UlasanAnime.com – The world of Type-Moon figures continues to expand with the release of the Fate Hollow Ataxia FA4 set, featuring characters that are either timeless classics or uniquely obscure. This review focuses on the figures of Aoko Aozaki and Shiki Ryougi, exploring their design and details.
The author humorously notes the irony of discussing snow in Singapore, referencing Aoko’s attire in such a climate. The Fate Hollow Ataxia FA4 set has apparently been released, and its reception is positive. The appeal of the characters in this set lies in their established presence or their niche appeal, suggesting that Alter has done justice to these less mainstream characters.
The review then transitions to a detailed look at the figures, starting with Shiki Ryougi. The figures are described as straightforward to assemble, with the set containing 3-4 pieces. Aoko’s base is noted for its creative design ensuring stability.
A preliminary apology is made for the lack of ideal front-facing shots of Shiki, attributed to the figures being designed to look downwards. The author realized this oversight only after returning from the cold and reviewing the photos on a computer.
The cold weather is reiterated as a contextual element for the figure photography.
Attention is drawn to the meticulous detail on the feet and bases of the figures, with particular praise for the detailing on Shiki’s legs.
Shiki is presented as stylish from the back and side views, with particular mention of the detailed design of the back of her jacket.
To compensate for the less-than-perfect individual shots, a group photo is provided, offering a broader perspective of the figures. This group shot includes a Princess Arc figure from an older Tsukihime trading set and Saber/Shirou figures from a different set. A comparison in scale reveals that Princess Arc barely reaches the midriff of the FA4 Arc figure, with Saber and Shirou being even smaller.
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Aoko Aozaki, while not exceptionally tall, is noted for the weight of her figure, a testament to the solid construction of her luggage and her deceptively large hair.
The sheer volume of Aoko’s hair is highlighted, described as almost an aura surrounding her. This feature was only fully appreciated during the review process.
Her trunk is identified as an interesting contrast to her otherwise natural appearance. While detailed, the item itself is not inherently elaborate.
The belt is pointed out as another detail that is well-rendered on the figure.
Aoko’s dynamic pose is emphasized, with her left foot slightly lifted. The stability of the figure is achieved through two prongs securing her right foot, creating a slight forward lean. This subtle posture difference is considered a key element that elevates the overall appeal of the kit. The author also mentions that Rin, to be featured later, shares a similar securing method with some variations. Details on her hand and the interior of her hair are noted as being present but difficult to capture well in photos.
This particular angle is deemed the “money shot,” showcasing Aoko’s best side. The ability for her to stand freely is attributed to Mirano’s dynamic sculpting. Shiki’s figure is credited to Naoki Nishimura.
The top of Aoko’s head is identified as her least flattering angle. The hair’s appearance is compared to Tamaki in To-Heart 2, noting that the style doesn’t translate well from above without appearing overly spiky. The current rendition resembles hair that has been flattened. This area is suggested as a potential point for modification by kit modders.
The review concludes by promising a Part 3 that will cover Saber and Rin.
