uella Magi Madoka Magica

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Puella Magi Madoka Magica
MadokaBD.jpg
Volume 1 DVD cover, featuring Madoka Kaname (right) and Homura Akemi (left)
???????????
(Maho Shojo Madoka Magika)
Genre
Dark fantasy[1]
Magical girl[2]
Psychological thriller[3]
Created by
Magica Quartet:
Akiyuki Shinbo
Atsuhiro Iwakami
Gen Urobuchi
Ume Aoki
Anime television series
Directed by
Yukihiro Miyamoto
Akiyuki Shinbo
Produced by
Atsuhiro Iwakami
Yoshinao Doi
Osamu Hosokawa
Kozue Kaneniwa
Ikuo Kato
Hiroo Maruyama
Written by Gen Urobuchi
Music by Yuki Kajiura
Studio Shaft
Licensed by
AUS
Madman Entertainment
NA
Aniplex of America
UK
Manga Entertainment
Original network MBS, TBS, CBC
English network
AU
ABC3
NA
Neon Alley
Original run January 7, 2011 � April 21, 2011
Episodes 12 (List of episodes)
Manga
Puella Magi Madoka Magica
Puella Magi Kazumi Magica: The Innocent Malice
Puella Magi Oriko Magica
Puella Magi Madoka Magica: The Different Story
Puella Magi Madoka Magica: Homura's Revenge!
Puella Magi Oriko Magica: Extra Story
Puella Magi Homura Tamura
Puella Magi Madoka Magica the Movie: Rebellion
Puella Magi Suzune Magica
Puella Magi Tart Magica: The Legend of Jeanne d'Arc
Puella Magi Oriko Magica: Sadness Prayer
Puella Magi Madoka Magica: Wraith Arc
Novel
Written by Hajime Ninomae
Illustrated by Yupon
Published by Nitroplus Books
Published August 14, 2011
Game
Puella Magi Madoka Magica Portable
Developer Banpresto
Publisher Namco Bandai Games, Nitroplus
Genre Adventure game, RPG
Platform PlayStation Portable
Released March 15, 2012
Game
Puella Magi Madoka Magica: The Battle Pentagram
Developer Artdink
Publisher Namco Bandai Games
Genre Action game
Platform PlayStation Vita
Released December 19, 2013
Other
Puella Magi Madoka Magica (film series)
Magia Record (spin-off)
Wikipe-tan face.svg Anime and manga portal
Puella Magi Madoka Magica (Japanese: ???????????, Hepburn: Maho Shojo Madoka
Magika), also known simply as Madoka Magica, is a 2011 Japanese anime television
series created by Magica Quartet (an artist collective consisting of director
Akiyuki Shinbo, screenwriter Gen Urobuchi, original character designer Ume Aoki,
and producer Atsuhiro Iwakami) and animated by Shaft. The story follows a group of
middle school girls, led by protagonist Madoka Kaname, who make supernatural
contracts to become magical girls (maho shojo). In battling surreal enemies known
as "witches", they learn of the anguish and peril associated with their new roles.

The first ten episodes of the series aired in Japan on TBS and MBS between January
and March 2011, while the final two episodes were delayed until April 2011 due to
the 2011 Tohoku earthquake and tsunami. A manga adaptation of the anime and various
spin-off manga have been published by Houbunsha and licensed in North America by
Yen Press. A novelization by Nitroplus was released in August 2011, and a dedicated
magazine, Manga Time Kirara Magica, was launched by Houbunsha in June 2012. A video
game for the PlayStation Portable was released in March 2012 and another for
PlayStation Vita was released in December 2013. An anime film series, beginning
with two films recapping the television series, was released in October 2012. A
third film featuring an original story, Rebellion, was released in October 2013,
and a concept film acting as a trailer for a new project was screened in December
2015. A smartphone game, Magia Record, launched in August 2017, and an anime
adaptation produced by Shaft aired from January to March 2020; a second anime
season is in production.

Puella Magi Madoka Magica has received widespread critical acclaim, with praise for
its complex narrative, visuals, themes, and soundtrack as well as its
unconventional approach to the magical girl subgenre. It became a commercial
success; each Blu-ray Disc volume sold more than 50,000 copies in Japan. The series
garnered a variety of awards, such as the Television Award at the 16th Animation
Kobe Awards, as well as 12 Newtype Anime Awards and the Grand Prize for animation
in the 2011 Japan Media Arts awards.

