The anime film Mobile Suit Gundam: Hathaway's Flash, which was released in June 2021, is finally getting its second chapter, The Sorcery of Nymph Circe, in theaters starting Friday, January 30, 2026.
Mobile Suit Gundam: Hathaway's Flash is based on a novel series published by Kadokawa Sneaker Bunko from 1989 in three volumes, written by Yoshiyuki Tomino, the chief director of Mobile Suit Gundam, the original series that started it all. The anime series is directed by Osamu Murase, and despite the impact of the COVID-19 pandemic, the first chapter became a hit, earning over 2.2 billion yen at the box office.
In anticipation of the film's release, Animate Times conducted an interview with Kensho Ono, who voices Hathaway Noa, and Reina Ueda, who voices Gigi Andalucia. Five years have passed between recording the first and second chapters, and it seems there were some challenging moments along the way.
We also asked them about the relationships between key characters that serve as highlights of the second chapter: for Hathaway, his connections with Gigi and Kelia Deiss (CV: Saori Hayami); and for Gigi, her relationships with Hathaway and Kenneth Sleg (CV: Junichi Suwabe), as well as Mace Flower (CV: Atsumi Tanezaki).
Hathaway Still Has That Boyish Side—Not Quite Fully Grown Up
—Could you start by sharing your impressions when you first read the script and scenario for the second chapter, athaway's Flash: The Sorcery of Nymph Circe
Kensho Ono (voice of Hathaway Noa): When I read the script for the first chapter, there were still many aspects of the work and characters that I hadn't fully grasped. But over the course of five years, I was able to deepen my understanding of Gundam. I had time to reread the original novel more carefully and engage with the script on a deeper level, so the flow of emotions between Hathaway and the characters around him came to me much more naturally than during the recording of the first chapter.
Since this was announced as a trilogy from the start, this second installment doesn't conclude the story. That's precisely why it left me wanting to know what happens next even more. Also, the second chapter focuses heavily on the interpersonal relationships between characters, so as we progressed through recording, I felt a strong desire to portray those aspects carefully and thoughtfully.
Reina Ueda (voice of Gigi Andalucia): In the first chapter, Gigi left a strong impression of being all-knowing—someone who could see right through people and manipulate them at will. In the second chapter, the glimpses of her more down-to-earth, girlish side that occasionally surfaced in the first chapter become much more apparent. So my impression of her character shifted somewhat from the first chapter.
So much so that I found myself thinking, "Wait, was Gigi really like this?" But it wasn't just Gigi—I felt Hathaway's character impression changed dramatically from the first chapter as well.
As for Hathaway, he became easier to understand in this chapter. In the first chapter, I had the impression that he didn't even know what was hurting him or what he was troubled by. He seemed unaware even of his own tangled-up emotions... which may be why he had that foggy, hazy atmosphere. In the second chapter, Hathaway is more self-aware of his struggles and is grappling with more concrete, immediate issues.
In contrast, Gigi in the second chapter is closer to that hazy, foggy version of Hathaway from the first chapter—her troubles and their answers lie somewhere even she doesn't understand. They pour out with intuition and momentum, and while the impression is different from the first chapter, I read through the script thinking, "This is still Gigi, after all."
—What aspects were particularly challenging when portraying your character this time around? And were there any memorable pieces of direction from Director Murase or recording director Eriko Kimura?
Ono: While it had been a while since we recorded the first chapter, story-wise, the events are continuous—what happened yesterday continues today. So first and foremost, I had to make sure that five-year gap didn't show. That was more of a technical challenge than an emotional one, and I carefully worked through the recording process while trying to recall everything.
As preparation, I didn't just do the usual script checks—I rewatched the first chapter, and since scripts mainly focus on dialogue and sometimes omit stage directions, I read the novel to supplement and organize my understanding of things like "What was Hathaway feeling at this moment?" before heading into recording.
