Rebellion Production Note

Front cover

Puella Magi Madoka Magica The Movie: Rebellion Production Note is a set of two volumes that was first sold in a limited edition version at Comic Market 87 from December 28 to December 30, 2014. It became available to the general public starting February 28, 2015. Each set also comes with a bookmark magnifying glass.

The first volume is 277 pages long and contains:

• Character Design, page 005
• Prop Design, page 115
• Art Design, page 127
• Imageboard, page 197
• Special: Ume Aoki Original Character Designs, page 265
• Index, page 278

The second volume is titled Inu Curry Image Note 2 and contains 233 pages of illustrations and designs by Gekidan Inu Curry:

• Images, page 002
• Part A, page 036
• Part B, page 064
• Part C, page 094
• Part D, page 136
• Part E, page 166

See Rebellion/Synopsis for details on how the movie is divided into parts.

Translated pages

Image Note Page 081: Drosselmeyer's Theater Box

Using the theater box from the sideshow, Drosselmeyer tells the Children the story of a lonely magical girl. The Children, imagining the world in the story, fantasize about how wonderful it would be if the present were filled with more thrill and violence.

This is not a familiar of the witch. It's a mechanical doll (karakuri); the witch's subconscious is what's turning the gears. This Drosselmeyer is a judge doll.

We thought about blending the sideshow into the background somewhere later in the second half as well, but in the end, it only appeared in the café.

Bottom left: [The End]

Image Note Pages 082 & 083: Clara Dolls

The Children of the False City - Initial Concept

The Children of the False City

• In a dome-shaped café, they watch a sideshow. All of them are girls.

• For character design, please make them appear around 6 years old in the world of Madoka. In the main story, no specific ages are set.

• Their faces are entirely obscured, and they are barefoot.

• From then on, they are sometimes seen riding a bus or blending into crowds. They exist discreetly, avoiding attention. (Mainly as silhouettes.)

• After the people of the city turn into paper dolls, the Children also become flat and flimsy. They aren’t held by hands; instead, their heads turn into bookmarks (Discarded concept.)

• As suggested by their names, all of the children have bad personalities but get along well with each other.

• Their role is to cry during the funeral procession. They are mourners.

• Since the funeral is delayed, they wander around, killing time.

Image Note Page 117

The image of the witch reflected in the water at Sayaka's feet and on her cape is an illusion created by Homura in response to the magic Sayaka is emitting. Since Homura only knows the old appearance of the Mermaid Witch, the reflected image uses the TV version’s design.

Image Note Page 123: Clara Dolls

They do not close their eyes.

For the cel-drawn version with eyes, keep the eye design exactly as it is; it should look completely different from the other human characters.

Planned Appearances

● First Half

All of them are present inside the café where Homura and Kyoko have a conversation.

In other scenes, they are wandering around the city.

● Middle Stage 1

They appear during Homura's imagery scenes.

● Middle Stage 2

They are present when Homura transforms into a witch.

The cel animation pops → they turn into paper dolls.

From this point on, they appear as a symbol of Witch Homura's power.

● Middle Stage 3

They are present at Homura's throne as paper dolls.

They chase Kyubey around as paper dolls.

● Late Stage 1

They appear during the battle, entering partway through as paper dolls.

They attack exclusively through blunt-force strikes and are incredibly strong.

During their battle with Sayaka and Kyouko, they vanish somewhere with the collapse of the barrier.

● Late Stage 2

Undetermined.

● Late Stage 3

In the rewritten world, the cel versions with eyes are seen wandering around (symbolically representing an ominous, unsettling presence).

Homura is completely alone.

Image Note Pages 124, 125 & 126: Clara Dolls

① Ibari ② Nekura ③ Usotsuki

④ Reiketsu ⑤ Wagamama ⑥ Warukuchi ⑦ Noroma

⑧ Yakimochi ⑨ Namake ⑩ Mie ⑪ Okubyou

• When in paper doll form, the Children carry knitting needles as weapons, all designed identically.

• The Children’s personalities largely align with their names.

• They are dress-up dolls Homura used to play with in the past.

• Even after Homura's world is rewritten again, the Dolls continue to wander and play freely as they please.

• The Children of the False City are less like the witch’s familiars and more akin to phenomena occurring within the False City. They are embodiments of the magic and karma that overflow from Homura.

• In the final draft, the Children lack jawlines.

• When in cel-animation style: they lack eyes, their noses aren't visible from the front, their faces resemble lizards', and they are doll-like.

• All the faces are identical.

