Talk:Magazines

Previous discussions are archived at:

• Talk:Translated Official Documents/Archive 1 (before June 12th, part 1) -- sorted and moved to Translated Official Documents/Redesign
• Talk:Translated Official Documents/Archive 2 (before June 12th, part 2)
• Talk:Translated Official Documents/Archive 3 (before June 12th, part 3)

Note: Effort is being made to identify, translate and sort what is on this page. Anybody who would like to add their input can do so on Translated Official Documents/Redesign (see Template:Document for editing subtilities). There is quite a lot of work ahead of us, so every contribution, as little as it may be, is greatly welcome. Thank you! --Homerun-chan 19:31, 11 June 2011 (UTC)

Note: Do not forget that there is a special category for translation requests. You can add files that need a translation by adding [[Category:Translation request]] to the description field. It is then not necessary to add them on this page then.

Scan organization

The easiest way to judge which magazine the scan is originated from is to see when it was first posted.

6th~13th (release date is 10th every month), mostly NewType, Animedia or Animage.

22th~30th (release date is 25th every month), either Megami Magazine or NyanType.

Would be appreciated if someone could organize the gallery by date it was first posted. --0x99 20:45, 9 March 2011 (UTC)

Gallery

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  Moved to Megami_July_2011_Interviews along with June Summary Translation

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  Animedia_July_2011

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  Animedia_July_2011

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  NewType_July_2011

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  NewType_July_2011

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  NewType_July_2011

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  Animedia_June_2011

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  Blu-Ray_Volume_2_Booklet

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  Puella_Magi_Madoka_Magica_Manga_Volume_3

June 2011

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  Translated by symbv from evageeks forum. Q - Ah, I see... A - And so, with the change in style, producers from the same age group finally appeared. And finally the flow that had one joining because he loved anime started to change. But whatever is said, the impact of "Evangelion" becoming a hit was huge. Without that there could not be the time we have now. Q - You think so? A - Yes, no doubt about it. If that did not become such a hit, probably we could not have made anime like we do now. But then only "Evangelion" was really a kind of exception (lol) Q - Ah, that is true...(lol) Is this part of Animedia July 2011, Newtype July 2011, or another source?

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  Translated by symbv from evageeks forum. Q - (too little left to translate properly) A - No, I could not tell a single bit. Although in general I could tell that whether the anime would be abandoned by fans or taken in by them would be decided by the development in Ep.3. "Madoka" is a work that made my heart beat faster. And then it was indeed taken in. By the time I strongly felt a premonition of this becoming a hit, I thought so good that I had done that. I felt relieved. "Madoka" was a work that was really hard to make, and I got really scared, to the extent that I would not be able to decide what to do if because of that [the anime] got abandoned. Q - But then, as in Bakemonogatari as well as Madoka, the audience ..... till the end..... Is this part of Animedia July 2011, Newtype July 2011, or another source?

Black Past Interview with Gen Urobuchi

Source: Shinjidai no Mixture Magazine BLACK PAST, June 2011. Translated by symbv from evageeks forum. Uno (U) is the interviewer.

Scans 1 and 2 - Uno – I have the pleasure of watching and enjoying Puella Magi Madoka Magika (Madoka). My views have changed somewhat from the first half to the second half. To be honest, up till the middle it seemed to me it is more like a work that clevely re-deployed various elements that we had already seen before. In fact, I could see Madoka have got many genes from works over the last 10 or 20 years. This was also reflected in the “established personalities” like Director Akiyuki Shinbo and Ume Aoki-san. And up till the mid-part although I found it a joy to watch I did not sense a desire to pour my words out about this anime. However, as it approached the finale, I started to reconsider and thought I had been premature in my thinking. In particular, the last 3 episodes were just sensational. My apology for stealing the word for my own use, but this was the surprise about the way of approach to reach something that is a “miracle”. In media with high degree of imagination like anime and game, consumers usually want to get hold of some “miracle”, a fantasy that could only exist in anime or game. Madoka was no exception to this.

