As one of the two cornerstones of the Type-Moon series, Takeuchi Takashi's importance is reflected not only in his artwork but also in his role as a supporter and promoter of Nasu Kinoko.
At the same time, he is also the president and legal representative of Type-Moon, and the biggest driving force behind its transition into the mainstream, commercialization, and the heights it reached in later generations.
As for his artwork, Takeuchi Takashi's drawing skills are not considered top-tier.
However, it is undeniable that if Nasu Kinoko's scripts are the soul of the Type-Moon series, then the "Takeuchi face" created by Takeuchi Takashi is the flesh and blood that give it form.
No matter how many artists joined the Type-Moon series in later years, whenever Type-Moon is mentioned, the first thing that comes to most people's minds is still the various characters with "Takeuchi faces."
Moreover, the "Takeuchi face" itself is indeed very beautiful, highly distinctive, and recognizable. Having stood the test of more than a decade, it still looks fashionable and not at all outdated among modern anime characters.
Therefore, if one wants to draw Fate/stay night well, the "Takeuchi face" is an indispensable element.
However, Takeuchi Takashi's art style was not static. It roughly went through three stages.
The first stage was during the production of Tsukihime.
At this time, his style was relatively immature and rough. Although it already showed some distinctive features, it was still in development.
The second stage was during the production of Fate/stay night.
This period marked the key turning point in the formation of his art style. The iconic "Takeuchi face" began to take shape, but the facial details and the depiction of the eyes were still somewhat stiff, and the characters' charm and temperament were not yet fully expressed.
The third stage was around the 2010s.
During this period, his drawing skills improved significantly and reached their peak. The facial lines became softer and more refined, while the eyes gained more detail and expression, making the overall look more appealing and polished.
The standard "Takeuchi face" in the public's mind was fully established during this time.
What Akira pursued was naturally Takeuchi Takashi's peak art style, mainly referencing works from that period such as Return to Avalon, Spring in Kyoto, and The Garden of Sinners art books for practice. However, it was not just imitation.
Unlike novel illustrations or CG art for visual novels, manga characters, especially in battle scenes, require strong dynamic depiction. This was an area Takeuchi Takashi rarely explored, so Akira had to build it himself.
Otherwise, he would only be able to imitate static poses, or at most draw stiff limbs and awkward hands.
During another evening break, after finishing his meal, he sat on the same bench by the street to rest. Then he took a sketchbook out of his bag and continued practicing character dynamics.
The mechanical pencil felt like an extension of his hand, precisely tracing line after line across the page. Soon, a beautiful girl, Tohsaka Rin, performing an exaggerated dynamic movement, appeared on the paper.
The scene he designed took place in a narrow corridor. Tohsaka Rin stepped against the walls to gain height while approaching an enemy.
Just as she neared the enemy, she kicked off the wall with force, dropping from mid-air to deliver an elbow strike, shown from a low front angle.
In the drawing, Tohsaka Rin shouted in anger. The ends of her hair and the hem of her clothes swayed with the motion. The folds of her clothing twisted along the force of the movement, and the arm delivering the strike, combined with the surrounding speed lines, created a strong sense of motion, as if she might leap out of the page at any moment.
Most importantly, even under such a difficult perspective, her face showed no distortion.
I'm really good.
Looking at the drawing, Akira could not help but smile slightly, satisfaction evident in his eyes.
Returning to Takeuchi Takashi's art style, because his lines are very clean and the details are simplified to an extreme degree, and because the "Takeuchi face" follows a relatively fixed template, it has the characteristic of being easy to start but difficult to master.
As long as one follows the template, it is easy to achieve something that looks seventy percent similar.
However, if the lines are even slightly off or the thickness is not properly controlled, it becomes impossible to capture the remaining thirty percent of the essence, leaving the result at the level of fan art.
In particularly difficult angles and dynamic scenes, maintaining the "Takeuchi face" becomes even harder. Even Takeuchi Takashi himself does not always manage it perfectly.
After all, he tends to simplify his work as much as possible, sometimes to the point of reusing elements. In recent years, his drawing consistency has even shown a slight decline.
From this perspective, Akira could now confidently consider himself an enhanced version of Takeuchi Takashi.
