What led you to create 『hollow』?
Takeuchi: Yeah, we started from the idea that we could make the 『stay night』 fan disc in the same format as the 『Kagetsu Tohya』 (『Tsukihime』) fan disc.
Nasu: 『stay night』 was received better than I expected, so I thought we could make a story like 『Kagetsu Tohya』 1.5, but after completely telling the 『stay night』 story, I had nothing to do at the time. So I thought it out and felt that if we went in this direction it would be alright.
Takeuchi: Well, we knew from the beginning that players would be happiest with a format like that of 『Kagetsu Tohya』.
Nasu: It's a bit of a cycle, isn't it? I had used the loop concept in 『Kagetsu Tohya』, so if we were to do it again it would need a new theme with some significance. We tried different things for a couple months, and in the end we decided to focus on Avenger. Right around then we went on that trip to Germany, you remember?
Takeuchi: That was after we made the plan?
Nasu: Yea, it was. There was this cow sculpture at an interchange we went to during our Europe trip that had this crazy design art painted all over it, and that was what solidified the image in my mind. It was like some poor abused livestock with this chaotic texture all over it.
Takeuchi: : We left around June, didn't we? The weather was so cool over there. Such a relaxing season. I thought for sure I would get back and feel totally refreshed and ready to start the fan disc, but...
Nasu: When we got back I couldn't believe how hot and humid it was (laughs). Germany was so dry.
Takeuchi: For me, 『stay night』 itself was made in the same vein as 『Tsukihime』, so putting out a fan disc seemed like the natural way to go about it. But that of course couldn't mean it would be the same content wise, so the burden on Nasu was nothing like during 『Kagetsu Tohya』.
Who is your favorite character?
Nasu: I liked all the characters in 『hollow』. Caren, Bazett, and Avenger all have distinct personalities, but I really feel Ruby is a cut above the rest. Bazett was mentally a stronger character when I imagined her during the time of 『stay night』, but as I was reworking the story I found that there wasn't anyone to be concerned for—thus not much of a story—and I realized I needed to make a change.
Takeuchi: But the idea of a beautiful woman dressed as a man was there right from the start. I remember thinking a lot about how best to represent that.
Nasu: I remember Bazett already being drawn in the 『side material』 of 『stay night』.
Takeuchi: I was really worried about how to capture the sex appeal of the character, given that they were to be part of an erotic fan disc.
Nasu: The expressions provided by Takeuchi felt more cute than cool, and I was intrigued to see the kind of chemistry that would come from a beautiful woman that had that kind of quality. It was definitely something I could not have come up with on my own.
How did such a fascinating setting come about with the Servants?
Takeuchi: 『hollow』 was the first work that we brought in sub-writers, wasn't it?
Nasu: First I created the plot, and I was tasked with everything from the Holy Grail War on the first night until the completion of the story. I left the daily writing and editing to the sub-writers to work on at the same time, and we all brought our own ideas to the story.
Takeuchi: It was a bit of a first-time experiment for us, so there was a lot of fumbling around in making the scenarios.
Nasu: It wound up being something like "Saber + Courtyard, do something with that," and we floundered quite a bit. The ones who had specific ideas about the characters and their background cranked them out pretty fast. But for those in-between scenes without a specific goal in mind, we really just had to leave that up to each writer.
Takeuchi: Our basic outline for divvying up the workload was to give Nasu the main route, with him and the other writers making the daytime scenes. They wrote a ton for us, but the quality was kind of everywhere. The majority of my time was spent scrutinizing and fixing up all of the work
Nasu: It really was. I asked the other writers to write for characters who played a big part in 『stay night』, since I figured I didn't have to be the one to write those parts.
Takeuchi: We said that Nasu would write for characters and scenes that needed special care, and we had three versions written for Shinji, didn't we.
Nasu: Whether it was Shinji or Mimic Tohsaka.
Takeuchi: But wasn't Mimic Tohsaka corrected after the fact? The first iteration did not go very well... Yeah, I'm sure there was a picture at the beginning.
Nasu: Takeuchi asked me what kind of fantasy event drawing I wanted for Rin, and I told him I wanted her stuck in a box. But because it was a story in this kind of limited environment it was hard to fit all the scenarios together, so first I wrote that I would just rewrite the entire thing. However, I made so many big claims that I couldn't write just anything. And this scenario was only inside of a box, and boy it was difficult... So I thought to bring out Ruby! So I had them draw up art for a magic wand.
