Talk:Magazines

Previous discussions are archived at:

• Talk:Translated Official Documents/Archive 1 (before June 12th, part 1)
• Talk:Translated Official Documents/Archive 2 (before June 12th, part 2)
• Talk:Translated Official Documents/Archive 3 (before June 12th, part 3)

Note: Effort is being made to identify, translate and sort what is on this page. Anybody who would like to add their input can do so on Translated Official Documents/Redesign (see Template:Document for editing subtilities). There is quite a lot of work ahead of us, so every contribution, as little as it may be, is greatly welcome. Thank you! --Homerun-chan 19:31, 11 June 2011 (UTC)

Note: Do not forget that there is a special category for translation requests. You can add files that need a translation by adding [[Category:Translation request]] to the description field. It is then not necessary to add them on this page then.

Scan organization

The easiest way to judge which magazine the scan is originated from is to see when it was first posted.

6th~13th (release date is 10th every month), mostly NewType, Animedia or Animage.

22th~30th (release date is 25th every month), either Megami Magazine or NyanType.

Would be appreciated if someone could organize the gallery by date it was first posted. --0x99 20:45, 9 March 2011 (UTC)

Gallery

June 2011

• 

  Source: July 2011 issue of Megami. Translated by symbv from evageeks forum. Q - So what is the magic power of Kyouko? A - Regarding Kyouko, it is really very special. Because she got her wish of "getting people to listen" while in fact it was something like charming or hallucination, she got the magic power related to those things. However, because she lost her family, she totally negated those power with her subconscious mind. As a result, she fought only with the magic power she learnt later. This is the "hidden setting" (ura-settei) for her, although we never got to tell it in the anime. Alternative translation from /a/ - Kyouko's magic is actually rather unique. Due to her wish for "People to listen" her true magic is about　shining light on things and illusions and such. That's the kind of magic she had. However, after losing her family she began to subconsciously reject that magic, and thus by the time of the events in the anime she had already lost those powers. That's why she only fought with the magic she learned after that. We had that all set up behind the scenes, but were never able to work it into the story to explain it explicitly.

• 

  Source: July 2011 issue of Megami. Translated by symbv from evageeks forum. Q - This is also something that has got divided interpretations. It seems that when Kamijou went back to school, he neglected Sayka. What happened there? A - To make it really clear, Kamijou-kun did not see Sayaka as a potential love object. He saw her as just a close friiend. Of course he was thankful to her when she came before everybody else to congratulate him. But he did not hold any kind of thought like seeing her as a potential love object or carrying any romantic love feeling. And the fact that he did not notify her about his discharge from hospital was just because he was in such a hurry. And he did not say anything to her at school was also because he was so occupied as there were so many girls who greeted him before then. Something like..... it would be great if I could call out at Sayaka, but I just was not able to...like that. Alternative translation from /a/ -I believe the explanation behind this one is already generally understood, but when Kamijo returned to school it looked as if he'd started ignoring her. Why was that? To put it bluntly, Kamijo simply didn't recognize Sayaka as a member of the opposite sex. Just a close friend. Of course he's grateful to her for celebrating his recovery before everyone else, but it didn't make him fall in love with her, or allowed him to see her as a woman or anything. When he was discharged from the hospital too, he didn't let her know only because things were happening to quickly, and when her returned to school, he had his hands full with other girls welcoming him back so he never greeted her. It would have been nice if Sayaka had made an effort to reach out to him then, but she was already at the point where she couldn't do that... and that's how it is.

• 

  Source: July 2011 issue of Megami. Translated by symbv from evageeks forum. (Top excerpt) Q - Kyouko was always eating some snack. I really wanted to know how she got those food. A - Probably by stealing or something like that. For example, possibly she used magic power and stole it from a store nearby, or broke open an ATM and got the money (laugh). Absolutely brute force. Although she would not go so far as harming other people, I could imagine there were many cases of bugglary in the town of Mitakebaramachi. Although she looked like a villain, she became a bad girl only in order to vent out her desperation, and by doing so she managed to carry on living. Alternative translation from /a/ "Kyouko is always eating some kind of snack, but I wonder, how does she manage to get so much food? It's probably all stolen. If I had to say she probably used her magic to steal from the local stores and break ATMs to get the money inside them (lol). It's actually pretty hard work, it definitely is. I doubt that she went as far as to hurt anyone in the process, but I think there must have been quite a lot of cat burglary stories going around. That kind of mischievous activity seems fitting for her. But, it's thanks to her becoming so mischievous* that she was able to shake off her despair and it's thanks to that that she was able to survive the hard times she went through." *lit. "Bad Girl"

