Puella Magi Madoka Magica ( Genre : Shonen. Première Parution : 2012. Statut : Terminé. Note : Magi - The Labyrinth of Magic 10 / 10 avec 329 votes : SUGGESTION.

Puella Magi Madoka Magica - Wikipedia. Puella Magi Madoka Magica.

Cover for first DVD/BD volume of Puella Magi Madoka Magica featuring two characters, Madoka Kaname (right) and Homura Akemi (left). It was directed by Akiyuki Shinbo and written by Gen Urobuchi, with original character designs by Ume Aoki, character design adaptation by Takahiro Kishida, and music by Yuki Kajiura. The story follows a group of female middle school students who choose to become magical girls and must battle surreal enemies called witches.

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However, they consequently learn of the anguish and perils associated with their newfound roles. The first ten episodes of the series aired in Japan on TBS and MBS between January and March 2. April 2. 01. 1 due to the 2.

Magi The Labyrinth Of Magic Episode 11 English

T. A manga adaptation of the series and various spin- off manga series have been published by Houbunsha and licensed in North America by Yen Press. A novelisation by Nitroplus was released in August 2.

Manga Time Kirara Magica, was launched by Houbunsha in June 2. A video game for the Play.

Station Portable was released in March 2. Play. Station Vita released in December 2.

A film series has also been produced, consisting of two films recapping the anime series, released in October 2. October 2. 6, 2. 01. A concept film acting as a trailer for a new project was screened in December 2. Puella Magi Madoka Magica has received widespread critical acclaim, with critics praising the writing, visuals, and soundtrack of the series as well as its unorthodox approach to the magical girl subgenre. It has also been a commercial success, with each BD volume selling more than 5.

The series has won several awards in Japan, such as the Television Award at the 1. Animation Kobe Awards, as well as 1. Newtype Anime Awards and the Grand Prize for animation in the 2. Japan Media Arts awards. 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 against witches.

Meanwhile, a transfer student and magical girl named Homura Akemi tries to stop Madoka from making the contract with Kyubey at all costs. Madoka and Sayaka then meet Mami Tomoe, an upperclassman at the same school who is also a magical girl and offers to bring them along on her witch hunts so that they may learn of the responsibilities that come with being a magical girl. As Madoka contemplates accepting the contract with Kyubey, she witnesses the death of Mami at the hands of a witch and realizes that a magical girl's life is filled with danger, anguish, and suffering.

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 that not only do magical girls give up their souls to form their Soul Gems, the source of their magic, but when those Soul Gems become too tainted with despair, they transform into the very witches they fight against. This is exemplified when Sayaka, heavily disillusioned with the current state of the world, falls into an irrecoverable despair that turns her into a witch. It is then revealed that Kyubey's alien race is harvesting the emotions from magical girls to use as energy to counteract the spread of entropy. Madoka also learns that Homura is a magical girl from a different timeline who has repeated the same month countless times in order to try to save Madoka from a grisly fate.

After these revelations, Madoka decides to become a magical girl with the wish to stop all witches in the past, present, and future before they are created. The scope of this wish rewrites history and the laws of the universe, and her existence as a human girl is erased from time. Instead, she transcends into a cosmic phenomenon called . In the new reality that is formed, Homura is the only one who remembers Madoka. Production. During the early planning stage, Iwakami decided not to adapt an existing work in order to give Shinbo more freedom in his direction style. Iwakami and Shinbo intended for their series to be accessible to .

Due to Puella Magi Madoka Magica being an original series rather than an adaptation based off an already existing work, he described the main goal solely as . After viewing the character designs that Aoki created, he became fully assured that he could trust the creative talent of the team. In an interview with Anime News Network after the series finished airing in Japan, Iwakami summed up his philosophy as . 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. The director also specifically sought for many of the magical girl characters to be killed throughout the series.

Shinbo planned for the series to be advertised in an innocent and pure manner that would deliberately conceal its dark undertones. Urobuchi further misled fans following the development of the anime by using his Twitter account to try to convince them that the plot of the series was very innocuous. The true nature of the series was disguised because Shinbo strongly desired for its dark themes to come as a complete surprise to the viewer. 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.

Other inspirations he credited for contributing to the series included horror fiction author Stephen King as well as previous projects that Shinbo directed such as Hidamari Sketch and Magical Girl Lyrical Nanoha. The first episode would throw the viewer into a specific part of the story with unknown context, the second episode would then define the particular rules governing the story's setting, and the third episode would be responsible for divulging the revelation in the plot so as to hook the viewer. This decision was controversial, and Urobuchi recalled production staff members continually approaching him and asking him to reconsider due to their own fondness for the character. However, he refused and the plot remained unchanged during production. Nevertheless, Urobuchi realized that this progression could be very hard for viewers to accept and might hurt the overall series' success with some audiences, commenting: .

He indicated that 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 which first focused on developing the characters and then creating a storyline for them to follow. He again defended his decision to have Mami die, claiming that this could actually have the converse effect of making her character even more memorable, saying, . Precisely because of the way they died, they were able to live forever. Watch When In Rome Tube Free.

Urobuchi declined, asserting that her death was too integral to the overarching story. However, Urobuchi again refused, explaining that this would be impossible with regard to the already- established rules governing the story. As one of the primary antagonists in the series, Iwakami stated that . Lovecraft, commenting of Kyubey: . Justice for some people is an evil for others. Good intentions, kindness, and hope will not necessarily make people happy.

However, once the issues were resolved, production began without any further complications. An example is during a scene in the final episode where the team added black wings to Homura, something which was not included in Urobuchi's writing. Urobuchi praised this aspect of the production, commenting that .

Shinbo had previously worked with Kajiura on Le Portrait de Petit Cossette, and Urobuchi told of the inspiration the music from that series had on him while writing parts of the script.