#but I could just be biased towards the original japanese dub

[grayintogreen]

There’s this thing in acting (and I utilize it in writing too) that I got from the infamous original Neon Genesis Evangelion movie audio commentaries (infamous for having some really weird takes on the Japanese language but also having Taliesin Jaffe spitting mythology analysis off the cuff that is the reason why I’m Like This but that’s another story). And it was something the directors would tell Spike Spencer (the OG and best dub voice of Shinji, like seriously this guy went HARD watch the last Rebuild movie) when he was getting frustrated with Shinji.

“You need to play Shinji hating Shinji, not Spike hating Shinji.”

And it’s very much true when you act as or write a character- people can tell, even if you’re NOT playing a self-loathing character when your portrayal is coming from a bad faith place, especially if you’re not writing spite fiction or playing a parody of a disgusting person where there’s a joke there that everyone is in on.

And I bring this up specifically because of Laura Bailey’s Raven Queen, like I don’t think ANYONE except Marisha Ray (and Taliesin who definitely has Opinions on her) has more reason to OOCly hate the Raven Queen and I’m sure it was difficult for her to embody someone that a character she holds dear to her heart has a lot of hurt towards, but she pushed it aside and delivered this gorgeous, fair, nuanced portrayal of her. She could have made her the person who took Vax away on those stairs as everyone saw her to be, but she made her the person VAX saw. The person we all suspect she is for all her flaws because we’ve had all these little hints for so long about what’s behind the mask.

And it’s just so cool to see someone playing a character they have every reason to dislike so well and with such care, instead of digging her heels in and going “I’m going to play up the version of this character that exists in MY mind that is colored entirely by my personal biases” or “I’m going to play a character and project how frustrated I am by why they’re like this into everything they do.”

Like you’d think this would go without saying for a professional actor, but it’s very, very not. Biases are hard to shake.

[number-1-kuaidul-fanboy]

Worst YGO Dub Names

I’ve softened to the dubs lately but they still committed some atrocities, particularly toward character names so here’s the ones that personally piss me off the most. The first two are the worst ones but after that they’re not in any kind of order.

Jun Manjome to Chazz Princeton

The crown jewel of shittiness. I know Manjome is a comic relief but he’s not a complete joke. He’s a character and a good one. This name just makes him sound stupid. And aggressively American. This one just really really angers me personally, as does pretty much everything in the GX dub.

Yuzu Hiiragi to Zuzu Boyle

Yuzu is a fruit. “Zuzu” is a degrading nickname Azula gave Zuko. It’s fucking stupid and I hate it. And pairing it with the last name “Boyle” sounds like a disease or something.

Mai Kujaku to Mai Valentine

THIS PUN IS FUCKING AWFUL. Yes Kujaku is a pun too but it’s a pun with class goddammit. Also “My” sounds confusing in English and is one of the few times that changing the name could’ve been acceptable. I would’ve accepted “May.” But no. They made a mildly sexist pun out of her name. UGHHHHHHH.

Hayato Maeda to Chumley Huffington

I can’t explain it, but this name sounds vaguely like a fat insult. Also, it sounds fucking stupid.

Noburo Gongenzaka to Gong Strong

…do I need to explain this one? It’s just… so stupid. It sounds more like a mockery of the character rather than a real name. It’s not even a pun! It’s just dumb. I haven’t seen the Arc V dub but it wouldn’t surprise me if Gongenzaka is treated like a joke considering his name.

Judai Yuki to Jaden Yuki

If this were any other character, I wouldn’t really care about this name change. The “Americanizing” is bad on principle but if they insist on doing it, then I’ll take it as long as it doesn’t sound stupid. This though? This is the main fucking character, you should not be changing it, especially when “Judai” isn’t hard to pronounce. Like at all. Not that these names care about pronunciation though considering-

Takuma Saio to Sartorious

This is literally harder to spell and say than his original name. And makes him sound like a fucking dinosaur, which is ironically how old he looks compared to the others.

