Summary

Editorial .....................................................p.5 Interviews

Thomas Astruc, director/writer..........p.36
Pitch ..........................................................p.7 Sébastien Thibaudeau, writing
director............................................... p.40
The Characters Nathanaël Bronn, graphic
Marinette......................................p.9 designer..............................................p.44
Ladybug........................................p.11 Aton Soumache, Jeremy Zag, Ryuji
Adrien...........................................p.13 Kochi and Kim Suhoon, producers.... p.48
Chat Noir..................................... p.15
Papillon........................................p.17 Digital/Diversification......................................p.52
The Supervillains..........................p.19
The Classmates............................p.20
Alya...............................................p.23
Chloé.............................................p.25
The Parents...................................p.27

Setting
Paris (monuments)...................... p.28
The Neighbourhood......................p.29
The Grand Paris and the School... p.30
The Bakery....................................p.31
The Mansion.................................p.33

Target: Ages 6-10

Format: 24 episodes (26 minutes)
1 double episode (44 minutes)
Genre: Action, Adventure, Comedy
3
 Editorial
Miraculous immediately captivated us!

It all started with a visual from MIPCom a few years ago: Two masked heroes with Paris and the Eiffel Tower in
the background. In a split second all was said! The promise of adventure mixed with mystery and superheroes
was clear... The concept of a masked heroine with a double life full of secrets and misunderstandings also
promised a good portion of comedy. Finally, Paris, treated like a character in itself, offered a splendid playing
field!

Ladybug is a very relatable heroine: I'm sure that she will appeal to the girls of today who, like her, are
romantic, while dreaming of adventure. The action and intrigue present in the series will also appeal to boys.

In terms of production quality, the challenge and the expectations were high.
It is a success, never seen before on an animated series! It's an achievement,
seen never before in an animated series! Each episode is a true small movie.
An exceptional work that owes much to the unique combination of talented
partners: Zagtoon's artistic team, Method Animation, SAMG and Toei
animation, a global benchmark of animation for the first time
involved in a European co-production. For us, it's a great
pride to have been part of this wonderful project. We're
eager to introduce it to our young viewers.

Yann Labasque
Director of Youth Programming on TF1

5
 Pitch
Marinette and Adrien are two students (almost) like any other.

At the slightest threat to Paris, they become Ladybug and Chat Noir. Their
mission: To capture Papillon's Akumas that transform the citizens of Paris into
supervillains.

The two heroes team up, each unaware of the other's identity: Marinette doesn't
know that behind Chat Noir is Adrien, the boy she secretly loves; And Adrien,
whose heart beats for Ladybug, is unaware that hidden underneath the
superheroine's costume is his nice, but airheaded, classmate.

7
 The characters

Marinette
Always cheerful and ready to help, lively and positive, Marinette is a real ray of
sunshine for everyone around her.

Her passion in life is fashion. Imaginative and hands-on, she constantly creates new
clothes. But she's also Miss Catastrophe!

Impulsive and constantly late, she often acts without thinking. And like all girls in
her school, Marinette has her eyes on Adrien, the son of Gabriel Agreste, the
famous fashion designer. The only problem: As soon as she talks to him, her legs
shake and she loses all ability to think!

9
 The characters

... alias Ladybug

But behind the appearance of a clumsy girl is the mask of the confident and
determined superheroine: Ladybug. To transform, Marinette uses her ladybug
earrings (her miraculous) at its kwami, a small red and black creature who goes by
the name Tikki.

This partner, calm and collected, helps in her missions. Accompanied by Chat Noir,
Ladybug thwarts the plans of the evil Papillon and captures his Akumas.

11
 The characters

Adrien
Adrien is THE perfect boy: Handsome, kind and famous, he often poses for his
father's advertisements. Evidently, every girl is crazy about him! Although others
admire and envy him, Adrien dreams of only one thing: To be like all the students at
his age.

Long kept at home by his father who wanted to protect him from the dangers
outside, he was enrolled in school recently. Always followed closely by his
bodyguard or his father's assistant, Adrien aspires to have more freedom.

