|Appears in:||Fate/strange fake|
|Japanese VA:||Shinya Takahashi (Fate/Zero Sound Drama)|
|Character type:||Servant (Master: Wolf)|
Lancer's identity is Enkidu (エルキドゥ, Erukidou?), the only friend of Gilgamesh. Born from a clod of earth, Enkidu was clay shaped by hands of the Gods, his father the king of gods, Anu, and his mother the goddess of creation, Aruru. He was neither male nor female, but merely a monster made of mud that descended onto the earth and awoke in the wilderness. He opened his eyelids in response to a voice calling him from afar, taking in the sight of the expanses of land and sky and the towering city in the distance. The voice was unknown to him, but it was neither the maternal hand nor the paternal rebuke.
He was given superb power, but his parents were unable to give him a soul. He had no intellect after awakening, so his existence for years afterward consisted of rushing through the wilderness with the animals. He had a purpose, given the task of being the chains to return the keystone, Gilgamesh, to their control, but he could only live ferally without a soul. Lacking the will of a human, his happiness came from being free in the wild, neither perfect or flawed. He would still stop to look at the city occasionally, hearing the voice that was neither his father or mother calling him from beyond the wilds.
Anu brought him a woman, the divine harlot, after despairing over his lack of rational thought. The asexual lump of clay fell for the beauty of the woman, which transcended the bound between man and woman, and they spent six days and seven nights together. The mud puppet, ignorant of mankind, slowly allowed his form to approximate that of a human, which seemed to become that of the beautiful harlot sharing his food and bed in attempting to assume her beauty. He made her paradoxical beauty his own, losing much of his strength and divinity, though still far above humanity, in exchange for wisdom and reason. He had never looked in a mirror, so the humanoid form became a good instructor for him to learn about himself. He acquired knowledge and rational though, all the truths of heaven and earth. Filled with the soul needed to fulfill his task, he spoke his name for the first time and the world became something extremely simple in that instant.
Finally recognizing his role and task, imposing the wrath of the gods and divine judgement upon a fellow puppet of the gods, he decided to seek out the arrogant Gilgamesh. The one he found was still a child, so he had to wait until Gilgamesh reached adulthood in order to fight and reprimand him as an equal. He watched the city while waiting, hearing the familiar voice from within. He watched his growth by the day, and Gilgamesh's fair nature confused him and made him question the gods' judgement. He came to realize they were correct as Gilgamesh grew and became a tyrant, but he understood the reason behind it.
Understanding that Gilgamesh's arrogance stemmed from his solitude, he sought to reprimand him, but did not state the real reason to avoid hurting his pride. He met Gilgamesh in front of the temple of Uruk, and they clashed in a fierce battle that lasted for several days. Gilgamesh was angered by a "clod of mud" being equal to him, humiliated that he had to use his treasures. He soon came to enjoy the battle, bringing them out without regret. After fierce fighting that left them both spent, they both collapsed to the ground without consideration for the location. Gilgamesh did so laughing, noting that there could be no winner without two corpses, and Enkidu fell in imitation of him, like a mirror.
Praising each other's valor, they became peerless friends who went on to have many adventures. One of his few achievements of the time was to have Gilgamesh make use of his treasures in battle. They combined their strength to defeat the guardian of the forest and beast of the gods, Humbaba, for the reason of protecting Uruk rather than anything to do with the gods. Enkidu commented that the people were suffering under them, so he questioned the point of such an action. Enkidu came to understand Gilgamesh's path at that point, that he would observe humanity's future from his solidarity.
Enkidu attempted to declare that he was a tool for Gilgamesh's use, claiming that he would stand by his side until the end of the world. Gilgamesh instead called him a fool, telling him that those who live together, talk together, and fight together are neither people nor tools, but what is called a friend. Obtaining that word was precious to him, and it was the moment he acquired a “self” in the true sense of the word. Afterward, Ishtar proposed to Gilgamesh, but he rejected her. Angered by his insults, she begged Anu to release the Bull of Heaven to punish them.
