Why Mirai Fukuin is not canon to Kara no Kyoukai:

 

Despite already addressing this topic in several of my threads, it seems many people still fail to grasp the issue, and some even defend that abomination known as Mirai Fukuin (Future Gospel), a spin-off story that offers a glimpse into Ryougi Shiki’s supposed “future” after the main series ends. According to this vision, she has a daughter (Mana) with Mikiya and takes over as the head of the Ryougi family.

What many don’t seem to realize, however, is that this entry completely butchers the core narrative of Kara no Kyoukai.

In fact, even Nasu himself confirmed this in an interview:

Nasu: The actual writing of Kara no Kyoukai is a pretty embarrassing memory for me—suffice it to say it is a work that represents my true self at the time. I wrote it at a time when I felt I could take on the world armed only with my words, and I realized [through this movie] that the farther removed it became from the written medium, the more distant it became from what I was actually trying to express. So as successful as it was, it was on a different path than what my past self was trying to take with it, and it just didn't match up. Yet in seeing up through the fourth chapter, I came to realize that although I was on a different path then, it doesn't mean that I didn't leave some pretty good things behind. As the movie versions have allowed me such realizations, I was again reminded of the real value of Kara no Kyoukai. My heartfelt gratitude towards that period of time has been thus manifested into Future Gospel.

—So the driving force behind Future Gospel was that feeling of gratitude of yours.

Nasu: When I wrote Kara no Kyoukai, I felt resistance towards so many things—society, entertainment, culture—and it was my motivation to write the story. Now, I am thrilled to be writing from a place of gratitude, though with just a touch of sadness. It feels like the old Nasu Kinoko has passed on. I suppose you could say I've gone under a heavy detox, and feel much more virtuous now (laughs).

—Though Future Gospel is a collaboration with Mr. Takeuchi, who had the initial plan for the book?

Nasu: The proposal first came from Takashi, actually. At one point he suddenly said "Let's make a new Kara no Kyoukai doujinshi for the Summer Comiket!". I was like, "Where the hell did that come from?" To force myself to bring something back that I felt ended so beautifully would feel like trying to revive a real person. And even if it worked, it would become something like a proverbial Frankenstein. I painstakingly put my heart into this work... yet even as I say that, my unflinching bond to the work gave me some curiosity towards something so rash.

—What kind of work was this, which carried such appreciation to the theatrical release staff?

Nasu: Figuring out the plot was a rather troublesome task. Outside of Future Gospel, had it been nothing more than an additional short story, it would have been something that simply negated what Kara no Kyoukai was, and gone against both my former self and the fans that loved the work. Future Gospel was originally meant to be an episode related to "Precognition", which was removed from Kara no Kyoukai while I was writing it. If I had written it as the final scene for Ryougi Shiki, it could have had some real merit in the original work. When I realized that, I gave myself permission to write it out, and I was able to put it to life on paper. The writing itself came and went in a flash, but the plot does take up a considerable amount of time. - Source

Nasu has openly admitted that Kara no Kyoukai was born from a deep disdain for society and the world. That mindset, filled with nihilism, existential rejection, and emotional detachment, shaped the work’s tone and themes. Ryougi Shiki and the narrative itself reflect that raw, rebellious state of mind. However, Nasu later went through what he called a “heavy detox,” becoming more virtuous and content after achieving success. He’s said outright that “the old Nasu is dead,” marking a clear shift in his worldview.

This change is critical: Future Gospel wasn’t written by the same person who created Kara no Kyoukai. The original was fueled by anger and rejection; Future Gospel comes from a calmer, more optimistic place. The result is a tonal and thematic disconnect: an artificial continuation lacking the spirit of the original.

Nasu himself called Future Gospel a “Frankenstein,” a patchwork revival of something that had already ended perfectly. He admitted it was made out of nostalgia and emotional attachment, not creative necessity, even calling the writing process “troublesome.” In essence, Future Gospel is not a true sequel but a forced add-on that contradicts the very essence of Kara no Kyoukai.

So now that we have covered the overarching motives behind this spin-off story, why is Future Gospel such a disgrace in-universe specifically? For these simple reasons:

Shiki's Hatred for Humanity and Detachment from Normal Human Values:

One of the central aspects of Shiki’s character in Kara no Kyoukai is her deep detachment from humanity. Since childhood, she’s been aware of her abnormality and developed a quiet disdain for people:

"Did I tell you that I hate people?"

Today, SHIKI starts to talk mindlessly.

"That's the first time I heard that... do you mean that?"

"Yeah, Shiki hates people. She's been like that since she was small. ... You see, when you're a child, you don't know anything. You think the whole world will love you unconditionally. Since you like them, they must like you... That feels like common sense."

"You're right. You never doubt anything when you're small. You unconditionally love them and you think it's only natural for them to love you back. The only things I was scared of were ghosts. Though, I'm scared of people now."

SHIKI nods in agreement.

"But that's a very important thing. You need to be pure, Kokuto. Since you only worry about yourself when you're small, you won't notice the evil minds of other people. Even if it's just a misunderstanding, the feeling of love you receive makes you able to be kind to others, hence people can only express the emotions they're familiar with."

The sunset casts a red hue across her face. At this moment, I cannot tell if she is SHIKI or Shiki, yet it does not make any difference either way, this is just Shiki's monologue.

"But I'm different. I have known someone else since I was born. Since Shiki has SHIKI inside of her, she knew of others. She found out that there're other people who think differently and that they do not love you unconditionally. Since she found out as a child how ugly other people are, she could not love them. In time, she grew to pay them no attention. The only emotion Shiki knows is rejection."

... That's why she hates people. SHIKI says so with her eyes... I feel like crying for no reason.

"But wasn't she lonely like that?"

"Why? Shiki has me. It's certainly lonely by yourself but Shiki isn't alone. She was isolated, but she wasn't alone." - Kara no Kyoukai Chapter 2

From birth, Shiki possessed another self, SHIKI, within her. While most people develop their identity in isolation, Shiki was never alone. SHIKI had his own thoughts and desires, often conflicting with hers. Because of this, she learned early that emotions aren't pure or unconditional, even from someone "within" her. She came to view love as transactional and human relationships as inherently self-interested.

This disillusionment shaped her worldview: human connections were superficial, built on needs rather than authenticity. Instead of seeking companionship, she instinctively distanced herself. Over time, she didn’t hate others; she simply ignored them. Her rejection wasn’t emotional; it was existential.

The only exception was Mikiya. He didn’t demand anything from her, didn’t try to fix or change her. His quiet, unwavering presence became the only bond she allowed. He fit into her solitude without disrupting it, and for that, she let him in.

Shiki’s relationship with SHIKI parallels her view of humanity. Managing his impulses is exhausting; just like maintaining human connections would be. She doesn’t see love as redemptive, but as a burden she chooses not to carry. SHIKI embodies her subconscious primal urges, acting out the desires Shiki represses. Their clash reveals a painful truth: unity is impossible: people are inherently fragmented.

This forces her to confront the reality that humans act “good” or “connected” only on the surface. Beneath that, they’re full of hidden impulses that contradict or betray those very connections. Because she lives with SHIKI as her constant mirror, she cannot pretend those contradictions don’t exist. So, she ultimately rejects human warmth as shallow and doomed, just convenient illusions that mask the chaos within.

This is why Future Gospel misunderstands her. Portraying her as a mother contradicts everything Kara no Kyoukai builds. Motherhood implies a desire to create and nurture humanity, something Shiki fundamentally rejects.

Contrast this with Irisviel von Einzbern from Fate/Zero:

“From now on, she will be first and foremost an imitation of a human. It may be tough, and she might hate the mother who gave her such a painful life. But, despite that, I am happy. This child is lovely; she is splendid.”

Her appearance is nothing unusual, and, looking at her, she is a lovely baby, yet —

While inside the mother’s womb, a number of magical treatments were conducted on the unborn body to rearrange it so that, even more than her mother, she was different from humans. Although it was born, its usefulness was restricted, so that it would be a body that is a mere cluster of magic circuits. This is the true nature of Irisviel’s beloved daughter.

Despite such a cruel birth, Irisviel still said, “Fine.” Giving birth to such a thing, being born as such a thing, she loves this existence, finds pride in it, and smiles.

