[Anime] Kara No Kyoukai: Fuukan Fukei (Overlooking View)


600full-kara-no-kyoukai-1--fukan-fuukei-posterAs most of you reading this probably know, I recently just got done watching Fate/Stay Night: Unlimited Blade Works and am in the process of playing through the VN, both for its own sake and so I can watch Fate/Zero, a series that I keep hearing very good things about. However, since I have only recently finished the UBW route of the Fate/Stay Night VN and am working my way through the Heaven’s Feel route, I decided a while ago, based on recommendations, to take a small detour away from Fate related material and instead take a look at Kara No Kyoukai (or if you prefer, Garden of Sinners). As far as detours go, this barely even counts; like Fate, it is written by Kinoko Nasu and is considered one of his earliest works. As Kara No Kyoukai consists of seven movie length ‘episodes’, I’ll be doing one per week (though if the movies run long or I need to watch them a few times to figure something out, I might take longer) starting today with ‘Overlooking View’. I’ll also drop a comment detailing my experience with the UBW route, since I’ve only just begun on Heaven’s Feel and want to put it down sooner rather than later.

‘Overlooking View’ begins the Kara No Kyoukai series almost in medias res – there is no section of the episode where the characters are explicitly introduced or where the way this particular world works is explained, though anyone even mildly familiar with Nasu’s other works will probably have an instinctive grasp of its often vaguely defined parameters. As an introduction then, ‘Overlooking View’ seems more incidental than intentional as we begin with the key elements of this episode’s story firmly in place. The episode centres on a series of suicides by seemingly untroubled schoolgirls as the story’s protagonist, a detached and unfeeling young woman named Ryougi Shiki, decides to investigate after her friend and colleague, Kokutou Mikiya, becomes a victim of the supernatural force behind the suicides. Compared to the only other Nasu/Type-Moon work that I am familiar with, this first episode of Kara No Kyoukai feels darker and much more sombre. The theme of suicide immediately turns the story away from the more action heavy focus of Fate/Stay Night and instead toward a more emotional and psychological one. Its characters feel less dynamic but based on the limited dialogue and screen-time they receive, perhaps that’s too harsh a conclusion to draw too soon. Beyond any of that though, the episode is hauntingly beautiful, not just in its themes but also in its visuals and soundtrack. Since this is the first episode of the series, let’s consider what we have learned about our characters. Ryougi Shiki appears to be the protagonist of this series and while I’ve already described her as detached and unfeeling, it’s very clear that that’s not the full story. Her friend Mikiya describes her as a strawberry, or perhaps more accurately, as a rose – she is both pretty and prickly. As far as women in anime go though, Shiki is no shrinking violet; in fact, based on this episode, she is possibly one of the most unflinchingly violent characters introduced so far. Yet, what is more striking is her absolute fearlessness; whether it’s heading into a haunted building to confront a murderous spectre or jumping from roof to roof in pursuit, it seems that Shiki is experienced, capable and ruthless. The last of those characteristics gives her an air of inhumanity – yes, it’s impressive (and very intimidating) that she is willing to stab her own (semi-prosthetic) arm to deny her enemy an advantage, but that’s not exactly the most humanizing of moments, no more than the unrepentant finishing blow she dealt the ‘spirit’ of Kirie Fujou or even her barely furnished, strictly functional room. Perhaps then, her fearlessness isn’t based solely off her impressive capabilities as a fighter but also from a simple, abnormal inability to understand fear the same way people like Mikiya do. It’s apparent from the way she leaves her door open to the way she just walks into enemy territory that it isn’t that she’s hiding her fear; she genuinely isn’t feeling any. It isn’t that she is incapable of humanity either – her final scene, where she tells Mikiya to stay the night and finish his ice-cream is evidence of that – but rather that she has not yet learned how best to express this humanity. This conflict within her is perhaps best summed up in a surprisingly tender scene in which she eats her strawberry ice-cream alone: with her prosthetic arm temporarily out of commission, we see her nonchalantly opening and eating her bowl of ice-cream with