Inside Kamiyā Yuu's private office at Yosuganosora Animation Studio, he sat in his office chair with his arms crossed, deep in thought. On the computer screen before him was a half-finished novel.
"Before the 'Throne of Heroic Spirits' project can be implemented, the specific settings of the Type-Moon world must first be popularized. Ordinary settings and accumulated popularity can be left to the anime and novels. But the Holy Grail War is not the entirety of the Type-Moon world's setting. Rather, the information it presents is a very narrow fragment. Setting information is an important source of consumers' desire to buy. Simply throwing out a setting book for sale is far too crude, no matter how I think about it, and it completely wastes commercial value. In the industry, the right to create fan works based on anime is tacitly open by default, but the formation of a fan information network takes a very long time to accumulate. From a long-term perspective, it's still a good plan."
"But I don't want to keep investing too much more energy into the Type-Moon world. The project implementation should follow the progress of the 'Fate/Zero' anime and novel."
"What I need is a work that can carry the settings. The work itself must naturally be solid enough."
"Then I'll commission it. Before that, it's necessary to put together the specific setting book and use it as material for the creators."
"The simplest, clearest, and most effective creative forms are manga and novels. For the former, commissioning a few well-known manga artists should be enough. Provide them with the setting book and story framework, and with famous manga artists, at least there won't be much need to worry about the art style. As for novels, although they're much easier to create than manga, the threshold is actually much higher. Not everyone has the writing skill of that genius author, Kirigami Ruri."
"Commission stories set in the same Type-Moon world outside the Fourth Holy Grail War. They can be original works, 'Kara no Kyoukai,' 'Tsukihime,' or the First, Second, Third, or Fifth Holy Grail War. It's best to avoid the Holy Grail War theme, though, to prevent the setting information provided by the works from overlapping and being wasted."
"The more Type-Moon world information or settings a work can provide, the better."
"Speaking of which, although the Type-Moon world itself provides a decent worldview framework, its settings have a lot of problems. I'll need to return to the consciousness space and look up information from my previous world to supplement and refine it. The original isn't that great, but there are quite a few excellent fan works. Based on those fan authors' one-sided worldbuilding expansions, just polishing them a little should make them fit perfectly."
While writing his novel, Kamiyā Yuu couldn't help but seriously think through how to implement the project plan. In his previous world, the official settings of the Type-Moon world were full of errors and omissions. By contrast, some fan authors' ideas were even more interesting than the original settings.
However, the Type-Moon system in his previous world had already matured. It wasn't something where settings could simply be changed at will. If changes affected prior anime or novel settings, it would inevitably become troublesome.
In this world, the Holy Grail War had only just appeared before the audience. Kamiyā Yuu could combine parts of fan authors' works to complete the Type-Moon worldbuilding without causing too many negative effects.
Holy Grail War, Heroic Spirits, magi, Gaia's will, Counter Force, True Ancestors, Dead Apostles, Mystic Eyes, the Root...
"Even if the setting information isn't directly connected, it still resembles a spiderweb. Parallel strands will eventually connect to the same points and influence each other. Readers watching 'Fate/Zero' are standing on one strand of that web, desperately wanting to understand the structure of the entire net."
After pondering for a long time, Kamiyā Yuu temporarily set aside his thoughts about the project plan. He decided it would be safer to return to the consciousness space and think it through together with the Type-Moon information from his previous world.
His urgent priority was still drawing the key animation storyboards for 'Fate/Zero' and writing the main novel.
"My current work is already busy enough, yet I'm still thinking about all this nonsense. Sigh..."
Looking at the unfinished novel on the screen, Kamiyā Yuu sighed. He pushed the project plan out of his mind and began reworking the novel's plot.
The main 'Fate/Zero' novel usually stayed one step ahead of the anime. For example, if every five anime episodes counted as one novel volume, then when the anime aired Episode Six, the novel containing Episodes Six through Ten would already be on sale.
There were many benefits to this approach.
First, it allowed readers to understand through the novel the details that the anime could not fully express. A single change in a character's expression in the anime could be thoroughly described in the novel, fully presenting the character's thoughts and using the novel to make up for what the anime lacked.
Second, it could increase novel readers' anticipation for the anime. Although it was equivalent to official spoilers, Kamiyā Yuu was quite confident in the appeal of the plot he had constructed.
"The anime has already aired up to Episode Five, which means tomorrow is the release date for Volume Two of the main 'Fate/Zero' novel. On my side, I've only barely written up to the beginning of Volume Three, 'The Holy Grail Dialogue.' Whether it's the storyboards needed for animation production or the novel progress, both are sitting on a rather dangerous line."
