timepiececlock: (Dark Tower - shoot with my mind)
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[livejournal.com profile] riddering, you have made my evening with this (movie info for FMA and spoilers like whoa for the series).

I am getting all wibbly and stuff.

And [livejournal.com profile] octopedingenue, damn you. Now I'm filled with mental imagery of SaltoftheEarth!Scar x Lust.

huzzah!

Date: 2005-02-11 11:22 pm (UTC)
ext_10182: Anzo-Berrega Desert (Default)
From: [identity profile] rashaka.livejournal.com
But it's so subtle, I left it alone as it was, 'cause how was it going to ever happen? He would NEVER have said anything, and she wasn't even capable of feeling that way (but did anyway, the miracle of twoo wuv ^_^) - so it was easier not to even think of it all that much.

Subtlety is by the thing I appreciate the most about FMA. And this is a total tangent, but... I loved the subtlety of the Sloth introduction. At first it was there, but not there... and you had an IDEA who she was but they never really gave you any strong hints to make you sure of it... until finally you just KNEW, and you couldn't say WHEN you officially started to know, you just did. Edward never really came out and said "OMG! You're my mother!" until like way later... and yet by the time he was digging up the bones we all knew who she was. It was just so. damn. subtle.

The subtlety in the animation, with facial expressions and little set details (like the gun on Roy's desk in the first episode 25 flashback), and subtlety in dialogue and subtlety in character relationships.

Even Roy/Hawkeye, which was way more canon than Scar/Lust, was still very, very subtle for 99% of the series.

Someone uses the phrase "Salt of the earth" and I get turned on and post something, and lookie what happens!

It's just those arms. Nobody gets shoulders like that from being a wandering vagabond serial killer. He had to have done some nice, sweaty labor first. Mmmm...

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