displaced and homeless, wandering the streets of his oppressors, trying to find answers to the insignia of his sibling's arm, and finally he's snapped back into action upon encountering yet one more soul perverted into an agonized form by alchemy and the state. He's principled to the core, yet not as a flawless messianic figure. His final victory, his moment of reclaiming personal love alongside obliterating an armada, is also the endpoint of his tragedy. His triumph is his grave, and god. fucking. damn it. that is so---- !!! The way he connects, reflects, and contrasts with other core characters and the overall themes of the narrative too, I-!!!

Listen, I love the mangahood Scars even with the reformist liberal bullcrap tacked onto their arc, but when I say I simp for fma Scar, THIS is the fictional man I simp the hardest for. When I say Scar is right? All versions of Scar were right to kill state alchemists, but it's 03 Scar who was never once wrong. Accept no substitutes, because no one is doin' it like him.

Lust: My darling WIFE. I would make a Philosopher's Stone just for her and no one would be able to stop me. She was one of the earliest characters I latched onto during my first watch of this show 100 years ago. No matter who I introduce to fma 03, they all walk away having fallen in love with her. She's a treasure, my sopping wet meow meow who's also more than capable of tearing anyone to ribbons. Yet more than that, I wish she could have had the tranquil human life she deserved. She's everything to me. And no matter how many times I rewatch this adaptation, Lust and her arc, her internal struggles, and the philosophical dilemma of what constitutes humanity and what are the consequences of creating a dehumanized class of people leaves me on knees. And god, the way the writers very slowly develop this growing dilemma and her individuality is astonishing. From one of the first shadows we see stalking the Elric's journey, a mysterious and malevolent femme fatale pulling the strings, a woman whose face Scar can't shake, to her assuredness in her humanity and her goal to reclaim as such, a being whose patchwork memories of who she once was slowly upending her allegiances, her having a strong knowledge in alchemy even when she literally cannot perform it because she will stop at nothing to shed her shackles, to her rebellion against Dante and the other homunculi, and- ok, you know how we watch Lust gaze at human beings and ponder at their futile existence? Seeing them as alien, and to an extent lesser? And how she can no longer deny wanting to return to humanity as her memories continue to gnaw at her? To the point that she embraces people as people? How she counters Sloth's disparaging, dehumanizing remarks against Tucker's mindless Nina clones and states "She's his daughter"? She defends the humanity even in those that the world would write off as subhumans or objects? She was an Ishbalan woman repurposed into a tool by the very people who destroyed her homeland and she will no longer be their puppet. She was never just a femme fatal, she was never just a humanoid monster, she is never treated like just another villain to be annihilated for the benefit of the protags. Like. Do you understand? Do you understand the finesse with which the 03 team wrote this character? Do you understand why people go crazy for her? Do you understand why she's a platinum-tier baddie? God, Lust is just incredible and I weep just thinking about her! Her despair causing her to desire mortality, and connection to the one remaining person from a past that many could debate was never entirely her own? UGHHHH, my HEART. Is obtaining mortality a drawn-out suicide of its own? If for a homunculus the only way to become human is to die, then was that locket Scar dredged from the grave that never possessed her body his unintentional way of making her human after all? I wonder, as her consciousness faded away once more, if she felt relief. If she felt peace. I always hope that she did.

Second tier: S-tier. Our protagonists, and a worthy centrefold for this adaptation. They're phenomenally written: their journeys and inner demons are so compelling. The way love is the fount of their hopes and traumas, what keeps them clawing through the horrors of the world, to hang tight to each other. All the while this codependence being a self-imposed punishment. Shunting out everyone else and hurting themselves and others as a result. They so desperately want to do right, but their self-destructiveness and alliance with the military leaves pain in their wake. There is no comforting and morally convenient writing contrivances to shield them from the repercussions of their beliefs and actions. These boys grow and part of that growth into adulthood is understanding that the flow of everything, that inherent and unshakable interconnectivity of life and lives, of systemic violence via state and alchemy, means they cannot live as though in a vacuum, doing as they wish and remaining ignorant and, as a result, becoming wretched. If they want to rise above destroying others, they must take responsibility, and how that differs between them is fine-tuned to their idiosyncrasies. How each brother partook in committing alchemy's greatest taboo informs how they view violence and sacrifice.

Like the entire cast, Ed and Al are so human. It's both beautiful and heartbreaking, and one of the many reasons why I always come back to this anime. I couldn't ask for better versions of the Elric brothers and I'm glad that this version of them are the ones permanently embedded in my mind as THE Edward and Alphonse Elrics.

Note: I place the CoS versions in this tier not because I see them as different characters but rather to highlight that I do love what is shown of their outcomes, and that I appreciate the way it ties well with where we last see them in the show.

Ed: A boy steeped in the dogma of his father's science. His hubris and his love tears apart what remains of his dying idyllic life, and it's something he truly never returns to. And yet, it's not all his fault. He's an orphaned child alongside his little brother, with a mind too sheltered from the true ugliness of the world yet brimming with the capacity to perform feats that few can master. His circumstances and choices lead him down a rabbit hole he can only escape by moving forward and changing. He can't flee to the past, he can't remake the present into whatever he wishes, the world carries on despite what he and his brother go through, and if he wants to be more than the monstrous humans he encounters than he has to actually fucking reflect and reconsider his perspective constantly. And he's not perfect at changing either! Some part of him still clings to what could have been, that maybe it could be possible to at least restore Al's body. He's one of the most dogmatic characters in this entire show, and the narrative does not allow him to simply remain as such and parade it around like hot shit. It's not science vs religion, it's scientism and the hegemony of the state (which can include religious institutions and beliefs) vs those seen as subjects or material for the whims of those in power. Ed actually has to contend with his bigotry too! He shoulders a sisyphean grief and guilt, and you know deep down that he will never truly be rid of that curse. Yet he shows signs in the end that he understands that he can't eternally stagnate in it; returning to a world he struggled to see as real and getting on that caravan at the end with Al and Noah felt like he could at least adapt to the task of living, even if that dream of perfect redemption remains elusive. I could babble on and on, but this all to say: I love fma 03 Ed and no bog standard shonen-ass racist is ever gonna usurp his spot for me.

Al: This version of Al is not stuck as a yes-man to his brother, and he isn't sidelined until it's convenient to wheel him back into the plot. Al's perspective on nearly everything tends to differ from Ed's. Whether it's on more inconsequential matters to, in time, major issues, Al often sees things differently from his older sibling. The 03 writers leaned heavily on the solitude and confinement of being the final vestige of a human's existence tethered to an inanimate object, and they explore this existential crisis and dysmorphia not just in the one arc everyone fails to empathize with (you know the one), but all throughout the show. There's a reason Al has an easier time understanding the perspectives of his fellows who have been literally and figuratively dehumanized. He's compassionate and sweet, and this trips people up. So many see him as a nothing more than a cinnamon roll when he's got a much harder edge than that. Far more so. Al suffers a waking nightmare 24/7, without break since he can't sleep. Though he doesn't allow that to destroy his capacity for kindness, it doesn't mean he handles every problem and obstacle with unceasing grace. He sees the utility in violence, he gets why people lash out, he wants to be fully human again and he still wants to preserve lives when he can. Al wants to think of others, but his memory is chipped in places, and his lack of bodily functions, flesh, and nervous system means he feels that others have lost sight of him too. It's a struggle to feel real when your current circumstances have you caged and alienated. You end up wanting Al's body back as badly as he and Ed do, that finally seeing him physically restored to the 10 year old body he last occupied is both a relief and utterly surreal. And without his memories, he was doomed to repeat the self-centered actions that he and his brother had to learn from over those many years. I can't see him regaining his memories being a wholly jubilous outcome for him, but having the one person who mattered more than everyone else back in his life is a trade I'm sure he would make time and again.

Third tier: The A tier. Love 'em to the bone, and even love to hate one in particular here (it's Dante. Of course). This anime has no shortage of excellent characters, and I love 'em to bits.

Rose: One of the bravest characters in this entire show's roster. An orphaned teenage girl who adheres to Letoism in the hopes that her faith and work for the church will lead to the miracle of her partner returning from the dead. After the curtain gets pulled back on Cornello, Rose has to learn to rise above the pain and live. All with the dawning riots and military invasion that will challenge her in ways most hope never befalls themselves but is a reality for the targets of imperial aggression. She doesn't back down to armed soldiers and generals, she helps plan a massive retaliation against the invading forces, and she goes on to care for Liore's orphans while working to restore a liberated Liore. (Unfortunately CoS does flanderize her. I know in my heart she would never accept the military or the Armstrong family colonizing Liore, and she wouldn't see Armstrong's alchemy as preferable to the plan she herself was a pivotal part of executing to stop Amestris.) For as feminist as everyone claims to be, post-2010 fma fans sure love writing 03 Rose off because of the horrific rape she suffers. This is not the be-all end-all of this character, and it's sus af that someone being a victim of this specific type of war crime means there is nothing else to her, and that the writers are simply racist misogynists. The story never reduces her to a "pitiable" victim, nor does it salivate at the very real sexual violence that militaries routinely employ. Fuck you if you look down on Rose. Rose is everything.

Noah: I will defend Noah to the death, and I'm taking her haters down with me. Her pain from a lifetime of being an outcast, used for her gifts and tossed into the clutches of fascists breaks me everytime. Her desperation to escape a racist hell to a fantasy world (that would have ultimately been no less cruel to her) makes sense. She gets confirmation of the impossible, of something that should have been nothing more than speculative fiction. Like the Elrics and so many others in this series, she learns the hard way that paradise doesn't lie behind fantasies. She's sullen and introverted, and this is no doubt an armour for having seen the most hidden secrets, darkness, and fragile dreams of everyone who pays the going price for her skill. How can she connect with others consciously and mutually when people pull away/avoid her once they learn she can peer into their truths? Facing the scorn of anti-Roma racism as well as the scorn for being a seer would tear anyone down. She's perpetually alienated from everyone, and she just wants to be free to exist in peace. Man, I just love her so much and want endless happiness for her. I've said it before and I'll say it forever: I love you, Noah fma!

Winry: Now this is my Winry! I never understood why the fandom pre-09 hated her so much (besides bog standard misogyny) but I was always in her corner. She has a great, balanced personality: physically and mentally strong, capable of being soft and caring, boisterous and contemplative, absolutely willing to shirk rules and laws, with a mischievous streak too. She's not a moralizing package deal to the Elrics, she's not reduced to ship fodder for Ed nor a future doting wife, she's an automail freak and she's damn proud of it. Her having her childhood friends pull away until they're no longer reachable is sad, but she has so many people in her life that she'll be able to carry on into the future. Whether the Elrics are in her life has nothing to do with the quality of her characterization here, and I stand by that forever. Also, her consistent gentle kindness towards Wrath? Providing him with automail and remaining calm even when it falls to disrepair? 03 Winry best Winry.