Anzu Mazaki to Tea Gardner

“We need to make these Japanese names easier so the dumb American kids aren’t confused! Let’s put a fucking accent mark in one of them! You know, that thing that most American keyboards can’t even type!” -some moron at 4Kids, probably

Copy and pasting accent marks is effort that Tea doesn’t deserve. Therefore, she is forever hot leaf juice on this blog.

Rei Saotome to Blair Flannigan

The GX dub names are all fucking stupid. If I had less self control, this list would be every single GX dub name because I hate what the dub did to this show so much-

Okay, stupidity aside, this one is also a story issue. Rei’s very first act in the series is disguising herself as a boy. It is a twist that Rei is a girl. One of the things that makes this a twist is Rei’s name: a gender neutral name in Japanese. I’m not saying a boy can’t be named Blair but social biases and your very first thought are going to say that Blair is a girls’ name. And this show aired in 2004. So you know… maybe don’t make the twist that fucking obvious, dub. I know this doesn’t apply as much in other countries but this show was dubbed by an American company with American kids in mind so I feel like my point still stands.

Also, the name is dumb. It’s just dumb and upsets me.

Kaito Tenjo to Kite Tenjo

I know this seems like a small and kind of whatever change at first glance and honestly it probably is but just… the audacity to take a Japanese name, remove one syllable, and go “hurr hurr, he flies like a kite, aren’t we so clever?” is just irritating to me. I’ll let Hart off the hook because that’s admittedly a cute name and could have some symbolism to it if you squint but I draw the line at “Kite.”

Ryoken Kogami to Roken Kogami

WHY?! WHY DID YOU DO THIS?! WHY WAS IT NECESSARY TO REMOVE THE ‘Y’ FROM HIS NAME?! KIDS CAN SAY THE NAME “RYO.” THERE HAVE BEEN PLENTY OF YGO CHARACTERS BEFORE THIS WITH RYO IN THEIR NAMES. IT’S NOT A PRONUNCIATION THING. IT’S JUST STUPID.

Okay don’t get me wrong, this one is far from the worst change, hence why it’s all the way down here, it’s just... a pet peeve that’s gotten under my skin the more and more I’ve typed it in my tags. It’s extremely inconsequential especially compared to the previous ones it just annoys me.

[tentglitch]

I looked into the eng dub cast and while there's a lot of talent I listened to some clips and it's just not for me

[violethowler]

The Things That Matter

I’ve talked a lot over the last two months or so about the many different ways that the characters, story, and themes of the Kingdom Hearts series align with the framework of the Heroine’s Journey. For the final chapter in this series of essays, I’d like to talk about what it means for this series to follow this narrative formula. Because the fact that Kingdom Hearts fits into this storytelling pattern is critically important now more than ever. 

The three most recent series I know of that aligned with the Heroine’s Journey framework all ended up missing the landing in various ways. Two of the three - Voltron: Legendary Defender and the Star Wars sequel trilogy - abandoned the formula in their final installments, while the third one - the Frozen movies - managed to fit into the formula almost completely, but suffered in the second movie from a lack of clarity as to which of the two leads is the main protagonist and which is the Animus. Two of these were under the Disney umbrella, and all three have had evidence found that executive meddling or other behind-the-scenes conflicts over story direction played a role in how the final installments ended. 

As I mentioned in my essay “Into the Unknown,” when a story deviates from the structure it appears to be following, it produces a visceral sense of wrongness in the audience. In stories which up toward the end aligned with the Heroine’s Journey, that effect is amplified. The framework of the Heroine’s Journey was designed to uplift the experiences of identities outside of what society considers the default option in storytelling. The lived experiences of those identities are mirrored in the narrative’s themes. So when a story set up around calling out prejudices and double standards about those identities that are ingrained into the audience’s culture deviates from that formula, the result inevitably ends up reinforcing those biases instead, on top of the brokenness of the narrative in general.  