The reason for that strength, that bracing heart, was that she was, without a doubt, a “Mother”.

The girl who could only be a puppet found love and became a woman, and found an unswayable strength as a mother. That must have had the look of a “happiness” that nobody could invade. - Fate/Zero Prologue

Irisviel’s love is sacrificial. She finds pride in her child’s existence, even if artificial. For her, motherhood affirms life. But that is precisely the kind of "convenient" illusion Shiki sees in humanity: something used to mask their inner contradictions and pretend they are whole or superior. Shiki rejects that framework. She doesn’t want to transcend her nature through love or purpose; instead, she finds peace in rejecting roles altogether and being honest about her contradictions. In doing so, she isolates herself and accepts a kind of peaceful stagnation, choosing raw truth over comforting meaning.

I have seen certain people using this statement as a counter:

Because she was aware of her abnormality since childhood, Ryougi hated people as well as herself. Although she developed a cold personality as a result,secretly she wished to experience a normal person's happiness.

.... Ever since she encountered the materialization of that dream, her fate changed drastically. Kara no Kyoukai Special Pamphlet -Encyclopedia: Ryougi Shiki [Person's name], p.042-043

But the “happiness” referenced isn’t a desire for family or motherhood, it’s about finding peace through her bond with Mikiya. He represents an abnormal form of normalcy: her dreamlike, static life with him isn’t about conforming to society; it’s about detaching from it.

Even the pamphlet says Mikiya is the realization of that dream. He is described as the “embodiment of peaceful days.” Shiki never wanted more. Those quiet, repetitive moments with Mikiya were her entire ideal.

Placing her in a role like Irisviel’s distorts her. Shiki’s love is not redemptive; it’s grounded in solitude and clarity. She doesn’t embrace humanity, she steps away from it. Becoming a mother or head of the Ryougi family would pull her back into the system she chose to leave.

Shiki’s interaction with Enjou reinforces this:

“Hahaha, what are you saying, Enjou!? You’ve fallen for me? Did that guy in the red coat hypnotize you or something? Try going through your memory, there will definitely be some weird noises mixed up in there!”

Ryougi Shiki... had laughed it off and would not face me.

I don’t know what proof she might have had, but she definitely concluded that it couldn’t be real.

As for me, obviously I couldn’t accept that. “You are an idiot.”

Ryougi spoke solemnly. Her cold tone conversely made me feel refreshed.

It really did. I’m stupid so I couldn’t think of any other way to run away, but I don’t regret it. Even if I was bound to be caught by the police, I would still feel better than I did in those nightmare-filled days.

... But, there was one little thing. It was something I realized as I told my story.

Until now, I have lived thinking that only I was important. Even supposing if such a person was serious, to say that they had fallen for someone wasn’t something they could do... They didn’t have the right to do that. It was natural that Ryougi would just laugh it off. Still... At least the fact that I wanted to protect this girl was real. It was the only real thing to this false me. But even that thought became polluted in the hands of a dirty murderer like me. If I had any regrets, that would be what I regretted most right now. “But even so.”

I... didn’t regret that murder.

Tomoe was saying in my head that the murder was not something he should have done.

Ryougi was looking at me with a far-off look in her eyes. It was an unblinking stare, as if it was piercing the heart of Enjou Tomoe’s being.

“A drastic error. Enduring was your forte, but in the end, you chose the painful path. When we first met, you weren’t you. Having lost your future, did the empty you want to die like just before?”

... The girl who tried to kill me on a whim.

... The girl who I thought I would be happy to be killed by. The two threw the question at me.

... Let’s see.

That night, I was handling myself recklessly. I thought it was perfectly fine to beat someone to death, and on the other hand, I thought it would be perfectly fine to be beaten to death. But... I didn’t want to die. At the time, yeah... simply living had become exhausting. I hated myself; a fake existence without any goals in life. This self of mine that thought it wanted to die but couldn’t even kill itself was so loathsome that I couldn’t take it.

Even now, when I had confessed all my sins to Ryougi like this, I didn’t want to die. But nonetheless, humans will ultimately die. For me it would just be a little quicker, a little shabbier, and less meaningful than another person’s.

... Was that it? That was probably what I couldn’t stand. A worthless, stale death.

If I was going to die like that, I would rather–“–Dying for you seems much more real, so I prefer it.”

“No thanks. A life like yours, I don’t need it.”

The knife dropped. Like a cat that had lost interest in its prey, Ryougi distanced herself from me.

Was she going out somewhere? Ryougi picked up her leather jacket and prepared to leave. - Kara no Kyoukai Chapter 5

Enjou clings to her for meaning, but Shiki sees through him. She won’t be someone’s salvation, nor will she validate empty longing. Her love for Mikiya is real because it’s mutual and quiet, free from projection or desperation.

Her coldness isn’t cruelty: it’s honesty. She rejects false roles, hollow love, and borrowed meaning. To her, a peaceful spiral of daily life is enough:

In this way, I thought that I would continue spending daily life with this all-incredibly peaceful person, a spiral without much change. - Kara no Kyoukai Chapter 5

Where others seek transformation, Shiki finds transcendence in stillness. Her peace with Mikiya is not regression: it’s a deliberate rejection of a chaotic, role-driven world. Becoming a mother would be the exact opposite of that: an abandonment of her existential clarity. Shiki would rather live in a spiral of mundane, stagnant days with Mikiya, as she said; a life where nothing more is needed.

Having a child implies they did need more. It implies longing, progression, hope. The desire to "add" something and give meaning to a relationship that was supposedly already whole and self-sufficient. But that’s not what Shiki chose. That’s not what their love is. And pretending otherwise betrays everything she is and everything she finally found: peace in an empty world.

Shiki’s Nature and Origin Lean Towards Destruction and Freedom, Not Creation and Conformism:

Shiki Ryougi’s existence is defined by Nothingness, an Origin that inherently aligns her with destruction, detachment, and rejection. Creation, especially childbirth, is fundamentally at odds with her nature.

Her "other self," Void Shiki, openly desires to destroy all existence. Meanwhile, Shiki constantly suppresses violent impulses, not because she lacks them, but because she refuses to fall into meaningless killing for its own sake; Her arc is shaped by the tension between her destructive nature and her yearning for a peace that does not require her to become something else.

Her existence revolves around “　”, an emptiness so absolute that trying to define it is already a misstep. It is a totality so absolute that even naming it imposes a false form; turning limitless potential into constrained meaning. This naturally expresses itself in her tendency to negate everything she encounters. Her detachment from reality stems from her ability to perceive the flaws in all things, which only fuels her instincts further. The idea of her having a child? That’s absurd. It’s completely incompatible with who she is at her core.

The reason she values Mikiya is precisely because he wants nothing more from life. He accepts the world, and her, exactly as they are. He doesn’t try to fix her, understand her, or impose meaning onto her. His love is quiet, unwavering, and without demands. That’s why she can live beside him. With him, there’s no pressure to be more than what she already is. Shiki’s entire arc is about freedom: freedom from structure, from definition, from external purpose.

In the epilogue, Mikiya’s rejection of Void Shiki’s offer to heal him is deeply symbolic. He loves Shiki as she is: destructive, incomplete, human. He doesn’t want her to change through acts like healing or creating life, because doing so would betray her essence.

Giving birth is the ultimate creative act; the imposition of meaning onto something external. But Shiki’s life isn’t about creating; it’s about resisting the impulse to destroy. Her journey isn’t one of nurturing, but of preserving a delicate balance between chaos and stillness; and, above all, of gaining the freedom to exist on her own terms, without imposed meaning on her blank essence.

Mikiya, calm and unwavering, anchors her. Like Araya Souren’s Stillness, he serves as a passive yet essential counterweight, an unshakable presence that allows Shiki’s chaos to persist without collapsing into destruction. Their relationship mirrors the One: a harmony of opposing forces. His Stillness grounds her; her chaos makes him more attuned to what truly holds meaning.

This ties directly into the series’ title: Kara no Kyoukai (The Boundary of Emptiness). Emptiness isn’t mere absence; it is pure potential, waiting to be shaped. Meaning only emerges when boundaries are drawn. And in this story, those boundaries take two distinct forms:

• Araya Souren represents the cosmic boundary: Stillness, the imposition of structure upon chaos.
• Mikiya Kokutou represents the personal boundary: warmth, stability, and quiet human acceptance.

