There have been plenty of articles, videos, and other opinion pieces debating which version of Fullmetal Alchemist is better. There are good reasons to like both, but I think most people would agree that Brotherhood is the best.
This makes sense, since Brotherhood sticks to a more coherent storyline, features better animation and action scenes, and has opening and ending themes (OPs and EDs) that are leagues better. Plus, Brotherhood was made after the manga was completed, unlike the 2003 version, which takes some creative liberties with the second half of the story.
All of the above is true, and both versions have their merits, but this article is going to highlight why I think the 2003 version edges out Brotherhood. This won’t be an exhaustive list, since many others have already done a more detailed comparison of the two. Instead, I’ll focus on the aspects of the story I believe are often underrated.
The 2003 version is a darker story overall, both in terms of thematic depth and its literal tone. The show has a darker color palette, which adds to its somber atmosphere. It also focuses more intimately on the two brothers, taking extra time to explore their psychology, motivations, and the depth of their brotherhood. In contrast, Brotherhood is more epic in scope, featuring a large cast and a grand narrative. While Brotherhood feels like an epic, I tend to prefer the more personal approach of the 2003 version. Of course, this is all a matter of personal preference.
Roy Mustang and the theme of war
Roy Mustang was better utilized in 2003. He is introduced in a more comedic fashion in brotherhood which I always found to be a bad way of introducing the character. He is introduced in the 2003 version as a stern no-nonsense soldier, whereas in Brotherhood he is made the but of a joke since he can’t fight in the rain. There is nothing wrong with Roy being silly at times. But as an introduction to such a vital character, I prefer the 2003 version a lot.
Roy’s voice acting is also far superior in the 2003 version, where he feels like a more grounded, real person. In Brotherhood, he comes across as more of a stereotypical anime hero, with a loud, over-the-top voice. Thanks to 2003’s more muted approach, Travis Willingham delivers a quieter, more intimate portrayal of Roy that feels much more relatable.
When the alchemists are pulled into the war, 2003 takes a much bleaker approach, with Roy being responsible for the deaths of Winry’s parents. This change is a brilliant one, as it adds significant depth to Roy’s character. He grapples with the weight of his actions and the moral cost of war in a way that feels far more personal.
The 2003 version leaves Roy with a form of PTSD and builds a powerful thematic throughline around the “war is hell” idea. This theme also drives Winry’s character, pushing her to the brink of shooting Roy in a moment of intense emotion. Her eventual mercy adds a layer to her character arc, giving her more depth beyond just being Edward’s love interest and mechanic.
When Roy meets Riza during the war, he notices how much her appearance has changed after having to kill as a sniper. These subtle but impactful changes in the characters’ development build the psychological complexity and introduce real consequences for their actions. The exploration of war’s impact is far more profound in this version.
Dante and The Homunculus
If there was any part in FMA 2003 that is FAR superior to Brotherhood it would be the villains. In my opinion, the homunculus from 2003 is vastly superior to its Brotherhood counterpart. Even if they are not as “badass” they still are utilized better for the story.
The first homunculi introduced are Envy, Gluttony, and Lust. The first half of Fullmetal Alchemist 2003 follows the manga closely, much like Brotherhood, so there’s not much to compare here.
There’s a scene where these three homunculi are sitting around a table in an inn (or something similar). It’s been a while since I’ve watched the episode, so I can’t recall exactly what they’re talking about. But honestly, the conversation itself doesn’t really matter.
Having a scene where the bad guys talk in a casual manner makes the world feel 10 times more alive and rich. By showing something away from the main characters, it gives the sense that the world is constantly moving, even when the heroes aren’t around. It’s a small detail, but one that many anime miss. Usually, when villains meet, they’re in some ominous location, talking about how evil they are. But here, having them gather in a casual spot to discuss whatever feels more realistic—and far more relatable. You get the sense that these three regularly meet up just to chat.
In Brotherhood, the homunculi are created by the main antagonist, Father, and are powerful servants who do his bidding. In contrast, the 2003 version’s homunculi are the result of a failed human transmutation ritual. This idea works on every level. Rather than being manufactured by an all-powerful figure, the homunculi in 2003 are the direct consequence of someone’s mistake—a reminder of the characters’ failures that they must eventually confront. This setup strengthens the thematic throughline and allows for much richer emotional storytelling.
Now for a quick breakdown between all of the homunculus to find out which version did it better.
Lust
Lust is pretty much the same in both versions. She’s introduced as the classic femme fatale—seductive, deadly, and straight out of 40s and 50s movies. She even meets the same fate in both versions. However, in the 2003 version, we get more insight into her backstory and learn a bit more about what led her to this point. So, in this case, the point goes to 2003.
