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[20][22][23] He hadn't read the original novel and only read the script for the film, which was said to be close to the original, and the script was never used in the actual film. [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.
A large number of audio CDs for the franchise have been released by Marvelous Entertainment. The three-volume soundtrack for the anime television series contains 129 instrumental and vocal songs. The Original Video Animation Hunter × Hunter Sound Trax for the first OVA series contains 18 songs and the Original Video Animation Hunter × Hunter: Greed Island Original Sound Tracks for the second OVA series contains 30 songs. [114] In addition, character-specific and story arc drama CDs and a 17-volume radio drama titled Hunter × Hunter R have been published throughout the anime adaptations' release period. [115][116][117] Musicals and theatrical play[edit] There have been two musicals based on Hunter × Hunter. The first, Musical Hunter × Hunter (ミュージカル ハンター×ハンター), was originally performed during December 2000. [118] It is an original story that appears to take place between the end of the Yorknew City story arc and the beginning of the Greed Island arc. The second, Musical Hunter × Hunter: The Nightmare of Zoldyck (ミュージカル ハンター×ハンター ナイトメア・オブ・ゾルディック), was originally performed during August 2002. [118] It is a retelling of when Kurapika, Leorio, and Gon go to fetch Killua back from his family estate after the end of the Hunter Exam arc. Both musicals have received separate DVD and audio CD releases, as well as a dual DVD release from Marvelous Entertainment. [114][119][120] There is also a live-action play titled Real Stage Hunter × Hunter: "A Longing for Phalcnothdk ~ A Spider's Memory ~" (リアルステージ ハンター×ハンター「A Longing for Phalcnothdk 〜蜘蛛の記憶〜」), which was performed 16 times at the Theater Sun-mall in Shinjuku, Tokyo during August 2004.
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