Contents
1 Plot
2 Production
2.1 Writing
2.2 Character design
2.3 Music
3 Broadcast and distribution
4 Related media
4.1 Films
4.2 Print media
4.3 Video games
5 Reception
5.1 Critical reception
5.2 Sales and accolades
5.3 Legacy
6 References
7 Further reading
8 External links
Plot
See also: List of Puella Magi Madoka Magica characters
In the fictional city of Mitakihara, Japan, a middle school student named Madoka
Kaname and her friend Sayaka Miki encounter a small, cat-like creature named
Kyubey. It offers a contract in which a girl may have any wish granted in exchange
for obtaining magical powers and being tasked with fighting witches. Meanwhile, a
transfer student and magical girl named Homura Akemi tries to stop Madoka from
making the contract with Kyubey. Madoka and Sayaka then meet Mami Tomoe, an
upperclassman at the same school who is also a magical girl. Noticing their
indecisiveness on whether to become a magical girl, Mami offers to take Madoka and
Sayaka along on her witch hunts so they may learn of the responsibilities that come
with being a magical girl.[4]

However, after witnessing Mami's death at the hands of a witch, Madoka realizes the
life of a magical girl is filled with danger, anguish, and suffering.[5] This is
further enforced by the appearance of Kyoko Sakura, a veteran magical girl whose
wish indirectly caused the death of her family. Madoka also discovers magical girls
give up their souls to form their Soul Gems, the source of their magic, and that
when Soul Gems become too tainted with despair, magical girls change into witches.

Sayaka decides to become a magical girl after learning that doing so would allow
her to heal a young musician who she admires. However, her classmate Hitomi Shizuki
confesses to him first, causing Sayaka to become disillusioned and fall into an
inescapable despair that turns her into a witch.[6] Kyubey reveals to Madoka that
he is of an alien race that has been harvesting the emotions of magical girls for
centuries to use as energy to counteract the spread of entropy, and thus stave off
the heat death of the universe. Madoka also learns that Homura is a magical girl
from a different timeline who has repeated the same month countless times to try to
save Madoka from a grisly fate.

Madoka and Kyoko attempt to reverse Sayaka's transformation, but the plan fails and
Kyoko is forced to sacrifice herself to allow Madoka to escape, leaving Homura as
the only remaining magical girl. Following this, an extremely powerful witch known
as Walpurgisnacht approaches the city. Homura attempts to stop it, but is defeated.
She prepares to rewind time to repeat the month again, but Madoka stops her. With
the past month's events in mind, Madoka decides to become a magical girl and makes
a wish to stop the creation of all witches in the past, present, and future. The
scope of this wish rewrites history and the laws of the universe, and her existence
as a human is erased from time. She transcends into a cosmic phenomenon called "The
Law of Cycles", which appears to all magical girls at the moment before they become
witches and rescues them by taking them to a heavenly paradise. A new reality, in
which Homura is the only one who remembers Madoka, is formed.[7] Homura vows to
continue fighting in honor of Madoka.
Production
While collaborating on Hidamari Sketch and Bakemonogatari, Akiyuki Shinbo told
Aniplex producer Atsuhiro Iwakami he wanted to create a new magical girl series,
beginning the development of Puella Magi Madoka Magica. During the early planning
stage, Iwakami decided not to adapt an existing work to give Shinbo more freedom in
his direction style.[8] Another goal of the project was to develop an anime that
would appeal to a wider audience than the usual demographic for media within the
magical girl subgenre. Iwakami and Shinbo intended their series to be accessible to
"the general anime fan".[9] Shinbo then asked Gen Urobuchi to work on the project
as a scriptwriter and Ume Aoki as original character designer.[8] Takahiro Kishida
was engaged to adapt Aoki's character designs for the television series.[10]

In his role as producer, Iwakami took a mostly hands-off approach. Because Puella
Magi Madoka Magica is an original series rather than an adaptation of an existing
work, his main goal was "coming up with a high-quality piece of entertainment".
After helping to recruit the staff, he allowed them freedom to develop the content
of the story, providing minimal guidance. After viewing the character designs that
Aoki created, he was sure he could trust the creative talent of the team. In an
interview with Anime News Network after the series finished airing in Japan,
Iwakami said, "I don't matter much; it's up to those talents to do their work. If
something comes to a stand-still I might intervene, but they did an excellent job
and I was very happy seeing the results in episode one."[9]

Writing
During the pre-writing planning phase, Iwakami asked Urobuchi to make the storyline
"heavy".[9] Shinbo specified it should contain copious amounts of blood and
violence, elements that were unusual in the magical girl genre. Iwakami also asked
for many of the magical girl characters to be killed throughout the series.[11]
Urobuchi said he had no trouble with these requirements, referencing his past
reputation as a writer of very dark and somber stories, the extent of which Shinbo
had not known.[12]

