#fmab rain of sorrows

[disposablepapercup]

"This is bad. This is really bad. I have to move - now!"

[animesque]

[sleepysandy]

rewatch fmab ep 1

im rewatching since i read the manga

idk why im watching it again tbh

im a rewatcher what can i say

omg didnt even realize that the fuhrer was the one giving orders

i do not remember thr first ep going like tthid

damn the op spoils a lot

but u dont actually realise its spoilers

i totally thought that the fight between al envy glutonny on the bridge was gonna be s thing

i totally forgot that their voices sound like that

what are they doing in the capital anyways

in the manga i think they had rose first before going to the capital

they introduce a lot of important character early even tho they wont matter until later

ed hair down>>>

damn this ice alchemist is dumb as f

im also surprised that all the important characters in the early parts of the story are still vital until the end

which sounds like it should be a basic trait but a lot of stories abandon like half the cast halfway through

i totally forgot that the ice guy knew

quite a few know abt this grand plan

if the ice guy were smarter he couldve sped up the plot

he just has a pretty dumb plan

the music real good rn

ice guy too rash but he got the idea

ooh the black and white with red

what is this guys plan anyways

i shouldve known from the start that bradley was sus

i mean who stares menacingly

i totally missed the father clip

woah ice guy was supposed to be a pillar

these bitches are flexible changing plans like that

i dont think i saw this preview

e 2

i totally didnt expect their dad to still be alive

how long were they living alone

years???

where are social services

i just love the tiny hands when they do alchemy

what they already teased eastern alchemy

damn winry hard as f

asking a soldier whether or not theyve killed someone

cant believe they also teased sensei also did the taboo

ed has some balls

bradley probably knows right

that ed did the taboo

have they already thought they could be sacrifices

ep 3

pretty solid magic structure

the titles go hard as f

city of heresy

thats a slay

rlly asking a normal person to kill someone lmao

even the chimera has signs of transmutation

love the consistency

i also like that u have to may physical contact in order to transmute something

even with the stone

he made a fancy door lmao while escaping

cant believe its been a decade and nothing has come close this show

the 7 were def the best red herring

i totally thought that bradley was the big bad

did not expect the conflict to be deep

thought it would just be abt getting to the stone quicker

ep 4

cant believe scar was introduced pretty late

this manga is so well thought out

like every dot connects so well

cant believe they teased yoki as well

wtf was i not paying attention

sewing life alchemist??

thats too on the nose

bradley knew what was up

he was so sus already

like the hidden eyes

shady glasses

cant u just be a regular alchemist

like im pretty sure he can make a living being a normal alchemist

like cant he be a teacher

up to this point i thought the show was gonna be like a monster of thr week type of show

he fr looks scary

scar looked cool then

the lightning??

amazing

that episode went by so fast

ep 5

rain of sorrows???

amaxing

cant believe lior is real

totally thought lust was the boss of the operation

if villain why hot

hmmm so i think ever since ed took the alchemist exam he was already in line for the sacrifice

kinda funny that scar never got a name

scars the only one who got ed as the fullmetal alchemist right

thats literally a kid scar

he was a baby when the war started

riza ure so cool

armstrong the worst person to fight this guy

since hes the strongest when makes contact but thats also scars gig

woah resembool and ishval are pretty close

WINRY <<33

[un-local]

7, 12, 19, 24!

[7] What are your favorite relationships between OCs?

In my published work, I only have Mags right now. So her relationship with Rogier and Nepheli I think have been the funnest to draft out.

In my other stuff... hm. The dynamics between all my leads in my original works really. I always try to make them have a difference in philosophy that gets hashed out throughout the story, which is fun for me. How much do you owe your past? Do you keep faith in the future to do the right thing? When does shouldering a responsibility on your own become more burdensome than asking for help? So on, so forth.

[12] Which story took the most research?

