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No. 82674
Actually I seem to have misunderstood the degree to which Urobuchi was involved on this.
>Work on the series was started around November of 2010, according to Hirasawa, one of the show's producers. The mechanical designer, Iwashiro, says that he began his design work about two months in, and that the mechanical designs were focused on bringing out aspects of the plot. The roundness of the Machine Caliber's design was meant to bring out a sense of gentleness and familiarity. The difference between the personalities of Chamber and Striker were to represent a sense of a child and a grown adult.
>After about a half year's worth of work, Kazuya Murata was brought in as the series director. Murata had always had the idea for making a story involving people living on ships atop a world of water about ten years before the series started. Some of the story had already been arranged, but he introduced the concept of people living on giant boats, and Urobuchi, who had been involved since the beginning, liked the idea a lot and quickly worked it into the story. According to Urobuchi, as they revised the plot further, Murata tended to have a very good sense of judgement as to what to put in and what not to put in, and was clear about what he was looking for, so the organization went a lot smoothly than he thought it might have. Urobuchi was put in charge of writing the first and last episodes once the green-light was given for a thirteen-episode series in order to set the theme for the other writers.
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