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 Pre-Broadcast Advertisement
Madoka advertisement before broadcast, around November 2010.
Character advertisements before broadcast, around November 2010.
"A gentle 2nd year middle school girl who think of friends before herself."
"If anything could be granted with a magic…"
"What would you do?"
Starts January, 2011.
""A beautiful-looking transferred student with excellent grades, great at sports."
"Just be Kaname Madoka like you've always been."
"Even from now on."
"A 3rd year girl who attends Madoka's school"
"As a dependable older sister."
"It's OK now."
Kirara Forward Pre-Broadcast Advertisement
Character and Seiyuu names. Madoka "If anything could be granted with a magic…" "What would you do?"
Homura "Just be Kaname Madoka like you've always been." "Even from now on."
Mami "I am Tomoe Mami, third year from the same Takihara Third Junior High as you two…" "…and also a magical girl under contract with Kyubey."
Madoka Magica: Official Site Staff Comments
Source: Madoka's official site, pre-broadcast. Translation: [1]
October 29, 2010
Pre-broadcast from major production staffs, including director Shinbo Akiyuki, series composition Urobuchi Gen of Nitroplus, character draft Aoki Ume and Shaft’s representative director Kubota Mitsutoshi.
Director: Shinbo Akiyuki
It has been a while since I worked on an original series. It really makes me think possibility is unknown as the work progress; maybe with this, we will be able to make a new “Magical Girl” that never existed before. Challenge it together with all involved staff, I look forward to what will come out of it.
Series Composition: Urobuchi Gen (Nitroplus)
I have been entrusted with a big duty that is series composition and script for all episodes, even if having director Shinbo Akiyuki and Aoki Ume-sensei as teammates put a lot of pressure on me, I will do my best to deliver a heart-warming happy story to viewers!
Character Draft: Aoki Ume
I have been excited reading Urobuchi-san’s script and Shaft’s amazing image board, is it really okay to have my ingredient added into this…? It has been fun and grateful. This dish is gonna have unique taste…! Please look forward to it. ♪
Shaft’s Representative Director: Kubota Mitsutoshi
New series for Shaft’s 2011 is an original work with “Magical Girl” as its main theme. Both screenplay and character design are wonderful, from now we will have to put staffs effort into finishing up Madoka. Please look forward to meet the new “Magical Girl”!
First original series from Shinbo and Shaft production. First Shinbo’s original in 6 years since Magical Girl Lyrical Nanoha and Le Portrait de Petite Cossette. Coincidentally, also Shaft’s first original work in 6 years since This Ugly Yet Beautiful World.
Madoka Magica: December 2010 Megami Magazine Interview
Source: Megami, December 2010. [2].
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: December 2010 NewType Magazine Interview
November 14, 2010. Translation: [3]
Pre-broadcast interview with director Shinbo Akiyuki and series composition Urobuchi Gen about tendency of script and visual direction in Puella Magi Madoka Magica.
Director Shinbo Akiyuki’s first original series in a while from a dream team hit creator. Combination of Shinbo Akiyuki and Aoki Ume would remind us of the soothing comedy series Hidamari Sketch, but what would happen if we add Nitroplus' famous action writer Urobuchi Gen into the equation!?
The main theme is “action magical girl.” As usual, we went to interview Shinbo Akiyuki and Gen Urobuchi during production. All preconception will now be tear apart!
“Good or bad is another matter, but it is very fun" —Director Shinbo Akiyuki
NewType: What prompted this Puella Magi Madoka Magica project?
Shinbo Akiyuki: It was Aniplex’s producer Iwakami Atsuhiro who proposed the project. He then lent me Fate/Zero that Urobuchi-san wrote and asked “what do you think about having Urobochi-san’s script on Aoki-san’s character designs?” I then saw the light.
Urobuchi Gen: Since the project is full of talents, I surely can’t hold back on its potential. Although this is my first time writing script for an entire anime series, my plot proposal during the first meeting got accepted, and the script went on smoothly without much change to it from the first draft. It went on without a hitch to the degree I feel uneasy and began to question is it really okay.