For Still Waters, I swear I've watched so many hours of lore content. Unfortunately, it's all turned my brain to soup, so it hasn't done me much good. The other fics I have cooking in the background of my mind haven't really required much research, but as I get writing them, that may change.

For my original stuff, probably my fantasy story so far. It's taken me a lot of places. Pirates, cool tropical bird species, basics of certain sects of physics, crystal habits...

But honestly, the minute I apply it to my draft, the knowledge evaporates from my brain. So I don't even really have anything to show for it, lol.

[19] What are some things that inspired your stories? Real events? Maybe a dream?

Oh, god, I don't even know.

For me, storytelling is a puzzle, and I guess I solve it with cool visuals and my own personal emotional development and history. To give an example:

Rogier's "want nothing, suffer nothing" mantra was mine, to come clean about it. For me, it was a kind of way to brute force my way through rough times. Pare it down to the bare essentials, and keep moving.

I know we aren't really supposed to admit how much we're projecting ourselves onto characters, but with Rogier, I kind of had to. His dialogue and item descriptions pointed to a certain state of mind for me, and my own past told me how that might play out, if that makes sense.

But other inspirations I have are, off the top of my head:

Stalker 1979. It's full of these slow, uninterrupted long takes. They hold me down in the moment, and keep me there the whole time. Time seems to turn to molasses in that movie. It's hypnotic. The shots are so still, but there is always this slow, idle movement in the details that I fell in love with. The drops of rain, falling in the puddles. The fog, drifting through a still land. It all fills me with... some kind of emotion. I try to recreate that feeling in my writing a lot. That strange, muted feeling you get when you let yourself sink to the bottom of the pool as a kid. The way the world just washes over you.

Control 2019 tapped into a similar feeling, I suppose. There was this feeling of... surreal reverence I had when I was exploring the mesmerizing the architecture in that game.

Atlantis the Lost Empire. I felt awe and grandeur when I watched that movie as a kid. That sense of adventure, and of beholding something something the world knows nothing about. I don't know. I loved it.

Echoes of Time and Ring of Fates. Those games had an energetic, irreverent humor about the world it took place in, but then left me with such a feeling of loss and sorrow in the end. They took me to the extremes of emotion that I think were deeply cathartic for me as a kid.

FMAB. My memories of the details of the show are hazy, but it really stuck with me anyway. As a kid, I saw a fondness and familiarity in Roy and Riza's interactions, and I always seem to be trying to recreate in my original works. I felt like they knew each other's souls. There was this perfect symbiosis in them that I loved, you know?

Now, I don't know how identifiable these things actually are in my work, of course. But that kind of depth of emotion is something I think I'll always be chasing.

[24] Do you have/want a career in your medium? If not, what do you do/want to do instead?

Oh, I'd really love to. But past a few electives in school, I never had any formal education on storytelling/art, so the more technical/business side is totally over my head. Like, the format of a script, or what a pitch is supposed to look like, that kind of thing.

But I'd love to write and draw my own comics one day and be able to publish them. In the meantime, I'm doing this on the side, which doesn't bother me. So long as I'm doing it, I'm happy, I think. Even if I never publish, I'll always be writing and drawing my writing for funsies.

[ Prompt link—Send me a number! ]

[paintmosi]

Rain of Sorrows 🌧

[hatzuikhaz-art]

FMAB is a bad adaptation 2, electric Boogaloo

Are we ready to talk about how much brotherhood fucked up Scar's reveal, and subsequently his character and the treatment of the ishvalan subplots, are not.

Because let's be real here, fmab can't handle a dramatic reveal to save their life, and it shows.

In the manga, the first time we ever see Scar is when he is entering Shou Tucker's home. It is raining, he kills the guards, and then proceeds to terminate Tucker. When he sees Nina, Scar looks honestly remorseful, and it's sad when he kills her becuase not only is she Nina, but because this mysterious character treats is as a sad event. A sorrowful moment that could have been avoided, had humanity only listened.