One objective was for the script to contrast starkly with the way the anime was to
be marketed. Shinbo planned to advertise the series in an innocent and pure manner
that would deliberately conceal its dark undertones.[13] For example, the title
logo was rendered using rounded fonts that would appear harmless to audiences.
Urobuchi further misled fans by using his Twitter account to persuade them the plot
of the series was innocuous. The true nature of the series was disguised because
Shinbo wanted its dark themes to be a complete surprise to the viewers.[12] Iwakami
later defended the mature themes in the Puella Magi Madoka Magica, stating, "the
story of Madoka is serious but it's not entirely inappropriate for children. For
example, there's nothing sexually explicit in it. There's some death, but it's not
gratuitous; it can be explained within the context of the story."[9]

Shinbo granted Urobuchi a large amount of autonomy in writing the series and
determining the path of the story.[14] In describing his interactions with Iwakami
and Shinbo while working on the series, Urobuchi commented that "neither one is the
type to show their hand, they would always wait for me to make the next move".[15]
To create a successful deconstruction of the magical girl genre, Urobuchi studied
aspects of traditional magical girl media that were "troubling or overlooked".[11]
He also stated the plot development was heavily influenced by the character
drawings by Aoki. He also credited horror fiction author Stephen King and Shinbo's
previous projects such as Hidamari Sketch and Magical Girl Lyrical Nanoha as
inspirations for the series.[14]

Urobuchi attributed his past experience working on projects with screenwriters

Ichiro Itano and Yosuke Kuroda as a major influence in his writing for Puella Magi
Madoka Magica, and has referred to both of them as his mentors.[15] To set the
initial pacing of the series, Urobuchi used a technique he credited to Kuroda. The
first episode would throw the viewer into a specific part of the story with unknown
context, the second episode would define the rules governing the story's setting,
and the third episode would divulge the revelation in the plot to hook the viewer.
[14] The twist in the third episode was determined during the project proposal
stage and involves the death of Mami, a main character. This decision was
controversial; Urobuchi said production staff continually approached him and asked
him to reconsider because of their fondness for the character. He refused and the
plot remained unchanged during production. Urobuchi realized this progression could
be very hard for viewers to accept and might hurt the overall series' success with
some audiences; he said, "I always thought this is an age where entertainment
basically is about soothing and healing, like adopting a style where unchanging
day-to-day life is to continue forever".[13]

In an interview with Ultra Jump Egg, Urobuchi gave insight into his writing
philosophy, stating that he believed the overarching plot of a story was more
important than the characters in it. He said he would first determine the actions
and the ultimate fate of a character before even assigning it a name, and
contrasted this with other writing methods that first focused on developing the
characters and then creating a storyline for them to follow. He again defended his
decision to have Mami die, saying this could have the effect of making the
character more memorable, saying, "I think there are quite many characters who
became immortal exactly because they died, like Caesar Zeppeli in JoJo's Bizarre
Adventure or Raoh in Fist of the North Star. Precisely because of the way they
died, they were able to live forever."[13]

Character design

From left to right: Kyoko Sakura, Sayaka Miki, Madoka Kaname, Kyubey (in lap),
Homura Akemi (standing), and Mami Tomoe
Urobuchi stated that Sayaka was his favorite character overall and said her
plotline was the most enjoyable to write.[16] Because of her grim fate by the end
of the series, a destiny that Shinbo believed was slightly unfair, he asked
Urobuchi if it was possible to change the plot so Sayaka could be spared. Urobuchi
declined, saying her death was integral to the overarching story.[15] Shinbo then
asked if she could be brought back to life, saying he had become very attached to
the character. Urobuchi again refused, saying this would be impossible because of
the already-established rules governing the story.[9] Shinbo acquiesced to this but
said he believed there may have been too large a burden placed on the characters
who were young, middle-school girls.[15]

The alien character Kyubey was also envisioned and designed by Urobuchi. Iwakami
stated that as one of the primary antagonists in the series, "the mash-up of
cuteness and darkness is the central theme to Madoka, and Kyubey is an epitome of
that theme".[9] A central goal in Urobuchi's writing was to highlight the moral and
ethical dissonance between Kyubey and the young middle school girls, which was done
through actions such as Kyubey eating its own corpse to recycle energy.[14] He
compared the character to monsters in the works of horror fiction author H. P.
Lovecraft, commenting of Kyubey: "he isn't evil, it is his lack of feelings that
make him scary".[17] Urobuchi also remarked upon the moral ambiguity the series
displays in an interview with Asahi Shimbun, stating "Al-Qaeda brought down the
Twin Towers due to their self-righteousness. Justice for some people is an evil for
others. Good intentions, kindness, and hope will not necessarily make people
happy."[11]