• 

  Source: July 2011 issue of Megami. There's a few place in the script that I'd like to touch on, first about Mami and Kyoko. How is their "wish" connected to their powers when they became magical girls? In Mami's case, her wish of "to connect lives" gave her the power to "tie" and "combine" things together. That's why her power comes from the ribbon. By using the ribbon as a weapon, she can use that to produce guns that are useful in a battle. In ep3, Homura is stopped in her tracks by being tied up. That is her true magical power. She has the most experience so has a lot of different magical powers beyond those of her original powers.

• 

  Source: July 2011 issue of Megami. In ep3, where Mami fails in her battle with the witch, it had a big impact in how it was presented but, how was that written in the script? Mami's magic was to tie things, so to go against that, the witch was made to shed it skin. Even if bound by a rope, another would come out from the open ends. The witch was made to be unbeatable by just tying it up. That was the fault that killed Mami. Well, it was a shocking scene. In the script it just said, "The head is missing but in a way that can't be seen" and it was done in a way that I wanted it. It was a bit odd that the witch was so cute. The details were handled by Inukare-san, but that opened this production, and I believe it made it a much deeper story.

• 

  Source: July 2011 issue of Megami. In episode 9, we saw Kyouko desperately try to save Sayaka, but why did she go so far for her? It was probably because she saw Sayaka as "What I could've become". There's also the part of her that resented the fact that she didn't stay true to her beliefs. If Kyouko had followed what she believed in the same way Sayaka did she might have fallen into the same trap. That's why, Kyouko probably thought that by saving Sayaka from that trap that she'd be able to save herself as well. She became much more serious than she usually was, and did things she normally never would have done. As a result, ended up destroying herself. Looking at it that way, I think it's likely that even though she put up that bad girl act that Kyouko didn't really have much self-confidence. I'm quite confident in saying that is the best way to look at it.

• 

  Source: July 2011 issue of Megami. Translated by symbv from evageeks forum. Q – It was very shocking to see Mami fall into panicking when she learned the true nature of QB in Ep.10 that we just discussed. A – If you consider various aspects of Mami like her fastidiousness, or the fragility unique to her, I think her reaction was actually natural. But since Mami got very popular when the anime was broadcast, I got worried about how that scene would be received. While she was in an onee-san (elder sister) role up till ep.3, deep down she was a girl that had fragility inside. At the end she was the one who was least able to bear the truth and the moment she learned of it she could only break down. That dependable onee-san image was really her pushing herself, in her own way, and glossing things over.

• 

  Source: July 2011 issue of Megami. In the last episode we saw the "Walpurgis Night", but what kind of witch is it specifically? It has the destructive power to bring about natural disasters powerful enough to blow away an entire town, but originally it was a single witch. It's a witch that has grown from the combination of countless other witches. Walpurgis Night combines with other witches in the same way two powerful tornadoes are able to combine and become larger. It's essentially a "conglomeration"-type witch. Because it's so powerful, it rarely shows itself. The design we used was actually the very first one we received from Inu Curry*, but when we saw it we all thought "Damn this is good." I myself had imagined a more Godzilla looking monster (laughter), and I must admit when I first saw that crazy looking upside-down ballerina I thought to myself "What the heck is this thing?" * - A design studio, they've done some stuff with Gainax and (obviously) SHAFT.

