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[12] The series was not initially intended to have 25 episodes, but was extended to give more time to the battle with the White Whale (which was expanded from two to three episodes) and to the content of episode 18 (episodes 16 to 18 were originally supposed to be covered in two episodes). [12] Watanabe's main directive to the staff was to "capture the mood of the novel as much as possible";[9][12] the scriptwriters had discussions about how to compress the dense source material without losing the central elements of the story, and Nakamura recalls working with composition notes that "went on for pages. "[12] While planning and scripting the anime, choosing a proper conclusion was one of the most difficult parts for the staff, and a significant amount of time was devoted to choosing what to cover in the final episode,[7] which included material not yet covered in the light novel. [e][15][16] After joining the project, both Nakamura and Umehara had to adjust their views of the main character, and were forced to rewrite scenes where they had made Subaru appear "cool. " At Watanabe's direction, Nakamura was made to rewrite Subaru's telling of The Red Ogre Who Cried in episode 6 multiple times. [12] The staff also had difficulty deciding on a song to use for Subaru's ringtone that plays during the closing scene of episode 19, considering songs like "Kanpaku Sengen," "The Beard Song," and "M" by Princess Princess, before settling on "Yoake no Michi" from Dog of Flanders. [12] Soundtrack[edit] While choosing a composer to produce the series' music, director Watanabe wanted to choose someone who had "hit a nerve" with him. A fan of drama series, Watanabe was struck by a piece of music in the medical drama Death's Organ, and found that the series' composer, Kenichiro Suehiro, had also worked on a number of his favorite anime and drama series. [17] After Suehiro was attached to the production, Watanabe gave him three major guidelines: use human voices during the Return by Death sequences; compose the music like he would for a drama or a movie to capture the emotional scenes; and "pull all the stops" for the suspenseful scenes. [17] Additionally, for the first cour, Watanabe asked for music with a "suspenseful" vibe, while requesting music with a "romantic" feel for the second cour. [17] Both Watanabe and Suehiro are fans of Italian composer Ennio Morricone, and Suehiro tried to take inspiration from his works while composing the soundtrack. Retrieved January 15, 2024. ^ 『東京リベンジャーズ』3期・天竺編10月3日放送開始 新PV公開でイザナとマイキーの因縁. Oricon News (in Japanese). September 7, 2023. Archived from the original on September 9, 2023. Retrieved January 15, 2024. ^ 『東京リベンジャーズ』3期・天竺編10月3日放送開始 新PV公開でイザナとマイキーの因縁. Oricon News (in Japanese). September 7, 2023. Archived from the original on September 9, 2023. Retrieved January 15, 2024.[7][33] The immense popularity of Sailor Moon allowed the series to be adapted into anime, films, and to be exported internationally, significantly influencing the shōjo and yuri genres. [42] Uranus and Neptune became popular subjects of dōjinshi (self-published manga, analogous to fan comics) and contributed to the development of yuri dōjinshi culture. [43][44] The success of Sailor Moon significantly influenced the development of yuri, and by the mid-1990s, anime, and manga featuring intimate relationships between women enjoyed mainstream success and popularity. [33] Sailor Moon director Kunihiko Ikuhara went on to create Revolutionary Girl Utena (1997–1999), a shōjo anime series with female same-sex relationships as a central focus. [45] This period also saw a revival of the Class S genre through the best-selling light novel series Maria-sama ga Miteru (1998–2004) by Oyuki Konno [ja],[46][47] which by 2010 had 5. 4 million copies in print.