Takeuchi: The drawing was there first, so I thought that this picture would be the main part of the story, but this wound up being just the beginning, and Ruby came out from inside the box.
Nasu: As soon as I put Ruby in my pen just started going. A lot got lost in this process, but this turned into a story where Rin turned into a magical girl, and I had Takeuchi design a lot of different things for me.
Takeuchi: Yea, one of the writers said something about a school swimsuit regarding the design of the magical girl, and I had no idea what he was talking about.
Nasu: Oh he insisted it was the absolute best. But, I ended up using a more normal design since a school swimsuit just didn't fit the feeling of 『Fate』.
Takeuchi: I totally didn't get the whole "magical girl + swimsuit" at the time.
Nasu: But you get it now.
Takeuchi: Now, I know exactly what he was going for (laughs).
Nasu: Some things you just can't unhear (laughs).
What is your favorite scenario in this work?
Nasu: I like stories where Caster stalk Kuzuki.
Takeuchi: Hoshizora Meteo from 『hollow』 did the lighting...
Nasu: Yeah, it was Mr. Meteo that did the Caster stalking and the young princess.
Takeuchi: Mr. Meteo was also responsible for the story of Saber playing soccer. I reread the script and wondered why this was the only scene that had a face icon on it, but thinking about it the text was super long. I guess he thought the scene was too long and put the face icon in. I had thought about why this scene was so long, but then again it is Mr. Meteo...
Nasu: That was like... rather than writing a half-baked scene that ends with one illustration, it would be better to put a scene in where Saber was playing soccer and bring out her charm more. Mr. Meteo's pride as a writer really takes it out of the graphics guys.
Takeuchi: Even though he looked them dead in the eye and told them, "For this event image there aren't any others besides the one, so have the text fit to scale, ok? Thanks," I don't think it really reached them.
Nasu: The sense of it was off, wasn't it.
Takeuchi: Yeah, it's like the production style of each person is like a little culture unto itself.
What have you learned from using sub writers?
Nasu: I learned that it is harder to gather all the writers and work on ensuring the quality of the product than just to write the material yourself. There are bound to be differences in points of view, but as the backbone of the project it is my point of view that everyone will have to conform too. It's just how it has to be. In that case it would have just been better for me to just write it for myself, but I wanted to bring out the maximum potential of each writer, so it was quite the dilemma.
Takeuchi: Management can really take its toll when you're fighting with the front of the house. Writing with multiple writers makes quality control a big problem, but it's just something you have to experience firsthand to understand. In that way, I learned a lot during the writing of 『hollow』. And credit to Mr. Meteo for helping me remember all the drama... (laughs).
Nasu: Ah, 『Gojin No Taro』. 『Gojin No Taro』 was actually a longer edition. I really liked the director's cut edition myself, but it had to be shortened for the CG.
Takeuchi: Pretty crazy, right? We were made to draw many more new backgrounds for 『Gojin No Taro』 because of that restriction.
Nasu: Wow, are you really that resentful of it (laughs).
Takeuchi: No, no. It's something that's fun to talk and laugh about now. We could laugh about it. No regrets here.
Nasu: Back to daily life scenarios, my favorite was the fishing version with Lancer that I had written myself just for fun. I was having some stupid conversation with Takeuchi when he said "Have Lancer go fishing!", and I said "I... guess so?"" So I had him go fishing, and as I was doing that Archer and Gil just got larger and larger parts.
Takeuchi: They were quite obsessed with Gamakatsu (a fishing gear manufacturer) weren't they? I really don't get the writers' obsessions...
Nasu: Gamakatsu! That's the one with the image of a young boy fishing in the 1980s. The name is awesome. Ga-ma-ka-tsu. It's so powerful!
Takeuchi: Yeah, I'm not getting it.
Nasu: So sad (sniffle). The Caster story was written and it was very funny. I originally planned to put the back story for Caster into the main game, but I just couldn't figure how to work it in. When I finally gave in to the fact that it would be delayed, it was put into 『hollow』. So I thought it wouldn't be right if I didn't do other people as well, so I put in as much as I could about Servants that had meaning to the story. Rider's past is an example of that. Lancer's background was originally the main theme.
Takeuchi: There was a portion related to Caster that was originally dropped from 『stay night』, so I thought it would be best if we gave it its own place, even if not on a fan disk.
