#those people he funded could very well take my rights away yet i can't hate him

[theangrypokemaniac]

There's a sneering attitude that the dub is inherently inferior solely for being a dub, and when I say 'dub' I mean the American one. No one attacks the South American interpretation, funnily enough, or the variety that exist globally.

Why not if foreign languages are so abhorrent?  Do you think it's kewl to hate America?

That's so original you know.

If the moan centres on the dub changing certain things, well that's a pointless stance, because it's impossible to do otherwise.

What's accepted in one country is not always permitted elsewhere, so either you make those alterations or it's never shown. I'd prefer seeing a slightly toned down version rather than have it never reach the West at all.

This is without considering the technical obstacles that a direct translation brings. The words do have to fit the mouth movements, and if they don't, truncation must follow.

America and Japan are different; the population of the former are not going to comprehend the references to the latter's history and culture, which necessitates some divergence from the original to give it mass appeal.

Anime is a branch of entertainment. It has to attract the public's good will to stay in business. If impenetrable, it'll fail, with all the resulting unemployment and finacial losses that brings.

Those in charge of dubbing understandably think they're on safer ground promoting familiarity rather than the strange, but that's not to say Pokémon was stripped of its identity. On the contrary, it was like nothing I'd ever encountered before.

I may have watched Western cartoons then, but the idea of doing so now is silly. I won't give time to any modern animation unless it's Japanese. Growing up on the dub has not produced an ephemeral fan less serious or 'true'.

The 4Kids dub had wit, humour, deep emotion, suggestive comments and flights of fancy. The voices fitted the characters well.

Unlike the current one, where everyone sounds on the verge of vomiting, but then they're clearly working with substandard material on a miserly budget. You can't make a silk purse out of a sow's ear after all.

Dubs can be bad, but the very state of being a dub doesn't confer worthlessness automatically. Considering the work gone into them, attempting to gain your favour, it seems rude not to appreciate the time and energy spent in production.

Knowing a little about history, sub-only fanatics remind me of the kind of folk who opposed an English Bible, because it was too good for the oiks to read the word of God.

Of course it was alright for them, rich enough to be taught Latin, but not so much the ordinary man.

It amuses me how dozens dismiss the dub, but see no hypocrisy in using its evidence to further their ship or anti-ship arguments, so it can't be that revolting.

It's also bizarre that so many hold sacred the sub of a series currently in a frenzy to shed every aspect of its anime and Japanese origins, leaving a vague, rootless ghost, supposedly making it easier to slip down the gullet of the masses.

Pokémon I've seen referred to as a 'gateway drug', as in the anime that introduced a generation to the entire concept. This means the dub. You would not have got enough kids in the late Nineties to read a screen rather than watch it, and even today most would lose interest rapidly.

Where would you be without that dub? Unless you're Japanese, your first experience of Pokémon will have been a dub, and if not the American, the one where you live, which was only made because there was the funds available.

You may have then progressed to watching the sub, but only because that dub stirred love in your soul.

Where would the franchise be without that dub? You think Pokémon would've grown to be a world-wide obsession raking in billions by itself? No, it'd still be a solely Japanese phenomena, and most likely never lasted this long.

Its decades of supremacy rests on the quality of that dub. It sold games and merchandise to kids by the ton, giving an incentive to keep the series going. If you're not a fan from the first wave, then your favourite era would have never existed had it not been financially attractive carrying on.

The team who wrote the first film actually preferred the dub, moved to tears by its emotive use of music, therefore they aren't so precious as the fans.

Where would anime be without that dub? Pokémon brought it to the West. A handful slipped through previously, but made minor impression.

To those who would dismiss Pokémon entirely in favour of more 'worthy' output such as Studio Ghibli, I would say that Pokémon, first the games, then the programme they inspired, must have an integral quality to have caught on in Japan, which isn't exactly short on similar concepts.