Motherhood would fracture this balance. It introduces an external role, a societal meaning imposed from outside, forcing Shiki into a structure she has spent the entire series rejecting. Kara no Kyoukai insists that identity must be forged through internal boundaries, not inherited roles or external expectations. Only then can true meaning arise from the void.

Her relationship with murder reflects this core theme:

"For Shiki, normally bound by her past, only this moment is real. This sensation that she is able to feel only when putting her life in danger. That small life of hers that she can declare as her own. Kill or be killed. Since even her normal life is vague, Shiki can feel life only by such primal methods as this.

If Asagami Fujino seeks pleasure in murder... Ryougi Shiki seeks the sensation of life by relating with murder."Kara no Kyoukai – Chapter 3

Unlike characters like Fujino, who seek death as an escape, Shiki experiences murder as a confrontation with her own existence. It affirms her autonomy; her ability to interact with the world on her own terms.

She reflects on this in her meditation on boundaries:

"Boundaries are uncertain. It is the person that establishes them, but it's always external influences that determine them. Then there is no such thing as a boundary to begin with. The world is full of empty boundaries." - Kara no Kyoukai Chapter 3

For Shiki, the paradox is clear: boundaries both define and deny meaning. This is why Mikiya’s belief in her matters, not because he wants her to change, but because he accepts her self-defined boundary. He lets her exist on her own terms.

Motherhood, by contrast, would overwrite her identity with a prescribed role; dictated by society, not choice. It would resolve her ambiguity by forcing a false integration. Her entire story is a rejection of this.

This is reinforced again in Chapter 5:

"What happened was that she had lost interest. No matter what effect an incident would have on

Ryougi Shiki, if Ryougi Shiki herself thought it was unimportant, this brat would ignore it. Even if

she was to be disgraced and treated like a murderer, she probably wouldn’t care. Since what was

important to her wasn’t what the world thought, but how she felt."

- Kara no Kyoukai – Chapter 5

Shiki does not care for external judgment. She defines her reality through perception, not convention. Her arc is about finding self-contained meaning, not perpetuating herself through others. That’s why she only allows one person into her world: Mikiya.

But Future Gospel violates this core philosophy by forcing her into traditional roles:

• Seeking meaning in a child contradicts her self-sufficient worldview. She does not need a legacy.
• Suddenly embracing humanity ignores her consistent disdain for it; Shiki sees most people as weak, directionless, and disingenuous.
• Returning to her family erases her rejection of their attempts to define her.

In short, Future Gospel reduces Shiki from a unique, self-contained force into a conventional human archetype. It misreads her; and worse, it betrays what Kara no Kyoukai carefully built over its entire narrative.

Giving birth isn't just a personal act; it’s the creation of a new consciousness, cast into a world Shiki sees as fundamentally flawed and meaningless. To her, doing so out of instinct or convention (“because people say it’s good” or “I want one”) is meaningless at best, selfish at worst. For her, to create life is to force meaning onto something else, and that’s antithetical to her very existence, which is defined by negation, emptiness, and detachment.

Shiki isn't nihilistic in the petty or destructive sense: she's just done with the world. Her goal is not to shape it or add to it. She wants to find a personal, quiet kind of peace, not to "continue" her existence through someone else. She chose Mikiya because he brings peace, not purpose.

Biological Instincts and Shiki’s Rejection of Human Impulses:

One potential justification for Shiki having a child might be biological instincts. But Shiki is anything but an ordinary person. Her identity is built on resisting precisely those primal impulses that define most human behavior. Her internal struggle with the urge to kill, rooted in her very Origin, is the clearest expression of this. She doesn’t simply endure that urge; she confronts and transcends it. In fact, Shiki often expresses contempt for people who are ruled by such instincts, seeing them as weak, shallow, and incapable of genuine self-mastery.

Throughout Kara no Kyoukai, Shiki fights to retain control over her existence, to live deliberately despite her violent nature. She refuses to be a slave to inherited desires, whether the instinct to kill or the impulse to create. So the idea that she would suddenly yield to something as biologically basic as the drive to reproduce contradicts everything her character stands for. If she can suppress a death drive embedded in the core of her being, why would she surrender to a life-creating impulse she sees as no less arbitrary?

For Shiki, motherhood would not be a fulfillment, but a betrayal; an act rooted in the very instincts she’s spent her life rejecting. The desire to pass on one’s lineage, to find meaning in continuity, or to pursue personal validation through creation would strike her as misguided, even selfish. Such motivations reduce existence to instinct and survival, and Shiki has always searched for something far more lucid and intentional than that.

Mikiya’s Stability and Lack of Desire for a Child:

Mikiya Kokutou, Shiki’s sole human connection, represents an extraordinary kind of normalcy. His calm, accepting nature contrasts with Shiki’s violence and detachment. In Kara no Kyoukai, he repeatedly states that he’s content with their life and wants nothing more:

—I shall be going soon. So tell me, Kokutou. Do you really not wish for anything? Even when you confronted Shirazumi Lio you chose neutrality. Even though it left you on the border of death.

—To me that seems mysterious. Though quite apt for you, I suppose. But don't you want a tomorrow that's more enjoyable than today?

He answered.

—No. I don't. I'm happy as it is. This, I think, is enough for me.

I see, she whispered. She was staring at him then, with a look that might have been envy. - Kara no Kyoukai Epilogue

When Void Shiki offers to heal him, Mikiya refuses, not out of pride, but because creation isn't part of who Shiki is:

—Mind you, right now I think there might be a little value to it after all. I could heal a wound like this, for instance. I could come to your aid. Disturb the universe a little. But you don't wish for any of that, do you?

—No, he answered. Shiki's specialty is breaking things. It would be asking too much. I'd be afraid for myself.

How serious, that reply? He gave a light smile. Like a butterfly scattered in the afternoon light, her gaze left him in a moment. She lowered her hand, softly as the snowfall.

—Quite right. Shiki can only destroy. And to you, after all, I suppose I am she. - Kara no Kyoukai Epilogue

This shows how deeply he accepts her destructive nature. Wanting a child, a symbol of creation, would be completely out of character for him. His fulfillment comes from being with Shiki as she is, not reshaping her into something she’s not.

The Epilogue emphasizes Mikiya’s unique stillness:

There is no such thing as a human being who can live without qualities, without wishing to be something special and unique. All humans live their lives embracing many different answers, conflicting opinions, antithetical doubts. Yet whereas Ryougi Shiki had embodied that tendency to the utmost, it was infinitely thinner, more rarefied, in him.

He never hurt anyone, and in turn he never got hurt. He never stole anything, and in turn he never obtained anything. He raised no waves; he lived, as if dissolving into the passage of time, an averaged life. He'd take his final breath without a sound. A normal life, harmless and inoffensive.

Yet such a life within society would not at all be a normal life. To live without competing with others, without detesting others: such is simply impossible. If in fact many do live something like that, it is not because they wanted to. They wanted to become special, and they live average lives because they failed. To want such a life from the outset is the very hardest thing. It indeed is something very "special."

In the last analysis there are no human beings who are not in some sense special. Humans are each and every one the bearers of utterly incomparable significances. They lean upon the fact that they share a species in common in order to draw close to one another; they live their lives in order to hollow through the boundaries of mutual incomprehension. They know very well they'll never achieve that, but they dream of it. That indeed is the singular "normality" which obtains for all humans without exception.

A long silence had passed. Slowly she returned her gaze to the utmost edge of the bright immensity of night.

A particularity that no-one can understand, and a universality that no-one will try to understand. Everyone who sees him sees only normality, so no-one tries to look closer. Someone who is never hated by anyone, and in turn, never catches their eyes. It seemed that pleasant days were crystallised in him. So in the end, which of the two of them was really all alone? - Kara no Kyoukai Epilogue.

Unlike most people who settle for normalcy after failing to become special, Mikiya chooses it. He doesn’t seek ambition, legacy, or even children. That’s what makes him truly “special.” He offers Shiki peace without expectations, something society rarely provides.

His refusal to shed tears, even when overwhelmed with emotion, reveals his restraint:

"Even though I want to, I can't. The act of shedding tears is a very special thing,

you see," he said as he looked at the night sky.