13
 The characters

... alias Chat Noir

A freedom he can enjoy in peace when he becomes Chat Noir! He transforms thanks
to his magical signet ring (his miraculous). In his superhero form, he leads the life
he wants. And he closely follows Ladybug, whom he loves. To impress her, he's
often boastful... and the cause of the worst catastrophes!

At his side, Plagg, his spiteful kwami,

lazy and grumpy, doesn't always help
seriously.

15
 The characters

Le Papillon
The villain among villains, Papillon hides in a mysterious place in Paris. No one
knows his true identity. He uses his powers to find those filled with negative
emotions and creates supervillains from a distance using his akumas (small black
butterflies). He hopes to defeat Ladybug and Chat Noir to take steal their miraculous
(magical objects) and become the most powerful in the world.

17
 The characters

Stormy Weather Chronogirl Supervilains

When Papillon senses negative emotions (sadness, anger, humiliation, jealousy, etc.) from
a child, student or adult, he sends one of his akumas which integrates itself into an object
dear to the victim, who transforms into a supervillain.

Only Ladybug can free them from the grips of Papillon by breaking the possessed object
and freeing it of evil.

The Bubbler

Mr. Pigeon

Copycat
19
 Kim The characters
King of competitions
The Classmates
Juleka Nathanaël
Artist and dreamer
Goth and shy

Rose
Gentle and naïve

Sabrina
The "all-purpose girl" for
Chloé

Alix Mylène
Tomboy Queen of tricks and jokes
Nino
DJ in his spare time

Max Ivan
The softhearted giant
Gamer and technology fan
21
 The characters

Alya
Marinette's best friend, Alya tries to help Marinette overcome her shyness with
Adrien. She wants to become a great reporter. A superhero fan, she's excited by
the appearance of Ladybug in her town and is desperate for the chance to
invterview and obtain a scoop for her Ladyblog, the official blog of Ladybug. She
has no idea that hiding under the mask of her idol is Marinette!

23
 The characters

Chloé
Chloé is Adrien's best friend. In fact, she's the only one he knew before going to
school! Daughter to the mayor of Paris and the owner of a large Parisian palace,
Chloé is a spoiled, superficial and pretentious child. Mean, she does everything
she can to crush and humiliate the other students, especially Marinette.
A true pest!

25
 The characters

Sabine & Tom, Marinette's parents

Marinette's parents own a renowned bakery in their neighbourhood. His father
does his job with passion and loves to share it with his daughter.
As for her mother, she's a highly appreciated merchant, all the
passion
avecwhile being a super
et aime mom!
le partagr vec sa fille.
Quant à sa mère, elle est une commerçante très
appréciée tout en étant une super maman !

27
 Setting
Setting

The neighbourhood where our heroes lives is treated like the 21st arrondissement (district)
The Neighbourhood
of Paris. Located in the heart of the capital, it's a small piece of paradise with the
atmosphere of a village, offering a view of the most beautiful monuments of the city.
Town hall, the theater, the cinema... The main square, beautiful, green and majestic is

The Grand Monuments

next to the school. They're like two peas in the Place des Vosges.

The Eiffel Tower, the Arc de Triomphe, the Pont des Arts, the Grand Palais, and the Louvre...
Numerous scenes in the adventure of our heroes are held in iconic places of the capital.

29
Setting Setting

The Grand Paris The Bakery

The Grand Paris is a luxurius palace situated in the exclusive 21st arrondisement. Chloé's Marinette lives with her parents in an apartment above their bakery, located in the 21st
father owns it and lives there with his daughter. arrondissement of Paris, with a view of Notre Dame.

The School
Marinette and Adrien's school is a beautiful, historic structure, built
around a large courtyard on several floors.

31
 Setting

The Mansion
Adrien lives alone with his father, bodyguard and assistant in their large mansion with a
view of the Eiffel Tower.

33
Thomas Astruc, director/writer Thomas Astruc, director/writer

The strength of evidence What exactly is your role?

