Watching The Emi Episode Makes Me Kick And Giggle My Feet

Reigen loves dogs + dogs love Reigen = happy Reigen. Please consider:“) 

Rewatching old YouTube videos like “woah. This is just like Full-Metal Alchemist: Brotherhood Episode 54: Beyond the Inferno” because something is fundamentally wrong with my neural-chemistry.

Motherly Love.

and without the silly quote, because I can't decide which one I like best:

I genuinely love so much that Roy Mustang, for all his brutal pragmatism and haughty coldness and quick ruthlessness, is an idealist. I especially love that his idealism is explicitly different from a naive idealism that does not yet know what the reality is, like that of his youth.

The idealism he carries during the series is a very conscious, active, vicious idealism armed with teeth and claws that he stubbornly and aggressively chooses to possess. He tells Hughes, as the war ends, that he is aware that these are pipe dreams, that this is unrealistic, that this is runaway hope, but he chooses to dream anyway because it is necessary for better futures (and he's right, imagining a better future believing that things can become that IS necessary for change). It's an idealism that is wildly optimistic but in a very grounded, pragmatic way. And for that reason, it's actually never at odds with his very calculating and aloof manner.

It's just so great. He is a ruthless idealist, and his idealism itself is vicious in the way that it is prepared to fight bloody to protect and enact this dream of things getting better.

out of the 90 or so panels that ONE devotes to the mental fight between shigeo and mob in mob psycho 100's confession arc -- from mob's conscious awareness of shigeo's presence to shigeo's eventual dissolution and assimilation of mob -- just seven show us that the child can actually be heard arguing with himself from the outside.

since the anime concluded its run last year, i've had those panels on my mind. studio bones only animated the largest one and relegated shigeo's speech on it to internal dialogue (much more on that decision here). they're so compelling that i decided to redraw them in my own style.

this is the seventh and last of them. it occurs just before shigeo smacks reigen in the head with a chunk of fallen city in hopes of scaring him off (it doesn't work).

its text reads:

｢他人が”僕”を飼い慣らすことはできない。モブの本当の姿を知ればあの人は僕を開放するよ。」 tanin ga boku wo kainarasu koto wa dekinai. mobu no hontou no sugata wo shireba ano hito wa boku wo kaihou suru yo. 'no one else will be able to tame me. now that he knows mob's true form, that man will set me free.'

[image ID: amidst swirling teal winds, hair wild and eyes aglow, a teenaged japanese boy wearing a gakuran and an eerily neutral expression muses 'tanin ga boku wo kainarasu koto wa dekinai. mobu no hontou no sugata wo shireba ano hito wa boku wo kaihou suru yo.' storm clouds are gathering around his eyes as he speaks, partially obscuring his face.]

ONE's original panel:

この一連の他の絵 kono ichiren no hoka no e other drawings in this series panel 2｜panel 3｜panel 5｜panel 6

Drawing details and background is actually pretty fun  _(:,3 」∠)_

the first of a set of MP100 post cards I’m making! I really like slice of life if that isn’t already obvious….

I’ll be at Anime North this year for the first time and this will be available there!

1 | 2 | 3 | 4 | 5

been doing a mp100 rewatch and i think im gonna need to write an essay at some point about hands as a symbol of human connection in the anime in particular… reaching out for connection is such recurring imagery…. and so is rejecting connection through violence enacted with bare hands vs psychic powers…

reigen being so lonely and having all these grand gestural hand motions when he’s putting on his greatest psychic persona but very rarely genuinely reaching out… that one shot in the s3 op with all the hands rly got my brain going ougugh

i’m upset that part of the Shigeo/Mob conversation that was cut in the anime was Shigeo holding Mob’s face almost lovingly, with Mob being the one to eventually push the hands away. i just feel like that would’ve added a shit-ton of subtext to the confession arc that the anime didn’t really provide.

Roy and Riza vs defeated idealism.

Roy and Riza's journey in Fullmetal Alchemist is the struggle of the naive idealism of youth against the cynical realism of adulthood. At the core of their characters there is a tenet: that Alchemy — or rather power — should be used for the benefit of the people. Like many things in FMA there is an irony in this. This belief that's so crucial to their characters is something they inherited from someone who, in a way, represents the antithesis of this idea.

Berthold Hawkeye.

The Manga goes out of its way to tell us this is something Behold believed in and passed on to them. First when Roy uses it to justify why he joined the military, and then when Riza admits that she believed in her father's words.

The thing is that there is a dissonance between Berthold's teachings and his character's actions. Berthold is a recluse living away from the people his hoarded knowledge is supposed to help. Roy and Riza know this, and they call him out on it.

They both fervently believe in Berthold's teaching, and they don't understand why he's so adamantly against putting it to practice. When they join the military they don't do so to spite him, they do so because they believe in what he preaches, so much so that they want to prove his cynicism wrong.

The problem is that Berthold is right.

He's sooo freaking right.

Their government is corrupt. All that talk about protecting their people is pure propaganda. His cynicism is the pain of someone who was burned too much by the world's cruelty. Berthold is an idealist that has given up, much like Hohenheim before Trisha. He is someone that once wished to help people, and probably came to the same painful realization that Roy and Riza eventually had in Ishval. The path to hell can be paved with good intentions, and sometimes you're completely powerless to do anything about it.

Now, what makes Riza and Roy such great characters, is the fact that instead of falling into despair and secluding themselves like Berthold did, they decide to fight back and continue clawing at the world with their own — no longer so naive — idealism. They have seen where defeat leads to, and they refuse to walk that path.

My favorite example of Roy's acceptance of both Berthold's teaching, as well as his rejection of Berthold's character, is his conversation with Hughes in Ishval.

This conversation is such a beautiful call back to Berthold telling Roy that alchemists die when they cease to think. This is Roy doubling down, acknowledging that yes he was naive — the world is a much more complicated and painful place than he realized — but still he refuses to give up on the face of reality like Berthold did. Where Berthold accepted his fate, as a man who was already dead inside, Roy and Riza continue to struggle to survive.

Berthold might have taught Roy and Riza that power should be used for good, but his biggest lesson to them was perhaps serving as an example of what happens when you allow your dreams and hope to die.

Ps. This thematic of children following on their parent/mentor footsteps and surpassing them is constant on FMA. Winry being a mechanic like her grandma and deciding to be like her parents by forgiving Scar. Ed and Al becoming alchemist like Hohenheim, but also embracing their familiar bonds and continue to help people despite their trauma. Ling Yao becoming emperor and dismantling the infighting his father had promoted. Scar embracing his brother's alchemy and dream. It is then fitting that Roy and Riza also inherited something from Berthold and then surpassed him.