Melty Blood Sion is a Dead Apostle. Fate-world Sion is not, though I think she still drinks blood for the heck of it?
Case Files vol 6 or 7, not precisely sure which
Melty Blood Sion is a Dead Apostle. Fate-world Sion is not, though I think she still drinks blood for the heck of it?
Case Files vol 6 or 7, not precisely sure which
He's also still chilling at Atlas so.
So in Fate Sion is not a DA but drinks blood just because? And Zepia is a DA but not TATARI so that means is the DA that Shiki and Sion fight in Melty Blood manga?Originally Posted by Reign
I thought she just drank synthetic blood, not real blood?
She might I dont know
Spoiler:
Alaya's willingness and potential to actively go to town. Maybe throne of heroes is 'further' if counterforce is being put to work less often, which makes summoning harder, and servants more of a blank slate. It wouldn't be weird if Alaya's 'power' was linked to the general resolve that humanity can unconsciously muster, but that's assuming things.
What's weird is that, from a writer's standpoint, excusing those two things existing together would be really easy, and the setting gets more kitchen sink with each entry, if you don't mind that it's all trying to ram an idea into Fate even if it would be better served in its own context. It's weird to rob yourself of something cool like that. So, I like to believe that those seemingly arbitrary reasons to separate the works do have a larger *thematic* reason behind them, like Tsukihime being an exploration of human flaws, where Fate's humanity is a bit of a mary sue, and what's presented as a flaw ends up being endearing anyway. Nasu gave a few examples before like the bit with Arcueid and Touko being troublesome to make coexist thematically, but that's still apparently something that you can work around. Maybe there are those larger reasons, and maybe stating those reasons and true defining lines of the setting alongside 'magecraft goes into the past, technology etc.' would be giving away too much, or would make the writer sound like an unsubtle smartass. Maybe.
Like that. You'd think it would be universally important.Root [Term]
Source: Tsukihime Dokuhon Plus Period (2004-10-22), p.179Tsukihime Dictionary
A term that has nothing to do with the story of Tsukihime at all. For more information, please consult Kara no Kyoukai.
Last edited by Ratman; September 12th, 2019 at 07:03 AM.
Spoiler:
You're missing out fam
Nah it makes sense for the Root to be essentially meaningless for the characters of Tsukihime; they're not nerd mages and the closest people to that are crazy vampires.
Actually, DAs probably don't give a shit anymore about pursuing the Root, even the ones who turned through their own magic. Nrvnqsr only cares about eventually completely assimilating to the primordial chaos, Roa is very lol for what he wants, and Zepia was obsessed with coming disaster and tried to establish the Sixth.
Beyond thematic reasons why we'll never see Touko and Arcueid interact seriously, I thought it was also because it would derail any story featuring them because Touko would go full stalker and try to study Arcueid ASAP?
Well, yeah. But it's also because Tsukihime is subtle at a look, but graphic and messy (not necessarily proufound, of course) at the meat of it. It's just that Tsuki characters don't look like much, like how Nero is just a public exhibitionist in a trenchcoat, but a lot is hidden within. They're all confused and messy people and at least split into two with inversion impulse, if not more segmented than that. Throughout the story, the characters learn to leave a part of them behind. Sometimes, like in Hisui's case, this part of them can be external, but at the end of it, you are left with a sense of dreadful yet calming certainty, plainness, and a pang of nostalgia over that which is forever lost.
Meanwhile, Fate is all colorful and loud, but all the characters are actually very plain on the inside, and governed by a central theme and immediately established ideological momentum. Their Origin, if you will. Sometimes the theme can be based in a paradox, like in Kotomine's case, but that won't make the character truly split on the inside. They are a someone to begin with, and though they may become someone a little different at the end, this process is transformative at most. It is a popular opinion that Fate is a coming-of-age story in which the protagonist decides who they are, but there is much nuance to that. Shirou's story is all about the different ways that he can cope with the one particular character trait he undeniably has in the first place.
In short, even though 'humanity is weak', Tsukihime is, ironically, about progression and moving on. Meanwhile, Fate is all about regression. Read Latent Heat of Sublimation to find out more about this topic
The idea, I'm pretty sure, is that Arcueid's existence is something that Touko would quickly base her research around, and would be inevitably drawn to chasing with a bugcatcher, if not getting herself killed, at least not ending up practicing lame fake magecraft workarounds like puppetry. Lugh is kind of the same thing, actually, but I guess he wasn't good enough.
F/SN is nasu's most political work, where he uses the character of shirou to dialectically develop three possible pathways for moving beyond japan's legacy of militarism and the devastation of world war 2
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did u think it a coincidence that the thematic core of his character - the very first thing you see from his perspective - is a city husked & obliterated by fire?
in a country that experienced some of the most destructive firebombing campaigns in history?
かん汗ぎゅう牛じゅう充とう棟
Expresses the exceeding size of one's library.
Books are extremely many, loaded on an oxcart the ox will sweat.
At home piled to the ridgepole of the house, from this meaning.
Read out as 「Ushi ni ase shi, munagi ni mitsu.」
Source: 柳宗元「其為書，處則充棟宇，出則汗牛馬。」— Tang Dynasty
yeah but it doesn't addess the issue of immigration, so in the Citadelist view of things I'm still right
fate is about adorning the tower you've built around yourself to your liking, but tsukihime is a story of kicking out your mate so he doesn't break down the walls of your common home out of the death drive he represents, which makes you want to stare at the cold stars, but you can't do that with a roof over your head
So what would KnK represent beyond Ryougi's own arc? That conformity to normative institutions ultimately brings peace? That the collective needs the individual to fit in for it to work as the basis of a society?
wanton sex is a sin
Sometimes I'm suspicious of agreeing with this, because it's so easy to pitch - so yes.
Chen Gong's Pokemon all know Explosion
Nasu lacks subtlety at times.
only if you're an ANN reviewer lol
かん汗ぎゅう牛じゅう充とう棟
Expresses the exceeding size of one's library.
Books are extremely many, loaded on an oxcart the ox will sweat.
At home piled to the ridgepole of the house, from this meaning.
Read out as 「Ushi ni ase shi, munagi ni mitsu.」
Source: 柳宗元「其為書，處則充棟宇，出則汗牛馬。」— Tang Dynasty
You're right, when Kirei goes on and on about ethics and philosophy, or when Tohno spells out that Roa's obsession with Arcueid is rooted in love, those are masterpieces of subtlety.
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