08 September 2016 by VegettoEX
30 June 2016 by VegettoEX
24 June 2016 by VegettoEX
10 June 2016 by Hujio
Japanese band Arukara (アルカラ) has announced that their upcoming single “Chao Fan MUSIC” (a Chinese pronunciation of “炒飯MUSIC” or “Fried Rice Music”) will take over as the sixth ending theme song for the Dragon Ball Super TV series beginning in October.
A CD single release will follow 23 November 2016, which will also contain the song “Phantom Thief Miracle Boy 2” (the latest opening theme for the third and fourth seasons of the Mysterious Joker anime television series), along with the song “LET・IT・DIE” (used in promotion for the upcoming PlayStation 4 video game of the same name by Grasshopper and GungHo). Karaoke versions of all three songs round out the CD single:
The standard edition of the CD single (VICL-37235) will retail for ¥1,200 + tax. A “Limited Edition” version of the CD single (VIZL-1085) will also be available for ¥1,800, which will come packed with a bonus DVD featuring footage from Nekofes 2016.
Both editions are available for pre-order on CDJapan.
Vocalist Taisuke Inamura provided a comment about the song alongside its announcement:
Heya! I’m Arukara’s vocalist, Taisuke Inamura! It’s an honor that we’ve been selected for the next Dragon Ball Super ending.
I wrote this song while reminiscing about when I used to watch anime back in elementary school. Thinking about it now, even to my young mind the Dragon Ball opening and ending themes were always full of excitement and mystery.
In the lyrics for “Mystical Adventure!” (the one with “grab them!”), I read 一途 as “itto” [translated as “most” in this context] and sang it without even knowing what it meant. When the Z series came around, Hironobu Kageyama-san‘s “CHA-LA HEAD-CHA-LA” was electrifying; the singing, the title, everything.
There are these strange voices at the start of the ending theme “Come Out, Incredible ZENKAI Power!” and I wondered what the heck they were. When I grew up, I was surprised to learn that these voices concealed a hidden message through a process called “back-masking”.
This time around, when people think of Dragon Ball they think of scenes of Goku pigging out, so I figured some kind of food would be good, and so titled it “Chao Fan Music”. I think at the time “dra” sounds were used a lot, and I made it to include that amazing back-masking and “itto” in the lyrics, so it ended up being a work with Arukara’s Dragon Ball love wrapped up in it.
The back-masked portion actually hides a message saying “give the dra——-“, so please trying playing it backwards again and again.
To say just a bit more, many people of my generation now have kids in elementary school, so they watch Dragon Ball together with their kids. I hope that with this song I can make people of our generation feel nostalgic and stimulate parents and children talking through this generation-spanning Dragon Ball series.
The vocalist references the garbled words at the beginning of “Come Out, Incredible ZENKAI Power!” (the first closing theme to the Dragon Ball Z TV series), which is actually a back-masking tribute to some of the musical production staff.
CD singles for the show’s first four ending themes — “Hello Hello Hello” by Good Morning America, “Starring Star” by KEYTALK, “Light Pink” by LACCO TOWER, “Forever Dreaming” by Czecho no Republic, and “Easy-Going Dance” by Batten Showjo Tai — have been released. A CD single for the show’s opening theme — “Chōzetsu ☆ Dynamic!” by Kazuya Yoshii — was released 07 October 2015.
In conjunction with Tokyo Game Show 2016, Bandai Namco has announced a forthcoming free update to Dragon Ball Fusions on the Nintendo 3DS. The update, hitting this autumn, will include a new “Time-Space Radar stage” set in the real world, plus new a new “Online Vs. and Ranking Function”. Additionally, a “Special Firsthand Experience Edition” is also set to be distributed this autumn. In this, you can adventure in a specialized stage and EX Fuse the characters you have collected into new super warriors.
Also, “talents” Maple Superalloy, Yoshio Kojima-san, and Dandy Sakano-san have been hired to serve as promotional ambassadors for Dragon Ball games, and will appear using the Time-Space Radar in a new TV commercial that will begin airing in October.