Creator of the character, I also wanted to develop the concept. I am both the author and director of the series. At
first, I followed various paths. But they were difficult to realize, since there were many partners in the project
(TF1, Toei Animation, Disney, ...) and writing had to take into consideration sensitivities of each -- at times, these
Thomas Astruc had worked for various animated series ("Totally Spies", "Code Lyoko") and in live cinema,
were very different. I quickly worked with Sébastien Thibaudeau, the writing director, who made a bridge between
participating notably in the feature films "HOUBA! On the Trail of the Marsupilami" and "Asterix & Obelix: our varios partners. He defended our ideas while we were tried to improve everything, taking into account the
Mission Cleopatra". In creating the character Ladybug, he had no idea that she would become the heroine of feedback of our partners in order to satisfy them, all without straying from our original idea.
an international animated series.
Where did you get your inspiration?
How did this project start? For me, Ladybug's character is a little bit of a mix between Amélie Poulain, Spiderman and Sailor Moon!
Everything that started Ladybug's character is completely anecdotal. A few years ago, I worked with
Artistically speaking, I'm caught between Franco-Belgian comics, American comics and Japanese animation.
a young girl who wore a t-shirt with a ladybug when I first saw her. In the animation studios, we
These tree styles correspond to the very structure of Ladybug's universe, and I'm very happy that we managed to
had a habit of exchanging post-it notes with small, amusing doodles. With that young
woman, we began to play with the theme of the little bug. One day, I had designed
blend them harmoniously. The whole team was really great, and everyone's fully invested in making the most
our superheroine: Ladybug was born! I immediately found that the character worked well. beautiful series possible.
Subsequently, I made new drawings, fake comic covers, and I began building an entire
universe around her.
Did you encounter any difficulties?
How did this small character turn into an animated series? This might seem surprising, but we had a lot of difficulty finding writers who
Everyone I showed my drawings to fell in love. The character had the strength
had a grasp of superheroes. I worked with Sébastien to lead them and to
of evidence. But in general, producers wanted to transpose her into a very help them write in that spirit. In fact, they had the tendency to separate
common universe, which would have been unnatural. In my heart, I really comedic moments and action scenes rather than interspersing them in the
wanted to make a superhero in the spirit of Marvel, but with a French stories.
basis. Having been an avid comic reader since my yout, I didn't remember
having seen a ladybug superheroine. I thought that a character like this
would have seemed too cute to appeal to a readership that was largely male.
So, I kept Ladybug to myself and continued to develop it until I met Jérémy Zag,
a producer at Zagtoon. He gave me the freedom to do what I thought best.

37
Thomas Astruc, director/writer Thomas Astruc, director/writer
How about the music?
Paris holds an essential place in the series. Why? Jérémy Zag created the melody of Miraculous alongside Noam Kaniel whose presentation is second is second to none,
I was frustrated at having never seen or identify France in French productions. Americans are proud of their country which was then instrumentalized and interpreted. He's also a superhero in this way! With three notes, he manages to
create a melody that stays in your head all day. It's difficult to do better. I'm very pleased that he's working with us.
and show it. Going to New York for the first time, everyone already has a good feel and impression of the city after
having seen it so much on TV and in movies! The Japanese also represent their culture in a very realistic manner in
their productions. Are you satisfied with the result?
Yes. Miraculous corresponds to 95% of what I wanted. This is a real series that I authored. At no time did I feel deprived,
But, in France, the mere mention of an episode around July 14* was immediately rejected! The production of animation and collaboration with our various partners took place in a beautiful exchange. We all had a single objective: To achieve the
most beautiful series possible. I think we succeeded!
destined to be exported to many countries needed "neutrality", which I understood, but it bothered me nonetheless!
France is the country that receives the most tourists in the world. People fall in love with France, and it should be an
asset. Thus, I wished to see the capital in the drawings. This bias is all the more justified by Paris being one of the
most romantic cities. But, in speaking more about superheroes, the series also recounts a romance between our two
main characters. Jérémy Zag had the courage to bet on this choice that no one had dared to. Thanks to him,
Miraculous will certainly be the first French animated series to be held in Paris and revel in it.

What are the other characteristics of the series?