Translations of interview text from online posts:

宇野：「まどか」を見て、久しぶりに「奇跡」のイメージを更新してくれる表現に出会ったように思いました。その新しいイメージというのは、片方にとっては一ヶ月しか時間を共有していない同性の相手との関係性という、普通に考えればあまりにも根拠が弱く脆弱なものをベースに「奇跡」が起こるということに尽きるんじゃないかと思います。まどかとほむらの間には狭義のセックスは成立しないし子どもも生まれない。それを特別なもの、入れ替え不可能なものとする根拠は何もない。

しかし、そこには「奇跡」が成立している訳ですね。少なくとも観ている人はそう感じてしまう。そこに明らかに物語の力、作り話ゆえの詐術が働いている。そして僕らがアニメのような虚構性の高い表現に求めているのはこういう物語の力、つまりは本来あり得ないものを可能にしてしまう力を見せてくれることじゃないかと思うんですね。それこそがまさに「奇跡」なわけです。

When I [Uno] watched Madoka, it came upon me that I had met a presentation that updated the image of “miracle”. And I think this new image is about going deep with the “miracle” that occurred from a base of the relationship of two people of the same gender in which one side had only barely one month of sharing time with the other side, something that by conventional thinking would put as lacking ground and thus fragile. Between Homura and Madoka sex as narrowly defined could not happen and no child could be born between them. There is no ground whatsoever that would be said to be special and irreplacable. [Editor's note: "Sex as narrowly defined" is referring to Japanese law where no penetration = no sex.]

However, from there a “miracle” was established. At least those who watched the show feel that. And here clearly some tricks from the power of story-telling and the fictional account were at work. And what we seek from media with high degree of imagination like anime is this kind of power of story-telling, that is, showing to us the power that can make possible something originally impossible, I think. This is precisely what is a “miracle”.

虚淵：奇跡という単語を引き継いで話せば、僕にとって奇跡というのはあくまでも単なる偶然に見出す行為に 他ならないんです。当事者にしてみれば、祈りの結晶だったり信仰の拠り所になっているようなものであっても、より大きな視点に立ってみれば、起こってもお かしくない出来事がたまたまその瞬間に起きたということに過ぎないんですね。確率的に言えば、宇宙を何百回か繰り返せば物質をすり抜けるようなことが起 こってもおかしくないわけでしょう。だから、あくまで奇跡の価値というのは人間がある偶然的な出来事に意味を付け加えるという行為そのものにあるのだと思います。

最終回でのまどかとほむらの絆というのも、実は奇跡が起こった後で成立しているものなんですよね。まどかがキュゥべえに願いを伝える段階では、彼女にとってのほむらは何を言っているのかよくわからない電波女なわけですよ(笑)未来から来て何度も時間を繰り返したらしいけど、こっちは一回分しか知らないぞっていう。だから、まどかの祈りの動機はむしろ全ての魔法少女を救いたいというところに根ざしていて、必ずしもほむら個人に向けられたものではないんですね。ほむらが何回もループを繰り返して因果を束ねたおかげでまどかが因果律を捻じ曲げるほどの力を持っているわけですから、ほむらの気持ちは常にまどかの方を向いているけれど、まどかがほむらの真の想いを理解するのは全能の力を手にした後なわけです。

Gen Urobuchi – If I can keep the use of the word “miracle”, to me a miracle is at the end nothing but some behavior that got noticed by chance. For those who were involved, it could be the fruit of praying or something that became the foundation of a faith, but if we look at it from a broader perspective, it may be just some occurrence that is not that unexpected which somehow happened at that moment. This is like, from a probability point of view, if the universe were to start over several hundred times it is not unexpected that some material may slip through. So at the end the worth of miracle is what additional meaning human put upon some accidental happening.

In the last episode, even the bonding between Homura and Madoka was established only after the miracle happened. At the stage when Madoka spoke out her wish to Kyubei, for her Homura is a denpa (wacko) whose words she could not understand. (lol) Although [Homura] came back from future and rolled back time many times, for her she only knew her only the first time. Therefore the motivation for Madoka's wish was actually rooted in desire to save all the mahou shoujo. It was not necessarily for Humura herself. It was to Homura's credit that because she went through time loops many times and bound up the causalities so that Madoka possessed the power strong enough to bend and twist the law of causality. So Homura's feeling was always facing towards Madoka, but Madoka came to understand the real feeling of Homura only after she got hold of the almighty power.

宇野：やっぱり、その点において彼女たちはすれ違ってしまっているわけですよね。 虚淵：そうですね。そしてすれ違いを解消するためにはまどかが人間から離れて神になるしかないという、ある意味ひどい話ですよね。

Uno – So on that part the girls were passing each other by. Urobuchi – Yes. And in order to resolve this passing-by Madoka could only depart from humans and become a goddess. In a sense it is a cruel story.