her single hand. She is damaged but doesn’t seem to care and that’s just not very human but at the same time, she is eating the ice-cream her friend bought her and is missing him and that’s  pretty much as human as it gets. It feels like Shiki eating the ice-cream is her subconsciously accepting Mikiya’s assessment of her (rather simple as it was) and the compliment that came with it. Of course, in all this I have thoroughly ignored any speculation about what her powers or abilities really are since I’m sure the next episodes will detail them better but to hazard a guess, I believe that she has the ability to suppress others’ power or at least temporarily nullify them. We know a good deal less about Mikiya but the little we do know makes him an interesting foil to Shiki. He seems both warmer and less rigid than she does and that warmth comes with an emotionality that Shiki only infrequently demonstrates. Mikiya understands people and he seems capable of empathy and compassion – which in turn allow him some insight into the mind of others. It also gives him a further dimension compared to his female colleague – where Shiki’s understanding of the world seems limited to the practical and the immediate (in a very robotic (puppet-like?) manner, I should add), Mikiya is able to capture the nuance and intricacy of a situation, at least if his final assessment of the butterfly that tried to fly instead of float is any guide. Yet, there are already signs that Mikiya is not the perfect, emotionally stable young man that he appears to be. What does his keen interest (we’ll stop short of calling it an obsession, though Aozaki implies it) with empty, lifeless puppets imply? Is his interest, romantic or otherwise, in Shiki based on her soullessness, her resemblance to a puppet? Without reaching too far on too little evidence, I wonder if this will be a case where Mikiya is compensating for his own mildness, what he considers his own kind of soullessness in his fascination with Shiki and her more volatile, colourful temperament. Lastly, we have Touko Aozaki, the master magician and puppeteer – though, technically we don’t know if the former is true but she seems knowledgeable if nothing else. Aozaki, easily the eldest of the major characters introduced, acts as something of motherly figure to the two younger characters. It isn’t particularly overt and the dynamic seems to be something in between parent and mentor but it is already clear that there is a deep bond between this set of characters even if they haven’t verbally acknowledged it just yet. Aozaki seems to be the Nasu self-insert of some sort – she has all the answers and seems to be the mouthpiece through which we join him on his long-winded explanations of how his world works. She offers questions and half-explanations, possibilities and theories that seem like answers but aren’t really and, along with Mikiya, is the source of all the philosophical musing in ‘Overlooking View’. Yet, it would be a mistake to take Aozaki at face value – if we learned anything at all from Fate/Stay Night, it is that the characters, even Nasu himself, can be wrong and later change their minds. Aozaki’s musings in the early section of this episode seem confusing at first but on hindsight turn out to be both hilariously indirect answers to the questions that Shiki didn’t quite ask yet and incisive insights into the human psyche. We’ll jump into just what those insights are and what they mean in a second, but it’s clear that Aozaki isn’t just a designated wise woman but rather someone with experience to back her words with. In considering the overall story of ‘Overlooking View’, I think it is paramount to consider the terms ‘falling’, ‘floating’ and ‘flying’. Aozaki defines the difference between floating and flying as having a purpose – if you have a purpose in life, if you’re motivated, you can fly but without one, the best you can hope for is to float. So what then, does that say about Kirie Fujou, who couldn’t even float? Mikiya’s metaphor for the relationship between him and Kirie Fujou was likely spot on – he was the dragonfly, going about his usual business, and Fujou was the butterfly that once knew what it was to fly but no longer could. She wanted to fly beside him, but never could. Had Fujou decided to accept that she could never fly again, she would very likely not have committed suicide but Mikiya stops short of answering the implied question; what is the value of a life where one can only float but never fly? Was it crueller to give Fujou her spiritual body (the question who gave it to her is neither asked nor answered) or to take it away from her? There is an interesting parallel