Sciezka: 03 Sciezka is a gift. This bookworm becoming close friends with Winry, the two of them teaming up to do some sleuthing for state secrets was some grade A stuff. She's bubbly, intelligent while still believing in the paranormal (can you blame her). I love how she stays in contact with Gracia and Elicia, and how she uses her photographic memory to continually help others. She'll trespass into a military facility, go on the run from the feds, crawl into an underground city all with Winry because damn it all, she might be terrified but she ain't spineless. Cheers, girlie. Cheers

Envy: The 03 homunculi and the necropolitics between them and the human beings who make them was the og hook for me the first time I watched Fullmetal Alchemist. And listen, who hasn't been entranced by Envy at least to some extent one time or another? Yeah, he/they/she is so gender, and we gotta recognize that. But what really gives 03 Envy their staying power imho is his far more intimate reason for being dubbed 'Envy' by his horrible mother. For 400 years they have been made a pawn, transmuted by scientist parents who likely never showed him the care and love one would want from their progenitors even when he was alive as a human being. For 400 years they helped sow misery and chaos, grew to reflect Dante's misanthropy and delight in seeing themself as superior to those who can die, those who are not banished to the underbelly of society, those who aren't seen as fundamental sins like he is. All the same, they desperately want revenge against a father who not only mistreated and abandoned them, but who then goes on to form a family he more obviously loves and humanizes. To be discarded when you wanted that love after all, and learn that the person who did this to you was indeed very capable of treating others with affection and respect, just not you! It was you who 'had' to be your father's roadbump to his own self-improvement. And that stings. Envy's anger issues make so much sense. And what I appreciate so much is that the 03 writers don't insult your intelligence here. They are not desperately trying to get the audience to forgive or excuse Envy for their hand in untold slaughter and atrocities. They present his tragedy without demanding you empathize with them at the cost of dehumanizing the victims of genocide. (I hate you forever Brotherhood). And bless the 03 crew for not making Envy a cackling, bumbling buffoon either (seriously, wtf was all of that???) Envy isn't an idiot, but they are barely able to withhold the fury that bubbles under the surface. Also leviathan-dragon Envy's design absolutely fucks and I will not entertain any argument to the contrary.

Sloth: Sho Aikawa et al, thank you. Thank you for taking the snippets of manga Ed's nightmare and making it so, SO real. And thank you, 03 team, for not settling on a one-dimensional interpretation of the definition of sloth. You gave us the perfect antithesis of the fridged mother, of the perfect martyred madonna who is nothing more than fuel for the boy/man characters and their pain. Sloth reveals the lack of autonomy and consent that comes with human transmutation. Creating a homunculus may often be done out of a despairing love due to death, but it is an act of exceptional hubris that disregards not only the pitfalls in that ritual itself but also in the desecration inherent to transmuting a being who can never be the one who died. Sloth's memories do not goad her into racing to reclaim herself, they are a toxin driving her resentment. If her previous self's love and flaws as a person led her children to pervert the rhythms of life and death, to defy the cycle of one is all and all is one and eject her from that belonging, and now she has to exist as a quiet abomination embedded in a racist fascist dictatorship? Then why should she ever accept and forgive her creators? She's one of the homunculi I grew to be utterly fascinated and awed by with each rewatch. And as a bonus, she's a solid reminder that fma 03 was doing it's own thing right from the very beginning: because we see her by Bradley's side. And we see Ed recognize what he has done the moment he spots her. Sloth's final words are some of the most haunting in this entire anime, and I will never be able to land on a solid interpretation of her intent. Her words take on just the right form to slip from your grasp, denying the Elric boys and the audience any ease of mind.

Izumi: Izumiiiiiiiiiiiii! Buddy, listen. If I can fawn over Scar who almost murders Ed and Al, I can fawn over Izumi even despite her having (non-lethally) beaten Ed and Al's asses. She has two solid reasons for being incensed by their actions since they parted ways, after finding out that the Elrics 1) joined a fascist militia, and 2) performed the one thing she hoped, taught, and demanded they never do. I'm not arguing that beating them to the extent she does is necessarily justified, but damn man, I get where she's coming from. And she treats them more sternly because, although she does see them as her children, she also understands that they have entered an adult world. If they're going to shoulder such power and responsibility, they must expect to be addressed as such. She's my imperfect acab queen. And that's another thing I love about Izumi! She repeatedly fights head-on against the state and shows them no deference whatsoever. She'll barge into a hospital and demand info from Mustang, she'll barge into the facility that kidnapped her homunculus child, hell she'll kidnap a state alchemist (Ed), and she'll partake in a coup too. All the while she never stops badmouthing the military. Izumi having performed human transmutation, training kids who go on to do the same, and having been trained by one of the alchemists who pioneered this horrid practice is *chef's kiss* storytelling. Her mangled viscera and its disabling effect on her life is never played for laughs, and we're not constantly encouraged to giggle at the "crazy strong & violent housewife". Watching her fight is also just so enjoyable, her moves are so fluid and succinct. She's a badass without feeling like a flat character. She deserved far better than to be die offscreen, but her embrace of her baby at the Gate gut punches me without fail.

Dante: Our absolutely rancid antagonist, inside and out, literally and figuratively. One of the world's most formidable alchemists who, in spite of that potential title, wishes to live a rather hermetic life. And why wouldn't she? She cannot stand her fellow humans, she believes herself to be above them while no less saddled with their qualities. Even when she can see the truth about alchemy and how it functions, she still lived a grotesque life of treating everything and everyone like pawns to be played. Lives are material and souls are fuel. Why shouldn't she get to do as she pleases when surely the human existence is too putrid to consider worthy of regard. If one is all, and people are a part of this equation, and they're so foolish and malleable, then what part of this world should she see as off limits? And the way the dead religion of Christianity becomes a decorative set-piece for her: how she views homunculi as sins of their creators, the mangled adams and eves of careless non-gods; they have the comparatively effortless immortality that she wants but she has the skeleton key to manipulating matter and energy that homunculi cannot possess. So she's their ring leader, the one who plants the seeds to ensure they continue to be birthed from The Gate. Surely she must have found in her studies of this extinct theology that apocalypses are a means of reconstituting flawed, sinful people and places. And surely she was behind the Mother Mary, Baby Jesus, and Joseph imagery that she manipulates from the 'holy' Lioran girl and her child, and the man who wasn't responsible for said child but arrives in time with a fury that can be made useful to her, who can act as a rallying zealot for the Liorans and play to a culturally religious predisposition. It's all one big, twisted morality play only she can see. Dante is obsessed with symbolism and oozes it herself. She isn't interested in the things that a woman seeking immortality normally would by your average hack writers either, and I love that! This is what makes her both so interesting to analyze and so fun to despise. And her main theme alongside songs that use her theme's motif are so fucking good! She deserves the demise she gets, a thousand-fold, but I'm glad she's the major villain this anime gives us.

Maria Ross: The one military officer I actually like with little to no reservations in this entire franchise. She takes the safety of Ed and Al so seriously that Ed, in his red water alchemic-surge state, mistakes her for Trisha when she embraces him. She goes to bat for Winry and Sciezka by helping them escape Sloth, she busts out Russell and Fletcher when they're arrested and sentenced to death, and she teams up with Izumi to fight her fellow military personnel and Archer. This Maria Ross is why I was losing my mind when Brotherhood sikes the audience out about Mustang "killing" her (though yhe Broho Maria Ross is. Eh. Nothing special). I really l love this character and her kindness. Now leave the military, girl.

Fourth tier: Yet more characters I love. These first four tiers are really for the characters that make me feel "Oh hell yeah, so-and-so is onscreen!"

Paninya: Fuck yeah, Paninya! I always want more of her, but what we see of her makes her memorable even beyond her single episode. Her appreciation for Dominic providing her with the automail that brought her back from rotting away in alleyways, and how she tries to prove the quality of his work to others makes me love her. As I mentioned in the Broho tierlist, I appreciate Paninya's mischievousness, agility, softness, and brazenness. Seeing her in the aftermath of the accident that killed her parents, with all but one of her limbs destroyed will always put my heart into a blender. There'll be times when I haven't touched fma for awhile, and she'll just spring to mind unprompted. If there's a Paninya-centric spinoff or light novel, then lemme know so I can get more of her! Thankfully in this adaptation Winry isn't some white chick berating her to follow the law, but instead a partner in crime and fast friend. If I got just a liiiiittle bit more of her in this anime, she would easily be one tier up.

Greed: Straight up the coolest homunculus. He doesn't get nearly enough time in the spotlight, but god does he leave a lasting impression. His care for the rejects of society will never not make his particular style of objectification of others oddly charming. I love how each of the English VAs for both fma anime play him, but 03's is the one I associate most with this character across continuities. I feel like Chris Patton best captures some of the skeeviness that clings to Greed's personality without making him an outright asshole. He comes across as just a bit more grimy, a bit sketchy, and it works so well with his contrasting earnestness. You can definitely feel that although Greed was never intended to be around until the end of the show, there must have been some time cut from his arc. If only his human self's romantic involvement with Dante had been a bit more expounded upon in the show, rather than being moderately hinted at and more outright stated in additional materials. But hey, what we get is so tasty that he still sits high on the list for me. Also, major shoutout to that legendary final fight between Ed and Greed. The animation, choreography, and artistry are magnificent and deserves a spotlight for being so downright addictive to watch. His death is a crater in Ed's psyche, and his melting form unforgettable to me.

Wrath: Man, I'll absolutely defend Wrath from the naysayers. Poor feral kid wanted to return to a mother, any mother, but most of all Izumi. The slim potential for Izumi, Sig, and Wrath to have lived peacefully together was there, so tantalizingly close to being realized. Then Envy and Dante catch up to him. His corruption via the red stones subtly points to what may potentially allow Dante to keep the minds of homunculi so malleable to her desires, and why she can lock and unlock their attributes and autonomy. Furthermore, Wrath highlights that to exist inside the Gate with a human(-adjacent) mind is a horrifying, inexplicable experience. He fears returning to it, he wants a mother, he has no malice until he's taught it, and he has the rare gift of alchemy he obtained from the same boys ready to tear it back from him. His propensity to wail given everything he went through and everything he lacks, with the mind of a child, isn't some "annoying" character flaw, it's an understandable reaction to a bizarre set of circumstances from one raised in hell and who escapes into the Yock Island woods for years. Wrath, you're cute as a button and I support you.

