1 Please tell us how this project came about.

Lefranc's Underground Labyrinth and the Witches' Brigade (hereafter referred to as "Lefmyo") was very well received, and we decided to produce a sequel in response to the feedback. The first time we were approached was probably in the fall of 2017, after the PS4 version was released. After that, we started it as a project after setting up the siting, so I think it was around the beginning of 2018 when we started working on it in earnest.

2 Izumi, your works feature witches. Is there any tension between your works in terms of witches and worldview?

The Witches series is based on a "parallel world" or "many worlds" interpretation, which we call "many worlds," so in terms of the larger worldview, each title is very close to each other. Because of this, there are clear boundaries between the worlds, and it is assumed that they cannot interfere with each other, but some witches and other characters may cross these boundaries and interfere with each other. The origin of the word "witch" is said to be "a woman who crosses barriers, or a woman who stands on top of barriers.

3 How much tension is there between the storyline and the previous works?

Like "The Witch and the Hundred Cavaliers" and "Lufrun's Underground Labyrinth and the Witch Brigade," this is a story that shares the same major worldview as "a story about somewhere other than here" and "a story about many worlds. Although the story is similar to the most recent Lufwitch, we did not want it to be something that could only be enjoyed by those who have played Lufwitch, and so we proceeded with the production with caution. So, if you like any of these titles, you can play them in any order, no matter which one you play first or where you stop. If you have already played the other titles, you may be able to grin at this one, or in the opposite pattern, if you play the other titles after playing this one, you may be able to grin at this one. grin! If you have already played other titles, you may be able to get a grin out of this one.

4 What was the concept behind the production of this work?

One of our goals in the planning concept of the entire project was to give users who enjoyed Lufwitch a second chance to experience it.
Of course, for those who have played Lufwitch, this is the second time they have played this product, so they will not get the same experience if we do exactly the same thing we did last time. The best way to do this is to subtract what you don't need and reconfigure it, but since we had the above goals in mind, our policy this time was to not subtract anything as an element and to pat it up just a little bit ------, but the result was a bit different. I had to reduce the number of elements........

5 We have added some new features such as long jumps and high jumps in the labyrinth ・・・・・・ play surface.

This time, in order to increase the pleasure of exploration in the Narthex and the Apse of Galleria, I wanted to add an element that allows you to go back and forth between levels, but in order to do so, you need the so-called "path obstruction". Personally, I prefer "obstacles" rather than "doors that can't be opened by magic," and it was important for me to be able to "see the road ahead" in places where I could not progress, so I added new methods of movement such as high jump, long jump, and underwater movement. Incidentally, a useful skill was added this time to "stay in" when you are about to fall into a hole, because some fields were so unpopular in Lufwitch.

6 Please let us know if there are any concepts or settings in terms of the design of the labyrinth.

The names of the labyrinths, such as narthex, apses, winged corridors, etc., are actually all architectural terms for "churches.
Therefore, the underground labyrinth of the Galleria itself has the image of a "cemetery or church," and we are conscious of this when designing the labyrinth. We also decided from the beginning to use a slightly modern design for the apartments to convey a major shift in the worldview. Incidentally, the background music for the apartment was composed by Tenpei Sato based on the same concept, and it seems to be very well received.

7 The two main worlds of this work, "Almoon" and "Alstera," are the main stages. The facets and designs are different in each world. There seems to be some secret.

From the beginning, we had the idea of having a story that spans two worlds. However, in expressing the differences between the two worlds, it would not be interesting if both worlds were medieval in style, so we imagined Almoon to be around the 17th century and Alstera around the 20th century, and the design reflects that. Also, it would be fun to have facets with slightly different designs and names. ・・・・・・ is the reason why all facets appearing in Alstera have minor changes. In doing so, we dared to incorporate things such as "crushers" and "glasses," which are completely unseen in the Almoon worldview, to make the differences easier to understand. This area was discussed with Mr. Harada as we worked on it.

8 There are unique enemies in this work as well. How do you come up with such unique designs?

Basically, the process is the same as with the Luff Witch, but first, the designer draws a "draft" of the monster. Sometimes I give them a "doodle" of the monster in advance, and sometimes I ask them to draw it freely.
The rough draft is like the raw material of the design, so to speak, and from there I create a new rough sketch with a unified feel, taking into account the world view and setting.
Incidentally, these rough sketches are the "line drawings" that are also included in this book.
Once that is done, another designer does the "coloring" and "finishing. The designer in charge of animation also participates in this process, and the characters' movements are decided, and the way the images are divided is discussed while they are being finished. I think this method is the most interesting for now, and it is also the easiest to maintain quality while creating a sense of unity.