At this level, it should be enough.
"That's really well drawn."
At that moment, a familiar girl's clear voice sounded beside him. Rin had appeared at some point and was now standing next to him, looking at his drawing with undisguised admiration.
"Thank you."
Akira replied with a smile.
Since they had exchanged names, she had come to watch him draw every time he practiced here over the past few days. Gradually, they had become somewhat acquainted.
Although Rin appeared cold and unapproachable at first glance, that impression did not seem to reflect her true personality.
This reminded him of when he had first become nearsighted. Back then, he stubbornly refused to wear glasses and failed to notice classmates waving at him from a distance several times.
Later, he heard from friends that people thought he was difficult to approach and that he ignored others when greeted.
He had been quite speechless at the time.
Putting that aside.
Each time they met over the past few days, her first words were always praise for his drawings, which made him wonder whether it was sincere or simply her way of greeting him.
However, her next words quickly answered that question.
"It turns out Mochizuki-kun not only has strong drawing skills, but your art style is also very distinctive. Especially the way you draw female characters' faces."
Rin carefully studied the face in the drawing and spoke with surprising fluency.
"Most moe art styles create a cute and gentle atmosphere through rounded lines, large eyes, and highly reflective pupils."
"But your lines tend to be sharper and more defined, giving a refined, cool, and somewhat handsome impression, while still being different from male characters. It feels very unique. I really like it."
"Thank you for the compliment."
Akira was slightly surprised. Her description was quite professional, suggesting she had a solid understanding of art.
So he asked curiously, "Have you studied drawing before, Miss Shimizu?"
"I studied a little when I was younger."
Rin nodded gently, then hesitated before continuing.
"My father also works in the animation industry, so…"
"I see."
Akira nodded in understanding. Hearing that, he could not help but remark, "That must be a tough job."
The Japanese animation industry is notoriously competitive and poorly paid, often driven purely by passion.
Especially for those at the lower levels, such as in-between animators or second key animators, even working to exhaustion might not earn as much as a full-time convenience store worker.
That said, since her father had remained in the industry without changing careers, he was likely a capable and experienced professional.
"Yes."
Rin nodded again, but her expression became somewhat subdued, as if she did not want to talk further about her father.
Noticing the shift in her mood, Akira chose not to press the topic. Their relationship was not close enough for that.
It was about time for him to return to work.
"By the way, please wait a moment."
Rin suddenly called out to him.
"Do you have any anime songs you like?"
"Anime songs?"
He found the question unexpected, but still gave it some thought, recalling songs from this era.
Since the 1990s, anime songs had become mainstream in Japan, with many well-known singers contributing, producing numerous popular hits. Naturally, he had several favorites.
At that moment, his gaze fell on something nearby, and he immediately made a choice.
"Recently, I think 'Tobira wo Akete' sounds really good."
"Tobira wo Akete" is the second opening theme of Cardcaptor Sakura, released on April 21, 1999, and currently its newest opening.
Although its chart performance was modest at the time, it would later become a nostalgic classic for many anime fans.
Cardcaptor Sakura was also part of his childhood.
Even though it was a shoujo series, as a child he never distinguished between genres. He watched everything he could, including works like Sailor Moon and Shugo Chara!.
At the time, he paid more attention to battles and powers, and hardly remembered the romantic elements.
"'Tobira wo Akete'?"
Rin's eyes widened slightly in surprise.
"You like Cardcaptor Sakura too? What a coincidence, so do I."
"I know."
Akira smiled and pointed at the guitar case she was carrying. A small Kero-chan sticker was attached to it.
Only then did she realize.
Still, she did not think he was simply trying to match her interests. The song had only been released a few days ago, and only someone already interested would know it.
She had not expected that someone she had only recently met would share such a specific interest with her. The feeling was unexpectedly pleasant.
"And actually…"
She smiled slightly, her expression bright with anticipation.
"I've been practicing this song at home for the past few days, and I'm planning to perform it for the first time tonight."
"If you have time, would you like to come listen?"
Akira was a little surprised. He had not expected such a coincidence.
After a brief moment of thought, he nodded.
"If I have time, I'll come."