But even with all that preparation, there were still moments during recording where I realized, "Oh, so that's what this was really about." I often came to understand these things through conversations with Director Murase or through the direction I received. So rather than feeling underprepared, I approached it with the mindset that I just had to respond to things as they came up, and I worked hard at that.
One thing Director Murase told me was that in the first chapter, Hathaway wore a kind of armor—the image of a fine young man, the son of Bright Noa—to hide his true self and prevent anyone from realizing he was Mafty Navue Erin. On top of that, there was this sense that he was conversing from behind a facade, with a significant gap between what he was thinking inside and what actually came out of his mouth.
This was almost like a game of psychological chess in his conversations with Gigi, where he was probing to see how much the other person understood. So in the first chapter, I really struggled with having to say one thing naturally while thinking something completely different—trying not to let it show.
This time around, since he's with his Mafty comrades, he's more comfortable than in the first chapter. Or rather, there were more scenes where he could converse in a state closer to his true self than in the first chapter, which made it easier to organize my feelings about the character.
—Hathaway's inner life seems to be explored through his relationship with Kelia, voiced by Saori Hayami. How was it performing those scenes with Kelia?
Ono: There's this constant awkward tension in the air, so those scenes were pretty tough. In that sense, Hathaway is quite honest and not good at lying—he still hasn't quite grown up, or rather, he can't compartmentalize his feelings. There's a very boyish quality to him that really comes through.
If I were Kelia, I think I'd definitely notice that Hathaway is already drawn to Gigi. He's basically that distracted—so even viewers who only know Hathaway after he met Gigi will be able to see in certain scenes that he and Kelia, who were presumably once close, can't go back to that kind of relationship anymore.
In these scenes, Director Murase gave direction like, "Be more childish, more dependent, like a kid throwing a tantrum." We get to see a side of Hathaway we haven't seen before—the side of him that was in a romantic relationship with Kelia. Some viewers might think, "Wait, even though they're in that kind of relationship, isn't Hathaway being really cold to Kelia? Isn't he being distant?" But that's exactly the kind of behavior that only happens because they're in a relationship.
Of course, there should be courtesy even between close partners, so I don't think this is something he should be doing—but you definitely know couples like this exist. So even while performing those scenes, the exchanges between these two weighed heavily on my heart.
For Gigi, Hathaway Is the Person She Needs Most to Truly Be Herself
—Regarding Gigi in the second chapter, what aspects of playing her left the strongest impression on you?
Ueda: As Ono-san mentioned, even though it was our first time recording in five years, the characters are living through events that happened just yesterday. I had to approach the session with that specific mindset, which was incredibly challenging for me. It was also difficult because, due to the schedule, I had to record my lines alone before the other cast members’ voices had been added.
In the first chapter, my approach to Gigi was to pick up on the subtle nuances and shifts in the performances of Hathaway, Kenneth, and the others, and then weave those reactions into my own lines. Because of that, recording without being able to hear those emotional subtleties—things you just can't fully grasp just by checking a script—felt like a very difficult environment for Gigi to truly inhabit the story.
As I struggled with that challenge, Director Murase provided very detailed direction for every single line. Because of that, I have a strong memory of recording many different patterns and takes for each piece of dialogue.
There were times when, after recording several versions, the director would say, "They’re all good, but they’re not quite it yet." In those moments, he would give me the instruction: "Ueda-san, just do it freely." When I followed my own instincts, he would sometimes say, "That’s it—that’s Gigi."
The fact that there are so many different possibilities for character interpretation might be something unique to the environment of Hathaway's Flash: The Sorcery of Nymph Circe. It was a workplace that valued the actor’s intuition just as much as the director’s vision, though it certainly made things difficult this time around!
—The scene where Gigi goes head-to-head with Mace Flower had a bit of a comical vibe. Could you tell us what it was like behind the scenes of that recording?