9 I was particularly impressed by the "impossibility. Why is it shaped like smoke?

The "impossible" design was inspired by the symbols of the end of the horse, natural disasters, rage, and doom, which led to the mushroom cloud cumulonimbus-like shape.
In the play, "Impossible" is variously referred to as "the authority of TO," "the black raven," "Maleficent," "the great cock," "the great raven," etc., but in its essence, it is the suppressor of parallel worlds, a world of infinite possibilities, and the annihilation mechanism that maintains order in a multitude of worlds.
In the narrative, its cloud-like, irregularly shaped, and divided form reflects the minds of the people of the world, and is the embodiment of the thoughts feared by civilized societies protected by the sun, whether they recognize them or not.


10 Right at the beginning of the game, there was a facet that was prepared before the player created the facet. What is the significance of this?

In the case of RPGs like this one, where character creation is a part of the game, a failure in character creation at the beginning of the game, when the player has no idea where he or she is going, can greatly affect the player's desire to continue playing the game.
So, we want to make sure that players don't make a big mistake in making their own characters.
Incidentally, it is Madame Marta who makes the puppet soldiers in this work, and if you advance to the middle of the story, you may be able to understand the origin of the names given to these puppet soldiers.

11 Compared to the Ruff Witch, I had the impression that there were not many strong enemies in the middle of the game, but I felt a strong response from the enemies at the end of the game, such as Tzetzilia and Impossible.

The "Impossible" and "Tzetzilia," which appear before the true end, had to be made stronger to some extent as "final bosses," but the lack of strong enemies in the middle game is more due to other reasons than the game balance.
At the beginning of development, there was a story in the so-called "underground labyrinth," and there was a mid-boss that was supposed to appear there, but we had to remove it for various reasons.
Some of the characters who appeared in the "spatial mutation device" could have been forced to fight as mid-bosses, but we gave up on that because we didn't think we could provide a storyline that would make them inevitable.
This is the reason why the number of strong enemies appearing in the middle stages is smaller than that of the Ruhr witch.

12 I was surprised at the astonishing number of floors in the Grand Cathedral. Why did you create such an egregious labyrinth? (Sad).

This is a bit off topic, but we originally planned to have a special silhouette demo for the current "True End," and to have all the trophies and the story completely end there.
The Grand Cathedral was positioned as the end content after the True End, and the number of levels was also chosen because of the meaning of "endless trials for the creation of the world.
However, for various reasons, we had no choice but to simplify the true ending, and at the same time, the story did not feel like it was closed neatly there. Also, the number of levels is not well adjusted for the game.
I am very sorry for this situation.

13 Please give me some tips or tricks on how to attack the Grand Cathedral.

I apologize for being a bit speculative, but it seems that some people are still struggling with the Grand Cathedral, so I thought I would write some information that might make the process a little easier.
Basically, the most efficient way is to use the "elevator," which can take you up to 300 floors or more, although it is random. So the key point is how many "elevators" you can find, but the appearance of "elevators" is random.
In this case, it is important to secure the exit wardrobe in order to preserve the progress, but in fact, no matter which level you start from, it will not appear for "about 10 floors. After that, the probability of appearance of the wardrobe is determined by a drawing of lots at each level. After that, the rate of appearance increases every 10 or so more floors. ・・・・・・
However, there is one pitfall: wardrobes appear even in unexplored areas, and if you intentionally ignore a wardrobe or move on to the next level without noticing it even though it appears somewhere in the hierarchy, the probability is reset and it will not appear again "for 10 levels". It means that it will not appear again during the "10th level. So, to summarize, it would be more efficient to proceed to the "10th level" only after confirming that there is no "elevator or wardrobe" in the hierarchy before proceeding to the next level.
If you are afraid of losing your reinforcers by doing so, use bivouac in a safe place (and use seals if necessary) to stabilize yourself.
If the first room is not square, it is likely that there is a staircase, elevator, or wardrobe in the "missing" area.
It would be a good idea to check these areas.
If you use the above and watch the event demo for each of the 365 levels, the "shortcut door" on the first level of the Grand Cathedral will open, and you can enter from there next time ・・・・・・.