Hohenheim: Wow, this dude is mega fucked up. And I genuinely love that about Hohenheim of Light. He's an enigma, and unlike a lot of other characters whose time is brief in this anime, I rather like that he remains as such. We get hints towards the monstrous person he was for the majority of his 400+ years of existence, and the numerous atrocities and lives he extinguished in order to keep himself and Dante perpetually living. His original appearance being, as it turns out, that of the future design for Father has an interesting meta-textual crunch to it, but back before the manga even got to its own big bad, it seemed as though Hohenheim sought men who looked most like his original physical form to inhabit. Which has intriguing implications on his view of bodysnatching and what he wants of himself versus Dante's more flexible choice in new bodies. His heel turn towards trying to live as a normal person and raise a family, only to have to (poorly) come to terms that his newfound outlook means he has to accept his rapidly rotting flesh and his soul's depleting capacity to maintain a body. So he abandons his family, which sends his wife and two new children down the path of ruin. He's no angel even with this change of heart, as he sees no issue with working alongside fascist occultists on Earth to return to Amestris. We only get so much out of him regarding his acknowledgement of how he destroyed Envy's life/unlife, but the fact that he willingly forces Envy's fangs through himself as both an apology to a dying son of old, and in an attempt to reunite his two living sons makes me crazy. I love what a mess this scumbag of a man is.

Russell: The Tringham brothers are defo faves. I do have to place Russell above his little brother since I find his flaws and smarmy characterization quite enjoyable, especially as it bounces off of Ed's abrasive, equally smarmy ass. His struggle with the ethics of his studies crashing against his goals very nicely mirror the Elric's, just at a smaller scale. Love the fact that he continues to steal Ed's identity even long after moving on from Xenotime, and that it nearly lands him and his little brother the death penalty. If we could have somehow gotten more of him and his bro, they'd both be higher on the list, but hey. His plant alchemy and what that infers for all bio alchemies (chimeric vs human transmutation vs plants vs what little we get hinted at regarding non-human resurrection) makes my brain whir in the best way possible. As a plant lover myself, I gotta give props to Russell for his expertise in the area.

The Slicer Brothers: Where this homicidal pair fall flat for me in Brotherhood, they hit so much harder in fma 03. The entire Lab 5 arc shakes me to my core, no matter how many times I watch it. The quandaries on the prison industrial complex, on mass murder and the humanity of its perpetrators (which never reaches levels of maddening preachiness in favour of perpetrators ala mangahood), and the power states hold over those it incarcerates and what science is in the hands of the state were formative for me. Or rather, growing up as a teen already questioning why this world and its societies can wield so much power over people, even in circumstances where we're taught to see criminals (let alone accept such a classification) as worthy sites of state-backed torture, this arc in an anime of all things would be one of the many grains that would eventually lead me to understand why states must be opposed and prisons abolished. This pair of brothers are not ethical souls. They have done so much harm, and all the same they should never have been sentenced to an eternity of enslavement by the state. And how does their predicament mirror and contrast Al's purgatory? How does their predicament mirror Ed and Al's contribution to the deaths and suffering of others, especially as dog's of (and in Al's case, an affiliate of) the state? The suicide of the younger brother, and the murder of the eldest manage to evoke sympathy and heartache, even where they are certainly unsympathetic otherwise.

Nina: When it comes to Nina and the entire tragedy of the Tucker family arc, I am no contrarian. This poor girl, her dog, and her murdered mother, and what this does to the Elrics is a permanent point of sorrow. The memetic treatment of her story has some fma fans shrugging at her impact, but I was there when this was the version that people (outside of Japan) were introduced to her story for the first time. Her story fucking hurts. Nina was like a little sister to the Elrics, and they got to spend some time growing up with her. She was family! She was the only person in the entire world, in the entire series, nay, in the entire franchise, who could get away with calling Ed 'little' (Al was 'big brother', and Ed was 'little big brother'). The scene of the Elrics walking into Tucker's lab... The way the 03 team executes this hellish revelation is without compare. The manga's version is nothing, and Brotherhood's is a pale version to 03's. Ed, without recourse to the state's recuperation of chimera Nina, desperately releases her from the military van, only to have granted her a freedom that leads her into Scar's palm (and thereby setting him on his path to avenge the forsaken by killing those who destroy lives via the state and it's weaponized alchemy). She is liberated quickly and painlessly, yet the almost-sacred splatter of her long-gone body will forever haunt me. This story is pivotal in ways that I feel I cannot do justice describing. And her innumerable chimeric clones derived from a chimera-Tucker's pathetic attempts to undo the transmutation of his daughter, and how her philsopher's stone-rejuvenated body is truly, genuinely soulless and unmoving, unthinking, destined to rot- unlike the homunculi, unlike Al and other soul-transmuted people- speaks volumes on how the ideologies of alchemists is what actually informs their perspective on who possesses a soul and who doesn't. Nina (and the Elrics) being present to help Gracia deliver Elicia was also very sweet; she could have been Elicia's friend or even big sister, damn it! 😭 I hope that Nina, her mom, and Alexander get to coalesce into some existence of joy and peace.

Earth!Scar & Earth!Lust: Yeah that's right, a pair of cameo characters we see at the end of CoS, who have no names, no lines, and who we know nothing about beyond seeing them heading a caravan together are placed on par with major characters. Why? Because I am forever overjoyed that, in their own way, Lust and Scar aren't forgotten. Seeing alt versions who get to live together is so satisfying (especially if you're ScarLust-brained like I am). I certainly can't reasonably place them higher on the list, and any lower would betray how giddy I get when they cap off this fma continuity. So fuck it, it's my tierlist and I'll slap my 3 second fanservice characters wherever the hell I want lol.

Hughes: A character who, over the years, I have grown to have quite complicated opinions on. Long before even learning about the overtly-genocidal version of this character in the mangahood canon, I would eventually understand that even military bureaucrats and desk jockeys are required for states and their militaries to carry out their heinous projects. Regardless of his position Hughes, like all members of the state and the military, do not have clean records in the grand scheme of things. 03 Hughes never directly bloodies his hands, and thankfully we're spared from that noxious, insulting sob story about "[committing genocide] so he can live" ala mangahood. But that isn't enough to abdicate his class position against the subjects of Amestris' imperial rule. But where my bias lies, and where 03 succeeds in characterizing him, is that he manages to be interesting and lovable without being as detestable as those who were directly involved in the "Eastern Rebellion" (genocide). All the same, he is a bastard. But we get more time to cook with him, we don't get gags with this dude going cop-mode on fucking toddlers, and avenging his death is hardly a core priority to any of the central cast members when there are far, far bigger issues going down. Unfortunately I do like 03 Amestrian Hughes. But he is a fascist like all the military characters here. As mixed as I am on this dude, I can't completely hate him. Depending on the day I might bump him at least two tiers down, but that would belie my having been more positive about him for most of the time I have loved this show. The man is fun and charming! Sigh. My opinion here is a mess in part from nostalgia. At least he's fictional, but unfortunately the real world is run by millions of this exact person.

Martel: Pretty much the only true war criminal in any version of fma I just can't help but like. I can appreciate that she had no idea what it was that the state was cooking by lying to her and her cohorts about why they sent them all to Ishbal (to incite the 'right' conditions in order to manufacture consent and legal recourse to invade the country). And after realizing that they had been set-up, that they're the useful scapegoats for the state to clear itself of its political sabotage, thus earning a lifelong enemy of Amestris from her and her former colleagues-turned-chimeras is a quality use of her and the former military members of The Devil's Nest. Martel of course gets the lion's share of the spotlight compared to Roa and Dolcetto, let alone the other denizens of The Devil's Nest, and that gives the audience a chance to grow attached to her before she gets killed. I really love the friendship that grows between Al and Marta, as well as her and The Devil's Nest gang's dedication towards Greed. And the fact that she respects Greed's choice to return to the person who created him, and to accept that Ed having murdered Greed was also a choice in part made by her liberator is so mature and honourable. She's complex and fearsome, and I love her. Plain and simple.

Fifth tier: Like it says on the package, these are the people who are long gone, whose impact on numerous characters leads the living into so much suffering. What we make of those we've lost, our sense of ownership to those memories and that love, and what becomes of us in the march of time- if we could remake those we miss, they truly would not be our dearly departed. Even with alchemy death is final. And how do we respond to the agony of a death drenched in bad blood? Can we forgive them? Can we forgive ourselves? Can they ever forgive us?

I can't really slot these three higher up but without any of them this entire story would be nothing. Much like my appreciation for Hohenheim of Light being an enigma, these three remaining as such lends them a force that we have to experience through the characters left behind and the characters transmuted in the vain wish to create those you never owned. I'm compelled to want more of them, but the haze that cloaks them is an integral feature here.

The greatest lesson with these three is that alchemy does not make you a god in a sandbox world, it makes you a fool.

Scar Bro: I really respect the decision to widen the age difference between Scar and his older brother. Having him be the sole adult guardian to a young adolescent who relies on him to do right means that Scar Bro's foray into human alchemy is one of deep selfishness. It's a betrayal that irrevocably sends him into spiralling isolation, exiled yet without care for the world beyond his studies. This singular mindset and his taboo act obliterates his little brother's trust in him, their relationship basically shredded down to a single frayed thread that, only once a genocide is enacted, does Scar try to tug at to rescue him. Scar Bro is smart enough to decipher the Grand Arcanum, and his hubris so deep that he inscribes it upon his flesh. His despair that, perhaps on a grander scale, Ishbal's fall was his own doing for going against the order of the world and seeking the philosopher's stone speaks to how far he has sunk. A portend for what becomes of alchemists who seek the legend and lose perspective on the world around them. But no matter how deranged by his pursuit he had become, he still tried to save Scar. Sacrificing himself was his final apology, his right arm was both his final gift and slight against his little brother. Scar Bro is everything Scar never wants to be, the very figure of all that he rejects, and much of it for good reason. This man is intriguing as hell to me. I'm glad that Scar's final moments, his time with Lust, and what he experienced around the Elrics, ultimately helps him to reclaim his love for his older brother.

The mysterious, alluring woman whose body Lust is constructed from. She haunted Scar Bro, she haunts Lust, and she haunts Scar. We are forever left wondering what we the audience would make of her if we got to experience her beyond the perception of a pair of brothers, and the dappled perception of her undying doppleganger who would become her, or closer to being her, if she could. Would Lust have become 1:1 with this woman if she could be reconstituted into a 'True' human? Can anyone ever inhabit the outline of a progenitor, an ideal, a corpse? All we know is that she was loved. If you step into the shoes of those who knew her, it's hard not to somehow feel a little bit of that love too.