After working together to destroy it, Ishtar requested they be put to death for slaying a beast of the gods. Her request was granted, and Enkidu, created by the gods, was unable to defy the decree. He slowly weakened and was returned to clay, as Gilgamesh desperately held on to the crumbling clod in his arms. Gilgamesh was angered, exclaiming that he should have been punished instead, but Enkidu reiterated that he was only one of the numerous weapons in his collection. There would be no need to grieve because he would find countless greater treasures, so there is no worth left in him to deserve any tears from the king.
He believed that Gilgamesh was a hero who had a soul and free will since the beginning, who had true life and worth unlike his expendable self. He had always yearned for that and hated that they were such different beings despite being created by the same father. Gilgamesh exclaimed that he did have worth, declaring " In all this world, only one shall be my friend. Thus---not for all eternity shall his worth ever change.” As the rain gradually let up, he returned to his original state, naught but a clod of earth in the wilderness, leaving behind nothing but the thunderous cry of the king. The rest of Gilgamesh's lifetime afterward showed the large shadow cast over him from losing the sole person who understood him.
Lancer is able to take a myriad of forms, but his usual form is that of a sixteen-year-old androgynous person with long, beautiful hair that shimmers with a light-green color. He is summoned only wearing a plain tunic, so he seems rather unremarkable compared to those normally called Heroic Spirits. He is not summoned with any items, and his clothing does not look valuable in any way. While heroes are not determined by their wealth, being summoned completely barehanded is abnormal.
It is hard to tell if he is a man or woman at first glance. His face retains vaguely childlike features that are able to be interpreted as that of either gender. His lustrous skin and soft features are reminiscent of a woman, but his loose tunic further obscures his sex by hiding his physique, making it impossible to see his chest and hips, and making it difficult to discern if he is even actually human. He has firm and taut limbs, and his body seems like a coiled spring ready to rocket forth.
With an androgynous and neutral voice, his face can be called beautiful and elegant despite his gender, but at the same time gives off a strange and uncomfortable atmosphere. While his face looks human, it also appears inhuman due to the fact that it looks "too perfect." While the feeling cannot be put into words and it isn't immediately apparent to the eye, his form evokes a similar feeling in the observer as a mannequin or puppets constructed by magi. His nature becomes less apparent the more one looks upon him, but his beauty as a being of perfect harmony is undeniable. He is a paradoxical being that possesses the impurity characteristic of mankind and the immaculacy inherent to nature. Defying classification as man or woman, human or beast, god or demon, his body is like the velvety boughs wrapping the statue of Venus.
Lancer seems to greatly appreciate nature, and he finds it as a relief that the world still beautiful as ever even after being covered by cities like Uruk. He is happy to sit while his Master is resting and simply allow himself to enjoy the magnificent natural landscape and the "song of the river." He enjoyed running in the wild during his days as a beast, with only the voice of Gilgamesh drawing him towards Uruk.
Even when dealing with the person who hurt his Master, he speaks serenely in a polite manner without any provocation. He follows his Master's wishes exactly without issue, leaving the magus to his own devices. At the final jeering from the magus calling his Master a mongrel, Lancer simply turns his head and looks at the magus with eyes saturated with “rejection.” He instantly dissolves the malice in his eyes upon the magus' departure, and focuses on his Master.
Much like Gilgamesh, he regards their friendship highly. He held that he was a weapon in life, and that his fate was to be supplanted by the next. Any worth or mystery was to be limited only to his age, but Gilgamesh changed those thoughts. Gilgamesh accepted a penalty of a fate of solitude thereafter, but granted Enkidu with a soul with his words. He believes that he sinned in knowing Gilgamesh, whose greatest sincerity was to remain aloof without acknowledging the strong or the weak, but he ended up leaving a lasting mar upon that integrity.
He is extremely surprised upon learning Gilgamesh has been summoned, and initially cannot even believe in such a turn of fate. After calmly opening his eyes, slowly standing up, and having a brief moment of silence, he has a feeling rampaging in his chest that goes through emotions of confusion, frustration, and finally overwhelming joy. He believes it is destiny that they will battle once again in the Holy Grail War, and he is confident that the tapestry woven between Enkidu and his King would not tear just because a fight or two. Even after a thousand melees together, their bond would remain just as strong as ever.