14 There must be many people who have not been able to conquer it yet. Please let us know what you think of the recommended soul book, puppet soldiers, skills, etc. that the developers had in mind for the game. Please let us know what you think.

It depends on the progress of each person, so we can't give specific recommendations ・・・・・.
Although it may be difficult, the staff recommended the "Miramakina," especially the wall ones. If you have them appear, they will take damage in place of the kabuns waiting behind you, so if the enemy attacks are powerful and you cannot withstand them, you may be able to win the game as it is without levelling. If the enemy's attack is strong and you cannot withstand it, you may be able to win the game without leveling.
You can also use "Tactical Force" against strong opponents, which allows you to anticipate the actions of your enemies and allies, so you can fight strategically.
However, my personal recommendation is to enjoy the brigade with your favorite facets that you love as much as possible, whether it is full of guys or girls. ・・・・.
Since a maximum of 60 characters can be created, it would be a good idea to create characters with the names of your classmates if you are a student, or your colleagues at work if you are a member of society.
By the way, you can also change the name of the Book of Yui, but I have never seen anyone actually using it, including Rufwitch! Please use it (although you won't be able to find the original name of the book).

15 What did you mean by true ending?

The true ending was intended to be the one where the story is finished and the world is stable ・・・・・・, and the player can destroy it at will if he/she doesn't like "this repeating world". But as a result, it was expressed as if it was necessary to go on to the Grand Cathedral. However, one of the major points of regret is that it was expressed in such a way that it is mandatory to proceed to the Gran Cathedral. ....

16 Madame Marta says "koureitou" or "seance lamp".
What is the secret behind the use of "koureitou" and "seireitou"?

When I say "koureitou," I am referring to the presence, including the personality, of the soul that can be restored and prevented. When we say "seance lamp," I think we are referring to it as a magical apparatus. When we say "seance lamp," I think we are referring to it as a magical apparatus.

17 Why is Yurika so emotional and thoughtless?

As Nachir points out in the play, this is something she was "born with," and it is a problem that has plagued her and those around her, and cannot be solved by simply saying she is a cute natural character. However, if this problem can be solved by eliminating it, there are some complicated issues, such as whether we can really call them "the same person. ・・・・・・ I think so.
In addition, there is also the viewpoint of the viewer. In the play, Yurika would be seen differently when she was searching with Yurika than when she was searching with Nachir.
In the end, what is the right answer? What is good and what is bad?
What is wrong with being different from everyone else? And how to live on that basis?
What is the right thing to do? It is a story that continues to ask these questions ・・・・・・.

18 What is the "flapping sound" that saved Natil and Perico on their return to Alstera?

It is the sound of "flapping wings," which was created by Nachir, who was driven to the limit by the revolution, the appearance of the impossible, and other calamities, and unconsciously turned into a bird.

19 Why was the first Natil unable to contact Claristia when she went to Almoon?

The linkage ring that Claristia tied to Nachir was secretly destroyed by Kit Kat before Nachir's flight to the other world, and I think there was a scene that looked like that.
The new ring that Kit Kat gave to Nachir at that time is a completely different ring from Perico's ring, although it is easy to confuse the two.

20 Why does Nina, Nachir's mother, hate witches and magic? Why does Nina, Natil's mother, hate witches and magic? Why?

Nina was bullied as a child because of her appearance, called a witch, and teasingly encouraged to have magical plastic surgery.
After Natil became ill, she had to deal with the arrogant Gilda herself and was tricked by witches before she could reach Gilda.
These things give her an unfavorable image of witches and magic, but they are not the main reason for her dislike of them.
Nina is convinced that Natil's real mother is a witch, but she is also angry that the witch abandoned the baby Natil and fears that she will eventually come to take her daughter away.

21 the only thing i can put in the wardrobe is a puppet soldier and a ghost light. How can I do that?

No, in the first place, the wardrobe itself is just a door that connects the world and the other world, so even if you are not a puppet soldier, you can enter a witch who is resistant to high concentrations of mana.
In the play, Madame Marta was actually included, and in the back, Kitkat was also included.
So, in fact, if you want to enter, you will enter ......