Dragon Ball Fusions, developed by Ganbarion for Bandai Namco, is the latest Dragon Ball franchise video game and is exclusively available on the Nintendo 3DS in Japan. As of last week, the game has sold 152,418 copies in Japan. While no international release has been officially announced, one does seem likely at this point. Check out Episode #0409 of our podcast for our first impressions with the game.
This week’s Tokyo Game Show in Japan brought a few key updates and hands-on impressions for the upcoming Dragon Ball XENOVERSE 2 from Bandai Namco. In particular, several people have shared the latest full-length promotional video for the game:
In the video, Trunks asks if you (as the player) want to become a Time Patroller. This group is responsible for stopping changes to the timeline, returning history to the way it should be. You can hone your skills at their gym, school, and other facilities. The Kaiōshin of Time points out that changing history is a grave offense, so don’t be like Trunks! Both say they are waiting for your enlistment. The narrator explains that only you can save Dragon Ball‘s history, which is under threat. To prevent changes to history, you can team up with anyone else playing the game and undertake quests. You can do group battles with up to six people against one common (giant!) enemy. Unexpected things may happen midway through, like an ally becoming an enemy. Towa has new magic to power-up bad guys far beyond their limits.
Much like the first game, XENOVERSE 2 will feature a playable beta version exclusively on the PlayStation 4 home console. The closed beta will run from 08 October 2016 to 10 October 2016, followed by an open beta from 14 October 2016 to 17 October 2016. Those who digitally preorder the game on the PlayStation Network will gain access to the beta, while other codes will be made available through various means; Japanese players may, for example, purchase the upcoming November 2016 issue of V-Jump for access.
Dragon Ball XENOVERSE 2 is in development for the PlayStation 4, Xbox One, and PC. In North America, the game will launch for consoles 25 October 2016 with a PC release following 28 October 2016. In Europe, the game will launch across all platforms 28 October 2016. In Japan, the game will exclusively launch on the PlayStation 4 console 02 November 2016.
The original Dragon Ball XENOVERSE, developed by Dimps for Bandai Namco, was announced in May 2014 and launched in February 2015 for the PlayStation 3, PlayStation 4, Xbox 360, Xbox One, and PC (via Steam) internationally. The game saw a user-created character teaming up with Trunks and the Kaiōshin of Time to correct anomalies and disruptions to the timeline caused by the villains Mira, Towa, and Demigra. As of February 2016, the game had shipped over three million copies worldwide.
Dragon Ball Fusions continues its solid sales figures six weeks into its release on the Nintendo 3DS in Japan, jumping slightly over last week’s numbers.
According to the Media Create sales list for the reporting period of 05 September 2016 to 11 September 2016, the game pushed another 7,002 copies, which brings the game’s sales up to 152,418 total copies.
Fusions‘ sixth week sales far exceed last year’s Extreme Butōden (also on the Nintendo 3DS), which pushed 113,181 copies by its own sixth week. Fusions is also currently trending higher than 2014’s Dragon Ball Heroes: Ultimate Mission 2, which sold 137,142 copies by its sixth week.
Dragon Ball Fusions, developed by Ganbarion for Bandai Namco, is the latest Dragon Ball franchise video game and is exclusively available on the Nintendo 3DS in Japan. While no international release has been officially announced, one does seem likely at this point. Check out Episode #0409 of our podcast for our first impressions with the game.
In addition to our regular (mostly-)weekly lineup of podcast episodes, the staff at Kanzenshuu occasionally collaborate or make guest appearances on other shows to discuss Dragon Ball. For those fans looking to supplement their listenings this week, check out the latest episode of Chris Niosi‘s Kirblog series — “Step Into The Grand Tour” — for an 80+ minute discussion about the 1996-1997 Dragon Ball GT TV series. How did it come to be, what risks did it take, how did its story play out, and what legacy does it leave behind?
For those of you subscribed to our podcast feed (perhaps in the iTunes Store or Google Play Music): surprise! The episode should have already downloaded for you (and if not, give you podcast subscriptions a refresh).