He looked like he was on the verge of tears, and yet not a single one fell from

his eyes.

At that time, I finally understood. Even though he'd felt the pain of others so

strongly, and even though he always seemed like he was about to burst into

tears, he'd never cry.

He was right. The act of shedding tears cast a shadow of grief around everyone,

contaminating them with sorrow.

Indeed, it was a very special thing. A single tear was enough to change so much.

That was why he would never cry. Someone as ordinary as him, possessing an

Origin that wouldn’t let him hurt others, would never be able to cry, no matter

how sad he was. That was because if he did, he would end up becoming a

special existence to someone.

In exchange for being able to understand everyone, he gained an empty solitude

that would never be comprehended by anyone. - Kara no Kyoukai Chapter 6

Mikiya's empathy doesn’t come from dramatic emotion but from quiet presence. He avoids placing emotional burdens on others, even at the cost of his own expression. Parenthood would demand the very things he resists: vulnerability, upheaval, and inevitable suffering. It would disturb the peace he works so hard to maintain.

Throughout the story, Mikiya’s life revolves around Shiki. He attends college only because of a promise to her. Afterward, he lives aimlessly; until he finds a doll that reminds him of her:

After Shiki stopped time at the age of seventeen, I graduated high school and entered college without a purpose. It was a promise made with Shiki to enter that college. Even if Shiki had little hope of recovery, I still wanted to keep that promise. But nothing was there for me after that. After I became a college student, I just lived through the days. While I was living aimlessly like that, I went to an exhibit I was invited to, and ended up finding a doll.

It was a doll made so delicately, it seemed to be at the limits of a man's skills. It was like a frozen human, yet at the same time it was clear that it was simply a human-shaped mannequin which would never move.

But it was just too beautiful...

A human about to start moving any second now. But a doll which does not have any life to begin with. A place where only things with life can reach, yet a place where no human can reach...

I fell in love with that ambivalence.

Probably because everything about its existence was exactly like Shiki back then. - Kara no Kyoukai Chapter 1

That’s what defines Shiki to him: a beautiful contradiction. He doesn’t love her in spite of her strangeness, he loves her because of it. Mikiya is drawn to Shiki because she resembles aliving doll: emotionally distant, perfectly composed, and untouched by the noise of everyday human emotions. Yet, he doesn’t see her as lacking, he sees purity, stillness, and clarity in her. He admires her for being something apart from the chaotic, messy, emotional world most people live in.

This is why Future Gospel’s depiction of them as wanting a child feels wrong. It misunderstands their bond, which is rooted not in normalcy, but in accepting the void within one another. When Void Shiki offers to disturb the universe by healing him, Mikiya declines. Asking her to bear a child would be a much greater violation of her nature. He would rather suffer than push Shiki into a role that contradicts her nature.

Mikiya’s love is not about future plans, social roles, or legacy, it’s about presence. He’s selfish only in the sense that he chooses to stay with her, no matter how difficult. That devotion doesn’t come with demands.

As their relationship evolves, he grows bolder, not to change her, but to affirm her freedom. He tells her to skip school, contradicting his past lectures:

"What are you doing, all of a sudden?" I asked, surprised but trying to maintain composure.

Mikiya scowled, locking his gaze with mine. "Using you as a crutch, obviously. For the next week until I get used to walking like this, I'll be counting

on your support, okay?" he declared, as if it were the most natural thing in the world.

I glared at him. "The hell? Why me?"

"Because I want you to," he replied. "But if you really don't want to, I won't force you."

Something must have happened to Mikiya at the hospital; his clear, unwavering gaze sent chills down my spine. I averted my eyes, blushing.

"Well, I don't mind..." I mumbled.

Mikiya's face broke into a happy smile. What a carefree guy. His infectious happiness was starting to rub off on me.

"But I have school tomorrow," I reminded him.

"Skip it," he nonchalantly replied. "Spring break is coming up, I'm sure

the teachers won't mind."

"...You."

The same person who constantly lectured me about the importance of school was now suggesting such an irresponsible thing. Something had clearly changed during his hospital stay. I decided to ask him about it later, a wry smile playing on my lips.

"What's wrong, Shiki?"

"Oh, I just thought you were being rather selfish."

Mikiya blinked, surprise flickering across his face, before breaking into a smile. "Yeah, I suppose I have been. I've been selfishly in love with you for years now. And I still am. No matter how much you resist, I've made the selfish choice to take care of you forever." - Kara no Kyoukai Chapter 7

When asked why she should help him walk:

“Because I want you to.”

His priorities have shifted completely. His only desire is her. And that desire doesn’t include reshaping her life into something society would understand.

In the beginning, Mikiya blends in to avoid loneliness. But Shiki teaches him that true peace comes from authenticity, not conformity. He learns to embrace the world on his terms, just as she does.

Likewise, Shiki learns to let someone in. Mikiya never tries to “fix” her. He simply offers her the space to exist without judgment. Their love isn't redemptive; it’s accepting. And that’s what makes it powerful.

To portray Mikiya desiring a child is to miss the point entirely. He loves Shiki not for what she could become, but for who she is. To ask her to be anything else, mother, wife, “normal”, would betray everything he values in her.

Their love is not about becoming whole, but about coexisting in brokenness; beautiful, still, and enough.

Parenting Disrupts the Peace Shiki and Mikiya Have Built:

Shiki, as the embodiment of Yin, is a quiet observer, attuned to the contradictions in the world but detached from them. Her awareness is deep, but passive; she sees the flaws in existence yet lacks the means to resolve them. Her nature is drawn to Nothingness, the One, where contradictions vanish and unity is restored. Without a Yang counterpart to act on her insights, she’s left with internal conflict and suppressed impulses.

That role was once fulfilled by SHIKI, the active half of her psyche. He acted on what Shiki observed, often through destruction. But when SHIKI dies, Shiki loses her outlet. Her impulses remain, but without expression. She becomes stagnant, aware, but incapable of change, her Yin left unbalanced.

Yang, by contrast, is action without restraint. It seeks change, often without purpose or clarity. Left unchecked, it becomes impulsive, destructive. Yang without Yin is reckless; Yin without Yang is paralyzed.

This is the crisis Shiki faces post-SHIKI: impulses without action, awareness without agency. Her inner chaos threatens to collapse inward.

Enter Mikiya, who serves as her new balancing force; not by mirroring SHIKI’s raw aggression, but through Stillness. Mikiya’s Yang isn’t expressed through upheaval but through quiet restraint. He maintains emotional peace not by ignorance, but by numbing disturbance, especially in moments of danger. As Touko notes:

“To speak in your case, I think your mind isn't crazy, but rather numb.” — Kara no Kyoukai, Chapter 1

This numbness isn’t apathy; it’s a deliberate response to chaos. Mikiya refuses to panic. He silences his reactions so he can remain clear-headed when others falter. His neutrality is active; it’s something he enforces. This detachment lets him survive in a world full of contradiction, but it also blinds him to deeper tensions. He blends in, not out of ignorance, but out of choice. His Yang is gentle, not forceful; he acts, but without imposing.

This reflects a deeper truth: Yang acts, but Yin decides when to act.

Originally, Shiki suppressed SHIKI until his destructive energy was needed. But that balance was artificial, it collapsed when he died. Mikiya, unlike SHIKI, isn’t just her opposite. He’s her complement. His calm provides her with the structure she needs. Her awareness sharpens his passivity into purpose.

They shape each other. Mikiya, once content to blend in, learns to assert boundaries, to be selfish for once. He prioritizes Shiki. He evolves from passivity into choice.

“Because I want you to.” — Kara no Kyoukai, Chapter 7

That moment captures it all. Mikiya’s peace isn’t about surrender anymore: it’s about choosing where to stand. With her.

Together, they embody Stillness; not as stagnation, but as a living tension between clarity and will. Shiki tempers her awareness of death into calm; Mikiya tempers his calm into resolve.

Then Future Gospel disrupts everything.

It inserts a third element into their carefully balanced relationship: a child. And in doing so, it breaks the dynamic.

