Discussion specifically regarding the "refreshed" TV version of DBZ created in Japan for its 20th anniversary, including individual threads for each episode.
ABED wrote:The characters can have different voices from their Japanese counterparts. I like McCoy because she was a good actress and the voice was distinct. I can't really pick 18's original voice out of a lineup. She was a fine actress but nothing distinct about the voice, and the Japanese actress doesn't sound like a teenager either.
From a lot of the japanese shows I have seen (live action and voice) 18 sounds like a teenager. McCoy was just emotionless when that's not 18. She is a cyborg, not an android. Huber is also emotionless which is wrong.
Again its all opinions and your not wrong, but neither am I.
Why Dragon Ball Consistency in something such as power levels matter!
Spoiler:
Doctor. wrote:I've explained before, I'll just paraphrase myself.
Power levels establish tension and drama. People who care about them (well, people who care about them in a narrative) don't care about the big numbers or the fancy explosions. If you have character A who's so much above character B, who's the main character, you're gonna be left wondering how in the hell character B, the character we're supposed to care and root for, is going to escape the situation or overcome the odds. It makes us emotionally invested.
If character B doesn't escape the situation in a believable way that's consistent with previous events, then that emotional investment is gone. It was pointless tension, pointless drama made just to suck in the viewer. It has no critical value whatsoever. The audience is left believing that the author can just create whatever scenarios he wants and what happens to the characters is decided by whatever the author wants to happen, regardless of the events that happened in the story. Which, in fairness, is what happens, but the audience wants to be fooled. The audience wants to know that the world they're following has rules. That the world they're invested in isn't going to bend to external factors that are irrelevant to them.
An author can do whatever he wants with the characters, that's not false. But the author should also have the responsibility to make sure it fits in cohesively with the other events in the narrative he has created.
Neither she nor Huber are emotionless. Huber got much better in Kai but he still wasn't emotionless. There's a certain degree of detachment when they aren't in emotional situations like when Cell arrives but that's a valid choice. They are so powerful so why wouldn't they be unemotional?
18 is supposed to sound like a teen, but I don't think any of the actresses sound like they're that young. I'm fine with that as long as the acting is good and they don't sound too old.
The biggest truths aren't original. The truth is ketchup. It's Jim Belushi. Its job isn't to blow our minds. It's to be within reach.
"You miss 100% of the shots you don't take - Wayne Gretzky" - Michael Scott
Happiness is climate, not weather.
ABED wrote:Neither she nor Huber are emotionless. Huber got much better in Kai but he still wasn't emotionless. There's a certain degree of detachment when they aren't in emotional situations like when Cell arrives but that's a valid choice. They are so powerful so why wouldn't they be unemotional?
18 is supposed to sound like a teen, but I don't think any of the actresses sound like they're that young. I'm fine with that as long as the acting is good and they don't sound too old.
They sound pretty emotionless to me. I personally think the Japanese got it right, while we only got it half right in Kai. When I hear Huber he sounds similar to 16 but with sass.
And I'll say this one last time. It's all opinionated. Your views aren't mine.
Why Dragon Ball Consistency in something such as power levels matter!
Spoiler:
Doctor. wrote:I've explained before, I'll just paraphrase myself.
Power levels establish tension and drama. People who care about them (well, people who care about them in a narrative) don't care about the big numbers or the fancy explosions. If you have character A who's so much above character B, who's the main character, you're gonna be left wondering how in the hell character B, the character we're supposed to care and root for, is going to escape the situation or overcome the odds. It makes us emotionally invested.
If character B doesn't escape the situation in a believable way that's consistent with previous events, then that emotional investment is gone. It was pointless tension, pointless drama made just to suck in the viewer. It has no critical value whatsoever. The audience is left believing that the author can just create whatever scenarios he wants and what happens to the characters is decided by whatever the author wants to happen, regardless of the events that happened in the story. Which, in fairness, is what happens, but the audience wants to be fooled. The audience wants to know that the world they're following has rules. That the world they're invested in isn't going to bend to external factors that are irrelevant to them.
