#I really do talk to much

[correctfullmetalalchemist]

Hey genuinely, I kno it wasnt about the Iraq war, but when FMA was first on air was 2003, and FMAB around what, 2010? Being a teen in America, it totally felt like it was anti-war propaganda about the way the US was in the middle east. I dont think its that unreasonable for a teen, with no historical context about Japan, would see brown-skinned people being treated shitty by a pseudo-European nation and go "huh that reminds me a lot of whats going on in Iraq and Afghanistan"

It wasnt until I was out of college, nearly a decade after my first watch of the show that I even found out there was Japanese context for Ishval. Idk I just think its weird to say "what an idiot that person is" when they may just be missing some historical info.

You dont have to post this, its "discourse" or whatev, I just wanted to share my POV

This has been sitting in my drafts for like a week? week and a half? I meant to respond to it right away, ended up getting into a several hours long conversation with friends in regards to it. Was exhausted by the conversation afterwards and wasn't able to formulate a coherent final response.

I will start off with saying with saying thank you for your earnest response I hope to give you one of the same.

I hear what your saying and I respect it.

One of the incredible things about media is that we can read context and meaning into everything. There isn't a right or wrong way to interpret works. How we see and perceive things is going to be influenced by the current events and the lived history of those consuming that media. This makes consuming all content a truly unique experience for everyone. The people making the media also are able to add influences of their own thoughts and experiences into the work they make.

Maybe people in the early 2000s when watching FMA were able to see the current stresses of the Iraq war being reflected back into the media. It is also possible that when Arakawa was making FMA, or people in the production studios, that maybe they were influenced in certain regards to the Iraq war that was currently unfolding and as a result was influencing Japan as well. Understanding and interpreting media like this is wonderful and allows us deeper connections with art.

That being said, while I understand this perspective and agree with it, that hadn't really been connected to the point I was initially trying to make. That point had originally been "I think it's silly for someone to say this piece of media is definitely about the Iraq war when there are so many obvious overtones to it being a parallel to Nazi Germany." Which I hadn't made clear in the post but was my thought process none the less. A character is trying to be named Fuhrer after their country caused a horrendous war and genocide. Conqueror of Shamballa literally takes place in Germany in the lead up to World War II. That had been the start and end of that thought, just a meaningless argument on the surface level interpretation of an anime.

But that argument I think has lead into a bigger conversation that I think is worth having. I don't want to dismiss peoples ability to relate media with what's relevant to them, but I would also make an argument against people who make definitive claims of how a work should be read and the meaning behind it.

"I think Fullmetal Alchemist can be read as an allegory to the American experience in the Iraq war."

Is a different statement to,

"Fullmetal Alchemist is about the Iraq war."

Maybe its semantics, maybe its not.

I will preface this conversation with the fact I am a young Canadian who was never directly impacted by the Iraq war, the propaganda machine propagating it, nor have any memories of it in general. I simply wasn't a teen in the early 2000s and wasn't experiencing media in that context. I don't fault anyone for being influenced to view media under those circumstances. But I do want to make an argument that if you were one of those teens taking in media in that time and formulating world views and meaning in literature and came out with the perspective that Fullmetal Alchemist is about the Iraq war, maybe its time to expand your thought processes. I'm not trying to say that to be an asshole or argumentative, just a suggestion to challenge the way you interpret works. You can take the broad anti-war messaging and apply it to any war anyone has fought, it doesn't have to be specific.

It's not about knowing about Japan's colonization and its actions against the Ainu people. Many people don't know about that. But like I think we all sometimes get bullheaded into thinking very self focused and forget that sometimes things can be generalized. it doesn't have to be about Iraq, about WWII, about the Ainu. In all likelyhood all of these things contributed some way in the messaging of FMA which has lead to it being the incredible story it is. But that doesn't mean that it is about any of those things in particular. Sometimes it can just be about broad strokes themes that war is bad, you have to take actions to fix your mistakes.

So like to be clear, you are right there is a variety of reasons why people would interpret FMA in that way. I don't begrudge them for that, but I do what to challenge them to maybe think about media a different way, and to grow their understandings of the work. The Iraq war happened in the early 2000s, its the 2020s now, lets see what different ways we can grow, learn, and develop our understandings from content. We all view media differently and that it important but we should also be realistic in this regard and understand that just because we interpret a work in a certain regard doesn't make it correct either.

