空想百科账户

Nasu Mushroom

Nasu Kinoko (奈須きのこ) is a game scriptwriter and novelist for TYPE-MOON, with notable works including "Tsukihime," "Fate/stay night," "Magical Night," as well as novels like "The Garden of Borders" and "DDD." She served as both scriptwriter and director for 'Night of the Magician' and the remake of 'Tsukihime.'

Basic information
Japanese signatureKinoko Nasu
Creative FieldScripts, novels
Related brandsTYPE-MOON

Visual novel work

The original "Night of the Ancient Magus" sources listed Nasu as the screenwriter, while the HD version further listed the script and supervisory roles. "Tsukihime -A piece of blue glass moon-" is also credited with its script and director. Character design and visual production for both games were handled by the respective creators.

Novels and games

The official author profile of TYPE-MOON also lists works such as novels such as "Kara no Kyoukai" and "DDD." Novels and games use different narrative media, and the similar titles or shared settings do not mean their publication or distribution records can be merged. This section only compiles public credits and does not include speculation about the creator's private life.

Additional information
Duties of the Night of the MagicianScript and supervision
Fate/hollow ataraxia positionLyrics for the album version of "Fate/hollow ataraxia ORIGINAL SOUND TRACK."
Fate/hollow ataraxia positionLyricist for the 2005 PC theme edition listed in the secondhand database

Game creation experience

The TYPE-MOON official archive lists early game resumes including 2000's "Tsukihime," 2004's "Fate/stay night," and 2005's "Fate/hollow ataraxia." After these works, he continued to write scripts for games such as 'Night of the Magician' and 'Fate/Grand Order.'

Novel and illustration collaboration

Her novels include 'The Realm of the Sky' and 'DDD'. The latter is illustrated by Hirokazu Koyama, reflecting the collaboration between TYPE-MOON creators that spans gaming and publication. The author profile from the Japanese Agency for Cultural Affairs also lists his game scripts and novel biography.

Supervision work for "Night of the Magician."

The list for "Night of the Ancient Magus" lists Nasu as the scriptwriter and director, Hirokazu Koyama is responsible for characters and visuals, and the director, background, programming, and music are also assigned to dedicated members. The story centers on the meeting and cohabitation of Aoko, Uzuma, and Sojuro, using a single-threaded reading style; The 2022 version continued to retain Nasu's script and director's credit.

Reconstructing 'Moon Princess'

In "Tsukihime -A piece of blue glass moon-," he rewrote the story and served as director, shifting the setting to 2010s Tokyo. The new edition revolves around the two routes of Elquet and Sier, reconstructing the events and relationships encountered by Shiki Tono within a larger urban setting.

The script for the 2005 PC version of "Hollow."

Credited as the screenwriter for the 2005 PC version of 'Hollow'.

co-authored by Hollow

In 2005, Hollow's product list included Nasu Mushroom, Arohon Kei, Morisaki Ryohito, and others as screenwriters, with Takashi Takeuchi responsible for key animation. Compared to the script and director credits for 'Night of the Magicians,' this is a script production list that includes multiple participants.

Realta Nua's recording adjustments

When reviewing the PS2 recording at a 2006 event, the performer said Nasu remained present, and some lines were temporarily rewritten based on the actual performance.

The production of "Night of the Ancient Magus."

Responsible for scriptwriting and supervising the game.

Fate/hollow ataraxia-related production

Kinoko Nasu was credited as the lyricist for the album version of "Fate/hollow ataraxia ORIGINAL SOUND TRACK." Kinoko Nasu credited the lyrics for the 2005 PC theme edition listed in the secondhand database.

Development milestone for the remake of 'Tsukihime'

In a 2021 interview, Nasu Mushroom recalled that after the release of "Night of the Ancient Witch" in 2012, he and Takashi Takeuchi replayed "Tsukihime," sharing a camp and discussing with question notes. The remake project was paused in 2013 due to work on Fate/Grand Order and resumed around 2017.

Script supervisor practice in dubbed versions

The casting for the 2022 dub version of 'Night of the Ancient Witch' was jointly screened and auditioned by Nasu, Hirokazu Koyama, and Takashi Takeuchi, then discussed with Aniplex. Nasu demanded natural performances, checking his tone line by line during recording, and adjusted overly long lines and spoken expressions based on actual listening experience.

