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About the Series Name: "Oh My Goddess!" is based on the manga series "Aaa! Megamisamaa," written by Fujishima Kousuke. "Megamisama" means "goddess," (in this case, with an extended ending vowel to add emotional emphasis) and "Aaa" is an expression that usually translates to "Oh!" or "Ah!" When the graphic design of the Japanese "Aaa! Megamisamaa" logo was being done, an English version of the series name was added for spice; the translation used was "Ah! My Goddess." At the time, the possible English play on "Oh My God!" wasn't noticed, but was subsequently pointed out to Mr. Fujishima.

When it came time to do the English version of the Anime and the Manga, Mr. Fujishima was consulted regarding his preferences concerning character names and other matters, and he expressed a desire that the translated series be called "Oh My Goddess!"

About the Goddesses: All three goddesses (two of whom you have yet to meet) are based on the Norns from Nordic mythology. The original goddesses were Verthandi (optional spelling: Verthande), Urd (optional spelling: Urthr) and Skuld, who were the goddesses of fate. Each of these goddesses had their own domain in time. Urd the past, Verthandi the present and Skuld the future; the goddesses of "Oh My Goddess!" have the same domains, as you can see by noting their choice of broomsticks in the opening credits.

In the original manga series, Verthandi mutated into the more easily pronounceable "Berudandi." This happened because there are no "Ve" and "th" sounds in Japanese. Then, somewhere along the line, a romaji (roman alphabet) version of the name was needed, one that could still be read by a Japanese reader, and "Berudandi" became "Belldandy" when spelt in English. We think it is a fine name for a goddess.

There are many other borrowings from Norse mythology in the series, but it would be giving things away to mention them at this early date.

Special Guest Appearance: The driver of the car that almost hits Belldandy and Keiichi in episode 1 is none other than Nakajima Ken, the "White Hawk of Bokutoo" from "You're Under Arrest."

On Romanizing Japanese: One problem we always face is how to convert names in the credits into English. While Japanese has fewer sounds than English, it is often impossible to write them in English so that an English-speaker will be able to read and pronounce them properly. Over the years, many Romanization Systems have been developed and promoted. The system we use in the credits is one that borrows from many of the better ones, and aims to make pronounciation as easy as possible, but also keeps typographical elegance in mind.

Our experience in Japan has been that the Japanese go to great lengths to try to pronounce our names properly, so we thought we would try to help return the favor by including this short primer on Japanese sounds. What follows is a very general quick-and-dirty guide; there are many subtleties that are beyond its scope.

Japanese syllables consist (with one exception, the terminal consonant "n") of consonant-vowel combinations. So, for example, there is no sound consisting of just an "r," and "Verdandi" becomes "Ve-RU-da-n-di" in Japanese. Each syllable takes the same amount of time to pronounce, and is almost always pronounced the same way, unlike English where each letter can have several pronounciations (the famous joke being that "Ghoti" is pronounced "Fish" -- as in "enouGH", "wOmen" and "FicTIon").

There are 5 vowels, romanized as "a," "i," "u," "e," and "o." They are pronounced roughly as follows: "a" as the "a" in "fAther," "i" as the vowel in "bEAt," "u" as the vowel in "bOOk," "e" as in "Edward," and "o" as in "gOal." Think of the vowels as having a little tiny "h" on the back of them.

Once you pronounce the vowels correctly, you'll almost certainly do a reasonable job with the consonants that preceed them. Although the Japanese consonants are in general not as strong as English ones, the sounds are similar. There are some irregularities; in these cases the initial consonant becomes two consonants when romanized as a guide to the proper pronounciation.

The famous Japanese "r" is actually midway between the English "r" and "l," and the Japanese have trouble telling the difference between the two (thus the infamous "flied lice"). In almost all cases, we use "r" to represent this sound, unless the owner of the name has expressed a preference.

The only consonant that stands by itself is "n," which has several different but similar sounds based on the context in which it appears. It is transliterated as either "n" or "m," whichever is more appropriate.

One thing to be aware of is that Japanese makes frequent use of long vowels; these are double-length syllables with the vowel sound extended. In our romanization, these are represented as a double vowel, although occasionally we will represent "oo" as "ou" for esthetic reasons. When you see one of these long vowels, just let the vowel hang in your throat a little longer than you think you should and you'll probably get it right.

