Her first appearance was in Afternoon in August 1988, and the manga has now been running for almost 20 years and has over 200 chapters. Belldandy has also featured in a novel, two TV series, a movie, and in an (OVA) series. The character has gained considerable respect throughout the various formats, as evidenced by her appearance as one of the most popular characters in the Newtype and Animage polls. The concept of Belldandy draws loosely from Norse mythology, with "Belldandy" being a transliteration of the Old Norse Verðandi, one of a trio of Norns. She is joined by characters representing the other two of the trio of Norns — her sisters Urd and Skuld.
Belldandy is regarded by commentators as an example of the magical girlfriend character, and comparisons have been drawn with the characters of Samantha from Bewitched and Jeannie from I Dream of Jeannie. The character's very conservative nature, however, which almost completely subordinates her to her fictional boyfriend, Keiichi, has led to some concerns from critics and has polarized the audience.
Belldandy was created by Kosuke Fujishima and features as one of the two principal protagonists in the manga Ah! My Goddess! (ああっ女神さまっ) (along with the character of Keiichi Morisato). Her first appearance was in the comic Afternoon on August 25, 1988, but she has also been depicted in a novel (Ah! My Goddess: First End), three anime series — Oh My Goddess! (OVA), Ah! My Goddess and The Adventures of Mini-Goddess — and in Ah! My Goddess: The Movie.
Belldandy's original concept was loosely based on a depiction of Miyuki Kobayakawa, one of the main characters of You're Under Arrest, which was also created by Kosuke Fujishima. Miyuki was featured as a goddess in an advertisement for a You're Under Arrest t-shirt giveaway and appeared as a goddess character in a "four panel gag strip" in the You're Under Arrest manga, leading to claims that Oh My Goddess is a spin-off series.
Fujishima was particularly interesed in the concept of a goddess "as a job", and turned to Norse mythology as he felt that it was relatively unknown in Japan. Thus Belldandy is based on Verðandi (or Verthandi), the Norse Goddess of the present, (whose name is literally translated as "to become" or "becoming"), and she is one of the three Norns or "fates" from Norse mythology. Verdandi, when translated into Japanese, becomes ベルダンディー (Berudandī). As the Japanese phonetic system does not distinguish between "b" and "v" or "r" and "l", "Belldandy" can emerge as a product of consonant substitutions. Indeed, it was in the first chapter of the manga that her name was transliterated as Belldandy rather than Verdandi, and this romanization has stuck since. When the English translations were being prepared, Toren Smith considered returning the name to "Verthandi", (which Smith had determined to be the correct translation of the Old Norse), but chose to stick with Belldandy on the grounds that Fujishima was already "playing fast and loose with the mythos" and thus felt that no further harm was likely to come from employing Fujishima's transliteration. (Nevertheless, in the Swedish translation of the manga, released in 2007, her name was returned to Verdandi).
Fujishima provided the character with two sisters — Skuld and Urd — each with notably different personalities from her own. These two sisters represent the other two Norns from Norse mythology, with Urd (the eldest of the three) representing the past while Skuld (the youngest) represents the future.
When the series begins, Belldandy is working on the "Goddess Technical Helpline" and is responsible for granting wishes to those who call. As such, her role is similar to the character Peorth's work at the Earth Assistance Agency. In spite of working for Heaven, Belldandy, unlike her two sisters, does not appear to play a significant role in maintaining Yggdrasil, the "celestial supercomputer" (which is the series' counterpart to the World Tree of Norse mythology).
Belldandy is exceptionally kind-hearted, even for a goddess. She can easily sense other people's emotions and tries her best to be empathetic to all those around her, displaying a combination of "serene beauty and acceptance". She rarely holds a grudge and is always willing to forgive anyone who does injury to her. Her good will is so complete that she is willing to trust everyone completely, save her sister Urd, whom she realizes can often be duplicitous. Even though Belldandy tries her best to be as kind as possible, it is revealed that at times she can become very insecure and sad, especially when she is confronted with an implication that involves Keiichi in one way or another. This aspect of her character provides one of the biggest plot points in the Ah! My Goddess movie: Belldandy's possessiveness of Keiichi could make her an easy target for manipulation or even brainwashing, if the right buttons were pressed; her jealousy of Morgan Le Fay was what allowed Celestin, her teacher, to lure Belldandy into his plans.
As noted by Perper and Cornog, Belldandy, as a depiction of what they term "kirei", is comfortable "being loved and admired" and very much aware of her own beauty — yet this does not equate to vanity.
Belldandy's capacities and talents are diverse, whether magical or worldly. Not only can she change the appearance of her clothing and levitate (and, by extension, fly), but she can also teleport through mirrors, speak to and understand animals, "see" people's emotions as auras, heal minor wounds by speeding metabolism, and "speak" to machines. Furthermore, she is a superb cook, and her singing skills are held to be the best in the heavens. She is also incapable of becoming inebriated on alcoholic drinks, but instead becomes so with soda. (One sip is enough to send her in a drunken rampage — although given her personality, "rampage" takes an entirely different, but no less destructive, meaning).
Each of the fully-fledged goddesses in the series is teamed with an "angel". Belldandy's angel is called Holy Bell (Blesséd Bell in some versions of the English manga); her elemental attribute is wind. Like the other angels in the series, Holy Bell augments Belldandy's magical powers when called upon, and like all angels, she also reflects her master's current state. For example, when Belldandy falls unconscious after being infected with a virus, Holy Bell emerges comatose and covered with crystals that represent the virus.
