I Pledged For A Deck, Today. I Love FMA Art, And The Contributors Are So Talented.

I pledged for a deck, today. I love FMA art, and the contributors are so talented. 

Equivalent Exchange Tarot is the passion project of over 80 artists and writers brought together by our love for Fullmetal Alchemist. This full tarot deck serves as both a beautifully crafted set of art cards and as a divination tool for those who practice Tarot.  It is our fondest wish that this deck leads you to all of the information you seek and brings you the secrets from beyond the door, without the high cost.

Each deck comes with:

78 unique and beautiful tarot cards inspired by Fullmetal Alchemist

A custom top-bottom box

A tarot guide booklet

A digital pdf of the entire deck

With 10 different tiers, there’s something to be found for everyone whether a fan of FMA or someone looking to grow their collection of decks!

Kickstarter will close on December 31st, 2018

PRE-ORDER HERE!!

This is a for charity project. The charity will be the Jordan Thomas Foundation. The mission of the Jordan Thomas Foundation is to provide children affected by limb loss with the prostheses they need throughout childhood and adolescence and serves as a caring resource, advocate and support system for the children and their families.

More information on the project can be found here.

You are probably already reading this fic, but if you aren’t, you are really missing out. 

Atlas ch5

Thank you Babs @b-griveros for drawing my commission! I love it so much you’ve permanently carved a smile on my face! :)

Historical/Espionage AU. After six years apart, intelligence agent Roy Mustang attempts to rebuild his relationship with a former partner. But when past and present intertwine, their reunion triggers one of life’s most difficult decisions: duty or family. Royai. Parental!Riza/Parental!Roy.

chapter 5: climb up from the walls

Read chapter 5 on ffnet // ao3

Read chapter 1 on ffnet // ao3

Paris, October 8, 1942

The glamour of Paris is a distant memory, tucked quietly in the alcove of Riza’s mind. The city before her has been painted with everything it dreads. There’s terror in the air, in the trembling breaths of the citizens, in the drawn-out muteness that was once filled with idle chatter. Hostility on the streets, in the parade of soldiers and the constant clunking of rolling tanks. There’s despair in the water, in the fabled romances on the Seine, now placid and a murky gray. Stationed men with rifles on their shoulders stand like tree trunks at arm’s lengths, their green uniforms a jungle of watchful eyes. It’s thrilling, Riza supposes, in its own terrible way. It keeps her on her toes, sustaining the rush of adrenaline in her limbs to complete what she has set out to do.

It is now thirty minutes to 2100 hour.

The telltale signs of curfew have already seeped itself into the city, fear of the repercussions dictating every movement, every action. At precisely 2100 hour, the whole of Paris goes dark. Behind leaden clouds, there is only the pale glow of the moon and the stars to pierce the City of Light. In the eerie silence, the pavements become a graveyard to murmuring leaves, empty chairs and abandoned cafewares, quick whispers of feet scrambling towards the safety of their homes. Stray animals cower under burgeoning hedges, balled up into a slumber as the last flicker of light perishes in the distance.

“Teresa, wait!”

Before Riza can heed his warning, Roy has grabbed her arm, herding her to his side. The rushing motorcyclist shoots her a menacing glare, chastising her in French before maneuvering past honking cars, “Hé, regarde où tu marches!” Hey, watch where you’re going!

Gradually releasing his protective grip, Roy asks, worry blanketing his timbre, “Are you alright?”

Riza collects her thoughts, thawing the shock on her face. She meets his furrowed brow and pointed gaze, as if demanding an answer. Finding an offer of his arm as she looks downward, she replies in a familiar German accent, “Sorry. I’m fine.” Reluctantly, she links an arm around his, dashing past the roundabout intersection together. They head towards the looming structure just beyond the chaotic lanes, a palace-like splendor fitting for a king and his queen.

continue reading on ao3

Break my heart, but they will be so profound.

update 2 - art progress is now up to 2:15, but the video plays for the whole song. i need to redo a lot of these frames, and the music won’t always sync exactly the way i want it to, but right now i’m mostly concerned with the content. i’ll send y’all the next update when that’s ready!

Heritage (2018), oil on linen.

As usual, kingofthewilderwest presents a thoughtful and detailed analysis. I just want to mention the scenes in the post that screamed Royai to me. 

-Grumman suggesting that Roy marry his granddaughter. Whether Roy knows who the “girl” is or not, I think it implies Royai. Either the joke is on Roy, because he is being pushed to marry the woman he loves, or Roy’s reply means that it’s not the right time (can’t remember his exact words) yet.