• 

  Source: July 2011 issue of Megami. Translated by symbv from evageeks forum. Q – The last scene made a deep impression. What do you think about Homura there? A – (Saito, Homura's seiyuu) I could tell that by Homura doing that scene things that were not put into words could hold such a strong message. My job is to use words and so it was just walkover, and yet it got me to feel the sense of overwhelmed defeat that, to Homura, still felt great. Homura is a character that worked by painstakingly bearing in mind that she always distills her mind into the minimum dialogues. And so depending on how the viewer feels about it, his view of her could be very different. All those many things that she carried on her back also produced a depth in her that even I was not able to tell. More than anybody, she could not live by herself and was the most depending on Madoka, but yet as this feeling got so strong and deep..... Even in ep.8 when she tried to call out Madoka's name, she could not raise a voice. When human was so overwhelmed with emotion, she could not say anything. Therefore, my own interpretation regarding the ending of the last episode is that, as the basis for her existence has disappeared all she could do is to keep taking action. It was indeed very sad thing, because all the ground for her actions was based upon Madoka. I felt that I have learned that the deeper a human feeling is actually the harder for it to show up on the surface. (Mizuhashi, Mami's seiyuu) She must have thought about many many things while she went through all those many loops. (Saito) In ep.10 she tried to tell everybody about QB, but she got suspected by Sayaka that she was intending to cause a fallout within the group... She must have thought, because of that “words” could really have no meaning at all. Although I cannot say whether the answer she came up was right or wrong, and I am sure people will have different views regarding her fighting till the end alone, for me I came to it with very much a sad mood. (Mizuhashi) Yeah, she could no longer see Madoka. Besides, nobody remembered Madoka any more. (Saito) Everyone is calling that final ending as “Homu-Q-END” (lol). Something like, “Homura and QB?! That is the most impossible scenario!” It was such a sequence of surprises to see that “Homu-Q-END” really came true.

• 

  Source: Animedia, July 2011. Shinbo: Toward the end of the last episode, after Madoka had disappeared, I thought Kyubey should only move his mouth as one of the things that had changed in the new world. But Miyamoto-san (saiyuu series director) objected to that (lol). Kato: Oh i see. even if Kyubey's magical girl system had changed, the rest was unchanged. He's only partners with homura for percentage's sake. So we made an effort not to change how they use their technique. From another TL: Shinbo talks about having Kyuubey move his mouth, not "only his mouth" since you know, he never moves it. Also he says the only thing that changed was him being with Homura, not that it's for percentage sake. Also, rather than "technique" "how the characters act" would be better.

• 

  Source: Animedia, July 2011. Shinbo: Before the Madoka Magika after recording started, we all went to a shrine to pray for a hit. At the time, the person representing the voice actors was Kato-san. Kato: Kt was the first time I had ever participated to pray to get a hit. It was interesting, the priest read the title like [ma---ho---usho---jo---]. Shinbo: it was really hard to not laugh. like [o----o----ki----no---ume----] (lol). Probably Kyubee's popularity at that time was a blessing. From another translator: This is about how they all went to pray for Madoka to be a hit before the dubbing. Katou (kyuubeey's VA) talks about prayed "Ma~Hou~Shou~Jo~" and "A~o~ki~ U~me~" and jokes about how "maybe that's why Kyuubey got so popular".

• 

  Translated by symbv from evageeks forum. Q - Ah, I see... A - And so, with the change in style, producers from the same age group finally appeared. And finally the flow that had one joining because he loved anime started to change. But whatever is said, the impact of "Evangelion" becoming a hit was huge. Without that there could not be the time we have now. Q - You think so? A - Yes, no doubt about it. If that did not become such a hit, probably we could not have made anime like we do now. But then only "Evangelion" was really a kind of exception (lol) Q - Ah, that is true...(lol)

• 

  Translated by symbv from evageeks forum. Q - (too little left to translate properly) A - No, I could not tell a single bit. Although in general I could tell that whether the anime would be abandoned by fans or taken in by them would be decided by the development in Ep.3. "Madoka" is a work that made my heart beat faster. And then it was indeed taken in. By the time I strongly felt a premonition of this becoming a hit, I thought so good that I had done that. I felt relieved. "Madoka" was a work that was really hard to make, and I got really scared, to the extent that I would not be able to decide what to do if because of that [the anime] got abandoned. Q - But then, as in Bakemonogatari as well as Madoka, the audience ..... till the end.....

• 

  Source: NewType, July 2011. The names of the characters Madoka, Homura, etc. and the key staff who worked on Madoka (Shinbou, Urobuchi, etc.).

• 

  Source: NewType, July 2011. Summary - A long interview on Urobuchi's thoughts on how well Madoka went, how it was different from stuff he did before, what it was like working with SHAFT, etc. Detailed translation requested.

June Summary Translation

The following is a translation by symbv from evageeks forum of a 2ch post summarizing points of interest from the Megami July 2011 issue.