Gluttony
Gluttony’s character remains mostly unchanged in both versions—he doesn’t have much depth to begin with. However, in Brotherhood, he’s far scarier, using his powers to consume anything in his path. His death is also much more impactful in Brotherhood, where he’s ironically devoured by Pride. In contrast, the 2003 version turns him into a massive, somewhat less compelling monster. While still a threat, it doesn’t quite have the same emotional weight. Point goes to Brotherhood.
Envy
He serves a lot of the same functions in both stories. He starts the war and kills Major Huges. Two actions that make him one of the most evil characters in the entire series.
In Brotherhood he becomes a big green monster like Gluttony did in 2003. Just like with Gluttony, becoming a big scary monster doesn’t really do it for me. He is behind some of the worst actions in the entire story yet he is completely sidetracked.
In 2003, Envy is more of a martial artist—kicking Edward’s ass toward the end, adding a personal touch to his villainy. He’s also revealed to be the son of Hoenheim, which creates a far more intriguing dynamic between him and Edward. This family connection deepens the rivalry and makes Envy feel more like an individual. Plus, his final act of walking through the gate himself is both a badass and symbolic moment. It feels like a powerful conclusion to his arc, making him a more memorable character. Point to 2003, without a doubt.
Greed
Greed plays a crucial role in 2003. He’s immune to damage, so Edward has to use both his alchemy and his wit to figure out a way to lower Greed’s defenses before landing the killing blow. This serves two major purposes:
First, it shows Edward as someone who can think on his feet and adapt to his opponents. He’s put in a situation where brains are more important than brawn, making him a more strategic, resourceful character.
Second, it forces Edward to actually take a life. Throughout both versions, Edward has avoided killing, and this moment has significant consequences for him emotionally. It helps set the darker tone of 2003, especially when compared to Brotherhood, where Greed is dispatched far more easily by Bradley. The point goes to 2003 here, no question.
I don’t really count Greed Ling in Brotherhood since he’s a very different character. While he has his own unique arc, I still feel that the weight of Greed in 2003 carries more significance to both the plot and Edward’s overall journey.
I do not exactly count Greed Ling who is a unique character from Brotherhood. I am not the biggest fan of the character and I still feel the weight of greed in 2003 is much bigger and significant to the plot and to Edward as a whole. Point to 2003
Wrath
Wrath (Bradley) is definitely handled better in Brotherhood. He has more screen time, engages in more fights, and is genuinely scary and powerful. In 2003, he actually turns out to be Pride, which changes the dynamic considerably. While he’s still intimidating in 2003, his identity is revealed too late to have much impact, whereas Brotherhood introduces him earlier, which builds far more tension throughout his scenes.
In 2003, Wrath is portrayed as a child, and frankly, he doesn’t add much to the story. He’s more annoying than threatening and doesn’t have the same presence as the other homunculi.
However, Wrath in 2003 is the manifestation of Izumi’s lost child, whom she tried to save through a failed human transmutation. This emotional backstory adds significant depth to his character, making him far more interesting than the version in Brotherhood, where he’s simply another creation of the main antagonist.
So while the point technically goes to Brotherhood, the portrayal of Wrath in 2003 is far more compelling and meaningful, in my opinion. When Brotherhood wins a point, it feels close, but when 2003 takes the point, it’s almost always in a landslide.
Sloth
Sloth is a big muscular man in brotherhood. He has no personality and is only used by his father to dig. He is kind of scary and it basically takes so much effort to kill him. I do appreciate that he’s surprisingly fast for his size, though, which adds a bit of danger to his presence.
Sloth is the manifestation of Edward and Alphonse’s mother who they tried to save like Izumi did her child. It forces Edward to confront his failures and he also has to kill his own mother. A mother he paid an arm and a leg to get back. This showcases once again how much more darker and emotional 2003 is compared to Brotherhood. Pont goes to….. 2003 of course!
Pride
Pride in 2003 is King Bradley himself, but it doesn’t do much for me. His role as Pride feels lackluster, and there’s not enough depth or intrigue behind it.
In Brotherhood, Pride takes the form of King Bradley’s child. He’s the strongest of all the homunculi, incredibly menacing, and his childlike appearance adds a chilling contrast to his evil nature. This version of Pride is much scarier and more compelling, earning Brotherhood a clear win here.
That being said, both versions have their merits, and you could definitely debate the points made. However, the fact that the homunculi in 2003 are manifestations of human transmutation gives them a much stronger emotional foundation. This element is what makes them significantly more engaging than their Brotherhood counterparts.