Lancer was designed by Ryohgo Narita and illustrated by Shidzuki Morii. His background and final moments differ somewhat in his three appearances. His background in Fate/strange fake and Fate/Extra CCC differ in the time of his creation and events leading to their initial battle, his final conversation in Fate/Zero differs from that of Fate/Extra CCC. The appearance in Fate/Zero was written to be vague and ambiguous as not to ruin the proceeding scene with Excalibur's activation. It was not possible to depict it as such in the anime adaptation, so the scene was not animated.
Lancer is summoned by a Wolf originally meant to act as a catalyst for another magus. Before the magus can slay the wolf to retrieve the Command Spells, the wolf's most basic instinct, the will to survive, causes it to let out a bellow that acts as both magecraft and a summoning ritual for Lancer. While the magus is confused and intimidated by Lancer's appearance, he cannot deny Lancer's presence as a Heroic Spirit. Lancer quickly tends to his Master, speaking to him in an “animal language” to complete their contract, and prepares to take him to heal his wounds.
The magus, outraged at the farce of a chimera becoming a Master, attempts to fire upon him in rage. Lancer tells him to lower his weapon because his Master wishes him no harm, and even though Lancer can tell what had happened from his Master's wounds, he wishes to make it clear that his Master holds no malice against the magus. The magus makes a final plea to work together towards the Holy Grail rather than with that "mongrel", which earns the magus a gaze saturated with a crushing sense of “rejection” that causes him to flee with a squeal.
Brought forth by the gods as a beast during Gilgamesh's rule, it was rumored that Enkidu was more powerful than Gilgamesh, the Hero who ruled the nation, when he unleashed his wrath. Gilgamesh dismissed it entirely because he considered “having a contest of strength with a beast” to be complete nonsense. He merely laughed at the rumor due to the absolute faith in his own might and because he was certain that there existed no one stronger. The fate of everyone was altered upon the encounter between the divine harlot and the beast, bringing him the form and wisdom of a human. He stood before the great King, and they quickly became inseparable friends after an epic melee that shook the Heavens and Earth. While the views of the Golden King and the mud puppet could not be more different, the duo went on innumerable adventures while sharing in each other’s joy and sorrow.
Upon applying minimal treatment to his Master's wounds at a small river ten kilometers away, he takes a survey of the area. He immediately shifts his sight to the northwest upon detecting a familiar presence, a Heroic Spirit in golden armor, exiting a cave that was covered by a magus’ Bounded Field. Much like they were brought together in the past, it seems that fate is about to be altered once again. Certain that the presence in the north was his King, he smiles, silently opens his arms as if to bear his heart to the world, and announces: “Let us continued the duel on that plaza once again… Let us relive that joy.” He begins to sing a song that shakes the earth, and acts as the signal that the War has begun.
Enkidu's past from his own perspective appears to Hakuno Kishinami in a dream if Gilgamesh is their Servant. As his records fade away, he speaks to Hakuno, noting that he is naught but a long-gone regret of the past. He tells them that it is their future and their story, the story of someone who is human unlike him. He asks them to ask Gilgamesh if he still loves humanity, still remembers the name of his friend, and if he has "finally cast aside the mistakes of a distant age and laid them to rest."
After Hakuno awakes, Gilgamesh also reveals that he had been dreaming of something nostalgic, the battle with the Bull of Heaven. Hakuno attributes it to Servants rarely sharing a mental link while sleeping. If asked if he remembers his friend, Gilgamesh claims that he hardly had friends, and that he would have forgotten the name of his friend if he had one. He disdainfully says "I can no longer speak the name.", but his voice contains no trace of anger. If asked if he loves humanity, he responds that it should be obvious from the way he treats Hakuno, and they take it as an affirmation.
