#except deen but that doesnt count

[typekiku]

Thoughts on Mahoyo Movie

hello hello everyone!

how are all my fellow type moon fans and other "people" doing?

good? good!

anyways so i saw some shit takes going around on the net and decided i would write out my opinions on them here. screaming into the void can be real therapeutic especially for a fellow mahoyo fan like myself.

without further ado here i go

AOKO RINFACE?!?!

(Ignore the somewhat low-quality picture here.)

This is probably the funniest take since it actually is the very opposite: Rin is based off Aoko!

"bUt hOw kIkU? "You poor lost soul may be thinking, and this is actually correct. FSN did, in fact, come out almost a decade before Witch on the Holy Night did. Congratulations, you are right! Pat yourself on the back, champ.

With that being said, Rin is still based off Aoko! Don't believe me? Let's see what Nasu himself has to say on this matter.

NASU: Yes, the heroine with glasses from old "Fate" named Ayaka Sajyou had a rival character who was a total rich-kid, spoiled heiress type. She would look down on you and laugh at you, like Luvia. Her servant was the Lancer. You could say she was the basis for Rin's character. When Shirou snagged the main character position for "stay night", it was this character who transformed into Rin to fill the rival role. We wanted Shirou's rival to be more likeable than the snobby heiress, though, so we took inspiration from Aoko Aozaki, a character Takeuchi and I both like. Azaka, Akiha, and Rin are all Aoko-type characters, but I'd say Rin is the most like Aoko. I really didn't feel like making "Witch on the Holy Night" when we were working on "stay night", so I made the executive decision to create a feminine Aoko. Though I suppose she turned out to be more of a clumsy Aoko than a feminine Aoko... Takeuchi seemed to intuitively understand what I was going for, and his "Fate version Aoko" meshed well with my vision for Rin.

from : Fate/ Character Material II

(https://tri-hermes.org/Materials/cmii-rin.html)

So yes, indeed, Rin was based on Aoko. If you are still confused on how this is possible, you must understand that Witch on the Holy Night is one of Nasu's very first works, written all the way back in 1996, being an almost 500-page novel at the time.

It was obviously shelved for a long while, but the characters within it have remained influential, showing up throughout various different works of Nasu's, but especially Aoko and Touko, who would go on to be important throughout the Nasuverse.

(Also, Soichiro Kuzuki is basically a colder soujuuro and probably even from the same organization.)

Hell, we even have some original artwork from how Aoko looked back then. Compared to how Rin looks now, they don't really look that similar, to be honest.

Now this Aoko, drawn by Takeuchi in TYPE MOON character material all the way back in 2006, after fate/stay night, could be argued to look a lot like Rin, but even that would be a stretch of the imagination (and eyes).

Regardless, what is my point here? Its silly to call Aoko a rin face when:

a) She doesn't even really look like Rin (I'm not even going to bring up Koyama's version of Aoko since that's meaningless).

b) She precedes Rin in both having been created before her and designed before her.

That doesn't mean the movie version of Aoko doesn't look like Rin, because not only does she kind of look like her, but it's probably intentionally meant to provoke these kinds of takes since, in the eyes of most of the audience for Witch on the Holy Night, Aoko might as well be a completely new character.

Honestly? who cares? This "Aoko looks like Rin" business pales in comparison to a bigger worry of mine... How will Ufotable properly adapt Mahoyo?

Mahoyo is a visual novel that has more quiet scenes than action, and will they really manage to adapt that well or lean more into flashy, hyped action scenes?

This worry of mine stems from Ufotables Heaven Feel films, which while I still thoroughly enjoyed, I felt disappointed at all the cut scenes that served to establish the relationship between Illya and Shirou, and likewise the cut scenes between Shirou and Kirei, which are both just as important as Sakura to the main story.

Instead of focusing on the main climax of Heaven's Feel and the climax of the whole FSN, which is Shirou's final battle with Kirei, they extended the Salter vs. Rider fight and made it out to be the centerpiece of the route, which it is in fact not.

Judging from the trailer it will likely adapt up to at least chapter 6 which leaves the rest for maybe another film? possibly even a trilogy which i mean i just don't see happening to be frank but i could be surprised!

Most importantly....

WHERE IS MY FATE ROUTE ANIME DAMN IT??? I HAVE BEEN WAITING FOR SO LONG... TEN YEARS AT LEAST!

ahem

So yes, that is all I have to say on this matter. I'm both excited to finally get to see Mahoyo in film and for others to get into this series that I so love! It will be great to see others get into it, even if it is possibly a shitty adaptation.

also seeing others call this a fate spinoff physically hurts

Thanks for reading my rant of the day!

cyaaa

[vitalmindandbody]

With ‘Orange Is the New Black’ season 4, drama becomes formulaic

Orange Is the New Black has become a slowly molding piece of bread. Its unpleasant to chew and swallow. Andwhats the point?

