#and same for originally english roles dubbed in another language

[swagging-back-to]

if you put erens japanese va in a room with his english va the english va would spontaneously combust just from the sheer power of yuki kaji

[saying-french-twenty-times]

As someone who is very interested in voice actors, and can speak two languages pretty well, it's always fascinating what connections you can build. If I made an Obsidian of characters and Voice Actors and how they are connected I would probably start making conspiracy theories.

But what fascinates me most right now is the German Voice Actor of Micolash from Bloodborne

First of all, Bloodborne and Sekiro are the only Soulsborne games to have received a German dub (that is if you count Sekiro as one because I know some that don't and I am also still mixed on it)

And at that, the Voice Actor of Micolash is someone that I first heard in a game that felt so uniquely bound to Germany that I didn't think he would appear anywhere else

As the Schlüsselmeister (roughly translated to Key Master) in the videogame "Edna and Harvey: The Breakout" ("Edna bricht aus" in the original German). A game made by the company Daedelic that used to be known for beautiful German Point and Click Adventures but now is sadly most known for creating the awful videogame Gollum, though I wouldn't blame them, I doubt they were the ones who forced themselves to try and make a Triple A game with a team that is far too small for that.

The Schlüsselmeister in Edna The Breakout was in this game where you played someone escaping from an Asylum, the only character in this Asylum who felt like if they got out they would be an actual danger to the world. I think they would fall into the definition of a Sociopath, but as someone who also experiences mental illness in ADHD, I don't just want to throw around terms

The voice actor did impressive work and went on to appear in other Daedelic games but also outside of that. And when I discovered he was the incredibly annoying boss Micolash, Host of the Nightmare, from Bloodborne I was fascinated because Micolash is a man so very very mad in the head you would think he wants to become one of the eldritch gods that cursed this world himself. I like to joke that he wants to get in bed with them. But this man talks in such an eccentric way and straight up howls like a Wolf with delight, as a Werewolf fan, I am FASCINATED. If you put me in the world of Bloodborne I'd either join the Werewolves or become the next Micolash, I am far too easily corrupted by the idea of being some eldritch horror

Now that's not where the fun ends. The voice actor has one more role that I cannot forget about. Heisenberg in Resident Evil Village! The Werewolf of the most recent Resident Evil game. So we went from Sociopath, to eldritch god fanatic to what may not be an Eldritch monster but is still quite a monster indeed and I must say I can still sense of that Micolash there

So if Micolash wanted to become a Monster, through his VA he technically got what he wanted. That is in the German timeline. I don't remember the English one

Also for those who seriously read this far through my ramblings, another funfact. The German VA of Wolf from Sekiro, is not only also Kratos since the PS4 game, he is also a prominent TV voice, having done many ads and if ad a kid you ever watched the German channels SuperRTL or Toggo (which are technically the same channel) then you have heard him as the announcer of those channels. So Wolf from Sekiro and Kratos from GOW PS4 have told me as a kid when the next episode of Star Wars: The Clone Wars would be on. The connections you can find in voice acting are truly fascinating!

[acadestudio10]

Dubbing Services: A Guide for Businesses

In the digital generation, it is important to have quality video. In this connection, dubbing services are necessary if the organization wants to reach a global audience. If you want your content to be relevant and quality-oriented, dubbing services are the best bait.

Due to the tremendous requirement for localization, you must be aware of the various options of dubbing that help you showcase your content to the international audience. In a way, dubbing services are the getaway for you to translate website or video content to the intended language for a diverse audience. 

What are The Dubbing Services?

Dubbing services refer to changing the original dialogues into a translated version of dialogues in another language. This significant transformation empowers the audience to engage in the storyline, regardless of language.  

Dubbing services know how to deliver international content effectively and engagingly to the audience. They have expert linguistics to cater to accurate video content supported by emotions, pitch, and exemplary cultural aspects. The dubbing agency helps the organization to increase its brand’s visibility.

Why Are Dubbing Services Important for Businesses?

Undeniably, dubbing services help a great deal to increase your brand visibility. Let us see how it helps businesses to grow. 

Expand The Reach

Dubbing has become an important business strategy. It significantly needs translation services. There are different languages and cultures in the world. Every individual prefer to have their native language. When dubbing services press into it, they provide multilingual support to diverse audiences worldwide. For instance, if the content is targeted to a French audience, it is automatically translated into French.

Apart from these, audiences who know the French language can easily comprehend the intended message of the business. In this process, the audience is significantly engaged with their preferred language. In a way, dubbing helps the business to expand its customer base.

Develop Trust and Attention

When you know that your target market is fascinated with your video content, it is also vital for you to know the quality of dubbing sound. So, the quality of sound and, at the same time, the accuracy of the content matter the most. Once done, it certainly develops the confidence and trust of the target audience significantly. Hence, dubbing services play a pivotal role in this respect.

For Non-English Speaking Audience 

English is a pronounced business language in the world. You may wonder why many countries worldwide do not know English and, alone, with diverse markets. At this crucial juncture, the multilingual Dubbing Solutions are paramount here. Therefore, if you want to enter the global marketplace, English may not prevent you.

Determine the Business Narrative

Dubbing is undoubtedly a great means for the business. If the dubbing narratives align with the business needs, it helps the business eradicate language barriers and assists the organization in connecting to a global audience.

A mesmerizing storyline and relevant script can be excellent means to enhance the brand identity effectively. The reason lies in the effective and flawless message that can draw the customers' attention significantly, thereby paving the way for enhanced business growth. 

Own Language  

It is proven that audiences prefer to have their own language. With this premise, when the companies offer the videos in their desired language, the customers are naturally engaged in watching videos. It leads to a connection with a diverse audience. It is quite natural for the audience when they communicate with their mother tongue. Therefore, multilingual Dubbing Solutions are the best bait for them. 

Choosing the Right Dubbing Service Provider  

Finding the appropriate dubbing services is undoubtedly challenging. On many occasions, it found out the dubbing studios translate and dub the original content as it is, resulting in sounding robotic or mechanical. It is like Google Translate. Following are some considerations that align with your requirements. 

Experience and Expertise  

You can get a mushrooming of studios. However, before embarking on your mission, you need to check the desired dubbing service providers review earlier, and present work sample websites to ensure they can perform your required task. 

Another important aspect in this case is that different dubbing types require sophisticated equipment and studios. You must ensure your intended provider has the proper expertise, tools, or equipment. 

Professional Team

When collaborating with professional localization services and dubbing studying, there is no need to be present in the entire project journey. The reason is professional services are adept at performing this task. Their expertise speaks volumes. However, working with inexperienced people fails to deliver. So, you have to communicate with people who are well acquainted with this domain, which will become easy for you. 

Quality Assurance

There is no doubt that quality matters. It becomes pathetic if the content is poorly dubbed. It is better to take information from the clients who have worked with desired dubbing services. It helps to comprehend their worth better to align with your requirements.

Price Structure 

Budget is a great concern for any organization. Before assigning your project to your desired service provider, it is better to know their price structure, and the service provider must be transparent about it. Remember, the hidden cost significantly erodes your trust. If you are confused, it is better to clear it before finally going for it.       

Final Words  

Companies should embrace dubbing services wholeheartedly in the fast-paced world and increase the business landscape. The reason is that dubbing services are instrumental in removing language barriers and establishing smooth communication with the global audience. It is possible only when you select the right dubbing services that effectively understand your vision and mission.

[yuurei20]

Crowley Fact Sheet

(Did not rank in a combination of seven different character-ranking surveys held throughout 2021)

Name: Dire Crowley Role: Headmaster Age: unknown Height: 185cm (taller than Vil/Idia/Crewel, same height as Leona, shorter than Sebek) Homeland: Unknown Hobby: Traveling Favorite food: Wild game meat

According to the official fanbook Crowley’s first name, Dire, has been retconned to be pronounced as “Dia” in order to be closer to “Diablo”, the name of Maleficient’s bird in the original Sleeping Beauty movie. I also came across a fan theory that the name “Crowley”, might be both a reference to Diablo and to early 20th century English occultist, magician, poet and painter Aleister Crowley, but this is unconfirmed.

Crowley hires the player to fill the role of “beast master” and keep Grim in check after being impressed by the player’s ability to goad Ace, Deuce and Grim into working together to take out a monster in the prologue of the game. In return, the player is permitted to live in the abandoned “Ramshackle” dormitory on campus.

While Crowley insists that he is still searching for a way to send the player back to the world from whence they came (claiming that it is all he thinks about when he sleeps and eats), it is difficult to tell how much effort he is actually putting towards this goal.

Crowley has explained that he likes shiny objects like gems and precious metals, and thus the mirrors that he carries about on his person.

In other voice lines he says that he wipes down the frames of the portraits of the Great Seven in his office everyday, watches Spelldrive tournaments on television late at night and that he does not like spicy food.

He has also said that, “To create whatever magic you wish to produce, you need imagination. Some mages say that they practice drawing and writing in order to strengthen their ability to make their imaginations more concrete”.

Crowley often meets with Trein for tea, but has said that Lucius makes him uncomfortable and he is not very good with cats. Despite this apparent camaraderie with Trein, he was once ten seconds late to a meeting and Trein lectured him for ten minutes as punishment.

He says that while he greets every student he sees every morning, sometimes they ignore him, but he doesn’t mind as it is part of being an adult.

He often leaves difficult situations and problems up to the school’s students to handle rather than facing them himself, claiming that it is to cultivate their independence; the students, by and large, do not trust him as a result.

Crewel describes Crowley as being very busy and always hurrying off to deal with one issue or another, but it is unclear what he is actually up to most of the time. It is commented during the Halloween event that he seems to have secrets that he would prefer the police not know about.

He seems to have a soft-spot for money, receiving a portion of Azul’s profits from Mostro Lounge and—according to Jamil—arranging for Kalim’s belated enrollment in the school in exchange for large monetary donations from Kalim’s father.