He prays when leaving the house, to a God we as an audience not know yet, and leaves the scene just to have Hughes reveal the fact that he is a serial killer targeting state alchemist in the next chapter.

But is not just him revealing 'Oh yes, this is a sk we know'. Huges is snappy , sarcastic. You can really feel how tired he is of the chase, and the fear everyone feels when it's reveal that Scar has already killed one of the strongest state alchemists out there (put a pin on that, is coming back.)

Then we have the Ed and All fight, wich is epic, and the last piece of the puzzle is revealed. Scar is Ishvalan, and the past of Amestris is bloodier than we as the audience could imagine.

This is the first time Ed's sircumstances really sink in. We've known he is supposed to be a human weapon, but the destruction he could be forced to bring only settles in right then and there.

It's an amazing, powerful reveal, all taking place along volume 2 of FMA Manga.

The anime gives us two badly paced episodes, that don't care about the reveal, only the action.

First problem, we learn about the Ishvalan war of extermination on chapter 1, so the weight of the reveal is immediately lessened. We already know there was a genocide, but the anime treats is as a backstory detail that we shouldn't care that much about yet.

The second problem is in chapter 4, wich starts by showing an epic fight between Scar, and the iron blood alchemist, Basque Grand.

This is not a fight we are meant too see, because Scar didn't attack upfront. Scar is a coward, who attacked when his target was distracted and unable to react fast enough and defend himself. That reveal later on, on volume 15, gives us valuable insight in the direction Scar's character will take, but that's beyond the point.

The real problem with this episode opener, is that suddenly chapter 4, the Nina episode, gets cut short in favor of following Huges as he chases after Scar.

What is supposed to be a dramatic episode about the truly terrifying destructive potential of alchemy, and the depths humans will go to in order to keep their positions of power, is now a mystery thriller "catch the bad guy" episode. It really hurts the Nina subplot, and too this day brotherhood is the only FMA version that has failed on making me cry during the "Ed-ward" scene.

Cue to the fight scene between Edward and Scar, wich I also have bones to pick with.

How could they miss the point of Edward's character so much that he gives up HALFWAY THROUGH?!

Becuase in case you haven't noticed, in the Manga Edwars fights with all his might and wits in order to escape. It isn't until Al is in serious danger, that he pleads for Scar to have his life if it will make him allow Alphonse to leave the scene alive.

It's heart wrenching, because even facing his posible death upfront, Edward still looks determined to save his little brother. Because Edward Elric dosen't give up.

THE FIGHT SCENE IN BROTHERHOOD IS PATHETIC. I understand that maybe they wanted Ed to look younger, wich go off I guess, but making him give up and stop fighting, only for that to end with Alphonse getting hurt, is stupid.

Having Edward give up on life halfway through the battle is pathetic and so out of character it hurts. And you can tell the team knew this, because his almost s*icid3 attemp is never mentioned or acknowledged again.

Add that, to the fact that the subsequent "Civil war" reveal is cut short, and this whole Two episodes just feel dull and lifeless.

[crimniko]

“I don’t know where this ends. When will all the rain stop?”

Just a depressed Ed, because 2003 makes me wanna hug this boy more than  myself. Please someone give this boy a warm cozy hug.Oh and the flowers are: Purple Hyacinths: Sorrow, Please forgive meMarigolds:Pain and GriefYeah, thats all :’)))(Headline is part from the lyrics of FMAB OP5 english transalation, because it fits so much)

[mysterylover123]

Fullmetal Alchemist, Chapter by Chapter: Chapter 7 “After the Rain”

WARNING: SPOILERS, SPOILERS EVERYWHERE.