Gilgamesh makes it clear that he was dreaming about the path traced by his own life, calling the events Hakuno glimpsed tainted by their own perspective and far from his truth. Although Hakuno is confused over the nature of the dream, knowing that it was not Gilgamesh's or their own perspective, they know the words spoken were the entirety of the truth, especially the King who uttered "Not for all eternity shall that worth ever change" to his friend. Hakuno apologizes to the one who the dream belonged to, noting that his wish for Gilgamesh to cast aside those memories will never be granted.
"Who would understand you after I die? Who else would march forward by your side? My friend… when I think that you will live on all alone henceforth, I can’t help but shed tears…"
—Enkidu final words to Gilgamesh
Gilgamesh recalls Enkidu's death upon witnessing Excalibur's light. He is described as foolish and ridiculous, having set his heart to stand next to the gods even with a body of mud and soil. Through his hubris and disrespectful arrogance that offended the gods, he suffered divine retribution and lost his life. Gilgamesh was unable to forget his death and the tears streaming down his face.
Lancer has appeared in a number of pieces of guest artwork in various TYPE-MOON material books. He was included in the April Fools' Day joke, Sensha Otoko, as Enkidu-chan, "Gil's" childhood friend and next door neighbor, and he managed to be the only strange fake character to earn a place on the top one hundred in the TYPE-MOON Fes. character poll.
Lancer's might is far beyond human comprehension, and Gilgamesh considers him to be his only equal in the world. He is a being made by the gods, an autonomous weapon similar in nature to an AI, given their blood much like Gilgamesh, and he was "Uruk's greatest weapon." He was made from clay by a god, so he lacks a gender or a fixed form. He can change shape at will, but he was complete from birth and neither grew or evolved unlike Gilgamesh. He generally uses his androgynous appearance despite being able to take forms as needed.
He can be a spear, axe, shield, or beast should he need, and it allowed him to last several days in battle against Gilgamesh and the Gate of Babylon. Though it required using ninety percent of his clay, leaving him at the point of being unable to even form clothing, he forced Gilgamesh to empty the vault. The battle left them in a state where it was considered to be a draw because defenselessly charging would have left two corpses.
Faldeus is surprised Enkidu can even be summoned, as he was more a Noble Phantasm of the Gods than a hero. Gilgamesh speculates that Enkidu could potentially be summoned as a Berserker-class Servant or in some other way that would make their coming duel less favorable, but he casts aside the thought. Faldeus comments that he would potentially reach the level of a god, regaining the power lost from gaining humanity.
He has a connection with nature, and he can speak in an animal language (獣の言葉, ?) that allows him to understand, communicate with, translate the "words" of his Master and other animals. Even though the wolf is not capable of "thought" in the sense of humans, Lancer is able to communicate that the wolf bears no malice towards his creator. It is noted that when he sings, the landscape resonates to his song, and the entire land of Snowfield sings with him. It is a tremendous roar with the power to shake both heaven and earth, too beautiful to be called such, instead sounding like a lullaby sung by the earth itself. It lays waste to the laws of physics, sounding like the cry of a newborn and showing his power at the same time.
Lancer's special ability is Presence Detection (気配感知, ?) of the highest rank, which allows him to easily detect the presence of another Servant very far north of his position and recognize it as Gilgamesh almost immediately. It can also be used to sense the "presence" of water over ten kilometers away even without any sounds or visible clues. He can feel the direction in which it can be found, and details as to how it "caresses the land."
- ↑ 1.0 1.1 1.2 1.3 1.4 Gilgamesh Secret Garden conversations: 1, 2, 3, and 4
- ↑ Fate/strange fake
- ↑ 3.0 3.1
 Fate/Extra CCC - Gilgamesh Matrix
Noble Phantasm: Enuma Elish (The Star of Creation That Split Heaven and Earth)
Keyword: King of Heroes, friend
Strength: B, Endurance: C, Agility: C, Magic: A, Luck: A
Divinity: A (B+), Golden Rule: A, Collector: EX
The demigod king who ruled over the Sumerian city-state of Uruk in the time before Christ. Not just a legend but also a real person, the king written of in mankind's oldest epic, "The Epic of Gilgamesh."
