Arc.
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Arc.
Who's even going to translate this phantasmal VN?
kohaku decided to give akiha her blood after playing bloodborne
'optimistic'
What? It's what he said.
Remake Kohaku is a fortnite streamer
what if there was a scene with her abusing neco-arc by throwing her around I mean what if haha
I didn't say that he's more optimistic.
You can think of nasu 'not believing in the future' as an inference from there being a certain kind of story which nasu either is no longer willing or no longer able to write. This is the kind of story which - if you were to strip away all supernatural paraphernalia - knk and tsuki and FSN would reduce to, one whichs calls into question the conditions of possibility for human happiness. It's not a great violence done to the text to see the work of the early nasu as being intimately concerned with happiness. Knowing his fondness for the novels of Kyougoku Natsuhiko I would hazard you could consider a lot of early nasu as an extended meditation on a single line from the ending of the book Mouryou no Hako (1995) where - after some discussion of the book's antagonist - the character Chuuzenji concludes that "Happiness is easy to achieve; all you have to do is cease being human." (quoted from memory, it's something to that effect). This notion, is what nasu calls into question.
His work will generally start with unhappiness, with various species of unhappiness, unhappiness which may perhaps at first not even be perceived as unhappiness, and from here will spiral through an intricate system of internal reflections to arrive - if it can - at a point from which human happiness becomes possible. Human happiness, for early nasu, is bound up in the future. It belongs to the future - not the future of teleology, of grand historical narratives, but the concrete future which concretely promises happiness in the here and now: for this person, this girl, this boy, this particularly. Hence why early nasu's happiest moments are at endings - and why they necessarily have to be there, where narration cuts off: because the concrete future, if it is to be preserved in its promise of happiness, cannot be depicted without destroying it. I dislike Mirai Fukuin but the speech shiki gives to kamekura about the future is precisely this point: what can-throwing kid's eyes have seen is not the future as such, the concrete future of indefinite promise, because by 'fixing' it in shape as he does he's rendered it something less - something destructible.
Now Nasu doesn't write these kinds of stories any more. There are more things to say on this point, particularly about how the concept of 'Humanity' (non-concrete, abstract, big historical teleology kind of deal) has had an ever-increasing amount of weight put on it in regard of Humanity's Future, capital-F, etc etc, but i've done that elsewhere and see no need to labour the point. The notion of this glorious future history of Humanity is a beautiful piece of wallpaper placed over the reality that nasu's characters no longer work towards the conditions of a concrete human happiness in the here-and-now, nor indeed seem to have any interest in it. Would we even take it seriously, if they tried? Doubtful. TM's business is today tied up in these blank slates, more vessels of a user interface than characters, who stand around and make quips while curating a collection of dead people. Where is the future in this?
nb. someone here will inevitably come at me with "b-b-but muh dr. roman! i cri everytim" or similar retardation. think about it for more than 30 seconds. you should be able to see the contradiction.
I mean, what I'm reading here is that Nasu simply changed his scope from personal stories to broader "epic scale" narratives, which besides FGO is also evident in the move from Extra (distinctly focused on Hakuno and a handful of well-defined characters) to Extella (which splits its focus between three heroines and a significant number of side characters on each faction). This desire to "go big", as it were, is nothing particularly new either; there's that infamous line about the Nasuverse becoming the equivalent of the Marvel Universe, for instance, though that was about other people writing stories set in it rather than directly about scale. I'm sure your analysis is valid at least to a point, but it's hardly the only possible explanation for the evolution of his writings.
I wonder if it's just a change in scope. Last Encore is a very personal story, after all.
The point here is not much personal vs epic and more about when happiness comes. KnK, Tsukihime, stay Night are stories with harsh pasts, harsh presents and a hopeful future. The first two EXTRA games arguably don't even have the "hopeful future" part. Grand Order, on the other hand, is a complete celebration of the past, not only on the level of selling itself on how past people did great thing, but also on how the characters are quick to think fondly of the cirscumstances they go through in-game. Just play through Babylonia and you might find at least five instances of the game outright stopping to pose you the question "Are you enjoying your adventure so far?". Then there's the Timeless Temple finally, where Goetia can give all of humanity an eternal happy future, but that's bad because it would happen via reset, which would replace all the wonderful past everyone loves so much.
The point here is that Nasu changed from someone who believes happiness only exists in the future to someone who can find happiness in the present by looking at the past that shaped through biased lenses of gratitude. Which version is better comes to personal preference.
N.B. some personal preferences are better than others
...because the spirit of his other works is diametrically opposed to the spirit with which GO was written?
Fish Rin means his other recent works like Extella and LE, which I don't recall having that celebration of the past spirit/tone.