• We agonized until the very last second over whether to make all 14 of them share the same hairstyle and clothing, but in the end, I chose to give them all completely unique hair, outfits, and heights. However, because of this, the workload instantly skyrocketed (we had to ask several other staff members to help out with the vast majority of the keyframe movement). Around two months before the movie's premiere date, we were deeply regretting that choice.

• When we based the design of Witch Homura’s familiars on Glasses Homura, they didn't look very strong while fighting Sayaka and the others. Therefore, by borrowing the café stage setting and some of the familiars' roles, we expanded their appearance scenes as the "Children of the False City."

• The Children all get along well. Though not explicitly shown in the main story, Ibari & Nekura, Yakimochi & Namake, and Mie & Okubyou are often seen together.

• Reiketsu and Noroma have vacant stares. Noroma’s head is perpetually tilted.

Image Note Page 127: Clara Dolls

⑫ Manuke ⑬ Higami ⑭ Ganko

Top right:

All familiars and barriers are born from the witch’s subconscious.

The witch can summon them.

Furthermore, they arise on their own, even without being summoned.

They may obey the witch, or they may defy her.

Even the witch herself doesn’t fully understand her magic or the entities it creates.

Middle Right:

After Homura transforms into a witch*

Bottom right:

Yaa~

It's pitiful, shameful Mistress Failure.

Shunned, trampled,

And also despised.

Scatter ashes and strew flowers.

Change clothes, enter mourning.

From now, from here, let the funeral procession commence.

With these eyes, we gaze with envy.

And with these teeth, we gnaw at the future.

Image Note Pages 128, 129, 130, 131 & 132: Clara Dolls

The Children of the False City - Animation Reference Materials

• When a witch's familiars attack humans:

① Types that have not received magical power from the witch → For "mealtime."

② Because they hate humans or for the witch’s sake.

③ Out of boredom. For entertainment.

④ Due to the nature of their specific roles, leading to humans dying as a result.

The Children of the False City fall under ③, while the other familiars (The Nutcracker Witch's familiars) fall under ④.

• All the Children have the same face (same doll design).

• Short Hair + Pants Look: Ibari's design is the easiest for animators to create, making it the most convenient for production.

• Usotsuki: One of her eyes tends to be hidden by her hair.

• For the Children of the False City, we consciously aimed for "cute clothes that wouldn't really appeal to the opposite sex," but aside from her upper-body layering, Usotsuki has the vibe of someone who might be popular.

• When drawn normally, not as papercuts, the Children disguise themselves as humans. Even magical girls struggle to distinguish them.

• Just like the familiars of other witches, their thinking is animalistic.

• They are always sneering at Failure.

• Furthermore, even when the Devil appears, they burst out laughing.

• The Children acknowledge the Devil as a first-class comedic actress.

• When in a standing pose, Reiketsu's head is tilted.

• Reiketsu's go-to one-liner gag: "Flipping my hair like the Devil!" It's a huge hit (cracks everyone up).

• Wagamama: A jacket worn over a one-piece dress.

• Yakimochi's outfit has a "Mori Girl" (Forest Girl) style. Her mannerisms are also girly.

• Because it’s difficult to differentiate between the witch’s familiars, this time we’ve given them code names such as 'Tooth Cavalry' and 'Kigurumi Bird.' All the Children also have nicknames.

• During the dance inside the cupboard, Noroma is the only one who is slightly lagging behind.

• When she is standing still, Noroma's head is usually tilted.

• Leaving the witch aside, for her familiars, the Law of Cycles is truly a nuisance because they are immediately sent to achieve enlightenment before they are even born.

• The Children of the False City like Madoka, but think the Law of Cycles is underwhelming. The Devil is so-so. Only Manuke likes everyone.

• Although they take on a human form, their behavioral principles are completely alien to human values, just like other familiars.

• Higami's height: Short.

• Ganko's brooch: the top part is metal, the rest is ribbon.

• The Children love watching miniature stage plays at the floating café. Their absolute favorite play is 'The Pumpkin Left All Alone Because of the Goddess'. The Mermaid Story isn't very popular.

• Recently, they have been obsessed with a game where they throw tomatoes at a pretentious person at just the right moment.

• Their noses appear when looking sideways, even though they aren't there when facing forward.

Image Note Page 133: Clara Dolls

What is it that you lack?

I only ever behave arrogantly (Ibari). It's okay to act proud once in a while.

I'm Gloominess (Nekura), and even if you force yourself to smile, you just end up exhausted.