Possessing great divinity as two-thirds god and one-third human, without anyone to match him in this world, he was perfected as a transcendent being who attained everything in the world.
In his childhood, he was adored by the people as the ideal ruler, but as he grew, possible due to being treated as almighty, his consideration for the people waned, and he came to rule Uruk with absolute power.
However, simply being oppressive does not make one a tyrant, he made Uruk prosper properly, found a friend he could speak with, and in personally subjugating the phenomena that would harm the people, that heroic quality cannot be doubted.
He is the heroic figure who defeated the bull so large it was cloaked in the heavens and rendered the civilization of this fortified Sumerian city unshakeable.
The following is historical fact, which differs from "The Epic of Gilgamesh." According to a fragment of an inscription found in an archaeological excavation of the historical ruins of this Sumerian city, Uruk was a city-state that existed on the shore of Persian south of Mesopotamia, and he was the fifth king of that city's first dynasty. It obtained assets through ocean trade and subjugated the region of southern Mesopotamia. He was victorious in the fight against Aga, king of the Kish who controlled the north made strong the city-states of Sumer. However, as a result the reckless deforestation of the woods due to the building of ships, their agricultural land was destroyed.
For that reason, Gilgamesh, seeking the giant tree, the Lebanon Cedar, launched an expedition all the way to far-away Phoenicia (modern day Lebanon), fought against the people of woods, called Humbaba, gained victory against them, and brought that massive tree back with him.
According to "The Epic of Gilgamesh," it seems that Gilgamesh, after the loss of Enkidu, fell into depression, his previous vigor gone.
The fact that Enkidu, whose strength had not been inferior to Gilgamesh's own, could die, was the shock that Gilgamesh received.
Gilgamesh, who was tormented over anxiety of death, finally set off on a trip to the realm of the death in search of perpetual youth and eternal life.
It was said that there lived a sage who had lived since placing a large amount of animals upon an ark before the coming of a deluge that assailed the earth.
This sage was said to be the only one of the earth escape from death and live until the present. Seeking him, Gilgamesh set across wilderness alone.
At the end of that long journey and many hardships, Gilgamesh finally managed to reach the realm of the dead. There, he met the sage, Utnapishtim, spoke with him, and in the end, Gilgamesh attained the spirit herb of perpetual youth and eternal life.
Gilgamesh came to rise above the "death" that had taken even Enkidu.
His heart's desire fulfilled, during his triumphant return to Uruk, Gilgamesh stopped by a spring. He cleansed himself; it seems he wanted to test the fruits of his labor while in perfect condition.
However. While he was bathing, unexpectedly, a snake with an empty stomach sniffed out the smell of the spirit herb of perpetual youth and eternal life.
By the time he noticed, it was too late. Panicked, Gilgamesh emerged from the spring, all that remained there was the skin that snake had shed.
Having lost the spirit herb of perpetual youth and eternal life in this way, Gilgamesh was irritated for a long interval, but afterwards, he made his way back to his own castle, Uruk.
While the Gilgamesh after this was severe, he ruled his state quietly, entrusted to to the next king, and went to his eternal rest.
Without telling anyone of the whereabouts of the spirit herb of perpetual youth and eternal life.
Mankind's oldest king of heroes, Gilgamesh. Discord with the gods, the journey for the perpetual youth and eternal life, a deluge which covered the world. In that epic is the basis of every legend.
The truth of his epic poem, which has many uncertain points concerning fine details exists on the other side of the veil of romance placed upon it by the present day.
This is another digression, but the snake is reborn with a new body every time it sheds its skin because it stole and ate Gilgamesh's spirit herb... is what is said. It seems that the way the snake goes about its life appeared to the ancient people as a kind of perpetual youth and eternal life that was not available to humans.
Enuma Elish (The Star of Creation That Split Heaven and Earth)
Gilgamesh's final Noble Phantasm which reveals creation--the beginning of everything.
The severing of space which comes from the Sword of Rupture, Ea, the sword crowned with the name of a god from Mesopotamian mythology.