無性的な空間

宇野：「まどか」にしても同性間の関係というテーマはやはり重要だと思います。タイトルに「魔法少女」と入っていることもあって、多くの人は「まどか」 に対してセクシュアルなイメージを持って見ていたという気がします。しかし、実際にはほとんど男性は登場しないし、ラストは少女たちの友情に着地するし、 一方で過剰にセクシュアルな表現を試みていながらもう一方では切断するようなこともやってみせる。そんな作品だったと思います。その意味では『鬼哭街』、 『Fate/Zero』、「まどか」といった作品を見ていくと、虚淵さんの作品にはセクシュアルなものがかなりの程度消失した、無性的な空間で何が起こるのかというモチーフが強く働いていると思いました。

Uno – I think in “Madoka” the theme of same-gender relationship is quite important. There is “mahou shoujo” in the title, and it seems that many watched Madoka with certain sexual image in mind. However in reality there were little appearance of male and the last part is anchored with the friendship between young girls. On one hand it was trying sexual presentation in overabundance, while on the other it tried to cut off that link. To me this is such a work. When I look at works like “The Cyber Slayer”, “Fate/Zero” and “Madoka” in this way, it seems to me that in your works a strong motive, where the sexual matter disappeared to a large extent and something happened in a sexless space, is at work.

虚淵：確かにそれはありますね。僕の場合、男と女の間に成立するような関係は、同姓同士でも成り立つものだろうと考えている部分があるのかもしれません。絶対に男女間でなければ成立しないようなモデルというのは、自分の中にあまり想定されていないように思います。セックスという要素は加わるものの、男女間の関係が人間関係の中でそれほど特殊なものとは思えないんですよ。だからその気になれば、よりBLに近い形で、男同士のメロドラマもかけるかもしれないですね。

Urobuchi – That much is certainly true. For me, perhaps there is part in my thought that said whatever relationship that could exist between male and female it should also exist between couples of same sex. Inside me, I could not imagine a model in which there is something that absolutely could only exist between male and female. Notwithstanding the extra element of sex, I do not believe male-female relationship is such a special thing among all the different inter-human relationships. Therefore if I really feel like doing, I may even try a melodrama between male couples, something like BL.

虚淵玄のターニングポイント

宇野：虚淵さんの作品の中で、セクシュアリティの問題を別にしても、やはり『Fate/Zero』はターニングポイントになっていると感じます。それ以前の作品というのは『沙耶の唄』がまさに当てはまると思うんですが、個人の感情と社会的な倫理がある時に前者が優先されることでカタルシスを得るという構図が見られたのではないかと。一方『Fate/Zero』以降というのは、むしろ倫理や社会的な責任という概念を物語の中にどんどん取り込むことで緊張感を増し、物語の強度を引き上げる方向にシフトしたように思うんです。『Fate/Zero』における衛宮切嗣の描写はまさにその典型ですよね。

Uno – Among your works, even if we put side the issue of sexuality, it seems “Fate/Zero” is a turning point. Of the works before it, “Saya no Uta” is a good representative, where we can see a composition in which catharsis is obtained by means by giving priority to personal emotion over social mores when both are present. On the other hand, after “Fate/Zero”, the style is shifted to a direction in which the strength of the story was pulled up and tension was raised by continuously taking in concepts of morals and social responsibilities. The depiction of Kiritsugu Emiya in “Fate/Zero” is typical of this. [symbv: Kiritsugu Emya is the protagonist and master of Saber in “Fate/Zero”]

虚淵：『Fate/Zero』のあとがきにも書いたんですが、僕は心温まる物語が書きたいと思っているにもかかわらず、どこかでまっとうな幸福というものを信じられないからどうしても作品がバッドエンドに向かってしまい、それに悩んで筆を折ろうかと考えていた時期があるんです。 そもそも、世界より個人をとる、自分の欲望を肯定するというのは僕の中で絶対にバッドエンドなんですよ。世界が滅んでしまうんだったら救済も何もないです よね。昔の自分はそれを認識しつつ、マクロに見ればバッドエンドだけど個人の目線ではハッピーエンドというところに物語を着地させることを逃げ道としてい たように思います。 　でも『Fate/Zero』というのは個人を不幸にして世界を救う話だったので、おっしゃるようにこれをターニングポイントとしてハッピーエンドを書けるようになったのかもしれないですね。これ以降は『アイゼンフリュ－ゲル』にしろ「まどか」にしろ、主人公はどこか破滅に向かってしまうけど世界にとってはいい結末というものを迎えていますしね。

Urobuchi – I wrote it in the afterword of “Fate/Zero” too. It was the time when I got so troubled by the fact that as much as I wanted to write a heartwarming story, somewhere in me just could not believe in legitimate happiness but I had to move the work to a happy end, and I almost wanted to hang up my pen. From very beginning, to opt for the individual instead of the world, to affirm his own desire and ambition is to me an absoulte bad-end. If the world should be destroyed then there was no salvation whatsoever left. I think in the past I just picked the escape route by landing the story in way that is a bad-end in a macro perspective but a happy-end from the individual's point of view. However, “Fate/Zero” is a story that had the individuals fallen into misfortune but got the world saved. Perhaps this became the turning point like you said and finally I could write my happy-end. After that, be it “Eisen Fluegel” or “Madoka”, I approached to write works in which the protagonist may face ruin and destruction but to the world it holds a good ending.