I'm Liar (Usotsuki). Is the truth always right?

I'm Coldheartedness (Reiketsu). Being too kind can be troublesome as well.

I'm Selfishness (Wagamama). Value your own feelings.

I'm Bad-mouth (Warukuchi). You quickly lock away your emotions.

I'm Slowpoke (Noroma). Not rushing too much is also important.

I feel nothing but Jealousy (Yakimochi). Jealousy is necessary for Love.

I'm the Lazy one (Namake). If you don't take a break, you'll turn into butter.

I'm such a Show-off (Mie). You also push yourself past your limits for someone's sake.

I'm Cowardice (Okubyou). But deeply cautious.

I'm Foolishness (Manuke). Even so, don't forget to be charming, too.

I'm only filled with Resentment (Higami). Let's change this unsatisfying reality.

I'm Stubborness (Ganko). Just don't forget the important stuff.

These vices are Love (Ai)'s allies.

Image Note Pages 142 & 143: Clara Dolls

See also: Witches Artwork

The Children of the False City. Their role is to be mourners. These dress-up dolls perform a play of tears in order to liven up the funeral procession. The dolls present are Arrogance, Gloominess, Liar, Coldheartedness, Selfishness, Bad-mouth, Slowpoke, Jealousy, Laziness, Show-off, Cowardice, Foolishness, Resentment, and Stubbornness, while the last one, Love, has yet to arrive. "Born from color, not in the sky, the edge of this mortal world is our stage.” Their power is no less than that of a magical girl.

• The first one to appear was Arrogance (Ibari). Stepping over Failure's head that tumbled across the bare earth, she bravely spoke on her behalf. “Cocky bastards. You shall not be forgiven. This feeling belongs to us alone.”

• The second one to come was Gloominess (Nekura). Sneaking forward, she sneered at Failure. “This is Failure. What an absolute disgrace.” These dolls are disciples of freedom alone and are loyal to their desires.

• The third one to come was Liar (Usotsuki). She put on a tearful performance dedicated to Failure's soul. “Pitiful Mistress Failure. That foolish soul is our pride.” These dolls sneer at the fool yet side with her.

• Following behind them is the fourth one, Coldheartedness (Reiketsu). She tripped over Failure's head, looking slightly irritated. “Why don't we cut Mistress Failure into smaller pieces to make her easier to carry around?” If the Devil speaks, these dolls will obediently follow.

• Further comes the fifth, Selfishness (Wagamama), walking angrily. “Hasn't the funeral procession started yet? I've been practicing how to cry as quickly as possible, you know? I can't wait any longer", she huffed. These dolls are someone and no one.

• Coming out with a look of annoyance is the sixth one, Bad-mouth (Warukuchi). As usual, she makes spiteful remarks. “Mistress Failure is quite the masterful comedian.” These dolls play house with utterly entangled karma.

• Finally arriving is the seventh, Slowpoke (Noroma). The silent doll laughs at the witch with her eyes. These dolls comply with the witch's wishes to a certain extent, unlike the diligent soldiers.

• The eighth to appear is Jealousy (Yakimochi). Entranced, she gazes at the sky. “Let's prepare a box. I want to keep that radiance locked away forever.” These dolls are a collection of colors (form). They don't belong to the sky (emptiness).

• The ninth one, Laziness (Namake), chats while yawning. “Do I have to go to the extent of helping with this children's play? Knitting is such a troublesome bother.” She kicked Failure's head, which was lying in her way. These dolls, with the funeral not starting at all, grow bored and wander aimlessly around the city.

• The tenth to come running is Show-off (Mie). She dramatically avoids Failure's head, saying, “I wouldn't be able to bear staining my cape with sticky blood.” These dolls mock the witch's self-harm.

• The eleventh one, trembling, is Cowardice (Okubyou). “If I am taken up into the sky, I won't even be able to behead the rabbit.” These dolls, with the power of magic, are able to achieve a complete recurrence.

• Walking aimlessly comes the twelfth one, Foolishness (Manuke). She goes out of her way to tell everyone what she just heard from a bird. “I heard a story about the Goddess. She's a beautiful and radiant goddess. I'm sure she will love us, too.” These dolls only desire what is within their reach.

• The thirteenth's footsteps are Resentment (Higami)'s. “Let's have a wonderful funeral like the one I heard in a story once. Let's bury lots of beautiful girls and cute animals together, too.” These dolls have powers that rival those of magical girls.