An author can do whatever he wants with the characters, that's not false. But the author should also have the responsibility to make sure it fits in cohesively with the other events in the narrative he has created.
Unless I say "You're wrong" or something to that effect, take it as a given that it's a civil disagreement and you're welcome to your opinion.
As to your point that they are emotionless, it's not all the time, just the moments when they are in full control. They are detatched, but it's a valid way to play cyborgs.
The biggest truths aren't original. The truth is ketchup. It's Jim Belushi. Its job isn't to blow our minds. It's to be within reach.
"You miss 100% of the shots you don't take - Wayne Gretzky" - Michael Scott
Happiness is climate, not weather.
ABED wrote:Unless I say "You're wrong" or something to that effect, take it as a given that it's a civil disagreement and you're welcome to your opinion.
As to your point that they are emotionless, it's not all the time, just the moments when they are in full control. They are detatched, but it's a valid way to play cyborgs.
Sorry but it was sounding like this was no longer about opinions.
Anyways they always felt pretty emotionless. Even when 17 sounds like he is having fun he sounds bored. Same with 18.
Why Dragon Ball Consistency in something such as power levels matter!
Spoiler:
Doctor. wrote:I've explained before, I'll just paraphrase myself.
Power levels establish tension and drama. People who care about them (well, people who care about them in a narrative) don't care about the big numbers or the fancy explosions. If you have character A who's so much above character B, who's the main character, you're gonna be left wondering how in the hell character B, the character we're supposed to care and root for, is going to escape the situation or overcome the odds. It makes us emotionally invested.
If character B doesn't escape the situation in a believable way that's consistent with previous events, then that emotional investment is gone. It was pointless tension, pointless drama made just to suck in the viewer. It has no critical value whatsoever. The audience is left believing that the author can just create whatever scenarios he wants and what happens to the characters is decided by whatever the author wants to happen, regardless of the events that happened in the story. Which, in fairness, is what happens, but the audience wants to be fooled. The audience wants to know that the world they're following has rules. That the world they're invested in isn't going to bend to external factors that are irrelevant to them.
An author can do whatever he wants with the characters, that's not false. But the author should also have the responsibility to make sure it fits in cohesively with the other events in the narrative he has created.
I think Brina's one of the ladies doing this and while not sure who the others are (wish Funi would credit the English singers) still think the singers of the second Negima series would be good theme singers:
The 18 in the main timeline doesn't really have that much fun. It's 17 that enjoys traveling in cars and even in the japanese version he's fairly subdued. In Trunks' future, the acting is fine. They sound like two teens who enjoy making sport of killing people. By Cell arrives on the island, both Huber and and McCoy show plenty of colors.
The biggest truths aren't original. The truth is ketchup. It's Jim Belushi. Its job isn't to blow our minds. It's to be within reach.
"You miss 100% of the shots you don't take - Wayne Gretzky" - Michael Scott
Happiness is climate, not weather.
ABED wrote:The 18 in the main timeline doesn't really have that much fun. It's 17 that enjoys traveling in cars and even in the japanese version he's fairly subdued. In Trunks' future, the acting is fine. They sound like two teens who enjoy making sport of killing people. By Cell arrives on the island, both Huber and and McCoy show plenty of colors.
I've re-watched some stuff from the old dub again and I just don't see anything. They just sound bored all the time. Faulconer gives this techno theme that just screams out boredom.
This really seems to have devolved to "Yes they were, No they weren't"
Why Dragon Ball Consistency in something such as power levels matter!
Spoiler:
Doctor. wrote:I've explained before, I'll just paraphrase myself.