between the haunted, desolate Fujou buildings and its previous owner’s daughter. Both buildings start out as symbols of hope – Kirie as the first child, the Fujou buildings as a symbol of the economic boom – but eventually end up in disrepair, abandoned and forgotten till the suicides bring them back into relevance. You could even argue that the two share their warped view on time – for Kirie, each day in the past decade has probably felt identical to the one before, which is just about as unhealthy a relationship with time as you can have. The idea of the power of the overlooking view that Aozaki implies early in the episode is that it has the power of diminishing, of forcing a perspective that we humans are loathe to accept – that we are small, insignificant. As she says, we know it in our rational minds – there are billions of people on this planet after all, but experiencing it on an emotional level can be devastating. It is in the one instant of overwhelming smallness that Fujou probably struck, preying on both her victims fascination with that overlooking view as well as the moment of terror they experience at being so insignificant in the larger world. That she knew what kind of feelings to incite and how to manipulate them should tell us enough about her agency as a character – say what she will about just being lonely, Kirie Fujou knew exactly what she doing to cure her loneliness. It’s troubling, to say the least, that every one of Fujou’s victims had at least some tiny spark of suicidal tendency within them by which Fujou could seize them and convince them to make the jump – Mikiya included. The beautiful irony that it is the same inhumanity that I accused Shiki of earlier that let her fend off Fujou’s assault; the implication being that that bare suicidal tendency that existed in the otherwise perfectly healthy schoolgirls exists in most normal people as well but Shiki, being decidedly abnormal, lacked that inclination. That said, it’s a mystery why Mikiya was spared; even if we assume that Fujou spared him because she recognized him as the boy with the flowers, why not kill him so he could keep her company? They say the devil is in the details and by that metric, this episode excels. Horror, drama and related genres feed off of implication; ask any seasoned horror movie fan, for example, and they will tell you that a monster jumping out is never as scary as the implication of a monster running around unchecked. Now, Kara No Kyoukai (or this episode, at least) isn’t really horror per se, but it has its more tense moments. Shiki’s first foray into the abandoned building had me holding my breath without even realising it but it is really in the small details that the tension really builds up; the dog walking away from the body with blood on its paws, the body dropping from the building in the background and so on. The movie is a visual treat as well, from the vivid colours of the living, especially the lively coloured Shiki, to the dull, muted colours of the dying and the dead. The actions sequences, few as they are, are exactly what I’ve come to expect of Ufotable but the real MVP is the soundtrack. That eerie, haunting choir suits the movie’s theme and tone so perfectly, it’s hard to imagine anything else taking its place. As powerful as ‘Overlooking View’ was though, it was not a perfect story. The episode clearly deals with suicide and explores it but if that is its sole purpose, it does a poor job. After all was said and done, what exactly is the story’s point? Not just about suicide, but about anything? Maybe Mikiya wasn’t entirely wrong in thinking that the whole is no more than a cheap novel? My personal answer is that the story isn’t quite deep as the themes it explores would warrant but neither should that nullify that episode’s effect. I think of this first episode of Kara No Kyoukai as a story that functions more on an emotional level; specifically, I don’t believe that ‘Overlooking View’ is about suicide as a subject but rather that it is about this particular suicide and any emotions we as audience have attached to it. It’s one of those stories where your own degree of investment in the story (not the characters, just the story) depends on your own experience with suicide and hopelessness. If you’ve ever experienced something similar, the whole analogy of floating and flying, or even the thrill of the fall, speaks to you on some level that it just will not to someone who hasn’t experienced it. The downside or upside of such stories is that they become extremely subjective, more so than art normally is, but that should be no means determine the importance or value of the tale in the first place.