Chapter 7: First published February 2002 Japan; adapted into Brotherhood “Rain of Sorrows” aired 5/3/2009 in Japan, 3/13/2010 in US; “The Ishval Massacre” 2003 series, first aired 1/17/2004 in Japan, 2/19/2005 in US

CHARACTER ANALYSIS:

EDWARD ELRIC:

Ed opens this issue on his knees, hair before his eyes, missing an arm and helpless. This is the first of two times in the series that an enemy completely obliterates Ed’s arm. For contrast, check out the final fight with Father; Ed takes losing his arm there in stride and responds by making thorough use of his other three limbs to pummel the universe’s most powerful being into a pile of goo. The difference between then and now is that at this point in his story, Ed is completely reliant on Alchemy to solve all of his problems. Without two arms to perform alchemy, he feels like there’s nothing he can do, which ties into his general feeling of helplessness at the moment due to Nina’s death. So instead of fighting back against Scar, he just collapses. In addition, as Al points out, Ed could have run. This chapter/incident is great, for dissecting the classic “martyr stupid hero” trope, where the heroic character stupidly puts their life in danger when they don’t have to. Al calls Ed out for it, and Ed takes that lesson to heart; aside from the Winry - Scar incident, he never takes his life for granted again. Ed’s struggling with the realization that alchemy can’t solve everything, and that he can’t solve everything on his own. This incident, coupled with the Nina affair, is the first step on Ed’s road to realizing that one fundamental truth. His response to the backstory about Ishval, and Roy’s self-hate-y talk, is to state that Scar is killing people who had nothing to do with it and that’s not justified. There is some foreshadowing for the finale here too, when Ed also calls out “Truth” for what it does to Roy, and Father for initiating it. Both cases are a response to seeing Roy harmed by a villain who claims their act is just. Ed sticks up for Roy on those occasions. The parallels between the two shown in this chapter are highlighted in Roy’s section. This chapter also ends a portion of the manga; it’s an end to one part of Ed’s journey and the beginning of another, the first real step in his development.

SCAR:

Scar’s motivation is revealed here, as well as his belief that he’s an instrument of God. He’s at a pretty low point here, going after anyone who attempts to stop him, and like his enemies, he comes across as a little overly arrogant and convinced he can beat any foe. This fight has some foreshadowing for the ending fight with Father as well, since the key to winning is teamwork. Scar loses because he’s fighting a group of people who all care about the Elrics. This helps drive home the series’ message; you have to rely on other people sometimes. (Also, he gets a brief comedy moment in the manga, staring in stunned “…” when Armstrong strips.) The reveal of what happened in Ishval is poignant and helps humanize Scar, and keeps his character ambiguous. His actions open up some moral debate, for the characters and the audience.

ALPHONSE ELRIC:

Al gets to call Ed out here, in one of the series’ more emotional moments. He tells him not to give up on life, and even calls him an idiot. This is the first, and one of the only times in the series when Al loses his temper and calls someone an idiot, so it really goes to show how far this hits him. We don’t get much of Al’s inner thoughts on the Nina case, so why doesn’t he fall apart over it like Ed does? He was the first one to form the connection with Nina, after all. In Al’s case, my guess is because Al doesn’t think he can solve everything alone, so he doesn’t blame himself for what happened to Nina. Al can be self-blaming, like Ed, but he tends to channel any regrets into saving lives more actively - and due to his example, from now on Ed will too.

ROY MUSTANG:

Roy’s heroic charge to the rescue here initiates one of his more impulsive moments, and the first “Useless when wet” joke. He makes the connection to the murder at the Tucker estate and confronts Scar about it directly. This comic has what I think is the first incident of Roy’s “Angry eyes”; we all know Roy’s eyes can get scary when he’s pissed, and this has the first close-up panel on them, the white irises + tiny pupils look. He then makes his first impulsive decision (that we see in the series), attempting to fight Scar in the rain. Roy’s impulsiveness seems to be rooted in the same thing Ed’s (and also Greed’s and Lan Fan’s) impulsiveness is rooted from: Threatening someone he cares about. Here it’s all state alchemists, though specifically Ed. I like that Ed brings out Roy’s impulsive side here, and saves him from the same thing later on. Roy has Riza to step in and stop him from getting killed at the last minute. Here we have the two main duos of FMA, Ed and Al and Roy and Riza, and each has someone they care for reprimand them for being impulsive and nearly getting themselves killed. He spends a lot of the fight pouting about being “Useless”, which kinda helps parallel Ed here, and the ending fight with Father: in that fight, both characters also lose something that will help them fight (Ed’s arm and Roy’s eyesight), but continue fighting an incredibly dangerous foe regardless. Here, both pretty much give up on fighting the second they lose their go-to reliable method. Once Ed can’t use his arm to transmute, he sits out the fight and nearly lets Scar kill him. When Roy loses flame alchemy, he also sits out the fight, pouting about being “useless”. He noticeably mutters, sensitively “freaks…” when Hughes calls them that; perhaps a facet of his character to explore more in future. Roy has a tender moment towards the Elrics, musing on why their bond is so strong (envying not having siblings of your own, or comparing it to the bond between him and Hughes, to whom he’s speaking?).

Roy then reveals the important parallel between him and Ed, and why they share that ‘must solve everything’ streak: he also blames himself for something horrible he did with alchemy long ago, namely the Ishvalan campaign. He narrates the basic facts of the war (child shot, war broke out, etc), and then says that there’s justice in what Scar’s doing. It’s a pretty shocking, self-hating line, especially considering Scar just tried to kill friends of Roy’s. But that’s what motivates him, the self-hatred and remorse over what was done in Ishval. Ed, in response however, says firmly that Scar’s revenge isn’t justified; Roy responds by getting serious enough to order Scar dead and saying we “can’t care what people think of us.” This little exchange establishes Roy’s backstory and where he’s at emotionally at this point. The parallel between the military and the Elrics is useful, since the Ishvalan campaign and the failed transmutation (which happened around the same time, BTW, 1908-1910ish) both act as major motivators and guilty points for our two separate sets of heroes.

RIZA HAWKEYE

Riza’s quick-thinking and competence saves the day, or at least Roy’s life. She gets a subtle moment (shown in more detail in Brotherhood) where she puts a coat on Ed and smiles at him. This is a good moment, since it helps establish that she has warmth as well as badassery and incredibly aiming skills. Riza and Ed’s friendship is subtle, but definitely there. I want to say motherly, but since she’s only 10 years older than the Elrics (Born 1889/90), she may be more of a big sister figure. And they’ve got plenty of mother-figures anyway. Her role in the Ishvalan war isn’t touched on at this point (I wonder if her backstory was even written yet?).

MAES HUGHES

Hughes gets a standout moment here, where he hides throughout the whole fight. He gives a sound reason why, but this is in fact a part of his character. He’s got a wife and kid waiting on him, so the last thing he’s gonna do is die on them. He also demonstrates defensiveness of Roy, care and concern for the Elrics, and an understanding of how dangerous Scar is right now. We get a lot of Hughes’ character here, and we still haven’t gotten to his most famous trait (sharing daughter photos).

TITLE:

The rainy weather is pretty significant for this one - not just because it renders Roy useless, but for the sake of atmosphere. Scar whirls in like a living storm, and the weather clears up once he takes off. The classic case of “empathic environment”; it also lifts once Ed’s spirits lift. “After the Rain” could also be a reference to the life after the Ishvalan war, another kind of ‘rain’.

[thethunderfrog]

Roy Mustang (Fullmetal Alchemist) The scene this is from is where Roy is staring at his best friends grave. Disguising his tears as rain ("It's a terrible day for rain"), he tries to hide the 'weakness' of his sorrow. The scene itself is one of the more famous from the Brotherhood iteration of the series. #art #pencilart #drawing #pencil #pencildrawing #sad #roy #roymustang #hughesdeath #fma #fmabrotherhood #fmab #maeshughes