On the other hand, in the Port Fest event half of the profits earned by the student food stalls are donated to Crane Port, and Crowley arranges for the remaining half to be divided amongst the students themselves (at Azul’s request).

Crowley's voice actor Miyamoto has been voice acting since before many of us were born. He was inspired by a favorite TV show to become a teacher, but failed to acquire a teaching license.

In a 2014 interview he said, ‘I would love to play a villain or eccentric role that is far removed from myself, like Tim Curry in "The Rocky Horror Show’.”

He is the voice of adult Simba in the Japanese-language-dub of Disney's The Lion King, the voice of Soma Ayame in the original release of Fruits Basket, Roger Smith in The Big O, Hubb Lebowski in WOLF'S RAIN, Jean Croce in GUNSLINGER GIRL, Maiza Avaro in BACCANO! and other characters in over 170 other anime series, OVAs and video games.

Additional Fact Sheets ・Riddle Rosehearts ・Trey Clover・Cater Diamond ・Ace Trappola・Deuce Spade ・Leona Kingscholar ・Ruggie Bucchi ・Jack Howl ・Azul Ashengrotto・Floyd Leech・Jade Leech ・Kalim Al-Asim・Jamil Viper ・Vil Schoenheit・Rook Hunt ・Epel Felmier ・Idia Shroud・Ortho Shroud ・Malleus Draconia ・Silver・Sebek Zigvolt・Lilia Vanrouge ・Sam・Crewel・Trein・Vargas・Crowley

[acrossthewavesoftime]

A Grave(s) in Berlin

Recently, I had the opportunity to visit the Sophienkirche in Berlin-Mitte, a hidden baroque treasure tucked away behind a row of grey 19th century houses whose walls still bear the scars of WW2.

Exterior of the Sophienkirche.

Those of you who have read my post on early modern ghost hunts will recall the fate of Sophie Luise zu Mecklenburg-Schwerin, third wife of Friedrich I., King in Prussia, from whom the church receives its name. At first, following her having been sent away from the Prussian court on account of an incident in which she, unaware of her surroundings due to her mental illness, had barged into her dying husband's bedroom covered in blood, the church was dubbed Spandauische Kirche according to its location in the Spandauer Vorstadt (Spandau Suburb) quarter. Curiously, Friedrich Wilhelm I., de facto stepson of Sophie Luise, had the name changed to its originally intended name Sophienkirche (Sophie's Church) a few years later.

Its tragic patron aside, the church can boast a few more celebrity connections: on 13 September 1964, Martin Luther King preached in the church on a surprise visit to East Berlin.

Interior of the Sophienkirche, viewed from the altar room.

But while I am always one for the particular charm of Prussian baroque architecture, another object of interest is located in the former churchyard.

The grave of Leopold (1795–1886) and Clara (1808-1871) von Ranke and their youngest son Albrecht (1849–1850) is easy to miss, seeing as it is located in a part of the former church grounds that has in recent history been converted into a playground for the church-owned kindergarten (am I a tad jealous that my run of the mill kindergarten did not have a playground with historic monuments in it? Absolutely.) and quite overgrown, which is a shame, considering the significance of Leopold and Clara.

Leopold von Ranke was a leading historian of the 19th century, often credited with shaping history as a scholarly discipline as we know it today and his wife Clara (Helena Clarissa, though she seems to have preferred the nickname Clara) was a leading salonnière in mid-19th century Berlin.

Having grown up academically in the shadow of Leopold, it is Clara who has captivated my interest. Helena Clarissa von Ranke, née Graves, was a member of the family I research and sometimes post about among the more light-hearted content. For those of you who do, suffice to say that Clara's great-great-grandfather Henry "Claymore" Graves and Admiral Samuel Graves's (the man around whom most of my research revolves) grandfather James John Graves were brothers.

Born in Dublin in 1808, Clara met Leopold von Ranke in Paris in July of 1843. They married the same year and moved to Berlin together, where the Rankes were renowned for their salon, visited by foreign and domestic intellectuals alike, two of the most famous of whom may have been the Brothers Grimm.

Historically, most of the historiography concerning the von Ranke family has mainly focussed on Leopold, and Leopold's work; which seems natural enough, given his importance to history as a modern academic discipline, but leaves out Clara's equally important role as her husband's equally academically-versed aide (among other things, she was competent in the use of 20 languages, half of whom she spoke fluently and sometimes did translations of Leopold's work into English) without whom a lot of his work would not have been quite so easily possible, an influential salonnière, and most importantly, a woman with literary ambitions (she was a poet, though found having her works published rather difficult), views and opinions on the politics of her time.

This is particularly vexing seeing as their granddaughter Ermentrude Bäcker-von Ranke was, according to different sources, either the first or second woman in Germany to study history and obtain a doctorate. Luckily, this changed in 2012 when Andreas Boldt's The Clarissa von Ranke Letters and the Ranke-Graves Correspondence 1843-1886 was published, allowing for a greater insight into Clara's everyday life as an integral and beloved part of the extended von Ranke family, her political opinions and friendships with influential people such as, to give only one example, Florence Nightingale.

While the Rankes were politically on a conservative spectrum in Germany, Clara maintained a keen interest in Irish politics and expressed her desire for a peaceful coexistence of Catholics and Protestants in the country.

The grave of Leopold and Clara von Ranke, viewed from a flowerbed on the other side of the fence.

I wish I could enclose a better picture of the von Ranke grave; alas, it now being situated in a kindergarten playground, there was no way to access it; a lovely lady who I believe was of the church's friend's association was however so kind as to, after checking for the keys to the gate and not finding them, give me the telephone number of the parish office, with whom a closer look at the grave might be arranged. A few pictures on Wikipedia indicate that they occasionally let people visit the premises, so I am hopeful that I might be lucky. Next time I am around, I might try and call them- stay tuned!

[thecarnivorousmuffinmeta]

If there was an animated adaptation of the Twilight series, who would you pick as the voice cast for all of the vampires?

Thoughts on an animated Twilight series.

We’re going to play a similar game as this, where we can pick and choose people across the time space continuum with a TARDIS. And also we’re ignoring language barriers.

With that, here we go.

Crispin Freeman as Jasper

Casting Crispin Freeman’s voice for me is a given. It’s sad, but if Crispin Freeman is cast in a role I will watch that show and I will watch it dubbed. The man is phenomenal and is not only charismatic in every single role he plays but plays a myriad of different personalities so damn well you almost don’t recognize it as his voice.

I honestly would put Crispin Freeman as pretty much anyone and expect him to pull it off. However, I think he’d do particularly well as Jasper. Of course, this would make Jasper one of the most charismatic characters on screen per voice alone but in an ideal world this is a more ensemble cast anyway.

Crispin Freeman as Kirei Kotomine in Fate/Zero

Bridget Hoffman as Esme

Bridget Hoffman is able to get across not only great raw emotion but also a clear sense of over the top, artificial, femininity that is very present in Esme. I think she could confer Esme’s general creepiness, as well as her likeability and mother persona, with a young voice very well.

Bridget Hoffman as Irisviel in Fate/Zero (same clip as above)

Rachel Lillis as Rosalie

I know Rachel from a very different role in the dub of “The Revolutionary Girl Utena” as Utena Tenjou. However, her voice is very pleasant to listen to, clear and melodic, and able to carry great emotional weight and pain when necessary. She also sounds very young when needed.

Rachel Lillis as Utena Tenjou in The Revolutionary Girl Utena (note, they start speaking about two minutes in)

Mamoru Miyano as Edward Cullen

And this is where we start drifting from English voice actors. The English dubbed Light Yagami sounds young but, well, he never sold me on the role the way the original Japanese voice actor did. This guy not only sells Light’s inherent creepiness, his charisma, his brilliance, and his sheer threatening persona. There are so many aspects to Light Yagami and the voice actor captures them all.

Many of these same aspects exist in Edward. Edward must at once be appealing, charismatic, terrifying, and completely mad.

Alternatively, David Vincent, who played Gilgamesh in Fate/Zero and most of the modern Fate franchise, and does contempt so damn well with an imposing but very young voice. However, we’re going to put him as Caius for similar reasons.

Mamoru Miyano as Light Yagami in Death Note

David Vincent as Gilgamesh in Fate

Lisa Ortiz as Victoria

Lisa is a phenomenal voice actress I’ve seen carry off a lot of different roles with several different personalities. What brings her to the table for Victoria is what she did with Shiori in the Revolutionary Girl Utena dub. Shiori carries such bitterness that turns itself into madness, and is overall such a desperate and miserable character. Lisa’s voice conveys all of that.

Many of these traits exist in Victoria as a character as well. Bonus that it makes Victoria sound younger and rougher around the edges.

Lisa Ortiz as Shiori in The Revolutionary Girl Utena (same clip as above)

Sarah Anne Williams as Jessica Stanley

Yes, we’re casting Jessica. Sarah played the role of Sayaka in the dub of P3M and greatly conveys a normal human girl who then falls into despair. Jessica doesn’t go quite that far, but I imagine the emotions of the movie disaster with Bella would really come through here with this voice actress.

As well, of course, as Jessica’s later contempt for Bella.

Sarah Anne Williams as Sayaka the Puella Magi Madoka Magica

Takahiro Sakurai as Aro

We get another Japanese voice actor because I can think of no better Aro. Takahiro perfectly portrays an otherworldly, ethreal, presence through his casting as the Medicine Seller in Mononoke. The Medicine Seller has a distinctly different persona than Aro but it’s that otherworldly aspect that I think is needed most of all.

Takahiro Sakurai as The Medicine Seller in Mononoke

Jamieson Price as Emmett

Jamieson is able to relay huge, easy going guy, so easily just through the sound of his voice. He’s not quite so Dudebro in the things I’ve seen him, but you easily get the idea of “huge” as well as someone with good humor and simple tastes in life.

Jamieson Price as Iskander in Fate/Zero

David Vincent as Caius

I brought this up earlier in Edward’s section but as Gilgamesh David Vincent is the king of contempt and disdain. This makes him an excellent and imposing Caius.