Trisha: The beloved mother of the Elric boys. She's almost angelic when we look into their recollection of her. And still, we can pick out the subtle ways that she was human all along. She is stuck in her heartache for Hohenheim, forever wishing for his return and rewarding her children for emulating his prowess in alchemy. Trisha was a young woman who had to balance raising a pair of younglings while nursing a broken heart. I don't want to see her as merely the perfect mother archetype nor the "abusive" mother simply for failing to restrain her own humanity from intermingling with how she tended to her children. She was wholly human, with all the attending layers that constitute our beings. Like Scar Bro's fiancee, she was dearly loved. And for that she is desecrated. Her homunculus wants nothing to do with her and those who would create her to become this dead woman. Her boys gave her so much happiness but that didn't save her from languishing in her own solitude. Her dying words are a testament to that perpetual depression. The gorgeous track, Bratja, is just as much about her as it is about the sins of her sons.

Sixth tier: Not much preamble for this tier. Let's get into it:

Pinako: All around cool-ass granny. I dig her design, I dig her no-nonsense demeanour, and I dig the tiny peak into the bombastic mechanic babe she was in her youth (younger Pinako was cool in mangahood too but 03's funky light hair is such an eye-catching design choice). She too hates the military to some extent, and I respect that. She opens her home to the extended family Winry brings in, and it warms my shriveled soul that Rose, her little boy, and the Lioran orphans she tends to are a part of that family too.

Psiren: Okokok, listen. Here me out. I know a lot of people shit on the Aquoroia ep (I like it, dammit) for being "meaningless filler" (it's not, it allows the Elric's journey some levity before things deepen, and it also explores grey morality and how the law cannot save people from impending disaster, AND that illegal actions can provide more relief than lying down and quietly suffering in denial). And Psiren gets hate for being a fanservicey character. People accuse her of hitting on Ed and like- yes, she does. But she's a conwoman! She manipulates cops, investigators, and little state alchemists who are actively trying to get in her way. She can see plain as day that her appearance, with a played up sexuality, can trip up the men pursuing her for her crimes. It's no less effective against a pipsqueak teen boy. Personally I never took her actions at face value; it never felt like she actually intended to do shit with Ed, she just wanted to prevent him from thinking clearly. (I don't fault anyone for still not liking that part of the ep tho, but I see this get flattened to "Psiren is a pedo" which imo is silly.) I love her conning and thievery, her design is great especially her cat burglar fit, and that she's a not-quite Robinhood figure (she steals from the rich, but she's not really giving it back to anyone more destitute). I appreciate that despite some of the good she has done for the city itself, she's quite inscrutable in her motivation. Cheers to her for evading the cops to the end. Hope she robbed the police force's coffers repeatedly too.

Rick & Leo: Love these two kids. Having them pop up throughout the show to weave in more Ishbalan perspectives into the story, while serving as yet another thematic exploration of familial dedication and forgiveness was a smart call. Contrasting their ableism with Ed's racism was also interesting, and I appreciate that it's not done as a way to neutralize Ed contending with his own bigotry at all. (This isn't mangahood; we're not playing that ridiculous fucking game where Ed wins a conversation by going "You guys suffer racism? Well my village was affected by the racism you suffer, which is your people's fault actually. Checkmate, Ishvalans.") It's sad when they learn to reject Ishbalans who partake in alchemy, thereby telling Scar to fuck off from the camp. But seeing them help the elderly Exiled Ishbalan at the end of the show was a nice way to show their growth.

Fletcher: Just such a sweet little kid. He has a good heart, and he desperately wants to save his brother from Mugear's corruption. He can't pretend like Russell wasn't poisoning an entire town so he reaches out to the alchemists they had been impersonating. I'm tickled that the Tringham brothers are inverse heights to Ed and Al. Fletcher's just a little guy!

Sig: Top tier husband material. He never blames Izumi for what she had done to the remains of their baby and he won't ever leave her simply because she can no longer bare children. This man loves her so much. Soft spoken, doting without being overbearing, what's not to love? And hell, Meat Day wouldn't be the same without Sig's spectacular form.

Armstrong: A war criminal who, mercifully, does not have some bullshit arc about needing to learn how to be a more obedient genocider. If we focus only on the anime and not CoS, we're shown a character who does regret his involvement in the Ishbal Massacre, but we're not drowning in some perpetual self-aggrandizing pity. Unfortunately how he's written in CoS, "helping to restore" Liore (read: colonize Liore via philanthropy) is a massive backslide on his character. They thought this showed some sort of atonement and reparation, but given his visage getting plastered all over the new city, ignoring the input of the Liorans, and his continued involvement in the military, this is anything but. At least I like him well enough in the show only (CoS Armstrong would be firmly situated in the final tier). Also, of all the military officers in fma, Hughes, Ross, and Armstrong are the only ones I can reasonably buy as caring for the Elrics. The others being far less friendly/'familial' makes sense, and Armstrong having this nosey gentleman's disposition maps better with his time escorting the brothers. Still wish Scar managed to turn his brain into slush when he got the chance, but whaddaya gonna do.

Fritz Lang: This was a pretty funny move on Studio Bones' part. Make an actual well-known real man a mirror to one of the fictional characters in another universe takes some gall. I can understand why some critique Bradley's Earth version being a Jewish man as being in poor taste (that it can be read as antisemitic to imply that a fascist non-human would be Jewish in another dimension), but, for what little it's worth, I interpreted this to be an attempt to contrast class and political positions rather than imply that Jewish people are non-humans in a convincing human disguise (which, ironically, mangahood stumbles assbackwards into playing that trope straight). Earth!Bradley's portrayal managed to feel grounded enough, and given the movie's condemnation of antisemitism and Nazism, it does appear to have been done with good intentions. (This doesn't quite eliminate the bigoted trope being both present and worth acknowledging.) Where Bradley is transmuted into a homunculus (let's recall that whoever Bradley was when he was alive was, in fact, a human and not a "humanoid pretending to be a person" all along) and used to help run Amestris as a fascist dictatorship, it feels as though the writers wanted to show that this isn't some inherent characteristic of every version of this person. I won't dictate how anyone else, let alone how a Jewish person, interprets and feels about this choice. As for myself, I enjoyed his discussions with Ed, and seeing the more introspective, softer, and more artistic representation of someone who looks like Bradley. Hope Ed checks out one of his films someday.

Alfons Heidrich: Unlike a lot of the fandom I never latched onto Heidrich, but I like him well enough. He's so blinded by his passion for rocketry that he doesn't care about working for fascist benefactors. Picture perfect example of the 'apolitical' citizenry who treat their lives and goals as without consequence in the schemes of their society's exploitative machinations. What a great example of what Ed and Roy discuss in the end of the show! The themes of the sciences as institutions that reimburse societal ills and military hegemony are crucial here. As Ed had learned in the show, an apolitical scientific lens only serves to oppress the downtrodden and treat people as obstacles or mere resources for 'progress'. Heidrich is yet another exploration of this issue. The fact that Ed finds someone who looks eerily like Al to latch onto in his Earthly purgatory is some solid mindfuckery for the severely depressed young man and the audience alike. Their dynamic is interesting for that reason. Also he's friendly towards Noah and shows her hospitality when she has nowhere to turn to. Rip, you foolish German boy.

Gluttony: This homunculus gets the least character development of all the homunculi, despite being the longest lasting member of the Seven Sins. We see him from the very start all the way to the midpoint of CoS. Just before Dante lobotomizes him she reveals that she transmuted him specifically to serve as a philosopher's stone refinery; was his human self someone she felt would be useful for such a thing? If we're to believe Dante, it's unlikely that Gluttony had been a wayward homunculus ala Lust, who escapes/is abandoned by their creator and eventually found by Dante. Because then she wouldn't have made him for that express purpose, she would have merely aligned him to be so. And that doesn't seem likely, given that the philosopher's stone is her key to an unnaturally long life, so she would indeed learn to craft a homunculus who can properly act as a factory for stones once fed the real deal. So, was she running experiments across societal derelicts, people who were either already on death's door, or those no one would miss if they disappeared, until she was satisfied at her success? Or did she know his human-self and found something she could exploit to that end? Gluttony appears to have a simpler capacity for understanding the world: is this Dante's doing, or was his human-self a person with a cognitive disabilities that Dante preyed upon? Unless there's supplemental material or interviews I'm unaware of, we will never know and can only infer what skeletons are in his past. I do really love his friendship with Lust tho. That she almost always had him by her side, that she feels hurt that Gluttony was too scared to join her in helping Scar and disobeying Dante, how much he hates Scar for paralyzing Lust with the blue locket, and how distraught he is when Lust is missing- god, when he's told that she's dead? My heart actually aches at his pain. Dante wiping his capacity for conscious thought (disturbing Envy in turn) being the misstep that finally ends her life? Perfect. Also Stone Refinery Gluttony's design in CoS is SO GOOD. It's both fucking terrifying and manages to make me feel even worse for Gluttony (and Wrath, holy shit that fight was rough). And all along, Dante had indeed succeeded in her experiment. Good thing she wasn't able to reap the benefits.

Gracia & Elicia: Not much to say about these two. I appreciate that Ed, Al, and Nina help Gracia deliver Elicia when she goes into labour while at her house. She has an open door for the Elrics, Nina, Sciezka, and Winry, which is delightful. You can understand a little bit of Hughes' enthusiasm for her. And Elicia's an adorable toddler. Can't go wrong with that.

Barry the Chopper: I for one prefer the fact that Barry terrorizes Ed and Winry as a flesh-and-blood human before getting detained, given the death penalty, and used as a soul-tethered guard for Lab 5. That episode is intense, dark, and highlights just how dangerous Ed's journey will be. Without the use of his right arm and thus alchemy itself, Ed is completely helpless: which is excellent foreshadowing for the future. Surviving Barry is when Ed really closes himself off from everyone except Al, and pushes Winry away as well as anyone else he feels is endangered by his quest. And then of course armour-Barry plucking at Al's dysmorphia, which almost tears the brothers apart, means he's managed to traumatize these boys in ways particular to each's darkest fears. However we really didn't need the transmisogynist bullcrap ala the "deranged serial killer who feigns being a woman to lure in his victims" that the writers threw in there. That's a serious blunder on the part of the showrunners. Fuck that noise. But I love how he gets offed: after helping to kidnap Rick and unwittingly leading to the Elric's reuniting and making amends with one another, Barry runs in to kill Ed. Al steps forward to protect his brother, and in swoops Scar to end the fight altogether. Having someone who nearly murders the Elrics but who has sworn off pursuing them after seeing their potential to resist the Amestrian regime, step in to murder a different serial killer who has repeatedly attempted to murder those same boys? Ooh that's good.