The god, Ea, is believed to be the quasi-deification of the power of the planet which turned, smashed, and stabilized the surface of the earth when it was still covered in gas and seas of magma, during the primordial stage of the earth.
Many gods began building nations after the the primordial earth was stabilized into a world where living creatures could live, but Ea is a god who performed the act of building of planet before that.
Gilgamesh's sword, which is crowned with Ea's name, changes space itself by agitating space-time through the rotation of three layers of giant power fields.
It's true power is not something to be used against a single living creature but against the world. Even among the many Noble Phantasms possessed by Servants, it is one considered to be at the top, the sword "which tore apart the world."
King of Heroes
Another name for Gilgamesh. It does not mean a king who is a hero but is used with the implication that he is the king over heroes.
The story of Gilgamesh, is who mankind's oldest hero, is copied within the mythologies of all the countries of the world. The origin of all myths, the model on which heroes are based...calling him such would not be an exaggeration.
More or less, the heroes of various myths are derived from Gilgamesh's legend. As such, Gilgamesh possesses the prototypes of the Noble Phantasms that heroes carry... the original treasures from before every legend was arranged. Though it may be a paradox, unless the original, Gilgamesh, possesses it, it cannot be handed down as the Noble Phantasm possessed by the later heroes who were derived from him.
When humanity was still small. Within the treasury of the king, who governed his kingdom and lived in as much luxury as he desired, was collected every single treasure in the world.
Inside that treasury, there is the treasured swords that saved later heroes, and there is preserved the cursed swords that stole the lives of heroes.
The reason that Gilgamesh is called the King of Heroes is here. Noble Phantasms are primarily one to a any single hero. Not only does he possess an approximately infinite amount of them, he also owns the "legends" that other heroes are wake against, as if it were natural. It should be impossible for an average hero to cross swords with him.
As a Heroic Spirit, he is an absolute warrior in battles against Heroic Spirits. While there are several heroes who hold the title of king, such as the King of Knights and the King of Conquerors, but in regards to being crowned with the title "King of All Heroes," in all of heaven and earth, he is the only one.
As he became a young man, Gilgamesh's violent disposition only grew. Of course the people of Uruk, but even the gods who dispatched him, were greatly perplexed by his violence.
"Gilgamesh is not fulfilling his original role." "That insolent creature needs someone to admonish him."
Having come to that conclusion, the gods sent a single life to the surface. Its name was Enkidu. It was a person made by a god and given her blood, the same as Gilgamesh.
It had neither a sex nor a fixed form. Enkidu, being made from clay by a god, was "Uruk's greatest weapon," able to change its shape at will. According to the god which was its mother's will, Enkidu confronted Gilgamesh before the temple of Uruk. With their exchanging of blows like a storm, their battle occurred within the city.
After that fierce fighting, they both collapsed to the ground without consideration for where, praised each other's valor, and became peerless friends.
Gilgamesh, who had been without equal, for the first time found someone he could call "a friend."
After that, while his vainglorious attitude did not change, Gilgamesh, remonstrated by Enkidu, softened his tyranny.
Gilgamesh, who had acquired someone who understood him in Enkidu, defeated the guardian of the forest and beast of the gods, Humbaba, and, as the most excellent king on the earth, took possession of every single treasure.
At this time, the dazzlingly powerful Gilgamesh was an existence that not even the gods could avert their eyes from.
A goddess fell in LOVE with this Gilgamesh. It was the goddess of fertility Ishtar. She proposed to Gilgamesh, but he quickly refused. Because he knew that how whimsical and cruel a witch who rendered men useless Ishtar was.
Ishtar, enraged by Gilgamesh's insults, as her revenge, clung to her father, the god Anu, in tears and released the greatest of divine beasts, "the Bull of Heaven," onto the earth.
"The Bull of Heaven" is a disaster of extreme magnitude clad in storms. When it appeared, a seven-year famine and destruction occurred on earth. In other words, the downfall of Uruk.
Against this divine beast which none could match, Gilgamesh and Enkidu worked together to stand against it and repelled it splendidly. Once again, the goddess lost face. Naturally, Isthar's rage had not lessened, and she requested death for either of the two of them from the gods. Because for one with a human body to kill the beast of the gods was a sin.