Nasu: When we were discussing how to make Rider's long back story end, the writers said “let's make the two sisters love each other very much.” So when I asked Takeuchi to draw the sisters really sadistically, he seriously made the best picture ever, and I told him that something like this won't be left as a template for this story, and to leave Rider's story to me and we can break it up.
Takeuchi: From the start we thought about making her into an idol, right?
Nasu: Right, in the beginning. I thought it would be interesting to make the two of them Greek idols and have only Rider be left out. But if the live scenes of the idols were done using ADV the cost would have been stupidly high, so we gave up the idea, used only the word "idol" and changed the positioning to an "an image of being loved."
Takeuchi: And if we're bringing up the past we can't forget Kuzuki.
Nasu: What a train wreck that was. At that time I didn't have any desire to do 『Mahoutsukai no Yoru』. It was when we were making 『stay night』, and Souichirou Kuzuki came at a time when we had taken the setting toward a different path with dark versions of certain characters. I insisted that I wouldn't write 『Mahoutsukai no Yoru』, but...
Takeuchi: I didn't notice at first that the names were similar.
Nasu: I ever so secretly made the names be similar, but I guess that really backfired, huh? (laughs)
Takeuchi: Shizuki Soujuro (the main character from 『Mahoutsukai no Yoru』) and Kuzuki Souichirou. I didn't pay particular attention to it when I was making the illustrations, but I guess the results speak for themselves.
Nasu: The new Kuzuki looked JUST like the old Shizuki.
Takeuchi: : It's the Shizuki of the very first 『Mahoutsukai no Yoru』 written by you. The Shizuki Soujuro that I imagined was like him.
Nasu: And he became a handsome young man you would never be ashamed to bring out anywhere! Yippee! Well, that Soujuro's personality changed a good bit through his changes from Mr. Koyama's designs, but he became a super funny and interesting guy, so all's well that ends well.
Are there any characters that you passed on when writing?
Takeuchi: I thought that I might be able to do something with Argon Coin (See p.217) but I wasn't able to in the end. I wanted to piece together the content of the 『side material』 and kept trying to fit him in until the end, but it just didn't work out.
Nasu: I thought Argon Coin would be a good character if he was put in, so I put him into the 『side material』 of 『stay night』, but Gil wound up taking his spot. There just wasn't a place for him.
What was the reason you had many writers be a part of the wallpaper and 『Toraburu Hanafuda Douchuuki』?
Takeuchi: We did a wall paper for 『Kagetsu Tohya』 so we wanted so we wanted to do it this time as well.
Nasu: I just wanted to do a 『Sakura Taisen』 playing card set for 『Toraburu Hanafuda Douchuuki』.
Takeuchi: And now we're talking about making a mini-game.
Nasu: We were talking about what would be the best minigame for a Bishoujo game, and we both agreed on a 『Sakura Taisen』 card game. It was so great.
Takeuchi: Totally was. You either always barely won or barely lost.
Nasu: The rules to the card game were easy to remember and was lots of fun. It was more relaxing than Mahjong. Right when you think it's a game of screwing up your opponent's hand, that's when the strategy comes out.
Takeuchi: But there is a limit to how much strategy you can use, and the rest is all luck.
Nasu: But it's fair that way. When I was a school boy we would bet our lunch and play the game. This was with Takada.
Takeuchi: Was it easy to decide to have many authors draw for you?
Nasu: I mean sure, there were definitely those who couldn't match your level of skill, but you were off in that sub-episode assembly working on 『hollow』, so we thought it would be good to make the sub-sub episode 『Toraburu Hanafuda Douchuuki』 and put it into a whole new dimension. Then all the writers went crazy making a ton of stuff for it, and did a great job making it into more of a gag.
Takeuchi: Some felt that 『hollow』 should include a derivative work to serve as a summary make it popular. I remember asking about that to the people who said it should be in a certain way.
Nasu: Looking back, it was really all due to our amazing staff, both for the wallpaper and 『Toraburu』 artists.
Let's talk about the EX and PSP versions of 『Toraburu Hanafuda Douchuuki』
Nasu: Simply put, in EX there were no group for Avenger or the teacher Caren, so I wanted to add them. On the PSP side, because of the hardware of the system, we added it as an extra with the PS2 version of 『Fate/stay night [Realta Nua]』.