Ueda: I didn’t get the impression that it was a standard love triangle where Gigi was interfering in a romance between Kenneth and Mace. Rather, it felt more like Gigi had come to see Kenneth in his capacity as a soldier, and finding a woman like Mace there—someone who "eats men for breakfast"—was an obstacle to her goals. I felt like Gigi simply couldn't forgive that.
Because I was delivering my lines with the underlying thought of "I want this person to go away," I think the scene really showcases Gigi’s ability to see right through people and wrap them around her finger. Mace is older than Gigi and doesn't seem like the type to get angry easily; seeing Gigi maintain her composure while successfully provoking someone like that really highlighted a "scary" side of her character.
The moment that required the most takes was when Gigi whispers into Mace’s ear. We recorded many different patterns to decide whether the audience should clearly hear the line or if we should mask it in some way. At this stage, I’m not even sure which take was ultimately used, but I remember having a lot of fun with the sense of humor and playfulness the staff brought to that scene.
Before and after that specific moment, I felt like the "energetic" Gigi had finally returned. Up until then, I had the impression she was feeling quite depressed. It was a scene where we see Gigi—who had seemed so low on energy—make up her mind and return to Kenneth’s side with renewed spirit, so it was a joy to both perform and watch.
—I get the impression that Gigi’s emotions are more deeply involved when she’s with Hathaway compared to when she’s with Kenneth. Could you share your thoughts on these two relationships from your perspective?
Ueda: Kenneth is a man living as an adult in society, so from Gigi’s point of view, he can be a bit indifferent or aloof, which often translates into boredom for her. However, even while having that side to him, he also possesses a certain "glittering" intensity—a scent of youth. Since she’s aware of both sides, I’m sure her attraction to Kenneth as a soldier is genuine.
Because of that, there’s a sense of stability and fun when she talks to him, but I suspect that comes from the fact that he’s someone she can easily handle using her usual tricks. Gigi also maintains a certain coolness toward Kenneth, so I actually performed the role thinking there might even be a bit of "kindred spirit" resentment there.
As for Hathaway, I think he might be the one person who constantly makes her blood boil—the one who truly makes her heart race. Part of that might have expanded specifically because she saw Kenneth, but Hathaway makes her feel the spirit of youth much more intensely. So, for Gigi, he might be the partner she needs to feel alive, though whether that is purely a romantic feeling, I’m not sure.
It might be something different from "love" or "affection" in the traditional sense. I think she seeks Hathaway because he is the person she needs most right now to simply be herself.
When she talks with Hathaway, she often feels a sense of joy. Instead of brushing off what she says with a cynical, "adult" deflection, he meets every single word head-on. That gives her the feeling of, "I am here; I exist." A lot of that comes down to the performances of Ono-san and Suwabe-san. It’s just my personal interpretation, so I don’t know if it’s "correct," but that’s how I distinguish between the two in my mind.
—Ono-san, hearing that perspective, what are your thoughts on Gigi? I know the two characters are mostly separated during this chapter...
Ono: My impression comes from seeing a temporary cut of the film with Ueda-san's voice already recorded. In the second chapter, it felt like Gigi is re-examining what she truly wants to do with her one and only life. Up until now, she’s been this mysterious woman who seemed to see right through everyone else, but here, it felt like she spent much more time looking at herself objectively and facing her own reality.
Hathaway and Kenneth are just small parts of that journey. Gigi herself is likely still undecided about which of the two she wants to be with. For the audience, five years have passed since the first chapter, so our understanding has deepened. However, for Gigi, these are events that happened just yesterday. You can't decide who to entrust your life to in just a day or two.
In Chapter 2, Gigi makes her decisions by essentially having a conversation with her own heart—factoring in her past life and experiences to figure out how she wants to live from here on out. Ueda-san mentioned how difficult it was this time, and I imagine that’s because Gigi starts from a place of not knowing what she wants.
—Finally, could you tell us about the highlights of your respective characters in this film?
Ono: The first chapter felt very much like a prologue. This second chapter follows Hathaway after he has finally joined up with the Mafty organization, so the movements of both Hathaway and his group become the core of the story.
