Writing this chapter was both fun and tricky. The same things needed to happen as the canon story, but it had to be woven properly. There were servants to consider, situations to mold, and problems to introduce in order to make it all mesh. As an example, if I decided to bring Karna anywhere, whose skill allows him to read the heart of the individual, then the entire speculation over Quetz would have been ruined in Section I.
Others were easier, like convincing Jaguarman over to their side through use of Emiya bait. I gave a glimpse into the reunion between Jaguarman and Emiya, but nothing too big. Again, while definitely a touching scene, it is not something I wanted to linger on, but I at least gave a glimpse.
Gilgamesh is starting to show his adjusted colors now by not letting his anger and arrogance get the better of him. I wanted to depict it first using his careful analyzation of what Quetzalcoatl was up to. He’s a very insightful person who’s keen at observation, so it made for a good step.
This supplement has the biggest advancements in “background” development of the masters since the earliest part of fragments. In particular, you’re now aware of the origins of the two masters, which would make sense if you consider how I’ve been making them act. Their elements can be dropped whenever, since they’re not as “crucial” as knowing what their origin is, per se.
The Utahraptor is a new, very minor addition that obviously wasn’t in the canon story. I didn’t make it part of Quetz’s kit though, but as another beast that roams around the jungle near Eridu. She’s able to call upon its aid, though it’s far weaker than the Quetzalcoatlus that fly about overhead. I thought it was a fitting addition since it’s roughly what the fictional Velociraptor would look like in real life, and I needed some sort of ground-based threat for them.
I usually have to split protag interactions between Gudao and Gabrielle, so while I made Quetz jokingly propose to Gudao, she wound up liking Gabrielle even more. Can you blame her? After pulling that recklessly brave move of her own free will, she was sure to win the rider’s admiration… and Gilgamesh’s scolding.S
The beginning is slow until the 0:41 mark, so it lends itself well to “starting” during the scene before where there’s more contemplation. Everything 0:42 and on is clearly the battle sequence.
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