I found Inu Curry's commentary on the "Prologue in Heaven" shot that haunts me, and it only raised more questions. I don't know what I expected.
Here is what it says as best as I can make out with my fledgling Japanese and a bunch of online references:
逆 さまにった街と穴があいた空。
The upside-down city and the hole in the opened[?] sky.
"Upside-down city" seemingly refers to Walpurgisnacht's goal of turning Mitakihara upside-down both literally and metaphorically by ripping the buildings off their foundations and making them hover in mid-air. It's a little difficult to see in the above sketch, but the finished film version is a little brighter so you can see the buildings in the upper corners.
However, what is "upside-down" depends on our perspective. Is the city upside down because Walpurgisnacht has made it that way, or because we, the audience, are viewing an upside-down image? This is another way in which Walpurgisnacht messes with our heads and confuses our ideas of what constitutes reality.
As for the second part of the sentence, there are a couple of different past tense constructions that are pronounced "aita" (あいた), and I'm not sure which is applicable in this situation because this phrase is written in hiragana. In this context, I'm guessing 開いた ("opened", "emptied") which has considerable overlap with 空いた, with the latter using the same kanji for 空 ("sky") and therefore creating a pun.
空 is a complex character with a lot of meanings, and I think it is doing a lot of load-bearing here, but for now I'll also note the contrast with 穴, which means "hole" in the sense of "cave" or "being underground". Earth and sky might seem like total opposites but given that 空 can also mean "emptiness" or "void", they simultaneously have a lot in common, to the point where 空 even includes the 穴 radical in it.
All this is to say, it feels like there's a lot going on in this line, and I still have a lot of questions. Still, it seems like we have a distinct contrast between the inverted (solid, material) city and the (intangible) "hole in the sky", which might refer to the black circular void at the center of Walpurgisnacht's mandala, which appears to be drawing everything up towards it.
逆 さまの山の頂にワルプルギスの後光。
Walpurgisnacht's halo on the upside-down mountain's peak
Once again we have a juxtaposition between two things, one of which is inverted, but this one is a little more straightforward straightforward, in that the halo is right there and the original Walpurgisnacht celebration was said to take place on Mount Brocken in Germany. And indeed, if you flip the image upside-down, it's much easier to see the "mountain" in this image--the pyramidal shadow upon which the witch's mandala now appears to be resting.
From this perspective, it looks very much like another drawing in the production note of Madoka's witch Kriemhild Gretchen reaching up to the heavens with Walpurgisnacht hovering overhead for scale [as explained in the two boxes immediately above the drawing].
This page is also the source of the famous Inu Curry quote that Walpurgisnacht and Gretchen are like two halves of an hourglass (bottom text), another statement that makes me want to gnaw on the furniture every time I think about it. Why would you do this if there wasn't supposed to be some connection between them??! And why an hourglass, given its associations with one character (Homura) in particular?
This is why I have always interpreted this shot as Walpurgisnacht and Gretchen together in "Heaven", which raises all kinds of fascinating metatexual questions like, "Why did Inu Curry et al. decide to open with this particular image?" and "Is this a frame narrative implying that the entire story is a performance by Walpurgisnacht?" and "If so, why would Walpurgisnacht be its narrator?", etc, etc.
Of course one very obvious answer to all of these questions is "Walpurgisnacht is somehow Homura and the story she is retelling is the story of how she and Madoka came to be united as super-witches in 'heaven' and everything we take as 'real' in-universe is actually inside her labyrinth and has been a staged production from the beginning", but at this point, that's all heavily speculative at best. (It doesn't hurt that the white glare resembles a vinyl record in motion, records are a recurring motif that go round and round, hourglasses are associated with Homura, etc, etc-- but I digress.)
Another is, "Inu Curry thought it looked cool and it's something that may never be fully explained, just like the anime's ending with Homura in the desert and the black wings isn't really explained in Rebellion", which may be correct but would be disappointing in a series where every other detail means something. Also, after a close study of Rebellion, it's clear that Inu Curry doesn't generally do random details--anything that's there has a meaning, even if only to Inu Curry, even if it's not fully elaborated or expanded upon in the finished film or in the production notes. So that seems like it might have happened here as well with this scene--that it's meant to represent something that wasn't ultimately developed in the final version.
It could also be that Inu Curry believes that Homura and Walpurgisnacht are connected, but that doesn't necessarily translate to the script that Gen Urobuchi wrote and so remains ambiguous and unspoken visual subtext. Or this could be something from an earlier draft that stayed in while other things got changed, so its original meaning is no longer relevant.
However, given that in the Rebellion Production Note, Inu Curry associates Homulilly, the "Witch of the Mortal World/Near Shore" with "color" (used in a Buddhist sense to mean form/matter) and Madokami with its opposite, emptiness (which also uses the same character for sky, 空) then it's possible that Walpurgisnacht is the upside-down city and Gretchen is the hole in the sky. This is admittedly a convoluted chain of logic that only works if you assume Homura is Walpurgisnacht, but given that Inu Curry created both of these juxtapositions in the first place, I can't immediately rule it out. Symbols and motifs evolve and change over time (or could mean two different things at once) and Walpurgisnacht is certainly "upside down"; if her labyrinth does contain Mitakihara, well, that's an upside-down city right there. But like I said, this is all purely speculative at this point.
That said, Inu Curry was clearly thinking along similar lines at one point, because an early draft for Walpurgisnacht in the anime production note shows Walpurgisnacht as a "stage" with buildings on it:
(If you're wondering why it's a bubble, it's because in Inu Curry's first drafts, the labyrinths were all spheres with fixed dimensions, which did not carry over to the final version.)
In Walpurgisnacht's final design in the anime, the stage became a giant cog, while the original gears at the base were replaced by the doll body, but at one point, the witch was indeed a city, or a facsimile of one. Her labyrinth disappeared because she is ostensibly too strong to "need" one, but her official goal is to turn the entire world into a drama nonetheless--which, as I read it, means making the entire world her labyrinth and erasing the distinctions between "reality" and "fantasy" entirely.
And given that Rebellion features Homulilly, a witch whose labyrinth takes the form of a city, and that city is initially indistinguishable from the "real" thing--and ends with said labyrinth seemingly encompassing the entire universe--the stage is now set for more reality-bending revelations in Walpurgis no Kaiten from one or both entities with overlapping thematic motifs.
Of course, how much of any of this will end up carrying over to subsequent installments is an open question, but I'm definitely watching closely to see where this ends up going. Since the title and at least the first trailer for Walpurgis no Kaiten suggest that Walpurgisnacht will return and her mysteries will be revealed, I'm hoping we'll finally learn what this cryptic "shot "Prologue in Heaven" shot and its description actually mean--even though I'm also bracing myself in case it ultimately remains unexplained.
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