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elrics-inferno · 1 year

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BAHAHAHAHA! I had such a blast.

Me: *shows @elrics-inferno a picture of Keefe, without telling her his name*

Her: I’m getting Brett or Garrett vibes.

#kotlc #keeper of the lost cities #shannon messenger #keefe sencen #kotlc keefe #the arcadia ledger

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elrics-inferno · 3 years

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@hrrraandm This is an excellent and extremely important point. I hope you don't mind me adding it on as a reblog. It deserves more than the tags. As a middle easterner, the negative connotation that comes with being in Arab in media has just become normal. And that is so, so wrong and so, so sad. If cultural connection to Persia really was Arakawa's intention (this is all just theory, though), a Persian name would have done the job well. The homogenization of Arab cultures is a topic for another post. There really isn't an excuse. Thank you so much for bringing this up.

Selim Bradley's name has always struck me as out of place, and I just realized why. It's foreshadowing, and it's absolutely brilliant.

I consider Amestris to be mostly based on Germany (although I do see influence from other Western European nations) with the exception that its lore and alchemy are connected to ancient Persia. The main characters largely have Western European/German-sounding names, such as Edward, Alphonse, Hohenheim, Roy, and so forth, which makes sense considering the setting.

Except for Selim.

Selim Bradley is the only major character whose name is Arab-coded. As an Arabic speaker, I noticed this difference immediately, but I didn't think much of it. In Arabic, the word "selim" translates to intact, safe, undamaged. It's a common name, which is why it eluded my scrutiny.

When we meet Selim, he is all those things. Before we realize he is a homunculus, he is just a normal boy. A harmless, happy, normal boy, whose innocence appears whole and unblemished.

However, when Pride reveals himself, we see that the monster that lives inside Selim, that is Selim, is fragmented. Any innocence we thought he had as a child is completely shattered, along with whatever knowledge of his character we thought we had. As pride, Selim is literally made of dark, glass-shard-like shadows. In other words, he is the opposite of selim. Anything but intact, undamaged, and safe.

This serves three purposes in the narrative.

1. It sets Selim apart from the other homunculi. Because he is Arab-coded, it automatically gives him a stronger connection to the Persia-inspired lore of Amestris, and therefore a stronger connection to Father and Hohenheim's origin story. Pride was the first homunculus, the first one separated from the Dwarf in the Flask because it recognized its pride as the biggest threat to its plan to become "god." As Father's fatal flaw, he has the strongest bond to Father/the Dwarf in the Flask. It makes perfect sense that his human identity would bear that cultural connection in name and in design.

2. Selim, both in name and character, is foreign. Even if the viewer doesn't catch on to the Arabic meaning, any English speaker (or anyone familiar with English or Western European languages) can catch on to the fact that "Selim" does not sound like a European name. Even before we learn that he was "adopted" or that he is a homunculus, we feel like he doesn't belong there. The name alone has us questioning things before we know we should even be asking questions. This leads me into

3. Foreshadowing, but mostly in hindsight (unless your critical eye is sharper than Pride's knife tentacles). Apart from the uneasiness that his foreignness sparks, the subtle but brilliant irony of his name being Selim when he is concealing the broken, deadly mess that is Pride in the adorable, innocent body of a child becomes dramatic irony when we rewatch the show. And it's not just because we obviously know Selim is Pride while the characters don't yet, but because we are aware of a completely new layer of deception with the aforementioned details in mind. The meaning of his name is never brought up in the show, meaning that it's not just Selim/Pride who is deceiving us and the characters, it's Hiromu Arakawa. With just his name, Arakawa is telling us to trust this character. It's ok, it's safe. The same way Selim so easily deceives Ed, Al, and Roy--a disarming facade. All of this contributes to the horror of realizing that Selim Bradley, this cute little boy, is not cute, or little, or a boy. And if your critical eye really is as sharp as Pride's tentacles, then it is absolutely possible to put together the oddity of his name and the visual, more obvious hints dropped throughout the show, to figure out that Selim Bradley is not what he seems, and that he might even be connected to the homunculi.

To conclude, I am once again in awe of the storytelling master who is Hiromu Arakawa, but what's new? I have a feeling I'm going to be discovering ways in which I was fooled and didn't even notice for years to come.

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elrics-inferno · 3 years

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Op this is an incredible analysis!!

actually I put this in the tags but I think it deserves its own post. The potential relationship between Xerxes and Ishval FASCINATES me.