David Vincent as Gilgamesh in Fate (Same Clips As Earlier)

Peter O’Toole as Carlisle

Yes, we’re going back in time for this, but I’m not actually in charge of casting this show so I can do what I want. It helps that this was my vote for the live action fan cast of the movie, but beyond his sheer persona, I think his voice also fits Carlisle very well. There’s a whole range of emotion in there while, at its base, being something very charismatic and in certain moments kind.

Peter O’Toole as T.E. Lawrence in Lawrence of Arabia

Christina Valenzuela as Bella Swan

As Homura in the P3M dub, Christina has nerves of steel, but she also does despair so well. I believe she would easily pull off Bella’s depression throughout the series and especially in the New Moon arc.

Christina Valenzuela as Homura Akemi in Puella Magi Madoka Magica

I swear I have a choice for Marcus somewhere in my head, but it’s not immediately coming to mind. I might cast Freeman for him as well, and since Marcus has so few lines and does such different roles so well, probably no one would notice and or care.

So, I’ll quite while I’m ahead.

[gwydionmisha]

On Subtitles and Dubbing

I watch a lot of shows and movies not originally in English.  I am one of those people who really likes subtitles.  I use them with English language stuff anyway, because it helps cover if I have sensory processing issues with the dialog, so watching subtitled foreign language stuff isn't that different for me.  Subtitles mean you keep the original vocal performance that can really matter.  

At the same time there are problems.  They with use white subtitles on white backgrounds or black subtitles on dark backgrounds, t which point, why subtitle at all?  They will sometimes make them too small, as if everyone is watching on a massive screen.  They will sometimes cover something essential with words that I kind of need to see.  (some productions will move the subtitles around so they stay in negative space.  Some subtitles with be white in a black band to cut down on the lack of contrast issue).

Then there are all the people subtitles don't work for.  My Mother's eyes weren't good enough the last several decades of her life, which was unfortunate as she was also HoH for about that long.  It sucked a lot of fun out of her life to have to give up anything with subtitles or accented English or muddy sound design.  There are people who don't have the vision or literacy level.  There are people with dyslexia and the like.

Yes, dubbing exists, but it's often, frankly a mess.  No translation is ever going to be perfect.  it's a fundamental problem with subtitles too.  No language maps one to one on another.  Information is lost and/or added inevitable.  Ambiguity is created or lost.  Often the dubbed performance is frankly bad voice acting.  

Sometimes it is an adequate performance, but doesn't remotely match the tone of the original performance.  I notice this a lot with things dubbed out of French.  I'm no longer fluent and mostly only speak it to cats, but I was fluent once and as long as there isn't a thick regional accent or too much technical vocabulary or unfamiliar slang or they aren't going extremely fast, I can usually still follow.  

There is a tendency to hire people with English received pronunciation type accents to do the voices for french costume dramas and the results are terrible.  You have all these restrained upper class English performances that not only lose the class and regional nuances, but they are sort of flat and restrained vocals over often intense physical performances.  It is so dissonant it hurts my head.  They lose the tone siblings use to tease and bicker; they lose the angry arguments between heroine and villain; they lose the passion and warmth between friends or lovers.  

A lot of the 19th century french literature I read back in the day would do these clever and often playful things with formal and informal language: describe something intimate in formal language, do something formal with bits of intimate language tucked here and there, that sort of thing.  There is a flavour to it that I often find in the french dialog and performances, that gets utterly lost in translation.  18th and 19th century English language dramas tend to go either formal or informal.  They don't play back and forth much.  Inevitably I switch it back to french.

I don't know if it's this bad for other languages, but it wouldn't surprise me.  But what if they decided to do better?  The foreign language things I watch most often are either Korean or French.  I frequently see people in major roles who I know also speak English well enough to act beautifully in English language productions.  Why the fuck don't they spend the money to hire them to do the dubbing for their own characters?  I know there are plenty of people who act in more than one language.  Speak German and french?  Why not dub the other language too?  I bet the original actor would be better at preserving the tone of the performance than a stranger.

For monolingual actors, you could hire someone with a similar class and regional accent who comes from the original language group but also speaks the target language, so there'd be a better chance of carrying original emotional tone and meaning across even where the words can't quite convey by themselves.

And hire people who are good voice actors instead of doing it the cheap.  Would it be perfect, no, but it would be better than some goofy sounding bad actor or a performance so off tone as to make it hard to watch.  It would be something at least.

[sunfoxfic]

Anonymous asked:

Okay so I was about to send this in anon, but oh well - if you answer this ask, could you do it privately? Thanks!

So umm this eng Vs french dub debate is kind of frustrating me. Like I actually prefer the English dub, and seeing people trash on it is really unpleasant? I mean I have no objection with people preferring the French dub, that's great! Everyone has their own opinion and that's cool.

But I recently saw this post going around about the script changes in the eng dub and made the mistake of opening the comments hdhshdhhd all I saw was "FRENCH DUB IS SUPERIOR!" "ENG DUB IS FOR BABIES!" And well, it's been bugging me for days now.

It mostly seems to have to do with Adrien's VAs, I guess? I'll be honest here, when I first got into the fandom, I found the French voice really pretty and charming and all. But seeing people say that eng dub Chat Noir sounds like an "obnoxious douchebag"(their exact words), that the french dub "fit the characters more" and that the eng dub was the reason why salters salt on Chat for being pushy bothers me SOOO much and is actually ruining the French dub for me?

I mean I think I am really used to the English dub and just generally feel and connect to the characters in that dub and I know people aren't saying it's bad, but still - I don't know. And don't get me started on the whole "french is more canon" thing.

I do think that people like the French one more because it sounds more "dark", ig? And considering how most people participating in fandom are grown ups, I guess they think eng dub is childish and just find French dub cool?

Anyway, I just can't stand all this hate for English dub :( What do I do to not take all this seriously??

I unfortunately believe that I saw and unfollowed someone over that same post that you saw. I'd maybe be more worried about posting an ask which directly quotes them if they were following me, but I know they aren't.

And yes, Adrien's VA seems to be one of the more relevant reasons why people don't like French. Often people claim that the English VA gives him an entirely different sense of humor, and honestly there are a whole ton of people who just don't like Bryce Papenbrook's voice. (Personally, I like Bryce Papenbrook's voice; I like that it's high pitched, I think it fits the role really well.)

The great irony of this is that the post I think we both saw was an anon coming into another blog's askbox and saying a lot of the things you're saying about the English dub, and someone decided to reblog that and create an addition that's making you feel a lot of the same things that the original anon felt.

(That is why I am uninterested in people adding on additional commentary about Eng vs. French dub debate on a post that is ultimately supposed to say, Watch what you want. The debate is analysis for elsewhere. Positivity is undermined by saying, "But I personally don't subscribe to the ideology behind positivity." It's like if I said "Happy Diwali" and you reblogged the post giving all the reasons why you don't celebrate Diwali because Christianity is better but ended it with, "But happy Diwali!" Like, you see why people might feel like you don't want others to have nearly as happy a Diwali?) Here's the thing: I don't like watching in languages that aren't English. It has nothing to do with any dub in particular (okay, maybe the Brazillian dub has earned a special place in my heart because Gloob has annoyed me one too many times), I just don't have the potential to connect with the characters when they speak other languages the way I do in English. It doesn't matter if English dub Adrien is a pretentious douchebag because I'm never going to understand him in any other language well enough to see that other versions of him in other languages aren't pretentious douchebags.

I've been feeling a lot of the same things you're feeling recently. I don't know how to not let it bother me, and in general, I'm not the best person to ask because I'm hotheaded and prideful as shit.

I think the main thing for me is that most of their claims are genuinely opinion and they treat them as fact. And I absolutely agree with you about people who think that French is more canon -- they're different. They always were and always have been. And that's... not a bad thing?

Like, in the English dub of Ikari Gozen, we learned that Marinette is a Snake and Kagami is a Dragon on the Chinese Zodiac. In the French dub, we learned that Marinette is a Leo and Kagami is a Scorpio. That's a perfect example of the two dubs being different and those things benefiting the fandom. We can now pretty firmly say that Marinette was born in August 2001, and Kagami was born in November 2000. (We can then further narrow down Kagami's birthday as November 20 thanks to the Instagrams.) But like. You wanna know what? I think this clip is funnier in English. I think that saying that the French VAs are better because they're under Thomas Astruc's supervision is super insulting to Ezra Weisz, who has genuinely been one of the better crew members (and hasn't had nearly so many controversies as Astruc). I think you can hear Chat Noir say "meowch" in the English dub of Glaciator 2 and that's absolutely hilarious in a way that the French dub didn't counter. I think that claiming everyone should watch the French dub is super undermining to people for whom the French dub is inaccessible -- if you're vision impaired or blind, if you have ADHD or dyslexia and can't keep up with subtitles alone, if like me you have issues with reading tone especially when it's not in a language your speak because you're ADHD or autistic.

I also think there's a certain amount of intellectual superiority people gain out of watching the French dub. Less so for French audiences -- honestly, I've never met a French speaking person who seems to think that the French dub is the only way to go. Though there are a couple non-French French speakers who don't like the English dub, most of the people who don't like the English dub are English-only speakers who think that they're more correct for watching the French dub. In many cases, I don't think these people actually have the right to claim that French is better -- if you watched French dub on Netflix with English subtitles, sorry, but that's not anywhere near the same experience as watching the French dub, so what's the point?

I don't think English is inherently better than French. I think that Chat's singing at the end of Ephemeral was funnier in French, and that there's a lot of really good lines when you translate directly.

But here's the thing: Anyone who tries to make you feel like you should enjoy your experience of the show less because you aren't doing it right is trying to sell you something. And if they aren't trying to sell something, they're just an asshole. I think people who argue in favor of the French dub need to be more aware that for the vast majority of English-only speakers, there is literally no way to enjoy the French dub as much as the English dub. I think people need to be and let be. I think that the transcripts of the French episodes being less complete than transcripts of the English episodes is tragic and that anyone arguing in favor of the French dub ought to do what they can to transcribe the French dub, and if they can't, then shut up about it. I think there is absolutely merits to understanding the original French, but speaking as though French trumps English always is anti-productive for the fandom as a whole.