Denny: Maria Ross' kinda-simping sidekick lol. He's friendly enough, if not a little innocuous compared to Ross. He's goofy, which is fun. Thankfully it's not overdone either. Poor guy gets cucked by Hohenheim though lol

Lujon: This man's bargain with, and deluded love for, the devil only bought the village doomed by her master's foul play some time and nothing more. The story of his village is one of fma 03's gems. Lust herself never once entertains the sexual desires of others, and in Lujon's case, his attachment to her reads both as too familiar ala her scant memories of Scar Bro, and perhaps insincere on his part. He would abandon his own fiancee and almost-wife at the alter for someone who has been manipulating him into creating a philosopher's stone. Killing him is Lust's way of severing what others project onto her, now that she is growing closer to reclaiming herself. It may even be argued: this is her rejection of Scar Bro and what he did to her. Lujon could not save his village, he could not cure Dante's utterly horrific contagion, and so he becomes a symbol for the limitations of alchemy in most people's hands. And he could never have cared for Lust for reasons outside of himself. That's why I find him so interesting.

The Exiled Ishbalan: The man who tears open the Elric's unexamined racism. I wish he was given a proper name, but in this case, where he is rejected by his fellow Ishbalans for practicing a forbidden science, it thematically fits that he is simply known for being a pariah. He reveals to Scar the Grand Arcanum, its Ishbalan history, and its use in creating a philosopher's stone. I'm glad he gets re-integrated with the Ishbalan refugees as they're all freed to rebuild Ishbal.

Claus: I have a soft-spot for this one-off character. She's a brash little butch kid who leads the local gaggle of boys, how could I not like her? She's trying to figure out why girls and young women are going missing, and what's behind the strange sightings of ghostly women around town. Motivated by her desire to find her older sister, her bravery and cocksure attitude are a treat. It's the rare instance of familial sisterly love in this show, which slots nicely with the focus on sibling bonds overall. Though Claus must live with the terrible revelation that her sister had indeed been murdered, unlike the Elrics she will not drown in grief forever. She moves forward, at least with the knowledge that there won't be any further losses for the other villagers. Really wish her arc wasn't concluded by having her adopt a "properly" feminine presentation thanks to Ed's goading (stfu Ed, your effeminate ass does not get to lecture others about conforming to gendered expectations). Claus, get that crew cut, don that paperboy cap, vest, and pants again, and don't let anyone shame you for living the way you want.

Belsio: I like his design. And he's a pretty chill dude all around too. Smart of him to not embrace Xenotime's philosopher's stone mania as a plague sweeps through the town. He's willing to provide shelter to travellers even when they may be frauds (they're not, but he doesn't turn away the Tringhams either once he learns who they are). Solid guy all around. But woe! Lemon stealing whores upon thy.

Seventh tier: Once again, critters! And although these pups certainly aren't characters comparable to the entire human and homunculus roster, they still get to rep the middle tier. A more lateral tier to the tierlist than anything else, but they'll sit here. Den is the goodest girl, Alexander is our tragic best boy, and Black Hayate is the cutest almost-meal.

Eighth tier: Ok so. Mustang. He's in a category of his own due to my very, very mixed feelings about him. I forever want to punt this man into the sun, but where mangahood makes me want to do so with exceptional viciousness, I can actually appreciate 03 Mustang's character and where the narrative takes him. I don't think he's a crap-quality character in this anime at all (this is not the same as arguing whether he's moral or not; he's not). Where mangahood Mustang feels so performative, plastic and convenient for gaining the approval of an audience despite his prowess in ethnic cleansing and rewarding himself for feeling """sufficiently""" sad about it, this Mustang isn't depicted as the Golden Boy Colonel who gets his government leadership dreams granted. He isn't the "doting father figure" many want of him based on their perception of the mangahood version. He's cold, calculating, a conniving ladder climbing fascist who can't square his dreams of power with what power actually does to its subjects. I can actually believe that this guy is actually internally hounded by being one of the most effective individual genociders amongst genociders. And this doesn't absolve him either. Within the 2003 anime we get no false promises about Mustang doing 'right' once he sits as the head of the nation. He also never leads Amestris, period. By his own hands he wipes away this possibility, rejecting the system altogether. His smaller scale, more clandestine coup actually does help loosen the military's grip on the state (though let's remember, a state is inherently oppressive and is not cleared of its ability to wage war and violence simply because the military is not officially running it). Of course, for reasons I can only speculate about, Conqueror of Shambala retcons this ending and tries to shove Roy back into the still-functional military. It's a shit decision, even where it's left to interpretation just how far he's willing to go back within the military ranks. One of CoS' big negatives. Setting that aside, I appreciate his final convo with Ed. It's a fantastic thesis statement on both Ed and Roy's arcs, as well as tying a bow on fma 2003's themes. Best thing I can do with this guy is to imagine he forever avoids the military and state after he renounces it all post-killing Bradley.

Ninth tier: Hey, they work as villains. I wouldn't change them since we need them as is. What more can I say?

Bradley/Pride: If the 03 team had been allotted more funds and time to continue the anime, I have no doubt they would have given Bradley more time to cook with a firmer backstory. As is though, he works well as the dictator trained in juggling the affairs of a ruthless state while aiding his creator's goals. His seemingly easy and affable demeanour always felt suspect, making himself seem approachable to his subordinates while keeping an eye on useful alchemists. The subtle evidence of the iron hand he wields under that facade kept me intrigued all those years ago. So once we finally get to the revelation of what he is, and when we hear him espouse his fascist beliefs during his showdown with Mustang, it hits! Bradley highlights the hideous ideology underpinning Amestrian governance and its society. And he's not the only character who is shown to believe in their "superiority" over those they deem lesser. Fascism doesn't begin and end with Bradley, or Dante for that matter. I much prefer that we get the reveal of him being a homunculus in the latter half of the show and, imho, him being granted the title of Pride makes a bit more sense given his dictatorship and nationalism. Also, I'm glad we don't have this Bradley characterized as a wife-guy. I'm sorry but I don't need yet another example of the 'redeeming' qualities of normative cishetero nuclear coupling. He strangles his (very human) adopted son to conceal himself and would burn his mansion down around his wife without a second thought if it meant he could settle a match and keep his hold over Amestris.

Cornello: So Cornello isn't some big shot villain but his place in kick-starting the show and the fantastic execution of those first two eps really lays the groundwork for the political and philosophical tensions 03 works with. The start of the show, and the payoffs in plot, character, and world development absolutely would not have hit as well if we didn't begin this odyssey with a white Amestrian theocratic puppet installed to lead Liore. And bless the writers for not having injected 56 different fucking gags smack in the middle of the serious moments and the standoff between Ed and Cornello (or that stupid Hulk Cornello that got tossed into Brotherhood). The chimeric avian abomination he makes and then looses on Rose left a lasting impression. He was well utilized, and his story harkens towards the real life actions of major empires like the USA and its global sabotage in supplanting American-backed leaders into target nations. So I really appreciate the role this colonizer conman (a redundancy in terms but hey) has for all of fma 03.

Tenth tier: There are interesting bits to these characters, but not enough to really propel them into the higher ranks.

Lyra: A hardcore state bootlicker who dreams of becoming an enforcer someday. She never improves as a person, but that's in some ways the point. I would have loved to get a little bit more out of her, but what could be more fitting for someone who gleefully wears her patriotism and love of mass oppression on her sleeve than to have her life snuffed out by a rotting body-snatcher who plays a role in maintaining that very systemic oppression? Also her character design slaps.

Havoc: Like most of the Amestrian soldiers in this adaptation, we aren't fed some version of Havoc who is noble, nor doting or kind to the Elrics. He's (say it with me now) a dog of the military and we accept that as his role. His personality is amusing, as is his eternal failures in getting laid. There really wouldn't have been much point in developing his character tbh, even if the show got a few more episodes to cook. He works as is. And thankfully he isn't injected into Lust's story whatsoever (she is infinitely better than him and would never fail to actually kill his ass <3333).

Riza: Tbh I just don't have much to say about 03 Riza. I could easily compare and contrast her to her mangahood counterparts (as I've done with many characters so far), but I'd rather convey that she (like 90% of Mustang's entourage) never stood out to me. Her actions in rounding up the Ishbalans so that the state can maintain them again in its refugee (concentration) camps is the most despicable thing we see her do. Despite what a lot of 03's promo art may lead some to believe, she doesn't have much of a role within this adaptation at all. Her biggest moment was helping Mustang infiltrate Bradley's mansion and killing Archer. And after finally seeing the absolute Royai-obsessed genocidal angsty-romance shit that is apparently the lifeblood of the mangahood canon (and much of the fma fandom too), I'll take this less relevant, less detestable use of Riza instead. I don't hate her, I don't like her, but she's juuuust interesting enough for me to plop her (slightly) above the neutral tier.

Eleventh tier: Don't take this as a "hate" tier. I don't dislike these characters. This is a collection of characters that are either too brief and simple to gain my attention beyond what they serve in the story, or they serve their role well and are memorable for that particular episode but lack the staying power or charisma to make me think more highly of 'em.

It's a bit of a grab-bag tier since I could make a sub-tier of everyone pictured:

I prefer Rick and Leo's mom, Lujon's fiancee, the mining town dad and his son, Mason, Dominic, the Devil's Nest crew above -> Scar's master and human!Selim, who in turn are above -> Majahal's "long lost" sweetheart, the remainder of Mustang's underlings, Grumman, and Bald.

For the characters I simply didn't even put on this entire tierlist you can feasibly toss them into the neutral pile as well.

Twelfth tier: Characters I would gladly shank to death if given the opportunity. Not because there aren't others in the above tiers who I wouldn't want to stab, but this lot don't click for me as standalone characters. However, I don't begrudge their existence in the show and their utility for the tone, themes, and progression of the show/movie. Thankfully we're never berated over the head to somehow sympathize with these guys, let alone feel for them on par with or above the genuinely more sympathetic characters. We aren't made to eat the military's shit and call it gourmet here, and that's why I still appreciate what these characters bring to the table. I wouldn't remove them from the story, but I'm glad they all get theirs eventually.

Yoki: A perfect example of the class benefits of statesmen and their enforcers, and how the bureaucracy of the state is itself oppressive. It will exploit resource-rich locales, extracting wealth from a captured labour force. Ed knocking him down from his cushy position, and Lust puncturing his cranium were some quality moments. Of course, fuck Yoki for alerting the state to round up the Ishbalans. At least it made his death that much more satisfying.