Japanese people never expect English-speakers to get long vowels right, so your effort will be noticed.

Putting it all together, "Fujishima Kousuke" is pronounced "Fuh-jee-shee-mah Kooh-sue-keh."

Production Staff

Japanese Production Staff
Presented by: Kodansha, Ltd., Tokyo Broadcasting System & KSS, Inc.

Based on Fujishima Kousuke's "Oh My Goddess!"
(Published in Kodansha's "Monthly Afternoon" Comics)

Planning: Miyahara Teruo, Tazawa Masatoshi & Sekine Masaaki
Character Design: Matsubara Hidenori
Chief Animation Director: Honda Takeshi (2) & Matsubara Hidenori (3-5)
Animation Directors: Matsubara Hidenori (1), Kitajima Nobuyuki (1,3-4), Kitajima Nobuyuki (2,5), Oohashi Yoshimitsu (2), Nishii Masanori (3-4), Ogura Nobutoshi (4) & Gooda Hiroaki (5)
Art Director/Art Layout: Katou Hiroshi
Director of Photography: Konishi Kazuhiro
Music Director: Yamada Tomoaki
Supervisor: Fujishima Kousuke
Assistant Producers: Mizuo Yoshimasa (1-2), Iwakawa Hiroshi & Mochizuki Masao (4)
Coordinator: Mizuno Haruo
Screenplay: Hasegawa Naoko
Storyboards: Gooda Hiroaki (1,4-5), Masunari Kooji (2) & Ide Yasunori (3)
Technical Direction: Masunari Kooji (2,4) & Ide Yasunori (3,5)
Literary Settings: Kondoo Kunihiro (Tsuji Office)
Asst. Animation Directors: Honda Takeshi, Matsutake Noriyuki (1-3) & Tanaka Masahiro (4-5)
Design Works: Takeuchi Atsushi (1-2) & Tsuruyama Osamu (3-5)

Directed by Gooda Hiroaki

Producers: Shindou Masao, Takimoto Hiroo, Asaga Takao & Miura Tooru (AIC)

Opening Animation: Tsuruyama Osamu, Suganuma Eiji, Shino Masanori, Tanaka Yuuichi, Kishida Takahiro & Iwata Yukio

Ending Key Animation: Tanaka Yuuichi & Matsutake Noriyuki

Key Animation (1): Tanaka Yuuichi, Matsutake Noriyuki, Suzuki Hirofumi, Inoue Eisaku, Oogawara Haruo, Ogawa Kooji, Ishikura Keiichi, Takeuchi Shiho, Kobayashi Toshimitsu, Abiru Mitsushi, Tanda Seiji, Ishihara Kooichi & Suganuma Eiji

Key Animation (2): Imagake Isamu, Kuroda Kazuya, Okuno Hiroyuki, Oguro Akira, Ikegame Nobuyuki, Tsurumaki Kazuya, Aono Atsushi, Kazui Hiroko, Maki Yoshitaka, Shino Masanori, Tokoro Tomokazu, Ishikura Keiichi, Suzuki Hirofumi, Matsutake Noriyuki & Tanaka Yuuichi

Key Animation (3): Ogura Toshinobu, Yoshida Hidetoshi, Oowada Naoyuki, Kobayashi Toshimitsu, Yamazawa Minoru, Tanaka Yuuichi, Ishikura Keiichi, Nakayama Takehiro, Masudate Toshihide, Matsutake Noriyuki, Tsuruyama Osamu, Suganuma Eiji & Kishida Takahiro

Key Animation (4): Suzuki Hirofumi, Nakayama Takehiro, Abiru Mitsushi, Suganuma Eiji, Saitoo Takuya, Kikuchi Toshinobu, Katoo Hirohito, Oowada Naoyuki, Izumi Akihiro, Mitsui Yooichi, Inoue Eisaku & Morita Hiroyuki