We wanted to create a strong superheroine who could appeal to young girls, but
without falling into the clichés of female characters. The advantage of this series
also lies in the game of misunderstandings. In their "civilian lives", each
character has a secret they're trying to protect. For example, Marinette
needs to find excuses for her repeated absences necessitated by her role
as Ladybug; she's in love with Adrian without knowing that he's actually
Chat Noir.

These situations create misunderstandings and an endlessly

amusing pretense.

* The 14th of July is Bastille Day (the national day for France)
39
Sébastien Thibaudeau, writing director Sébastien Thibaudeau, writing director

A clever series
Having arrived a bit by chance in the animation, Sébastien Thibaudeau was impressed by the
rigor and professionalism of the medium. Writing director and executive producer at Zagtoon, he
had an essential role in the making of "Miraculous" with Thomas Astruc, back to the different
aspects of the original cartoon.
What characteristics did you want to bring to the two main characters?
Pasionate about fashion, Marinette loves its creations. But we did not want to make her a hysterical fan nor a
caricature of a girl. She had to be admirative of other's talents, but in an active and positive way. We also wanted to
create a strong character-- very king and altruistiv. Adrien, menwhile, was overprotected by his father who blocked
almost all contact with the outside. Educated by a governess, he enrolled in school very late and has only now
discovered human and social relationships. He is, therefore, often awkard. Another important characteristic: To
tranform, our two heroes need their miraculous, in essence their magical jewelry (earrings for Ladybug, a ring for
Chat Noir). Each jewel is associated with a small fun character, called a kwami, which follows them everywhere.

How would you define your role in this series?
Originally, the series was dark with political stories, more suited for teens or young adults. It was very interesting,
but some elements hindered its perception and no one really knew why. I spoke with Thomas Astruc as the writing
director to help develop a series that worked better for our target audience. Then, I made
connections with our various partners. I monitored the story's consistency while trying to satisfy
everyone. I always fought to preserve Thomas' original idea. But in general, by taking time
to explain, people are quite open to proposals. An amusing detail: The first time I met
Thomas to discuss the series, a ladybug came between us. I thought it was a sign of
destiny!
With superheroes come fight scenes. How did you handle them?
As in all animated series on television, there are never blows inflicted directly but choreographed combat.
Opponents likewise fight with their intermediary objects. This allows us to tell stories, giving the sensation of
action without violence. But we've always paid attention to placing more focus on being human than
superheroes. We wanted to bring young viewers into the story by connecting their emotions to those of
Marinette and Adiren. In fact, Miraculous is more foxued on emotions than action. This is a
clever series that explains the feelings of children.

What adjustments did you make?

Thomas is a veritable bible of comics! A true enthusiast, he wanted to integrate
every element simultaneously and had the tendency to deviate a bit. Arriving on
the project, I immediately found the little gem in the heart of the series: the
mixed-up love between Marinette and Adrien. We then structured everything,
point by point around this axis, leading to a more readable story. Thomas has
always been very invested in writing and he's contributed enormously. In the end,
we took the best of American comics and transposed it in France, making Miraculous
a romantic action comedy.

41
Sébastien Thibaudeau, writing director Sébastien Thibaudeau, writing director

What do you mean?
To start working, Thomas gave me a chart with every positive emotion and their negative counterpart.
Papillon can transform Parisians only when they feel negative emotions. In sending his Akumas, he says
"Go! Darken their heart." How and why does one's heart "darken" in life? The keys are given in the series.
Furthermore, there is a certain psychological depth in the cartoon. Marinette never seeks to fight the bad
guys, but she wants to change them. I find this interesting as it sends an important message to children: we
all feel bad emotions, but we can control them and change. This causes children to be better, as opposed to
confining themselves in a dark place. We also paid attention to writing characters with depth that are
neither evil* nor clichés.
Paris is a key character in the series. Did you think about this specifically when writing?
Yes, before writing the stories, we compiled a list of decors we wanted in Paris. We really wanted to present the city.
No one has ever seen a superhero evolve in the capital. And beyond Paris, we also represent French culture. In the
morning, the French kiss, eat croissants and not donuts. We tried to bring as much as we could in how we told
stories. This bring to the series a different "taste". It doesn't resemble any other with its unique blend of ingredients.
This is certainly what we heard from customers around the world!