-The conversation with Madame Christmas about Elizabeth- what else could it mean than go spend time with your love? Of course, he can’t. Roy looks so devastated in the scene. To me, this scene straight on states that R&R are :) a known couple to Chris. 

-When he holds her on the Promised Day. His face. Her face. His face. How he holds her (and more so in the manga, I think.) Also, he’s holding her, but she’s also comforting him. That’s a close couple. 

-I also love the scene when (after he has broken protocol to save her from the homunculi attack), he tells her that he feels most human when fighting monsters (or wtte). There is something so intimate about this. I can’t imagine him saying it to anyone else. 

-Finally, I’ve participated in or observed three first times watching FMA:B. All three novices said things like, “I felt the heat between those two,” or, “They are together by the end, right?” 

Damn right Royai is canon. 

Why Royai is Objectively Canon

I love this topic so much and had to enthusiastically yak about it. I’m also nervous making this post… but you know what? Life’s too short to not talk Royai. I said about a week ago that I’d write a post demonstrating why canon material presents romantic Royai as objectively canon. Haha, I don’t believe this is Royai shippers perceiving skewed information for what we want! ^.^

For my perspective, I’m someone who tends not to be drawn to romantic ships, canon or fanon. I rarely ship and I’m almost never gungho about ships. I’m aroace and I find the greatest celebrations in familial platonic and familial relationships. Those are the things I emphasize and look into in my own fictional fixations. I’m slightly cynical by nature that authors intend a close relationship to be implicitly, implied romantic unless there’s obvious sign posts demonstrating that. I’m more likely to argue something implicit isn’t romantic rather than argue it is, honestly. Even if I find myself shipping something (and I do hardcore ship Royai), I keep a strong distinction between what’s canon and what’s fanon, and I don’t care if my ships become canon or not. It doesn’t mean I’m without my bias, but hopefully this gives everyone an angle on what my biases or not are.

Regardless, I firmly believe that Hiromu Arakawa - and in fact every iteration of the FMA franchise - intends Royai to be perceived as romantic interest. It’s written subtly at times, but it’s written intentionally.

Some points I make below will be more objective, undeniable, concrete proofs than others. For each section I’m writing, I’m (generally) putting the strongest, most concrete evidence on top, alongside asterisks to say that this is a VERY important point. But my list also includes minor moments that on their own wouldn’t “prove” Royai. However, in the context of everything else, they provide a gestalt understanding of how Royai interact and are intentionally written/drawn throughout the franchise and especially the manga/FMAB.

I could honestly write essays over EVERY bullet point on this list, but I’ll restrain myself. Yes, this long post is me actually restraining myself. XD

A BRIEF STARTING ESSAY SUMMARIZING KEY POINTS

Grumman, who’s rather keen in sensing motivation, suggests Roy marry his granddaughter, Riza. Roy’s foster mother Chris suggests that Roy should “play with Elizabeth” when he’s feeling blue. When Roy says another man takes Elizabeth-chan away from him, Vanessa asks if this means Roy’s now romantically available - indicating that Riza is where Roy’s romantic interests lie. In fact, both Roy and Riza demonstrate occasional moments of jealousy when someone shows romantic interest in the other. Roy gets disproportionately defensive when Barry hits on Riza. Riza, meanwhile, tries to sabotage one of Roy’s dates by overloading him with paperwork. When she fails to prevent the date, she goes to the shooting range to noticeably vent, catching both Falman and Fuery’s attention for her abnormal behavior.

Royai tend to use formal language to one another, Riza almost exclusively addressing Mustang as「 大佐 」 (colonel). Roy makes sure to put in「 中尉 」 (lieutenant) lots amidst various second-person pronouns. However, when both are emotionally vulnerable and speaking from their heart about each other, like when Riza thinks she might have to shoot Roy, they drop formalities. Roy then never calls her “lieutenant,” instead exclusively uses a term that can be endearing and affectionate, 「 君 」, and uses this word when he says, “I can’t afford to lose you.” Riza, even more tellingly, calls Mustang 「あなた」- something she never calls him in formal situations - an affectionate term wives use to call their husbands. 