物語の力を信じている

虚淵：僕はデータベースという発想が苦手な部分もあるんですよ。たとえば『スーパーロボット大戦』シリーズにハマれないんですよね。やっぱり自分の中で最優先されるものは世界観であって、その中を自在に動き回るユニットだけを単体で愛することは出来ない。キャラをピックアップして自在に混ぜなおすというところまで来ると、世界観は成立しないと思ってしまいますよね。

Urobuchi – I do not really like this idea of database. For example, I could never enjoy “Super Robot Wars” series. At the end for myself the top priority is the world view. I cannot love only the units that move around at will inside it as each individual item. I believe if I go to the extent where I just pick and choose the characters and mix them around as I please, I cannot establish a valid world view.

宇野：『Fate/Zero』のよう な、オリジナルとしての『Fate/stay night』の歴史に介入することはありでも、ゲーム的な想像力が強い「スパロボ」までは行きたくないということですよね。たとえば「MUGEN」とか 「SRC」のような全てのキャラクターがカオスに交じり合うようなものとは一線を引いておきたいのかなと思うんですが。

Uno – Even though you could insert into the history of “Fate/stay night” with an original story like “Fate/Zero”, you do not want to go to the extent of “SupaRobo” with its strong game-like imagination. I think you want to draw a line between works like “Mugen” or “SRC” where all the characters are chaotically mixed up together.

虚淵：あれはやっぱり「おじさんついていけない」って思っちゃいますよね(笑)古典化した作品を再利用するという温故知新の意味では非常に有意義なコンテンツであるというのも分かるんですが、ノリきれないですね。

Urobuchi – I just think that this is really what they say “you must not follow an old chap (ojisan)” (lol) Although I also understand that, in the sense of “learning from history” where classic works are reused, it can become very meaningful contents. I cannot bring myself to do that.

宇野：インターネット以降の感覚をある程度は受け入れようとしながらも、そこで抵抗して物語の側に踏みとどまりたい気持ちが虚淵さんの中にあるんですね。それはそれで一つの対峙の仕方だと感じます。時代の前提を受け入れながらも、自分のプロ意識を保ちつつベストではなくベターな解答を探していく。少し衛宮切嗣みたいですね(笑)

Urobuchi – So within you there is a feeling that you want to take in the sense of the post-internet age to a certain extent, you also want to resist that and hold out by the story's side. This is certainly one way of confrontation. While taking in the premises of the current period, yet keeping your own professional sense and looking for a better solution, instead of the best one, you are a little bit like Kiritsugu Emya (lol)

虚淵：自分はストーリーテラーなので、キャラクターの可愛さや彼らが作る空間にも魅力を感じつつ、やはりそこから立ち上がってくる物語の力を信じたいですね。

Urobuchi – Because I am a story teller, while I can feel the charm of how adorable the characters are as well as the environment they created, it is the power of story-telling that was created from them that I wanted to believe in.

死人としての経験

虚淵：僕の場合、創っているものに影響あるレベルで自分の人生における黒歴史を考えると、24歳くらいの時に病気で死にかかったことを 思い出しますね。感染症にかかって熱が出て、ちょっと処置が遅れたら死んでいたというくらいに危なかったんです。今でも忘れられないのが、その後の療養期 間における感覚ですね。大げさでも何でもなく、ああ、自分は今ある意味社会的に抹殺されているんだなあと感じました。自分が死人同然だという感覚が離れな かったんですね。その時間に味わったものは今でも結構作品に活きているように思います。

Urobuchi – For me if I consider the “hidden history” in my life which had the impact of causing influence in my creation I remember when I was 24 I got sick and almost died. I contracted some epidemic and had fever. It got so dangerous that if the treatment had been delayed I could have died. What I could not forget is the feeling I had when I was in recuperation. Although I did not suffer grave wounds or anything like that, well, I felt that I was in a way erased from the society then. I could not get away from the feeling that I was just like a dead man. What I felt during that time is very much alive even now in my works.

宇野：やたらと作品内で主人公が死にかけるのはそのあたりのご事情が関係しているんでしょうか。あとどの作品でも身体にじわじわとダメージが蓄積される感覚をすごく大事になさってますよね。

Urobuchi -- So the fact that so often the protagonists got near death in your works is linked to that incident. And in every work you took care to build up a feeling that the body is slowly accumulating damages.