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31 thoughts on “[Anime] Kara No Kyoukai: Fuukan Fukei (Overlooking View)

  1. Alright so I’m leaving a comment here about UBW since it’s gonna be a short one and I think it’ll just be easier to have all the F/SN discussion as a child of this comment (hopefully this works). I found that most of what I wanted to say about UBW, I already have, but more than anything, I was really, really struck by how much I enjoyed certain scenes in UBW that I really didn’t think I would. Knowing Archer’s identity and how it all ends, I didn’t think I would feel anything during their final confrontation or in Shirou’s last fight with Gilgamesh but I somehow did. I think that says it all, really: if I can still get a pre-hype chill reading those sections, despite knowing how they turn out, then clearly Nasu is doing something right.

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    • I’m curious as I don’t recall seeing you mention it but are you getting the bad ends? There’s a few I like in UBW and Fate but they really have a lot more impact in Heaven’s Feel. Also there’s a good end for UBW that you should see for completion but I don’t think many people (including myself) consider it to be a good addition to the story. I still get excited about Archer vs. Shirou years after reading it sometimes. Say what you want about the changes that Ufotable made but I think they were for the best.

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        • Personally I’m more interested in the bad ends themselves than the humor in the taiga dojos. Though I’m sure some are funny. However I think at least skipping through them might be needed for completion, not just seeing the bad ends themselves. I always read them all the way through so I’m sure. Maybe someone else can clarify but you may need to skip through them all to get the last few scenes you get for completion. You can always go back and do the bad ends when you’re done reading but I like reading them as I go through on purpose. That way you know the context and they sort of build towards the end without spoiling future events.

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    • Did you look at Archers after credits scene? It was much better handled there, in my opinion, since the anime version was botched to the point of being unrecognizable from the script version.

      And I don’t know if you’re interested or not but clearing all the endings is necessary to get an extra ending that was included.

      Regarding what Chirium said, I’d say the substantial bad ends worth checking out would be Superhero and Sparks Liner High. Also I’d recommend getting both endings for HF, since while UBW Good End isn’t anything special there are somethings worth seeing in both HF endings. I’d recommend going normal–>true if you can.

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      • I’m planning to go back for all the bad ends after I play through once properly. And yes, I definitely agree that the VN’s version of that final scene (I assume you mean the one where Shirou finally surpasses Archer) is better.

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        • The scene after the credits, the animes version is in the desert and the VN’s version is Archers perspective during Shirou surpassing Archer and Archers last thoughts on the matter before he disappears.

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  2. I always loved that scene where Shiki eats the ice cream. I don’t really know why. I feel like there’s a lot of stuff going on in the background of that scene so I’m glad it stood out enough for you to appreciate it too.

    I tried explaining it to a friend once but I couldn’t quite manage it at the time. You certainly did a better job of analyzing/explaining it than I did back then.

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    • Thinking back, I think I might have overemphasized the whole inhumanity thing, but there was definitely a sense of vulnerability there. I think the natural reaction was to feel protective of her for her handicap even though we know that she can take care of herself.

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  3. So Kara no Kyoukai was Nasu earliest work. This is pure, raw Nasu, filled with deep themes and character designs that seem to keep popping up in later works. This was actually an unreleased light novel series and I remember reading that Nasu was so embarrassed at his earlier works, because of how much exposition and chit-chat he wrote, he almost called off the release of the movies. However Ufotable showed him this movie and he was so impressed with the way they adapted it, he got them to do all of his novels.

    Now Kara no Kyoukai was released as a series of novels. Compared to say Fate/Stay Night or Tsukihime, where the events are separated by days, Kara no Kyoukai is much more ‘continuous’ to say. The first 3 or 4 movies are actually out of order continuity wise, In medias res as you said. Pure speculation on my part, but I believe this was done because a movie has to have a more ‘complete’ story and sense of progression rather than a regular 24 minute anime episode.

    Now on to the movie itself! Yuki Kajira is such an amazing composer, I was really sad they didn’t use her for UBW. She also did Fate/Zero so you might recognize some of her musical tells when you watch it. I can’t really bring up anything, due to fear of accidentally spoilering something, but this is a great analysis of the first movie and, with the minor exception of the one movie, it only gets so, so much better.

    I’m still laughing at you called Touko Aozaki Nasu’s self-insert.

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    • Personally I think it really shows that KnK was earlier work for Nasu. I haven’t read the original novels and am going purely off the movies though (which I watched quite some time ago). Supposedly Ufotable does a great job but really as a cohesive story KnK feels lacking compared to Tsukihime and Fate. The music and the animation are great and that’s to Ufotable’s credit and it gets more interesting as the story unfolds but I never really felt that the themes or characters were all that great.

      Sorry for my little rant but what you had to say about the themes and characters was pretty cool. It will be amusing to see what you think as the story unfolds and you see what the characters are really like. As Harpe said the movies aren’t in chronological order which keeps it interesting as some mysteries like Shiki’s power are best saved for later.

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      • KnK is rough around the edges, some parts of it are confusing but ingrained into the very structure and to fix some of those problems you would need to restructure it from the beginning and honestly, I don’t think it would be worth it. I like it a lot as is.

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    • KnK was Nasu’s earliest published work (1998 on his website, 2004 in paperback), but Mahoutsukai no Yoru was written before it.

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    • Correction on the novel part, this was Nasu’s first released work, not his unreleased one. Mahou Tsuki No Yoru (Witch on a Holy Night) the novel, was his first unreleased work; or sort of released, only a few copies were made. Mahou Tsuki No Yoru was then remade recently in Visual Novel format, although it has no choices and only one route, so it’s basically a Novel with music and pictures.