I think a lot of things, but mostly, I think you should block people who make you feel like you're doing something wrong in a fandom experience that should be self moderated. Also, join my Discord server, where Miraculous fans can get together in real time to watch episodes together. So far, I'm the only person who's ever hosted a watch party, and I always prefer the English dub where possible.

[wheres-sam]

I binge-watched the spn anime because of the brain rot

It’s bad except for the parts that are good, and it’s pretty to look at. Here’s a comprehensive list of pros and cons. Spoilers ahead!

Pros:

- more psychic kid backstories: Max (Nightmare), Lily (Darkness Calling), Jake (Loser)

- more psychic Sam

- more Azazel

- basically if you want more about the psychic/demon kids, watch the anime

- more young Winchesters

- the monsters, the superhuman abilities, the fight scenes, it all looks really cool animated. (But PSA it’s violent. It doesn’t shy away from blood and gore.)

- Sam and Jessica backstory

- more of the brothers being cute and funny together

- Missouri isn’t forgotten

- includes some Japanese legends/mythology

- the impala looks great in every scene. They did Baby good

- the “Supernatural” intro title

- the outro sketches of the boys hanging out with Baby

- Episodes adapted from the original show are different, but I like some of the changes? It’d be boring if it was an exact retelling and the visual medium wasn’t utilized. (I know I said spoilers before, but this is when they get detailed. If you wanna skip over, I’ll tell you where they STOP.)

Nightmare goes more into the abuse Max has suffered. Instead of locking Sam in a closet, Max sends Sam through the floor and covers the hole by breaking his bed in half, and it’s extremely sexy how Sam shoves the 2 halves apart with his mind. Later on Dean puts bandaids on Sam and they talk about demons loudly in front of a fast food intercom.

In My Time of Dying highlights the guilt Sam feels over Dean. In both the og and the anime John verbally blames Sam for not shooting Azazel, but where in the og Sam goes right on arguing, in the anime he reels back for a moment like he was slapped. Dean’s spirit touches Sam’s shoulder, and Sam knows immediately that it’s Dean. He doesn’t even question it. Instead of “Are you here?” it’s “I know you’re with me. I can feel it.” And I love that. Dean figures out right away he’s dealing with a reaper, and the reaper takes on the appearance of Mary to convince Dean to move on to the afterlife. Instead of a Ouija board, Sam uses a laptop to talk to Dean, and the first word Dean types is “Sammy!” Dean is so fond of his little brother and Sam is so baby.

Rising Son is an anime only episode, but it draws inspiration from John’s journal. Dean has a proper breakdown over his dad’s death and the possibility of having to kill Sam. Ms. Lyle, Sam’s favorite teacher who turns out to be possessed, is explored. John takes Dean hunting, and in the journal Dean hesitates to shoot a buck, and little Sam shoots it thinking it was endangering Dean. In the anime, Dean’s cornered by a moose and Sam makes it explode with his mind and it’s so !!! How little Sam’s first words are, “I’m glad you’re okay. It didn’t hurt you?” The boys are covered in blood and guts and Dean’s like 👁👄👁 “Why are you here? Did you do this?” And then Sam starts freaking out a little, the shock sets in. “I don’t know. I don’t know, honest.” And he’s staring at his hands, and I am a big fan of Sam showing superhuman signs as a kid. Like in the journal, Ms. Lyle tries to take Sam. She gives Sam the illusion of a choice to come with her or stay with Dean, and Sam chooses Dean. This ep is pretty much when John figures out Sam has demon blood. He kills another hunter that wants to kill Sam.

Crossroad is based on Crossroad Blues, and I love how the crossroads demon shows up. It’s hard to describe, but it’s so neat, like she’s walking underneath Dean in this mirror world, and then the mirror world takes over the regular world, so you really get this sense of otherworldly seclusion, existing outside of time.

What Is and Should Never Be shows Dean is a firefighter in his ‘Mary never died’ world, and Sam got to play soccer growing up like he wanted. The brothers hold each other after Dean is saved from the Djinn.

AHBL part 1. When Azazel shows Sam that he fed Sam his blood, Sam gags and slaps a hand over his mouth, and I like that reaction more than the live action. The psychic kids get to go more anime with their powers, and that’s a lot of fun. They don’t need weapons. Ava slams Sam into the brick side of a building and cuts him without touching him. Jake snaps Ava’s neck with one hand and then catches Sam in his arms. When Jake attacks Sam, there’s no gun or knife. He’s relying on his super strength, his fists. Sam throws his arms up to protect himself, and (accidentally?) pushes Jake back with his mind, and the collision creates a crater in the ground. Jake puts his fist through Sam’s chest to kill him. It’s brutal and it’s rad as fuck. These kids are terrifyingly powerful.

The Sam and Dean reunion before Sam is killed is not as emotional as the live action imo, but what the anime does intrigues me. Hurts in a different way. Because Sam is stunned after he uses telekinesis again, on Jake, and when he hears Dean behind him Sam freezes. He doesn’t look relieved to see Dean, but wary and weary. It’s Dean taking steps towards him, not the other way around, and it has to be because Sam doesn’t know if Dean saw him push Jake back. Sam doesn’t know how Dean’s going to respond to all this, to him, having powers that come from a demon, the demon, Azazel. Sam hasn’t had a chance to process anything. He’s scared. He’s tired. And the way the anime focuses on Sam’s eyes here. Gah. “Dean. Dean, I’m...” I’m sorry. I’m all right. I’m glad you’re okay. I’m a monster. There’s also this one shot between Sam and Azazel that sends me because of how anime it is.

AHBL part 2. I love how Sam brought back to life is animated, with all the color returning to his face and a light wind rustling his hair and his lips parting to indicate his soul returning to his body. Jake attacks Dean, and, a lot like how Sam activates telekinesis to save Dean from Max in Nightmare, Sam gets a burst of superhuman strength. He rips Jake’s arm off and tackles him to the ground and beats him to death, punches holes into his body, and it’s so savage and bloody and scary, and I love it. The Devil’s Gate opening looks so cool animated. Same goes for Dean shooting Azazel with the Colt.

Not to turn this into a meta post, but I also noticed how the last couple times Sam uses his powers they’re colored green-yellow, the same colors as Mary’s ghost when she reveals herself in the anime’s Home, and I don’t know if that’s intentional, but it’s neat how it draws a connection to Sam’s biological family instead of Azazel’s blood.

The Spirit of Vegas is like Bad Day at Black Rock, but Dean has all the bad luck instead, and it shows off the silly cartoony physics that make animation fun. The boys sleep outside and split a chunk of bread for dinner. Also this lil bit of Dean’s hair tied in a bow.

- (STOP) the brothers are pretty. I am not immune to animated Sam and Dean Winchester.

Cons:

- Jensen doesn’t voice Dean until the last 2 episodes

- The English dialogue is really bad sometimes. I wish I could’ve watched the sub, but I couldn’t figure out how to change the language

- Some character designs are really different from the live action, and maybe that’s petty, but if you’re gonna change the characters diversify them? Don’t just make them unrecognizable white people

- Missouri’s design as a stereotypical witch doctor is racist

- Gordon is replaced by some British guy named Jason?? Why

- There’s an LGBT character who is not accepted by her family and, while that bigotry is always shown to be negative and she dies the hero of the episode, she still dies ://

- In the English dub Lily’s gf is made into her roommate instead. Idk about the sub

- Bobby’s pretty much a totally different character

- Sam and Dean are OOC sometimes

- Dean’s hair usually looks darker than Sam’s and it drives me crazy

- The storytelling is, overall, not nearly as good as the live action

- The non-Japanese lore in some episodes makes no sense. Sometimes it’s just plain ridiculous?? Like there’s a giant robot made of cars and scrap metal controlled by a demon? ? I wish I was making this up

- Meg’s role is severely reduced

- No Harvelles or Roadhouse

- Shadows are overused, but maybe that’s because the og show is so dark?

- I don’t mind the art style. I like the aesthetic, but I wish it was a little more expressive. It doesn’t do Sam’s puppy eyes justice.

- AZAZEL’S SHADOW?? PROPORTIONS?? PEA SIZED HEAD

- Idk why they mashed season 1 and 2 together? The story feels rushed

- there’s not as much chemistry between Sam and Dean, but that’s a given without J2 on screen

- Nobody tells you!! That there’s scenes after the credits!! And some of them are important! Why are important scenes after the credits??

The anime would not be good on its own, without the heart and depth the live action brings, but it works as supplementary material you can cherry pick from. I would watch more if there were more episodes.

It hasn’t turned me off from wanting an spn anime. I’d like to see it continued or redone, with updated animation and better scripts. There’s a lot of potential in exploring more about the psychic kids and Sam’s powers, storylines that were cut short in the og show. Animation is a great medium for showing off the supernatural, getting creative and creepier with the designs, dramatic with the fight scenes, without having to worry about bad CGI. I don’t want a live action reboot, but I think a redone animated series could be a lot of fun! (As long as it’s not an excuse to make any romantic ships take over. SPN is a platonic love story, and I like it that way.)

If you made it to the end here and are interested in watching the spn anime, you can watch it for free on the CW Seed app! You can probably stream it elsewhere, but idk where!

[twistedtummies2]

Moriarty’s English Dub

As of today, “Moriarty the Patriot” - my new favorite anime - has its own English Dub. As of the moment I am posting this, I have binged all eleven episodes of the first season with the Dub. I must admit, I was both extremely eager and somewhat worried about how the Dub would turn out: as anybody with even a modicum of interest in anime will tell you, the English Dubs for shows tend to be hit or miss. For every FullMetal Alchemist: Brotherhood, you’ll have a Beyblade. And given how much I love(d) this series and its original voice cast (even if I couldn’t understand a word without those lovely subtitles), I was both excited to hear how new actors would handle them in my own language, and yet had some trepidations, worried the end result could prove vastly inferior. SO...the obvious question you readers are asking is...what do I think of it?