虚淵：死人として数ヶ月過ごしたことで、死者の目線みたいなものを獲得できたのかなという気はします。自分の死について徹底的に想像力を巡らせることができたというのは紛れもなく貴重な体験になっていますね。

Urobuchi – By spending several months living like a dead man, I feel that I obtained something like the “eyesight of the dead”. It was unmistakably a precious experience when I could let my imagination to wander free regarding my death.

虚淵玄の考える自らの今後

虚淵：せっかく「まどか」で成功したので、もうちょっとこの業界での仕事を続けてみたいという気持ちはありますね。ただ、今回の「まどか」 を大きな節目とまでは思っていないんですよ。節目ということでいえばやはり『Fate/Zero』の方が大きかった。あれは久しぶりに物を作ることが楽し いと思えた作品ですし、がっつり売れたということも自分の中で大きな意味を持ちましたね。自分が生涯で売り上げるつもりだった目標数値を 『Fate/Zero』だけで上回っちゃったんです。その時に、「ああ、俺はもうこれ以上成功しなくてもいいや」って思っちゃったんですよね。同時に、あとの人生はボーナスステージみたいなものなんだから好き勝手にやろうという思いも出てきました。それで色々と変なことをやっていこうと考えていたらまた「まどか」で当たったので、案外生き存えていれば再び当たることもあるんだなと思いましたね。

ある意味で野心を失っている部分はあるんですけど、とはいえ評価されたり名前が売れることは自分を育ててくれた人たちに対する恩返しにもなるのでそこは頑張ろうと思っています。視聴者の皆さんに対しても自分が色々教わってきた以上は、日本のアニメをもっといいものにしていく責任は負っているんだろうし、それを果たしていきたいですね。

UB – I have the feeling that I want to continue working in this industry for a bit longer, given that Madoka succeeded after that much effort. But then I do not think Madoka this time is such a critical juncture. If I have to pick a critical point then it will have to be “Fate/Zero”. That one is a work that I first felt happy creating something after a long time, and the good sales held a special meaning to me. With only “Fate/Zero”, it broke my target sales figures for all the works in my whole life. At that time, I even thought “Ah, it is fine if I do not have any success bigger than this.” And so I thought about trying various odd things but then Madoka also became a hit. It seems as long as you live and endure, unexpectedly you may hit on something.

Part of me may in a way have lost the ambition, but I will do my best in future because to have good review and be able to sell with my name is a way to repay the kindness of those who have helped me grow. And with all the viewers having taught me so many things, I also bear the responsibility of taking anime in Japan to something even better. I want to follow up on that.

[Translation of interview not completed, more to be added later]

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  Summary scan

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  Scan 1

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  Scan 2

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A compilation of the scans discussed in this section.

These are translations of magazine scans on /a/, with reference thread posts, from April 2011 timeframe. >>47950014 1 - The Secret of Homura's Room Homura's room is drawn in an other-worldly manner [TL note: this is also the word used for witches' barriers]. The truth is that it's supposed to be a holographic projected image. At its basis, it's an apartment set up around a dinner table and the like. >>47948969 2 - In episode 8 it was revealed that there are multiple Kyubeys, but are their personalities difference? Urobuchi: There are many bodies, but only one consciousness. Therefore, even if you kill the body, there isn't any sort of damage. Killing one is just like pulling out a single strand of hair. The scene where Kyubey eats his corpse, and then comes in from the stairs in the script.　I was trying to write Kyubey as something that humans can't relate to. Think like, "If your brother really died, what would your response be." >>47949220 3 - Urobuchi: Even though it's a 1-cour broadcast period, there were a lot of things to chip away at. I keep thinking very hard about the developments in the next Madoka (note: this comment was made on 3/13) TL note: Cour = a Japanese TV season of 12-14 episodes. >>47949471 4 - There's only half of the show remaining: It's a somewhat short story, so do the two of you think you would want to make a sequel (Madoka 2)? Shinbo: I've thought a lot about what to do if there were 2-cours, what would go into all 12 episodes. I think I could really expand the world from what we've made so far. >>47949703 5 - Urobuchi: Thinking about ending the story cleanly, it's somewhat troublesome. If it were 2-cour, there might be the possibility to develop things with more breadth. But I'd be worried about what I would write as a continuation if this were the case. >>47950350 6 Urobuchi: When I was writing the script, since the monster design and the visual design weren't completed, there was no decision on the fight scenes. So in the script I wrote, "In this scene 'She says this line while fighting," just a rough outline. At the time Mami's Finisher was called "Ultima Shoot" (laughs), but I thought that was really lame, so during recording I was translating it on the internet. I tried Spanish and Greek, and then finally decided on the Italian "Tiro Finale." >>47917408 7 Shinbo: "In the anime, Sayaka didn't kill the two hosts." Urobuchi: "It can be interpreted as both ways in the scenario, so Hanokage-san interpreted it as if they're killed in her manga version."