Yin and Yang exist in tension. A third point, especially one like Mana, creates imbalance. She’s not a symbol of unity; she’s an external imposition. Her desire to “beat” Shiki and claim Mikiya feels alien to the world of Kara no Kyoukai. Unlike Azaka’s obsessive (yet thematically coherent) fixation on Mikiya, Mana’s competition with her mother fractures the philosophical heart of the series and serves no real narrative purpose, nor is it even normal honestly, as it comes off as her being a degenerate freak. A mini-Azaka who ruins the peace and Stillness they so desperately wanted.

Shiki’s stability depends on her relationship with Mikiya. He anchors her. Their stillness isn’t passive; it’s intentional. Introducing a child destabilizes that. Mana doesn’t just symbolize life: she demands attention, chaos, and purpose, all things Shiki has spent the series rejecting.

For Mikiya, this is just as disruptive. He loves Shiki because she gives him a peace the world never could. Her detachment, her clarity, these are the traits he finds compelling. Raising a child, especially one as loud and emotionally chaotic as Mana, would destroy that peace.

Future Gospel treats parenting as an inevitable next step. But for Shiki and Mikiya, it’s a contradiction. It reintroduces societal roles they’ve both rejected: mother, father, legacy. Their bond is built on self-sufficiency, on choosing each other over everything else. A child demands more than either is willing to give, and worse, it introduces meaning from outside, rather than letting them define it from within.

In short, Mana doesn’t just “add” something new. She breaks what already works.

She shatters the duality, disrupts the stillness, and undermines everything Kara no Kyoukai so carefully constructed.

SHIKI already showed Shiki how horrible parenting would be for her:

As her repressed primal side, SHIKI embodies chaotic, instinctual urges, desire without restraint. He’s not just a split personality, but a constant contradiction within Shiki’s being. Every decision she makes must metaphorically "kill" SHIKI, creating internal war between action and counteraction. This reflects her passive nature: she doesn’t act easily, because acting always awakens SHIKI’s resistance.

Living with SHIKI makes Shiki hyper-aware of how fragile and contradictory human impulses are. To her, primal urges, like those tied to reproduction, or family, aren’t redemptive, but dangerous forces that strip away autonomy. SHIKI shows her what unfiltered desire looks like, and it’s exhausting to suppress. Raising a child, to her, would be the same: trying to regulate another being’s impulses as she already does with SHIKI, only now with no escape.

Shiki finds peace not in society, but in isolation. Yet even that’s a fragile balance. Mikiya is the one exception: he offers love without imposing change, embodying calm where SHIKI is chaos. He’s proof that not all bonds are burdens. But parenting would shatter that peace. It would reintroduce the very primal duties Shiki has spent her life rejecting.

That’s why Future Gospel’s depiction of Shiki as a mother feels like a betrayal. It contradicts everything she’s learned: that primal roles like parenthood aren’t natural to her; they’re traps. Shiki’s arc is not about embracing life’s biological cycles, but about rejecting them to find a still, meaningful existence beyond them.

To force her into that role is to erase the conflict that defines her. It makes her someone she never was.

The Inconsistency of Shiki Leading the Ryougi Family:

Throughout Kara no Kyoukai, Shiki Ryougi is emotionally detached from her family. She rejects their expectations, shows no desire for leadership, and actively seeks a quiet life with Mikiya, free from obligation. Becoming family head contradicts her pursuit of autonomy.

Her arc is one of rejecting societal roles and finding meaning through internal struggle, not external control. She doesn’t care for power, legacy, or tradition. Her philosophy revolves around Nothingness, not influence.

Some might respond, “But Shiki was shown sleeping at her family’s house in Melty Blood: Actress Again, which takes place after KnK!”

But even in Melty Blood, Shiki remains distant. She barely interacts with her servant and shows no interest in managing the family. Her presence there reflects familiarity, not obligation. If she were truly acting as family head, we’d see active engagement; something entirely absent from her portrayal.

Shiki’s rejection of the Ryougi family is explicitly stated in Kara no Kyoukai Chapter 7:

I had to get out of here. Now. I couldn't stay like this any longer. This wasn't where I belonged. Home. I needed to return home, to the place I wassupposed to be.

But strangely enough, the image that emerged wasn’t the Ryougi mansion, but an ordinary apartment where Kokutou Mikiya was waiting. - Kara no Kyoukai Chapter 7

Her real “home” is with Mikiya. The Ryougi house doesn’t even cross her mind during moments of clarity.

"I don't like people. I have not been able to like them since I was a child. I even dislike myself because, unfortunately, I am a person too."

"I like a quiet environment too, so I had ended up in an ideal situation." - Kara no Kyoukai Chapter 2

Shiki values solitude. The obligations of leadership, interpersonal engagement, decision-making, violate her core nature.

"It's very dangerous to have two personalities in one body... many cases of suicide."

"...I knew I could only lead such a life..."

"...Yes, even if SHIKI is a killing monster, I am not able to make him disappear. Since I have 'SHIKI' in me, I am Shiki just like him." - Kara no Kyoukai Chapter 2

Her battle is internal. Managing SHIKI and her own identity leaves no space for leading a clan.

"No, there can be no other successor than you. Your brother did not inherit your nature."

"What's so good about this nature?" - Kara no Kyoukai Chapter 2

She dismisses the family’s logic. She doesn’t want what they’re offering.

"Shouldn't you show up at the Ryougi House at least once?"

"No. Especially when there's no need."

Not right, he says. What exactly is "not right"? There's nothing illegal in what's happening between me and my parents. It's just that the child was involved in a traffic accident and lost all its memories. We are proven to be family by law and by blood, so I'd assume there's nothing wrong with the current situation. - Kara no Kyoukai Chapter 1

She rejects the Ryougi name and identity. Her family is a legal obligation, not an emotional one.

"Shiki doesn't like that. She glared at me when I called her Ryougi-san before." - Chapter 2

Shiki’s refusal to even be addressed by her family name shows her rejection of the identity associated with the Ryougi clan. She doesn't want to be seen as a representative of their lineage, reinforcing her desire to forge her own path.

Taken together, these quotes reinforce the central idea that Shiki is emotionally detached from her family and uninterested in fulfilling the role of heir or family head.

The Ryougi’s goal was to create a “perfect program” through multiple personalities:

“The Ryougi family is a dynasty, just like the Asagami and the Fujou families. They are families who are trying to create humans who are beyond human, and used various methods to ensure the birth of an heir. All so that they could pass on their family’s ‘inheritance’.

“The Ryougi family is especially interesting. They knew that if they had a supernatural ability, they would one day be destroyed by the civilized world. So they thought up a supernatural ability that would let them appear as normal human beings. Hey, Kokutou. Those people we call professionals, why is it that they can only reach the top in one area?

That’s because no matter how perfect a body, or how high the amount of natural aptitude you are born with, you can only put one talent into one person. The higher you climb, the more you are restricted as to what other peaks you can go up, until in the end you cannot climb any others.

“The Ryougi family solved that problem by imbuing one body with a countless number of personalities. It’s the same as a computer. If you put hundreds upon hundreds of pieces of software into one piece of hardware called Shiki, a professional in all areas is created. That’s why her name is Shiki. The Shiki kanji in Shikigami. The Shiki kanji when you talk about Mathematical Formulas. A program that fulfills any task required of it perfectly. An empty doll that possesses countless numbers of identities, and can be modified by putting in another personality with different morals, thought patterns, even senses.”

Did Shiki already know of this..? Yeah, she definitely knew. That’s why she had stubbornly avoided becoming friendlier. Accepting the fact that she wasn’t an average person, the fact that she had not been born into a normal family, she had just been trying to live a quiet life.

“This is a continuation on the subject of the Taiji, but the division of the chaotic 「　」 into two is Ryougi. In order to further stabilize this, and in order to increase the number of classes available, they divide it into four phenomena. They then further increase the complexity by cutting it into eight trigrams. Like this, they keep dividing by a base of two. This, too, could symbolize Shiki’s ability. But that no longer exists. A bug appeared in the perfect program, you see. The Shiki you see now, well, there may be slight problems, but she is a perfectly normal human with self-awareness.”

