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@Morgan695: Here's some more information for the production/reception sections. I won't be on Wikipedia much for the next few weeks, so I figured I'd post everything I collected on the talk page for you to check out. These are just the bullet points; I posted the full article/book excerpts with machine translations and citations in my sandbox. :) KuroMina (talk) 00:28, 27 March 2022 (UTC)[reply]
When Takemiya initially conceived the story of Kaze to Ki no Uta in 1970, she stayed up all night talking to Norie Masuyama about it on the phone. She wrote a detailed outline of the plot in December, and she drew the first 50 pages of the manga in a croquis sketchbook in January 1971. Takemiya showed the sketchbook draft to multiple editors, but their response was chilly. They rejected it and advised her to start the story with "something more appropriate" than the "bed scene." She refused, stating, "I want to put the page that best reflects the story at the beginning." (Sources: Kaleidoscope book, President Online; sandbox link)
Yuki to Hoshi to Tenshi to... is an early prototype of Kaze to Ki no Uta. Both stories feature a Roma boy named Serge Battour who falls in love with a pretty blond boy who dies at the end. Takemiya said she created the one-shot as a "compact" version of Kaze to Ki no Uta. There's also a funny story in the Gentosha Plus article about how she tricked her editor into publishing a male–male romance in the first place, lol. (Sources: Kaleidoscope book, Gentosha Plus, ZakZak; sandbox link)
In September 1973, Takemiya published a one-page statement in Shūkan Shōjo Comic, reiterating her desire to write Kaze to Ki no Uta. She noted that it had been three years since she came up with the story/characters, and it was still close to her heart. She told readers, "Please remember the name 'Gilbert.' I'm sure I will draw it!" (Source: Takemiya's old website; sandbox link)
In 1974, Takemiya published a 16-page preview of Kaze to Ki no Uta in Sora ga Suki! vol. 1. The preview, titled Rakuyō no Ki (落葉の記, "The Chronicle of Fallen Leaves"), was included at the end of the volume without an explanation. Takemiya said she wanted to "expose" a part of Kaze to Ki no Uta, and she was curious to see how readers would react to it. (Sources: 2016 autobiography, Kaleidoscope book; sandbox link)
Takemiya said that various 19th-century European artists influenced her artwork in Kaze to Ki no Uta. In a 2016 interview, she specifically mentioned Aubrey Beardsley's black ink drawings and the Barbizon school's landscapes. (Source: Kaleidoscope book; sandbox link)
Gilbert was initially unpopular with readers, which prompted Takemiya to depict his backstory/early childhood. He subsequently became more popular than Serge. (Source: Takemiya's old website; sandbox link)
Takemiya drew a 48-page sequel side story titled Kōfuku no Hato (幸福の鳩, "The Dove of Happiness") for her art book Umi no Tenshi (海の天使, "Angel of the Sea"), or Chérubin de la Mer, which Kadokawa Shoten published in November 1991. The story focuses on the complicated relationship between Jules and Rosemarine. They meet again by chance at Serge's piano concert in Paris, three years after the death of Gilbert. (Sources: Mangapedia, Jaqueline Berndt; sandbox link)
Manga artist Chiho Saito said she believes Kaze to Ki no Uta heavily influenced the anime Revolutionary Girl Utena. She listed their many similarities in a 2016 essay she wrote about Takemiya. (Source: Kaleidoscope book; sandbox link)
Japanese poet and playwright Shūji Terayama praised the series in 1977, comparing its emergence to "the great events that occurred in the Parisian literary world," etc. He stated: "From now on, comics will probably be called 'Kaze to Ki no Uta and thereafter' and will change." (Source: Mangapedia; sandbox link)
Japanese psychologist Hayao Kawai wrote about Kaze to Ki no Uta in a newspaper article. He stated: "Perhaps no other work has expressed the inner world of the adolescent girl to such an extent." (Source: President Online; sandbox link)
The originator of the yaoi ronsō debate of the 1990s said he was "saved" by manga like Kaze to Ki no Uta growing up. (Source: Nippon.com)
In 2019, Gilbert was portrayed by 17-year-old Aloha Sheard (アロハ・シェアード) in the live-action TV series adaptation of the manga What Did You Eat Yesterday? He appears in a character's fantasy/vision in ep. 3, adapted from vol. 5 of the manga. (Source: Cinema Today)
ANN's Mike Toole called the Sanctus OVA "vibrant and beautiful." (Source: Anime News Network)
I've integrated the basic outline you've posted here into the article, except for the What Did You Eat Yesterday? note, which feels a bit WP:TRIVIA to me. I'll take a look at your sandbox in the next few days to see if I can flesh out some of the sections even more. Thanks again for pulling this together; this really expands the Development section especially in a way that makes a much stronger case for taking to FA status. Morgan695 (talk) 05:23, 29 March 2022 (UTC)[reply]
@Morgan695: No problem. :) I hope the article makes it to FA status! And thank you for the co-nomination; that wasn't necessary, but it was kind of you. I bought Takemiya's 2021 autobiography the other day, so I'll let you know if I find any more interesting details/stories. Glad to see there was enough material for a Sunroom article, too; I'll be sure to take a look at it soon. KuroMina (talk) 16:01, 9 April 2022 (UTC)[reply]
BTW: I checked the OVA's end credits, and Triangle Staff appears at the very end under "production cooperation" (制作協力), along with three other companies. (Here's a transcription of the end credits via a fan wiki.) So they were involved but in a minimal role. A few other animation studios, such as Studio Max and Studio Musashi, are credited for the "in-between animation" (動画). There isn't anyone listed as the primary animation studio, as far as I can tell. The Anime Encyclopedia says the OVA was "[produced by] Studio Gallop, Konami Kogyo, [and] Herald." However, Studio Gallop doesn't appear in the end credits at all, and their website doesn't mention Kaze to Ki no Uta Sanctus. The 1987 June advertisement I cited in the "Adaptations" section says Konami was responsible for the "animation production/work" (アニメーション制作), using the same kana/kanji for animation studios. But I don't think Konami ever owned an animation studio. =/ Unfortunately, there doesn't seem to be a clear-cut answer about the OVA's production. KuroMina (talk) 16:04, 9 April 2022 (UTC)[reply]