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Q - In future, do you think you want to do more original anime?
Shinbo (S) - I have such thought, although I do not hate adapting anime from original works either.
Q - Any idea of what you want to do?
S - Not really. Mystery or something mysterious, and then Horror. But perhaps horror is not possible, because I have got to the point of not really watching much horror these days. And then I think perhaps it's good to have more mahou shoujo, but this time it is more slice-of-life and girl-next-door. I would like to try this different variation of mahou shoujo. And then there is also something like the world of Ikki Kajiwara. It may be interesting to do something like Ai to Makoto*, something that brings two polar opposite together.... But before that, I may need to do the second season of PMMM. If it is possible, I would definitely want to do that.

• Ai to Makoto is a manga from 1973-1976 and was very popular in its days. It is about a well-bred girl from a very rich family crossing path with a juvenile delinquent boy. It was adapted into both tv drama and movies but I don't think there is anime adaptation.
  

-- Alternative translation of the same interview:
Q: From now on, do you want to make original works?
Shinbo: Yeah, I have a feeling like this. Of course, it's not that I hate adapted works.

Q: Do you have any ideas as to what you'd want to do next?
Shinbo: Let's see. A detective in a strange story, maybe. And then, I'd like to do a horror anime. But it's getting harder and harder to do a horror anime. It doesn't seem like nowadays, many people want to watch a horror anime. And as for magical girls, I'd like to do a more slice-of-life anime. I think I'd like to try doing a different genre of magical girl anime. Also, I want to make something with a world like something Ikki Kajiwara would make. I think creating something as extreme as "Ai to Makoto"...oh, but before all that, I'd like to try for a second season of Madoka. (hahaha) If I could, I would definitely want to do it.

Magazine list

I wasn't kidding about the lengthiness of some of these translations, if you actually get lucky and someone's willing to translate them in full. This is why I suggested a link to a subtable for a full translation or some other break in format when it gets really long. Also to give you an idea of the breadth of possible scans out there...of which I get lucky and stumble on something, sometime. Here's a 95% list of Madoka references, with new ones coming out every month. There's so much out there I'm just sticking to getting new things translated and pretty much given up on the old stuff for now...unless things slow down. Also in my experience, post-production articles tend to be the most interesting for fans so right now we're starting to see the best stuff coming out. On a personal note, while I'm willing to dedicate a good portion of my free time on Madoka, I have other things I like to do with that time as well. Tracking down the latest news, scans and the kind of things I'm doing now is pretty time-consuming and I can't do much more. I keep thinking things will slow down so I can spare some for organization and analysis, but that hasn't happened yet. Maybe in another month or so.