Majahal: The episode we encounter this acquaintance of Hohenheim's was one of the very, very few I would agree to call a mess, but it foreshadowed some very important truths about alchemy and alchemists through the vehicle of this aging serial killer. Although he does not perform human transmutation, he does kill young women and girls to tether them to mannequins sculpted after his 'lost' love. Despite the ep's problems with pacing and wonky storytelling (it really feels like the writers were still getting a hang of things), I like how awful this alchemist was. Majahal's actions and his beliefs helps cast some serious doubts on alchemists as a class and alchemy as a practice, on Hohenheim's connections, on what seeing people as objects for you to mold to your exact liking leads to, and that the scientism of alchemy should indeed be questioned. And hey, he gets the dubious honour of being Ed's first manslaughter! Woo!

Mugear: A piece of shit mayor who willingly poisons the populace of his town in order to create red stones at the behest of the homunculi. He wants more power than what he gets from his station, and has no qualms with how many people suffer and die. That he wants to use the placentas from the increased miscarriages that are occurring because of the red water is some next level evil. Yet another example of science wielded by power in order to exploit the masses.

Marco: A war criminal who defected from the military here too, but one who isn't given the opportunity to aid a future Fuhrer with yet another war crime. He was better off quietly living as a doctor for a small town who had no other medical professionals to tend to the townsfolk. Even though he reveals the truth to the Elrics about what the "Eastern Rebellion" really was (an invasion and a massacre), there's a certain poetry to Dr.Marco having been party to the Rockbells' murders. This version of him doesn't infuriate me the same way mangahood Marcoh does, but I'm not mad about him ending up as a solid meal for Gluttony either.

Shou Tucker: To reiterate what I said in my Broho tierlist: He's a monster (in this anime, figuratively and eventually literally too), everyone rightfully despises him, and he still performed fewer atrocities than the average soldier, let alone the war criminals in this series. Seeing him used as a secret scientist in Lab 5 as a warped chimera, and slowly growing mad from his desperate urge to, like the Elrics, undo his desecration of a family member is poignant and disturbing. He is truly what Ed could have become. If not his father or Dante, or any of the state alchemist war criminals, Ed could have become Tucker.

Earth!Hughes: For fuck's sake. Yes, he's a Nazi. No, this isn't some massive departure from what Amestrian!Hughes was. The nexus of the 03/Cos/Mangahood Hughes' are a fantastic litmus test for whether or not any given person has the political acuity regarding what the material realities of fascism, nationalism, and ethnosupremacy are versus a basal reliance on optics (bad to be a Nazi, fine to willingly join the institution of an imperialist state whose purpose is to capture land and people, and commit ethnic cleansing). Unfortunately the mass of fma fans (regardless of preference for any given media or continuities) absolutely fucking fails this test in spectacular fashion. In a sick bit of irony, Earth!Hughes hasn't done any genocide yet (as the Nazi party hadn't yet gained a solid foothold in German governance), but mangahood Hughes? Oh boy. Wow, does that beloved piece of crap mass murder Ishvalans. Mangahood!Hughes literally performs more overt fascist/imperialist violence compared to Nazi!Hughes. So I'm glad this specific, extremely relevant alternative version of this character exists. Because he lays bare the gaps in people's understanding of what fascism even is, and what societal structures create the foundation for said fascism to develop, and how none of you understood Fullmetal Alchemist to begin with. Which, shockingly, includes the original mangaka too lmao

Eckhart: CoS' Nazi big bad. I can't really say I feel anything particular about her as a character since she's more a cumulative picture of a ring leader to a fascist occultist subgroup than a character in her own right. She's the exact piece of shit one would expect, and for the purpose she serves in CoS that's all well and good. There isn't any time to really develop her further than that, but I will say that her breakdown into despising and fearing the people on the other side of the Gate was entertaining. Some may say it's a bit on the nose, and they're not wrong, but it flings back into Ed's face that all people have full lives and interiority; they're all real, and as always your actions ripple far beyond your little inner world. That, and the fact that deep-seated societal racism has its roots in governance, and that it will rear up into full scale destruction. It's everyone's responsibility to fight against this. So Eckhart is a useful tool for reiterating this topic. Oh, and the way she dies, covered in the mass of beings who inhabit the Gate, causing her to appear as though she walked out of a scifi horror flick? Love it.

Hakuro: Fuuuuuuuuuuuuuuuuck Hakuro, man. I'm glad we get to see him as some peaceful family man before witnessing his hand in the Lioran invasion and, likely, the instigator of Rose's gang rape. Why do I appreciate that framing? Because it undermines a common and often very successful propagandistic framing device that encourages people to humanize genociders and soldiers. It's a counterbalance to Hughes being the "military family man, so how bad can any of this really be?" This thematic tension reveals that propaganda: "Soldiers have families too! They're just trying to protect the most important and innocent assets members of the nation! Join the front to shield loved ones from the [foreign] scourge! All militarymen are people with grand ideals and pride in their people! How can you fault them for that?" It's a consistent way to embolden a nation's populace to not only sign up for service, but to rabidly defend their troops. Look at the very real fma fans who do this, pavlov style, for both their military blorbos and real life militaries! It works! But what I think is quite clever with what 03 does with him is two-fold: 1) he is not held up as a uniquely ~evil~ member of the military, in fact he's quite average. This is what the military is. The banality of evil is that it is carried out by people who join these institutions for xyz reasons and carry out their orders without qualms (and in fact he's just as much a rank climber as Mustang). And 2) We don't focus in on him as one of the select military/government officials that, if taken down, will suddenly render the military into an ethical, positive entity. Bradley is the closest to falling into this trope, and even then this show doesn't center that thinking. So Hakuro, and all the nameless scum who fill out the military ranks, are not an extra special breed of awful. They are human cogs of the machine, and anyone can be Hakuro. Not because "all humans are evil" (thereby equivocating genociders and their targets/victims), but because signing up to be a cog means you will grind people in your gears.

Basque Grand: The brigadier general who oversees much of the military's branches in Eastern and Lab 5 in Central. He made good use of the red stones to obliterate enough of Ishbal to propel him to his current (and final) rank. The man cares only about keeping everything running accordingly and securing his standing. After everything he does to Ishbal, to Nina, to the Elrics, and learning about the experiments run in Lab 5, seeing this jackass get his brain splattered by Scar, in public, in broad daylight, while moments before gloating about the stone he was going to use to kill Scar? Absolutely one of my fave moments in this show.

Archer: A proud war mongerer thrilled by every opportunity to send an armada in to stamp their boots over a populace. He's a scumbag through and through. Having half of his body disintegrated into the Liore philosopher's stone did give us a great shot of him screaming in pure agony, and on the other hand it gave us Terminator Archer. Granted, I can absolutely see the Amestrian state scientists and alchemists toying with mechanizing human beings (it's no less horrific and unethical than all the other bio-alchemical atrocities they routinely perform). And I can see them taking the opportunity to use any of their barely-surviving military personnel as fodder; if they could roll out even more dangerous pigs why wouldn't they? But the execution of this was haphazard. The design alone is a mess, but I can see what they were going for. If anything, his design should have been pushed into emphasizing that grotesque, industrial melding of metal to flesh. Like a dehumanization of the automail artisanship, have Archer be less cognizant, have us question if he can even be said to be human/alive/the same person, hell, have him be largely incapable of speech due to having half his throat missing. Let his communication be dictated by the sounds of machine functions, with a guttural, tortured noise as a subtle backdrop to each attempt at speech. So much potential for some quality machine-human body horror, unfulfilled. Though by this point the show was in full throttle to the finish line, so there wasn't much time or money left to flesh (heh) this out in such a way that it lands. I can't totally fault the team for having this be wasted potential. And not like it would have made me like the guy, but that's the point. He serves his narrative purpose well. Get wrecked, Archer.

Kimbly: Fascist supreme, but unlike in mangahood, he isn't positioned as a strange outlier to your average Amestrian citizen, militarymen, or statesmen. He's more violent insofar that he's willing to harm his fellow soldiers (and even that's not unique given what we're shown of Archer and Basque Grand), but he's not held up as an example of the "few bad apples poisoning the jackbooted bunch". I didn't know how good I had it with 03 regarding this version of this character! He doesn't get a ton of focus, he isn't made to be an "evil badass" to the extent Brotherhood does, and we don't get this douchebag having a moment in the spotlight to help Ed defeat a homunculus after giving his version of a friendship speech. Best of all, Scar gets his revenge against the man who maimed him and murdered his brother (let alone countless other Ishbalans). Fuck this dude, but I'm glad I can stand to see this asshole in this version thanks to far less insulting writing choices!

God, I love this anime. Everytime I rewatch this show I find so many new things to appreciate. Ruminating on the subtle characterization, politics, and storytelling that each watch-through uncovers really lets me savour the passion that Studio Bones poured into Fullmetal Alchemist 2003. And as my own perspectives on the world and my political philosophy itself matured I become all the more impressed with what they cooked all those years ago. I adore stories that make me feel, and it's all the more fantastic when its done with sincerity. They weren't afraid to tell hard stories. 03 doesn't try to run it back or serve you easy outs. Yet it never feels cynical, at least not to me. Not because cynicism would be unwarranted, but because this show truly feels for the strife of its world and characters.

I'll always come back to this adaptation. Even if most people forget it exists, I'll have something truly wonderful to remember and revisit for many more years to come.

[cripplecharacters]

Hello! I am writing a story where the mc's sister got into a car accident prior to the start of the story. She needed to have her left leg and right arm amputated at the elbow/knee, as well as some rib fractures. She was put in a medical coma for a while, and I was wondering how long would it take for her to be able to move around with a crutch, or begin prosthetic fitting? She still has a wheelchair, and her pt was pretty smooth. I know this is different for everyone, but do you have an idea for a rough timeline?

Thank you very much!

Hello,

Something you may want to consider is that the wounds you described alone probably aren't going to require a medical coma. An induced coma is almost always to protect the brain and give the brain time to heal, though it can be used for major injuries to something such as the heart or lungs if the situation is delicate and the patient being awake has a big chance of compromising their recovery. A coma is a last resort. At most, they'll probably only keep her sedated, not in a state as heavy as a coma, for a few days to let her injuries start to heal. But they aren't going to want to do that any longer than they have to.

Muscle wasting is a very real possibility with coma patients. They don't move for long enough and their muscles start degrading due to lack of use. There's also the huge risk of pressure wounds, like bedsores. A comatose patient needs to be moved and shifted as much as medically safe because a deep enough bedsore can be life-threatening and that needs to be avoided. There's a risk of blot clots, because the patient is laying down for a long time and blood clots can happen under those circumstances. Also, a patient in a medical coma will always, no matter what, without fail, be in the intensive care unit because they require a lot of monitoring to make sure they're healing. She will probably need to be intubated, because a medical coma is meant to force the brain to relax as much as possible and that can often mean the patient will struggle to breathe on their own. That intubation will make feeding tubes difficult, too. Not impossible, but difficult. You might also want to consider how long she's kept under. The longer a patient is kept in a medical coma, the longer it takes for them to come out of it once the reversal medications are administered.