"'The Holy Grail Dialogue' is a very important plot in the original. Its portrayal of each Heroic Spirit and its influence on the later plot are like the load-bearing pillar running through an entire building. If it's written badly, the whole work might be ruined. The original version of this plot was somewhat awkward. Although it didn't ruin the whole story, it didn't add much to it either."
"Among the important characters in 'The Holy Grail Dialogue,' Goldie Sparkle is just there to make a cameo. The key lies in expressing the respective ideals of the King of Conquerors, Iskandar, Saber, and Heroic Spirit Chao Yun. The King of Conquerors, Iskandar, displays his domineering path through 'Ionioi Hetairoi,' crushing the Assassin. Chao Yun's role is tied to Director Kayneth. In the original, Director Kayneth was hit by Emiya Kiritsugu's Origin Bullet, became partially paralyzed, then had his right hand cut off by his fiancée, who took his Command Seals and became Lancer's Master. So the original Lancer was half-retired from the stage during this period."
"Fortunately, I considered this issue beforehand. In my reset version of the novel and anime, during the duel between Emiya Kiritsugu and Director Kayneth, Director Kayneth is hit by an Origin Bullet, but his caution as a magus saves his life. When his body is about to completely collapse, he uses 'Volumen Hydrargyrum' to simulate his body structure and temporarily replace his body. Speaking of which, in the original, Waver Velvet also used 'Volumen Hydrargyrum' to create a mercury maid."
"The King of Conquerors Iskandar's 'Ionioi Hetairoi,' Tiger Might General Chao Yun's 'One Rider Against a Thousand,' and Saber Artoria Pendragon's 'Excalibur.' Use the King of Conquerors' refusal to acknowledge Saber's kingship as foreshadowing, then display his 'Ionioi Hetairoi' to annihilate the Assassin. Director Kayneth himself hates Waver Velvet. After all, the holy relic used to summon the King of Conquerors was something he had painstakingly prepared, only for it to be stolen by the student he had always despised. So the conflict between Chao Yun and the King of Conquerors, Iskandar, won't feel abrupt."
"The duel between the King of Conquerors, Iskandar's 'Ionioi Hetairoi' and Chao Yun's 'One Rider Against a Thousand' will be an explosive point in the plot. It will also serve as foreshadowing to highlight 'Excalibur' later, revealing the true radiance of Saber as the King of Knights."
Kamiyā Yuu searched through his memories. Only after finding the plot framework he had settled on in the consciousness space did he begin typing, writing the content of Volume Three of 'Fate/Zero,' 'The Holy Grail Dialogue.'
The heavily modified version of 'The Holy Grail Dialogue' added combat scenes on top of the original's verbal debate.
The union of words and force was the best way to express an ideal.
...
Near the end of the workday, Kamiyā Yuu came to Uehara Etsuki's office.
Knock, knock.
He knocked on the open wooden office door.
Inside, Uehara Etsuki was fully focused on drawing key animation. Her simple dark kimono matched her calm temperament. Her graceful, composed appearance and focused gaze made it seem as though the world outside her drawing did not exist.
After a while, Uehara Etsuki set down her brush, picked up the tea beside her, took a sip, then nodded gently to Kamiyā Yuu.
"Yuu, is something the matter?"
"There's something I'd like to discuss with you, Sensei."
"Please go ahead."
"Sensei, are you acquainted with the novelist Miss Kirigami Ruri?"
Kamiyā Yuu walked in, sat down on the guest chair, and asked hesitantly.
Before producing 'Fate/Zero,' he had once considered handing the novel over to someone else to write, though the matter had never been finalized.
Now, he urgently needed to expand the Type-Moon world's setting information and create numerous works to interpret the same worldview. For manga, he had already handed the task of contacting manga artists to Morishita Aoi. As for novels, the first person Kamiyā Yuu thought of was this genius novelist who had become quite famous in recent years.
"Because of family connections, we've known each other since childhood. Even after I left the Uehara family, we remained in contact, so she should count as a friend. Why do you ask?"
Uehara Etsuki nodded while organizing her key animation sheets, puzzled by why Kamiyā Yuu had asked.
It was the answer he had expected.
Kamiyā Yuu scratched his cheek, somewhat embarrassed.