• 10/30　*1p　メガミマガジン 2010年12月号　←岩上Pインタビュー、まどか☆マギカ初紹介
• 11/30　*2p　メガミマガジン 2011年1月号　←版権絵：4人魔法少女姿、キャラデザイン紹介、蒼樹うめ先生インタビュー
• 12/10　*2p　アニメージュ 2011年1月号　←版権絵：4人魔法少女姿「魔法少女になってみる？」、新房QA、作品紹介
• 12/10　*2p　アニメディア 2011年1月号　←版権絵：4人魔法少女姿＆ほむらだけこっち見てる、作品紹介
• 12/10　*2p　ニュータイプ 2011年1月号　←版権絵：ほむまど「高校生以上にあやうい存在なんです」、新房、虚淵玄、岩上P、宮本SDコメント、作品紹介
• 12/24　*1p　まんがタイムきららフォワード 2011年02月号　←まどか☆マギカ×きららフォワードコミカライズプロジェクト
• 12/27　*2p　電撃G's magazine 2011年02月号　←版権絵：まどほむ「ドキドキの魔法タイム♥」、作品紹介
• 12/30　*6p　★メガミマガジン 2011年2月号　←版権絵：魔法少女まどか表紙、4人制服（ほむストーカー＆マミ謎空間）ピンアップ、39人スタッフコメント、蒼樹うめ先生イラストメッセージ、新房インタビュー
• 01/08　*5p　オトナアニメ Vol.19　←シャフト特集、虚淵玄＆蒼樹うめ先生インタビュー
• 01/10　*2p　アニメディア 2011年2月号　←版権絵：4人（岸田隆宏の水彩っぽいやつ）、作品紹介、岩上Pコメント
• 01/10　*2p　アニメージュ 2011年2月号　←版権絵：4人「切り札は☆友情物語」、作品紹介、虚淵玄インタビュー
• 01/10　*4p　ニュータイプ 2011年2月号　←版権絵：まどほむマミ「魔法少女はじめました」、作品紹介
• 01/24　44p　まんがタイムきららフォワード 2011年03月号　←かずみ1話
• 01/30　*5p　メガミマガジン 2011年3月号　←版権絵：4人水着＆さやかビーチボールピンアップ、3話紹介、虚淵玄インタビュー
• 01/30　*4p　娘TYPE 2011年3月号　←版権絵：まどかマミ水着、まどか☆マジカ記事、虚淵玄インタビュー、佐倉杏子紹介
• 02/10　*2p　アニメージュ 2011年3月号　←版権絵：まどほむバレンタインチョコ、斎藤千和コメント
• 02/10　*6p　ニュータイプ 2011年3月号　←版権絵：まどほむ／あんvsさや、悠木碧＆斎藤千和、宮本SDインタビュー、イヌカレーコメント
• 02/10　*2p　アニメディア 2011年3月号　←1～5話紹介、虚淵玄インタビュー（ジェットコースター発言）
• 02/24　46p　まんがタイムきららフォワード 2011年04月号　←かずみ2話
• 02/30　10p　★メガミマガジン 2011年4月号 Vol.131　←版権絵：ほむら表紙（風俗嬢っぽいやつ）、まどか白スクピンナップ、宮本SD、イヌカレー、インタビュー、虚淵＆ハノカゲ対談、蒼樹うめ先生4コマ漫画、2p公式ノベライズ（とりあえず買え）
• 02/30　*7p　☆娘TYPE 2011年4月号　←版権絵：まどほむドレス表紙、まどかパジャマピンアップ、新房＆虚淵＆うめ先生インタビューと直筆コメント
• 03/10　*4p　☆アニメディア 2011年4月号　←版権絵：ほむら（岸田隆宏の水彩っぽいやつ）、斎藤千和インタビュー（10話ハードル上げ）、岩上Pコメント
• 03/10　*3p　アニメージュ 2011年4月号　←悠木碧インタビュー、6～8話紹介、まどか弁当（グロ注意
• 03/10　*4p　ニュータイプ 2011年4月号　←版権絵：まどまど「最後の願い」、0.5p加藤英美里のコメント、6～9話紹介、新房、虚淵玄、蒼樹うめ先生のコメント
• 03/15　*6p　季刊S 2011年4月号　←新房インタビュー、OP原画と本編コンテが載ってる
• 03/24　46p　まんがタイムきららフォワード 2011年05月号　←版権絵：キービジュアル第2弾（紙質悪い）、かずみ表紙、かずみ3話
• 03/28　20p　★フェブリ Vol.5　←虚淵玄大特集、虚淵玄＆高橋龍也＆高山箕犀インタビュー
• 03/30　*2p　娘TYPE 2011年5月号　←版権絵・お泊り会ピンアップ、キャラ紹介（読む価値なし）
• 03/30　14p　☆メガミマガジン 2011年5月号 Vol.132　←版権絵：メガほむまどさやマミさんQB砂浜、ノベライズ版ピンアップ、別冊付録：各話解説
• 03/31　**p　＠２．５ ６２４８３‐８１　←岩上Pインタビュー
• 04/09　34p　★オトナアニメ Vol.20　←まどか表紙、大特集：各話解説、新房、虚淵玄、劇団イヌカレーインタビュー、研究、他（とりあえず買え）
• 04/10　*1p　★ニュータイプ 2011年5月号　←版権絵：メガほむまどB2ポスター、裏に新房＆虚淵玄インタビュー、キャストのコメント、各話解説
• 04/10　*2p　アニメディア 2011年5月号　←10話紹介、声優DATAFILEに悠木碧ちゃん
• 04/10　*4p　アニメージュ 2011年5月号　←版権絵：魔法少女まどか＆メガほむ、新房＆虚淵玄インタビュー、各話紹介
• 04/23　**p　B.L.T.2011年6月号　←まどほむさや限定表紙
• 04/24　26p　まんがタイムきららフォワード 2011年06月号　←かずみ4話
• 04/25　**p　リスアニ！Vol.5　←版権絵：まどほむ表紙、梶浦由記、ClariSインタビュー
• 04/30　**p　メガストア6月号　←虚淵玄インタビュー
• 04/30　*3p　メガミマガジン 2011年6月号 Vol.133　←版権絵：キービジュアル第2弾ピンアップ、2p最終話記事、1p岩上Pインタビュー
• 05/10　*4p　ニュータイプ 2011年6月号　←版権絵：ほむらとQB、新房＆虚淵玄インタビュー、キャストのコメント
• 05/10　*4p　アニメージュ 2011年6月号　←悠木碧、斎藤千和インタビュー
• 05/10　*6p　★アニメディア 2011年6月号　←版権絵：女神まどかピンアップ、裏に虚淵玄インタビュー、最終話アフレコ漫画
• 05/18　**p　サイゾー6月号　←SKE48まどかコスプレ
• 05/19　**p　CUT6月号　←新房インタビュー？
• 05/24　26p　まんがタイムきららフォワード 2011年07月号　←かずみ5話
• 05/25　*8p　★フェブリ Vol.6　←新房語コラムに新房＆虚淵玄対談
• 05/30　**p　週刊プレイボーイ　2011年6月13日号　←虚淵玄インタビュー
• 05/30　*1p　娘TYPE 2011年7月号　←娘DISCに紹介（読む価値なし）
• 05/30　16p　★メガミマガジン 2011年7月号 Vol.134　←版権絵：水着マミほむB2ポスター、別冊付録：各話解説、虚淵玄＆新房インタビュー、声優座談会
• 06/06　*5p　特冊新鮮組DX 7月号　←まどかマギカ紹介記事
• 06/10　36p　★ニュータイプ 2011年7月号　←別冊付録：新房＆加藤英美里、虚淵玄インタビュー
• 06/10　*1p　アニメージュ 2011年7月号　←蒼樹うめ先生のコメント
• 06/12　**p　新時代のミクスチャーマガジン BLACK PAST　←虚淵玄インタビュー
• 06/20　**p　SWITCH 2011年7月号　Vol.29 No.07　←まどか表紙、A2ポスター
• 06/24　**p　まんがタイムきららフォワード 2011年08月号　←かずみ6話
• 06/30　**p　メガミマガジン 2011年8月号 Vol.135　←別冊付録：評論＆イラスト集
• 07/09　**p　オトナアニメ Vol.21　←終盤戦特集 --randomanon 11:00, 13 June 2011 (UTC)