To have gained popularity in a crowded market, and so fervently a dub became an option, can only have come about because it held a certain magic.

It was the dub that smashed a hole in the cultural barrier, setting free the tidal wave to engulf the world. In Pokémon's trail followed Digimon, Cardcaptors, Monster Rancher, Yu-Gi-Oh! et cetera.

Without Pokémon, I doubt they'd have been translated, and definitely never broadcast on mainstream television. That came about as channels desperately hunted down anything Japanese to serve as the next craze.

I really appreciated the effort made by 4Kids in converting every aspect of the series to suit American tastes, including changing text on signs, letters and books into English. I assumed this was standard practice until I watched others.

I could never be as involved in them as I was Pokémon because of that block. It was like being denied access to the deeper waters, fenced into the shallows, and implied a rushed dub, with little care shown but to chase the same crowd and money.

If personified, the dub 'n' sub wouldn't be one human being, but rather identical twins: the same to a casual observer, but easy to tell apart by the more attentive.

It's like the games: Red and Blue are versions of a single adventure, but not totally one. Take the dub and the sub the same way. They are parallel dimensions running on separate rails, and beyond reconciliation, and that's before we consider that, sub and dub alike, each generation has only a faint relation to its predecessor, working on its own whims.

Everyone has a favourite, or can like both, and there's nothing wrong in that, but so many are proud of the fact they hate the dub, as if it conveys a revered status of supremacy.

When Disney films are shown abroad, they too are translated, and I'm sure references and jokes are redesigned to make sense to the locals. It's no use selling yourself as a comedy then being surprised when the audience refuses to laugh, having no idea what you mean.

If people prefer that one, for being what introduced them to Disney as a whole, or as a fond memory of childhood, then so what?

I don't mind if their view of a character is minutely at odds with mine, having seen the original, because what they think is canon to their version, so can't be wrong.

I don't go round declaring every Disney dub to be pathetic by its nature, that viewers of them are of a lesser breed of fan for preferring their own tongue, even though more of the world's population understand English than they do Japanese.

If you enjoy one tailored to your country there's no crime in it, just as I like one at least comprehensible to mine. It's not even my culture, but I pick it up mostly.

The choice must be made on which to follow, and this blog runs on dub canon, as that has a claim on my heart. Just because I don't acknowledge what takes place in the sub doesn't mean I'm unaware of it, but it has no bearing on what I write.

The idea that the dub alters things willy-nilly without rhyme nor reason is also mistaken. Often it does it because the original does not make sense.

In the sub, I know Nanny and Pop-Pop are just a couple of old duffers taken at random and dropped in to a castle, supposedly as James's far away nannies.

Oh yeah, that's a cushy position. You doing a lot of child care from miles off?

Mind you, it used to describe 'em as 'caretakers' on Bulbapædia, as if Nan serves as housekeeper whilst Pop tends to the garden.

That's right. Ma and Pa finally got some work out of this pair of freeloaders.

They're not related, remember? No, no, absolutely not, no way. Of course their style reflects that. They just gave Pop a 'tache, thick eyebrows and a bigger nose, and Nan got a bun and lines in her hair, but there's certainly no connection. Oh no. Such a thing is ridiculous.

They're NOT family. No. Yet Hoenn James still panics they might learn he's joined Team Rocket, spending the whole episode trying to hide the truth.

Why? Who are servants to criticise the son of their employers? Why should their opinion be of any consequence to Hoenn James, especially when his parents, fiancée and butler are cognizant of reality?

Children of aristocrats are usually brought up by governesses, thus develop a stronger attachment to these figures rather than their parents, but that isn't the case here.

James lived with Ma and Pa, not the codgers minding the castle. He would have very little contact with distant employees compared to those who waited on him daily, so why seek out their approval?

Hoenn James apparently was permitted visits to Nan 'n' Pop, which is strange considering they're not relatives. Why them and not any other house-stters?