Xerxes is located close to Ishval; they’re neighbouring countries. So I think it’s logical to assume that they probably had a lot of interaction and traded with each other frequently. Personally, I headcanon that Ishval used to be quite the trading hub, in part because of its connections to Xerxes and location right at the edge of the great desert. If we follow this headcanon, it makes sense that Ishvalan traders would likely be the first to discover Xerxes’ demise.

Can you imagine that? Traders come back with the news that your neighbouring country has died overnight. Corpses litter the street, most of them without a logical cause of death, and the only hint you have to go on are the trenches dug around the country, some straight through villages, one side of which is dead, and the other alive. And you follow the trench and eventually figure out that it’s a circle, and then you remember Xerxes’ obsession with their alchemy. So yeah, I think Xerxes’ demise was in no small part responsible for Ishval’s distaste of alchemy.

But more than that, I think they’ve probably intermingled a lot. Survivors of Xerxes’ massacre (who survived due to living on the fringes and just outside the transmutation circle) probably emigrated to Ishval and proceeded to live their lives there. Even before that, due to frequent trading, Ishval and Xerxes probably exchanged a bunch of customs and traditions, maybe even aspects of their religions. Perhaps Ishval was even introduced to alchemy long before either Amestris or Xing, and had developed their own type that has since been lost to time, due to their own reluctance to practice it after Xerxes’ demise, or because of outright targeted destruction after it.

And maybe this is looking to deep into it, but. As much as I understand blood was needed for Father’s transmutation circle, it’s worth noting that all other massacres we’ve seen were on much smaller scale. Liore was only one city, and didn’t even get fully wiped out; at Briggs only part of an army was needed to fulfill a blood quota. So why did Ishval need to be systematically slaughtered? Even if there was a higher blood quota needed at that specific spot, was THAT much really needed?

I think Father saw Ishval’s ties to Xerxes, frayed and lost as they were due to time, and got nervous. If Ishval indeed knew alchemy before Amestris did, they were the only ones who could point out that Father’s system of alchemy was flawed. They were also the ones most likely to figure out what Father’s plans for Amestris were; even though I doubt a coherent history of Xerxes survived, it’s likely tales of its fall lived on in folktales. And everyone knows myth frequently contains a grain of truth. And on a more personal note, if some customs and traditions from Xerxes carried over to Ishval, Father might have also simply gotten uneasy with that reminder of his past.

I think Ishval was targeted by Father not just because of its place on the transmutation circle, but as a dedicated effort to wipe out their knowledge of Xerxes, and their culture, which might have carried ghosts of it.

#ishval #xerxes #fma meta #fmab #fma

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elrics-inferno · 3 years

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i just found your blog through tumblrs reccomendation system and man, it looks so cool! I love the concept, i can't wait to read all the posts. I'll be reblogging to @alchahestry

Oh thank you so much! I'm so happy to hear you're interested. Feel free to leave comments and criticism and I hope you enjoy what little I've got here! You just made my day :D

#this is my #first ask #so kind #tysm

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elrics-inferno · 3 years

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Selim Bradley's name has always struck me as out of place, and I just realized why. It's foreshadowing, and it's absolutely brilliant.

I consider Amestris to be mostly based on Germany (although I do see influence from other Western European nations) with the exception that its lore and alchemy are connected to ancient Persia. The main characters largely have Western European/German-sounding names, such as Edward, Alphonse, Hohenheim, Roy, and so forth, which makes sense considering the setting.

Except for Selim.

Selim Bradley is the only major character whose name is Arab-coded. As an Arabic speaker, I noticed this difference immediately, but I didn't think much of it. In Arabic, the word "selim" translates to intact, safe, undamaged. It's a common name, which is why it eluded my scrutiny.

When we meet Selim, he is all those things. Before we realize he is a homunculus, he is just a normal boy. A harmless, happy, normal boy, whose innocence appears whole and unblemished.

However, when Pride reveals himself, we see that the monster that lives inside Selim, that is Selim, is fragmented. Any innocence we thought he had as a child is completely shattered, along with whatever knowledge of his character we thought we had. As pride, Selim is literally made of dark, glass-shard-like shadows. In other words, he is the opposite of selim. Anything but intact, undamaged, and safe.

This serves three purposes in the narrative.