• Further comes the fourteenth, Stubbornness (Ganko). She points to the ground and rejects the sky. “The abyss of this mortal world is our stage.”

So, the mourners have gathered. Though it's become quite late, it's alright. The night is not yet over. The night will not be allowed to end anymore.

Right now is always
Before knowing that radiance. Before losing that radiance.
Here is merely the eve of the festival. The night before Failure.
All that's left is to wait for the funeral procession.

Now, now, oh pure-white, wondrously virtuous Goddess. We are just utterly moved that you have casually strolled on over here so deferentially after all this time. But might you, perhaps, turn a blind eye to this, just a tiny bit? Lined up here is the theater troupe of this mortal world. We are human, and this is simply human nature. Even if you destroy sorrow and resentment, to despair is what makes us human. Passion drives our bones, and only melancholy washes our organs. Anyway, in exchange, we could produce plenty of others to turn toward your side, if you would like. Would that not suffice to earn your forgiveness?

Image Note Page 152

• Small objects other than the bed: orange pot marigold flowers, rulers, yarn, knitting needles, syringes, IV stands, and socks.

The place where Witch Homura took refuge was Christmas inside the hospital room cupboard.

A time slightly before the moment she repeated over and over again to save God.

A day from a slightly earlier life, a moment when she was happy.

A time when she didn’t even know what God looked like.

Had she remained unaware like this, she might have stayed in a state where she neither saved anyone nor was saved.

Image Note Page 158

Kyubey is utterly despised by the witch and her familiars, but to the Children of the False City, the white animal is a convenient toy that never runs out no matter how much they play with it. Everyone is very impressed by its usefulness. Other living creatures dwindle if played with too much, so making them last as long as possible is quite a challenge.

Image Note Page 165

《The Nutcracker Witch》

Her nature is self-sufficiency.

This witch's karma produced an army of familiars on a scale that is difficult to comprehend under normal circumstances.

However, this witch is a half-boiled failure.

Yet, if someone were to bestow unconditional love upon this ugly, broken doll, the heart of this wretched, half-boiled witch might not remain lost forever.

Image Note Page 166

Initial Draft

Most witch barriers are composed of personal, single-minded, and inward-focused elements of the witch herself. The Nutcracker Witch's barrier is no exception, presenting a very narrow worldview. Her familiars are nothing but extensions of herself, evoking the image of a funeral procession taking place inside a house.

Image Note Page 170: Gooey Homura

Gooey Homura, located at the face portion of the Witch. Use rotoscoping if possible.

Basically the same as the Mermaid Witch's interior, which appeared for an instant. A slimy body with a giant eyeball.

The eyeball shifts and rolls around restlessly.

When her hand is taken by Madoka, Magical Girl Homura emerges from within the slime.

Homura's gooey form first melts away, then all at once scatters into snowflake crystals. It's as if an evil spell has been undone.

Image Note Page 171

A countdown like Walpurgisnacht's.

Homura's countdown from the compilation movies.

Image Note Page 172

Top text:

Right: Theatrical release

Bottom: Revised home video version

In the DVD & Blu-ray version, the number of ribbons around the witch's mouth has increased compared to the theatrical release.

Bottom text:

A magical girl’s mental state at the moment of her transformation is strongly reflected in the form of the witch she becomes.

The reason why the witch seen in the PSP game—the Witch of the Mortal World—and the Nutcracker Witch from Rebellion have different appearances is that the Witch of the Mortal World was born from a Homura who was unable to escape the one-month time loop.

Despair from yesterday is not necessarily the same as despair from today, so even for the same individual, different witches can be born depending on the time period.

Image Note Page 174: Nagisa's Transformation

☆ Nagisa Cooking ☆

An easy magical girl recipe.

The magical girl transformations this time around are split between two styles: types where they break out of themselves, and types involving a gooey, syrupy mixture.

As for Nagisa, after she and Bebe are thrown into a blender together, they are poured into a magical-girl-shaped mold to be successfully completed.

Image Note Page 181

Needles and gears sprout quickly out from Homu-Witch's (Homulilly's) head as well.

Gears and needles scatter in all directions. + Magic square/circle effect.

Image Note Page 188: Lotte

Toy soldiers

• Height: Same as Homura (though the head itself makes up the extra size).

• The ribbon worn across their chests is proof of their promise.

• The head is egg-shaped.

Image Note Page 189: Liese

• It doesn't blink.

• Everything except for the head is a crow.

Image Note Page 191: Lotte

The Luiselotte familiars have better athletic ability than the regular soldier ones.