Key Animation (5): Suzuki Hirofumi, Nakayama Takehiro, Abiru Mitsushi, Suganuma Eiji, Matsutake Noriyuki, Tanaka Yuuichi, Kuroda Kazuya, Shimada Hideaki, Tsurumaki Kazuya, Ishikura Keiichi, Oogawara Haruo, Yoshida Hidetoshi, Iwata Yukio, Kobayashi Toshimichi, Suzuki Shunji & Yufune Toshiroo
US Production Staff (Subtitling)
Executive Producer: Robert J. Woodhead
Producers: Janice Hindle & Peter R. Haswell
Production Coordinator: Ueki Natsumi
Translators: Shin Kurokawa & Michael House
Dialogue Editor: Roe R. Adams III, KTJ
Vehicular Research: Kawai Yasushi
Subtitling Director: Michael House
US Production Staff (Dubbing)
Executive Producer: Robert J. Woodhead
Producers: Janice Hindle & Peter R. Haswell
Production Coordinator: Ueki Natsumi
Translators: Shin Kurokawa
Dialogue Editor: Roe R. Adams III, KTJ
Vehicular Research: Kawai Yasushi
Subtitling Director: Robert Woodhead

Coastal Carolina Staff

Voice Director: Scott Houle
Script Supervisor: William Bailey
Audio Engineer: Nick Stuteville
Dialouge Mixer: Ron Abfalter
SFX Designer: Skip Bowerman
M&E Editor: Kevin Turner
Communications: Billie Houle
Duplications: B.J. Toney

Voice Actors

Japanese Voice Actors
Belldandy: Inoue Kikuko
Keiichi: Kikuchi Masami
Urd: Tooma Yumi
Skuld: Hisakawa Aya
Megumi: Fuchizaki Yuriko
Tamiya: Yanada Kiyoyuki
Ootaki: Futamata Kazunari
Mishima Sayoko: Asami Junko
Aoshima Toshiyuki: Tobita Nobuo
Man: Makino Yoshiki
Announcer: Itoo Miki
Hasegawa Sora: Ootani Ikue
The Lord: Ogawa Shinji
Belldandy (as a child): Tooma Yumi
Morisato Keiichi (as a child): Ogata Megumi
Jewelry Store Attendant: Asami Junko
English Voice Actors
Belldandy: Juliet Cesario
Keiichi: Scott Simpson
Urd: Lanelle Markgraf
Skuld: Pamela Weidner
Megumi: Amanda Spivey
Tamiya: Marc Matney
Ootaki: Sean P. O'Connell
Mishima Sayoko: Belinda Bizic
Aoshima Toshiyuki: Scott Bailey
Guys: Matthew Johnson & Jack Skinner
Announcer: Stephanie Griffin
Hasegawa Sora: Stephanie Griffin
The Lord: Dave Underwood
Newscasters: Jo Ann Luzzatto & Pablo "Doc" Fraga
Yet More Guys: Patrick Humphrey & Scott Bailey
Belldandy (as a child): UNCAST
Morisato Keiichi (as a child): UNCAST
Jewelry Store Attendant: UNCAST

Additional Voices (Episode 1): Dave Underwood,
Mark Franklin, Patrick Humphrey,
Nick Manatee & Scott Bailey

Additional Voices (Episode 3): Bob Weidner,
John Jeter, Jean Jones & Travis Stanberry

My Heart... Iidasenai Your Heart... Tashikametai
Lyrics by Hasegawa Sora * Music and Arrangement by Yasuda Takeshi
Performed by GODDESS FAMILY CLUB (Inoue Kikuko, Tooma Yumi and Hisakawa Aya)
Koi ni naranai ne
soba ni iru dake ja.
Nazo o kakete mo
donkanna hito dakara.
Natsu no fuku o kite
haru no umini kita.
Anata no shirt de yasashiku kabatte.

My Heart iidasenai
Please kiss shitette.
Day Dream yume wa fukurami
sora ni takaku kieru.

Onna no ko wa dare datte shiawase ni nareru.
Koi ga hajimareba kagayakidasu.
Tatoe namida nagashite mo anata no sei nara
mune o itamete mo kanashikunai.

Himitsu mochitai na. Tsumi o kanjitai.
Anata no NEWS shittetemo
shiranpuri.
Aki ni tokimiete
fuyu ni nayande mo
daiji n akoi ga minoreba ii yo ne.

Your Heart tashikametai.
Believe fureta yubi o.
True Love hajimete dakara
hoo ga atsuku moeru.