“Why are you making a face like that? The one that broke it was you. A mentally disturbed person, you see, doesn’t break down because they don’t even dream that they may be mentally disturbed. Shiki was like that before, too. Yeah, but a human called Kokutou Mikiya made her aware of the fact. That the existence of the one called Ryougi Shiki was strange. Ah, that’s right. If you were to say it was a rescue, you already saved Shiki two years ago, didn’t you? - Kara no Kyoukai Chapter 5

But the “bug”, her autonomy, ruined that. The Ryougi system failed. She was supposed to be a tool, but she became a person.

Even Chapter 4 shows the estrangement:

It wasn't very quiet in the afternoon, because my mother and older brother came to visit me. Our conversation wasn't very smooth. They felt like strangers to me. With no alternatives, I answered their questions according to Shiki's memories, as a result of which my mother went home with an easy mind. Everything was funny because, it seemed like I was acting. - Kara no Kyoukai Chapter 4

This is one of the few direct interactions Shiki has with her family post-coma, and it’s chilling in its emptiness. Her mother leaves reassured, not because she reconnects with Shiki, but because Shiki performs the expected role; mimicking familiarity through borrowed memories. The visit isn’t motivated by genuine care, but by a quiet hope that Shiki’s “bug”, her emerging autonomy, might have been fixed during the coma.

When Shiki responds with a hollow performance instead of true feeling, her mother feels relieved. From her perspective, Shiki still behaves like the “program” the family designed: predictable, controllable, and not truly autonomous. This means the experiment hasn’t failed yet, and there’s no need to confront the real, conflicted individual beneath the surface.

Her mother’s ease reveals the emotional neglect Shiki suffers. The family values control and appearances over genuine understanding or care. The “failure” of the Ryougi experiment is not that Shiki became broken, but that she became a person with self-awareness, something they never intended to accept.

For Shiki, family is just another script to perform, a facade that masks her detachment and isolation.

This is evident in the teachings she received from her grandfather, lessons not meant to guide her, but to control her. He taught her that death was a right to be used sparingly, and that beyond one death, life lost its meaning. His view turned death into a coping mechanism for his own failures, all while denying Shiki the right to choose her path:

"Everyone kills a person at least once in their lifetime."

Really?

"Yes, that’s right. We have the right to take a life once, but only to end our own journey."

Our own?

"Indeed. A person can only carry the weight of one life. That's why we respect death. It allows us to forgive those who couldn't finish their journeys. All lives hold equal value, you see. The fact that it's yours does not mean it belongs solely to you.

Then what about you, Grandpa?

"It's too late for me, Shiki. I've taken many lives. Now, I carry the burden of their deaths, and can't carry my own. My death will drift to an empty place, unclaimed and alone. Only a fate of true solitude awaits me now."

Only once?

"That's right. Killing beyond that becomes meaningless. That single death is precious. Those who use their right and kill another forfeit their own chance at a human death. They become trapped, unable to truly die."

Does it hurt, Grandpa?

"Yes. This is farewell, Shiki. Forever. I truly hope you find a peaceful death."

Grandpa? Hey, Grandpa! What's wrong? Why do you have to die with such a lonely look on your face? Grandpa... hey! - Kara no Kyoukai Chapter 7

Instead of resolving her inner struggle, this philosophy only deepened Shiki’s isolation. It forced her to compartmentalize her emotions and her identity. SHIKI, her darker half, became a defense mechanism; a container for the pressure and emotional repression imposed by her family. Her fear of killing wasn’t entirely personal; it was programmed into her, and this extended to a fear of her more aggressive or rebellious instincts in general. The Ryougi framed death as both inevitable and unforgivable; a cosmic force punishing those who do not enact only their own end. The message was clear: her life was not her own, and if she ever strayed from their path, erasing herself was the only acceptable outcome.

In the end, the Ryougi teachings were not wisdom, but control; a doctrine that smothered Shiki’s individuality and buried her sense of self.

Her grandfather escaped moral accountability by reframing his violent past and the deaths he caused as part of a cosmic, metaphysical order rather than personal failings. By turning death into a concept of “forgiveness” and a universal law that everyone carries only one right to kill, to end their own journey, he shifted responsibility away from himself as an individual and into an impersonal inevitability.

In reality, he was a man burdened by his own actions, a murderer haunted by guilt. Instead of facing that guilt head-on, he constructed a philosophy that justified his deeds as necessary and meaningful within a grander cosmic framework. This allowed him to avoid true moral reckoning, even though he still suffered deeply; dying lonely and burdened by the weight of those deaths.

So while his doctrine sounds wise or honorable on the surface, it’s actually a coping mechanism: an attempt to rationalize and distance himself from the pain and responsibility of his violence by cloaking it in abstract inevitability. Meanwhile, Shiki inherits this twisted worldview, which suppresses her individuality and autonomy.

Interestingly, the only person within her household that Shiki showed any level of interaction with was Akitaka, her caretaker. He was the one who brought her things, and in Melty Blood, when she couldn't sleep, he was the one she called. Unlike her distant and controlling family, Akitaka may have provided some degree of genuine care, enough that she didn’t completely dismiss him. But even with him, she remained guarded, keeping her true thoughts to herself.

Then Mikiya appeared. Unlike her family, he showed her that killing wasn’t fate, it was a choice. He proved that morality wasn’t dictated by some absolute law, but by willpower, and that she didn’t have to bear everything alone. He acknowledged Shiki’s humanity without imposing rigid rules or philosophies. His unconditional acceptance and support offer Shiki the freedom to rediscover herself and live on her own terms. By rejecting her family’s teachings and embracing Mikiya’s perspective, Shiki is able to break free from the chains of control imposed by the Ryougi family. In this sense, the family’s oppressive influence is the true villainous force in Shiki’s journey, as it is their actions that caused the majority of her suffering and led to the conflict at the heart of the story.

Yet....Future Gospel somehow has her coming back to them and doing exactly what they wanted. It's retarded.

The Ryougi family are arguably the true antagonists. They created the conflict within Shiki, molded her into a weapon, and discarded her humanity. Mikiya helps her reclaim it. That is the essence of the story.

It's set into Fate Worlds:

We know from Case Files that Future Gospel takes place within the Fate multiverse, further proving that it's disconnected from the original Kara no Kyoukai timeline. Kara no Kyoukai is part of the original Tsukihime universe, as shown by several key connections. For example, the light novel references Mahoutsukai no Yoru, and side materials explicitly state that Tsukihime intersects with Kara no Kyoukai. Additionally, Plus Period directs readers to consult Kara no Kyoukai for understanding certain Tsukihime concepts, and Ryougi Shiki appears directly in Melty Blood. Act Cadenza even includes hints from Kishima Kouma that he personally met Souren Araya. Moreover, the Mystic Eye Killer glasses that Aoko stole from Touko and gave to Tohno are implied to be the same glasses Touko originally made for Ryougi, who declined them.

Nasu's statement that Tsukihime and Kara no Kyoukai are from different parallel worlds is invalid. His reasoning, that Aoko is still a teenage apprentice in Kara no Kyoukai and hasn’t mastered the Fifth Magic, is contradicted by several sources. Kara no Kyoukai itself states Aoko went to high school eight years before the events of the story. It references the Fifth Magician twice, and mentions her defeating Beowulf as seen in Mahoutsukai no Yoru. Finally, Plus Period even advises readers to consult Kara no Kyoukai for further insight into Aoko’s journey to becoming a magician. Below are all the related quotes:

"I guess it's a few years back now. Around the time when my little sister was entering high school, roughly eight years ago now". - Kara no Kyoukai Chapter 5

"Currently there's only one magician in this country, so basically that kind of ward just can't be formed." - Kara no Kyoukai Chapter 4

"You are right. That is why a wizard was a feared figure in the past, and why being one could even be called a job. These days, though, it's different, isn't it? Strictly speaking, they aren't needed, the things called mages. These days, magic itself is disappearing. After all, you can count on your fingers the number of things that are impossible for humanity, can't you? Whatever the case, they say that there are only about five wizards in the world today." - Kara no Kyoukai Chapter 5

"That's not right! Was the story that you lost your familiar to your sister only a lie...?!" - Kara no Kyoukai Chapter 5

"There are conditions, but I'll teach you how to use your death perception. In return help me with my work. I just lost the one I bossed around so I need a new pair of feet and hands right now." - Kara no Kyoukai Chapter 4

Aoko’s older sister. She studied magecraft under her grandfather, but murdered him over the shock of having the Aozaki inheritance usurped by her younger sister and fled to the Association. Unlike Aoko, her abilities as a magus are top class. She has even received a sealing designation due to her status as the world’s greatest puppet master.

