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This was attributed to the working environment of Manglobe allowing for easy communication between staff members, and Watanabe's passion for the project prompting famous staff from other notable anime projects to come on board. The non-standard style of production left some members of staff including Sasaki skeptical that the series would be finished. For the sound mixing, Watanabe wanted the same approach and quality as Cowboy Bebop: The Movie, bringing in sound engineer Masashi Yabuhara who had worked with Yoko Kanno on the sound design of Cowboy Bebop. [8] The fight scenes were choreographed to appear more realistic than other period dramas, which featured a clashing of swords which in reality would chip them. [5] Unique eyecatch artwork was created for each episode based on its themes and content. Woodblock prints portraying the characters, designed by former shojo manga creator Tsubaki Anna, were shown at various points through the series. Nakazawa created the illustration use for sponsor announcements. [39] Scenario and art design[edit] Samurai Champloo was Obara's first time working on an anime series, and Watanabe attributed him with bringing a new style of narrative and pacing to the series. [5][8] Sato had worked with Watanabe before on Macross Plus. [8] He described the process of discussing plot concepts with Watanabe and building upon voiced ideas, treating his own contributions like sample discs that might be accepted or rejected. [40] The script meetings were unusually long, beginning with the synopsis and ending up with the final form, alongside off-topic conversation that was sometimes incorporated into that episode's plot.
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