Violin Solos and Scriptwriting Sparks: The Vision for the Feature Film

In Living in a World Without Magic (affectionately known as Mahoseka), sound and visuals blend seamlessly. In this fourth and final installment, the creators break down the musical techniques behind key scenes, share the excitement from their film script meetings, and lightheartedly debate expanding the universe through spin-offs.

Compositional Techniques That Sync Visuals and Emotion

Q: kyo, what aspects of the composition needed special attention?

kyo: I completely broke away from standard J-pop structures to fit Akiwashi’s narrative arc. The second chorus was crucial for me. Normally, the second verse and pre-chorus would lead into vocals for the chorus, but I swapped those vocals out for a string section featuring a violin solo instead.

Q: Is that right around when Haru collapses from the toxic briars?

kyo: Precisely. I felt a violin solo would be much more emotionally moving there than vocals. From there, it transitioned into a quiet, stripped-back chorus reflecting the passage of time, before building up to the climax where I added extra melodies, stacking both D and E sections.

Akiwashi: I’m no music expert, so I didn’t push for any structural changes. I don’t like asking for retakes either. Trusting a creator’s motivation and giving them full creative freedom always leads to a much better outcome.

kyo: Even so, I could definitely feel a huge pressure (almost like an unspoken order) coming from the visuals (laughs). But one scene I personally wanted to sync up no matter what was when Haru wakes from the coffin and hugs the girl. There’s a new violin phrase in the interlude right there, and I remember telling Akiwashi, “Make sure this exact note lands right when they hug!”

Akiwashi: I don’t really remember that (laughs). But looking at the final cut, it lined up perfectly.

kyo: I think we pulled off that sync because we kept sharing progress back and forth, making micro-adjustments side by side, to the point where you’d ask, “Wait, what actually changed?”

Script Development Is Finally Underway!

Q: What is the dynamic like in the ongoing script sessions for the upcoming movie?

kyo: It is amazing working with someone whose work I know and admire so much. I played GO all the time as a kid, so Hikaru no Go hit right at home for my generation, and I also loved Haré+Guu. She is such an absolute legend that I’m completely starstruck during meetings, but I’m having so much fun (laughs).

Akiwashi: She’s a veteran and so prolific that I’ve watched a ton of her work. Back in middle school, I had a phase where I binged anime non-stop (laughs), including titles like Joshiraku and Tsurune. There are shows I grew up on, so it’s an absolute honor working with her.

“kyo Wants to Make Character Songs” vs. “Akiwashi Doesn’t Want to Expand the Setting”

Q: Are there any new musical directions for the feature film?

kyo: I’ve been pushing to create more insert songs and character songs all along. I really want to do these heavy, dramatic tracks focusing on Bena and Nemora, plus spin-off songs for the cat and bakery side stories. There are so many ways you can expand the world through music!

Akiwashi: And every time he brings that up, I keep pushing back, saying, “No, if the lore gets too big, it’ll be impossible to keep track of everything” (laughs). What I want to avoid most is throwing in so many extras that people lose sight of the main plot and wonder what the story was even about. I want to make sure we give the story a clean, satisfying ending.

kyo: I still find it super tempting to expand the world (laughs). Even our earlier spin-off, Please, God!, started with us pitching the idea of making a fun song first and then nudging Akiwashi with, “Well, should we do a cat story?”

Akiwashi: Well, in the end, drawing a ton of cats made working on that music video so much fun (laughs). With all its subtle setups and little gimmicks, it’s easily one of my personal favorites in the entire series.

Aiming Straight for the Audience’s Heart with “All Killer, No Filler” Impact

Q: As a closing thought, do you have a message for the fans looking forward to the feature film?

Akiwashi: The original music video started out as an indie project I made back in college, fueled by passion. But this time, we have an incredible team of professionals on board who are elevating it to a level I could have never reached on my own. I hope everyone will enjoy seeing how the film has evolved compared to the original MV.

kyo: That original video was what made me go “I have to write music for this, even if nobody asked!” (laughs). The world of Mahoseka feels classic at first glance, but the setting is truly one-of-a-kind. It gives you that feeling of, “Nobody’s ever seen a story like this, yet it’s exactly what everyone is going to love!”

Akiwashi: That’s because I packed in every element that hits anime fans right where it counts, aiming for that “all killer, no filler” impact.

kyo: Exactly, no filler at all! (laughs). The original animation is already fantastic, so please look forward to an even bigger, more powerful experience on the big screen!

Starting with our next update, we will feature an exclusive look at the film’s producers. Stay tuned!

Join the Film Club

If you’d like to stay closer to the journey of Living in a World Without Magic, we invite you to join the Mahoseka Film Club.

Mahoseka Film Club members will be among the first to hear about major project updates, exciting announcements, production news, and other special updates as the project moves forward.

As we continue working toward bringing Mahoseka to life, we’d love to have you with us along the way. Join the Mahoseka Film Club and stay up to date:

Mahoseka Film Club

Thank you for believing in Living in a World Without Magic and for being part of this journey with us.

Mahoseka Production Team
Living in a World Without Magic