I want to be clear how I read and derived meaning from FMA isn't better than how anyone else does. At the end of the day, how you read/watch FMA is entirely your choice and that doesn't affect me, just same how I do it is not relevant to you.

I just wanted to kinda of explain my thoughts a bit regarding that post I made. I don't necessarily disagree with it, I think my original point remains to an extent. But this was a really good opportunity to expand the thought into something more worth discussing.

So thank you for your response and thoughts which forced me to think of media in a different perspective. Thank you for your patience as I formulate a worthwhile response. And, sorry for the wall of text.

TLDR: My original point was that I thought it was silly to make a broad stroke argument about how FMA was about the Iraq War when surface reading analysis shows a heavy emphasis on an alternate universe Germany-centric retelling of the World Wars. Upon deeper thought I think there is a lot of ways we can interpret and draw meaning from the media we consume. How we interpret media is a heavily personal decision and ultimately only relevant to ourselves, but I also think we should continue to push ourselves into evolving our perspectives to be more diverse and reflective of other points of view.

[puppyeared]

filipina miku!! my mom helped me with her outfit ^_^

[starry-bi-sky]

I am loudly pushing the batdad agenda i am loudly pushing the— DPxDC Prompt

“Woah. You look like shit."

Granted, that’s probably not the first thing Danny should be saying to the guy that just bit the curb, but in his defense; he’s not running on 100% right now either.

The man -- tall, towering, and broader than Danny is tall -- whips around on his heel, black frayed cape flaring out impressively. Danny would've whistled in appreciation, but he takes the time instead to wipe the back of his hand across his mouth, smearing the blood running from his nose across his cheek.

"Sorry." He blinks widely, not even flinching as the man with the horns zeroes in on him. "That was rude of me. I have a really bad brain-to-mouth filter; Sam says its what always gets me into trouble."

And she's not wrong either, per say. His smart mouth is what landed him in this situation -- with blood blossom extract running through his veins and cannibalizing the ectoplasm in his bloodstream. Thanks Vlad.

The man grunts at him; a short, curt "hm" that shouldn't make Danny smile, but he does because he's somewhat delirious and probably concussed. The man keeps some kind of distance, sinking towards the shadows of Gotham's alleyway like he dares to melt right into it.

If it's supposed to scare Danny, it doesn't work. Danny's never been afraid of the dark; he's always been able to hide himself in it. He blinks slowly at the mass of shadows.

"You look hurt." The shadows says, blurring together around the edges. Danny squints, and licks his lips to get the blood dripping down his chin off. Ugh, he hates the taste of blood.

"I am." He says, "My godfather poisoned me. M'dying." The agony of the blood blossom eating him from the inside out looped back around to numbing a while ago, so all he feels is half-awake and dazed.

"Hey," Danny stumbles forward towards the man, a bloodied hand reaching out to him. "You-- you're a hero, right? You're not attacking me; which is more than I can say for most costumed people I've met." Maybe it's a poor bar to judge someone at, but he's already established that Danny's not in his right mind.

The man makes no change in expression, but Danny realizes blearily that it's hard to tell with the shadows on his face. He stays still long enough for Danny to latch onto the cape -- stretchy, but almost soft under his fingers.

He looks up blearily into the whites of the man's eyes. "Can you help me? I don't-- I don't wanna die." Again. He doesn't wanna die again. He blinks slow and lizard-like. "I mean- I'll probably get to see mom and dad again, but I told them I'd at least try and make it to adulthood."

There's a clatter down the street, and Danny's ghost sense chills up his spine and leaves a bitter, ashy taste in his mouth. He immediately knows who it belongs to even before the deceptively gentle; "Daniel?" echoes down the way.

"Daniel? Quit your games, badger, Gotham is dangerous for children."

Danny's mouth pulls back, and blood spills against his tongue. "Please." He rasps, and grabs onto the shadow's cape with both hands. "Please. He's going to kill me. Please--"

"Daniel? Is that you?"

His lips part, dragging in air to plead with the darkness again. He doesn't need to, the whites of his eyes narrow, and the cape whirls around him before Danny can blink. Soon swaddled in shadows, the Night lifts him up, and steals him away.