In terms of how this applies to Kingdom Hearts, Sora and Riku’s individual character arcs have been noted by many LGBTQ+ fans to have notable parallels with elements of their own lived experiences:

Riku’s arc of learning to accept his darkness as something natural that’s a part of him and which he can express in a positive way mirrors how many LGBTQ+ people grow up with the idea that same-sex attraction is “sinful” and “unnatural” and have to unlearn that mindset in order to realize that there’s nothing wrong with them. Likewise, Mickey’s line in Re:COM about how spending time with Riku has positively changed his opinion about Darkness can be read as an analogy for straight people who are initially unsure of or hostile to LGBTQ+ identities changing their minds with education and first-hand interaction to become staunch allies. Esmeralda’s talk with Riku about how “There are just some things we need to keep separate from the world at large, at least until we have time to figure them out”[1], while on one level is referencing Riku’s Darkness and his inner turmoil relating to Ansem, can also describe the common LGBTQ+ experience of being in the closet and hiding that part of yourself from the people around you[2]. 

As for Sora, in Kingdom Hearts III he responds to Davy Jones’ comments in The Caribbean about the romantic relationship between Will and Elizabeth by saying that “I still have a lot to learn about love[3],” indicating he lacks understanding of his own feelings in the area of romance. This is supported by the official Kingdom Hearts Character Files book published by Square in February 2020. Short stories in this book featuring Sora’s POV depict him as actively confused about what romantic love is[4], and struggling to define the nature of his relationship with Riku[5][6]. This can be a common experience for LGBTQ+ youth growing up surrounded by media that only ever depicts romantic relationships as one boy, one girl. Many people who grew up like this—myself included—have had similar experiences of struggling to understand our own feelings about someone of the same gender because for our entire lives up to that point we had little or no exposure to the idea that being romantically interested in someone of the same gender as you was an option. 

Sora and Riku are each written in ways that speak to common LGBTQ+ experiences, and the fact that so many things—the canon parallels to Disney romances, the match with how love interests are portrayed in the Heroine’s Journey, the fact that one of the series’ Lead Event Planners Michio Matsuura was described by the Co-Director Tai Yasue to be “head over heels for the bond between Riku and Sora’s hearts[7]”, in connection with his enjoyment of “pure love dramas[7]”—are all pointing to the conclusion that these similarities did not happen by accident, but by design. 

It makes so much sense for Heroine’s Journey narratives to be used to tell LGBTQ+ stories because there are so many ways that homophobia and transphobia overlap with and are rooted in the very same gender and cultural norms that the framework challenges. Many countries have come a long way towards public acceptance of LGBTQ+ identities, but in terms of the stories that we tell, mainstream fiction is still skewed in favor of stories with protagonists who are straight and cisgender. Storylines with straight romance are treated as a society-wide default, while creators in countries like the U.S. who want to include even the smallest background references to LGBTQ+ relationships have had to fight and push back against corporate pressure to remove them. 

This is especially true for media aimed at children and teenagers, as the fact that being openly LGBTQ+ is still widely considered problematic in many countries is frequently used by entertainment executives in ostensibly more progressive countries as an excuse for censoring LGBTQ+ storylines and characters. Multiple creators working on animated shows for Disney and/or its competitors have spoken out in recent weeks about the resistance they faced to including LGBTQ+ relationships[8][9][10] and how they were told that openly acknowledging characters as non-straight was too controversial or “inappropriate for the channel"[9].

As a consequence of this environment, creators wishing to depict non-heterosexual relationships have had to resort to creative methods of getting the implications past the censors in a way that LGBTQ+ audiences would recognize while still maintaining plausible deniability so that the executives could make money off the story in anti-LGBTQ+ markets. The downside to this is that because these efforts are more subtle, most straight audiences will either not notice the implications, or else dismiss them as an accident. Some will go as far as coming up with alternate explanations to justify why any potential LGBTQ+ subtext about a character or relationship could not possibly have been put there by the creator intentionally. 