That's right, Ma and Pa sent their son to one of their properties without them, entrusting him to the care of two shrivelled pensioners of his size that he barely knew, and who could keel over at any minute. There are no other servants present. Apparently Nan and Pop clean an entire castle by themselves.

Oh, and they run a makeshift Pokémon sanctuary, but since it's not their home it has to be done with Ma and Pa's blessing, who also have to pay for it, but they're eevul aren't they?

The idea that somehow Nanny and Pop-Pop have not cottoned on to James's occupation by now is risible.

Servants gossip about their masters. I bet the entire household of his home know, and so in turn does the county. That Nan and Pop remain oblivious proves how isolated they are, for no one's thought to inform them.

When it came to dubbing it, they were made his grandparents, removing all the above nonsense. Of course he visits his nan and granddad, it's their gaff and their money funding the place, and it is likely his mother or father would keep James's job a secret, for fear the shock would finish 'em off.

It should do really. If they're not bothered by it that's a sign of where his rapscallion ways were inherited.

They aren't facially akin to Ma and Pa, but display the same additions, so if staff it's bloody lazy, as if nannies have to resemble your parents, but inventing a blood link excuses the slothful characterisation.

Every reference I've seen on Tumblr relating to the coffin-dodgers calls them Nanny and Pop-Pop. Apparently the dub decision is met with universal approval. It does have redeeming aspects then.

Now the sub writers, rather than ignore this development, took to it too. They aren't exactly bursting with ideas these days and are probably grateful for the lifelines offered.

Remembering James had parents, they forced a likeness between them and Nanny and Pop-Pop. How else do you explain the inexplicable ageing, even when Sinnoh Ma and Sinnoh Pa are younger than Ma and Pa?

I've also known for years that the sub has this woman as Jessie's foster mother, not Ma Jess, but that's stupid.

I can grasp the idea that Jessie and Ma might have endured extreme deprivation, considering that's what Team Rocket has brought to Jessie anyway, and that they may have lived at the bottom of Mew's mountain prior to Ma's death.

What I find difficult to take in is that social services (or as they're known where I live, the S.S.), however notoriously awful they are, would give a child to a mad bitch in a shack with no running water.

Come on, they have to at least pretend to be concerned for Jessie's welfare.

As Jessie is very young, bereavement can't have befallen her in the distant past, so how can she be happy this soon after becoming an orphan? How could the grieving period be a cherished memory?

If that woman's creaming off the money, why hasn't she fixed the place up by now? Where do the payments go, sniffing glue?

Then there's the depiction. If this is just some daft bint never to be mentioned again, why do they conceal her face? Who cares what she looks like when she's unimportant?

Here's another figure from Jessie's past. She isn't disguised, and why not when she too briefly appears and is then forgotten?

Who was she?

The only sort of characters they tended to hide were other members of Team Rocket:

During the early scenes featuring Giovanni, he was enveloped in shadow, adding both intrigue and a sense of menace.

Madame Boss also got this treatment, even though there was probably no intention to ever feature her in the anime. What's the use in keeping an appearance a mystery if it'll remain masked?

With that pattern, it implies this woman is in the same category, like Ma Jess.

When it came to animation, it definitely was intended to be a foster mother. Not her real one. No.

What did they do?

They gave her Jessie's skin tone and purple hair hanging down her back!

You know, like Ma Jess?

Any colour would've done. Any at all, and being anime I do mean any colour, but no. The choice was made to give her the looks of the exact person she's not meant to be!

Is it that surprising the dub simplified things?

I don't mind if you like the dub, sub, both, or any from around the world, but I'm tired of the smug condescension, as if we all agree the sub is the only one that counts, and that dub fans are grunting troglodytes, or not 'proper' aficionados.

None of us would be here were it not for the dub. Pokémon would not be here. I think it deserves some respect for how much of a difference it made, to my life and to yours.

#pokémon #team rocket #nanny and pop-pop #ma jessie #jessie's mom