* The original word here was "manichéens" (Manichaean).

Did you have any particular desires?

I wanted to make the series a bit more serialized. Each episode can be watched
independently of the others, but the loyal viewers would see the characters evolve and
find clues to the questions that appear in Miraculous. Who is Papillon? Where is he
hiding? Why does he want the miraculous? With Thomas, we wrote the last scene
of the series from the start with the revelation of Papillon's identity. In fact, we
built the episodes a bit like the film The Sixth Sense: one the truth is revealed,
those who followed the series will say: "Of course! It was there the whole time!"

43
Nathanaël Bronn, graphic designer Nathanaël Bronn, graphic designer

French superheroes Concerning the colour coding, our scope was rather limited with our ladybug heroine, but I found that black spots
on a red background was a fashionable design. For Chat Noir's character - obviously black - we tried to give him a
Present in the development of the series, Nathanaël Bronn immediately felt the 1930s design. As for the villains, hidden behind a mask, they too should be very classy!
potential of the character created by Thomas Astruc. In agreement with him, he
created a universe halfway between Japanese animation and American comics, all And what of the kwamis, the characters that accompany Marinette and Adrien?
The kwamis are a contribution from Toei Animation. The Japanese found in Ladybug their "Magical Girls", which
while bringing in a touch of France. Explain. developed in the 70s from the image of Sailor Moon. Inspired by these manga, they proposed that we imagine
small amusing characters beside our heroes which were related to their powers. They share the colours of their
How did you arrive on this project? "partner". For their designs, it seemed obvious that they are Japanese-inspired.
I knew Thomas Astruc from collaborating with him several times. In fact, I witnessed the birth of the series. As soon
as I saw Thomas' first sketches, I thought Ladybug's character showed true potential. Of course, like in any new
project, there were some imperfections, but there were many qualities! After some time, I "Miraculous" mixes different sources of inspiration. What does they each share?
showed the drawings to Jérémy Zag... and he immediately like them. Afterwards, I took on It's hard to say! I was rocked by Walt Disney films, manga, Franco-Belgian comics -- the fruits of my time... My
the roles of artistic director and graphic designer. I took care of creating the characters, style is at the intersection of all of these influences. I was nourished by these and digested them over
the decor, the camera angles, the chromatic atmosphere of the series, and I also time. Moreover, they merged in the world in a sort of international style. Everyone inspires and
participated in the conception of stories. For if I were to draw, it would be to tell is inspired by others! In Miraculous, each particular genre effectively has some traits
stories! Combining these two functions is rare, but Zagtoon offers this chance. resting in it. Manga, for example, has provided the magical transformations of our
heroes, which doesn't exist in comics.
Visually, what did you want to emphasize in the main
characters?
Thomas Astruc wanted the French superheroes. So, we went against the
muscular bodybuilders of American comics and imagined silhouettes that
were slender, delicate and graceful. Our superheroes were to evoke
elegance, elasticity and lightness; a glamor that would make you think of
France. In addition, the story lends itself perfectly: Marinette dreams of
becoming a fashion designer, and Adrien's father works in the world of
fashion.
45
Nathanaël Bronn, graphic designer

What colour did you want to bring to the show?

Characters, backgrounds, atmosphere... We wanted to bring the image of the Epinal of Paris and
France to modern superheroes, mixed with a big of American comics... and Amélie Poulain! For
colours, I preferred more soft and pastel colours, always very bright. Paris is the first tourist
destination in the world, and no city has as many achitectural icons. We created a modern city,
but one that was particularly elegant and refined. In fact, "our" Paris is both realistic and a bit
more marvellous than the truth! We really tried to represent identifiable and realistic places: a
difficult and costly technical challenge! But Jérémy Zag really stood by our goal. He was right to
insist, as it became a trademark of the series. And what could be more spectacular than
superheroes fighting on the Eiffel Tower?

A final word?
I am very curious to see how the series is received by young girls.
Miraculous is rooted in the universe of superheroes. Yet, in comics,
females characters are primarily aimed towards men. Few girl would buy
a Wonder Woman doll! But we thought of this series for boys and
girls, creating stories which they could identify with. The
frontiers are now changing, and I like to believe that we'll
contribute with Miraculous!