This extends not only to audiences, but also to people who interact with these stories in a professional capacity, such as translating and marketing a story’s international release. Animated shows that feature same-gender relationships have had international dubs change the gender of one character in the pairing to make it straight, for instance. Or there's the infamous example of how the English dub for Sailor Moon in the 1990s changed two girls from lovers to cousins in order to provide an explanation for their closeness that didn't involve acknowledging that the characters were not straight. In terms of the Kingdom Hearts series, the English localization has routinely downplayed LGBTQ+ subtext in the series while in some cases adding romantic undertones to interactions between a male and female character that did not exist in the original Japanese script. Kingdom Hearts III was one of the most egregious examples of this:

Hercules’ recollection of how he dove into the River Styx to save Megara’s soul in KH2 is thematically connected to Riku sacrificing himself for Sora at the Keyblade Graveyard through the phrase taisetsu na hito (literal meaning: “precious person”) when Hercules is talking to Sora in Olympus and when Mickey is talking to Riku in the Realm of Darkness at the beginning of the game. The English version translates this as “person I love most” for Hercules, while changing it to “what matters” for Riku and Mickey to call back to his meeting with Terra in Birth by Sleep, which the scene includes a flashback to. While Mickey and Riku’s original meaning can still be deduced from the conversation around it, especially with Mickey saying "sometimes you care about someone so much," changing the line for the sake of a callback downplays the evolution of Riku’s goals from protecting “things that matter” to protecting “the *person* who matters”. 

Donald and Goofy’s teasing Sora in the scene at Galaxy Toys where Sora comments on how much he or Riku resemble Yozora is framed in the English version as “Riku would be a great action figure because he’s cool, unlike Sora.” However the original Japanese indicates that the teasing is centered around the fact that Sora said a character who looks like Riku was good-looking.

When Kairi offers Sora a paopu fruit, she says in the original Japanese that it’s simply a good luck charm so that they don’t get separated, while in the English localization, she says “I want to be a part of your life no matter what, that’s all.” While “that’s all” still fits with how the parallels to Winnie the Pooh indicate her connection with Sora has weakened and she wants to maintain it, the first part of the English line calls back to the legend of the fruit introduced in KH1, which was openly referred to as romantic by Selphie in the original and localized versions of the first game. As a result, this adds romantic implications that contrast with Sora’s unreceptive body language and facial expressions[11] as he reacts to the initial offering of the paopu fruit. 

In the original Japanese, Riku’s words to Sora before his sacrifice at the Keyblade Graveyard translate to “I believe in you. You won’t give up.” The English localization changed it to “You don’t believe that. I know you don’t.” Not only does it remove a callback to the original game, but this phrasing dowplays Riku’s faith in Sora and ignores Sora’s very clear feelings of inadequacy. 

During the scene where Sora and Kairi are floating through the dark tunnel toward the Keyblade Graveyard, Sora’s line in English, “I feel strong with you,” was originally an acknowledgement of Kairi’s strength that called back to how he wouldn’t let her come along on the return trip to Hollow Bastion in the first game because he thought she’d “kind of be in [his] way”[12]. Removing this callback takes the focus away from Kairi’s growth and brushes aside one of the ways the game shows that Sora’s view of her has changed over the course of the series.

Some fans defend changes such as these insisting that the development team had to have approved of them. However Testuya Nomura himself feels strongly enough about the subject: he stated in a 2018 interview several months before KH3's release that “an incorrect or defective translation risks compromising the comprehension of the whole story,” referring especially to the Kingdom Hearts series[13], and the English localization of Re:Mind—which was much more accurately translated than the base game—directly references the original meaning of Kairi’s words during the paopu scene in one of the DLC’s Kingstagram posts. This all indicates that changes such as these that remove important connections or change the meaning of the conversation are ones that the development team very much do not approve of. 