Due to unforeseen scheduling problems with Shaft, production of the series was
postponed for three years following the completion of its writing. Once the issues
were resolved, production began without further complications.[9] The animation
studio led the conception and design of the witches, and created each one's
individual backstory.[15] Urobuchi had originally envisioned the witches to be
similar to conventional monsters such as Godzilla, but upon seeing the surreal
concept art for one of the main witches, Walpurgis Night, he said; "How can Homura
possibly fight against something like this?" Designers from Shaft added quotations
from the German folklorist Faust to the series.[16] Throughout production, the
animation production team Gekidan Inu Curry had freedom to insert new details and
to modify existing ones from the original script; for example, during a scene in
the final episode in which the team added black wings to Homura�something that was
not included in Urobuchi's writing. Urobuchi praised this aspect of the production,
commenting, "additions by the animation production team added more mystery and
depth to [the] characters, and without them, it would have been very difficult to
write any further stories in the world of the series".[14]

Music
Iwakami and Shinbo recruited Yuki Kajiura to compose the soundtrack for the series
after Urobuchi recommended her. Shinbo had previously worked with Kajiura on Le
Portrait de Petit Cossette; Urobuchi told of the inspirational effect the music
from that series had on him while writing parts of the script. Urobuchi said he had
long been a fan of Kajiura's anime soundtracks and praised her work ethic, saying
she would always familiarize herself with the story's plotline while composing for
it.[15] Japanese pop music duo ClariS was also commissioned to perform the series'
opening theme "Connect" (????, Konekuto).[18] Iwakami involved himself in the
song's development to ensure it would fit with the series, marking one of the few
times he intervened in an aspect of the production.[9] Both "Connect" and the
ending theme "Magia" by Kalafina were revealed in a television commercial several
weeks before the series' premiere in Japan.[18]

Broadcast and distribution

See also: List of Puella Magi Madoka Magica episodes

Blu-ray Box Set for the anime series.

On January 7, 2011, Puella Magi Madoka Magica debuted on Mainichi Broadcasting
System (MBS), Tokyo Broadcasting System (TBS), and Chubu-Nippon Broadcasting (CBC)
in Japan.[19] The first ten episodes aired weekly without interruption and were
made available for streaming on Nico Nico Douga and BIGLOBE's Anime One service.
That March, the planned broadcasts of the last two episodes were halted because of
the 2011 Tohoku earthquake and tsunami; TBS also canceled its scheduled airing of
the 10th episode so it could provide more news coverage of the natural disaster.
[20]

Urobuchi apologized to viewers for the delays; he also said the postponements could
be viewed in a positive light because they alleviated some production pressures on
animation studio Shaft because of the tight broadcast schedule. Citing particularly
challenging drawings for episodes 11 and 12, Urobuchi and Iwakami planned to have
Shaft continue to improve the episodes up until their rescheduled broadcasts.
According to Urobuchi if episode 11 had been aired in its current state as
scheduled, the result would likely have been disappointing.[20] On March 23, 2011,
the broadcast for the rest of the series was indefinitely delayed but the
production team reported that they were continuing to work on the episodes and
announced their intention to finish airing the series by April.[21] On April 10,
2011, the official website for Puella Magi Madoka Magica announced that broadcasts
would resume on April 21. Episodes 11 and 12 aired back-to-back on MBS while TBS
and CBC ran episode 10 together with episodes 11 and 12.[22]

Iwakami later commented on this unique production experience in an interview with

Anime News Network. He said Shaft was always pressed for time during the production
process and only just completed each episode before its air time. After the
earthquake and tsunami, he stated that many of the company's staff were upset by
the incident and were unable to work effectively on episodes 11 and 12. He said,
however, "a week went by, and two weeks went by, and the staff started saying that
they couldn't stay in shock forever, that they had to keep on going, and then
production continued".[9]

The series was released on six Blu-ray Disc (BD) and DVD volumes between April 27
and September 21, 2011, having been delayed by the earthquake from the original
release date of March 30, 2011.[21][23] Drama CDs were included with the first,
third, and fifth BD/DVD volumes. The sixth and final volume released on September
21, 2011, contains a director's edit of episode 12.[24] The series began streaming
on Crunchyroll on February 15, 2012, as well as on Hulu and Crackle.[25][26]