Ishtar's wish was granted, and one of the two, Enkidu, who was created by the gods, unable to defy that decree, slowly weakened and died.
...The sole person who understood the king, Enkidu. Just how large a shadow his loss cast over Gilgamesh is told in his lifetime afterward.
Enkidu is an autonomous weapon created from the clay of the gods. In SE.RA.PH. terms, he is close to an AI. As a result of being complete from birth, he neither grows nor evolves. He could take various forms as needed, but it is said his usual appearance was that of a 16-year-old person who could be seen as a girl or a boy with long hair which faintly shines a light-green color.
Divinity [B (A+)]
A judgement regarding whether or not one's body possess the property of being divine.
Though he possesses the greatest rank of divine spirit aptitude, Gilgamesh himself hates the gods, so the rank has gone down.
Golden Rule [A]
Not the bodily golden ratio, but one's destiny in regard to how much money follows one around in life.
At rank A, it's possible to call it a soul of gold. With this Goldy attitude, even while living like a multimillionaire, he won't have any money troubles during his life.
The ability to acquire items of higher quality. It's the good luck of frequently obtaining even rare items, but because it only applies to Gilgamesh himself, it does not bless the Master.
Gilgamesh is a collector of treasure. "I collected all the treasures of the earth," is Gilgamesh's favorite phrase, but that is not a metaphor. He collected and stored away a sample of all the technology that was developed during his age and sealed them.
That which Gilgamesh stored, rather than being treasure, is "the origin of the intelligence of mankind" itself. If it does not exist in Gilgamesh's treasury, then it is "something produced by a new breed of humanity, according a completely new concept," "something made from the technology of the culture born from the intelligent life from another heavenly body," one of the two.
For that reason, of course he has airplanes and submarines. The desires of the people from before Christ are not different, and it would not do for the crafts of ancient times when magic was in good health to be inferior to the crafts of the modern age. People generally realize the "tools of hope" that they dream of, and each time that occurs, it ended with them being confiscated by the king's hand.
The offensive skill Gilgamesh uses, "Gate of Babylon," shoots the treasure he collected like this like arrows. The gate to the golden capital opens, and his treasures are shot out from his treasure cellar.
This is a digression, but after the Noble Phantasms that are shot out are used, regardless of how far it has gone, it turns to Gilgamesh's treasure cellar. "Hah. I possess a Noble Phantasm which excels at the task of retrieval," says the person himself.
 Fate/Zero Blu-ray Disc Box II English Translation booklet: Introduction, p.003-004
To give a specific example, allow me to explain Berserker's flashback scenes, which were probably the most heavily revised from the original. In the original novel, it is a scene that jumps to an entirely different time period that is inserted right in the middle of the duel at the end. It is precisely because the depiction of the fight had been placed in the back of the reader's mind as a concept that it was possible to depict and link this to his past as a separate narrative thread.
With that said, in the visual medium, because the audience takes in the battle in the underground garbage by means of sight and sounds, the scene has a sense of place which helps to make it seem as if they themselves are there. If the point of view were to suddenly shift to another time, another story, the tension that suffused that showdown scene would suddenly evaporate. Although humans can develop differing concepts in parallel, they can only focus on and process one view point at a time. If the anime version has ignored this difference and stayed slavishly true to the original novel and revealed Berserker's past in exactly the same way, the viewers probably would have felt a visceral sense of incongruity and instantly been thrown out of the moment.
The same goes for the flashback scene where Gilgamesh reminisces about Enkidu. In the novel, I took care to write it with deliberately vague, ambiguous imagery to depict Gilgamesh's flashback so as not to ruin the afterimage of Excalibur's activation scene that immediately preceded it. However, this sort of allowance isn't possible in visual media. Every scene is depicted with the same resolution and the same sense of presence as time unfolds at the same pace. So with that in mind, they had no choice but to place both the catharsis of Excalibur and the information dealing with Enkidu on the table and decide between. Of course, it was obviously the former that was more vital to the overall story.