Onna no ko wa koishitara
utsukushikunareru.
Akai kuchibeni mo hitsuyoonai.
Nemurenakute sugoshitemo
yume bakari miteru.
Omou kimochidake afureteiru.

Onna no ko wa dare datte shiawase ni nareru.
Ai ga minagireba muteki ni naru.
Tatoe namida nagashite mo anata no sei nara
mune o itamete mo yasashiku naru.
Just being close to you
doesn't make love happen.
Even if I make it a puzzle,
you can't figure it out because you're slow.
We came to the spring sea,
wearing summer clothes.
Please cover me gently with your shirt.

"My Heart" won't let me say
"Please" kiss me.
"Day Dream" My dream gets bigger
and disappears high in the sky.

Any girl can be happy.
They all start shining once they fall in love.
Even if tears start to flow, or my heart aches,
if it's because of you, it won't be sad.

I want to have a secret. I want to feel guilty.
Even though I know what's happening
with you, I pretend that I don't.
Even if my heart pounds in Fall,
or I feel blue in Winter,
I'll be OK if my precious love bears fruit.

I Want to Be Certain of "Your Heart."
I "Believe" in your fingers touching me.
It's my first "True Love,"
which is why my cheeks are burning up.

When a girl falls in love,
she can become beautiful.
She doesn't even need red lipstick.
Even if she can't sleep at night,
all she does is dream.
She's overlowing with feelings of love.

Any girl can be happy.
If she is full of love, she can be invincible.
Even if tears start to flow, or her heart aches,
if it's because of you, she'll become gentler.
Congratulations!
Lyrics by Hasegawa Sora * Music and Arrangement by Yasuda Takeshi
Performed by GODDESS FAMILY CLUB (Inoue Kikuko, Tooma Yumi and Hisakawa Aya)
Ude o kunda hishochi no sampo de
guuzen deau chapel no wedding.
Asa no kaze ni tokekomu sambika.
Shiawasesoo na futari.

Nozoite ikoo yo.
Choodo chikai no kotoba ga hibiku.
Shiawase wakete hoshii.
Anata o yokome de miru.

Kane ga naru wa
Hanabira ga mau wa.
Kokoro o mitasu tashikana ai.
Kyuu ni watashi namida ga afurete
anata no shirt de fuita.

Omedetoo! Arigatoo!
Shiroi bouquet o sashidasu shimpu.
Shiawase wakete ageru.
Tonari de hohoemu kare.

Futari noseta kuruma ga ugoku to
anata ookina akubi hitotsu.
Gyuutto ude o tsunette ageta no.
Omoi ni kizuku kashira.

Aa kaerimichi terenagara
itsuka kimi to kurashitai.
Masaka propose na no?

Ude o kunda hishochi no sampo de
guuzen deau chapel no wedding.
Kitto watashi yokanshiteta no.
Mirai o sasotteita.

Eki no form ressha ga ugoku to
hanarerarenai futari ni naru.

Anata doko de te ni iretekita no.
Mabushii yubiwa miseta!

Furueru yubi ni kureta.
Walking around at a summer resort, arm in arm,
we came across a "Wedding" at a chapel.
Gospels melting in the morning breeze.
A happy-looking couple.

Let's go see.
Just then, the wedding vows rang out.
I want to share their happiness.
I look at you sidelong.

The bells are ringing;
Flower petals flutter about in the wind.
True love fills up my heart.
All of a sudden, my tears start to flow,
and I wipe them on your shirt.

"Congratulations!" "Thank you!"
The bride tossing her white bouquet.
"I will share my happiness with you."
The groom smiling next to her.

When the car carrying the couple starts to move,
you yawn hugely.
I pinch your arm.
I wonder if you realize how I feel.

On the way back, while blushing, you said,
"I want to live with you someday"
Can this be a proposal?

Walking around at a summer resort, arm in arm,
we came across a "Wedding" at a chapel.
I had a feeling that that was
an invitation to our future.

At the station platform,
when the train starts moving,
we can't be apart from one another.
Where did you get it?
You showed me a shiny ring!

You put it on my shakey finger.
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Oh My Goddess! Liner Notes (PDF)52.82 KB