Once upon a time, we were hooked on the super binge-worthy Netflix show, based on the memoir by Piper Kerman about her year in a womens prison. Season 4 lands in our queue today, and who knew a show about an upstate New York women’s prison would hook Americans?

The prison dramedy setup created a fun formula. Everything has to take place either in the prison, is part of an attempt to get out of prison, or exists in a flashback of the past. Any possible stories about the future can be only fantasieshere the women are cut off from the outside real world.

Its been a perfect structure for creating conflicts, because the most interesting things happen between diverse women who would not normally mix. Hence, viewers are thrust into a world full of candid though at times surface-level dialogues about race and class, as well as unforeseen friendships, surprise romances, and prison-specific hierarchical conflicts.

That used to be enough.

In season 4, Piper (Taylor Schilling) is meaner and more of a badass at the prison because of her prison fame, panty-laundering business, and the fact that shes been burned by friends and lovers alike. She becomes a lone wolf. Alex (Lauren Prepon), whom we last saw in a harrowing cliffhanger, gets into other types of trouble. The guards and new warden Joe Caputo (Nick Sandow) deal with ramifications of the new corporate prison system. And there are of course some key lines about systemic racism from quite a few of the characters. Theres more narrative backstory for other peripheral characters, but there are so many people that its hard to keep track of everyone, let alone care. In terms of narrative structure, it feels like a lot of the dramatic conflicts have already been resolved. So, what else is there to do at Litchfield?

A celebrity named Judy King (Blair Brown), a curious combo of Martha Stewart and Paula Deen, rolls into Litchfield. We get more backstories, and there are new romances in the prison. A Bill Cosby one-liner even finds its way into the pop culture-obsessed dialogue. But whats keeping us hooked that hasnt already been resolved? If Orange Is the New Black is to continue its must-stream vitality, it needs to make us care again. Weve become the Litchfield prisoners, complacent with the system, robotically binging until its overor hoping for some drama that will also shift the shows trajectory.

In season 3, the romance died down between Piper and Alex. Piper became very involved in her prison-specific business. Thats when audiences began to drown in origin stories, because the writers room couldnt count as much on that high-stakes romance. At the end of season 3, we saw a dramatic finale with an attempt at breaking out but not reallythe women escape through a hole in the fence, and merely go for a swim.

Season 2 ended in a similar way, with Miss Rosa (Barbara Rosenblat), a cancer sufferer, driving away in a stolen prison van, hitting and killing the manipulative Yvonne Vee Parker (Lorraine Toussaint) on the way. We are somehow satisfied by these end-of-season breakouts; wanting the prisoners to have some sort of future in the real world. But we also accept that if they do they will no longer be a part of the show. This is where the possibilities inherent in this type of prison narrative start to feel more limiting. People get out or stay in; there is no in-between.

This limited structure can be linked to the prison film genre, as described by David Wilson and Sean OSullivan in their book Images of Incarceration: Representations of Prison in Film and Television Drama. They note that movies about prison encourage us to identify with the prisoners and in our hearts we want them to win. But with our head, when they lose, we perhaps accept that this is the way it must be.

And so it is with OITNB. Except that in this show, we end up identifying with practically every character prisoner or guard and also accept that winning doesnt necessarily mean getting out of prison or beating the system. Winning could be overcoming a drug addiction, which happened with Nicky Nichols (Natasha Lyonne). It could be getting proper mental healthcare, which is what we hope for Suzanne Crazy Eyes Warren. Either way, winning takes place within the context of the prison.

More contrived is the queer romantic intrigue in this show, which seems to be aligned within strict film tropes like Catholic girls boarding schools. Think 1931’sGirls in Uniform (1931). In it, a young woman named Manuela is sent to a strict all-girls boarding school, and falls in love with her teacher. We see the dynamics and consequences of queer love in an all-women environment, and the ways it is reprimanded, punished, and seen as immoral. These types of dynamics transfer even to the present-day OITNB. The lesbian sex may be more porn-like and less punishable for being queer in and of itself, but its still punishable because, behind bars, prisoners shouldnt be touching.

Look, the show has done a lot for rising stars. Uzo Aduba (Suzanne Crazy Eyes Warren) won an Emmy for her performance. Actors like Samira Wiley (Poussey), Danielle Brooks (Taystee), and Adrienne C. Moore (Black Cindy) bring vital person-of-color narratives into the mainstream. There is a believable and beautiful trans narrative in Laverne Cox, the very smart and complex character of Galina “Red” Reznikov (Kate Mulgrew), and serious butch bad-assery with Boo (Lea DeLaria). But despite all of the great things that have come out of OITNB, the plots have gotten weirdly repetitive, character reveals less engaging, and romantic intrigue getsblas. Season 4 fails because it is less about the shows intrinsically interesting characters and their situations, and viewers are left with the glaring limitations of setting the series in prison.

Screengrab via Netflix US & Canada/YouTube

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