1. It sets Selim apart from the other homunculi. Because he is Arab-coded, it automatically gives him a stronger connection to the Persia-inspired lore of Amestris, and therefore a stronger connection to Father and Hohenheim's origin story. Pride was the first homunculus, the first one separated from the Dwarf in the Flask because it recognized its pride as the biggest threat to its plan to become "god." As Father's fatal flaw, he has the strongest bond to Father/the Dwarf in the Flask. It makes perfect sense that his human identity would bear that cultural connection in name and in design.

2. Selim, both in name and character, is foreign. Even if the viewer doesn't catch on to the Arabic meaning, any English speaker (or anyone familiar with English or Western European languages) can catch on to the fact that "Selim" does not sound like a European name. Even before we learn that he was "adopted" or that he is a homunculus, we feel like he doesn't belong there. The name alone has us questioning things before we know we should even be asking questions. This leads me into

3. Foreshadowing, but mostly in hindsight (unless your critical eye is sharper than Pride's knife tentacles). Apart from the uneasiness that his foreignness sparks, the subtle but brilliant irony of his name being Selim when he is concealing the broken, deadly mess that is Pride in the adorable, innocent body of a child becomes dramatic irony when we rewatch the show. And it's not just because we obviously know Selim is Pride while the characters don't yet, but because we are aware of a completely new layer of deception with the aforementioned details in mind. The meaning of his name is never brought up in the show, meaning that it's not just Selim/Pride who is deceiving us and the characters, it's Hiromu Arakawa. With just his name, Arakawa is telling us to trust this character. It's ok, it's safe. The same way Selim so easily deceives Ed, Al, and Roy--a disarming facade. All of this contributes to the horror of realizing that Selim Bradley, this cute little boy, is not cute, or little, or a boy. And if your critical eye really is as sharp as Pride's tentacles, then it is absolutely possible to put together the oddity of his name and the visual, more obvious hints dropped throughout the show, to figure out that Selim Bradley is not what he seems, and that he might even be connected to the homunculi.

To conclude, I am once again in awe of the storytelling master who is Hiromu Arakawa, but what's new? I have a feeling I'm going to be discovering ways in which I was fooled and didn't even notice for years to come.

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elrics-inferno · 3 years

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@aphel1on I hope you don't mind me adding this on as a reblog, because it's a fantastic point! Selim absolutely does fulfill his name's meaning by the end of the series. In that aspect, we can consider that to be foreshadowing his eventual state of being: an actual normal, safe child whose innocence is intact. Thank you so much for leaving this comment!

Selim Bradley's name has always struck me as out of place, and I just realized why. It's foreshadowing, and it's absolutely brilliant.

I consider Amestris to be mostly based on Germany (although I do see influence from other Western European nations) with the exception that its lore and alchemy are connected to ancient Persia. The main characters largely have Western European/German-sounding names, such as Edward, Alphonse, Hohenheim, Roy, and so forth, which makes sense considering the setting.

Except for Selim.

Selim Bradley is the only major character whose name is Arab-coded. As an Arabic speaker, I noticed this difference immediately, but I didn't think much of it. In Arabic, the word "selim" translates to intact, safe, undamaged. It's a common name, which is why it eluded my scrutiny.

When we meet Selim, he is all those things. Before we realize he is a homunculus, he is just a normal boy. A harmless, happy, normal boy, whose innocence appears whole and unblemished.

However, when Pride reveals himself, we see that the monster that lives inside Selim, that is Selim, is fragmented. Any innocence we thought he had as a child is completely shattered, along with whatever knowledge of his character we thought we had. As pride, Selim is literally made of dark, glass-shard-like shadows. In other words, he is the opposite of selim. Anything but intact, undamaged, and safe.

This serves three purposes in the narrative.

1. It sets Selim apart from the other homunculi. Because he is Arab-coded, it automatically gives him a stronger connection to the Persia-inspired lore of Amestris, and therefore a stronger connection to Father and Hohenheim's origin story. Pride was the first homunculus, the first one separated from the Dwarf in the Flask because it recognized its pride as the biggest threat to its plan to become "god." As Father's fatal flaw, he has the strongest bond to Father/the Dwarf in the Flask. It makes perfect sense that his human identity would bear that cultural connection in name and in design.