22 What exactly is Kitkat, including its relationship with Keti and the black cat?

No. 32, Keti's real name was "Keti U. Netherlands," and he was said to be the "wise man" in the world of Ur.However, he dies in an accident before his power as a wise man is awakened.
However, at the time of the accident, the witch Katie (Katy) and the male cat Christopher (Kit) fused as "Gaido," in the unconscious state, and the Gaido witch born by it was Kitkat, which is No. 156.
By the way, the cat at this time was revived by Tsetsiria in Armoon.
It is the existence of Tsuji Seiawase in the cat Alstera, including the fact that Keti was a wise man and that the cat that is the fusion partner was not an ordinary cat "It is a setting that it became a pretty special existence, not a man or a woman, not a witch or a wise man."
By the way, Kitkat can become a cat while keeping its ego to some extent, but this is a pretty special trick that no other witch can do, and Woolu does not know this fact (I was doing it without knowing).

23 After all, is Kitkat invulnerable?

In fact, there is a saying in England that "cats have 9 lives."
There were 9 lives in the black cat who also revived by the power of the witch.
So, there was a limit of "9 times" for the number of times Kitkat revivals.
1 when he died in the Galleria Palace as a cat, 1 when he had an accident with Keti, then he used it several times to take over the orphanage and protect Woolu from assassination, and each time he used it, the time to resurrection is longer.
Now as I write as I can------this is just in the play explained how to by and in......-----*o
By the way, it seems that this proverb is sometimes used to mean "even a cat that does not die so easily, destroys itself because of curiosity ...…"

24 Why didn't Natil take Elixir?

When she was a little girl, she would say to her mother, "I don't want to be like my mother! She still remembers it and still cares about it. She still remembers it and still cares about it, and she feels very guilty about taking it because she thinks that the elixir's benefit of "never getting old" is an action that affirms what she said at that time.
However, the result is that that elixir, hidden by Natil, leads to the saving of Yurika in the world of hawk work.

25 What is your take on the time difference between Almoon and Alstera?

There are "waves" in the passage of time in the twin worlds, and the one with the predominant world tilt will, on average, advance faster.
In fact, time has moved about 10 times faster in Alstera than in Almoon, when averaged over the time elapsed so far.
However, there is a "wave" in that tilt, and it is often reversed, but Kit Kat, taking advantage of the fact that she is the only one who observes the time, tells false information to the people of Lunatar about the duration of her stay in Natil and the elapsed time, in order to "fulfill her prophecy.
Therefore, Nachir's mission in Almoon was only for 2 months, but when she returned to Alstera, she found that 2 years had passed, almost 10 times longer than the time he had spent in Alstera.
Incidentally, because of these circumstances, Kit Kat was preventing Natil and Claristia from contacting each other.

26 You mention that the Moon Society witches are idolized - who is the most popular?

Claristia" is supposed to be the most popular with the public. A close second is Ran, followed by Kit Kat and Doris ・・・・・・.
Also, do you think that there are other witches besides Lunatar that are popular?

27 What kind of witch - woman or ability was the Moon Society witch, "Lan the Mucus"?

Her full name was Lan Belle, and she was one of the most beautiful and popular witches in the Moon Society.
She is ladylike in public, but in fact has a temperamental personality and has clashed with Claristia on many occasions.
She has a rather unusual second name, "slime fungus," but it is a terrifying witchcraft technique in which she creates "magical creatures of slime fungus" by manipulating mana, and by giving them a purpose, they can act independently, grow, and multiply.

28 And what kind of witch was "Scarlett of the Bloodstained"?

A beautiful woman with one-length black hair and long slit eyes, she is a witch whose real name is unknown and is commonly known as Scarlett. She is also one of the characters for whom we would have liked to have a bust-up if possible. ・・・・・
Her personality is that of a manly and winsome older sister. She is located within a few dozen meters of herself. She can control liquids with her mana and manipulate them at will. The liquid under her control turns red, and so she is called "Scarlett of the Blood Retention.
Although the situations are limited, she often teamed up with Neri and Claristia on missions to fight from a clear vantage point without being seen.

29 What is the world in between?

They are the inhabitants of another world, glimpsed by Gathan's "spatial mutation device". In other words, it is as if the frequencies of the radio happened to coincide.
This event ends with a short conversation, but in fact, I had planned to access this other world from here and start the story in each world ・・・・・・.
However, as it turns out, for various reasons, we were not able to incorporate these elements into the event, and as a result, only a few of the inhabitants of the other worlds appeared in the event.
This is a bit of a developmental issue, but when looking at the game as a whole, we knew that the random dungeons would increase in weight if we eliminated them, so our development staff scrambled to see if we could somehow incorporate these other worlds and events in the underground labyrinth, but unfortunately we had to give up. Unfortunately, we had to give up. ・・・・ We are very sorry for the users who were looking forward to the "story in the underground labyrinth" similar to that of the Ruf Witch.