Takeuchi: And hoshigami comes out as a mushroom at the end, doesn't it.
Nasu: Hey, I didn't make any design decisions! All I said was that anything would be fine as long as it wasn't a dragon.
Takeuchi: Uhhh, I really don't remember at all, but didn't Mr. BLACK make that up all on his own? Mr. BLACK was central to the creation of 『Toraburu Hanafuda Douchuuki』.
Nasu: It was his fault that hoshigami became a mushroom!
Takeuchi: And in the PSP version the Nya Nya scenario was great!
Nasu: The Nya Nya scenario was my best from that year. When I thought of the Nya Nya group during the final team battle I thought I was God. As a side note, it became like a battle between identical characters because there weren't very many voice actors who recorded for that additional scenario.
Takeuchi: Mr. Saxyun's picture was a godsend. It was really funny, like a bullet let loose straight out from you.
Nasu: : It was the part where Dark Yukika said "Manager Yukika Slap!" infront of the beautiful Makidera, and where she does Robin Mask's (a superhero from the anime 『Kinnikuman』) "Tower Bridge." It would have been better to put Makidera's face on top of Yukika's face and just pound it, but the illustration was so kindly made for us was done by Mr. Saxyun. And it was REALLY cute!
Takeuchi: The expressions of the violent Yukika were exquisite.
Nasu: Yeah it was a waste that she was put to sleep.
Takeuchi: And the voice actress was great.
Nasu: Yeah, the voice talent for the three girls was flawless. Every time I heard it I felt like I had to pick something up... Does this mean that we have no choice but to turn 『Himuro no Tenchi Fate/school life』 into an anime?!
Takeuchi: There was a strong parody element at the core of the piece so 『HimuTen』 was very difficult in many ways. Like, how should we explain all the related places... (sniffle).
Nasu: Another thing I really liked was the priest and his nice friends. They were the funniest of all. They were way too close to each other.
Takeuchi: The picture with the three of them together was good wasn't it? That was the picture that Yuichi Imoto and Pochi made and said "Now this is the one!"
Nasu: Shinji was good too. The character scenarios that were not rewarded in the original version were fun.
Takeuchi: For he who has 99 continues.
Nasu: At first there were no Noble Phantasms, but in EX Mr. BLACK showed emotion and said "It's so sad that there isn't any so I want to add it," so there was no choice but to add them. Didn't Mr. BLACK also arbitrarily make the background of when Shinji uses a Noble Phantasm? (laughs)
Takeuchi: Making that flabby portion of the body is just so much fun.
Why did you make 『Kazagumo - Ilya's Castle』 to resemble a Famicom (NES) game?
Nasu: Well, first the title of 『Kazagumo - Ilya's Castle』 came to mind, and we decided we’d like to make that kind of game. It would have been bad to have only 『Hanafuda』 as a mini-game, so I made it together with French Bread.
Takeuchi: In the beginning Tsukuri said that it would be an environmental game. First we would decide on the actions and then look at the result afterwards. Well, we thought for sure that having that be it would be boring, so we put in some action, but then it got even more boring. We had to make a lot of adjustments.
Nasu: We couldn’t even understand or comprehend what an "environmental game" should be like. It’s popular now, so that much is good. It was ahead of its time though, Tsukuri Monoji.
Takeuchi: Mr. BLACK seems to like the "five-person battle."
Nasu: The parody picture of a Famicom cart was so good, that was the best.
Takeuchi: 『Kazegumo』 was pretty popular, and even the content put into『Carnival Phantasm 2nd Season』 was well received. At that time the person from French Bread who acted as a director not only grasped the unique characteristics of the characters, but also completed a Tsukuri Monoji-style pixel drawing for us. The most interesting one was the mushroom that Mr. Tsukuri drew, even though it was a porno mushroom...
Nasu: We sent that around and we were all cracking up!
Takeuchi:He worked so hard on it. Part way through he thought about adding in a yes or no quiz with it or doing other random cool stuff.
Nasu: I wanted to give it some meaning when it didn’t have it before, and I think it turned out really well in the end.
Takeuchi: I had an experience that I never want to talk about. Even in the end when running away from the castle the characters would just die in random ways. (laughs)
Are there any funny stories that you can talk about now that production is complete?