Power levels establish tension and drama. People who care about them (well, people who care about them in a narrative) don't care about the big numbers or the fancy explosions. If you have character A who's so much above character B, who's the main character, you're gonna be left wondering how in the hell character B, the character we're supposed to care and root for, is going to escape the situation or overcome the odds. It makes us emotionally invested.
If character B doesn't escape the situation in a believable way that's consistent with previous events, then that emotional investment is gone. It was pointless tension, pointless drama made just to suck in the viewer. It has no critical value whatsoever. The audience is left believing that the author can just create whatever scenarios he wants and what happens to the characters is decided by whatever the author wants to happen, regardless of the events that happened in the story. Which, in fairness, is what happens, but the audience wants to be fooled. The audience wants to know that the world they're following has rules. That the world they're invested in isn't going to bend to external factors that are irrelevant to them.
An author can do whatever he wants with the characters, that's not false. But the author should also have the responsibility to make sure it fits in cohesively with the other events in the narrative he has created.
Well, Ian Sinclair tweeted about Kyle Hebert recording in the booth next door. I wonder what for.
"Those transformations insane,
They wanna turn up hours late and steal the show from the pros who had to die for the name." - Yamcha (DBWTF: Z-Rap 3)
"Over saturation is easy. Just drag the slider to the right and there you are: instant interest. And certainly, the majority of the public likes saturated color images. In fact, if you want to quickly create a popular image, simply over saturate the colors and increase the contrast. While you may not achieve a sophisticated image, you will achieve an image that will please a less demanding audience." - Alain Briot
ABED wrote:The 18 in the main timeline doesn't really have that much fun. It's 17 that enjoys traveling in cars and even in the japanese version he's fairly subdued. In Trunks' future, the acting is fine. They sound like two teens who enjoy making sport of killing people. By Cell arrives on the island, both Huber and and McCoy show plenty of colors.
I've re-watched some stuff from the old dub again and I just don't see anything. They just sound bored all the time. Faulconer gives this techno theme that just screams out boredom.
This really seems to have devolved to "Yes they were, No they weren't"
I was thinking the same thing. It reminds me of the scene in the Simpsons
Ned Flanders: Well, I guess this is a case where we'll have to agree to disagree.
Principal Skinner: I don't agree to that.
Ms. Krabappel: Neither do I!
The biggest truths aren't original. The truth is ketchup. It's Jim Belushi. Its job isn't to blow our minds. It's to be within reach.
"You miss 100% of the shots you don't take - Wayne Gretzky" - Michael Scott
Happiness is climate, not weather.
ABED wrote:The 18 in the main timeline doesn't really have that much fun. It's 17 that enjoys traveling in cars and even in the japanese version he's fairly subdued. In Trunks' future, the acting is fine. They sound like two teens who enjoy making sport of killing people. By Cell arrives on the island, both Huber and and McCoy show plenty of colors.
I've re-watched some stuff from the old dub again and I just don't see anything. They just sound bored all the time. Faulconer gives this techno theme that just screams out boredom.
This really seems to have devolved to "Yes they were, No they weren't"
I was thinking the same thing. It reminds me of the scene in the Simpsons
Ned Flanders: Well, I guess this is a case where we'll have to agree to disagree.
Principal Skinner: I don't agree to that.
Ms. Krabappel: Neither do I!
I don't remember that from the Simpsons. But that is funny.
Why Dragon Ball Consistency in something such as power levels matter!
Spoiler:
Doctor. wrote:I've explained before, I'll just paraphrase myself.
Power levels establish tension and drama. People who care about them (well, people who care about them in a narrative) don't care about the big numbers or the fancy explosions. If you have character A who's so much above character B, who's the main character, you're gonna be left wondering how in the hell character B, the character we're supposed to care and root for, is going to escape the situation or overcome the odds. It makes us emotionally invested.