• メガミ7月
• まどか特集部分
• Megami July
• Madoka Special

虚淵

• 企画段階からああいった形で魔法少女の運命を描くつもりだった
• アフレコ途中から監督がさやかを気に入ってしまいどうにか生き返らせられないかと言ったが無理だった(笑)
• マミは「モノを結び合わせる」という能力に特化している。魔力の本体はリボン
• 杏子は「人に話を聞いて欲しい」という願いをかなえたので実は眩惑とか幻覚と言う能力を持っていたが
• 家族を失ったことでその力を潜在意識で完全否定してしまった。そのため本来の魔力を失って
• 後付けで学んだ魔法の力だけで戦っているという裏設定が。 上条はさやかを異性として意識していない。ただの親友。この作品は「折衝」というテーマがあった。相互理解のしようがない連中だったとしても 共存だけは諦めてはいけない。キュゥべえを吹き飛ばしておしまいというオチにはしたくなかった

Urobuchi

• He had planned the fate of the mahou shoujo like in the anime since the early planning stage.
• During the off-recording (seiyuu dubbing), director (Shinbo) got really attached to Sayaka and asked Butch-Gen whether something could be done to get her back but Butch-Gen said impossible (lol)
• Mami has the specialized power to "link and tie up things". The tool of the magic power was ribbon.
• Kyouko had a hidden settai (design): Since Kyouko got her wish of "getting people to listen" realized so in fact she had the power to cause illusion or hallucination, but shocked by the loss of her family, she completed negated her power by suppressing it into her subconscious mind. So she lost her original magic power and she only fought with the magical power she learned and acquired later.
• Kamijou did not see Sayaka as a love object. She was just a close friend of his.
• This work also has a theme about "compromise". Even though they were same types who never tried to understand each other, they still would not give up trying to co-exist. And there is a keen intention not to allow an ending where QB was simply just blown away.

新房

• アニプレ岩上Pの思惑が当たった感じ。みんなでイベントを成し遂げたような感じ 非常に良かったな、こういうこともあるんだと思った。
• 10話はシナリオ削ってもらったので、できればちゃんとした形でやりたかった。ちゃんと作ると45分ぐらいになるから無理だが。

Shinbo

• Iwagami producer from Animplex got his prediction spot-on. He now felt it was one big event that could only be accomplished by everyone's effort and it was so great that he had not had such feeling before.
• Ep.10 was made only after the trimming of the screenplay. If possible Shinbo would like to make it in its complete form. But to make it in complete form, it will need around 45 minutes so perhaps it is not possible...

(symbv: this confirmed the suspicion from many in 2ch. Now the speculation is whether the full Ep.10 may come out in OVA or movie format)

その他

• ファミレスで食事をしながら9話の台本を読んだらさやかが大変なことになっていてびっくりした。(野中)
• オーディションを受ける時に音監からしつこいくらいに「この子、3話で死ぬよ?いいの?」と聞かれた(笑)(水橋)

Miscellaneous

• Nonaka (Kyouko's seiyuu) I read the screenplay of Ep.9 in a family restaurant while having a meal. I was so shocked when I saw Sayaka undergo that!
• Mizubashi (Mami's seiyuu) When I went to audition, the sound director kept asking me "this character will die in Ep.3 ! You OK with this? Really?" (lol)

---

A compilation of the scans discussed in this section.

These are translations of magazine scans on /a/, with reference thread posts, from April 2011 timeframe. >>47950014 1 - The Secret of Homura's Room Homura's room is drawn in an other-worldly manner [TL note: this is also the word used for witches' barriers]. The truth is that it's supposed to be a holographic projected image. At its basis, it's an apartment set up around a dinner table and the like. >>47948969 2 - In episode 8 it was revealed that there are multiple Kyubeys, but are their personalities difference? Urobuchi: There are many bodies, but only one consciousness. Therefore, even if you kill the body, there isn't any sort of damage. Killing one is just like pulling out a single strand of hair. The scene where Kyubey eats his corpse, and then comes in from the stairs in the script.　I was trying to write Kyubey as something that humans can't relate to. Think like, "If your brother really died, what would your response be." >>47949220 3 - Urobuchi: Even though it's a 1-cour broadcast period, there were a lot of things to chip away at. I keep thinking very hard about the developments in the next Madoka (note: this comment was made on 3/13) TL note: Cour = a Japanese TV season of 12-14 episodes. >>47949471 4 - There's only half of the show remaining: It's a somewhat short story, so do the two of you think you would want to make a sequel (Madoka 2)? Shinbo: I've thought a lot about what to do if there were 2-cours, what would go into all 12 episodes. I think I could really expand the world from what we've made so far. >>47949703 5 - Urobuchi: Thinking about ending the story cleanly, it's somewhat troublesome. If it were 2-cour, there might be the possibility to develop things with more breadth. But I'd be worried about what I would write as a continuation if this were the case. >>47950350 6 Urobuchi: When I was writing the script, since the monster design and the visual design weren't completed, there was no decision on the fight scenes. So in the script I wrote, "In this scene 'She says this line while fighting," just a rough outline. At the time Mami's Finisher was called "Ultima Shoot" (laughs), but I thought that was really lame, so during recording I was translating it on the internet. I tried Spanish and Greek, and then finally decided on the Italian "Tiro Finale." >>47917408 7 Shinbo: "In the anime, Sayaka didn't kill the two hosts." Urobuchi: "It can be interpreted as both ways in the scenario, so Hanokage-san interpreted it as if they're killed in her manga version."