My overall opinion of the Dub is that it is a good one...GOOD, mind you. Not perfect, nor brilliant. I wouldn’t say it’s as good as the original voice cast...but it’s not BAD, either. There are just one or two points where I feel the original cast is decidedly superior. The minor side characters and supporting roles of the show are mostly pretty good; the only places where I feel things don’t quite work are some of the characters who are meant to be kids, where they are...very, VERY obviously voiced by actors or actresses who, bless their talented hearts, just cannot sound like kids. XD Having established and settled that fact, let us consider the major characters. Of the Moriarty Gang, Howard Wang is absolutely spot-on as Louis: prim, proper, usually gentle, but with a coldness and viciousness to him in necessary moments. Chris Guerrero as Albert, meanwhile, is not quite what I anticipated: he has a lighter, somewhat more theatrical voice than I imagined. The more I hear of him, however, the more I warm up to him: he’s a case where the unconventional casting actually works in the Dub’s favor, bringing a new dimension and element of the character to life while still feeling like the one I’ve come to know and perceive from earlier interpretations. And just like the one from the original cast, I somehow never question him as a younger man, either. Clearly a good sign. Less spectacular are Caleb Yen and Christopher Wehkamp, as Fred Porlock and Sebastian Moran, respectively. Now, I should point out neither necessarily does a BAD job - there’s nothing wrong with their ACTING, they’re handling the characters well enough, and if I hadn’t seen the original, I might not have any issue (might not; hard to say for sure. In the case of Yen, the issue is simply that he sounds too old for Fred’s rather obvious youthful standing...and as for Wehkamp? To be perfectly honest, it’s hard for me to say just what my issue with his performance: while Albert’s voice has warmed up to me after seeing eleven episodes, Wehkamp’s just leaves me trying to figure that problem out every time I hear it. I don’t know what the matter is because, objectively, there shouldn’t BE any problems: the dialect makes sense, the quality of the voice is fitting, and yet, for some reason...I’m just sort of always aware of the fact he’s being dubbed, if that makes sense.  On the Holmes side of the spectrum, let me just start off by saying that Suzie Yeung is PERFECT as Miss Hudson. She is at least equal to her original Japanese counterpart, if not better. Dr. Watson is played by Ryan Colt Levy, who evidently is a big Holmes fan and was ecstatic when he got the part. Well, his passion is evident in the power of his voice, because his Watson is pretty perfect: he’s got something of a laid-back quality to his voice, which surprisingly matches the grounded, rational normalcy of John in the show, and there’s a quality to his voice that reminds me of some of my favorite Watsons in the past, most notably Jude Law. He captures both the sweetness and the tenacity of Watson in this version brilliantly. Again, most assuredly on-par with the original so far. Once again, a weak point here is Inspector Lestrade. He is voiced by David Matranga. He has both the same and the opposite problem as Yen’s Fred Porlock. The same in that his voice really doesn’t seem to match the age of the character’s design and demeanor; opposite in that, instead of sounding too old, he sounds much too young. Honestly, he’s my least favorite casting choice of the bunch, possibly: it’s just so distracting hearing that voice from this big, gruff fellow who is very clearly older than the tone seems to indicate. All this brings us to our two leads: Sherlock Holmes and Professor Moriarty. I am happy to report that both impress me a great deal. Holmes is played by Theo Devaney; he’s perhaps SLIGHTLY older-sounding than I’d imagine, but unlike Fred, it’s never to a degree that’s distracting. What I love about Devaney’s voicework is it really does match THIS Holmes, if that makes sense. The brilliance of this series is that, for all the changes it makes, Holmes remains basically the same character we’ve always known, at his core. Devaney’s voice matches that idea brilliantly; some of his lines and deliveries call such actors to my mind as Basil Rathbone, Nicholas Briggs, Jason Gray-Stanford, Barrie Ingham, and other great classic Holmeses of the past to my head...yet he still brings a unique spin all his own, his dialect having a roughness others lack, and keeping the energy necessary for this version. I can easily imagine his voice when reading the manga or especially the Conan Doyle classics. I do still prefer the original voice actor more, mostly because he was just so intensely exuberant in his style and I think captured Holmes’ mood swings more incredibly, but Devaney still does a grand job. So, we come to the main man himself: William James Moriarty. He’s voiced by Aaron Dismuke, whom I primarily know as the voice of Lucifer from “The Devil is a Part-Timer!” I wasn’t quite sure what to expect here, but...honestly, the more I listen to Dismuke’s Moriarty, the more I adore him. I’m not gonna lie, I think, astonishingly, I might like him MORE than Soma Saito, the original voice actor. Now, I don’t like the changes to some of his dialogue (”Come and catch me if you can, Mr. Holmes”...seriously, that line was IN ENGLISH in the first place, why change it?! It sounds all clunky THAT way!), but in terms of the voice and his performance, I think he hits the nail on the head beautifully. It is more or less exactly the voice I would imagine this Moriarty to have. I have no idea if he and Devaney were ever in the same room at any point, but the way the two characters bounce off one another is as powerful as ever...and for every line change that feels odd, there are line changes throughout this series (not just for him, but in general) that either have no effect and therefor are not very noticeable, or actually come across as BETTER than what was originally said. Which still doesn’t excuse them changing...you know...arguably the most famous line/moment in the entire thing, but...whatever. Win some, lose some. So, in conclusion...while I overall prefer the original subtitlted version to this dub, the dub is not necessarily bad. There are better ones, but there are certainly worse, and I would say this is even better than being “just okay.” I’m not sure exacatly where to rank or rate it, but I think the bottom line I can give is this: if someone wanted to watch the Dub of this show instead of subtitles, for any reason, I wouldn’t discourage them in the least. To me, I think that’s ultimately what matters.

[gayregis]

right away sorry if this gets too ranty I've just been Thinking lately and i feel like twn is such a good example of like. this idea that Real and Good film and television can only be made by Hollywood i guess? like there's even this polish saying that roughly translates to "you praise the foreign and don't know your own" which gets made fun of a lot but also. it's very true imo. like i still wonder what could've been if actual good polish filmmakers were entrusted with making a new witcher (1/?

and it would've been such a good opportunity for like. one showcasing that there Can be good art and entertainment made locally and two some genuine cultural exchange. like i know its too big of an idea for Capitalism™ but if there was a well made polish-language show on international Netflix like. idk i feel like maybe that could spark some interest in like broadening peoples horizons and changing their views on what fantasy looks like etc and its just frustrating that there wasnt even a chance

i really agree. i have been dreaming recently about what my ideal "visual adaptation" of the witcher would look like, and what i've come up with essentially is something like the polish audiodramas set to 2D animation by fans of the witcher. subs, not dubs, i guess?

audiodramas

gilthoniel1173 on youtube has uploaded many select clips of the audiodramas, translated them and set them to pictures. amazing work and i highly recommend this.

i really value the majority of sapkowski's prose, though there are faults with the witcher, his prose really has a marvelous quality to it and i am trying to think of a way to keep this intact. something like the audiodramas in which there are narration may be the best way to go, with subtitles so that

animation

it's the sort of thing i think about like, hey, if i had netflix's budget (approx. $70 to $80 million, [dies]), how would i make the witcher adaptation?

disclaimer: i hesitated to @ artists because i feel like it sends the message that i am saying, "hey you, specifically, should do this idea for free, also btw, i only see you as a witcher fanartist and nothing more :)" this is not my intention, what i want to do here is just want to bring light to these artists in the community and the work they have done, both witcher-related and original work (and i hope that i am in no way defining them as 'only-witcher' artists). additionally, this is in no way suggesting that i don't want to involve any artists i did not mention or that i do not adore the work of other artists in the witcher fandom, these are just the immediate two i think of when i think of animating the witcher.

i imagine it in the style of @paticmak , @astrolunos , @johix because they have done just such gorgeous art of the witcher... <3 (i hope everyone reading knows of these artists already, but if you do not, please check out their work and support!)

paticmak's cherry vodka, an original animation which you should watch: [x]

paticmak's witcher fanart: [x]

astrolunos' animations, including geralt and ciri from sword of destiny and yennefer and ciri from blood of elves: [x]

astrolunos' witcher fanart: [x]

johix's jadýrko, an original interactive story which you should check out: [x] [x]

johix's art (some ship and ns/fw): [x]

specific witcher pieces from these artists that i think about:

[paticmak / "The witcher drawings redraws and sketches"]

[astrolunos / slavic-inspired outfits]

[astrolunos / "yen and ciri’s room, ellander"]

[johix / geralt and dandelion at beltane (ship)]

other major inspirations in my dreams of this:

studio ghibli movies (spirited away and howl's moving castle)

independent animators like felix colgrave (double king)

laika studio animations (kubo and the two strings)

gobelins studio (sundown)

embracing the roots, introducing diversity

my main point in this section is that i believe the polish & eastern european culture of the witcher is essential to it, at the same time i also value diversity and uplifting people of color. i do not believe that these two concepts are in conflict with one another! a discussion simply needs to be held, which is something that netflix did not do because it had few eastern european voices on the set, and kept the voices of color it did have down.

something netflix failed to do is acknowledge the witcher's cultural origins... at all. really, at all. in the writing, in the dialogue, in the set design, in the character and fashion design... and they had the opportunity to do this. this is massively disappointing and thoughtless.

my goal would be to bring polish & other eastern european writers who are fans of the witcher to work through the prose to tell the story. i would also like to have female and lgbt voices in this because the witcher has some elements that are...! disconcerting, let's just say. as we saw with lauren, having a woman in charge doesn't immediately make things not misogynist anymore, somehow she added to the misogyny of the witcher. but i think this is still a step in the right direction. additionally, this writing process would NOT look like writing fanfiction. it would really be going through and working with the artists and translating the prose, deciding what should be kept and what should be left out (some things like forest gramps should be left out, wouldn't you agree?).