Nasu: I guess for me, I could not write the final episode of Yoru Pa-to (lit: Night-shift Part Time Job) how I wanted to, and it was the first time in my life that I had confined myself to a small space to finish the work. I asked an editor acquaintance of mine to immediately find me a hotel where I can lock myself in and work, and he turned out to be a weird person and he replied, "Please wait. I’ll show you the hotel that Mr. ◯◯◯ used." Then he was like, "This is the room where Mr. ◯◯◯ wrote while looking at the trees in the garden." It was one of those rooms where one night is crazy expensive, and I wound up going straight back to the company before nightfall.
Takeuchi: Oh, I remember. You thought you’d at least get to have the coffee for free, right?
Nasu: But it wasn’t free! It was 1,000 yen! I was red with rage! I drink 10 cups of coffee a day. Should I have to pay 10,000 yen per day just for coffee!? There was no way I was doing that so I went right home. In the end I left with nothing to show for it, and figured there was nothing left to do but go to my usual spot and just plant myself there. I did just that and somehow the last scene came out.
Takeuchi: That was one of the two big impacts in your life, wasn’t it? What was the other one? When you went to Izu Oshima or something like that.
Nasu: Oh that! That was right when 『hollow』 was finished and everybody was taking a vacation. I thought it’d be stupid to look at the reception of 『hollow』 online, so I shut off my online access and went to Izu Oshima by myself. You can go to Izu Oshima from Shinbashi by ferry and it takes about one hour, so I thought I would go. It was the complete off season in winter. When I went to the hotel at the top of the mountain there was a crack across the whole surface of the asphalt on the roundabout that surrounded the hotel. I wondered if some sort of bomb dropped there or something. When I got into the hotel it was enormous, but I was the only customer. The carpets were dirty, and halfway up the stairs there were these pictures that for sure looked like they had ghosts coming out of them. It was like a hotel someone would put you in to bully you. So scary. When I got to the room I began reading the 『Onmoraki no Kizu』 that had just come out, and because the snow was falling there was nothing else to do at the time. I decided to go to the bathroom and when I went into the hallway lights cut out and it was scary, the pictures in the stairwell were scary, and the carpets looked like they had blood on them. What was this hotel! The clincher was dinner. When I was called for dinner and went to the dining hall on the first floor, I saw a huge dining room and I was the only one there. There was just one isolated light in the farthest away seat. I thought, "Hell no, I am going home tomorrow. I paid for 3 nights and four days, but I am going home tomorrow." (laughs)
Takeuchi: Yeah, you came right home after that, didn’t you?
Nasu: The next day I was like "I’m home!" (laughs)
Takeuchi: I was like, "What! What ever happened to taking it easy?!" (laughs)
Nasu: I want everybody to go to that hotel as punishment for losing a game. But the open air bath was like a large flat plain, and it was the best!
Takeuchi: You said that the nature was great.
Nasu: Yeah, there was nothing but nature there. Of course it was already renovated and looked very beautiful.
Takeuchi: But putting all that aside, 『hollow』 was tremendously difficult.
Nasu: It was tough the whole time wasn’t it? Why did we decide to do this kind of thing in the first place? It was really getting to me.
Takeuchi: There were plenty of times where the scale was too large and we failed because of it. Tohsaka Shrine was just such an instance. Originally we asked the sub writers to make votive pictures one at a time for each individual episode, but these wound up not amounting to much so we changed our approach and finally just asked for a short piece of text to be written by Mr. Meteo. I’m so glad that’s over.
Nasu: : I wanted to create 『hollow』 as a fan disc item. I wanted to make something that was unsurpassed in terms of volume, theme, and level of service in the world of fan discs. That was what led to the scale getting out of hand.
Takeuchi: It got so big because we realized that we had to fill four days to the brim with events, from morning till night.
Nasu: What is a fan disc supposed to be? What does it mean to near the end of a work? We put a lot of thought into these questions and tackle them with profoundly deep themes. There was no way we could surpass this even if we make a fan disc with the same themes going forward, and we may have put too much of ourselves into this one.
Takeuchi: And with that it was made into a game, though doing a test play-through was really difficult. And then Nasu was writing 『DDD』...
Nasu: At that time it was just the first volume of 『DDD』, wasn’t it? I wrote that and was not able to make the final test play.
Takeuchi: And when I finally thought that the beta test was over and we could make the final copies, you looked at the final version and said that you wanted to fix a few things... and then we did.