LGBTQ+ fans of Kingdom Hearts who recognize their own experiences reflected in Sora's and Riku’s journeys know that Disney has not had a good track record when it comes to depicting LGBTQ+ characters in properties they are affiliated with. The most we ever get in their movies are background moments or nameless characters that are only there in one scene that easily can be cut out for distribution in countries with heavy anti-LGBTQ+ legislation. And that’s if the character’s orientation is even mentioned out loud in the film at all instead of simply being confirmed by interviews before or after release but never acknowledged on-screen. Television has fared better, but until recent years we never had any main characters who were confirmed in-show to be anything but straight. But things are slowly starting to improve. Within the last few years shows like "Andi Mack" and "The Owl House" have depicted major characters as openly interested in others of the same gender[14], and Pixar recently released a short as part of their Sparknotes program called “Out”, which openly centers on a man worrying about telling his parents he’s gay. 

This is why it is so important that the Heroine’s Journey of Kingdom Hearts follow through to a structurally appropriate conclusion, with the development team being given the freedom to tell their story in full without restriction or censorship. Deviating from the formula this late in the series would represent a continuation of the recent trend of Heroine’s Journey narratives being structurally broken by inference from forces other than the main creative team. But if the Kingdom Hearts story is able to complete it’s Heroine’s Journey without executives or localization teams getting in the way of the intended story, then the LGBTQ+ themes already present in Sora and Riku’s journey will break so many barriers,challenge people’s expectations of what is possible, and convey powerful messages of self-discovery and acceptance—just like the framework was designed to. 

Sources

[1] Kingdom Hearts 3D: Dream Drop Distance; Square Enix; 2012. 

[2] Tumblr post by @blowingoffsteam2; December 3, 2019. https://blowingoffsteam2.tumblr.com/post/189461796759/blowingoffsteam2-dont-mind-me-over-here-just

[3] Kingdom Hearts III; Square Enix; 2019. 

[4] Translation of KH Character Files Beast’s Castle story by @lilyginnyblackv2; February 3, 2020. https://lilyginnyblackv2.tumblr.com/post/611420864489062401/character-files-beasts-castle-story-english

[5] Translation of KH Character Files Arendelle story by @lilyginnyblackv2; March 3, 2020. https://lilyginnyblackv2.tumblr.com/post/611490139845345280/character-files-arendelle-story-english

[6] Translation of KH Character Files Arendelle story by @notaseednotyet; March 1, 2020. https://twitter.com/notaseednotyet/status/1233993459670765569

[7] “Message from the KINGDOM” Updates!; April 11, 2012. https://www.khinsider.com/news/-Message-from-the-KINGDOM-Updates-2427

[8] “”Steven Universe” and “She-Ra” creators on Representation”; Paper Magazine; August 5, 2020. https://www.papermag.com/rebecca-sugar-noelle-stevenson-2646446747.html

[9] Twitter thread by Gravity Falls creator Alex Hirsch; August 9, 2020. https://twitter.com/_AlexHirsch/status/1292328558921003009

[10] Twitter thread by Owl House creator Dana Terrace; August 9, 2020. https://twitter.com/DanaTerrace/status/1292321440029478917 

[11] Frame by frame analysis of Sora and Kairi’s body language during the KH3 paopu scene by @notaseednotyet; September 14, 2019.  https://twitter.com/notaseednotyet/status/1172774158167506944

[12] Kingdom Hearts; Square Enix; 2002. 

[13] “Nomura stresses the importance of direct translations on story comprehension, and talks about world development as well as the Gummi Ship;” August 27, 2018. https://www.kh13.com/news/nomura-stresses-the-importance-of-direct-translations-on-story-comprehension-and-talks-about-world-development-as-well-as-the-gummi-ship/ [14] Disney’s The Owl House Now Has a Confirmed Bisexual Character; August 9, 2020. https://io9.gizmodo.com/disneys-animated-series-the-owl-house-now-has-a-confirm-1844665583

[egdocument]

About the EvaGeeks wiki and why you shouldn't trust it, concerning mainly one user.

