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[22][24] There is no play-within-a-play in the original story, nor is there a motif of blurring the boundary between dream and reality. [24] The first plot was a simple splatter/psycho-horror story about an idol girl that is attacked by a perverted fan who cannot tolerate her image change, and there were also many depictions of bleeding, so it was not suitable for Kon who does not like horror or idols. [18][19][24] Kon said that if he were free to make a plan, he would never have thought of such a setting. [24] This genre was overused, having already been dealt with in various works such as Se7en, Basic Instinct and The Silence of the Lambs and was also something that anime was not good at. [16][18][22] Since most of the works in that genre pursue how perverted or crazy the perpetrators, the murderers, are, Kon focused on "how the inner world of the protagonist, the victim, is broken by being targeted by the stalker" in order to outsmart the audience. [22] On the other hand, the play within a play, Double Bind, is more like a parody than a straight psycho-horror, and he made it with the intention of criticizing Japanese TV dramas that are easily made by imitating Hollywood fads immediately. [22] Kon decided to take on the role of director because he couldn't resist the allure of directing for the first time, and because the original author allowed him to change the story as he liked as long as he kept three things in mind to make the film work: the main
character is a B-grade idol, she has a rabid fan (stalker), and it is a horror film. [18][19][24] So he took some elements from the original work, such as the uniquely Japanese existence of idols, the "otaku" fans that surround them, and the stalkers that have become more radical, and came up with as many ideas as possible with the scriptwriter, Sadayuki Murai, with the intention of using them to create a completely new story. [16][18][19] And the film needed a core motif, which had to be found not by the screenwriter or anyone else, but by the director, Kon himself. [16][18][19] So he came up with the motif of two things that should have a "borderline," such as "dream and reality," "memory and fact," and "oneself and others," becoming borderless and blending together, based on the short film Magnetic Rose (from Memories), for which he had written a script, and the suspended manga Opus. [22][23] The concept of "memory and fact" in the plot was inspired by the album Sim City by
Susumu Hirasawa.
[5] In June 2021, Yen Press announced that it licensed the novels for English publication. [6] No. Original release date Original ISBN English release date English ISBN 1 January 15, 2019[4]978-4-04-073019-6January 18, 2022[7]978-1-9753-3500-7 2 July 13, 2019[8]978-4-04-073253-4July 12, 2022[9]978-1-9753-3502-1 3 February 15, 2020[10]978-4-04-073473-6November 22, 2022[11]978-1-9753-3504-5 4 September 15, 2020[12]978-4-04-073725-6June 20, 2023[13]978-1-9753-3506-9 5 July 15, 2021[14]978-4-04-073948-9October 17, 2023[15]978-1-9753-6735-0 6 July 15, 2022[16]978-4-04-074601-2February 20, 2024[17]978-1-9753-7529-4 7 July 14, 2023[5]978-4-04-075039-2August 20, 2024[18]978-1-9753-9156-0 8 March 15, 2024[19][20]978-4-04-075110-8
978-4-04-075111-5 (SE)—— Manga[edit] A manga adaptation illustrated by Rito Kohsaka [ja] began serialization online via Square Enix's Gangan Online service on December 20, 2018. [3] As of November 2022, four tankōbon volumes have been released. [21] In July 2021, Square Enix Manga & Books licensed the manga for an English print and digital release. [22] No.
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