Aniplex of America released the series in North America, including an English dub,
in three BD and DVD volumes released between February 14 and June 12, 2012. Aniplex
also released limited editions containing the original soundtrack CDs and special
items.[27][28][29] Manga Entertainment licensed the series in the United Kingdom
and released it on October 29, 2012 on BD and DVD in a complete collection.[30][31]
[32][33] Madman Entertainment licensed the series in Australia, where it was
broadcast on the children's channel ABC3 on June 29, 2013, following an early
preview on January 6.[34][35] The dubbed series began streaming on Viz Media's
streaming service Neon Alley in late 2013.[36]

On September 1, 2018, a new television anime series based on the smartphone game
Magia Record was announced. It was originally scheduled to being airing in 2019,
[37] but it was delayed to a January 2020 premiere.[38] It began airing on January
4, 2020.

Related media
Films
Main article: Puella Magi Madoka Magica: The Movie
In November 2011, it was announced in the December issue of Kadokawa Shoten's
Newtype magazine that Shaft was developing a three-part theatrical film project.
[39] The first two films, titled Beginnings (??????, Hajimari no Monogatari) and
Eternal (?????, Eien no Monogatari), are compilations of the anime television
series featuring re-recorded voices and some new animation. The first film, which
covers the first eight episodes of the television series,[3] was released in
theaters on October 6, 2012, while the second film, which covers the last four
episodes, was released on October 13, 2012.[40] The first two films were screened
in selected locations in the United States and seven other countries between
October 2012 and February 2013;[41][42] they were also screened at Anime Festival
Asia between November 10 and 11, 2012, in Singapore.[43] The two films were
released on Blu-ray Disc and DVD on July 30, 2013, in standard and collector's
edition sets and is being made available for import by Aniplex of America.[44] The
third film, titled Rebellion (?????, Hangyaku no Monogatari), features a new story
written by Urobuchi and acts as a sequel in the television series. It was released
to Japanese theaters on October 26, 2013.[45][46][47] The film received a North
American imported release on December 3, 2013.[48] The first and second films were
re-released with an English dub on July 15, 2014.[49]

A short concept film for a new story, described as a "movie-based image board", was
debuted at Shaft's anniversary exhibition Madogatari on November 27, 2015.[50]
Shaft representative director and president Mitsutoshi Kubota later confirmed in an
interview in Newtype that the concept film will launch a new Puella Magi Madoka
Magica project.[51]

Print media
See also: List of Puella Magi Madoka Magica chapters
Houbunsha has published several manga series based on Puella Magi Madoka Magica. A
direct adaptation of the anime series was illustrated by Hanokage and published in
three four-chapter tankobon volumes that were released between February 12 and May
30, 2011.[52][53] The manga has been licensed in North America by Yen Press.[54] A
side story manga titled Puella Magi Kazumi Magica: The Innocent Malice
(????????????The innocent malice?, Maho Shojo Kazumi Magika: The Innocent Malice),
which was written by Masaki Hiramatsu and illustrated by Takashi Tensugi, was
serialized in Manga Time Kirara Forward between March 2011 and January 2013.[52]
[55] A third manga titled Puella Magi Oriko Magica (???????????, Maho Shojo Oriko
Magika), which was written by Kuroe Mura, was released in two tankobon volumes on
May 12, 2011, and June 12, 2011.[52] Both Kazumi Magica and Oriko Magica have been
licensed by Yen Press in North America.[56] The first volume of Kazumi Magica was
released in May 2013.[57] Puella Magi Madoka Magica: Wraith Arc (???????????[???]),
which was written and illustrated by Hanokage, began serialization in the 20th
issue of Manga Time Kirara Magica released on June 10, 2015. The plot describes the
events that happened between Puella Magi Madoka Magica the Movie: Eternal and
Puella Magi Madoka Magica the Movie: Rebellion.[58]

The first volume of an official anthology comic featuring illustrations by guest

artists was released on September 12, 2011.[59] A dedicated monthly magazine
published by Houbunsha and titled Manga Time Kirara Magica (?????????????, Manga
Taimu Kirara Magika) was launched on June 8, 2012; it features various manga
stories, including spin-off stories of Oriko Magica.[60] A film comic adaptation of
the series titled Puella Magi Madoka Magica: Film Memories went on sale on May 26,
2012.[61] Puella Magi Madoka Magica: The Different Story, another manga by
Hanokage, was published in three tankobon volumes between October 12 and November
12, 2012,[62][63][64] and was licensed by Yen Press in 2014.[65] The first volume
of Puella Magi Suzune Magica (???????????), which was written and illustrated by
Gan, was released on November 12, 2013, before being serialized in Manga Time
Kirara Magica on November 22, 2013.[66] Puella Magi Homura Tamura (???????????),
which was written and illustrated by Afro, is serialized in Manga Time Kirara
Magica; its first volume was released in October 2013 and was licensed by Yen
Press.[67] Puella Magi Homura's Revenge! (??????????? ???????!), written by
Kawazukuu and illustrated by Masugitsune, was serialized in Manga Time Kirara
Magica and released two volumes in December 2013; Yen Press licensed the manga.[67]