Because they are Glasses-Homu (Moemura), their individual athletic ability is quite low.

At any rate, they are incredibly diligent, so they excel at group tactics. They are weak if scattered, so they deal with the mustache familiars (Anthony) by forming a dense, close-order formation. If they can group together and form a battle array, they are strong.

Image Note Page 192

Even though Witch Homura fights Sayaka and the others to prevent her own barrier from being destroyed, she is simultaneously in a troublesome state of mind where she wants to "be defeated here." Therefore, our first priority was to visually convey the sense of preventing her suicide, so we installed a massive guillotine platform.

Image Note Page 194: Nagisa's Trumpet

Bebe Horn

• If it's alright to use the witch settings as a basis, the wish she had granted was: "I want a single cheesecake."

Nagisa's magic ➔ Magic that allows her to assert herself and become more greedy.

➔ Upon turning into a witch, this manifested as the trait "Attachment," an aggravated form of emotional expression.

• Rather than being something given to her by Kyubey, the concept is that Nagisa came up with it herself. It's not a "cool weapon," but a "cute tool." It carries the vibe of "a magical item as imagined by Nagisa."

Image Note Page 197

With the emblem of the Law of Cycles at the center, the emblems of the witches are linked together in a constellation-like shape. Each connecting line represents individuals whose souls are compatible, or who share a deep karmic connection.

An image of souls, as countless as the stars, revolving around the Law of Cycles at the center.

• As the Mermaid Witch tries to take Witch Homura's hand, she refuses by vigorously swinging her handcuffs up and down.

• Between the buildings, the Mermaid Witch's hand stretches out. There are many clocks around.

Image Note Page 198

Dispatched familiars

When Sayaka materialized, the souls surrounding her within the Law of Cycles (in addition to the Rose Garden Witch's familiars) packed fragments of themselves into Sayaka’s bag to assist her.

Among the magical girls who have now become part of God, for those who know Homura, this operation is a major event—like a fleeting awakening within a long, long dream.

• Goddess Madoka's flag: Slightly modified from the Witch of Salvation's emblem from the PSP game.

• Sayaka: After the Mermaid Witch's appearance, Goddess Madoka's mark appears on her cape.

• On the stage of the concert hall raised by Sayaka, the Box Witch's familiars and the Birdcage Witch's familiars are playing violins.

Image Note Page 205: Tiro Finale (Extra Large)

Carrying an overloaded bounty of presents, it shows up even if it wasn't called for—everyone's favorite, Tiro Finale.

The Extra Large version is a design that prioritizes a hype/festive festival feeling.

It is the pure crystallization of "Mami-ism" inside the brain of Gekidan Inu Curry.

● A mass of good dreams. A level of hope intense enough to give you heartburn.

● The parfait includes: raspberry, apple, cheese, and melon.

Image Note Page 206: Tiro Finale (Extra Large)

● Cannonball Texture: Image pattern resembles a temari (traditional Japanese thread ball). Since Bebe's power is also being borrowed, it features the emblem of the Witch of Sweets.

● The railway gun created by Mami and Nagisa's magic. Since it is entirely a weapon conceived by a middle school girl, it lacks any consistency with real-world weaponry and features none of that "boyish" mechanical gimmickry. Visual appearance is the top priority. It feels as though they are using magic to forcefully move whatever image they have in their heads. Because of this, there are a few fatal design flaws scattered throughout, such as absolutely no consideration given to space for ejecting shell casings.

Simultaneous with the shell firing, the recoil causes a parfait explosion. The shell casing is ejected from inside the parfait.

Towed by two locomotives.

Erupting from the smokestack are the fluffy flowers that blew out at the start of the magical table scene.

Image Note Page 209: Pumpkin Carriage

• The pumpkin part is the exact same color as the pumpkin that appeared during the magic table scene.

• The window frames attached to the pumpkin are white.

• The borrowed familiars are packed tightly inside.

The carriage used by Sayaka and Nagisa.

Though it is a design personally and graciously bestowed by Goddess Madoka, its reputation among the drivers is terrible because it is incredibly slow and shakes excessively.

Sayaka thinks a helicopter would have been better.

Image Note Page 215

Table

The entire object, including the parasol portion, is made of tinplate.

A doll is sitting on a toy chair.

Please design it with a sense of scale resembling a miniature.

• Homura is happily chatting with an imaginary Madoka who is completely off-screen.

• The table where Homura sits is invisible to everyone except Sayaka.

• The parasol is rotating continuously.