30 I wonder why Gozu is such an outlaw. I was surprised to see someone like that in the World Tree family.

I was surprised too!
I'm kidding........
I'm just kidding, but I guess there are all kinds of people in any place.

31 What do the "sun" and "moon" emblems on the outer gate of the Galleria Palace represent?

It is confusing, but that is the emblem of a star, not the sun. The moon is the moon and stella is the star, so the coat of arms on the outer gate is based on the moon and the star.
The coat of arms meaning "Ur" is a combination of these two, and is the crest behind the title logo of this work.

32 Who was the author of the oddities?

Of the 35 oddities that appear in the film, 9 are singularly bizarre.
Of the 9 singularities, 7 were created by Tzetzlia, and the remaining 2 are a wardrobe created by Bisto and a "catalog of oddities and bizarre items" created by Lord Galleria.
The other 26 oddities have already lost their abilities, and now only the peculiarities are able to exhibit their special powers.
Incidentally, the Duke of Galleria's oddity was created when Tzetzilia forced Franz to sign his name in blood at the moment of death.

33 The message in the labyrinth reads, "I never thought that the yang witch would seal the impossibility.... ... even though she is a witch of coronation rank 13. ・・・・・・" What does this mean?

There are as many "street names" for witches as there are stars, but it is known that there are witches with special street names who are stable and powerful in every world, and these witches are called "the 13 witches in the coronation order. ・・・・・・
And included among them will be the "Yang Witches," who are known as the "Witches of the Sun. It is within the "13th" of the infinite number of street names, so it is used in the sense of being extremely capable ・・・・・, but even if she is such a witch, "I never thought she could seal the Impossible! It is also a message of surprise that even such a witch can seal the impossible!
Incidentally, in addition to clairvoyance, the yang miko also has the power to repel evil, and has the ability to resist harm from thin or cursed translations.

34 Later in the story, we learn that Nachir is a member of the World Tree family.

It is said that the World Tree tribe is the only tribe that can "cross the world," and Nachir is descended from a family called "Bastien," which means "pure blood.
But of course, Nachir knows nothing about them, and since she is not a "pure-blood" to begin with, she does not know that she can turn into a bird, nor can she freely use ornithopoiesis(autopoiesis?).

35 Why did Madame Marta tell Yurika to ask Natil to teach her how to fly if she had any trouble?

I think that Madame Marta knew what Nachir, who was herself when she was young, was doing with "chopsticks," so she used this phrase to show what she knew and to make Nachir listen to her, even though she knew that she would not like it.
Incidentally, there was a story in the Middle Ages that "witches flew in the sky with a sash," but it was a little different from the image, and the actual situation was that a naked woman was straddling a belt with soft nurture applied to it. ・・・・・・

36 When do witches have "black eyes with red pupils"?

When they are under the control of strong emotions and try to use too much mana.
The black eye, by the way, is the "blackened mana" itself. However, this is only a reaction of mana, so even those who cannot use magic can become this if there is a certain amount of mana in the world.

37 What does Kit Kat mean when she says to Forgey(faus), "You are the only ones who have inherited her power"?

By "her" I mean "Gilda's" gift of transcription.
Kit Kat knows that Forgy is a transcript of Gilda, and she does not recognize Forgy and the transcripts she created as "individuals," so she says, "You guys.
However, Forgy does not know that he is a transcript of Jilda, and does not fully understand the meaning of the word "you".
It is said that the transcripts of Jilda's backup survived and were given to the great-grandchildren of the Pampletons in later years, and that the young Fozzie was the one who left them in charge.
Incidentally, the Pampletons are set up as lifelong bachelors, with the family lineage being carried on by their sister. As such, Fozzie's mother, who appears in the Malta section of the play, is her mother-in-law.