Fate Viewpoint and Hollow storyboarding

When Nasu reviewed Fate's visual materials, she explained that the basic method was to create landscapes seen by Shirou Emiya, composing images from the protagonist's perspective.

Hollow's Fuyuki Ohashi "Showdown" was first drawn by Tsukuri Momoji, then the other members worked together to complete the production. Nasu sees this scene as a part of Hollow performances where new methods are being tried out.

The commission and style of the 2014 hollow song

Nasu and Takeuchi chose Aimer as their first choice for the new Vita version, hoping the music would touch emotions, and Aniplex made the request. Nasu called "holLow wORlD" her second opening song, noting that its intense and heavy style, while still retaining a thread of redemption, echoes the latter half of the story.

The transition between FGO's old songs and story performances

In a 2018 interview, Haga explained that the choice of old songs related to FGO's stories was mainly decided by Nasu. Before production, it was agreed that old tunes would only be used when necessary; The early chapters set in Fuyuki are exceptions that were predetermined.

Coordinate character adjustments with the original artist

In the 2012 production review of "Night of the Ancient Magus," Nasu explained that Arizu still seemed mentally childish to help Koyama solve the problem of expression differences. Koyama insisted on the image of Sojuro formed while reading the original novel and suggested that Nasu retain some of the original descriptions; Nasu also responded with a gentle expression, having the key animation and script cross-reconcile.

Temporary assembly review and resource allocation for Yueji's R

For the Tsukihime R performance, BLACK first assembled the materials temporarily, then handed them over to Nasu for inspection and further adjustments. After completing the overall outline, Takeuchi drew the storyboard process, with BLACK, Koyama, and others proposing ideas, then controlled the number of CG frames through meetings while enhancing expression differences. BLACK later included a sketch of Takeuchi's Aoko touching young Shiki into the script and obtained permission to add additional scenes.

The release date and scope of the '428' Kanan arc

When they first talked about collaboration, TYPE-MOON was working on a fan disc for "Fate." Nasu said that if there was still room to help after the work ended, she hoped to participate in the production, and later took on the Kanan arc in "428." When Ishii completed the script and prepared for live-action shooting, he issued a commission and allowed him to freely use Canaan; Nasu felt it was inappropriate to add more plot points to the already formed main story, so she wrote extra stories that deviated from the main storyline.

Together with Higashide, he conceived Apocrypha

Fate/Apocrypha initially received short story invitations. Nasu and Yuichiro Higashide expanded the concept through timed discussions, eventually developing it into a novel.

Character proposals in Samurai Remnant

During the production of "Fate/Samurai Remnant," Nasu agreed with Higashide's Lancer concept: the appearance reminded people of existing characters, but their actual identities were different.

Adaptation choices and port schedule for Night of the Magician

When adapting the Night of the Ancient Magus novel into a 2012 PC game, Nasu hesitated between preserving the 1980s and changing it to 2010. As images, music, and performance materials gradually arrived, he decided to preserve the slow and quiet atmosphere of the era. Originally intended to clearly set 1987, but later to avoid the story having to shift to global events like the Berlin Wall, the scope was changed to the late 1980s.

The original novel did not include abandoned amusement park battles. After Tsukuri Mojiri proposed changing the stage for the puppet battle, Nasu expanded this segment; The beam performance was later split from four images into eight beams and added wide shots, during which he revised the text.

Nasu recalls that console ports started around the 2018 schedule, the 2020 alpha could already run on the Switch, and in 2021, recording data was incorporated and the beta fine-tuning began. The same team also handled the port of "Tsukihime R," which slowed down or halted the progress of "Night of the Magicians" at one point. The final winter release is also related to the game's Christmas story atmosphere.

Related entries

References

Rewrite the factual introduction based on the official materials listed; No game scripts, lyrics, or audiovisual materials are reproduced.

Data compiled on: 2026-10-10.

本版编辑：免费机器翻译 · 2026-10-23

内容许可：CC BY-SA 4.0 https://creativecommons.org/licenses/by-sa/4.0/

本译文依据的源修订