Asking white people why we feel the urge to portray the Elrics as brown.
To nip this bad faith reading in the bud: No, I'm not speaking against the re-imagining of protagonists as people of color because a fan might want to see themselves in a work of art where they are underrepresented.
I'm speaking to the very specific recent (last ~5-10 years or so) fandom trend of giving Ed and Al darker skin and changing absolutely nothing about the context under which they move through their fictional world.
Any person with even some faint trace of a critical pulse can smell the stink on FMA's, particularly the manga's and PARTICULARLY BH's, racial politics. The protagonists are descended from a mythologized dead race of pale blond people from the desert, and Edward is also posited as the ultimate moral compass on which the series' thematic logic turns. The latter is archetypal of a Shounen. From jump, if we're delivering A Lesson, Edward is always right. The series generally doesn't think there's anything wrong with the militaristic status quo (so long as we rout the shadow cabal living under the capital (don't think about that too hard)), so Edward also thinks there is nothing wrong with it. This causes him, from time to time, to butt heads with survivors of a genocide perpetrated by the army that he works for. Because FMAB wants to have its cake and eat it, too: It postures as being about Serious Things, like industrialized imperialism, but it also abjectly refuses to shed its Shounen trappings, lest it come to the not-so-feel-good conclusion that it was the militaristic status quo that enabled horrific violence in the first place. The protagonist is a willful member of an elite class of soldiers who were deployed in recent living memory to wipe an indigenous population off the map, but he is ideologically opposed to using guns because they kill people. The protagonist must always win with friendship, might, and vague niceties about how all lives matter.
Making Ed brown does not alleviate this contradiction. It only highlights the insecurity of the white people in the room who can tell that something is Off, but aren't willing to engage with it in a meaningful way.
The knee-jerk reaction to make Xerxians darker isn't an unreasonable one. The canon as it is presented could have been lifted from one of many white supremacist pseudo-histories about mystical ancestral white people. The fact that FMA wasn't created by a white person does not negate this, especially when that person is of the majority within her own imperial nation. Hiromu Arakawa is not Ainu, and she has never claimed to be. The idea that she is comes from a game of fandom telephone based on an interview where she mentions that she has relatives who are. This erroneous extrapolation fits within the same bubble of white comfort as redesigning Ed to be brown: If Arakawa is indigenous, she has implicit authority on the subject of indigeneity within her fiction. If Edward is brown, then all the Ick that self-proclaimed progressive people get when he is talking down at Scar or Miles goes away.
But both of these sentiments are self-comforting fallacies.
Making Edward brown within the fiction of Fullmetal Alchemist while changing nothing about his worldview and experiences does nothing but provide a notion of legitimacy and authority to his moral stances that clash with other brown characters who have less favorable views on the military status quo. He is still a willing servicemember in an army that only a decade ago wiped an entire ethnic region off the map.
Brown Edward is just another entry in fandom's long legacy of "brown paper doll" characters-- Characters who are visibly people of color, but who have no cultural or ideological grounding that might reasonably stem from their racialization within the fiction. Characters who are palatable to white people because they do not force us into discomfort, whose suffering is Noble because it does not move them to hatred or violence against the systems and people who oppress them. Characters who very often have skin that's been eyedropped a shade darker, but who lack any other features deemed unfavorable by white supremacy.
I don't engage much with fandom critique these days, because after so much time here, I have come to the conclusion that the vast majority of people would rather dig their heels in and continue to pretend that an anime they like is something that is simply is not. That a cartoon "likes women" (whatever the fuck that means) simply because it has more women in it than others of a similar genre. That it is "anti-imperialist" because the imperialists who have more power when the curtain closes than they did when it opened Feel Bad about the genocide they did. This post is already written from the assumption that the reader is aware of the reactionary undercurrents of FMAB's themes and political messaging, which means it's already going to miss a lot of people who are, frankly, ignorant, be it because they lack the critical framework to deconstruct a story's contradictory or problematic elements, or because they simply don't want to or don't care. I know I'm not reaching them. I haven't even gotten into how glaring it is that the vast majority of fandom would rather put a coat of paint on Good Golden Edward than meaningfully engage with the characters of color who already exist in the show and whose identities are not so toothlessly convenient for a white audience's comfort.
My hope is only to encourage that, rather than shoving the discomfort out of sight and mind with a performance of progressivism, we face it down in our art. Edward Elric is a racist dickhead. How can we meaningfully explore that? How does he become a better citizen of the world? And by extension: How do we? Certainly not by reframing our thematic mouthpieces in the facsimile of a marginalized identity to lend legitimacy to everything they say in support of the oppressive status quo.
