NewType 2011-07

for promise

The names of the characters Madoka, Homura, etc. and the key staff who worked on Madoka (Shinbo, Urobuchi, etc.).

Sayaka

Translated by symbv from evageeks forum.

SHE FOUGHT ALL BY HERSELF. And that was before I knew about mahou shoujo. One wish will be granted no matter what it is. When I heard that, well, right away I thought of the patient ward. The room with those 2 people, with curtains gently swaying under the orange color of sunset. Wise people may say that making a wish for somebody else is a foolish thing. But to her, probably there was no other option. It was not necessarily putting buttons in the wrong holes. It did not necessarily mean a flag for BAD END was stupidly set up. Before her friends she behaved in easygoing and cheerful manner; Before the person she has fallen in love she was timid and meek; When a love rival appeared, she got crushed by worries. Every single one is her true self. And more than everybody else, she deserves to be called “an ordinary girl”. “I do not regret praying for somebody else. And I decided to make a point of not regretting so as not to turn this feeling into a lie. This will stay the same from now on.” She raised the spirits who were shuddering, but the end that she reached is the burst up of the feeling of “an ordinary girl”. What was lost are the days she spent with friends and love, and her life. Although this looks close to the shape of lost hope, but this just means the hope that was embraced by Sayaka is just a little bit bigger than this world. And those who can laugh it off something baka (silly) are...that's right...only the mahou shoujo.

Gen Urobuchi Interview

Translated by symbv from evageeks.forum.

Q – Congratulation for the completion of Puella Magi Madoka Magika. This time we would like to look back to Madoka with focus on Producer Atsuhiro Iwakami, Director Akiyuki Shinbo and Shaft. Let's start with Producer Atsuhiro Iwakami. What do you think about working with Iwakami-san?

A – Iwakami-san is a person who gives you sense of comfort like an iron wall. There are many types of producers in this world. If I may use “Monster Hunter” as an example, there are producers who play flutes at the edge of the zone (lol), but Iwakami-san is the type of director who will take a big sword and stand at the forefront to help you fight the monsters.

Q – How about exchanging views regarding screenplay?

A – There was almost none. If I had to come up with something, it would be that I went to confirm with him whether he thought the composition should be “one narration to cover 12 episodes” story type or “one arc each episode” battle type. I myself thought that the story type was more interesting, and he was of the same opinion.

Q – Iwakami-san also came up with the theme of “mahou shoujo genre”.

A – Yes. At the beginning there were concepts like “mahou shoujo genre”, “young girls doing battles”, “had young girl taken out in each episode”.

Q – Next is about Director Akiyuki Shinbo. What do you think about working with Director Shinbo?

A – From my experience with Phantom and Blassreiter, I think the position of an anime screenplay writer is about interviews. I think the job of an anime screenplay writer is to listen to the director, set the objectives according to the wishes of the director, and then follow it straight through and use text to express it in the screenplay. But Director Shinbo did not say much.

Q – Really?

A – I found out his real intention later. Director Shinbo tried to extract as much as possible from what came out from the screenplay writer and made it into video. So in Madoka there was no order that could serve as my starting point. But anyway I had the three themes that Iwakami-san proposed to work on, and I put down what I could think of into text and wrote the first draft. Well, you could say there was some carefreeness of a certain type of teamwork. Afterwards I amended it into the second draft, the third draft according to points raised by Shinbo. And after that, I looked back at the first draft, I had this “What....!!” feeling.

Q – How did you come up with the mahou shoujo characters?

A – Ume Aoki sensei joined us as the original character design. It was our very first issue to find out how to incorporate Aoki sensei's world view and characters. To be honest, Madoka, the protagonist, is a pretty unusual character for my writing style. In short, I wrote the screenplay as if Yunocchi (from Hidamari Sketch) is to be put as the protagonist. I even had the preparation that seiyuu Asumi (Kana) san would play her. (lol)

Q – Wow....

A – Really, I stood firm on that approach. And every time I got Yunocchi to cry I got hated by the Hidamar-er (Hidamari fans) more (lol). But this was to incorporate a foreign idea, a foreign character that did not exist inside myself. I imagined all the other characters by starting from “Madoka = Yuno”. As from the very beginning I had the idea of “Let's make a story where Homura got saved by Madoka”, so I paired Homura up with Madoka and put them opposite to each other. If Madoka is an Aoki character, then Homura will be an Urobuchi character.

Q – I heard the composition of the first draft was already very close to what we have now. What were the reactions from Director Shinbo?

A – Well--I did not know at all. First not all the character designs were in, and there was no background art or witch design either. So I thought I would need to rewrite it when everything came to place.... In reality there was no such thing at all. Soon I was told that after-recording (seiyuu dubbing) would soon start..... I got anxious and then I asked “Is it really ok to keep that as Ultima Shoot?”

Q – That means the places that needed changes were raised by Urobuchi-san yourself.

A – I was told “If you can change it please change it.” So I rushed to the after-recording location and changed it there.

Q – What is your impression of working with Shaft?

