Someone probably recommended Yuriko since she'd already been a freelance studio singer. There was probably a number of demos from which Kajiura picked her.
I was just thinking that with all the singers she worked over the years, Kajiura curated interesting voices for her own projects (Kalafina and FJ), who all had a spice that was not like the usual pop vocalists. in one way or another, and when brought together could create a harmony sound that was unique in the industry.
There's still no international release dates for Madoka outside like 3 countries, rite? Maybe they start some kind of news rollout after Sep 12, since that's the date they threw around when asking not to spoil the movie...
Edit:
Oh, it already opened in Taiwan. Where the camcorders at? lul.
There's still no international release dates for Madoka outside like 3 countries, rite? Maybe they start some kind of news rollout after Sep 12, since that's the date they threw around when asking not to spoil the movie...
A girl who was once guided by the Law of Cycles
but returned to the mortal world by passing through the depths of the Rumors.
She is known only through hearsay;
no one knows her name or true identity.
She bears a striking resemblance to Homura
and is characterized by a detached demeanor and a distinctive way of speaking.
Rest of characters:
Kyoko Sakura
Voiced by Ai Nonaka
A spirited magical girl who came from the neighboring city of Kazamino.
She took an interest in Sayaka—whom she met in Mitakihara City—seeing reflections of her own past in her;
however, Sayaka ultimately transformed into a Witch,
and Kyoko stayed by her side until the very end.
In *Rebellion*, she transferred to Mitakihara Middle School
and was staying at Sayaka's home.
Mami Tomoe
Voiced by Kaori Mizuhashi
A third-year student at Mitakihara Middle School
and a senior to Madoka and the others.
She has a long career as a magical girl
and acts as a reliable big-sister figure to the group.
She can conjure weapons from the ribbons
she freely manipulates in battle,
and her signature ultimate move—fired from a massive gun she creates—
"Tiro Finale," boasts the greatest destructive power in the series.
Nagisa Momoe
Voiced by Kana Asumi
Once a girl who loved cheese.
In *Rebellion*, she acted alongside Mami
in the form of "Bebe,"
but her true identity—like Sayaka's—
is that of a being who returned to the mortal world as an emissary of the Law of Cycles.
Though younger than Madoka and the others and innocent in demeanor,
she occasionally reveals a sharp, perceptive side.
Kyubey
Voiced by Emiri Kato
A mysterious creature that appears before girls
and transforms them into magical girls
in exchange for granting their wishes.
He speaks in a friendly and rational manner,
but his true objective is to harness the energy generated
when magical girls fall into despair and transform into Witches,
thereby extending the lifespan of the universe.
In *Rebellion*, he plotted to seize control of the Law of Cycles
by exploiting Homura as she was on the verge of becoming a Witch,
but his plans were thwarted by Homura after she transformed into a Devil.
Shion
Voiced by Shion Wakayama
A girl who was once guided by the Law of Cycles
but returned to the mortal world by passing through Nazuka-sokone. She is working to reclaim the Law of Cycles,
but she struggles to handle the wayward behavior
of Wasu and Selma.
She gets along well with Kyoko.
Selma Therese
VA: Tomoyo Kurosawa
A girl who was once guided by the Law of Cycles
but returned to the mortal world via the Nazuka Roots.
She is always cheerful and energetic,
and loves being helpful to others.
She becomes friends with Nagisa.
It also visually looks like a completely different movie from the opening 5minutes, lol. I don't quite like the art direction I feel. And Maaya Sakamoto's character feels like moe trash.
It got an early premiere in Mexico City and Chiwa Saito (Homura´s seiyuu) was a special guest. Unfortunately, I don´t live in Mexico City hue. Gotta wait till October 1st.
*Puella Magi Madoka Magica* has continued to grow its fan base since the TV anime aired in 2011 and remains immensely popular. On August 28, *Puella Magi Madoka Magica The Movie: Walpurgisnacht: Rising*—the direct sequel to the 2013 film *Rebellion*—was released. Screenwriter Gen Urobuchi reveals that work on this new title began over a decade ago. While noting that "Sekai-kei" stories (narratives linking personal relationships directly to the fate of the world) have become outdated, he expressed anticipation for the emergence of entertainment works suited to the new era. (Interview and text by Makiko Kosaka, Kyodo News)
(1) 90% of the Ingredients Were Already There
▼Reporter: How did you feel when it was decided to create a new installment?
●Urobuchi: That goes back more than ten years. I didn't have any ideas of my own at the time; I had stepped away from anime for a while and was working on *tokusatsu* (live-action special effects) projects. Then, Gekidan Inu Curry (Doroinu) prepared some ideas for me. They were voluminous and packed with information, so I felt that if I organized them, they could form a coherent story. I accepted the job thinking, "With this material, I can reconstruct it into a screenplay." Personally, I never even dreamed a sequel could be made, but it feels like I was able to cook a meal because I was given the ingredients. ▼Reporter: Since you mention it was over ten years ago, does that mean the project was already in motion around the time the previous installment, *Rebellion*, concluded?
●Urobuchi: I was approached about it after I finished working on *Kamen Rider Gaim* (broadcast 2013–14). During that year, the Gekidan Inu Curry team had compiled a massive volume of notes filled with ideas, and looking at them, I felt, "Yeah, this is doable."
▼Reporter: What kind of content was in those idea notes?
●Urobuchi: About 90% of the material for the movie was already there. Elements like "Nazuka Sokotsune" and the visual design for "Walpurgisnacht" were mostly all set; I was mainly responsible for working out the ending. I essentially added the parts concerning the true nature of "Walpurgisnacht."
▼Reporter: Did you find it difficult to write the screenplay?