"Actually, I'd like Sensei to introduce her to me. The company has a project that requires commissioning novelists to create derivative novel works. At that moment, I remembered that when I left Sensei's home last time, I saw this famous novelist preparing to visit you. I thought this might be a good opportunity for cooperation."
Uehara Etsuki set down the sorted key animation manuscripts. Her delicate brows furrowed slightly.
"Derivative creation? It isn't impossible, but she has always preferred writing stories she came up with herself."
Kamiyā Yuu smiled.
"It's only a possibility. It doesn't matter if she refuses. In that case, I'll find another novelist to write it."
Looking at Kamiyā Yuu's serious expression, Uehara Etsuki nodded.
"I'll contact her and arrange a meeting with you. You can discuss the details with her directly."
"Alright. Thank you, Sensei."
...
A few days later, at the sound department of Yosuganosora Animation Studio.
"Thank you for your hard work."
"Thank you, everyone!"
"Thank you for your guidance."
After the recording ended, the voice actors stood up and bowed properly in greeting. New voice actors had to thank the more experienced voice actors one by one.
"Sorry, I have something urgent to handle, so I'll be leaving first."
Kamiyā Yuu nodded apologetically to them and immediately left the recording studio.
Loosening the tie of his suit, he took out his phone and called Busujima Murasaki. His tone was urgent.
"Murasaki, something came up here and delayed me a little. How are things over there?"
"Miss Kirigami has already arrived at the company's meeting room. Don't worry. Although Miss Kirigami dislikes people being late, she isn't unreasonable. I've already explained the situation."
Busujima Murasaki's voice came through the phone with a faint trace of amusement, making Kamiyā Yuu let out a huge sigh of relief.
Since Uehara Etsuki knew Kirigami Ruri, she was naturally acquainted with Busujima Murasaki as well.
Uehara Etsuki had arranged for Kamiyā Yuu and Kirigami Ruri to meet today. However, the traffic on the way to the sound department had been unusually heavy, and the limited driving speed had delayed him slightly. The voice recording work had also dragged on longer than usual. As a result, the half-hour gap he had originally left in his schedule was pushed back, leaving him unable to return to the company in time to discuss the novel project with Kirigami Ruri.
After Uehara Etsuki brought up Kamiyā Yuu's proposal, the genius author had replied that she could come over once, and that she would decide after understanding the details.
Kamiyā Yuu rushed back to Yosuganosora Animation Studio by car.
When he parked and glanced at the time on his phone, it was already past three in the afternoon.
He was about ten minutes late for the meeting.
"Hoo..."
Returning to his office, Kamiyā Yuu wiped the sweat from his forehead and straightened his suit before heading to the company's dedicated meeting room.
Inside, besides Busujima Murasaki, there was also a short-haired girl sitting expressionlessly in a chair.
Compared with the office chair, one could tell that the girl was quite petite. Her skin was fair and translucent, and her features were delicate and refined. Her expression was even colder than Kamiyā Sora's, giving her an unreal, almost illusory quality.
The genius novelist of Japan's literary world, Kirigami Ruri.
In terms of status and reputation in Japanese literature, her achievements were far more exaggerated than what Kamiyā Yuu had accomplished in the anime industry.
She was a novelist, and since her works were not restricted by genre, the range of subjects she wrote about was extremely broad.
She had written touching stories similar to light novels like 'Violet Blooming Garden,' popular mystery novels such as 'Lake Moon,' and works involving traditional Japanese literature such as 'The Name of the Samurai.'
Her writing style differed greatly from novel to novel, to the point where one might suspect those works were not written by the same person at all.
Kirigami Ruri.
She truly lived up to her pen name.
Kamiyā Yuu silently praised how well this legally adult girl's pen name matched her temperament.
Coming to the main seat at the conference table, he said apologetically,
"I sincerely apologize. Because I failed to arrange my schedule properly, I was late for our meeting."
The silver-haired, short-haired girl looked calmly at Kamiyā Yuu. Then she wrote a word in her notebook with the mechanical pencil in her hand and showed it to him.
"No matter."
Kamiyā Yuu was not surprised by Kirigami Ruri's habit of speaking through writing.
Online explanations claimed that she used writing instead of speech because her voice was too unusual, and after being mocked by her peers as a child, she had developed psychological trauma and became unwilling to speak with outsiders.
There were also even more absurd rumors claiming that, in pursuit of a higher realm of novel writing, Kirigami Ruri had even forgotten how to speak.
All kinds of explanations existed, and most were nonsense.
But Kamiyā Yuu had no habit of prying into other people's private affairs.