Editing Ultraman (1966 TV series) (section)

===Design===
The early Bemular version was originally conceived by Kinjo as an intergalactic reptilian creature that would enlarge itself to {{convert|164|feet|meters|sigfig=3}} and come to the SIA's aid. The early design was a cross between [[Garuda]], a mythological Hindu/Buddhist guardian bird, and [[Tengu]], a Japanese folkloric crow-goblin.{{sfn|Ragone|2007|p=114}} Eiji Tsuburaya found the early designs to be "too alien and sinister" and requested that production designer [[Tohl Narita]] continue drafting additional designs as teleplays were being written concurrently. Narita took inspiration from the Greek concept of cosmos (order and harmony), in contrast to Narita's monster designs for ''Ultra Q'', which were rooted in the Greek concept of Chaos. Narita also drew inspiration from classical Greek art, ancient Egypt, the European Renaissance, and Miyamoto Musashi. Tsuburaya and Kinjo also gave their own input on Narita's designs. To reflect Ultraman's cosmic origins, his silver skin symbolized steel from an interstellar rocket and the red lining represented the surface of Mars. Narita's assistant, Akira Sasaki, sculpted clays, but became concerned about the nose and mouth looking too human. They eventually decided on a brim-like nose that runs from the mouth to the top of the head like a dorsal fin, and applied flexibility on the mouth for speech. Early outlines had Ultraman capable of spitting fire and a liquid called "silver iodine", but these ideas were dropped. A three-minute warning light called the "Color Timer" was added at the last minute due to the filmmakers feeling that Ultraman was too invincible, and also believed that it would invoke suspense and cheers from viewers.{{sfn|Ragone|2007|p=117}}