With Belldandy and Keiichi now portrayed as a couple, Fujishima introduces other factors: specifically the complications caused by family and friends. Forced to leave his dorm, as women are not permitted to stay on the premises, Keiichi and Belldandy end up living at the Tariki Hongan Temple in the city of Nekomi, Chiba Prefecture near Tokyo. Within both the manga and the anime, the temple was turned over to them by its former guardian, Koshian, a Buddhist monk who was overwhelmed by the purity of Belldandy's spirit and her unparalleled skills in polishing the temple altar, in cooking, and in Zazen meditation. Koshian departs the series by leaving for a pilgrimage to find spiritual perfection, (although he does briefly return later in the series), turning over the temple to Belldandy and Keiichi's care without realizing Belldandy's true nature as a Goddess. Later, Fujishima has Belldandy's two sisters (Urd and Skuld) join Belldandy and Keiichi in the temple.
The character is depicted as being extremely beautiful, but not voluptuous in the same sense as her sister, Urd, nor does she possess the youthfulness of her younger sister, Skuld. As described by Perper and Cornog:
Belldandy in particular is drawn in kirei style - her prettiness is not the youthful innocence of bishojo or kawaii, but instead centers on composure, tranquillity, and utter self-possession coupled with great loveliness. Belldandy has a gentle elegance that is hard to describe, for example when her long, dark blonde hair flies about in sweeps and whorls and accentuates her movements.|||Perper and Cornog|page 65
She is often depicted in "angelic" poses, with "impossibly long" hair, sparkling eyes, and a perfectly proportioned body, and her character design shows influences from shōjo and art noveau.
In the OVA, TV series, movie and in The Adventures of Mini Goddess, the original voice of Belldandy was provided by voice actress Kikuko Inoue, (although during Inoue's pregnancy the role was performed by Kikuko Inoue for the first 13 episodes of Adventures of a Mini Goddess). Such was the success of Kikuko Inou that Fujishima was said to have been influenced by her when developing the manga character after the release of the first OVA.
Three different voice actors have provided Belldandy's voice in the English versions of the various anime series. For the English OVA, Belldandy's voice was provided by Juliet Cesario. Bridget Hoffman, (performing as Ruby Marlowe), provided the voice of Belldandy in both the movie and The Adventures of Mini Goddess, while Eileen Stevens voiced Belldandy for both seasons of the TV series.
The character of Belldandy was generally well received and has a large number of fans, as evidenced when she was voted the second most popular female character in a 2001 poll in Newtype Japan. In addition, Belldandy topped the Animage character polls for many months and was placed third on the all time Best Character list at the 17th Anime Grand Prix held in 1993. Nevertheless, as reviewer Zac Bertschy described the situation: "People tend to go either way on the Belldandy character; either she's an obnoxious, archaic fantasy girl for men who prefer their women to act like indentured servants, or she's the archetype of perfection, a flawless example of graceful femininity".
The critique that Belldandy represents a negative stereotype of women, placing them in a subservient role to men, appears a number of times in the literature. Annalee Newitz states that the manner in which Belldandy is portrayed in the series would, in all likelihood, be impossible in the United States — especially, as she goes on to say, since "the advent of feminism and the women's rights movement". While Newitz sees this as reflective of Japanese culture, arguing that characters such as Belldandy are possible because feminist issues do not have the same recognition within Japan as they do in many Western countries, Susan J. Napier takes a very different line. She argues that characters such as Belldandy may be a reaction to the increasing assertiveness of women in Japan, thus presenting Belldandy as an attempt to reinforce traditional cultural values, rather than a reflection of them. To demonstrate this, Napier points to Belldandy's role in "Moonlight and Cherry Blossoms", the first of the OVA episodes. The episode begins with disorder, as Keiichi is evicted from his dorm after Belldandy's chaotic appearance into his life, but ends with a return to "traditional values", signified through the restoration of the old temple. Similarly, Napier notes that Belldandy's cooking is often commended by the other characters, and as such is another way in which the character of Belldandy can be seen to reinforce more traditional female roles. Carlos Ross of Them Anime Reviews considers Belldandy's characterization in the film much better than in the OVA series, where he describes her as a "doormat".
Either way, commentators still notice strengths in Belldandy's character. While acknowledging the conservative portrayal, Napier describes Belldandy as "almost a perfect dream of feminine nurturance" and identifying that she has a "soothing and escapist function", while reviewer Megan Lavey states that Belldandy is no pushover, and that she can hold her own, noting that she is making "the best of difficult circumstances."
Another line of criticism of Belldandy relates to the sexual nature of the character. The Village Voice in September, 1996, described Belldandy as a "soft porn goddess". While influential, this depiction has been queried by other commentators. Belldandy might be sexual, but writers such as Gilles Poitras note that the series — far from being soft porn — is in fact a very tender and romantic comedy: the characters do no more than simply kiss (and that infrequently) over the course of the series. Newitz suggests that part of the appeal of Oh My Goddess! is the romantic nature of the story: "In anime, romantic love is possible because overt sexuality is not". According to Newitz the relationships in romantic anime, such as Oh My Goddess!, are not about consummation but about "sexual innuendo and deferral".