Document Archive Dump
Archival Dump, Need Help to Organize and Format
As stated, just going to do a dump of old translation text and hoping someone can organize it properly in our new document design format. --randomanon 04:06, 18 June 2011 (UTC)
Madoka Magica: December 2010 Megami Magazine Interview
Source: Megami, December 2010. [1].
Madoka Magica: Megami Magazine Interview November 7, 2010
Pre-broadcast interview with producer Iwakami Atsuhiro, famous for his involvement in Kara no Kyoukai, Bakemonogatari, Ore no Imouto ga Konna ni Kawaii Wake ga Nai, that served as a main producer for Puella Magi Madoka Magica.
“EVEN STAFFS THEMSELVES ARE SURPRISED"
How was Puella Magi Madoka Magica started?
The event that could be called as the beginning is probably when I was working with director Shinbo Akiyuki on Hidamari Sketch and Bakemonogatari; he told me that “magical girl series are fun, if there’s any chance, I want to do it once more”.
Personally, I believe magical girl genre is on the same class as robot genre as anime medium, so I want to see a magical girl series by director Shinbo that worked on the first season of Magical Girl Lyrical Nanoha once more. This time without adapting an existing work, but as an original series that could let him express his unique style even easier.
In fact, this is the first original anime series that will be made together by director Shinbo and Shaft. Even though director Shinbo alone released Le Portrait de Petite Cossette with us back in 2004, I think this may be some kind of fate.
Asking Aoki Ume-sensei to do the original character design and have Nitroplus' Urobuchi Gen-san do the script was what we originally planned from the beginning. Even imagine what would become if we let these staffs work on an original series make me unable to sit still, so I ask them to participate.
I believe everyone are surprised at these staffs, but what about Ume-sensei and Urobuchi-san reaction when they were asked to participate?
I think they're also surprised, especially Urobuchi-san who responded with “is it really fine to have me do it!?” (laughs). He is pretty excited for the project, so he decided to provide a script for all episodes by himself.
As for his script that was finished for each episode are far more attractive beyond my expectation, I thought “that was fun, why don’t a script for the next episode come faster” as I finished reading each, just feel like I'm a reader of magazine-serialized manga (laughs).
How was Ume-sensei’s character design being done?
Ume-sensei character designs are being done alongside with Urobuchi-san’s scripts. There will be a fine adjustment to character designs after she finished reading scripts for all episodes. Her designs are an important point for this series.
If we talk about Ume-sensei’s designs, what would come up first would be the cute, low height ratio characters used in Hidamari Sketch. For Puella Magi Madoka Magica, she will use her higher height ratio designs with more serious face often used in her Doujinshi. I think you will be able to taste a different taste than what normally found in her animated series.
“Can’t wait for the first episode even after finished reading all episode scripts” What the story will be about for this series?
I think for an original series without any original work as basis, not knowing what the story will be about until broadcasting start is its true charm. So for the story, please look forward to the actual broadcast.
Normally, it’s not hard to imagine how the episode will looks like after the storyboard is up. However at Shaft, they will add lot of finishing touches to the work, making impression for an episode different from what is on the storyboard.
That’s why even me that already finished reading all episode scripts can’t say what it will end up like. I can’t help but to look forward to the first episode. The fact that soundtracks will be done by Kajiura Yuki is also worth looking forward to, isn’t it?
Kajiura-san worked with director Shinbo on Le Portrait de Petite Cossette mentioned earlier, and is also Urobuchi-san earnest wish to have her participate after watching Kara no Kyoukai.
She provided splendid music from her understanding of Kara no Kyoukai world, so I think viewers can put an expectation for her work in this series as well. With the raising expectation, what is the main highlight of this work?
To see a reaction between talent and talent worked together… is already a hackneyed phrase, but I don’t think there’s any saying that fit Puella Magi Madoka Magica better than that.
I share the same feelings as readers of this interview, as in “what if we let these staffs work together in an original project, what will come out of it!?” After all, this project started from that innocent curiosity. So please look forward to it.
Starts January 2011. Definitely my most expected show since Bakemonogatari announcement back in 2008. I have high hopes for this, though Shaft will surely disappoints me once again.
Madoka Magica: February 2011 Megami Magazine Summary
Source: Megami, February 2011. [2]. Summary from Megami interview and staff comments
- It was Shinbo who put "Mahou Shoujo" into the title, he feel it would become something else that is not strictly magical girl without it. He want to put Madoka Magica into a "magical girl" category.
- Unlike any previous Gekidan Inukare participation on OP/ED or small clips, they're in charge of visual art designs this time. Their position is to connect director Shinbo's style, Ume-sensei's characters and Urobuchi-san's scripts together.
- The series is 12-episodes, if possible, director Shinbo want you to watch it again one more time after the series has ended, it would become clear why characters act in the way they did.
- Importance is put on to respect Urobuchi-san's scripts as much as possible, there's no major change to his script except for a little time adjustment. At the point of interview, all editing until episodes 3 are done.
- Shaft recruits and set up a new CG production management position for Madoka, main highlight of CG works in this series is Gekidan Inukare's scenes in the show.
- Kashiwada Shinichiro (Shigofumi, Index 1, Railgun) is in charge of production supporting from Aniplex's side; animation producer from Shaft's side is Iwaki Tadao (line producer of Arakawa Under The Bridge 2).
- Yuuki Aoi "Madoka is fluffy cute! She is like a strawberry daifuku!"
Summary of interview with Kalafina (Wakana, Keiko, Hikaru)
- Magia meaning is "magic" but also has "power of believing in someone" as its main theme. Magic that is power to create a miracle. A strength that come from "wish."
- Keiko says she repeat the bridge part as practice until she become used to its unique rhythm. Wakana says since the lyric is powerful, the expression of "weakness and gentleness within the strength" is hard to sing.
- "What pop up in your mind when talking about magical girls?" Wakana "Kiki's Delivery Service and Akazukin Chacha" Keiko "Himitsu no Akko-chan" Hikaru "Card Capture Sakura"
Summary of interview ClariS (Kurara, Alice)
- Connect's main theme is "adventure, comrade, bond and dreams."
- The song is "cool" in an opposite direction from their debut song, Irony.
- "What pop up in your mind when talking about magical girls?" Kurara "Hoshikuzu Witch Meruru" Alice "Not magical girls, but Disney shows like Cinderella, Enchanted and Little Mermaid. I adore princess when I was a child."