NewType: Since its theme is action magical girl, what kind of “magical girl” will be introduced in Madoka Magica?
Urobuchi Gen: Main characters are cute, so I tried my best to make them looks cute. (Laughs) Magical girl that I grew up with are those kind that transformed into an adult or a bus tour guide, however those kind that able to solve everything by wielding a magic stick around no longer feasible nowadays. So there exist an action magical girl genre, with Magical Girl Lyrical Nanoha and Precure series as its epitome, it is not hard to do since the genre is already established.
“It is a work that can’t be back-calculated from the result."—Urobuchi Gen
NewType: I'm curious about visual direction, fans have high expectation for it since this is Shaft’s original work…
Shinbo Akiyuki: We still don’t know. (Laughs) For example there is a scene in a room surrounding with mirrors, we can’t say anything about reflections without actually drawing and composing it. Characters are living in a world like that. It might be a story of a near future, or a distant future.
Urobuchi Gen: Hearing “not knowing how the visual will be like” make me pretty excited. Director Shinbo never care about the lenght of script, or how many scene there will be. My impression of anime is that they always created from a complete visual, scripts and each components are back-calculate into it. But Shaft can’t back-calculate: they flesh out as needed. Just like a stage play.
Shinbo Akiyuki: It is only possible when the script is solid and skilled staffs are assembled. Trusting in staffs, we are going to challenge this.
On the script, Urobuchi Gen was probably referring to the fact that his plot was swiftly rejected by director Itano Ichiro during early planning of Blassreiter. Or that’s the story I heard.
Madoka Magica: January 2011 Interview with Ume Aoki
Source: Megami, January 2011. Translation: [4].
December 4, 2010
Pre-broadcast interview with original character designer Aoki Ume from Megami Magazine Vol.128 regarding character designs in Puella Magi Madoka Magica with a bit of interesting aspect of herself.
Puella Magi Madoka Magica, a currently hyped original series from gathering of creative creators; since all main heroines are now present, we've asked Aoki Ume, the character designer and mangaka, to talk about character designs.
Aoki Ume Exclusive Interview!
How did you become in charge of character designs?
Producer Iwakami Atsuhiro was looking for a candidate that could be interesting when work together with the scriptwriter Urobuchi Gen-san. So he approached me.
What’s your impression of Urobuchi-san’s scripts?
Since I wasn’t given all scripts at once, for each one that was sent over always thrilled me into wondering how will the story continue. Part that influenced me the most is a daily life portion of the story. Things like conversation on the way to school or chat inside a classroom. I keep them in mind when designing characters.
Did director Shinbo have any special demand regarding character designs?
It’s been a long time, I can’t remember…. (Sweat) Concretely, there’s not much of it. I was free to design in a way I want.
How did you design the magical girl’s costumes?
Since magical girl costume is also a combat costume, I don’t see the need for them to be in uniform. This also include colors, where I asked Urobuchi-san color image for each character and design them accordingly.
By the way, do you have any nostalgia of magical girl series?
In those days, my brother is the one who take control of a TV remote. Thanks to him watching only boy’s shows, I ended up not having any nostalgia of magical girl series…. Strictly speaking, there was a coloring book I got when I was kid. There is a magical girl illustration inside, which I like it very much. I can’t remember who she was, though…. (Laughs)
The last question: please tell us about main features in this show.
It is an anime that middle school girls are trying their best in their own way. Please hearty watch over these young girl’s feelings and look forward to each week’s broadcast.
Madoka Magica: January 2011 Ume Aoki Character Designs
Source: Megami, January 2011. Translation: [5].
“What… What if? If you were told that magic would make any of your wishes come true, what would you do?” - Madoka Kaname
An average eighth-grader, the kind you could find anywhere. Even her bow-wielding magical girl form projects an air of kind friendliness. Her choker bears an impressively-sized red gem.
- Ms. Aoki’s Design Check!: I drew her keeping in mind that as the main character she needs to be average, but also an exceptionally good girl. Hence her puffy, high-placed twin tails. The design and color of her ribbons took a lot of work, but in the end calmed down to something simple.