She does not appear in Tsukihime. However, she is a key figure in Kara no Kyoukai, which intersects with Tsukihime.

Tohno Shiki’s mystic eye sealing glasses originally belonged to her.

She is merciless, just like Aoko. Honestly, do these Aozaki folk not have a single decent person among them? - Tsukihime Data Collection

A magical construct capable of suppressing the power of Mystic Eyes.

Since Mystic Eyes are a power derived from the oculus, Mystic Eyes Killers are commonly made into glasses. The glasses Touko wore are also Mystic Eyes Kilers.

The protagonist of Tsukihime, Tohno Shiki, acquired Mystic Eyes Killers crafted by Touko from someone. They relieved him of the unbearable sight of Death, and allowed him to live normally again.

This also reflected just how self-abusive Ryougi Shiki was, declining the Mystic Eyes Killers. No... it was more an episode that reflected her heart of clear water.

As a side note, Touko poured an obscene amount of money into constructing Ryougi Shiki's Mystic Eyes Killers, but Shiki shoved them back saying "Why should I do it to please you?"

The reason Shiki declined the Mystic Eyes Killer was the same as when she refused to wear the uniform of Reien Girls' Academy. - Kara no Kyoukai Special Pamphlet - Encyclopedia: Mystic Eyes Killers [Ornaments], p.038.

A visual novel game written by Kinoko Nasu. It was a story about a youth who had Mystic Eyes of Death Perception just like Ryougi’s. It shared many similarities with Kara no Kyoukai, and the two were also subtly connected. It was published as a doujin work, and is currently out of print. The remake seemed to be in the works, or maybe not…? - Garden of sinners Pamphlet -Kara no Kyoukai Settings Glossary - Tsukihime [Other]

The protagonist of Kara no Kyoukai. Able to see lines of death, just like Tohno Shiki. She wears a traditional kimono paired with a leather jacket and high-laced boots. Though she always carries a knife, her true talent is with the katana. The last name “Ryougi” and first name “Shiki” both have an appropriate meaning. Consequently as a user of the mystic eyes of death perception it can be said she is several ranks higher than Tohno Shiki, who is pretty much her polar opposite. In fact, his personality is actually close to Kokutou Mikiya’s. For more details on this Shiki, please consult Kara no Kyoukai. - Tsukihime Plus Period - Ryougi Shiki [Person]

One of the five existing Magicians. It seems she hates the alliteration in her full name, and gets mad when people call her by it.

As for why she’s a Magician, it’s because she arrived there at the end of a long and arduous road. If that’s not a clear answer for you, please refer to Kara no Kyoukai. Well, it might still be unclear even if you do that, though…

She had such a large influence on the young Shiki that to this day she is the only person he calls “Sensei.”

The story of Tsukihime begins with Aoko and Shiki’s first meeting. At that time, she seemed to be an amiable older-sister type, but generally her stance is to avoid getting too involved with other people. -

Tsukihime Dokuhon Plus Period - Aozaki Aoko [Person]

Their creation was not influenced by human ideas, so they are not a type of Divine Spirit. They are an existence desired by the world, but not by humans. Because of this, they have gradually gone into hiding and dwindled in numbers. Though they have definite form, they can also be considered a kind of Counter Force.

…If you want to know what a Counter Force is, please refer to Kara no Kyoukai. - Tsukihime Dokuhon Plus Period: Tsukihime Dictionary Revised - True Ancestor [Term]

Even if we set aside the inconsistencies, Nasu's statement doesn’t even necessarily mean that Kara no Kyoukai is not set in the same universe as Tsukihime. He only describes them as 'subtly shifted parallel worlds,' which is no different from how the various routes in the Tsukihime visual novel exist or how Tsukihime 2 and Melty Blood represent alternate worlds that act as sequels to the original Tsukihime. Essentially, this means Kara no Kyoukai could very well be one of these alternate realities, which might explain Ryougi's appearance in Melty Blood:

In Melty Blood and Kagetsu Tohya, which essentially take place in parallel worlds, she appears quite dashing with her long crimson red hair fluttering in the breeze. - Melty Blood Official Strategy Guide - Tohno Akiha [Person]

As you can see here, even KT and MB are explicitly described as "parallel worlds," serving as alternate sequels to Tsukihime, much like Tsukihime 2 with Talk and Prelude. They represent different possibilities within the same setting rather than a single, definitive continuation. So, Nasu's statement doesn’t even prove that KnK is separate from Tsukihime’s setting. At best, it suggests that it takes place in a timeline where Tsukihime didn’t unfold exactly as we know it, something that’s already a given, considering MB follows the unseen route of Yumizuka.

However, the differences Nasu mentions are invalid to begin with, as I have just showed.

Fate worlds' appearence of MF further makes it incompatible:

Mikiya’s sudden desire to help the Ryougi family, justified only by “I must help my wife’s family,” feels out of character. Mikiya acts from personal values and genuine bonds, especially with Shiki, not from duty to family lineage. His altruism is selective, rooted in care, not misplaced loyalty.

Shiki leaving town over such a minor disagreement also seems uncharacteristic. Known for her detachment and measured approach, she wouldn’t react impulsively or immaturely to Mikiya’s choice. This plot-driven reaction undermines her personality (most likely an excuse to not have her instantly blink any threat coming up).

More importantly, leaving over a trivial family issue contradicts the depth of their bond. Mikiya is her emotional anchor; he accepts her fully, including her darker side. Their connection provides stability and peace that surpass superficial disputes. Shiki "cannot live without him," both metaphorically and literally.

When she thought Mikiya was killed by Lio, Shiki’s total collapse showed how deeply she depends on him. That scene reveals her true feeling: so deep they break her down entirely. Despite her usual indifference, Mikiya grounds her reality and sense of self beyond her detached nature.

Her behavior when he’s absent, doll-like, dormant, lifeless, further illustrates this dependency:

She's always asleep on the bed like a corpse. This girl doesn't wake up in the morning; instead she is resurrected from death to life when she has something to do.

At first I thought it was to go to school, but I don't think that's the reason. Because whenever she receives a phone call from somewhere, Ryougi regains her vitality.

It goes without saying that I sense that the subject matter of those calls is suspicious.

However, Ryougi is waiting for that. In its absence, this girl remains here like some doll.- Kara no Kyoukai Chapter 5

She’s not literally a doll but waits in a suspended state until Mikiya brings her “to life,” physically and emotionally. By Chapter 7, Shiki admits life without him is unimaginable:

With a final breath, her eyes fluttered shut.

Regret was a distant echo. A silent thought resonated: without Mikiya, life held no purpose. Just like how a beast, once warmed by fire, could never return to the cold, she could never go back to the empty self she once was. - Kara no Kyoukai Chapter 7

Shiki’s life effectively pauses without Mikiya, showing how profoundly he’s integrated into her existence.

There is a broader thematic shift:

The bomber in Mirai Fukuin signals a departure from Kara no Kyoukai’s existential depth, reducing complex themes to a simplistic message of hope. His omniscient foresight makes life meaningless; certainty erases choice and potential. Instead of probing this, Mirai Fukuin embraces uncertainty as hope, a conclusion that feels reductive compared to the original’s nuanced exploration of mortality.

Araya Souren, in the original novel, recognized death as the ultimate constant; this grasp allowed him to create his own personal universe. Death, and the restriction of possibility it imposes, is the very basis of existence, enabling Araya to replicate a cosmos bounded by limits. However, he ultimately loses to Ryougi Shiki, whose wielding of death is more fundamental; she sacrifices even the self to become "nothing." This shows the impossibility of fully grasping existence’s true meaning: it is mindless being without deeper purpose.

When Shiki severs the bomber’s foresight, he finds freedom in the unknown, reinforcing Mirai Fukuin’s optimistic stance: not knowing the future allows for possibility and hope. But this clashes with Kara no Kyoukai’s philosophy, which sees mortality not as limitation but as essential to existence. Shiki’s Mystic Eyes of Death Perception bring understanding, not despair. Her bond with Mikiya is grounded not in blind optimism but in meaning found within reality’s limits, a stark contrast to Mirai Fukuin’s valorization of uncertainty.