The body language and facial expressions Royai give each other is notably different from how they interact with family and close friends. Mustang isn’t someone who engages in much physical contact, be it with his aunt or his best friend Hughes. He sometimes appears irritated if Hughes hops in for an arm around the shoulder. Riza in turn doesn’t reach out for notable physical contact with Rebecca or other friends. But the look of affection Roy gives when Riza is injured in his arms and he realizes she’s safe… is a look he gives no one else. He cradles her and embraces her so tightly that Mei has to remind him Riza’s still injured. When Mustang loses his eyesight, he doesn’t just grab Riza’s hand to get some navigation guidance… but manages to sling his arm around her shoulder. And while it makes sense for Hawkeye to hold onto him in the final fight to keep him oriented, there is a certain level of intimacy to not just holding him by the shoulder, but putting her hand on his chest, too.

Royai demonstrate extreme closeness for one another and preference for the other above all else. Romance doesn’t have to be your closest relationship, but the fact that Royai are so emotionally close only adds support to the rest of my points. Riza would be devastated at the thought of losing Mustang, so much she starts crying and gives up on life in “Death of the Undying,” and then in “Beyond the Inferno” says she’d kill herself alongside Mustang. Roy, in turn, has traumatic flashbacks imagining that Hawkeye might get killed by Gluttony, and is so frantic about her health in “Lost Light” that he is oblivious to an enemy almost attacking and killing him from the back. Mustang even admits to Bradley that he almost risked his physical health and the entire country’s safety… because he wanted to do human transmutation to save Hawkeye’s life. He would risk all that for one special woman.

Multiple characters beyond Chris Mustang, Grumman, and Vanessa indicate that they know Royai is close. Envy immediately believes Riza when she suggests she and Mustang are intimate. The gold-toothed alchemist and Bradley both know that Riza is the specific way to get to Roy’s heart. And throughout the story, Royai is written as a parallel point to Edwin. Riza tells Winry that she sticks with the military in support of one man, which helps give Winry the resolution to support the own man she loves. Riza understands Ed’s desire to protect Winry - a woman Riza knows Ed loves - because Riza, too, has someone dear she needs to protect. Everything from in-story parallels to official art often put Edwin and Royai as counters to each other.

An oft-quoted interview with Hiromu Arakawa published in the thing manga art book has the writer answering a question of why Royai aren’t married. If they weren’t romantically inclined, Arakawa would have said that. Instead, she explained that the thing preventing them from joining in matrimony was military anti-fraternization regulations. 

Other material outside of what Arakawa wrote herself or was placed in FMAB depict romantic Royai as well. 4Koma Theatre (which Arakawa also drew panels for in Chronicle) contains jokes where Mustang shows attraction to Hawkeye. The 2003 anime ends with Mustang reaching out to Hawkeye’s hair and calling her beautiful, and the two of them sharing smiles in the marketplace that show emotions they’ve given no one else. The 2003 character song “Rainy Day No Thanks” contains extremely flirtatious lines from both - it’s in fact a love song. Hawkeye calls Mustang’s actions “cute” and says she wants to hold him close, while Mustang says Riza is “a sexy lady to escort with a kiss.” Art from Daughter of the Dusk and Conqueror of Shamballa show Riza with her hand on Roy’s arm, much as you would see couples walk down the street. Mustang, sparkling and grinning in flirtation, calls Hawkeye so beautiful she takes words away in Prince of the Dawn, and is rather keen to hold onto a sexy photograph of her in a stunning dress in (I believe) Daughter of the Dusk. Maes Hughes seems rather interested in the idea of Roy and Riza pairing up for a team event in Dream Carnival, and teases them to the point of suggesting he could see them making out - which gets Riza abashed. 

All this material combined presents what I believe is a clear case to canon Royai romantic affections, regardless of whether or not you wish to ship it! (and no worries, we can all ship what we please!)

Now, this isn’t about the idea that romance is inherently “closer.” Roy and Riza are clearly close. Familial and platonic bonds can be just as close as romance, though. But the proof that this is coded as implicit romance is clear throughout the franchise, and clearly intended by the creator of the characters herself. So many of these things I mentioned would never be the case if not intended to be romantically coded. Vanessa asking if Riza’s departure means Roy’s now romantically available; Hawkeye sabotaging a date; Riza calling Mustang an affectionate term that’s not familial or platonic in nature; Arakawa herself saying Royai would get married if not for work regulations. Roy and Riza might never be able to act upon romantic interests in one another, but their affections are nevertheless underlyingly romantic. 

And now… the list I have. It’s not even anywhere close to comprehensive. But it should more than enough get the point across.

Keep reading

Protest

See y’all on Tuesday. (I hope.)