[abstractfrog]

Happy 1 year anniversary to Mr Sherlock Holmes! Here's a litttleee celebratory comic from me

[hollis-art]

au idea... tng but it's set in the 80s and the enterprise is an apartment building rather than a ship

other tenants of the building include: -Picard (the head of the college that Data attends) and Q (no one really knows what he does, he just pops in and out whenever he pleases) -Troi (high school guidance counselor) and Riker (personal trainer) and Worf used to live here too but he moved out -Beverly (still a doctor) and Wesley (burnt out college freshman) -Barclay (works at Blockbusters w/ Data and Geordi) -Guinan (bartender of a secretly gay bar)

the ds9 apartment is a whole other story

[zennesaph]

this is how logic chess works right

[aalghul]

once again thinking about jason as duke’s robin. he’s ~4 years younger than jason, and that puts him at 8-12 during Jason’s time as robin. that’s prime time to get attached to your local kid vigilante before your own life goes downhill.

and if we try to keep duke’s meeting with bruce in zero year + duke’s age (so he can remember the meeting and hold that conversation with bruce), he has to be around 8. if he starts following batman through the news at that time because of the mess that just happened, the robin he sees is probably jason. I’ve literally connected the dots

[nova-rpv]

a redraw of the first drawing i posted here to celebrate the fact that ive been in tumblr for more than a whole year posting my shit and havent deleted my blog in panic yippee \:D/ (mushy rant in tags)

[anxiousapplepie]

"Hello hello!~ You've reached the Loop Help Hotline! Here for all your questions and queries in this exciting never-ending day! How can I help you, Researcher?"

"Remind me again why I'm doing this dang silly thing?" "Which dang silly thing? You're doing so many of them right now!~" "YOU KNOW WHICH ONE I'M REFERRING TO-"

[tofixtheshadows]

This is one of my favorite minor details in Dungeon Meshi, firstly because what in the femme fatale, but also because it's one of those little things that raises so many questions about worldbuilding.

The Occam's Razor defense attorney in me says that Ryoko Kui gave Kabru a boot knife because she wanted him to escape from his bonds here. And Kabru is a very competent swordsman, why wouldn't he have a boot knife, sure. He's already got a dagger, he can have this too.

And yet: the implications. Kabru, why do you have that? That is not remotely something that could be easily accessed or used in combat. Nobody is pulling out a pen knife from the heel of their boot during a fight with a monster. It's useless in the dungeon ... unless you're the type of person who isn't just worried about monsters.

I've mentioned this before, but I consider one of Kabru's functions in the narrative as being the character who fully brings the idea of human ecosystems into the story. There's a reason why he's always connected to large groups of people (Toshiro's party, the Canaries). He (along with Mr. Tansu, briefly) introduces the reader to the social and political forces working on the dungeon, showing us that none of this is happening in a monster-filled vacuum. His confrontation with the corpse retrievers, who very nearly kill Kabru's party permanently with their reckless murder-for-money scheme, reminds us that monsters are not the only things that prey on humans. Kabru understands the ways the dungeon causes people to put profit over human lives.

We only get hints of it in the story, but like any gold-rush-style economic boom, it's implied that there is a lot of crime and corruption surrounding the dungeon.

So yeah, it really makes me wonder why Kabru keeps a tiny knife in his boot, meant to be carried on him even in situations where he would otherwise be unarmed. Stored exactly in the place where it's easy to reach, even if, for some reason, your hands are tied behind your back.

[phewgitoid]

v quick silly post of these loser nerds b4 i fall apart or sumthing

[slfcare]

the most difficult thing about growing as a person socially, as in getting out of your shell and noticing that you are, is that there will still be times when it doesn’t feel like you’ve grown at all! times when you can’t really connect with anyone around you, times when you fail to enter into an existing conversation, times when you say the wrong thing (or nothing at all when in hindsight you probably should’ve). but that’s also kind of the best thing, because that’s the thing that helps you realize that sometimes, it’s not you or your lack of skills or any shortcoming. sometimes certain environments just aren’t for you and certain people aren’t your people, and that’s okay. that’s human. it’s okay to not feel the progress you have made all the time.

[poorly-drawn-mdzs]

Put that thing back or so help me.

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[deadpoets]

DEAD POETS SOCIETY (1989) dir. Peter Weir

[lazycranberrydoodles]

getting back into the untamed and i had a thought. / follow for more yllz babygirlism

[killjoy-prince]

House M.D. but it's when Wilson says House's name