38 Is it a coincidence that the supposedly single line has split into "Alstera" and "Almoon"?

The reason why Ur split into two is because "Tzetzilia, who turned into a bird," and "the young Natil's rocking tube," collided outside the world near Ur, as is also the event in the play.
Originally, Tzezilia could have dodged or intercepted, but she was surprised to see her opponent was a "baby in a cradle" and lost her chance. At that moment, the time-space collided and the "line called one world" split into "two worlds.
It is a bit complicated to explain, but it is not like a "Y" but like two vertical lines ・・・・・. It also means that the world that was split and separated from the world "has a past as if it had existed from the beginning. ・・・・・・
It also means that the world that split and separated from the world "created a past, as if it had existed from the beginning.

39 What was the shooting star at the birth of Eureka?

The "shooting star" at the time of Eureka's birth was Natil and Tzetzlia, who collided off-world. This led to the splitting of Ur into Almoon and Alstera.
The "impact of the split" sent the baby Natil to Alstera's future, while Tzetzilia was sent to "Almoon's past.
The effect of this split was so great that Alstera was filled with mana and the standard timeline of the twin worlds was thrown out of whack.

40 The key family in the second half of the story is the "World Tree Family," whose motif is the "bird. Is there a reason why the motif is a bird?

The motif of "birds" is used for all the world travelers in the Witches series, such as the "Family of the World Tree," the "Great Crow" in the Roof Witch, and the "Hundred Horsemen" in the Witches' Hundred.
This is based on legends and images from all over the world, such as the raven in Japanese mythology, the raven in Hokubi mythology, the raven in the Old Testament, and so on. ・・・・・
The fact that the World Tree tribe can change into "birds" is also based on such images.
Incidentally, the family of the World Tree also has the nature of a "tree," but I won't mention that at ・・・・・・ this time!

41What is Pol's magic book?

The so-called "Pol's Magic Book" was written by her real mother, a great witch, for Natil, or Polka, before she was born.
It describes the various types of magic that Natil can learn, from the most rudimentary to the most advanced.

42 What kind of protective magic does Natil have?

It is the magic that was cast by the witch who was Polka's real mother when she was born.
This "protective magic" is so powerful that it protects her from all external enemies, even isolating ashing crystals that have entered her body.

43 Who is the mother who gave birth to Natil? And why was Natil raised away from her birth parents?

Nachir's real mother is a great witch called Kakarima, who lives in a different world from Ur, and it was an accident that brought Nachir to our world.
As mentioned in the play, Nina saw a shooting star and picked up Nachir as a baby under a bridge.
Incidentally, it is much later that Miraj identifies and finds the world where Nachir is.

44 Why were Kammy, Mora, and Becklin traveling?

"Kammy," as in Tzezilia K. Tortulier's "K," is Tzezilia's middle name. After leaving the world of the World Tree family, Tzetzilia became acquainted with Maura, a witch of the Impalpable People, and they traveled together. Later, she met Becklin, who called himself a seeker, and he was to accompany her ・・・・・・.
By the way, "Maura" is the only one who does not appear in this work, but she is also called the genius witch of the generation of the Deadlocked, and was especially talented in the art of witchcraft to take other people's bodies.
To such Mora, Tzetzilia had given her a witchcraft tool called the "World Passing Room" and the "Rekitei Shohon," both of which she had made with her own witchcraft. This was the beginning of the "vote" that led to a parting of the ways.
For some reason, Tzetzlia erased Mora's memory.

45 Who is "Becklin" in the labyrinth?

According to his own words, he is "a scholar and seeker of the mysteries of the world, and an old friend who used to travel with Tzetzilia and Mora.
His purpose is unknown, but like Kit Kat, he has a deep knowledge of "many worlds," and seems to be continuing his quest to unravel the mysteries of many worlds.

46 What kind of people are the "Impossible People"?

The Impossible People are refugees from the worlds that have been destroyed by the so-called "Impossible," the entities that suppress the possibilities of the worlds, and who have escaped with their physical existence, having lost their own worlds.
In the scrolls, the fate of annihilation by the "Impossible" is considered to be influenced by the "Fatal Number," and there is a legend that when a person escapes it, the Impossible manifests to follow ・・・・・, so the Impossible are the object of persecution.

47 What is the "red stone" that Tsetsilia is said to have used to gain her powers?

It is said that when Tzezilia was a child, she saw a shooting star fall on the hill behind her, and when she touched the "red stone," which she picked up there, she acquired the power of "memory manipulation.
This stone is what Goz refers to in the play as the "red stone," a legendary object that is still treated as supernatural and occult even in such a magical world.
Incidentally, Tsetseria, who was wise even as a child, even after realizing that she had acquired this ability, explained it to those around her in a way that made them underestimate its power.