47
Aton Soumache, Jérémy Zag, Ryuji Kochi, Kim Suhoon / Producers
A series for girls... that boys will love to watch!
Prior to seeing day, Miraculous required full attention from the teams of Zagtoon, Method
Animation, Toei Animation and SAMG. Look back on a beautiful adventure with the producers
Jérémy Zag, Aton Soumache, Ryuji Kochi and Kim Suhoon.
The start of the adventure
When Nathanaël Bronn spoke to me about this project, I fell in love immediately!" Jérémy Zag recalls, "I loved the idea
of having a superhero at the heart of a story that took place in Paris, combining action, adventure and romance. I
immediately thought that Miraculous deserved treatment worhy of the greatest superheroes.
Especially to me, it held the potential to expand internationally, thanks to its universal values." To
give it the means to reach its goals, Jérémy Zag first contacted Aton Soumache of Method
Animation.
"Jeremy came to me because he had a very heavy and ambitious project in mind. When
he told me more, it captivated my heart!" Together, they decided to co-produce the series
internationally by seeking partners like Toei Animation under the guidance of Jérémy
Zag. "We wanted to make a European aniamted manga, in which one would find at
times the spirit of comics, the originality of a French touch, and Japanese
animation. I imagined an American superhero with stories and powers of the
Japanese", he explained. "I belonged to the generation of Club Dorothée* and was
brought up with their cartoons. Having always been a huge fan of Toei Animation, I
thus went to ask the 'master' to accompany us."
At Toei Animation, Ryuji Kochi fell in love with the idea of creating a superheroine for
girls, "This series reminded me of the magical girls that we've developed over the last
50 years in japan, like Sailor Moon. At we felt the international potential of this format."
* A French television show that featured many cartoons and television series, including American
and Japanese shows.
Aton Soumache
CEO of Method Animation and co-founder and CEO of On Entertainment
Aton Soumache, Jérémy Zag, Ryuji Kochi, Kim Suhoon / Producers
Winning Trio
Once the different partners were assembled, reflecting on the series' conception began. "We did a lot of work
researching because we wanted to find the same artistic sense in 3D as in 2D, with flexible characters and
strong expressitivity... It was essential to keep the style of Japan's anime, which was very expressive and fast
in movement, and adapt it into 3D," Jérémy Zag insisted.
"I really pushed for 3D and computer graphics," said Aton Soumache. "At Method, we've made 3D productions
for 20 years. We brought this expertise. Toei Animation, on their part, provided us with cultural and artistic
input for the storyboard, the carving... They also taught us how to integrate the dimension of toys derived in an
artistic universe."
From the beginning, Jérémy Zag wished to awaken the inspirational cartoons of
the iconic 70s and 80s, including toys so that children could play with their
heroes, or play at being those heroes. "Since the first day, I had a clear idea
of the project, a major challenge, something that had never been done
before: To release the heroes while making a series from which toys could
be made, and scaling it internationally such that children around the world
could play in front of the television and in their room, in front of their toys,
with their friends.* That's my ultimate dream! And I'm very lucky to have a
team that followed me in this crazy dream!"
"We have been very involved in this project over the past five years, essentially
to help our partners in what we do best: create an environment to which
children can feel emotionally connected and which they want to recreate at
home thanks to its products," confirmed Ryuji Kochi. "To create toys around
Miraculous' universe, we worked closely from the start with the creative team of
the series and of Bandai. That has been our main contribution."
* Rough translation; the original was hard for me to understand:
"Sortir le héros comme une major l’aurait fait en pensant la série autour du jouet
Jérémy Zag
et à l’échelle internationale pour que les enfants du monde entier puissent rêver
devant le programme et dans leur chambre, devant leur jouet, avec leurs amis." CEO and co-founder of Zag Inc. 49
Aton Soumache, Jérémy Zag, Ryuji Kochi, Kim Suhoon / Producers Aton Soumache, Jérémy Zag, Ryuji Kochi, Kim Suhoon / Producers