2. Selim, both in name and character, is foreign. Even if the viewer doesn't catch on to the Arabic meaning, any English speaker (or anyone familiar with English or Western European languages) can catch on to the fact that "Selim" does not sound like a European name. Even before we learn that he was "adopted" or that he is a homunculus, we feel like he doesn't belong there. The name alone has us questioning things before we know we should even be asking questions. This leads me into

3. Foreshadowing, but mostly in hindsight (unless your critical eye is sharper than Pride's knife tentacles). Apart from the uneasiness that his foreignness sparks, the subtle but brilliant irony of his name being Selim when he is concealing the broken, deadly mess that is Pride in the adorable, innocent body of a child becomes dramatic irony when we rewatch the show. And it's not just because we obviously know Selim is Pride while the characters don't yet, but because we are aware of a completely new layer of deception with the aforementioned details in mind. The meaning of his name is never brought up in the show, meaning that it's not just Selim/Pride who is deceiving us and the characters, it's Hiromu Arakawa. With just his name, Arakawa is telling us to trust this character. It's ok, it's safe. The same way Selim so easily deceives Ed, Al, and Roy--a disarming facade. All of this contributes to the horror of realizing that Selim Bradley, this cute little boy, is not cute, or little, or a boy. And if your critical eye really is as sharp as Pride's tentacles, then it is absolutely possible to put together the oddity of his name and the visual, more obvious hints dropped throughout the show, to figure out that Selim Bradley is not what he seems, and that he might even be connected to the homunculi.

To conclude, I am once again in awe of the storytelling master who is Hiromu Arakawa, but what's new? I have a feeling I'm going to be discovering ways in which I was fooled and didn't even notice for years to come.

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elrics-inferno · 3 years

Text

Selim Bradley's name has always struck me as out of place, and I just realized why. It's foreshadowing, and it's absolutely brilliant.

I consider Amestris to be mostly based on Germany (although I do see influence from other Western European nations) with the exception that its lore and alchemy are connected to ancient Persia. The main characters largely have Western European/German-sounding names, such as Edward, Alphonse, Hohenheim, Roy, and so forth, which makes sense considering the setting.

Except for Selim.

Selim Bradley is the only major character whose name is Arab-coded. As an Arabic speaker, I noticed this difference immediately, but I didn't think much of it. In Arabic, the word "selim" translates to intact, safe, undamaged. It's a common name, which is why it eluded my scrutiny.

When we meet Selim, he is all those things. Before we realize he is a homunculus, he is just a normal boy. A harmless, happy, normal boy, whose innocence appears whole and unblemished.

However, when Pride reveals himself, we see that the monster that lives inside Selim, that is Selim, is fragmented. Any innocence we thought he had as a child is completely shattered, along with whatever knowledge of his character we thought we had. As pride, Selim is literally made of dark, glass-shard-like shadows. In other words, he is the opposite of selim. Anything but intact, undamaged, and safe.

This serves three purposes in the narrative.

1. It sets Selim apart from the other homunculi. Because he is Arab-coded, it automatically gives him a stronger connection to the Persia-inspired lore of Amestris, and therefore a stronger connection to Father and Hohenheim's origin story. Pride was the first homunculus, the first one separated from the Dwarf in the Flask because it recognized its pride as the biggest threat to its plan to become "god." As Father's fatal flaw, he has the strongest bond to Father/the Dwarf in the Flask. It makes perfect sense that his human identity would bear that cultural connection in name and in design.

2. Selim, both in name and character, is foreign. Even if the viewer doesn't catch on to the Arabic meaning, any English speaker (or anyone familiar with English or Western European languages) can catch on to the fact that "Selim" does not sound like a European name. Even before we learn that he was "adopted" or that he is a homunculus, we feel like he doesn't belong there. The name alone has us questioning things before we know we should even be asking questions. This leads me into

3. Foreshadowing, but mostly in hindsight (unless your critical eye is sharper than Pride's knife tentacles). Apart from the uneasiness that his foreignness sparks, the subtle but brilliant irony of his name being Selim when he is concealing the broken, deadly mess that is Pride in the adorable, innocent body of a child becomes dramatic irony when we rewatch the show. And it's not just because we obviously know Selim is Pride while the characters don't yet, but because we are aware of a completely new layer of deception with the aforementioned details in mind. The meaning of his name is never brought up in the show, meaning that it's not just Selim/Pride who is deceiving us and the characters, it's Hiromu Arakawa. With just his name, Arakawa is telling us to trust this character. It's ok, it's safe. The same way Selim so easily deceives Ed, Al, and Roy--a disarming facade. All of this contributes to the horror of realizing that Selim Bradley, this cute little boy, is not cute, or little, or a boy. And if your critical eye really is as sharp as Pride's tentacles, then it is absolutely possible to put together the oddity of his name and the visual, more obvious hints dropped throughout the show, to figure out that Selim Bradley is not what he seems, and that he might even be connected to the homunculi.