The coma is going to put a very long extension on her recovery, just so you know.

As for how long recovery from an amputation takes, generally an amputation will heal in three to four weeks, though it might not scar over completely for as long as twelve to eighteen months. She'll probably spend at least one week in the hospital until her wound is starting to scar, during which time she'll learn base skills like transferring safely. Once it's safe, she'll probably be doing a lot of physical therapy to get used to moving around in a completely different way. That part of the recovery process can take up to four years, if not longer, before the patient has completely adapted. Of course, people can adapt faster than that.

She'll start training with a prototype prosthetic, something that isn't permanent and it just to help her get used to using a prosthetic, once she's out of the hospital. They'll be waiting for her residual limb to reach a stable shape, meaning there's not really a massive risk that her healing is going to require a bunch of different fittings. That will take anywhere between two to six months. Once that happens, she'll be fitted with a long-term prosthetic and then she'll get used to that. At this point she's probably kind of figured out most of how to navigate life, so now she's just getting used to the new leg and continuing to learn how to adapt to her circumstances. I'm not an amputee, so I can't tell you exactly what that would be like or how long it would take. Probably at least three months if she's a very dedicated and fast learner, but that's probably a bare minimum, as in the kind of adaption rate that only happens during clinical trials where doctors are overseeing and helping with everything.

And look, she's probably not going to be all that attached to a prosthetic arm should she chose to get one. The few upper-limb amputees I know if real life will either not bother, only have one because they thought they needed it before they learned how to adapt without it, or they just use it for a few minor things, like keeping people from demanding their medical history on the streets. I can't promise you it would be more practical, but it would probably be more practical for her to have a body-powered prosthetic rather than the new bionic ones that respond to the activity of certain nerves. There's a reason some amputees today still have hooks rather than the fancy ones, because the hook-type prosthetic works and going higher-tech would be kind of pointless because they're going about their lives just fine.

Here is the source I used for the amputee timeline.

Mod Aaron

[tobiasdrake]

That introspection on magic addiction is really insightful. Personally, my favorite addiction metaphor is the Venom Symbiote, especially in the Spider-Man 2 video game. It's really neat to see how Harry as Venom is basically the equivalent of being so drugged up that you practically become a different person

Oh man, the Venom Symbiote is so across-the-board in portrayals.

I love Marvel symbiotes. That was my favorite powerset as a kid. A superpower that is also your costume but is also a sentient partner who loves and cherishes you and is with you always.

I was a lonely kid who didn't have a lot of friends; That's my fault, nobody wanted to be friends with a paranoid bully with a victim complex and a growing sense of misogynistic entitlement. Can't imagine why. So I liked to fantasize about what it would be like to have a symbiote, who would make me super powerful and also be my best friend.

Cletus Kasady and the Carnage symbiote are absolute monsters but they're also really sweet together. Depending on the writer, of course, but Carnage is at his best when writers remember that the distinguishing thing about him over Venom is that Kasady and his symbiote are a fully-bonded match made in Hell. They have what Venom wants but struggles to get because interpersonal relationships are hard.

Venom is a character the writers go back and forth on a lot. Like, IIRC the original reason why Spider-Man got rid of the symbiote was because being attached to a living thing is icky. Reed Richards was like "That suit is alive," and Spidey went "OH FUCK NO GET IT OFF". I don't know. I might be misremembering that.

But that's kind of a bad look so writers instead play it up as a wicked parasite that feeds on pure evilness and turns its host cruel and vicious. Which goes a bit too far the other direction because now you've erased the nuance of symbiote characters. Venom has a long and storied history of being an antihero, just as much as he has of being a villain.

That's a side of the character you can't really get from "The Evilness Suit made of concentrated evil turns Venom evil, and now he can only ever be evil so long as he's wearing the evil substance." It always makes me sad when adaptations malign symbiotes as wholly and intrinsically vile.

Of course, I have no idea what's even going on with them anymore. They're like space gods made of pure goodness or some shit now. I think Carnage became Cthulhu at some point? Comics are weird. But going by what they were in the 90's and early 00's, I was a big fan.

[retellingthehobbit]

Your retelling, will it be implying a Thorin/Bilbo attraction?

I ask because I just discovered that ship and when I looked it up on tumblr, it led me to your work lolol

Every time someone asks me this I feel more like I'm making a Real Adaptation! I love the idea of people following this webcomic for years while analyzing the gay subtext as if they're waiting to see if Supernatural will make Destiel canon. a powerful feeling. The short answer is yes! The long answer is that it's complicated, and that if you're not a Bilbo/Thorin Person you should still stick around because I'm going to handle it in a very funky way that is not what you're expecting (also at the rate I draw, it won't be "canon" in the comic for approximately 2039482289798334534534534534 years.) Generally Thorin's role in my version of the story is that he's a living embodiment of The Quest, and Bilbo's feelings for Thorin mirror his feelings for the Adventure. When Thorin first arrives at Bag End, Bilbo is overwhelmed and annoyed and confused-- he finds him both fascinating and horribly frustrating at turns, and has no idea how to feel about Thorin in the same way he has no idea whether he'll join the adventure. As the story continues, Bilbo's feelings on the Quest will shift, and his feelings about Thorin will shift as well. I just really love the general idea of a new take on Thorin where he has a bit more pathos and a deeper relationship with Bilbo. I also think the way LOTR retroactively reframes The Hobbit as a story written by 'unreliable narrator Bilbo Baggins' adds to the possibilities a lot! there's a lot of queer subtext in Lord of the Rings, and it's fun to bring more of that subtext into the Hobbit. Tolkien often refers to hobbit adventures as "queerness,' and makes "queerness" the name for the thing that bigoted hobbits are afraid of; the fact that Bilbo has been repressing the "queer" part of himself that he inherited from his mother is, canonically, the thing he's struggling with in the beginning of the story.

I really enjoy the bit in the Unfinished Tales where Gandalf describes Bilbo like this:

And now I found that he was 'unattached' - to jump on again for of course I did not know all this until I went back to the Shire. I learned that he had never married. I thought that odd though I guessed why it was; and the reason that I guessed was not that most of the Hobbits gave me: that he had early been left very well off and his own master. No, I guessed that he wanted to remain 'unattached' for some reason deep down which he did not understand himself - or would not acknowledge, for it alarmed him.

That feeling of not being "out to yourself" and not knowing what it is that you want out of life is just!!! It's just very compelling to me.

Thorin's still gonna die though. Don't you hate it when you have this whole elaborate coming-out-to-yourself story but then your first gay crush is so Problematic he kiiiinda nearly starts a war so you betray him by stealing the Heart of his Mountain in order to prevent that war, but then the war happens anyway and he dies horribly :/. A universal gay experience.

Thorin is also an interesting character to play with, especially because I'm diverging more from the book (compared to Bilbo or Gandalf.) The way I'm planning to handle him is that he's a character we see only "from the outside," from the perspective of other characters, and no character sees every side of him. The dwarves portray him as a noble king; the elves portray him as a haughty arrogant joke, to the point where it affects Tolkien's own "translation" of the story; Bilbo has his own complicated feelings about Thorin, but even his portrayal of Thorin is heavily biased and he never gets to see the full picture.

But yeah-- the Hobbit is originally a very lighthearted story, but I do think there are lot of darker and deeper emotions you could explore in it if you wanted to, particularly if you bring in the metatext of how it's reframed in Lord of the Rings. And I do want to explore those darker emotions! So I am XD. There already was an extremely book-accurate comic adaptation of the Hobbit that came out in the late nineties (though it's super short and the pages are cramped to fit in all the prose)-- so I don't really see the point of being obsessively close to the original novel, since an obsessively close comic adaptation already exists. This comic is for the Weird Queer Overly Emotional Metatextual Reframing of The Hobbit!! Anyway, it's fun.

[aihoshiino]

I just want to start by saying I really love your analysis of Ai’s character! It’s nice to know that Ai still has some dedicated fans, even after she died in the story. Ai was fascinating to me throughout the time we got to know her. So it makes me happy that people still talk about her quite often.

I'll get straight to the point now. Lately, I've been unsatisfied with the writing of Oshi no Ko. I'm not a fan of how they've handled Ruby, the revenge plot, and Kana's concert. So, I decided to create my own alternate universe (AU) story featuring two of my favorite characters from the manga, Ai and Kana. The setting in the AU is somewhere around the time after Ai got scouted. The only change I've made to Kana is that she is the same age as Ai in this timeline. I'm not exactly sure how I want to develop their friendship or how they would meet, but I'd love to hear your honest thoughts. How do you think a friendship between Ai and Kana would unfold? I would like to say it wouldn't be an entire copy of RubyKana's dynamic, but I'm not entirely sure 😭. My goal is to portray Ai's feelings and the increasing pressure she faces, as well as Kana's struggles to find work and her gradual realization of her mother's exploitation. I also want to show how they balance their friendship despite being in different fields and supporting each other.

Thanks so much, anon! 💜 THIS IS SUCH A CUTE IDEA… Usually when I see fics of Ai and Kana interacting, it's with their canon age gap but the idea of them being peers is super interesting… please do drop it into my inbox if/when you write it!

The idea I had immediately was like - since we're already messing around with the timeline by making Kana and Ai peers, you could push up the live-action adaptation of Sweet Today and have them cross paths that way. Ai mentions in the Da Vinci Q&A that she would've loved to play the lead character if it was ever adapted - which as we all know is the role Kana plays in the story proper. There's already a surprising amount of parallels set up between Ai and Kana in the main story, but that one in particular really made me go ! so I think you could mine some interesting thematic stuff out of it.

That would also probably be a good way to put them in each others' proximity as well, I think! Like idk, maybe Kana was supposed to get the lead role but got bumped down to a supporting cast member when the production committee decided they wanted Ai's name recognition instead and now Kana has to balance being professional with seething over losing this role she really wanted to a girl who's not even an actress but also wanting to help her give a good performance j-just to make sure the show is good! Not for any other reason! … That kind of thing.

I definitely think they'd have an uphill struggle… they're both dishonest in ways that really clash, huh. I can really easily see the way Kana defaults to externalizing her vulnerability as snark and aggression accidentally setting off Ai's tendency to go belly up fawning mode, which in turn rubs on all Kana's insecurities and her feelings of not being good enough, which causes her to be even more reactive… I think they'd definitely end up having a big blow-up a la Nino and Ai before they could start properly communicating.

Once they're on the same page, though, I think they'd be really good friends! Ai is an incredibly affectionate and supportive presence for the people she loves and Kana is extremely proactively protective of the people she allows into her heart. I think they could really hype each other up and support each other in some really good ways.