new scenes could be added, but they would just have to be done for a reason. i believe the 2002 hexer did this somewhat-successfully in scenes such as this one, in which they develop relationships between characters just that little bit more and add to the pathos of the witcher (which is quite direct and does not "loiter" upon many things!)

i would also really value the voices of set designers, fashion historians, food historians, and cultural anthropologists who are from + study poland & eastern europe because i believe the history and culture should be integrated into the witcher and appreciated, demonstrated in a positive and celebratory light to the world, without doing so in a cultural appropriation-like manner (in which elements are just taken without any knowledge of where they are from and what context they hold). also, yes, the witcher is not a historical fantasy - but its setting is inspired by history and it would be rewarding to see a visual fantasy universe that is not based in english culture!

i think the witcher community is really vast and holds many opinions... this is both a good and bad thing, because "the witcher fandom" includes both people of color and like, white supremacists. i will say that i wouldn't want the latter working on the project, just saying. i would like to see designs of color for the cast of the witcher (i have done a few but hesitated to post them, lol) and sensitivity readings, NOT just diversity for views like netflix performed, but diversity that empowers, makes sense, and isn't "people of color are in this, they are either white-passing or just there to support the white characters." ... i also would like to think about how we approach diversity, as in, designs/casting of color should not be relegated to insignificant or evil characters, the good protagonists could be people of color. i would also like to think about and avoid problematic tropes such as when white characters in a media teach and "civilize" a young person of color, or when "monsters" or non-human characters are cast as people of color... i think people of color should be given roles in which they are in control, powerful, desirable, and good. we need to think about the message we send. in the end, my goal would be "genuine cultural exchange" as you said.

additionally: i think involving jewish and indigenous (broad terms, but i mean them to be broad) voices specifically in conversations about writing would be significant because sapkowski made some decisions in the witcher which can come off as offensive to these groups in particular (regarding the parts of the story about elves, dwarves, gnomes, dryads, and specific characters such as yennefer and regis).

music

honestly, not many thoughts here! can we really get any better than the soundtrack of the witcher 3? cdpr has many faults, but their music is not one of them in my opinion.

afterthoughts

i was displeased to learn that alik sakharov left twn because of not being appreciated and instead being fought on his writing, but i feel a project like this would actually value input like his instead of kicking him out and citing "creative differences"

what is really the most significant thing to me is good writing and ciri's relationship with her parents, because i believe these being taken away is one of the things which was most painful about netflix's "adaptation."

[luxshine]

Voice Actors gone Wild!

I’ve talked about how dubbing works, how translating works and I keep telling you guys that there’s very rare occasions where the dub actors and translators are allowed to have a bit more creativity and may end up inventing their own lines. So we’re going to discuss that today.

Localization is a tricky business, because not all countries have the same cultural beats. A joke that is hilarious in the UK may fall flat in the US even if everyone involved speaks the same language, and may as well be Greek for Mexican audiences (In fact, the title of My Big Fat Greek Wedding in Spanish is Marrying is in Greek, even when the expression of an unintelligible language, the equivalent of “It’s all Greek to me” in English, it’s “It’s in Chinese to me” in Mexico. See how this can be tricky as hell?). So for comedies, there’s a lot more leeway for translators and voice actors than in dramas, and it goes twice for children animation.

An example that I adore, because I think that the translator went above and beyond with their excellent translation:

In the Peanuts movie, Charlie Brown goes to Marcie to ask him for advice for which book to do his book report. He can’t find Marcie, so he asks Peppermint Patty who, in her very special way, tells him that Marcie always said that the greatest book ever is “Leo’s Toy Store” by “Warren Peace”.

I will give you a second to laugh.

Now, THAT joke? Is at first glance impossible to translate. Because see, Leo’s Toy Store translates to La Jugueteria de Leo, which sounds nothing like Leo Tolstoy and War and Peace translates to La Guerra y La Paz, that can’t be misheard as Warren Peace. So, the only choice is to either lose the joke completely, or put up your big translator pants and try to adapt it logically even if it is not to the letter. And the Peanut Movie Latam translator did an amazing job as it became the book “Leo y no estoy” (I read, and I’m not here) by La Guera Ipaz (The Blonde AndPeace).

And now I will give the Spanish speaking people a second to laugh.

That joke was obviously from the translator and not the VA because it took a lot more time and effort that what actors have in the booth. And it’s cultural and perfect, and of course it was approved by Sony because how could you not?

Another, more famous example for Mexican audiences because when the series changed owners, from a local TV channel to Cartoon Network the actors were explicitly told to stop doing Adlibs, was Pokemon.

Everyone who knows Pokemon knows that the Rocket Team has an entrance speech. And it is pretty much always the same speech with little variation, at least in the original series:

 Jessie: Prepare for trouble!

James: Make it double!

Jessie: To protect the world from devastation

James: To unite all peoples within our nation!

Jessie: To denounce the evils of truth and love!

James: To extend our reach to the stars above!

Jessie: Jessie!

James: James!

Jessie: Team Rocket, blast off at the speed of light!

James: Surrender now, or prepare to fight!

Meowth: Meowth! That’s right!

 Which in Spanish translates to

 Jessie: Preparense para los problemas!

James: Haganlos doble

Jessie: Para proteger al mundo de la devastacion

James: Para unir a la gente dentro de nuestra nacion

Jessie: Para denunciar los males de la verdad y el amor

James: Y extender nuestro reino hasta las estrellas

Jessie: Jessie!

James: James!

Jessie: El equipo rocket viaja a la velocidad de la luz

James: Rindanse ahora o preparense para luchar

Meowth: Meowth! Asi es!

 And right there we have a problem in the second line, because doble doesn’t rhyme with problemas, so it was changed from the beginning to “Y mas vale que teman” (And you better fear)

 However, by season 2, the actors were given more leeway for improvisation, and Jame’s voice actor, Jose Antonio Macias, had gotten a bit bored of it, and the Dub director, Gerardo Vasquez, who also voiced Meowth, let him change the “To extend our reach to the stars above” line to… different places in Mexico and Latinamerica. And then finish the speech however he liked, with whatever accent he liked. Diana Perez, who voiced Jessie, was a bit more restrained but also joined in the fun.

 This gave us gems like the video at the end because I can’t put it here for some reason.

The dialogue of the video translates as:

Jessie: I want to tell you to prepare for trouble! 

James: And inform you you better fear us!

Jessie: To protect the world from devastation

James: And unite all peoples within our nation!

Jessie: To denounce the evils of a small bikini! (Said with “yucatan accent”)

James: And extend our realm to Caleta Caletilla! (Also said with “yucatan accent”)

Jessie: Jessie, so! (pue! Is the way they say “pues” which means “so”)

James: And your bro Jame-me-mes!

Jessie: The Team Rocket is surfing at the speed of light!

James: Surrender now, or prepare to eat a pejelizard! (“pejelagarto” or “pejelizard” is the derogative nickname to our current president)

Meowth: And a sea side that’s right!

 As a parenthesis, James is voiced by the man who also voices Legolas in LoTR and Meowth was originally famous as the Latam voice of Duncan McLeod. That’s some voice range right there.

Obviously, those weren’t translations. But at the same time, we can’t call them translations mistakes, nor bad dubs. On one hand, it keeps to the spirit of the original speech more or less, and to the Rocket Team’s role as the comic relief (They don’t do this when Butch and Cassidy appear). On the other, well, comedy. And it became so popular that when Cartoon Network asked them to stop the localization, people complained the translation was now “correct” again.

And, because Mexican VA s are pros, they changed it back. The old days of the Rocket Team Mexican speeches are gone now.

Now, this kind of localization for comedies was more common back in the old days pre-internet, and series like Get Smart, The Adamms Family and Gilligan Island would have the occasional joke that would only make sense to Mexican audiences. However, they never changed the plot or the personalities of the characters. Only the brand of humor.

Sure, I can think of TWO examples where the Mexican version of the series is completely off the script (One of the actors, the great late Luis Alfonso Mendoza, referred to the script of his show as “a bunch of suggestions that I never followed”, long before Jack Sparrow’s iconic line about the code being just “guidelines”) but those two series were a) cartoons for children and b)changed with the permission of their original owners. Oh, they also c) became beloved Mexican classics when forgotten by their own countries. Those series where Top Cat (Don Gato y su Pandilla in Spanish. So beloved we made TWO official movies recently), and Count Duckula (Conde Patula. Oh, how we miss our Patolin).

However, to explain how the translation and changes were made on those two series require more time than I have today, so I will leave them for a different day.

[recentanimenews]

FEATURE: How I Got Into Sakuga

Kaiba, Directed by Masaaki Yuasa

  If you’re an anime fan, you’re likely an animation fan in general. But how do you know when an animation is “good”? How do you learn to identify an animator by only what you see, or tell when their drawings are better than usual?

  English-speaking anime fans have adopted sakuga as a general catch-all term for exceptional animation. While the word sakuga itself means “animation,” in this context, sakuga has come to mean something very specific: Not just animation that looks cool, but the deliberate handiwork of specific animators with specific artistic aspirations. For example, a single-animator project might have a lot of “sakuga shots” because it has a personal, highly-refined style. Meanwhile, a television series might have an entire team of varying specialists for a larger narrative. Some of this might be attributed to specific key animators, while some might be credited to an entire studio — transformation sequences, explosive missiles, robots — that’s all fair game to be called sakuga. But how do you really know if what you’re looking at really is this so-called “sakuga?”

  Like most art, it’s almost entirely subjective. Here’s my story.