Ultimately, Mirai Fukuin simplifies Kara no Kyoukai’s core. The original treats death as inevitable and transformative, with figures like Araya illustrating the suffering of denying life’s irrational order. Mirai Fukuin shifts to hopeful ambiguity over acceptance, diluting the series’ thematic richness. While uncertainty can inspire, Kara no Kyoukai teaches true peace comes from confronting and embracing certainty.

In conclusion:

In conclusion, Mirai Fukuin disrupts Kara no Kyoukai’s core themes and character arcs.

Shiki’s detachment from humanity and rejection of primal impulses make motherhood illogical, and Mikiya, who values their peaceful life, would never desire parenthood. Their bond is rooted in mutual understanding, not societal expectations. Introducing Mana imposes a conventional narrative onto characters who reject such ideals.

The defense of "character development" misses the mark. True growth respects established identities; Mirai Fukuin forces an arbitrary shift contradicting Kara no Kyoukai’s existential core. Any desire for a child would require gradual buildup, not sudden imposition.

Even Fate/Zero recognizes parenting as often reflecting ego:

"Rather than seeing her future as bad luck, she must have plenty of happiness—that wish is only the parents' ego." – Fate/Zero

Parenting often involves imposing beliefs, seeking legacy, or finding purpose through another. Kiritsugu, despite loving Illya, recognizes that his wish for her happiness is as much about his own desires as it is about her well-being.

Shiki and Mikiya instead focus on authenticity and finding meaning outside traditional roles. Mirai Fukuin is regression masquerading as development, erasing Shiki’s nihilism and Mikiya’s neutrality to prioritize a standard family narrative over existential depth.

The real reason Mirai Fukuin was created? It aligns with Nasu’s shift from the existential, anti-humanist themes of early Type-Moon to the humanist ideals in Fate/Extra and Fate/Grand Order. This forced optimism dilutes Kara no Kyoukai’s core themes for a more marketable, human-centric narrative.

Key contradictions in Mirai Fukuin include:

• Shiki as Ryougi family head: Out of place given her rejection of family control and societal roles, which are the source of her trauma.
• Shiki and Mikiya starting a family: Contradicts Shiki’s worldview and Mikiya’s acceptance of her as-is.
• Loss of peace: The original ending promised peaceful life, but Mirai Fukuin re-entangles them in conflicts and obligations.
• Mikiya helping the family: Feels forced, clashing with his loyalty solely to Shiki.
• Shiki leaving over minor dispute: Undermines their deep bond, contradicting their mutual dependency.
• Shift to hopeful uncertainty: Misrepresents the original’s acceptance of mortality and return to Nothingness, key themes in Kara no Kyoukai’s cosmology.

And again, Nasu himself calls Future Gospel an "abomination" and admits his older self is "dead," underscoring the dissonance between the original and the sequel. He states the movies took the story down a different, more accessible path, and Future Gospel extends that reinterpretation, not the original novel’s darker vision.

Nasu’s additions of Mana, the bomber, and other new elements reflect his changed perspective over a decade, not a faithful continuation. He openly describes Future Gospel as an expansion of the movie adaptations aimed at a broader, different audience, not a deepening of the original themes.

In his own words, this was an attempt to "open the box" of the story again to show how people change over time. While he frames this as maturity, it is arguably a commercial decision diluting the artistic integrity of the original.

—Regarding Future Gospel, what was the inspiration behind the characters?

Nasu: For Seo Shizune, she was already present in the initial plot of Kara no Kyoukai as a character possessing "precognition". She's even referenced as Azaka's roommate in the story, and makes a brief appearance in the 6th chapter of the movie. And she also appears in the old doujin Tsukihime PLUS-DISC as Akira Seo, who is pretty much the same character. With that in mind, I can't quite call Shizune a "new" character within Future Gospel. I had originally planned for her to be a part of Kara no Kyoukai, and feel her to be more of a character we pulled off the shelf. Kamekura Mitsuru and Ryougi Mana, however, were the two completely new additions to the movie.

—Mitsuru and Mana were standouts in Kara no Kyoukai, weren't they?

Nasu: In the movie adaptation, yes. As it was a movie that was created over 10 years after I had written the story, I felt it fitting to introduce characters that span that length of time as well. The old Nasu Kinoko would have stubbornly insisted that once a story's done it's done. Like if you were to create a most beautiful box, to just leave it as it is. Now I feel I've matured to a point that even such a beautifully crafted box can be opened, ever so slightly, and expand upon the world. And just as I have changed over the last 10 years, I wanted to create a character like Mitsuru to portray how a person can change over time. - Source

As frustrating as it was I felt some truth in Takashi's words. I know that writers cannot simply act according to how they think something should be, so how could I consider myself one if I refuse without properly addressing those who actually want to read more? With this thought in mind, I started mapping out ideas for a new novel. - Source

Also, Nasu is more "virtuos" now compared to in the past? But look at the shit he says:

Q: The scenes after Shiki was captured by Shirazumi Lio all seemed much more erotic than what happened in the original novel. Is that the sort of thing you two are into? Or was it the interest of the production staff, instead?

Takeuchi: Rather than their interest, you should call it their "crowning achievement". A heart-throbbing NTR-ish masterpiece.

Nasu: When I was watching that scene I just kept thinking, "Shit, can't that Mikiya bastard just die already!?" Anyway, here's some trivia. If you printed off the image of that collapsed Shiki, it would be bigger than a tatami. Instead of a body pillow, it'd be a body mat.

Takeuchi: A body mat? Somehow… that's kind of cool, actually. I can… die in peace now.

Nasu: Great works are only accomplished with a bit of madness.

Seriously, what the hell is this? lol. If this is what Nasu considers maturity, it’s worth asking whether it’s the kind of growth anyone should aspire to.

With that being said, I can already imagine someone reading the interview from above and somehow saying, "See? The precognition girl was already referenced in KnK!"

Yes, she existed back then, and Shiki or Mikiya were supposed to meet her in the story, something that happened off-screen. However, this doesn’t mean that Mana, the bomber, or the rest of Mirai Fukuin were planned from the start. Nasu himself admitted that Mirai Fukuin was a patchwork continuation that barely fit together. All this proves is that he took an off-screen encounter from the original KnK and expanded it using new material shaped by his changed mindset. Nothing more. In the same statement, he explicitly clarifies that Mana and the bomber were characters added a decade later, with the latter being a reflection of how he changed as a person in the 10 years past the original novel:

And just as I have changed over the last 10 years, I wanted to create a character like Mitsuru to portray how a person can change over time. - Source

As for the original, older version of Future Gospel:

Although she was not very active in the main story of Kara no Kyoukai, a character of similar concept emerged in the side story of Tsukihime.

Gospel of the Future would be a story about her chat with Mikiya. The setting would be Ahnenerbe. The planned length was about 30 pages.

In terms of chronological order, Gospel of the Future would take place before Paradox Spiral. In it, Sizune would advise Mikiya “if you keep going like this, you could die very soon.” In Paradox Spiral, the content of Mikiya’s reply to Enjou Tomoe was the exact opposite of that. It seemed Mikiya was lying there. - Garden of Sinner Pamphlet - Seo Shizune [Person]

As you can see, Future Gospel was originally intended to be just a short side story where Mikiya chats with Shizune, nothing more. The rest, including the bomber and Ryougi's supposed future "life" with Mana, were later additions Nasu made specifically for the anime adaptation. These changes not only contradicted the original novel but were also introduced to align with the new direction the franchise was taking.

You might think this is unnecessary to point out, but oh, trust me: The vast majority of Type-Moon’s fanbase is so utterly incapable of basic reasoning that even the most kindergarten-level logical connections need to be spelled out for them, unfortunately.

The characters and events of Future Gospel later make appearances in Fate and other modern Type-Moon works. With said appearences further butchering the characterization of KnK and also modifying the overall lore to fit with the modern TM verse. it has absolutely no relation to the original work beyond borrowing its characters and some superficial elements, firmly rooting it in the movie canon and the modernized Type-Moon continuity.

This is why MF is not canon to KnK, period. Logically incompatible narratives cannot fit together.