TYPE-MOON General | Nasuverse, Kara no Kyōkai, Tsukihime, Melty Blood, Fate/, Mahōtsukai no Yoru

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Almost there :bruniii:
 

I was making the scene at the end of the 5th round, and I cried a little because I thought the EXTRA main character was really good...Although there were a lot of things going on, I was glad they didn't change the story in a weird way.
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Si, ora però sotto con questo remake su :sadfrog:
 


- On Nasu's manuscripts (which are the basis for producing the work), there are a lot of notes about the characters' feelings. It's important that everyone involved in the development process 'understands' the characters' feelings so that the result has an impact.

- Nasu believes that the world and the characters around the main character should evolve together. "No matter how fictional it is, I want some reality in this fiction." FF14 understands this.

- Up until chapter 4 of part 1 of FGO, the writers were very limited (they were given a set number of lines, a fight here and there...). And they had to write the story with these elements). This improved a little with the chapter 5 part 1. It was from Lostbelt onwards that the story could finally be written more freely.

- Nasu talks to Ishikawa about how after playing FF14 for so many years, players must have said "I don't know what I'd do if FF14 disappeared from my life!". This is similar to what some players have said in various Famitsu and other ("I don't want FGO to disappear from my life").

- The FGO development team is informed around two years in advance when there is a major request, for example to change the FGO main menu music. These kinds of changes are always requested well in advance.

- Kazuya Nino is working on Fate/EXTRA Record (currently in production). In particular, on storyboards.

- One of Nasu's writing style consists of "writing a story to say that one word at the end". At the end of the work, a whole world is created so that the reader can savour that one word.

- The strategy with Tsukihime, which is a 'waifu game' (roughly speaking), is that the primary objective is for the player to fall in love with the heroine. This approach is also used sometime for FGO's "character of the pick-up of the month". FGO Events are written around the PU banner character. The method is different for the main FGO story.

- In the case of the main FGO story, the chapter writer can decide on about half the characters needed for the story.

- Kazuya Nino jokes that Nasu is the kind of writer who wants to write about the end of the world and that he's good at it (FGO Camelot, FGO Mitclan...). Nasu finds the remark frightening (laughs).

- Nasu "The basic principle is that every story has a theme. And if you ask me, a theme is absolutely necessary when writing a scenario. You can't write a scenario without a theme." He likens it to the skeleton of a human body that won't work without one. The character has a theme that can be summed up as their life. What has this character gained by living his life to the end? What has this character done and what has he achieved? And what does this character say at the end of the story (the famous "one word" at the end, maybe)?

- Nasu explains that when a commercial offer asks him to continue writing with a heroine who has become popular, he refuses when he has 'finished the character' because he feels that he has put his whole being into his work and that there is nothing more to say. This is also why Saber Artoria is not in FGO. However, this was possible with Castoria because her theme is different.

- Wakchan (the T-Rex in LB7) is very popular. He seems primitive and stupid, but as you get to know him, he has a real dimension that players really appreciate. Nasu wanted the power of the T-Rex, but also an endearing character. Nasu thinks that Wakchan's illustrator did a good job and that the drawings really helped to make the character popular.

- About Fate Extra main character, Nasu has been careful because he wants the MC to be the player's alter ego, so he doesn't use strong/powerfull words in the player's sentences and monologues. However, when the character is sad, he tries to explain "why" he's sad so that the attentive player is convinced and says to himself "if I were in that situation, I'd feel that way too". Nasu gives a reason for the main character's feelings and then expresses the emotions to the reader.

- For Nasu, Gridman Universe is very good (and, yes, I agree). The best entertainment is being able to immerse yourself in a good story through a character.

- Nasu likes the main character to gradually become stronger and stronger, because that's something you can't do in real life, but you can in a work of fiction.

- "Every story is someone's dream, so it's strange to put a hierarchy, superiority or inferiority in it!" Nasu, 2023.

- No matter how people live, they will always suffer. In the midst of this suffering, I feel I must do my best for tomorrow...". And the escape is entertainment, like games or novels, with good stories and good characters. Enjoy your free time!
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Ultima modifica:
Il fungo :bruniii:
 
A volte sento il bisogno di tornare qui, soprattutto col periodo invernale alle porte.



Speriamo che almeno il mese prossimo si faccia vivo in qualche maniera il suo adattamento, sono armai passati due anni senza notizie :sadfrog:.



Ah, mi ero pure dimenticato che tra poco meno di un mese esatto viene pure rilasciato su Steam :asd:.
 
I progetti rimossi:sadfrog:
 
Radoom91 ha detto:




Starting out from the emptiness,
toward scenery of love that i cannot see :sadfrog:
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Kizuato una delle mie preferite :uhmsisi:. La parte che precede l'ultimo ritornello con il solo di Keiko (❤️) top, prima che la Kajiura la mettesse a spammare il suo range altissimo :asd:.
Qui in una rara performance in cui erano ancora quattro





Questa dall'ultimo live che fecero :sadfrog:

 
Nonostante gli adattamenti mid (per usare un eufemismo...) Kawai Kenji era riuscito a entrare nel mood di FSN più che la Kajiura o Fukasawa imho.
Anche se non mi lamento molto, diverse tracce di Fate/Zero e Heaven's Feel sono iconiche, della Kajiura mi lamenterei giusto del mancato utilizzo di EMIYA in Kiritsugu v Kirei e l'overusing generale di the battle is to the strong. Fukasawa fu invece un po' sottovalutato in UBW.
 
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