Image Note Page 216: Dark Orb

The design motifs are a pumpkin, a crown, and a perfume bottle.

● Color: Basically black. The parts that are not black are made of glass.

The central core (the bottle part) is made of spherical glass.

There is a crest on the bottom of the spherical bottle.

Image Note Page 217

How the Devil appears varies from person to person, like a Rorschach test. Is she eerie, beautiful, sad, or happy? Is she right, or not quite so?

Image Note Page 218: Dark Orb

Upper right: Earcuff

HOMULILLY - The witch's name is written on the torso region.

Upper left: Dark orb

Alternate form (worn only on the left ear). Equipped with a function that allows the witch's familiars to softly whisper the information they have seen and heard into Homura's ear.

Bottom left:

Due to its nature being close to that of a witch, the Dark Orb sometimes moves around on its own. It does follow orders, but for Homura, it can be troubling.

Image Note Page 219: Dark Orb

Middle left:

Crown. Perfume bottle.

Pink light (Madoka) inside the center.

The top is spherical, like the lid of a bottle.

• Initially, the surface of the Dark Orb was planned to have intricate patterns, but for the sake of distinguishing it from the Soul Gem, it was ultimately made simple.

Bottom left:

Crest pattern. Monochrome.

Simplified crest.

Top right:

The mark of the Devil is a lizard that crawls on the ground. Since snakes have strong biblical imagery and lizards felt more human to us, we decided on a design of a lizard laid over upside-down white wings. Unlike the Law of Cycles, we intended for it to look different from traditional Western coats of arms. It is not the mark of an evil being, but rather a symbol of a faith distinct from everyone else's God.

• Early rejected designs for the Devil's crest

Image Note Page 220

End Credits ~ Epilogue

For both the Law of Cycles and Homura, the moon is used as a shared motif.

• The grass and flowers are withered. The city lights are beautiful.

• Homura is sitting on the chair from the "Luminous" OP at the edge of the cliff. She is leaning against an unseen presence on her left side.

• Homura's humming plays continuously. No background music. It's lonely (T/N: the humming got replaced with "Not yet" in the theatrical version).

• On a hill, Homura dances alone with her right hand. The city slowly rotates like a clock.

• Homura is dancing alone with an imaginary Madoka.

Top right

• [Door] → Part A, Magic Room, Madoka's side door.

Bottom right

• The Anthonys changed from their "Sayaka version" back to their original forms.

• Country of Sweets/Good Morning: Because there are two versions of The Nutcracker ballet—one where they live in the Land of Sweets, and one with an "it was all a dream" ending.

Observations

• Laziness' phrase on page 133 is a reference to Little Black Sambo. At one point in the story, Sambo, to appease three tigers trying to eat him, gives each of them his umbrella, shoes and clothing. Each tiger thinks they're the best looking one, and then chase each other around a tree. They run so quickly they melt into ghee (butter). Sambo's mother then uses the butter to make pancakes. This story is referenced briefly during the scene where Homura and Madoka are having tea at Mami's apartment, and Bebe becomes dazed. Three tigers circle around her head before a bubble with "Ghee" written in it appears and is followed by an image of pancakes.

Gallery

• 
  Black dress Homura art
• 
  Anthony art
• 
• 
  Ulla art
• 
  Mathieu art
• 
  Gotz and Daniyyel & Jennifer art
• 
• 
  An exhaustive explanation of Bebe speak
• 
  Bebe art
• 
• 
• 
• 
• 
• 
  Art featuring Pyotr and Polina
• 
• 
• 
• 
• 
• 
• 
  Oktavia art
• 
• 
• 
• 
  Art of Oktavia and Sayaka's orchestra in full
• 
  Art of Homulilly
• 
• 
• 
• 
  Art of Lotte
• 
• 
• 
• 
  Art featuring an unused design for Lotte which was used in the manga
• 
  Art of the Clara Dolls
• 
• 
• 
• 
  Very early concept art for the Clara Dolls
• 
• 
  Art of Liese
• 
  Art of Liese featuring an unused Homura styled Liese
• 
  Art of Luiselotte and Lilia
• 
• 
  Art of Lilia. Her more detailed design was used in the manga
• 
  Art of Homulilly's labyrinth
• 
  Art of Lisa
• 
  Art which shows the Nightmare's appearance in reflections
• 
  Art of Hitomi's Nightmare and the first Nightmare
• 
• 
  An unused Homura Nightmare

See also

• Puella Magi Production Note
• Key Animation Note

External links

• Scans of Rebellion Production Note