To conclude, I am once again in awe of the storytelling master who is Hiromu Arakawa, but what's new? I have a feeling I'm going to be discovering ways in which I was fooled and didn't even notice for years to come.

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elrics-inferno · 3 years

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Why is one of the first things that we ever learn about Roy Mustang the fact that he is useless in the rain?

So at this point, I think we’ve all heard or realized that Roy Mustang’s rain/water motif is not just a physical limitation for his alchemy but also a symbol for his regret and “uselessness.” It’s a brilliant metaphor that elementally balances him out.

And it’s introduced the moment we meet him.

While it does serve as a bit of comic relief during the extremely intense first episode, the significance of it being in that episode is still important to Roy’s development and how the audience develops their understanding of him throughout the series.

First, we need to contextualize it. The first episode is centered around Isaac McDougal, the freezing alchemist (as in an alchemist who freezes, not a really really cold alchemist, although “Isaac the Really Really Cold Alchemist” would be a fantastic name. Anyways). Isaac’s goal is to freeze over Central Command via a city-wide transmutation circle using a philosopher’s stone.

The plot of the first episode is a parallel to the plot of the entire series, and it is full of foreshadowing. In terms of exposition, it isn’t very subtle. The basic exposition of characters like Ed, Al, and Roy is pretty much told to us through dialogue. However, that choice is justified. For people who are completely new to the FMA world, as I was when I watched this two years ago, the first episode has a lot going on. New members are not only meeting all the characters, but they are also trying to put together what alchemy is, where and when this is taking place, and who they should be rooting for. And THAT is where the brilliance (in my opinion) comes in. Watching the first episode through for the first time, the audience is rooting for Ed and Al (because they are the protagonists), and the military (because our protagonists trust them and are part of it). When our protagonists are told to capture Isaac and to view him as a traitor, we do, too. It’s only when Isaac confronts Ed about his beliefs about the military that we start to question our own. But even then, we aren’t given enough information to understand why we should question the military. However, watching the episode in hindsight, our loyalties are switched. Isaac becomes the hero trying to take down the evil military, and Ed, Al, and Mustang become the villains.

So, back to Roy. During the first episode, aside from getting the basics of who he is and what he does, we don’t learn much more about him. Just these two things:

1. He is a veteran of something called the Ishvalan War (and the Ishvalan War is apparently controversial based on conversations between Isaac and Roy and Isaac and Kimblee).

2. He can’t make things go sparky sparky when he gets wet.

And those two things are arguably the most important parts of who Mustang is and what he has been through.

First, let’s talk about Roy, Isaac, and Ishval. As the first episode unfolds, the audience knows nothing about what happened in Ishval. But Roy and Isaac do. In hindsight, knowing how Roy feels about the Ishvalan War and what he did there, why on Earth would he be calling Isaac a traitor? Roy knows that the military is corrupt (although not to the extent that he will). Roy’s biggest regret is blindly following orders in Ishval. Roy has his eyes set on becoming the Fuhrer and changing things. Roy is literally a genocidal war criminal who stages a coup from an ice cream truck and overthrows the military. And somehow Isaac is the traitor?

Roy is following orders because he has to in order to achieve his goal. He is putting on a loyal-to-the-military act and biding his time until he can admit to the world that Isaac was right.

Er, that his ideals were.

See, Isaac is Roy’s elemental opposite. Isaac is water, Roy is fire. He is also Roy’s narrative foil. While Isaac’s plan lacked patience and was too rash to ever succeed, Roy’s plan has taken him and will take him years, and he has been extremely careful curating it. It’s ironic to me that the character associated with water would act more rashly and have less patience than the character associated with fire. That’s not to say that Roy doesn’t act rashly. Roy’s impulsiveness and vengeance-driven actions are some of his greatest setbacks as a character.

