Following a string of postponements, Puella Magi Madoka Magica The Movie: Walpurgisnacht Rising finally debuted in Japanese cinemas on August 28. Arriving nearly 13 years after the franchise’s last installment, the film serves as a direct follow-up to 2013’s Puella Magi Madoka Magica the Movie Part III: Rebellion and marks the first new chapter in the series’ core narrative. The movie has also screened in Taiwan, with upcoming theatrical runs scheduled in Argentina, Hong Kong, and Germany. Details regarding its North American/English theatrical release remain pending.
In a recent conversation with Kyodo News, Gen Urobuchi, the principal writer for the original Puella Magi Madoka Magica series at Nitroplus, discussed the film’s extended development timeline, the evolution of its storyline over the past decade, and the reasoning behind its less harsh conclusion compared to his typical storytelling style.
Please be advised that this piece contains minor spoilers for Puella Magi Madoka Magica The Movie: Walpurgisnacht Rising.
Urobuchi admits that roughly a decade ago, he chose to step away from anime to focus on tokusatsu projects, as he felt he lacked fresh ideas at the time. His decision to collaborate on Walpurgisnacht Rising came after Gekidan Inu Curry, the animation studio responsible for the Madoka Magica series’ production design, presented him with an extensive idea notebook filled with concepts for the new film. “I never imagined I’d get the chance to work on a sequel, so it felt like I was given all the ingredients to craft a story,” Urobuchi remarks.
The proposal arrived after he completed his work on Kamen Rider Gaim (2013–2014). According to Urobuchi, Gekidan Inu Curry’s idea book had already outlined 90% of the film’s content, including key elements like Nazuka Sokotsune, the model for Walpurgisnacht: “The major components were largely set, and my task was to devise the conclusion.”
However, after drafting his initial ending, the production faced unexpected challenges. Director Akiyuki Shinbo requested “changes to the ending,” leading to discussions about rewriting it entirely. Eventually, the team informed Urobuchi that they would revert to his original plan but with modifications to the conclusion he had initially written (a decision made about 4 to 5 years ago).
While the core narrative of the ending remained intact, its presentation was refined to offer viewers a sense of resolution. As Urobuchi explains, “The story follows the same path until the midpoint, and I sensed that they revised it to provide a feeling of salvation.”
“My usual approach involves eliminating characters to heighten tension, but this time, there were no shocking moments designed to startle the audience, which turned out to be a positive choice. By reducing the harshness, the film became a more uplifting experience,” Urobuchi elaborates.