Check out our “Special Episodes & Guest Appearances” page for more supplemental episodes you may have missed over the years.
In conjunction with today’s 2016 #41 issue of Weekly Shōnen Jump in Japan, Bandai Namco’s official website for Dragon Ball Z: Extreme Butōden has announced a forthcoming patch that will allow cross-game battles (クロス対戦) with the upcoming One Piece: Great Pirate Colosseum, also on the Nintendo 3DS.
One Piece: Great Pirate Colosseum hits the Nintendo 3DS in Japan 21 September 2016 for ¥5,700 + tax. The patch enabling cross-game battles — which will include both local and online multiplayer — will hit later this year in November.
Both Dragon Ball Z: Extreme Butōden and One Piece: Great Pirate Colosseum are developed by Arc System Works for Bandai Namco on the Nintendo 3DS, with the former seeing an international release last October following its June 2015 release in Japan.
Twenty years ago this weekend, Dragon Ball Z‘s English dub debuted on American television courtesy of FUNimation. It came after a rough year’s production of the original Dragon Ball series lasting only thirteen episodes and a single movie, despite the show already seeing massive success across the entire rest of the globe. This week on our podcast, we jump back to 1996 to discuss that first dubbed episode (“The Arrival of Raditz”) and its impact on the fandom moving forward.
Episode #0412! Mike and Meri reflect on twenty years of Dragon Ball Z in America. In September 1996, FUNimation’s English dub of Dragon Ball Z began airing in syndication, and it has only grown in popularity since then. How does that dubbed production stand the test of time? What can we learn from history? And what exactly was this Ocean dub, anyway? All this and a dive into our new “Press Archive” coming in your ears!
While the Dragon Ball Super television series has been licensed for certain international territories, no announcement has been made for North America.
The Dragon Ball Super manga began in June 2015 as a promotional tie-in for the television series. The manga runs monthly in Shueisha’s V-Jump magazine, with the series’ fifteenth chapter recently printed in the magazine’s October 2016 issue. Illustrated by “Toyotarō” (in all likelihood, a second pen-name used by Dragon Ball AF fan manga author and illustrator “Toyble”), the Dragon Ball Super manga covered the Battle of Gods re-telling, skipped the Resurrection ‘F’ re-telling, and “charged ahead” to the Champa arc to act as further promotion for the television series. The first collected volume, covering the first nine chapters and one bonus chapter, was released this past April. Viz will release their own collected print edition beginning in May 2017.
The “Press Archive” is a new section here at Kanzenshuu with the goal of documenting references to, articles about, and reviews for the Dragon Ball franchise from international (read: non-Japanese) media; think of it as a sibling to the “Translations” section. The section — which will only continue to grow over time — will generally only include items that are (1) at least 10-15 years old, and (2) from sources no longer available for purchase. In going along with our overall site mission, we believe it is important to document this history and the sentiment of the time.
For its launch, the “Press Archive” contains roughly 80 articles, editorials, interviews, and reviews from anime magazines (namely Viz’s Animerica and Shonen Jump) and video game magazines (namely Electronic Gaming Monthly and GameFan, with some selections from GamePro and Nintendo Power, as well).
With an admittedly-overwhelming number of items at launch, we thought that a quick list of highlights could help you on your reading journey:
Contemporary Game Coverage & Reviews
It may be hard to imagine for some younger fans, but Dragon Ball video games existed before the PlayStation 2! Video game magazines were typically ahead of the curve when it came to import coverage and Japanese media. The very first issue of Nintendo Power previewed the upcoming Dragon Power game from Bandai, an adaptation of The Legend of Shenlong on the Famicom. Electronic Gaming Monthly‘s massive six-pages spread on Super Butōden 3 in their December 1994 issue introduced me to the Boo arc long before even fansubs, while the December 1997 issue previewed Final Bout and the in-progress syndication broadcast. GameFan‘s December 1996 review of “Dragon Ball Z Legends” showed the second-generation American fans there was an entire, contemporary world of DBZ video games available to us with the help of a modchip or Pro Action Replay.