Dante vs Father
Father is the main antagonist in Brotherhood, but honestly, he feels like a bit of a letdown. His master plan is to sacrifice all of humanity by performing a massive alchemical transmutation to gain ultimate power—sounds epic in theory, but the execution is flat. His motivations are weak and lack personal stakes, making him feel more like a typical “world domination” villain than a compelling force. On top of that, his design is lackluster; for most of the show, he just looks like an evil version of Hohenheim, which makes him feel more like a recycled character than a unique threat. In the end, Father strikes me as a clichéd anime villain, with not much depth beyond his “I want ultimate power” mantra.
His origin as that little being in the flask a kind to “the truth” is well done. I like how he becomes that little being again when he is defeated.
In his final moments, face-to-face with God—or “the Truth,” as it’s often called—Father asks why he lost. The response is profound: “You never grew beyond your days in the flask.” Despite gaining immense power, Father’s mindset remained as narrow as when he was just a tiny being trapped in that flask. It’s a tragic flaw that ultimately leads to his downfall. That moment really resonated with me—it’s both humbling and inspiring to see how a weak mindset can undo even the greatest of powers.
On the other hand, Dante isn’t a supernatural being—she’s just a human. And in a way, that makes her inherently more compelling. As a human, she’s the underdog, not relying on overwhelming power but instead on persuasion and charisma to command the homunculi. She doesn’t create them out of thin air like Father; instead, she recruits them, offering them a purpose and a place to belong. This gives her a unique advantage: the homunculi have their own motivations and desires, and Dante simply guides them toward her own goals.
Dante’s method of immortality is equally fascinating. She transfers her soul from one body to the next via alchemy, ensuring that she will never die. It’s a straightforward, yet powerful motivation—she simply wants to avoid death and live forever. Her scheming nature makes her the true puppet master of the story, pulling the strings behind the scenes. While the homunculi act as the powerful foes that the protagonists face, Dante remains the true mastermind, operating from the shadows.
High highs and really low lows
I believe Fullmetal Alchemist 2003 is the superior series because it achieves so many more “highs” than Brotherhood. While 2003 certainly has its low points, the emotional and thematic highs it reaches make it stand out. That said, there are still several areas where Brotherhood surpasses 2003, and here’s a list of moments where 2003 definitely falls short:
The plant brothers
In one episode, Ed and Al meet two brothers who can make plants grow—or something like that. The episode feels completely irrelevant to the plot, and it’s one of the more forgettable moments in 2003. It drags the story down without adding anything meaningful.
Tuckers return
Shou Tucker returns as a monstrous being in an oversized jacket. His return is super bad even though he helps Ed with some information, he sounds strange I would have preferred it if he did not return.
No Olivia Armstrong
A fan favorite was not present in 2003. While I don’t mind her absence too much, I can see why it might be a disappointment for fans who enjoy her strong, commanding presence. It’s a small downside, but it’s one that Brotherhood gets right.
Scar is better
Scar is definitely more fleshed out in Brotherhood. His role in the story feels more pivotal, especially when he kills Bradley with the help of Greed Ling. Brotherhood gives him a more heroic arc, whereas in 2003, Scar’s character development is a bit more muddled.
The End?
Some people argue that Brotherhood wraps things up in a more satisfying way, but 2003 takes a darker, more complex approach. While Brotherhood has a more straightforward ending, 2003 requires a movie to tie up its loose ends. However, what 2003 offers that Brotherhood doesn’t is a much more impactful thematic conclusion—where Ed and Al are both alive, against all odds, which feels like the real victory.
Action
As I’ve mentioned earlier, Brotherhood’s animation and action scenes are vastly superior to 2003’s. The animation is more polished, and the action scenes are faster-paced and more fluid. While 2003 might lack in technical prowess, it more than makes up for it in emotional depth and thematic richness.
Conclusion
One thing that has always bugged me about Brotherhood is that Edward maintains his atheism throughout, even after talking to a self-proclaimed god. I mean, come on—what does it take to question your beliefs after that? But I digress.
Fullmetal Alchemist is a remarkable series, both in its 2003 and Brotherhood iterations. The concept of alchemy is fascinating, and the characters are some of the best in anime, hands down. While Brotherhood offers a vast, epic story, 2003 presents a darker, more intimate narrative.
Ultimately, Fullmetal Alchemist holds a special place in my heart. I don’t need to rewatch either version because both are etched into my memory, leaving a lasting impact for years to come.