48 Why did Tzetzelia revive the dead black cat outside the Galleria Palace in Almoon?

It was a "whim" of Tzetzlia, who was in the depths of despair. Perhaps she was comparing herself to the black cat, which was treated ill even after its death, and her own continued misfortunes.
However, at this time, he learned what Lord Galleria had done from the maids' story, and his heart was ignited to re-echo.
Incidentally, what revived the black cat was what is called "forbidden magic," and there is a story that Tzezilia had studied this forbidden magic in the past and had a conflict with Bastien's family over whether it should be used or not.

49 Tzezilia said to Nachir, "I don't like the blood that flows through you, but I don't agree with Bastien," and that is what she meant when she said "I don't agree with Bastien.

Tzetzlia recognizes that Nachir is a member of the World Tree family, and that he is of the "Bastien bloodline" among them.
The family of witches that Tzetzilia belonged to had been persecuted for their research and use of "forbidden magic" because of disputes with other families.
Eventually, the royal family, the Bastien's, had a meeting with them, but as a result, all their research was abandoned.
Because of her past, she hates the Bastien family, which is why she made this comment.

50 What did you mean when you thanked Nachir for "bringing me back to life" after the battle with the "Impossible"?

This is because Tzetzlia herself realized that "losing one's memory" was synonymous with "death.
In fact, it may be similar to the story ・・・・・・ of how, as is often the case in everyday life, if you make a strong decision and then forget even that decision, can you say that you still have the personality you had when you made the decision?
I think it is.

51 Why did Perico follow Tzezilia in the end?

Perhaps Perico had something in common with Tzetzlia from their first meeting. In the end, he "decided on his own" to follow Tzetzlia, as per Madame Marta's will.
By the way, Nachir in the belly film world was still alive and well, but it may be that "Nachir for Perico was the original person and also Madame Marta.

52 At the ending, Mirage said, "Yes, Polka was well-behaved, but who was it?

Polka" is Nachir's real name, and the person he was communicating with was his real mother, the Great Witch.
Mirage had come to Alstera to protect Polka, who had been sent to another world in an accident. However, it took her quite some time to find out that she was in this world, and as a result, when she did, Nachir had already been picked up and had a family.

53 In the ending, Claristia remembered Natil, but some people, such as Yurika's father and Natil's grandfather, felt uncomfortable. Does this mean that even people from the new world share some memories of the past world?

Basically, since we are new people born in a new world, there is no shared memory at all, and in the context of this world, there is absolutely no such thing as "remembering.

54 In the grand finale, what did Nachir end up doing with his mother's appearance?

I think it's all in the mind of those who have observed the story until the end, so I think it's "correct" to say so.

55 Why did Margaret of Alstera call herself Wooloo?Is this the case? And what is the reason why she has not appeared?

In fact, there is a clear explanation for this, and it will take a while to explain it all.
Alstera of a long time ago.
To begin with, it was when Margaret was still in the Witch Club.
Among the many disturbances in the Witch Club, a state agency noticed Margaret's exceptional "power of prediction" and asked her to become the exclusive prophetess of the state on the condition that she establish a "Witch Priestess Agency" and "protect the Witch Club.
The Witch Club had many witches from the former orphanage, but it also had many orphans who were not orphans. The Witch Club had many orphans from the old orphanage, but also many orphans who did not have a title, so they were in financial difficulties and lacked daily food, so they had no choice but to accept the state's conditions.
Margaret became the nation's resident witch, but her "foreknowledge" was so great that she was able to take on politics, foreign women, and wars. The nation quickly gained supremacy.
But of course, there were more and more people who didn't like it, and from this time on, Margaret could not be seen in the public eye.
The nation was on the rise, but the situation did not last long, and after a while, "something unusual" began to appear in Margaret.
After each major prophecy, Margaret's words and actions somehow became more mature, and at the same time, she became visibly weaker and more unstable in spirit.
When she looked into the future through the prophecy, her spirit aged as if she had lived that time.
Although he was still physically young and his magic power was not yet deluded, it was obvious to everyone that he would soon meet his *mental death*. Also, since that time, DTO (dimensional turnover) has been getting worse, and some neighborhoods began to disappear entirely. Some districts began to disappear entirely.
The head of state, impatient with these developments, decided on two policies.
The first is to make testing for latent characteristics mandatory at the time of birth registration. This is to search for a new "yang priestess" to replace Margaret, who is in no condition to carry a child. And the other is a "magical contract between Margaret personally and the state.
The quid pro quo was to provide homes and jobs for the orphans of the Witches' Club, and at the same time reorganize the "Moon Society" as a large, state-supported elite organization of witches, protecting the 182 districts from the DTO.
Kit Kat objects, but Margaret again sets the terms in stone.
Then, on the coming December 25. The contract made in the presence of the Head of State, Margaret, and a black cat was the "Contract for the Peace of this World and for the Loyalty of Everyday People," a magically effective "contract between the world and the individual.
A contract of unlimited prophecy and enforced life extension. This would limit Margaret's time of activity by magical constraints, and also make her body such that she could live with little or no food, but only by wetting her mouth with water.
And as a sign of this magically restricted covenant, Margaret parted with her name and was given the name of the world.
She became Wulu, the yang priestess, - I mean, ・・・・・・ it's still a long story.
I had to cut this part out of the story because it seemed to distract from the main idea of the story, but I'm glad I did.