Hajime Ninomae wrote a novel adaptation of the series that was illustrated by Yupon
and published by Nitroplus on August 14, 2011.[68] Pre-release copies were
available at Comiket 80 on August 12, 2011.[69] A book titled Puella Magi Madoka
Magica: The Beginning Story, which is based on Gen Urobuchi's original draft
treatment for the anime, was released in November 2011.[70]

Video games
A video game based on the series titled Puella Magi Madoka Magica Portable
(??????????? ?????, Maho Shojo Madoka Magika Potaburu) and designed for the
PlayStation Portable was released by Namco Bandai Games on March 15, 2012. The game
allows players to take many routes and change the ending of the story.[71] Urobuchi
returned as the writer and Shaft animated the title, while Yusuke Tomizawa and
Yoshinao Doi produced it.[72] The game was released in two editions; a standard box
including a bonus DVD, and a limited edition box containing a Madoka Figma, a bonus
Blu-ray Disc, a Kyubey pouch, a 'HomuHomu' handkerchief and a special clear card.
[73]

An action game for the PlayStation Vita titled Puella Magi Madoka Magica: The
Battle Pentagram (??????????The Battle Pentagram) was developed by Artdink and
published by Namco Bandai Games, and was released in Japan on December 19, 2013.
[74][75] The game features an original story that was created with guidance from
Urobuchi in which all five magical girls team up to defeat a powerful witch called
Walpurgis Night.[76] Upon release, a limited edition version that included codes
for additional in-game costumes and merchandise such as a CD copy of the game's
soundtrack and an art book, was also on sale.[74]
A free smartphone application called Mami's Heart Pounding Tiro Finale
(???????????????, Mami no Doki Doki Tiro Finare) was released on October 14, 2011.
[77] A third-person shooter (TPS) titled Puella Magi Madoka Magica TPS featuring
Homura Akemi was released for Android devices in December 2011.[78] A second TPS
title featuring Mami was released in August 2012[79] and a third featuring Sayaka
and Kyoko was released on October 16, 2012.[80] A puzzle game for iOS devices
titled Puella Magi Madoka Magica Puzzle of Memories was released on March 29, 2013.
[81]

Costumes from Puella Magi Madoka Magica, alongside content based on other anime and
games, are available in Japan as downloadable content (DLC) for the PSP game Gods
Eater Burst.[82] Costumes and accessories are also available as DLC for Tales of
Xillia 2,[83] and were available for Phantasy Star Online 2 in October 2013.[84]
Another collaboration with the mobile game Phantom of the Kill took place for an
event that ran from August 8, 2015 to September 21, 2015. During that campaign,
players had a chance of obtaining playable Madoka characters through in-game
lotteries. Puella Magi Madoka Magica-themed missions, weapons and items were also
available at that time.[85]

A pachinko game titled Slot Puella Magi Madoka Magica was released in 2013, and a
second pachinko game titled Slot Puella Magi Madoka Magica 2 was released in 2016.
Slot Puella Magi Madoka Magica 2 features the song "Naturally" by Aoi Yuki and Eri
Kitamura.[86] Also in 2016, the smartphone game Girl Friend Beta announced a
collaboration with Puella Magi Madoka Magica in which players got a Madoka card as
a log-in bonus.[87]

A smartphone game called Magia Record: Puella Magi Madoka Magica Side Story, was
released in Japan on August 22, 2017.[88][89][90] The game features a new
protagonist named Iroha Tamaki, who arrives in Kamihama City to search for her
missing sister. The game features the theme song "Kakawari" (????, "Connection") by
TrySail.[91] An anime adaptation of the game premiered on January 4, 2020.[38]