Nasu: I’m so sorry.
Takeuchi: There was a request that Avenger have fewer lines when he and Bazett are having their final conversation.
Nasu: Hmmm... I don’t remember that. Was this having to do with the lettering font?
Takeuchi: At that time I had pulled a few all-nighters already and I wanted you to give me a break, but I did get one day’s rest until the finalized copy was done. Right when I thought I had some time, I still had to get it done.
Nasu: In developing 『hollow』's plot we were overlapping with 『DDD』's first story, and the deadline for finishing them up ended up overlapping also. Right until the end we would pour over 『hollow』 and think that we couldn’t possibly do anymore, so I would go back to 『DDD』, but when I finished it up 『hollow』 came to my mind again... and on it goes.
Takeuchi: It was the hardest thing ever.
Let’s talk about the game design in which you loop through a four day period
Nasu: This started as story where there were only 6 days and Saturday never came, but we thought that it would drag on if we made it six days, so we dropped it to just four.
Takeuchi:Wasn’t it just one day with 『Kagetsu Tohya』? 『hollow』 had a nice symbolism to its world ending after four days.
Nasu: It is the player who has to end the world. It’s like asking the player what kind of game it really is, and then it reaches that point amidst the cause of the ruins of this destroyed town. The story of 『hollow』 is a conflict between past players that don’t want to end the world and present players who want to hurry up and end it, and move on to the next. About mid-way through the game we made it so that the players who desire to quickly end the game overlaps with Avenger's feeling that he would like to quickly end the cycle of death and rebirth. That point in the story is us asking the player, in our own way, what is this fan disc to you? What does it mean to dig up a story like this that has ended before? But thinking back on it now, that may have been too much, and I question how entertaining that really may have been.
Takeuchi: I’m surprised how much Avenger was loved given how evil he was. Even if a theme like the one we just mentioned isn’t fully conveyed, in the end it still hits you in the chest.
Nasu: We didn’t tell the story of Angra Mainyu in 『stay night』 so I thought we would do it in a fan disc. I felt that it would be irresponsible not to tie in a loop with Avenger and tell the story of how he was to be made into a sacrifice, and how we would handle that which is treated as the "all the world's evil."
What is 『Fate』 to TYPE-MOON?
Nasu: 5 years ago we said that "this will not go beyond one product," but even saying TYPE-MOON now is just another word for 『Gundam』. It just keeps changing forms and moving forward. That’s not to say we’re just artificially extending it, of course. 『Fate/EXTRA』 was a good test for us. It was fun to write, and fun to make. If the players also enjoys it then it’s a Win-Win, is it not?
Takeuchi: As a product I do feel like it has grown much more than I expected. Whenever we said that 『Fate』 was over and done with, it would refuse to die. I suppose it’s only natural to love and revere something that you have spent so much time cultivating and being so fulfilled by, and to become so attached to it. I don’t mean to be obsessive, but I do want to treat this with utmost care, as we have done up until this point.
Nasu: This is for us what 『Final Fantasy』 is for Square Enix. On a way smaller scale, of course!
Takeuchi: I know you may sometimes think "Not another 『Fate』!" but even "another" 『Fate』 game wouldn’t be 『Fate』 at all.
Nasu: We plan to our utmost into every 『Fate』 so that the players who have stuck it out with us so far love it just the same. If we can just do that the fans will still be with us even as they say "Ah, its 『Fate』 again."
Takeuchi: 『Fate』 is really interesting isn’t it? We have the room to think about new possibilities. We will not make a direct sequel, but we’ll go for anything that seems interesting.
Nasu: The 『Fate』 I want to make now is that one, 『Fate Musou』. (laughs)
Any message you want to give to the fans?
Takeuchi: How many years have we been making this book series?
Nasu: 4 or 5 years? It’s been a while since we’ve been selling the software too, hasn’t it? As long as we say it’s been, it’s also been forever since that artbook was published. But it made a really good book, I think.
Takeuchi: It’s fun to look back on it because it’s been so long, and just how much we have drawn. I’m so impressed with myself.
Nasu: So the last entry to tie up the 『Fate』 series has been released, and I guess we finally close the book on the 『Fate』 canon this time.
Takeuchi: All in all, I’m happy that this book came out to bring TYPE-MOON circle prior to the release of 『Mahoutsukai no Yoru』.