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The variety and more contemporary elements prevented Waki from growing bored with the Edo setting. [21] The approach to the animation, lacking an overarching plan, was described as a reflection of the lead characters' non-conformist personalities. [19] Nakazawa designed the men's kimono to resemble contemporary jackets, incorporating homages to sports designs such as Adidas and Puma. Many secondary characters were designed based on both the series' voice actors and staff members. [29] During the production of the second half of the series, it became increasingly difficult for Nakazawa to design all guest characters, resulting in Komori being brought in. Due to most of these characters being older men, when the early plan was for a young cast with several female characters, Komori felt disappointed by his workload. Maeda was brought on for weapon designs when the plan was to have strong antagonists with unique weapons for each episode, but the plan never came about, and when Maeda moved to working on Gankutsuou: The Count of Monte Cristo, the design work shifted to Okamoto. [5] The incorporation of graffiti was suggested by Sato to further enhance the hip hop aesthetic and tone. He also suggested the inclusion of references to Warhol and Jean-Michel Basquiat. [40] Music[edit] See also: Music of Samurai Champloo The music for Samurai Champloo was collaboratively composed by Shinji "Tsutchie" Tsuchida of Shakkazombie, Fat Jon, Nujabes and Force of Nature. All were artists from the hip hop music genre, with Tsutchie being a friend of Watanabe.