Project A-ko, a high-energy 1986 OVA series best remembered for its exceptional animation staff

(Image via Retrocrush)

  All’s Fair in Love and War Games

  When I was a kid, I got my hands on the English-dubbed Digimon: The Movie on VHS. This notorious release was a three-part recut of Mamoru Hosoda’s Digimon OVAs released from 1999 to 2000, heavily featuring his second film Digimon Adventure: Our War Game. Of course, I didn’t experience this package as a “Hosoda anime” at the time. Besides the inspired inclusion of Barenaked Ladies’ "One Week" to the soundtrack, I strongly associate these films with Hosoda’s signature interpretation of Katsuyoshi Nakatsuru’s original Digimon Adventure character designs. Compared to the Toei-produced television series, these renditions of the Digi-Destined are charmingly off-model and move with awkward intention, like actual kids up against terrifying monsters.

  In a sense, that’s what most people mean by sakuga — animation that makes us lean in and notice traits about the world and characters that can’t be communicated otherwise. Sakuga, in particular, places special emphasis on an individual animator’s keyframes, or the drawings used as a basis for in-between frames during movement. That’s what I mean by the phrase “Hosoda anime.” If you watch Summer Wars or The Girl Who Leapt Through Time enough times, anyone will notice a stylistic palette of idiosyncrasies.

    Digimon Adventure “Home Away From Home” directed by Mamoru Hosoda

(Image via Hulu)

  An Emerging Style

  When I got older and realized there was more anime than what was on cable, I kept returning to “flat” style animation with films like Tatsuo Satō’s 2001 Cat Soup and Shōji Kawamori’s 1996 Spring and Chaos. Around this time, contemporary artist Takashi Murakami also began developing his own “superflat” style (coined in his 2000 book Superflat and later in Little Boy: The Arts of Japan's Exploding Subculture) we’ll return to. Once I got a taste for the experimental, I never turned back.

  But back to Hosoda. Less focused on the details of models and more fixated on a “flat” or fluid style of movement, the key animation in Hosoda’s films makes body language a priority. This is perhaps the best thing about good sakuga — its potential to express deep emotion even under production constraints. My favorite example comes from the first Digimon short film Hosoda directed, the simply titled Digimon Adventure from 1999.

Keep Your Hands Off Eizouken!, Directed by Masaaki Yuasa

  Originally conceived as a standalone for Bandai’s then-new Digital Monsters virtual pet toys, this version of Digimon is less loud, more atmospheric — and sincerely preoccupied with the question: “How would little kids actually handle a giant monster of their own?” The result is an unforgettable shot of Kairi, Tai’s little sister desperately blowing her whistle, stopping to catch her breath, then spitting and coughing in an attempt to calm down their newly evolved kaiju Greymon friend. 

  For the television series, Hosoda directed the episode “Home Away From,” depicting the two siblings clinging to each other as the other slowly drifts back to the Digital World. In both scenes, characters don’t constantly move, but only act when necessary via careful manipulation of the frames. This technique not only makes everything seem more “realistic,” but also acts as a visual cue for the anxiety Tai and Kairi feel. In other words, painstakingly controlled animation serves both form and function, especially when you’re selling an emotional climax of another kid-meets-monster plot.

Tomorrow’s Joe, 1980 film adaptation of the 1970 TV anime series directed by Osamu Dezaki

(Image via Retrocrush)

  A Little History Lesson

  After Digimon, Hosoda and Nakatsuru collaborated on films like Summer Wars and the Takashi Murakami-inspired pop art short Superflat Monogram. Hosoda is no doubt inescapable to sakuga fans today thanks to the ubiquity of his feature films. Still, Hosoda obviously wasn’t the first sakuga animator. Animators like Yasuo Ōtsuka, known for his cinematic work in a pre-Ghibli era of anime film with Toei, documented the growth ‘60s and ‘70s of Japan’s animation industry in his 2013 book Sakuga Asemamire. When the demand for films lowered in favor of anime television during that era, animators took risks. Classics of the era like Tiger Mask and Tomorrow's Joe literally held no punches, and Osamu Tezuka’s own Mushi Productions dove headfirst into experimental adult films. Animators, and especially keyframe animators, had creative control. In this perfect storm, the advent of sakuga was inevitable.

  Everyman Ken Kubo is taught the ways of eighties anime in Otaku no Video

(Image via Retrocrush)  

Why Bother With Sakuga?  

In 2013, animation aficionado Sean Bires and company hosted an informational panel titled “Sakuga: The Animation of Anime” at Anime Central Chicago. Uploaded to YouTube that same year, this panel informed my younger self’s understanding of not just the “how” of sakuga, but the “why” it even needed to exist in anyone’s vocabulary. Accessible, meticulously researched, and full of visual references, Sean’s two-hour panel-lecture does the heavy lifting of contextualizing anime not just through a historical lens, but within the broader project of expanding cinematic techniques. This primer might sound heady, but considering the popularity of Masaaki Yuasa’s series like Keep Your Hands Off Eizouken!, and references to animator Ichirō Itano’s “Itano circus” missiles in American cartoons like DuckTales, it’s hard to say sakuga isn't relevant. Nowadays, it's practically a trope to parody one of Dezaki's most iconic shots. Supplemented by a rich community of blogs and forums, it couldn’t be easier to learn about animators like Yasuo Ōtsuka or the early days of Toei if you want a bigger picture. Blogs like Ben Ettinger’s Anipages and the aptly named Sakuga Blog are a good place to start, not to mention dozens of dedicated galleries of anime production and art books published by studios themselves. Now couldn’t be a better time to vicariously live your art school dreams through anime masterworks.

  Little Nemo: Adventures in Slumberland, a 1989 film featuring animation by Yasuo Ōtsuka best known for his work on the Lupin III franchise  

Sakuga Is For Everyone  

Fans have always been obsessed with the technicalities of animation, even if they weren't artists. As early as 2007, uncut dubbed collector box sets for Naruto came with annotated booklets of episode storyboards. More recently, critically-acclaimed series like Shirobako further explicated this love for animation as a team effort — people love attaching other people to art. In contrast, psychological horror series like Satoshi Kon’s Paranoia Agent features an episode about an anime studio’s production going terribly wrong. Not to mention the endlessly self-referential Otaku no Video Gainax OVA and its depiction of zealous sakuga otaku. Anime fans adore watching anime be born over and over. It’s that simple.     

Digimon Adventure “Home Away From Home” directed by Mamoru Hosoda

(Image via Hulu)

Today, I’d comfortably call some shots from Hosoda Digimon films great sakuga. But Koromon is still weird. Sorry.   The love for sakuga isn’t a contest to one-up fans on production trivia or terminology. It’s about taking the time to appreciate the fact that anime is ultimately a collaborative artistic endeavor. From tracing back the lineage of animators like Yoshinori Kanada to Kill la Kill, to appreciating the visual sugar rush of Project A-Ko alongside slow-paced Ghibli films, “getting into sakuga” isn't a passive effort, nor a waste of time. Besides, wouldn't it be fun understanding how your favorite animator achieved your favorite scene? The phrase "labor of love" is cliché, but maybe that’s a good synonym for what role sakuga inevitably plays for artists and fans alike — work that brings you joy, no matter how you cut it.   Who is your favorite animator? When did you get into sakuga? Let us know in the comments below!

      Blake P. is a weekly columnist for Crunchyroll Features. His twitter is @_dispossessed. His bylines include Fanbyte, VRV, Unwinnable, and more. He actually doesn't hate Koromon.

  Do you love writing? Do you love anime? If you have an idea for a features story, pitch it to Crunchyroll Features!

By: Blake Planty

[fuckyeahheroforgecreations]

In 1978, Nippon TV broadcast the series Saiyūki— literally Account of the Journey to the West — a live-action drama which ran for 2 seasons, adapting the 16th Century Chinese novel of that name. For those unfamiliar: based on the real life 7th Century journey of a Tang dynasty Buddhist monk, the novel is the story of the monk Tang Sanzang, tasked by Boddhisatva Guanyin at the behest of Gautama Buddha to bring back to China a collection of holy sutras, and the protectors-cum-disciples atoning for their sins that he accrues along the way.

Notably, the series portrayed Buddha as female and Guanyin as male, and cast a female actress as Sanzang in order to communicate the character's great youth and beauty.

An enthusiastic English-language dub was broadcast on the BBC starting in 1979 with the new title Monkey, after the abridged English version of the original novel. This version (also commonly referred to as Monkey Magic after the show's title song) has since cemented itself as a cult classic, and was the introduction for many Westerners to both Buddhism and the sort of fantasy action sequences that the subsequent popularity of anime would later make common place.

For context, the opening and end credits of both seasons:

Monkey (Sun Wukong)

The hero of the series, the irrepressible Monkey King and self declared Great Sage Equal To Heaven, here holding one of the many golden peaches he ate to gain immortality. Thanks to the inclusion of a number of Asian themed option in the HQ wardrobe, the outfit is pleasing close to his usual costume from the series.

The same can't really be said of the magic wishing staff, his distinctive and trademark weapon. The 2 staves available either don't allow the end caps or makes what would pass for them entirely too long to look right, so the double spear is the closest in feel I could get.

https://www.heroforge.com/load_config%3D12206508/

Tripitaka (Tang Sanzang)

Although named Sanzang, the nominal main character of the novel is frequently better known as Tripitaka in the West based on this series. Both names (Chinese and Sanskrit respectively) are interchangeably used as an honorary title in Chinese Buddhism for a monk who has mastered the teachings of the titular "Triple Basket" of scriptures that comprise their traditional canon.

Tripitaka's look here is more vibe than match for what he wore in the series -- HF tends towards western fantasy in its selection of robe styles. Those pose isn't one of nervousness but the hand options make it the closest I could get to him using the Golden Headache Sutra that tightens Monkey's headband to force compliance from his most fractious protector.

The Horse's eyes are another story…

https://www.heroforge.com/load_config%3D12210903/

https://www.heroforge.com/load_config%3D12210925/

https://www.heroforge.com/load_config%3D12207963/

Sandy (Sha Wujing)

Of the three disciples, I think I like Sandy the most. A former General of Heaven forcibly reincarnated as a cannibal water demon for breaking a tea pot, he's the most sincere in his conversion from monster to disciple. Honest and hard working, he's typically a voice of reason and generally the nicest of the lot.