In many ways, reading through the opinions and sentiment of a pre-FUNimation era shows how Dragon Ball discourse was sidelined for so many years by the dub and its various production issues. In the introduction to Animerica‘s November 1996 blowout on Dragon Ball, James Teal writes:
Superman is, and always has been, a symbol for truth, justice, and upstanding moral fortitude–a role model and leader as much as a fighter. The more down-to-earth Goku has no illusions about being responsible for maintaining social order, or for setting some kind of moral example for the entire world. Goku is simply a martial artist who’s devoted his life toward perfecting his fighting skills and other abilities. Though never shy about risking his life to save either one person or the entire world, he just doesn’t believe that the balance of the world rests in any way on his shoulders, and he has no need to shape any part of it in his image. Goku is an idealist, and believes that there is some good in everyone, but he is unconcerned with the big picture of the world…unless it has to do with some kind of fight. Politics, society, law and order don’t have much bearing on his life, but he’s a man who knows right from wrong.
The magazine’s March 1998 spotlight on Akira Toriyama weaves a history courtesy of the various Daizenshuu interviews, material that would not be translated properly in full for years to come:
A later power-up form, Fusion–the process of two warriors combining into an even toughter [sic] form, such as Trunks’ and Goten’s Fusion power-up, Gotenks–had this origin: “I was having a conversation that there’s nothing stronger than a Super Saiyan,” laughs Toriyama. “Usually, Masakazu Katsura (Video Girl Ai) and I only talk about silly things, but he said, ‘You can always fuse them together.’ I told him he said something useful for the first time.” The concept of Fusion increased the humor of certain fighting scenes, but Toriyama doesn’t see a problem with having more laughs than lacerations in his manga. “If the story got too serious, my own blood pressure would get high, and personally, I don’t like that. I always think that manga is completely for entertainment.” On the other hand, when Toriyama is asked to pick out his favorite original story for the Dragon Ball animation, he passes over the lighter tales and selects the story with Goku’s father, Badak. “It’s a pretty dramatic story that I’d never draw myself. I got to see a different kind of Dragon Ball in a good way.”
While we at Kanzenshuu always prefer to translate from the primary source whenever possible (that being statements and answers in their original Japanese), sometimes the deepest we can go is a feature that already includes translated statements. Akira Toriyama has not given an immense number of interviews to American publications, but there are a few key examples that are important to archive. These begin in 2003 with January and March issues of Viz’s Shonen Jump with interviews conducted during Toriyama’s trip to New York for the magazine’s launch party. Their 2006 interview spanned everything from drawing techniques to pets to in-universe questions, while their two-part “Interview with the Majin” in the October and November 2007 issues touched on the design work in the Boo arc and Toriyama’s kung fu inspiration.
This is but a small selection and highlight of the material available in the “Press Archive” for its launch. Please enjoy and look forward to more material coming to the archive soon!
|VISIT THE PRESS ARCHIVE|
This week’s episode brings a split topic: a bit of glee regarding the work of Naotoshi Shida on Dragon Ball Super episode 57, and the totally-unrelated topic of strength debates. Whether it’s the multipliers or the scaling or the raw lists of battle powers, if you have been in the fandom long enough, you have at least come across these discussions. In a series about fighting, trying to determine the strongest fighter is an obvious path to go down as a community discussion point. In our extensive topic this week, we try to determine whether or not this is actually healthy for or destructive to your fandom.
Episode #0411! Mike and Ajay rejoice over Naotoshi Shida’s work in “Dragon Ball Super” episode 57 before Mike goes it solo to discuss strength debates. The battle power lists, the multipliers, the scaling… these are all aspects that fans seem to like, but are they actually enjoying themselves? Is a dedicated obsession with this one facet of the series actually harmful and destructive to not just your own fandom, but to the greater community’s fandom? We may not have the answer, but we at least have a plea for you.