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        • Mahou is also supposed to be a trilogy as far as I know. Who knows if Nasu will ever find the time to finish it before he dies of playing Dark Souls too much.

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  4. I rewatched KnK not long ago, my opinion on most of the movies didn’t change much but I gained a lot more appreciation for the first and last ones.

    The themes here do carry over to the rest of the series and the subtitle: Thanatos, could be said to apply to the entire series and goes beyond just suicide (the next movie is called Murder Speculation so I don’t think I’m spoiling anything).

    Something talked about in the movie are yearnings/urges, impulses, and to make the upcoming movies a bit easier to understand it’s a good idea to take a look at where these themes come from: http://www.encyclopedia.com/topic/Death_instinct.aspx

    Freud’s Death Drive. I’m pretty sure just a glimes at the definition should be enough to see where this is going and how it is relevant to this episode at least. How stronlgy it ties to KnK is not something I can really go into detail just yet but you should take note of talks of dualism, compulsions and the quotes “the aim of all life is death,” “inanimate things existed before living ones” which will only become clearly apparent until the very end but will help you gain some perspective on upcoming events anyway.

    If you are familiar with the Pleasure Principle or even better, read “Beyond the Pleasure Principle” it’ll help see where Nasu was probably coming from given there is talk of “restoration to earlier states” and stuff, I’m not crazy enough to tell you to read that entire thing only so we can circlejerk about how clever we are because wee get the chuuni movie series, but if you are familiar with it already it might help in the coming weeks.

    This is much shorter though: http://faculty.smu.edu/dfoster/English%203304/Negation.htm and while everyone knows about “negation” in terms of phsycology in this day and age, it’s not a bad idea to check it out for the sake of the next movie.

    Also id, ego and superego but that’s a lot more ingrained in pop culture anyway.

    What I enjoy the most about this is that these ideas are used for the themes as philosophy, the lore itself and won’t necessarily apply to the actual phsycology of the characters, while there’s some overlap(this is the Nasuverse after all), I appreciate that Freud isn’t taken at face value because as interesting ideas he had, some are pretty outdated and hard to get behind.

    In this movie in particular I liked the explanation to the sucidal tendency, that little box we call common sense we all live inside that once broken when we gain perspective(from an overlooking view) pushes people to do things they normally wouldn’t, Shiki lacking that common sense does not have that particular tendency.

    Something I didn’t like all that much was the “floating” and “flying”, subject A sees subject B do something and wants to imitate it. I wonder how could we simplify that? Perhaps refering to subject A as an “imitator” or a “fake”? Pfft no, too simple! And if you are asking, an imitation of what? then that’s exactly the sort of question this movie should be raising in the first place, it IS mystery after all.

    As for the direction itself this was made to be directed by Ei Aoki, he’s great at “horror” scenes and knows how to generate tension, he’s also pretty fucking good at fight scenes, always well framed and well paced. I’m not a fan of his choreography but that’s an issue only in F/Z and Aldnoah.Zero, and even in those shows the fights where still exiting anyway.

    Fun fact: Kalafina, the group responsible for the credits theme, was created for Kara no Kyoukai and have gone on to preform the themes for many other iconic franchises since then.

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    • See, I found the whole ‘floating’ and ‘flying’ thing a little confusing because Mikiya and Aozaki seem to use different terms. Mikiya’s ‘floating’ seems to be the same as Aozaki’s ‘flying’ but I sort of imposed my own interpretation on it, without realizing it. I think it took a lot away from the ‘point’ of the episode since I walked kind of feeling the ep on an emotional level but my rational self was all ‘wait, what?’

      Anyway, thanks for the articles, definitely interesting reads. I had no idea that the death drive had a name, I find it fascinating.

      As for the ‘horror’, I think that was the wrong term for it, but I think you got my meaning. There was a real sense of tension at some points, it was very well done.

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      • Yeah I do get what you mean with horror and I do think some of KnK qualifies as horror, what I’m saying the director is good not only at horror but also tense, “scary” situations. There’s a couple in F/Z that are very good as well.