Reception
Critical reception
Puella Magi Madoka Magica has received widespread critical acclaim. Masaki Tsuji
lauded the series' world building and narrative as well as the character
development, and called the series groundbreaking. Masaki went on to say that
Madoka Magica has reached a "level of perfection", and noted that the series is
worthy of people's admiration.[92] UK Anime Network's Andy Hanley rated the anime
10 out of 10 and lauded it for its deeply emotional content, and described it as
immersive and filled with grandiose visuals along with an evocative soundtrack. He
recommended watching it several times to fully comprehend the complex and multi-
layered plot. Hanley called it the greatest television anime series of the 21st
century thus far.[93] Scott Green of Ain't It Cool News called the series "hugely
admirable"; he praised the animation team's attention to detail, stating that the
series "would not work nearly as well if the characters in general and as magical
girls specifically weren't presented so spectacularly winningly by the production".
Green also said he would highly recommend Puella Magi Madoka Magica to anyone with
an interest in anime.[94]

Michael Pementel of Bloody Disgusting called Madoka Magica a "fascinating work",

and lauded its dark atmosphere and horror elements. Pementel highly praised the
show's aesthetics and wrote that the "pacing in revealing twists" is one of the
"show�s most exceptional qualities" and also commended the characters tragic
arc�particularly Sayaka and Homura. He further praised the series for offering
"unique, grim twist that not only seeps the show in despair, but subverts the
subgenre", concluding that Madoka Magica "stands as one of the best works of anime
horror, presenting characters that must strive to find hope through profound
darkness."[95]
T.H.E.M. Anime reviewer Tim Jones criticized the show's "weak character
development" but also called it "beautiful, well-written, and surprisingly dark",
and gave it four out of five stars. Jones also commended the unique animation and
design of the backdrops shown during witch fights, which he described as "surreal,
beautiful, [and] trippy".[96] In his review of the three BD volumes of the anime
series, Zac Bertschy of Anime News Network characterized the story as very
emotionally dark and "one of the most ambitious and beautiful anime series in
recent memory." He awarded each of the volumes ratings of A or A+ overall.[97][98]
[99] Awarding the series five stars out of five, Common Sense Media wrote that the
"animation style is full of fluid motion and attention to detail that makes it a
uniquely pleasurable experience to watch" and "the main characters [are] well
developed and its hard not to get attached to them as the story progresses".[100]

Reviewers highly praised the series' darker approach to the popular magical girl
subgenre in Japanese anime and manga. In its review of the series, the staff at
Japanator said this trope "added a level of depth and complexity to the genre that
we haven�t ever seen, and I don�t think we will see again ... [a]dding on that
dressing gave the show a more perverse and cruel feeling to it, making it all the
more compelling to watch".[101] Liz Ohanesian of LA Weekly attributed the series'
popularity with older, male audiences�an otherwise unusual demographic to the
genre�to the genre deconstruction of Puella Magi Madoka Magica. She also commented
on the series' cultural impact, writing that in Japan and the US there has been
incredible fan interest for the series. She credited the all-star crew including
writer Urobuchi, director Shinbo, and the Shaft animation studio as "hitmakers" and
described the anime as "a series designed for acclaim".[102] TechnologyTell's Jenni
Lada wrote that the show's external appearance belied its true "darker and more
twisted" essence. She recommended viewers watch at least three episodes to discover
the series' true nature.[103]

According to Sara Cleto and Erin Bah, the subversion of the magical girl genre
"draw[s] attention to the question of narrative power"�particularly in the use of
alternative timelines�as the characters fight for their survival.[104] Production
I.G's Katsuyuki Motohiro watched Puella Magi Madoka Magica after hearing opinions
that it exceeded Neon Genesis Evangelion. Upon viewing the series, he was "amazed
that there was a person who could write such a work" and began analyzing Urobuchi's
other works; he was motivated to ask Urobuchi to write the crime thriller Psycho-
Pass.[105] In issue 103 of Neo, journalist Matt Kamen wrote, "With its daring
approach to a dated genre, Puella Magi Madoka Magica essentially does for magical
girls what Neon Genesis Evangelion did for giant robots".[106] Writing for Kotaku,
critic Richard Eisenbeis hailed the series as "one of the best anime" and wrote,
"It deconstructs the magical girl genre and builds an emotional narrative filled
with memorable characters".[107] Joshua Greenberg of The Daily Bruin described it
as "a creepy, deconstructionist take on the [magical girl] genre."[108]