In the show, he's been given something a kappa-ish aspect, with a tonsure-like baldspot beneath a skullcap he needs to keep moist. Nothing like either is an option in HF so he gets the receding hairline head tentacles which I think works well enough. The costume is a pretty close evocation of the one from the series otherwise, with an almost exact match for his signature weapon. The cephalopod crescent pupils are a stylistic choice on my half.

https://www.heroforge.com/load_config%3D12211231/

Pigsy (Zhu Bajie)

Although he a more rounded character in the novel, in the TV series after a while you're usually thinking "Ugh, what an arsehole!". A Heavenly Marshal expelled for being a sex pest, he inadvertently gets reincarnated as a demon part human and part pig. He often gets himself and his companions into trouble through his laziness, gluttony, egotism, and propensity for lusting after pretty women.

The outfit is a pretty good match to the character's TV costume, though there was only the pitchfork as substitute for his signature 9-Toothed Muck Rake. The original actor was replaced because he accepted a movie role before the decision was made to go ahead with a 2nd season; this was lamp-shaded as a result of spiritual growth. Thus the 1st version has an orc face and one of the less aesthetically pleasing human ones for the 2nd.

https://www.heroforge.com/load_config%3D12211513/

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Horse aka The White Dragon Horse (Yu Lung aka Bail Long Ma)

Originally a dragon spared execution through the intercession of Guanyin, Yu Lung inadvertently eats Tripitaka's original steed and transforms himself into a white horse who carries the monk for the rest of the journey. He eventually starts adopting human form as the situation demands. Within the series, this development resulted in the casting of an actor who would make up for the new Pigsy's lack of charisma.

Not a lot to say here in regards to design except it amuses me the kung-fu monk boots work so well for achieving the look of the character who is the alter ego of the animal (which kicks) carrying the actual monk (serving as his feet).

https://www.heroforge.com/load_config%3D12256343/

[arecomicsevengood]

Hey, you know what’s a really interesting comic book that I don’t think very many people know about? Deathwish, published by Milestone Comics. I got the first issue ordering a lot of comics off Ebay. I was looking forward to it, as it features early work by JH Williams III, and had a plot summary that made me think it might be “problematic,” possibly actively offensive, in that it’s a comic about a villain (spun off from the pages of Hardware) and was dealing with the murder of transgender people, and the name of the first issue was “This Ain’t No Cryin’ Game.” And then I read it, and was kinda blown away? Like, it turns out the plot is ACTIVELY retelling The Silence Of The Lambs, in that it’s about a detective who goes to a prison to talk to an insane lunatic who’s locked up, and then that character escapes from jail, but while Silence Of The Lambs is known for its transphobic depiction of the Buffalo Bill character, Deathwish instead has a trans woman be in the Clarice Starling role, and tells the story from her perspective. It’s not clear by the end of the first issue what will be the deal with the murderous character who initially set the plot in motion. Anyway, I looked up the writer and it turns out they were trans and actively involved in activism within that community.

While I remain skeptical about the revival of Milestone as an IP farm or whatever the intent might be, when they were an active company they were committed to diversity and bringing in new creators. It seems Blaustein was brought into comics initially by working as an assistant to Jim Owsley, who’s now known as Christopher Priest. I don’t think Blaustein got any writing work in comics after Milestone folded, which is a shame and yet totally unsurprising. Lately I have seen an increase in praise for Rachel Pollack’s comics, and her work on the Vertigo Doom Patrol, and her creation of a trans superhero Coagula. I haven’t heard anyone say anything about these comics.

The official word I’ve heard of why those Doom Patrols aren’t in print is because the film of the original art is lost. I know that Milestone comics were not in print or available digitally due to rights issues that are beginning to be sorted out. I know a bunch of Milestone comics are being released digitally now, and Blaustein did more work there than just these Deathwish comics — some fill-in issues, and six issues of Static towards the end of its run, two of which I’ve read. One was drawn by Gil Kane, another by Humberto Ramos - Ramos’ art at the time was still pretty solid, and with the painted color by Noelle C Giddings I’d argue it never looked better, I liked that comic a good deal as a kid.

It does seem like Blaustein’s work was valued by Milestone editorial - Included in the same lot is a copy of issue 1 of Ho Che Anderson’s Wise Son miniseries, and in the little page keeping reader’s abreast of the company’s goings-on the series is hyped up with the sentence “Not since 1995’s DEATHWISH have we brought you a 4-issue miniseries that appeals to superhero fans on a literary level.” Rereading that sentence maybe they just hadn’t put out many 4-issue miniseries in the intervening years but I’m choosing to interpret it as genuine respect.

Going to IMDB reveals she later went by Madeline Blaustein and worked as a voice actress on a bunch of English language dubs of anime, which surely some people reading this would’ve grown up on. Apologies for using her deadname, but that’s the name all the comics are credited to, and I want to make it easy for interested parties to research and read the work. I also haven’t even read the subsequent issues of this Deathwish miniseries, though looking online all of the individual issues are titled as jokes/references to works that are notable for their depiction of either crossdressing or trans people. In addition to The Crying Game, and Silence Of The Lambs, other issues are named in reference to Some Like It Hot and Paris Is Burning.

Looking at IMDB, actually, you can see that she is sometimes credited as “Addie” and sometimes as “Maddie” — and looking again at Deathwish you can see that the name “Maddie” is the name of the trans detective narrating the story. I didn’t know anything about this person, who was born in 1960 and died in 2008, before today, but here there are all these clues, these fragments suggestive of their actual life, discovered in the pages of a largely-forgotten comic and some online databases.

[biglittlesshop]

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Yesterday was a busy day of meetings and airplane travel for peter and connor but last night peter took some time to share his thoughts on the passing of the great christopher lee christopher lee was the tallest actor I ever knew he was also by far the most literate when we first met in a los angeles studio where he was recording his lines as king haggard in the last unicorn he had just recorded haggard’s speech about his first sight of unicorns and I mentioned that it was probably my favorite speech in the book he immediately wanted to know well did I do it properly we can always redo it right here of course he’d handled the lines perfectly but writers and writers’ opinions about their work mattered intensely to christopher that same afternoon we discovered that between the two of us we we could call to mind just about all the lines of g k chesterton’s poem the rolling english road we also discovered a mutual need to hit the men’s room and my son dan in his mid teens at the time still has a very clear memory of christopher simultaneously peeing while declaiming in that voice which no one could ever keep from imitating after fifteen minutes with him before the roman came to rye or out to severn strode the rolling english drunkard made the rolling english road a reeling road a rolling road that rambled round the shire and after him the parson ran the sexton and the squire I leave it to the reader to imagine that voice in the tiled acoustics of a hollywood bathroom we met a second time in munich where the last unicorn was being dubbed into german most of my memories of that time and of chris lee have to do with books and authors he had known both j r r tolkien and a writer who mattered more to me t h white we had a long ongoing argument in munich about a chapter of the sword in the stone that appears in the english edition of the book but not in the american one he turned out to be right he usually was he never failed to mention the last unicorn as one of his very favorite books and as one of the movies he was most proud of having made indeed he left my whopperjawed as mark twain would have put it when we were being interviewed together on austrian television and he announced oh yes I simply couldn’t resist a chance to play king haggard one more time even in another language after all and he looked straight into the camera it’s the closest they’ll ever let me get to playing king lear the camera swung toward me to catch my stunned reaction and chris looked across the studio at me and winked but my most vivid memory chilling as it remains to this day has to do with the day that I and michael chase walker associate producer of the last unicorn and the one who really got the film made in the first place somehow found our way out to dachau I can’t now recall how we managed it considering that neither one of us spoke german and that you had to take both a subway and a bus to get there from the hotel where the crew were staying but we got there somehow and spent a good half of the day roaming with other tourists around a legendary concentration camp peering blindly into the huge crematoriums but staring with equal horror and fascination at the endless rows of filing cabinets containing every record of every human being who was ever imprisoned starved gassed or simply worked to death in this place michael and I grew quieter and quieter that afternoon until by the time we started back to munich we weren’t speaking at all I think we both felt that we might say anything in words again the first person we met in the hotel lobby was christopher he took one look at us and announced you’ve been to dachau we nodded without answering chris strode toward us looked all the way down from his six foot five inch altitude lowered his voice and inquired still smells doesn’t it with the end of world war ii christopher as a member of the special forces and whose five or six languages included fluent german had been assigned to hunt down and interrogate nazi war crminals and had been present at the liberation of dachau and yes the smell of death had undoubtedly faded somewhat since 1945 but it was still as real as michael and me wandering dazedly between the ovens and the filing system we just didn’t know what it was but christopher did and i’d know it again I never saw him again after munich though we spoke on the telephone a few times on the last occasion when I had called to wish him a happy 90th birthday I remember him assuring me that if by the time you come to make your live action version of your movie I have passed on do not let it concern you I have risen from the dead several times I know how it’s done he worked almost to the last as the real artists of every kind do they work to be working because that’s what they do and they die when they stop I always regarded him as the last of the great 19th century actors that bravura larger than life style went with him no modern rada trained performer would ever attempt it today nor should they it would inevitably come out parody however earnestly meant yet there was always more to christopher lee as an actor than dracula or the mummy or saruman or sherlock holmes for that matter though he was very proud of having played not only both holmes and watson but sherlock’s brother mycroft as well lord summerisle of the original the wicker man probably his favorite of his own movies is most likely closer to chris’s dark benignity than any other role he ever inhabited I believe this because lord summerisle sings a surprising amount in that movie and chris passionately loved singing if there is any such thing as an afterlife or reincarnation I truly hope no believe that christopher lee will return as a wagnerian opera singer if he hadn’t been considered too old in his 30s to be accepted for formal vocal training he might have been in his own eyes at least a happier more fulfilled man but we would have been deeply poorer for it and never have known See Other related 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