        KnK could use some streamlining for sure, even the titles are more complicated than they need to be. Just look at the first one. Kara no Kyoukai – The Garden of Sinners first chapter: Thanatos (Fukan Fukei). Why does evey chapter need an official English title alongside a Japanese title? I’ll never know. At least it kind of… sort of… makes sense for the first one with the “simile” between Overlooking View and Thanatos but some other english titles make no sense to me. Rule of cool I guess.

        I second that guy who said you should watch ANE release, 720p should be enough given that’s how they were made and anything higher would be an upscale. Not sure it you would be ok with a link being posted here.

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  5. Just saying, I highly suggest watching the movie via [ANE] from the cat instead of compressed streaming from a site profiting from fansubs, but certainly up to you where you would like to view the movies.

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  6. So being set out of chronological order means that the first few KNK movies can be a little confusing.
    This especially applies to Overlooking View, being the first movie but in the middle chronologically (2>4>3>1>5>6>7>Epilogue is the order).
    As a result the first KNK movie is one more carried by it’s themes, symbolism and ideas than it’s characters and story, and while this isn’t a bad thing, as you say it leaves the film as a standalone lacking some depth.

    F/SN is probably the least dark, so to speak of the main TM franchises (not to say theres anything wrong with that) but yeah, KNk is definitely more sombre than FSN.
    As for the characters though, while I agree throwing us into the middle of things leaves them feeling a bit lacking I’d definitely say there’s a lot more to each on than is let on by the first movie.

    Shikis powers are surprisingly simple in what they do, though the limits it’s taken to are considerably less so.
    Saying Touko is Nasus mouthpiece is probably a surpsringly apt description haha.

    And yeah, I agree with how you interpreted the dream-Mikiya is flying, Fujou attempts to follow him, but she can’t keep up and falls, and he feels guilty in a way for it, but cannot stop because he is flying.It’s also important that the dream comes when he’s sleeping because of Fujous abilities, I think.
    There’s a lot of imagery as Fujou as a lily too; the fallen butterfly is described by Mikiya as appearing as a lily, and Shiki describes the corpse as the start and Fujous arm appearing as a lily. (I may be taking some things from the novel here or confusing order of events, it’s been a long time since I watched/read KNK).
    So in any case, the dream to me was showing that Mikiya recognizing he has a purpose in living but Fujou had none, she knew no one either and could only attempt to bring them to float with her rather than letting herself fly with them, but she ultimately had no real goal and was doomed to fail, and Fujou realized this at the end.
    I’d say Fujous decision not to kill Mikiya can be interpreted as her being in admiration of his ability to fly-to live-and being conflicted about taking that away from him, and she did not want to bring her to him in the same vein she did others, but she wanted him to take her instead.
    This bit gets that across more clearly http://pastebin.com/U0Z0pFAG

    You could probably take the flight/float/fall thing to some of Nasus other works and interpret some of FSNs themes and ideas with it, but I’ll withold on that since I may inadvertently spoil something.

    In any case, I believe the next movie is more character focused than theme focused, I’ll be looking forward to seeing your review on that as well.

    By the way, I think it may have been mentioned before but some of the movies have after credits scenes that are relevant, I do believe Overlooking View was one of these films.

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    • Yeah, see the whole lilies thing came at me from nowhere. Shiki mentioned that Fujou’s spiritual corpse was made of lilies but that meant nothing to me until I read your comment. It’s shame because it could have been a cool bit of imagery.

      I’m going to hold off using themes from KnK and applying them to FSN since a.) I’m not done with HF yet b.) I’m done with KnK yet but more importantly, c.) I feel I may end up forcing the comparison when there isn’t one.

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  7. I think you’ll love this series. The first movie seems kind of weak but it’ll make more sense when you get further on in the series (the movies are in anachronic order, I can tell you the chronological order but I don’t think it’ll be too hard to figure out.)

    Just make sure you watch the after credits scenes. Seriously. They’re not super important or anything but they add a few nice details that will certainly help you out. Also, pay lots of attention during movie 2. You’ll need it for later. 🙂

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  8. Oh wow, that was a great review. Liked how you picked up on some things that many miss until they’re explicity explained in the next films.

    Also, the main point of KnK 1 is to serve as an introduction above all else. The film is basically an “Overlooking View” into the lives of the characters. It will become increasingly character focused as the series goes on. Ryougi Shiki is easily Nasu’s best character, IMO, even better than the VN’s Shirou.

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