Hathaway always had a goal—something he was willing to take on the alias "Mafty Navue Erin" to achieve. But in the first chapter, meeting Gigi threw those plans into disarray. In the second chapter, we finally see Hathaway acting as Mafty in earnest.
Though he and Gigi parted ways at the end of the first chapter, Hathaway joined his comrades without seeing her again, knowing that if he did, he wouldn't be able to leave her behind. I think when you meet someone face-to-face, you see the reality of who they are. But when you can't see them, and you just think about them, that person starts to move closer to your ideal. Your feelings for them—the version of them you want them to be—just keep growing.
Hathaway and Gigi aren't in a position to just call each other up, and they have no idea when they’ll meet again. In a situation where he might never see her again, Hathaway is fully aware that Gigi’s presence in his mind is becoming larger and larger.
In the midst of that, he has his own position and the mission he must carry out... He has comrades he’s been with since long before he met Gigi, and he can’t betray them. That internal conflict is one of the major points that continues to torment Hathaway this time around.
—Ueda-san, what are your thoughts on the highlights for Gigi?
Ueda: Gigi has become this "Goddess of Victory" figure—the idea being that whichever side she’s on is the side that wins or prospers. Because of that, whether she chooses to stay with Hathaway or Kenneth is going to significantly shift the dynamic of the confrontation between these two men.
However, I don’t think Gigi herself is conscious of being put on such a pedestal; she isn't becoming this figure by choice. It might look like Gigi is the one pulling the strings, but in reality, she’s being moved by the adults around her. You might get the impression of adults manipulating a child.
In the second chapter, the story begins with her remaining by Kenneth’s side. But as Ono-san mentioned earlier, seeing the footage with the voices added made me realize that Gigi’s feelings for Hathaway might also be growing while they are apart. I would be so happy if the audience paid close attention to those shifts in Gigi’s heart and her overall evolution.
—Thank you both very much.
About the Movie
Synopsis
U.C. 0105. Twelve years have passed since Char’s Rebellion.
In resistance to the oppressive Earth Federation government, the anti-Federation organization "Mafty" has begun a campaign of assassinations targeting high-ranking officials. The true identity of its leader is Hathaway Noa, the son of Bright Noa—who once fought alongside Amuro Ray during the One Year War.
Hathaway finds himself haunted by past trauma in the presence of Gigi Andalucia, a mysterious girl who possesses an uncanny intuition. Even as he is toyed with by her words, he proceeds with Mafty’s primary objective: preparing for the raid on the Adelaide Conference.
Meanwhile, Federation officer Kenneth Sleg prepares to support the Adelaide Conference and annihilate Mafty according to his own strategy, only to be approached with a secret deal by Handley Yokusan of the Criminal Police Organization. As Hathaway and Kenneth each move toward their own goals, Gigi sets off for Hong Kong to fulfill a role of her own.
Cast
Hathaway Noa: Kensho Ono
Gigi Andalucia: Reina Ueda
Kenneth Sleg: Junichi Suwabe
Lane Aim: Soma Saito
Gawman Nobile: Kenjiro Tsuda
Hiram Mescher: Shunsuke Takeuchi
Kelia Dace: Saori Hayami
Brinks Wedge: Hiroshi Shirokuma
Julia Suga: Anna Nagase
Hara Morley: Mahana Yamasaki
Betchy: Hinata Sato
Rod Hein: Kazuki Kyan
Lowaist Heinrich: Taiki Yamashita
Chachai Coleman: Shinya Takahashi
Josef Cedi: Noriaki Kanze
Ridrick: Shuichi Uchida
Vilantes Suecken: Hayato Inomata
Drab Lid: Taihi Kimura
Bright Noa: Ken Narita
Mirai Noa: Satomi Arai
© SOTSU・SUNRISE
© Animate Times
*Some parts of this text have been translated using machine translation