●Urobuchi: The first draft went relatively smoothly. Once I finished it, I moved on to work on other projects. Later, Chief Director Akiyuki Shinbo expressed a desire to change the ending. I told them they were free to tinker with it however they liked, but it seems they struggled with that process. I heard there were even discussions about having someone else rewrite it from scratch. After various twists and turns, I was informed about four or five years ago that they were reverting to my original script. They decided to go back to the initial plan and start fresh, though they still wanted to change the ending—so I left that part up to them.
▼Reporter: To what extent was your original idea for the ending incorporated into the final version?
●Urobuchi: It was mostly just the presentation of the ending that shifted slightly. The flow leading up to it remained largely the same, though I got the impression they adjusted things to ensure there was a sense of salvation.
▼Reporter: What do you mean by a "sense of salvation"?
●Urobuchi: My usual habit is to kill off characters to write them out of the story. This time around, the shocking elements that might make a viewer recoil were toned down, which I think was actually a good thing. By holding back on the gruesome aspects, the film became easier to watch.
From *Puella Magi Madoka Magica the Movie: Walpurgisnacht: Rising* (Magica Quartet/Aniplex, Madoka Project)
(2) The Burdens of Management Shouldered by Homura
▼Reporter: What did you think of it after actually seeing it?
●Urobuchi: It was wonderful. They wrapped everything up so beautifully; seeing the finished visuals made me realize, "Yes, this is exactly what I was looking for." I’d rate it well beyond 120 points—I feel like they created something even better than what I had originally envisioned.
▼Reporter: Each character gets their moment to shine, doesn't it?
●Urobuchi: When turning my idea notes into a story, thinking about how each character would act really helped with writing the script. In fact, simply following the established characterizations naturally shaped the narrative. The existing characters got to play active roles through their interactions with the newcomers—Kyoko and Sayaka, for instance, really came into their own—so it all came together quite well.
▼Reporter: What are your thoughts on Homura?
●Urobuchi: She’s a character who shoulders the kind of hardships that managers or company executives face. She might not act like a typical middle school girl, but precisely because she has the power to influence the course of events, she ends up bearing that heavy burden. That’s the element that makes her story so dramatic.
▼Reporter: Were there any specific details you focused on regarding the new characters introduced this time?
●Urobuchi: I was careful to give them distinct personalities that wouldn't overlap with the original five magical girls. Since I had already established characters who think the way "ordinary people" do in previous works, I felt that if I didn't create characters with values that acted as a counterpoint to them, the new ones might fail to leave a strong impression. That resulted in Selma becoming quite a "finicky" or "idiosyncratic" character.
(3) Modern Youth is an Open Book
▼Reporter: You wrote this over a decade ago, so it seems likely that you’ve changed since then.
●Urobuchi: My creative style has shifted in various ways; I feel like I couldn't write about middle-school girls anymore. I’m glad I was able to write it before that change took hold. I can say this now, but I had actually given up on it, assuming it would be shelved forever; so, the fact that it’s finally happening makes me incredibly happy.
▼Reporter: You find it difficult to write about female middle-school students?
●Urobuchi: For the past ten years, my screenwriting work has focused almost entirely on male-centric sword-fighting action. Before I knew it—partly because I’ve gotten older—I reached a point where I have no clue about the feelings or trends of young people, or what thoughts occupy their minds as they live through their youth in this era. If I were to write about youth now, I feel like it would just end up being a story about the past.
▼Reporter: If you were asked to write a story about youth, would you find it difficult?
●Urobuchi: Personally, I view it positively—as proof that I’ve actually grown up. I imagine it would be exhausting to go through life at my age with the mindset of a middle-schooler. I think it’s best to let young creators—who actually understand the youth of this era—write those stories. I’m content to just tell stories about the past.
▼Reporter: Aside from age, has anything else influenced the changes in your style?
●Urobuchi: The world moves so fast, doesn't it? I don't think the world used to change at this kind of breakneck pace. The world as it is now is something I couldn't have even imagined three or four years ago. I can only understand the youth experiences of those who couldn't attend school during the pandemic through what I hear from them, and the stories that emerge from that era vary widely; I often feel that the stories of youth I personally resonated with are already outdated.
To give an example, there used to be a culture—often called "Sekai-kei" (world-centric)—centered on a kind of insular, pseudo-romantic relationship with a heroine. That is likely completely obsolete now. What really struck me is the modern "oshi" (favored idol/character) culture; young people—both boys and girls—have absolutely no qualms about sharing the object of their affection with others. That open, festive atmosphere is something I couldn't have even imagined given the stifling, insular landscape of youth I remember. They might be thinking, "Stop moping around and just watch a YouTuber's stream." A kind of youth where getting your comment picked up might just lift your worries. I see—I do get the feeling that the space for me to tell new stories is rapidly shrinking.
▼Reporter: How do you think this work will be received in times like these?
●Urobuchi: Honestly, I’m anxious. I do have a nagging feeling that audiences might prefer something more participatory—something that feels like a festival. This work is so dense with dialogue—with characters speaking at such a rapid pace—that I worry it might be exhausting to watch along with others. As a writer, I’m unsure if today’s young people will enjoy it, but at the same time, the visuals are incredibly stimulating, so I feel reassured that it will be appreciated on that level.
▼Reporter: What kind of projects do you see yourself working on in the future?
●Urobuchi: I have a hunch that the very genres and methods of creation are going to change. So, I’d actually love to get involved if a brand-new genre emerges—one that doesn't exist yet. Having accomplished everything I set out to do in my own way, I feel no sense of urgency; instead, I’m eagerly anticipating what comes next—hoping to see new methods of creation and forms of entertainment that I’ve never even imagined before.