I'm working on translation of the latest revision located in their uploader. Coincidentally, I seems have most of the magazines in this list which I may able to provide a full translation of the article as well... if I'm free enough (which I'm not). If anyone interested in translating them, I can provide the article scan. --0x99 17:51, 13 June 2011 (UTC)

If you do have some free time, it'd be great if you could translate some articles instead of this list. I already know what's on here, just haven't bothered putting together a neat enough one in English. Or if you don't have enough time, the full-scans would be great, especially anything interesting or recent that we don't have. Can knock out Black Past off that list, I just got the full scans for those.--randomanon 18:07, 13 June 2011 (UTC)

I'm a bit reluctant about putting full scans of recent articles since it might not conform the fair-use law, etc. (Well, I don't mind getting C&D but I don't want this wiki to get into trouble) so probably I'll scan the older one first. It'll take a while, though. If I count properly, I own about 50 (of 63) in that list. Scanning them all will take about a month. --0x99 18:20, 13 June 2011 (UTC)

That is quite a collection! I'm impressed. I see your point. For translation, we'd want to end up breaking it into sections anyways, so we shouldn't end up posting entire pages all the time, ideally, if that helps. --randomanon 18:30, 13 June 2011 (UTC)

In my opinion, we could just split each magazine in each own page with Translated Official Documents being a link to them. We could better extend each article that way (e.g. thumbnail of illust in that volume). What do you think? --0x99 18:42, 13 June 2011 (UTC)

As long as I can see some kind of thumbnail so I can visually ID something, I'm happy. I really don't know all the technical capabilities of this site so I pretty much just leave that in other people's hands. Having each magazine with its own pages is great. Frankly never thought we'd have that luxury, so I'm happy. --randomanon 18:48, 13 June 2011 (UTC)

OK, will see what I could do with the styling then. For now, let me finish the listing first. ;) --0x99 18:49, 13 June 2011 (UTC)

Having a link to pages with fully translated documents from the general TOD page was also what I had in mind (I just didn't have the occasion to do it yet). The idea was then to just put the link (and maybe a small summary) on the "translation" field.
Also, as a side note, I like the layout you used for User:0x99/Magazines. --Homerun-chan 19:32, 13 June 2011 (UTC)