Basically what I'm saying is;

[kana voice] HEY!!! SHE ASKED FOR NO PICKLES!!!!! [said while trying to restrain Ai from forcefeeding herself a burger she does not want in order to not mildly inconvenience another human being]

[gatitties]

Would you ever consider writing a continuation of your ‘Not in my world’ writings?

─ Strawhats, Heart Pirates & Kid Pirates x isekaed!student!reader

─ Summary: you are definitely not made for this world, luckily you have a good protective squad!

─ Warnings: none

Part one / Part three (Kid Pirates)

I have some more thoughts in mind but not many ideas, although I'm open to suggestions with the theme if you would like something specific :')

─ Before you were struggling with the stress of exams, now you're struggling with the stress of this crew, you can't even spend five measly minutes calm because you're already in hot pursuit.

─ Good side, no one knew you and no one seemed to notice you (just like in your class haha…) which got you rid of a 'wanted' poster at least for now.

─ Bad side, you were exposed to a ridiculous amount of dangers from which you couldn't defend yourself (beyond punching or biting someone).

─ Luckily you have a captain who gave you complete security, and when he was being stupid you always had a swordsman watching your back, and if he was lost you had a cook by your side to help, but if he was too busy (flirting) you also had the strength of a cyborg at your side, and if none of them were there to help you only had one thing left…

─ Cry.

─ You didn't underestimate the protection of Nami, Usopp, Robin, Chopper, Brook or Jinbe, but you felt much safer with those four idiots, for no specific reasons, they were the ones who got you out of trouble the most, but you would trust them all with your life.

─ And speaking of crying, it was the best way to deal with all this pressure of the change in the world, even though in your previous life you were not completely happy, the radical change still affects you, Robin was the one who consoled you the most for that and you always come when you feel bad.

─ At least, you left some of your pessimistic thoughts about your future or what was going to become of it, you just have to enjoy the little moments of peace that you had traveling through this world.

─ Sometimes you got a little irritated because everyone saw you as a scaredy cat (which you really were) and they saw you as a baby that they had to protect, you weren't even that little! although you were not going to complain about the protection when you find yourself in trouble.

─ Without a doubt, it was a change of scenery for the better (largely also for the worse) because it helped you forget about things from your old life and rebuild your person, maybe a little change didn't hurt you, but you still feared for your life when side of this team.

─ You definitely get a lot of hugs with Nami and Usopp when something scary happens.

─ Chopper still scolds you for your sleep schedule and has Brook put you to sleep early for your health.

─ Although you have improved your eating schedules and have started eating healthier thanks to Sanji.

─ You also started training with Zoro and Jinbe, not as intensely, just some defense and stamina because you're going to need it if at some point they're not there to save you.

─ It is clear that Law does not make much of an appearance, rather it's his actions that put him so high on the wanted list, he is much more discreet than Luffy.

─ But that doesn't mean that all his demands to keep you in the submarine cause you stress, much less than before, but it persisted in the back of your mind, couldn't he understand you from emo to emo?

─ Luckily, being a student means that most of the time you have to fend for yourself to survive tests, exams, works... without help because good or kind teachers? Nah, that doesn't exist or they're an endangered species, so you pretty much know how to do everything.

─ Or at least learn fast and adapt, you quickly accepted the dangers of the world and most importantly how not to attract attention (it's not like you had done it before), anyway you were learning from the best, Law knew very well how to go unnoticed.

─ The good thing, you took this whole thing as a little vacation, it didn't bother you too much not leaving the Polar Tang, plus it meant less trouble and less fear of someone stabbing you or something.

─ The bad thing, Law was very demanding with everything, he reminded you of a child demanding new toys (surgical material), unfortunately you couldn't disobey if you didn't want to end up abandoned to your fate.

─ From what you know Law is quite strong so you should be around him, the problem is that you are not useful when you get mentally worn out and it seems that if you receive a lot of demands your mind will just shut down and do everything wrong.

─ Of course, your captain will notice and let you rest and urge you to go out for a while when they stop on an island, he will keep an eye on you because he knows that your appearance stands out from the others, he did not have infinite clothes and sometimes you used the outfit with you ended up here.

─ Luckily you always had your back covered, if he wasn't there, Shachi and Penguin would always follow you as a good dynamic duo, they helped clear your mind due to the amount of absurd comments or jokes they told.

─ Bepo is always there for a hug, the best hugs you've ever had.

─ You started some self defense lessons with Jean Bart just for good measure.

─ Law would like to scold you for your bad sleep schedule but he was no one to talk about it…

─ However, he doesn't take long to point out all the things that are harmful to your health, like when you sit like a shrimp causing back pain.

─ You are doomed, if you thought Luffy was someone who made a scandal it is because you do not know this crew, you definitely threw away a long time ago (literally the first minutes in this world) the possibility of ending up in a beautiful or peaceful place, free of anxiety.

─ Before it caused you a bit of discomfort that your classmates didn't count on you with some activities, now you are more than grateful that your presence is like that of a ghost.

─ Kid doesn't care much if you get into fights or if you draw the attention of someone who could hurt you, if you are inside his ship you must be strong, he only cared that you didn't hurt yourself because he didn't want to have to clean your brains from his boat deck.

─ Don't worry about it, Killer has your back, even if he doesn't show it, he feels sorry for you and your unfortunate encounter with his world, because he was the one with whom you vented the most as if he were your own mother, he will do everything possible by talking to Kid so that don't expose you to so many dangers.

─ Kid agreed to be more 'soft' about your weakness since you were useful in many aspects, you know, you're not stupid and you know how to adapt despite being terribly scared.

─ The good side, you were stopped from involving yourself in small crew tournaments, be it wrestling, drinking, or even a little thumb wrestling, not to mention you wouldn't actively participate in anything that required force or violence.

─ The bad side, they started treating you like the most fragile person on the planet (Kid no, he just stopped being less of an idiot with you), you constantly had Heat and Wire as your personal bodyguards but there came a point where it was ridiculous even for you.

─ It's not like you've never felt scared (or harassed) of someone in your other life, not that you were a warrior, but if you had to throw punches, you were going to.

─ This is how you began to learn to fight with Killer, although he didn't like the idea very much either, he accepted because it never hurts to know something about defense.

─ They all agreed not to bombard you too much either with questions or tasks, they knew what would trigger your anxiety and didn't want you sticking any more forks anywhere else in their bodies, Wire was good at calming you down in the moments you were within a second of hysteria.

─ You couldn't determine if you preferred to suffer in your previous life or in this one, but you thought that being here gave you the courage to live that you didn't have before and you believed that you could improve your person now that you didn't feel so much social pressure on you, in a certain way, you were free.

[haunting-hufflepuffs-basement]

Oh my gosh. OH MY FUCKING GOSH YOU GUYS!

I just, for the third time, rewatched Puffs the Play. I need every single Harry Potter fan (especially those of you who are Hufflepuffs like me) to know about this amazing AMAZING show and go watch it PLEASE.

Puffs the Play is a tongue-and-cheek irreverent adaptation of Harry Potter that covers what the hell the Hufflepuffs were doing during Harry's time at Hogwarts. The main characters are:

Wayne Hopkins, a kid whose parents were murdered on the same night as Harry's and who was sent to live with his well-meaning but super weird and oblivious redneck uncle in New Mexico. He grows up as a completely normal muggle child until he gets his letter, at which point his uncle realizes "We gotta talk more" and he gets thrust into Hogwarts. Wayne believes that he's destined for something great and very much wants to be important and save the wizarding world. Unfortunately, Harry is also there.

Oliver Rivers, an American math savant who just moved to England with his family to attend Oxford's mathematics program. Oliver is very VERY salty about Hogwarts not having a math class and has a lot of struggles adjusting to the absolute insanity that is wizard school

And Megan Jones, a girl whose family is known for being "the Puff family. Like the Puffiest of the Puffs." All except her mother Xavia, who was an infamous and dangerous Death Eat---no wait, sorry, Death BUDDY, who is currently in wizard prison. Megan strives to be just like her mother.

These dorks, along with several other background Puffs from the books (Hannah Abbott, Ernie Macmillan, Justin Finch-Fletchley, etc.) navigate 7 of the craziest years at the most dangerous wizarding school guided under their amazing mentor Cedric. . .at least for a while . . . As Puffs, the most beaten up, looked down on, and "worthless" house.

Now, this play is absolutely amazing you guys. It's hilarious, for starters, and takes a lot of liberties with the books. Every single person there is a cloud-cukoolander who is full of adorkable charm and ridiculous sass towards canon. Common catchphrases include:

"HI!" with a signature adorkable little wave.

"We're WIZARDS!"

"We are not a threat! Please be our friend!"

"Oh. My. Wizard. God!"

It's a filmed play that is deliberately low-budget to help with the comedy. Salazar Slytherin, Rowena Ravenclaw, and Godric Gryffindor are all played by hand puppets. Harry is there, played by the same (female) actress as Susie Bones and is an absolutely hilarious oblivious sweetheart, but Ron and Hermoine are a pair of mops dragged around by other cast members. The cast is a total of, like, 10 people who just continually switch roles. The narrator won't stop taking pot-shots at both the canon Harry Potter story and the story of Puffs, and keeps breaking the fourth wall. Some of my other favorite quotes include but aren't limited too:

"HI CEDRIC! Love your bones" -Harry Potter

"J-Finch is imaginary!?!? J-FINCH CAN GO WHEREVER HE WANTS!"

"AVIA FORMES!" (Chucks bird at person)

"If it makes you feel any better, he's ugly, and he'll probably stay that way forever!" (Said about Neville by the way)

"Someone said the snake monster only goes after pretty girls so I shouldn't have to oh I get it they were bullying me."

"JESUS CHRIST YOU ALL ARE 13!"

"Students who are Brave! Students who are Smart! Students who talk like they're about to throw a glass of white wine in your face! And the Puffs!"

It's really funny you guys.

But it is also incredibly heartwarming and can be sad and serious at times. It's a story of unbreakabke friendship. It's a story about how to keep on going when the going gets rough. It's a story that says it doesn't matter if everyone else thinks you're a bit of an idiot or if you're socially awkward or if you fail a whole lot. As long as you keep trying and keep working hard, something good will be there for you (even if it's not the something you wanted). It's a story about embracing your true self.

It's a story that says "I'm a Puff. And I'm staying."

It has also permanently affected the way I read the Harry Potter books, as I project the Puffs personalities (and frequently looks) onto all the Hufflepuffs when they show up in the books, even if a lot of them don't really match.

Everyone, please go watch Puffs the Play, and understand why I have some strange headcanons about the background Hufflepuffs from the class of '98.