---

Q - In future, do you think you want to do more original anime?
Shinbo (S) - I have such thought, although I do not hate adapting anime from original works either.
Q - Any idea of what you want to do?
S - Not really. Mystery or something mysterious, and then Horror. But perhaps horror is not possible, because I have got to the point of not really watching much horror these days. And then I think perhaps it's good to have more mahou shoujo, but this time it is more slice-of-life and girl-next-door. I would like to try this different variation of mahou shoujo. And then there is also something like the world of Ikki Kajiwara. It may be interesting to do something like Ai to Makoto*, something that brings two polar opposite together.... But before that, I may need to do the second season of PMMM. If it is possible, I would definitely want to do that.

• Ai to Makoto is a manga from 1973-1976 and was very popular in its days. It is about a well-bred girl from a very rich family crossing path with a juvenile delinquent boy. It was adapted into both tv drama and movies but I don't think there is anime adaptation.
  

-- Alternative translation of the same interview:
Q: From now on, do you want to make original works?
Shinbo: Yeah, I have a feeling like this. Of course, it's not that I hate adapted works.

Q: Do you have any ideas as to what you'd want to do next?
Shinbo: Let's see. A detective in a strange story, maybe. And then, I'd like to do a horror anime. But it's getting harder and harder to do a horror anime. It doesn't seem like nowadays, many people want to watch a horror anime. And as for magical girls, I'd like to do a more slice-of-life anime. I think I'd like to try doing a different genre of magical girl anime. Also, I want to make something with a world like something Ikki Kajiwara would make. I think creating something as extreme as "Ai to Makoto"...oh, but before all that, I'd like to try for a second season of Madoka. (hahaha) If I could, I would definitely want to do it.

Puella Magi Madoka Magica Blu-Ray Discs

From volume 2's booklet, translated by symbv at forum.evageeks.org.

The ED starts to run from Ep.3. Although the song used in ED was also used as an insert song in the advant (pre-title sequence), Hirofumi Suzuki-san, the animator who helped put the ED animation in place, said that this got to start from Ep.3 as it fits perfectly the taste of this work. When I was working on some Mahou Shoujo works in the past, I had asked him to help on ED animation. This time I followed that past flow and asked the same thing.

The storyboarding and directing for the OP was by Tomoyuki Itamura. Because it was the OP for Mahou Shoujo show, I wanted to put in some transformation footage. I told Itamura-san, "It does not matter if it is not some awesome OP. Please make it in a video that will get people to want to watch the show once they watched the OP video.". He worked very hard on it and drew the part where Madoka did her best (learning as a mahou shoujo).

From Ep.3 the real taste of the work is finally becoming clear. One of the attractive things about an original work is that the audience is not able to tell what will happen afterwards. And combined this with speculation over how the development will go, it becomes part of what made the work interesting. Atsuhiro Iwagami-san, the producer, said it from the very beginning, "I want this to become a work that develops in a way that subverts prediction." And the final product indeed developed precisely as Iwagami-san imagined.

It was really hard work checking the storyboard of Ep.3. The mood was becoming heavy, and on both physical strength and mental strength sides I was absolutely worn out. Perhaps it had something to do with my age. If I could have done this while I was still young at age, I might be able to storm up ideas while directing this kind of work. What happened was Yukihiro Miyamoto-san, the series director this time, calmly dealt with issues and thus allowed the work to proceed.

After that, as the story progressed, storyboard checking work gradually became harder. I did not want to show cruel scenes; I wanted to show the feeling of those people who had to face those situations. In order to make it a more interesting work, I put in my ideas during the storyboard task.

There may not be many times I can make this kind of work in the rest of my life. When I thought about that, I stopped trying to get sloppy or slacking.