Sales and accolades

The first BD volume sold 53,000 copies in its first week, 22,000 of which were sold
on its first day, breaking the record held by the sixth BD volume of
Bakemonogatari.[109] The second volume sold 54,000 copies, breaking the first
volume's record.[110] Each subsequent volume sold over 50,000 copies in their first
week.[111][112] This was despite controversy over the pricing of the volumes, which
some considered to be unfairly high. The staff at Japanator stated they could not
recommend the volume to their readers due to the prohibitive cost.[101] Bertschy
concurred, writing that the "limited episode count and high price of entry make the
show inaccessible to an audience unwilling to shell out".[97] The 2017 compilation
album Puella Magi Madoka Magica Ultimate Best ranked at No. 4 on Oricon's weekly
albums chart, having sold over 13,500 copies.[113] By the end of 2017, Ultimate
Best was the 29th best-selling anime CD album of the year.[114]
Japanese newspaper Nihon Keizai Shimbun reported that Puella Magi Madoka Magica had
grossed over �40 billion from the sales of related goods within two years of its
release.[115] A live broadcast of the entire series was streamed on Nico Nico Douga
on June 18, 2011, garnering around a million viewers, surpassing the previous
streaming audience record of 570,000 held by Lucky Star.[116] According to Google
Zeitgeist, Madoka Magica was the most-searched and fastest-rising search query in
the anime category of 2011.[117]

The show won the Television Award at the 16th Animation Kobe Awards[118] as well as
12 Newtype Anime Awards[119] and the Grand Prize for animation in the 2011 Japan
Media Arts awards, making it the first and only original anime television ever to
win this award with the jury describing the series in their justification as "an
outstanding animation with an ingenious magical scenario" and commended the
"ambitious" show for "skillfully setting critical traps that shook the very
foundations of the genre".[120][121] It was nominated for the 32nd Nihon SF Taisho
Award[122] and won the 2011 Bronze Prize for Kyubey's catchphrase.[123] It also won
three Tokyo Anime Awards in the Television Category, Best Director and Best
Screenplay,[124] and the Selection Committee Special Prize award at the 2012
Licensing of the Year awards.[125] Madoka Magica was awarded a Seiun Award for
"Best Media" at the 2012 Japan Science Fiction Convention[126] and was also awarded
a Sisterhood Prize for the Sense of Gender Awards.[127] It also won the 2012 UK
Anime Network Reader's Choice Award.[128] In 2015, the show was awarded the
inaugural Sugoi Japan Grand Prix; Japan's nationwide vote for manga, anime, and
novels considered as cultural assets that have the potential to be beloved all over
the world, among all of the works published since 2005.[129] In 2017, Madoka Magica
was selected as the best anime of 2011 by the Tokyo Anime Award Festival.[130]

Puella Magi Madoka Magica is considered as one of the best anime of the 2010s by
several publications, that includes Polygon,[131] Thrillist,[132] Looper,[133] IGN,
[134] Crunchyroll[135] and Anime UK News.[136] The Brazilian website Legiao Dos
Herois listed the series as one of "10 most successful anime" of 2010s.[137]

Award/Category Recipient Result

Legacy
The radio station Tokyo FM reported that Puella Magi Madoka Magica has developed
into a social phenomenon in Japan.[141] Toussaint Egan of Paste magazine stated
that the series was "widely celebrated by fans and critics alike" upon its release
and that the show is "a postmodern reconfiguration of genre tropes rife with plot
twists and existential malaise on a cosmic horror level".[142] The Spanish film
director Carlos Vermut [es] has cited Madoka Magica as a large influence on his
2014 film Magical Girl.[143] The series was referenced in the HBO series Euphoria.
[144] Anime director Hiroyuki Imaishi said that darker-toned series like Madoka
Magica are an "industry trend".[145] The series also inspired a Nigerian magical
girl franchise, Adorned by Chi.[146]

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Further reading
Shen, Lien Fan (April 4, 2014). "The Dark, Twisted Magical Girls: Shojo Heroines in
Puella Magi Madoka Magica". Heroines of Film and Television: 177�187.
Saito, Kumiko (2014). "Magic, Shojo, and Metamorphosis: Magical Girl Anime and the
Challenges of Changing Gender Identities in Japanese Society". The Journal of Asian
Studies. 73: 143�164. doi:10.1017/s0021911813001708.
Howard, Christopher (December 2014). "The ethics of Sekai-kei: reading Hiroki Azuma
with Slavoj Zizek - Academic OneFile.Puella Magi Madoka Magica". Science Fiction
Film and Television. 7. doi:10.3828/sfftv.2014.21.
A. Blue, Jed (March 2015). "The Very Soil: An Unauthorized Critical Study of Puella
Magi Madoka Magica". Kobo Inc.
Verret, Rachael (June 10, 2015). "Psychopathy, Feminism, and Narrative Agency in
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External links
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Official PSP game website (in Japanese)
Puella Magi Madoka Magica: The Battle Pentagram official website (in Japanese)
Puella Magi Madoka Magica at Aniplex of America
Puella Magi Madoka Magica (anime) at Anime News Network's encyclopedia
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