A – I felt like watching “Iron Chef” show. Something like finishing the dishes in a dash with 15 minutes or 10 minutes left, and then, wow, you want to make one more dish?? I went to the after-recording, and since I left everything about video and animation to them it was full of surprises everyday when I saw the finished video there. In fact I did not even see the fine-tuned character chart. The first time when I saw it was from Newtype magazine (lol)

Q – And when the video was broadcast the reactions were phenomenal.

A – Well, since before the broadcast the reactions were already very big. At that time there were quite a few “mahou shoujo shows” around and I was worried that this might get overlooked. But many watched the first episode and this led to a sensatoin.

Q – For you is there anything that has changed from the time before Madoka to after Madoka?

A – The big thing must be that I could finish writing up all 12 episodes of one cour. And then this is the third anime for me and there are many things I would like to do. For example, I was full of admiration when I saw the work done by screenplay writer (Yosuke) Kuroda. I think I still need to work hard on this.

Shinbo Hiroyuki & Katou Emiri on QB

Translated by symbv from evageeks.forum.

Shinbo (S) – When we ran the audition for the Kyubey role, I thought it would be great if we could get someone with a cute voice. But when I heard the voice of Katou-san, I feel a sense of presence that I had not felt before, and the impression was also different from Mayoi Hachikuji in Bakemonogatari. So I asked Katou-san to take on the role of Kyubey.

Katou (K) – From the beginning I was hoping to have the chance to act a mascot character, so at the audition I pleaded “I want to be Kyubey”. At that time I was given the general summary of the story but there was absolutely nothing written about Kyubey. While I enjoyed taking on the role, I was also surprised by how hugely important role it was. It being a mascot character, but also a character who had major link to the main plot, to me it is one stone killing two birds (lol)

S – Before we started the after-recording of Madoka Magica, all of us when to jinja to pray for the anime becoming a hit. At that time, Katou-san came as a representative of the seiyuu.

K – It was my first time to join a prayer to wish for a hit anime. It was fun, hearing the jinja priest speaking the title like “Ma~~ho~~uShoujorandomanon”

S – It was tough trying to suppress bursting into laughter. He even said “A~~o~~ki~~no~~Ume~~” (lol) Perhaps it was thanks to the prayer that Kyubey got so popular.

K – Sure. I was happy that I went.

Editor – I heard it was Shinbo-san's idea that Kyubey did not speak with lip-synching?

K – Ah, really?! In the after-recording for Ep.1, I synchronized all the breath stops in the dialogue but when I saw the broadcast I was surprised to find there was no lip-synching.

S – I have always felt odd about having an anime character speaking Japanese in a lip-synching way.

K – It was speaking by telepathy.

S – After I did it I noticed that speaking without lip-synching looked weird. Although I gave the instruction to the staff that they should try their best to not make Kyubey look suspicious in the first half, at the end animation staff gradually animated it to look suspicious.

K – In the after-recording sessions, whenever there was a scene where Kyubey appeared everybody made a lot of noises shouting “Kyaaaa!”

S – When I saw that reaction, I started to think it was indeed better to animate Kyubey in a scary manner. I have been converted.

K – Ah, that's true. Indeed in the last half Kyubey looked like a scary character.

Editor – Katou-san also did ad-lib performance. “Kyuppi” for example.

K – In the screenplay, it was written as “Geppu”. At first I tried to act in a realistic manner, but Tsuruoka-san (Youta Tsuruoka, the sound editor) told me “please make the sound louder” and what I gave was that (lol)

S – “Kyuppui” also became a talking point.

K – When I saw “Kyuppui” on Twitter or blogs at first I did not know what it was about. I was not aware I said that. Later when I heard the dialogues and I said “It's true. I said that!”

Editor – In the second half Kyubey really came to its own.

K – As the story developed further, it became the target of blame by everyone (lol), though Kyubey itself never thinks it itself was bad. I also did not make any change and kept acting it in a cute way. But it was tough acting scenes with long dialogues. Like in Ep.11, I had to explain things flatly but still made Madoka cry. That was difficult. I was surprised to realize I was acting such an important role when I learned how much Kyubey was involved in human history.

S – In the last part of the final episdoe, after Madoka was gone, I thought about letting Kyubey have lip-synching as a change in the reconstituted world. But Miyamoto-san (Yukihiro Miyamoto, series director) objected (lol)

K – That's right. At the end even though the mahou shoujo system had changed, Kyubey itself did not change. It only joined hands with Homura because it was thinking about efficiency. Because of that I paid attention to not changing the way I acted.

Editor – Kyubey has become a popular character.

S – Very popular, unexpectedly. I did not expect it would get so much attention this way.

K – That is right. When I checked twitter and blogs I saw all kinds of reaction like “cute” “scary” “hate it”. No matter what they said I am happy. To me they all were words of praise.

S – In Akihabara, Kyubey is now seen everywhere, right? Phrases like “make contract with me” has also become very popular. Perhaps it is now the most famous pet character, isn't it? (lol) I also want to know more about the mystery of Kyubey. I want to see Kyubey's planet.

K – Probably it is filled with Kyubeys. I also want to see Kyubey in action around the world and in past ages.

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