If character B doesn't escape the situation in a believable way that's consistent with previous events, then that emotional investment is gone. It was pointless tension, pointless drama made just to suck in the viewer. It has no critical value whatsoever. The audience is left believing that the author can just create whatever scenarios he wants and what happens to the characters is decided by whatever the author wants to happen, regardless of the events that happened in the story. Which, in fairness, is what happens, but the audience wants to be fooled. The audience wants to know that the world they're following has rules. That the world they're invested in isn't going to bend to external factors that are irrelevant to them.
An author can do whatever he wants with the characters, that's not false. But the author should also have the responsibility to make sure it fits in cohesively with the other events in the narrative he has created.
CaBrPi wrote:Who would he be playing, though? I'm not familiar with Toriko, so it's an honest question.
Oh, I have no clue, 'twas just silly speculating. The only thing I know about Toriko is that Ian Sinclair plays Toriko in its dub. I don't even know his Japanese actor.
Keen Observation of Dragon Ball Z Movie 4's Climax wrote:Slug shits to see the genki
I really hope they will announce Chris Sabat as Piccolo. As usual, I bet for Kyle Herbert as Gohan, and the rest of the staff... but please, change this Buu voice we had in the first Z-gen.
Noctis wrote:I really hope they will announce Chris Sabat as Piccolo.
Um... Why would they need to? I think someone else earlier in the thread said the same thing.
Why would they suddenly recast him for the last story arc?
"Kenshi is sitting down right now drawing his mutated spaghetti monsters thinking he's the shit..."--Neptune Kai "90% of you here don't even know what you're talking about (there are a few that do). But the things you say about these releases are nonsense and just plain dumb. Like you Metalwario64"--final_flash
Noctis wrote:I really hope they will announce Chris Sabat as Piccolo.
Um... Why would they need to? I think someone else earlier in the thread said the same thing.
Why would they suddenly recast him for the last story arc?
I agree they would not likely recast him, but it is a forlorn hope to improve the series. It is feasible, although unlikely, because Piccolo is older by that point so his voice could change...the other Piccolo, in mine and other's opinions, just does not have the same intensity that Sabat has brought to the character. By the time we get to the Boo arc Piccolo is for all intents and purposes the world's strongest baby sitter, Sabat still made him cool despite essentially being retconned to the point of obscurity...whereas the current Piccolo they have for Kai I do not think can keep the character fresh.
"You might think you know everything there is to know about me, but really, you're not even CLOSE."
"Never give in--never, never, never, never, in nothing great or small, large or petty, never give in except to convictions of honour and good sense. Never yield to force; never yield to the apparently overwhelming might of the enemy." ~ Sir Winston Chruchill / Dragon Ball Z in a nutshell
How I enjoy the anime:
Spoiler:
I like to switch between the dub and the original. If I want to watch the original I'll watch it subbed on my Dragon Boxes.
If I want to watch it dubbed I'll watch the funimation singles and my dragon boxes for the other episodes in proper aspect ratio. Aside from the Vegeta arc I cannot stand the dub with the Japanese music, as it just does not mesh with the dub script and acting.
Don't get me wrong I'm a fan of the Kikuchi score and think it works perfectly with the Japanese cast...but the American audio in Z and Kai just sounds awful with it.
Kai is the only version of the dub I cannot watch whether it be Yamamoto's score or Kikuchii's ad hoc replacement. Until this forum I had not encountered a single person who preferred Kai to Z in terms of dub.
Umm, the current Piccolo they have for Kai *is* Chris Sabat. Piccolo's always been voiced by Sabat ever since FUNimation started dubbing in-house, and he has never been cast to somebody else.
Blue wrote:I love how Season 2 is so off color even the box managed to be so.
It's good news that he's confirmed it but frankly, I'll just be watching it in Japanese w/English subs so more than likely I'll skip the English dub because it isn't to my likes.
Even if the original Japanese version takes longer than a foreign dub for whatever reason I'm willing to wait patiently.
FUNimation 2015 Releases I want:
- Kai 2.0 on Blu-ray