Happy producers
Captivating girls and boys "I strongly in this series becale it's unique," opened Aton Soumache, "It's very colorful and modern in its time."
"When we started this project, there were very few superheroines," Jérémy Zag recalled, "Five years later,
everyone starts doing it!" The same satisfaction came from Jérémy Zag's side: "I am very happy with the series made. We fought together to
ger here and we learned a lot from each other. This is quite unique in both our history and in the history of
A view shared by Aton Soumache, "To create a superheroine was really risk-taking at the time. We were a bit animation. Finally, Ladybug is an extremely iconic character. Even before its distribution, the series has about a
like pioneers. Because, with the exception of the Japanese, nobody really dared to. For me, the challenge was million fans online. It's scheduled for release in the United States by Nickelodeon. We hope to follow up soon, and
to draw in fewer boys than girls. Several feature films, like War Witch and Tangled, have shown that a female we have an ambition to make a film one day for the theatres!"
lead doesn't discourage boys to leave the moment there's comedy, adventure and action. Especially since
there's always male characters (in this case, Chat Noir). The challenge was to not miss the
female audience, as we made the series primarily focusing on them. We preserved a
"girly" universe while bringing in attributes usually reserved for boys, especially with
powers. In fact, Miraculous is a series for girls... that boys will love to watch!
Before, female characters were either fairies or princesses, seraching for Prince
Charming. Now, they have the powers of ice in Frozen and magical hair in
Tangled. In larger shows too, the Hunger Games movie foreshadowed the
market's change with a heroine, and was met with incredible reception by
adolescents."

Ryuji Kochi
General Director of Toei Animation Europe
51
Digital / Diversification Digital / Diversification

TF1 Licenses, agent of Miraculous, the adventures of Ladybug and Chat Noir To enrich this unique device, a web series is offered to Internet users to uncover all the secrets of the
series, the well guarded anecdotes of these superheroes, and some revelations about Marinette, in the
form of a diary... Users can vote on Tfou.fr to cohose the next webisode they wish to see. All 10 webisodes
will be available on all media (mobile, tablet, IPTV and Tfou.fr).
Zagtoon, Method Animation and Toei Animation, the producers of the series, have authorized TF1 Licenses to
manage the derivative rights in French territories of Ladybug. Zagtoon remains the agent for the rest of the
world. Not to mention the many printable content to continue the experience: birthday cards, invitations, memory
games, spot the difference, colouring pages, stationery, etc.
Success is swift for the superheroine Ladybug, who already has licensees: Bandai has effectively been
positioned as in charge of toys, with a launch aimed for 2016. In the same year, Hachette will develop a
collection of novels and activity books, and Delcourt will adapt the series into comics.

A heroic digital experience to live with Ladybug and Chat Noir!

The site Tfou.fr offers the unique experience to slip into the shoes of a superhero
and thwart the diabolic plans of the main villain, Papillon. Internet users can find
two videos showing their mission to becmoe superheroes. They are invited to
choose their favourite hero, Ladybug or Chat Noir, and don their mask and start
one of two action games available on Tfou.fr! With this digital experience, they
may have the chance to join Ladybug and Chat Noir on TV...

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Contact
Cécile Gérard
cgerard@tf1.fr - 01 41 41 33 78

Kit designed and created by EXTERNAL COMMUNICATIONS OF THE TF1 GROUP ("LA COMMUNICATION
EXTERNE DU GROUPE TF1")

Editor: Aurélie Binoist (TF1) / Graphics: Cécile Gay (Method Animation) / Photos: David Merle/TF1

More information on the site TF1PRO.com

Follow all the TFOU news on Facebook.

REPRODUCTION OF ALL OR PART OF THE FILE, ON A SUPPORT OF ANY KIND,

IS PROHIBITED, UNLESS PERMISSION IS GRANTED BY THE DEPARTMENT
OF COMMUNICATION OF TF1

September 2015

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 The Walt Disney Company (France)

© 2015 - ZAGTOON – METHOD ANIMATION – TOEI ANIMATION – SAMG– SK BROADBAND – AB – DE AGOSTINI EDITORE S.P.A With the support of Creative Europe-MEDIA Programme of the European Union.