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Nagatsuki had recently been playing Chaos;Child, which Umehara had written for, and he approved the choice, suggesting that they let Umehara write the "painful parts"; Umehara was invited to join the project around the time that the scripts for episodes 8 and 9 were being written. [12] Re:Zero was the first light novel adaptation that either of the screenwriters had worked on. [12] Original author Tappei Nagatsuki was very active in the production of the anime, attending script meetings and recording sessions. [7] When the staff would encounter a problem with a scene, he would occasionally write lines for them to use as reference while writing the script. [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.
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