Kamiyā Yuu didn't need to personally attend the meetings with the three manga artists. He left everything to Morishita Aoi and the Operations Department.
Matsumoto Kura was already serializing a manga in a magazine, so Morishita Aoi contacted his publisher directly to negotiate. After that, everything was handed over to the publishing company.
It was the safest approach.
Yosuganosora Animation Studio hadn't yet expanded into an all-encompassing entertainment company. Aside from a handful of people, most of its employees knew next to nothing about the manga industry.
Manga publishers, on the other hand, generally had dedicated editorial departments with extensive experience and professional expertise, more than capable of handling unexpected situations.
Among the three manga artists, Irie Naoki would be responsible for adapting Kirigami Ruri's novel into manga form.
The other two would draw manga based on scripts provided by Kamiyā Yuu.
He simply didn't have the time to flesh those scripts out into manga storyboards, so he only wrote the most basic script requirements in text form before bundling them together with the 'Type-Moon World' setting book.
How the material was interpreted was entirely up to the artists.
One of those scripts was the previous world's 'The Garden of Sinners.'
The other was an original fan work from his previous world titled 'Dead Apostle.'
It told the story of an ordinary human who was transformed into a Dead Apostle by a True Ancestor and the events that followed, including explanations of what Dead Apostles were and their conflicts with the Church.
It could also be considered an alternate version of the story from 'Tsukihime.'
If 'Tsukihime' was equivalent to 'Fate/stay night,' then 'Dead Apostle' was its 'Fate/zero.'
Kamiyā Yuu wasn't worried that the manga artists would produce poor work.
Being able to collaborate with one of the hottest anime franchises of the moment was a once-in-a-lifetime opportunity.
Even if their own manga wasn't outstanding, the popularity of the anime alone would provide tremendous support.
If they did well, this project might completely change their careers and pull them out of their current predicament.
From Kamiyā Yuu's perspective, it would naturally be ideal if the three artists produced high-quality manga.
If they couldn't...
Well, he still had the "open-world setting" explanation to fall back on.
And if the quality proved so poor that even the open-setting excuse couldn't save it...
He would simply declare that it wasn't an official manga belonging to the 'Type-Moon World.'
At the release event for the second volume of 'Fate/zero,' Kamiyā Yuu had already announced the collaborative 'Type-Moon World' project scheduled for the end of August.
Two weeks of preparation time was more than enough for manga artists who already had their own studios.
Irie Naoki's schedule was somewhat tighter.
Kirigami Ruri still needed a week to decide on the novel's theme and complete its prologue.
Fortunately, illustrating a detailed novel prologue written by Kirigami Ruri was far easier than working from Kamiyā Yuu's bare-bones script.
...
The 'Type-Moon World' project Kamiyā Yuu had arranged was laying the foundation for the future 'Throne of Heroes' initiative.
Once those matters were settled, his life returned to its familiar rhythm of being busy yet fulfilling.
During working hours, he wrote novels while concentrating on drawing storyboards and key animation.
Occasionally, he communicated with Kirigami Ruri through instant messaging software.
More often than not, it was Kirigami Ruri who initiated the conversations, asking him questions related to the 'Type-Moon World.'
As for animation...
Kamiyā Yuu's abilities as a director had already become highly refined.
He had gradually developed a directing style all his own.
The same anime could leave completely different impressions depending on who directed it.
A great director could make an otherwise boring story fascinating.
An incompetent one could easily reduce an excellent premise into mediocrity.
Up to this point, Kamiyā Yuu had produced three anime.
The first was 'RWBY,' a fully 3D production.
Looking back on his debut work now, he could clearly see numerous shortcomings.
Fortunately, its strengths far outweighed its flaws.
That was largely because he'd employed animation techniques that were years ahead of their time, standing on the shoulders of giants from his previous world.
Those advanced techniques concealed many of the production's weaknesses.
Even so, the 3D environments in 'RWBY' now seemed somewhat simplistic in his eyes.
What others considered outstanding CGI had actually relied on numerous shortcuts.
A single screenshot revealed the lack of rendering in finer details.
It was still far from the level where any random frame could serve as a desktop wallpaper.
Setting aside directing skill itself, there were four directors whose personal styles Kamiyā Yuu considered the most distinctive.
The first was Akiyuki Shinbo.
His legendary "money-saving techniques" and highly surreal visual presentation made his directing style impossible to forget.
His most representative work was undoubtedly the anime adaptation of Nisio Isin's 'Monogatari Series.'
The second was the master director Satoshi Kon.
His works represented true surrealism.
Watching one of his films without carefully analyzing it afterward often left viewers thinking, "I don't really understand it, but it feels profound."
The first time Kamiyā Yuu watched Kon's masterpiece 'Millennium Actress,' he had been thoroughly bewildered.
It was on an entirely different level from the anime he usually watched.
Not merely in quality, but in style.
The third was another master director, perhaps the most famous Japanese animation director in China.
Without question.
Hayao Miyazaki.
His classic works were too numerous to count.
Among them, 'Spirited Away' remained the only Japanese animated film to have won the Academy Award for Best Animated Feature before 2028.
Kamiyā Yuu felt Miyazaki's directing style leaned toward broad Western family appeal.
He was essentially Japan's equivalent of Disney.
The fourth was another directing genius from Kamiyā Yuu's previous world—
Makoto Shinkai.
Every frame of his films could practically be used as desktop wallpaper.
Among his works, '5 Centimeters per Second' was one of Kamiyā Yuu's favorite Japanese animated films.
The ending theme was also one of the very few Japanese songs by a male singer that he kept on his phone.
Comparing these four directors made it easy to understand how profoundly a director's personal style could influence an anime.
So what about Kamiyā Yuu's own directing style?
During 'RWBY,' he was still learning and experimenting.
During 'Magical Girl Nanoha,' he steadily improved.
By 'Puella Magi Madoka Magica,' he had fully matured.
And with 'Fate/zero,' his own style had truly begun to emerge.
His directing lacked Shinbo's eccentric individuality.
It wasn't as surreal as Satoshi Kon's.
It didn't possess Miyazaki's understated brilliance.
Nor did it place the same overwhelming emphasis on visual rendering and scenery as Makoto Shinkai.
If it had to be summarized in a single word...
It would be "comprehensive."
Only during specific scenes—such as battles or grand spectacles—would his own stylistic fingerprints become especially obvious.
To audiences, that "comprehensive" style could simply be described as:
"Throw money at it."
"And add more special effects."
He could adapt his directing approach to suit virtually any genre of animation.
After work, Kamiyā Yuu occasionally browsed online discussions about his productions.
From time to time, he also answered questions from the Blue Sea Translation Group.
Their progress on translating the 'Fate/zero' novels remained steady.
Not long after he released Volume Two, they had already finished translating the second character side story, 'Knight's Elegy,' which served as the conclusion to the previously translated 'Knight's Twilight.'
Kamiyā Yuu's seemingly omniscient mastery of Japanese genuinely astonished the members of the translation group.
At first, they only cautiously consulted him whenever they encountered translation problems they simply couldn't solve.
Now, however, they sincerely admired both his command of Japanese and his understanding of the entire 'Fate/zero' series.
It wasn't just the language itself.
Both 'Knight's Twilight' and 'Knight's Elegy' contained numerous references to ancient English history and legends.
Whenever Kamiyā Yuu calmly explained the origins and possible interpretations of those historical myths, the members of the translation group could only listen in stunned amazement.
Nowadays, whenever Kamiyā Yuu logged into his 'BIUBIUBIU.' account, he could almost always find private messages waiting from members of the Blue Sea Translation Group.