Production
Sunao Katabuchi, the series director, was a fan of the original manga prior to the adaptation, citing its energy and dynamism as key attractions. Noting a shared appreciation for American novels with author Rei Hiroe, Katabuchi found common creative ground. Having previously directed the family-oriented film Princess Arete, Katabuchi stated that working on the mature-audience Black Lagoon was not fundamentally different, as he aimed to create material that resonates individually with each viewer. He and Hiroe bonded over a mutual interest in Stephen King and American gothic horror and action novels, which solidified their collaborative rapport.
Hiroe had minimal involvement in the anime's production to avoid impacting his manga schedule, entrusting Katabuchi and the staff with the adaptation.[3] He prioritized preserving the series' spirit without constraining the director's vision. The adaptation retained the manga's violent content without dilution. Animation producer Ryoichiro Matsuo was instructed to emphasize gruesome depictions, with Katabuchi aiming for a visceral, "bloody" atmosphere.[4] To ensure consistency in visual storytelling, Katabuchi held meetings to align the staff's vision for each episode.
Katabuchi introduced several original elements to the adaptation. These included expanded backstory for the salvaged U-boat crew and a car chase sequence during Roberta's pursuit of the Lagoon Company.[4] A fight between Dutch and Roberta was added at Katabuchi's request. In the Hansel and Gretel arc, a scene was inserted where Rock embraces Gretel to symbolize his compassion for both twins, who cross-dress due to their multiple personalities.[4] This storyline was Katabuchi's favorite, though concerns were raised regarding its perceived cruelty for television audiences.
Hiroe acknowledged the adaptation's narrative deviations but praised Katabuchi's skill in making the story concise and understandable.[5][6] He noted that the anime conveyed certain story points more effectively than the manga, particularly through dialogue and vocal performance, which added emotional depth he had not initially envisioned.[7] One of Katabuchi's favorite scenes was Roberta's combat sequence with an umbrella, which the staff dubbed "The Evil Mary Poppins"—syncing with Hiroe's original concept of a "Death Poppins" character.
The animation team researched firearms by handling real guns (without firing) to understand their weight and feel, as actual shooting was not possible.[4][8] The U-boat depiction was designed to be highly realistic, exceeding the accuracy typically found in war films.[8] The series' late 1990s setting was chosen to reflect the global instability following the Dissolution of the Soviet Union, providing a backdrop for the Russian mafia and other criminal elements.[8]
Following The Second Barrage, Katabuchi expressed interest in producing more episodes but cited the extensive research and development time required, which mirrored Hiroe's meticulous process. Limited resources prevented immediate continuation.[8] Katabuchi planned to subsequently work on a children's project before eventually returning to a series like Black Lagoon.[8]
