'optimistic'
'optimistic'
What? It's what he said.
Spoiler:
Kohaku is waiting for new Sega console just like us waiting for Tsuki remake.Originally Posted by Skull
Kohaku, who will now have a PS5 and play all the stereotypical nerd games.
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.
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
Sudou would like to have a word with him about this.
And I think some of the inputs Sudou made were Nasu's, given that he graced the voice over booths with his presence before. And if UBW ufotable version were of any indication, he did add details.
Not dealing with it...
Why even try?
This is golden...
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.
Last edited by Deathhappens; November 9th, 2019 at 02:37 PM.
shit BL says
Once and always and nevermore.
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
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
And like I said that's a valid reading, but it focuses too much on Grand Order's story (which by dint of its core conceit is always looking back to the past to harvest more characters for the gacha) and doesn't take into account the spirit of his other works.
shit BL says
Once and always and nevermore.
...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.
Come to think of it, the very concept of Lostbelts is Nasu being on max edge.
And yep, can definitely see the quote "To attain happiness, you must cease being human" here.
Dang it, Lostbelts. Even Fou is now feeding on that concept at that moment.
Not dealing with it...
Why even try?
This is golden...
GO kind of has to glorify the past and/or the present because the future is always destroyed through one mechanism or another. Hard to glorify something that no longer exists.
I don't think Nasu intended this in FSN but he's since then stated that Fate is centered around Heroic spirits. What you described there is the logical conclusion of that. Incarnations of heroes as a central focus make more sense in a story about "affirming history" as teleology than in a game of Battle Royale. In this sense FGO is more Fate-ish than FSN where you could change the servants for "special familiars with no link to history/myths" and still be able to tell the same story. This could be a Fate only thing and maybe he'll write differently if he chooses to write more non-Fate stuff after Tsukihime R.
Fate is centered around HS but they will never be main character.
That makes sense in my opinion. It's not Cu Cuchulain and Shakespeare. It's Hero Cu Cuchulain and historically significant playwright Shakespeare. Maybe I'm giving this too much thought but I see it like an action anime depiction of someone going in a library and reading about these people. You have alienation from history caused by knowing about death as Goetia. Why does the past or future matter to me? You overcome it by making bonds with significant people from the past who like you knew they were going to die. Then you have why should it have happened like this and not like that instead with the Lostbelts. Anyway the point is that HS here are reaffirming tools for the person using them to know or reinforce their place in history like an analogy for reading about them in a library or being educated about them in school etc. It's why HS have a more important place in a story about human history. Whereas in FSN they were like a rhetorical mirror for Shirou "what does it mean to be a hero or an anti-hero" "what does it mean to have a wish and what does having it granted mean?" etc.
In this context I guess making a Melty Blood/FGO crossover makes more sense. In Melty, you're not only kind of ruining the future of Tsukihime, but the story itself is eschatological, much like the Dark Six was meant to be.
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