- Magical girl outfit: Madoka was drawn to be the very image of a magical girl. I added an almost fairytale-ish hints, so hopefully female viewers will be charmed by her as well. (Aoki) Full of tiny frills, with ribbons arranged at the neck, waist, and on the shoes. It’s perfectly “cute”, and seemingly unsuited for combat, but…
- School uniform: Designed to convey the classy image of a private girls’ school, while not being -too- normal. Its distinguishing point is the small hole at the nape of the neck. (Aoki)
- Of the heroines shown here, Madoka has the most childish body. Her legs are clad in pure, virginal white over-knee socks.
“You should just stay Madoka Kaname. Just like you have been until now. Forever.” - Homura Akemi
A smart, graceful, athletically-talented girl. Cool if not chilly, her personality even can even be seen in her posture. Her weapon appears to be a bow, the same as Madoka?
- Ms. Aoki’s Design Check: A blunt girl. I tried to let this shine through in her design. Her distinguishing point is her silky long hair.
- Magical girl outfit: Homura was designed with her personality and combat style in mind. I found her fascinating right away. (Aoki)
- The sharp lines of her upper back and jacket evoke her personality. Overall rather monochromatic. Her black tights have a diamond pattern.
- School uniform: She wears black tights in uniform too, leaving her overall feel just like in her magical girl outfit. She gives off the air of a silent beauty.
“I don’t wanna look bad in front of people who’re gonna be my juniors!” - Mami Tomoe
A ninth-grader who attends Madoka’s school. A kind senior to Madoka, she’s the helpful, sisterly type. However, the gun she wields contrasts with that image.
- Ms. Aoki’s Design Check: Her twisty, curly hair and floral hairpin make her seem like a big sister. Also, I gave her pretty big boobs. {tl note: Never change, Ume-tentei.}
- Magical girl outfit: Mami’s design was definiely centered around her image as a gunner. The second thing that stands out are her breasts. (Aoki)
- Her bustier and boots give her a Western flavor which her cap accentuates.
- School uniform: Her style stands out even in uniform. Just as Ms. Aoki says, her breasts are the largest of the four. She wears pure white tights.
“Hey, Mami… Am I allowed to wish for something for someone else instead?” - Sayaka Miki
Madoka’s classmate and good friend. Energetic and lively, which is perhaps why her sword is the only melee weapon among the four.
- Ms. Aoki’s Design Check!: Her personality is so boyish that I had to be careful not to make her look too boyish too. So I gave her hair a diagonal line in back, to straddle the line between short and medium length.
- Magical girl outfit: Sayaka’s outfit is the closest to combat gear. Since her sword is a melee weapon, I paid attention to that while designing her clothes. (Aoki)
- Her outfit features diagonal-cut skirt and shoulderless top for ease of movement. Add a cape, and she’s a picturesque swordswoman.
- School uniform: Her figure is flat and plain, but her chest is bigger than Madoka’s. Her hairbow is a stitched design. Below, she wears simple navy-blue high socks.
Madoka Magica: February 2011 Megami Magazine Summary
Source: Megami, February 2011. [6]. 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."
An Alternative Summary Translation - source: [7]
Summary of director Shinbo Akiyuki and other 39 staffs comments interview from pre-broadcast coverage in Megami Magazine Vol.129.
- It was director Shinbo who is particular about magical girl in the title. He feels the show would lose a generic-feeling and would become anything else altogether without it. He wants the show to be in magical girl category.
- Unlike any previous Gekidan Inukare involvement in Shaft anime as public performance or opening performance, this time they're in charge of visual art designs. Their position is a joint that joins Urobuchi Gen’s script, Aoki Ume’s designs and Shinbo Akiyuki’s direction together.
- Importance are put on to respect Urobuchi Gen’s scenario as much as possible; there’s no major change to the script except from a minor span adjustment. All editings until episodes 3 are done at the point of interview.
- Yuuki Aoi “Madoka is fluffy cute! She is like a strawberry daifuku!”