But Roy is also intelligent and strategic in achieving his greater goals. His dependence is on his closest allies, while Isaac’s dependence is on a philosopher’s stone. And while the characters do not yet know the ingredients for stones in the first episode, Isaac’s use of one to accomplish his ultimate goal is what sets him apart from Roy and the Elrics. And yes, Roy does use a stone to regain his eyesight, but he does not depend on one during his coup. I would even argue that Isaac’s use of a philosopher’s stone could also be foreshadowing Roy’s eventual use of one in addition to foreshadowing the overall plot. It’s also important for us to see Isaac defeated in the first episode because it shows us that although philosopher’s stones remove the law of equivalent exchange, they do not make the user all-powerful. At the end of the day, the user can still be defeated.

Another difference between the two is how their limitations are presented in this episode. Isaac’s alchemy is unlimited because of the philosopher’s stone, but the first thing we learn about Roy Mustang’s alchemy is that he is limited by water. This leads me to the second point.

Establishing Roy’s limitations in the first episode does a few things for us:

First, it establishes that he is dependent on Riza and trusts her in his most vulnerable moments. That even though Riza knows how easily Roy can be overpowered, she still chooses to stay by his side, protect him, and help him accomplish whatever he sets out to do.

Second, we get a peek at Mustang’s creativity and perseverance. His determination and intelligence is displayed in how he overcomes the limitations presented, and it makes us want to root for him.

Third, it gives us some information as to how alchemy works. We see a few types of alchemy in this episode: Ed’s without a circle, Isaacs’s with a circle and elemental, Roy’s with his transmutation circle gloves and unique flame alchemy, and Major Armstrong’s forceful style. This helps us get an idea of the varying styles of alchemy, varying ways of how it can be used and manipulated, and the different forces that use it for their benefit or the benefit of others.

Lastly, it begins the “uselessness” theme. It tells us that even though Mustang is an extremely powerful alchemist, there are still things that he can’t control. That there are forces that can overpower him, and the best thing he can do is to get back up and try again until he accomplishes his goal. We also see Roy’s anger at those forces, the ones that render him unable to do anything. And we see him use that anger to fuel his alchemy and overpower them.

“The power of one man does not amount to much, but however little strength I am capable of… I’ll do everything humanly possible to protect the people I love, and in turn they’ll protect the ones they love. It seems like the least we tiny humans can do for each other.”

Roy Mustang, Fullmetal Alchemist: Brotherhood

#fmab #roy mustang #riza hawkeye #royai #fullmetal alchemist #fullmetal alchemist brotherhood #fullmetal alchimist brotherhood #fullmetal alchemist: brotherhood #fma #meta #fma meta

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elrics-inferno · 3 years

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Male vs. Female sexualization in FMAB is not equal, so let's discuss it!

First off, looking through the tags of my Olivier post was extremely encouraging. Thank you for all your support! I did catch a few points that I want to expand on, though. Particularly:

@cloudheaded you are absolutely right and I 100% agree with you. And thank you for being so kind about this!

Female sexualization in the shounen genre is extremely common and overdone, and one of my favorite things about FMA is the fact that the women are almost never sexualized.

There are still shots like Winry's bathtub shot, Winry boob shots, and Izumi boob shots that are typical for the shounen genre but are absolutely not okay and unnecessary. They are sadly still included because of the genre's standards.

When it comes to male sexualization (which is mostly still ab shots. Ed was entirely naked at one point but nudity and sexualization are definitely not the same thing), it's almost always used as comedic relief. To be honest, the only exception I can think of is that shot of Roy where-- oh here it is. Thanks, Tumblr.

That is absolutely not okay either!

The standard of female sexualization is perverted. It's done as fanservice, whereas anytime we see a man remotely sexualized it's, as op in the tags put it, goofy.

I would honestly prefer it if no one were sexualized. In most cases, it's really just unnecessary and unfair. There are two cases in the series where sexualization serves to progress the plot, though. First, in the case of Lust (who, as @anakin-s-padawan pointed out is not even overly sexualized even though she is literally the incarnation of LUST) who uses her sexuality to get information from Jean Havoc. Second, when Olivier does the same to General Raven.

This really just shows that we still have a long way to go when it comes to not sexualizing and objectifying women in storytelling, even in an incredible story like FMA that has extremely well-written women. When I think of the best women in media, FMA is at the top of my list. It's by no means perfect, but thanks to Hiromu Arakawa, we're getting there.

#fmab #fma #fullmetal alchemist: brotherhood #fullmetal alchemist brotherhood #fullmetal alchimist brotherhood #fullmetal alchemist #women of fmab #riza hawkeye #roy mustang #winry rockbell #izumi curtis #olivier armstrong #olivier mira armstrong #elrics-inferno

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