56 Who the heck was Yurika (Eureu)?

Margaret aka Yurika was a child born at the time the world split apart. It is a coincidence that she was a "yang miko," but as a result, she became the key to sealing the impossibility in each world after the world split.
It is coincidental, but coincidental that we called upon this role at that timing. It seems to me that the yang priestess can also be seen as a yang priestess.

57 Where did Nachir finally go and what happened to him? And what happened to the seance lamp?

As for the seance lamps and the souls that can be prevented, I think that the souls were released when the true contractor, Nachir, disappeared, so I think that the souls are still preventing somewhere (maybe they are relaxing and reading a book).
I was going to be a little vague about Natil, but it is a very clear statement, so here it is.
Nachir is not a resident of the world of Alstera or Almoon in the first place, and since Nachir was born in the world of the purchased world, it is not possible to maintain its existence when the purchased world is extinguished and a new world is created. This is the reason why Nachir becomes weaker and weaker as the world creation progresses. Finally, it disappeared in Yurika's lap when the new Ur world was created. ・・・・・・
Both Yurika and Nachir knew this would happen from the beginning, and even before fighting the "witch who forgot her name," I feel that both of them understood what the consequences of freeing Nachir as a friend would be ・・・・・.
By the way, it may be difficult to understand, but after Nachir disappeared, what remained on the "chair" was the diary of Yurika, which Nachir had in his possession.

58 Looking back on this work, what do you want people to play more and what do you want them to feel in the story?

It is really painful that the effort required to "play to the end" of this work has become too large, and it is difficult to say with confidence, "I want you to play this part of the story!
However, the basic system and ease of play have evolved considerably from Luff Witch, so we hope that you will pay attention to that area.
In addition, we believe that the story is all about what people who have played the game feel, so to be honest, we don't have a specific point that we want people to look at. But whatever your opinion may be, I can't help but hope that you found something meaningful in the story that you can take back to your reality.

59 I would also appreciate it if you could tell me about your plans for the next work.

It would be nice if we could make a sequel, but we have no plans for that at the moment, partly because of the question of whether the users want it or not (・・・・・).
Also, there are various aspects of this work that I think should be addressed to make it a little easier to play than it is now, but for the day, I think this art book will be the end of the story ・・・・・・.
However, if you want a sequel, patch, or DLC! If you are one of those who say If you want a sequel, patch, or DLC, please send us a survey postcard, and we might be able to get your voice heard.
By the way, I personally want to make not only this "Witch Brigade" series, but also a sequel to "The Witch and the Hundred Cavaliers," and many other things such as STGs, game adaptations of ancient Japanese history, Otome games, ・・・・・, and so on.

60 Finally, do you have a message for your fans?

There may have been many things I did not do well, but I am very grateful to the customers who played this game and to those who read this book.
I would also like to express my gratitude to Nijisan Shobo for giving me this opportunity.
"Because of my position as director and scenario writer, I am often treated as if I created the game myself, but it is also the culmination of the efforts and talents of all the companies involved and the many internal and external development staff.
On behalf of all of our fans, I would like to thank you for your support.
I also hope that this book will convey the charm of the world of Galle Witch, even if only a little, and I would be more than happy if this work has been a good way for you to pass the time in your lives.
(End)