On the subject of EvaGeeks: Let’s talk about the manipulation of information on the wiki, and perpetuated “nastiness” on the forums that has persisted for several years now. THIS IS A MIRROR OF THIS GOOGLE DOCS FILE. (My twitter post.) You can share this post or the original document freely, use parts of it, etc. I want this document to simply serve as a warning to new Eva fans and those less familiar with EvaGeeks and their history - as well as an update for people who haven’t seen the current state of it.

NOTE: If you can’t read any of these images, these are Imgur albums containing all of the notable ones: https://imgur.com/a/z2mGvvX https://imgur.com/a/oAgufc3

The intent of this document is not to “take down” the wiki or forum, obviously. The intent is simply to inform people of the dangers of trusting this site with their Eva info. It might be the best we have but that doesn’t mean we can’t improve it. I would actually love to see a more community cultivated version of the site with less biased information, but I fear that will never happen. The anxieties of any one (or many) individual(s), which have prevented consistent change until now are well justified, and it is not within reason to blame the outsiders for never bothering to correct the myriad of issues with the wiki. Please extend kindness to other Eva fans and approach sites like EvaGeeks with the appropriate scrutiny, if you aren’t already. We’re divided enough as it is.

Before I begin, I must state: All of the information presented is publicly available, either through main pages, chat logs or history. And yes, the link to join the Discord server and verify the information given in this is publicly available too. I will not link it myself, as I want to avoid any possible harassment of the users I speak about here. Harassment is NEVER the answer in any kind of conflict. This behaviour I don’t believe can go unchecked, but that doesn’t mean the consequences of it should be any kind of conflict towards any user. I will be naming them here so you are aware, but I really do have to advise you, as a reminder, DO NOT HARASS OR ENGAGE WITH THEM. The rule of thumb is that these issues are more systematic than you might think, and blaming or taking it out on a singular person or even a whole group is never justified. Targeted harassment, even with reason, especially never helps to remedy an issue, because it forces the person to double down on their behaviour and beliefs. Causing unnecessary pain to a person is never okay, and the ‘offences’ committed here aren’t deserving of it in the first place. Please also consider the feelings of the people who use the server and EvaGeeks site; not everyone is your "enemy" or your "target" (and frankly, no-one should be) and despite the feelings echoed in this document, EG is not a monolith of a singular opinion or belief.

The purpose of this document is to inform people of the ways EvaGeeks fails objectivity and has existed to push narratives and exclude outsiders for far too long. With new people coming into the Eva fandom (and there of course being others who have been around for quite a while but just aren't aware) I feel like now is the best time I could write this.

As for what prompted this, an anonymous member of the Discord server contacted me regarding the behaviour of one particular user they were concerned about. Said user had expressed considerable bias in the past and was admitting to making large edits to pages on the wiki very recently, and the person who contacted me felt unequipped to bring the issue to light themselves.

A decent amount of this document will be dedicated to presenting said user's contributions - while I feel someone always had to address the EvaGeeks Problem at large, it doesn't help that this user has essentially incriminated himself here to expose the problem in its entirety. 

There is quite a bit of pretense I must discuss before I get into the subject of the wiki pages themselves. I suggest you read all of it; the start of the wiki section will be in heading text if you’d like to skip to it. I’m sure information on the biased editing of wiki pages is privy to anyone who has used the server or the site itself, but at the server’s current status of 60 entire members, I know not everyone has, or is aware of what the problem actually is. Please note that the person who contacted me has requested anonymity and I will be complying. I will not include screenshots of their conversation with me, and anything I quote from them will be paraphrased so nobody can go full Sherlock and analyse their typing patterns. It sounds silly and it’s probably just paranoia, but they shared my concern here. Any conflict we can prevent is for the best. EvaGeeks, of course, has a culture very much promoting the idea that it’s the “number 1 source for all things Eva”, and for English speaking fans it definitely is - you’d be surprised the amount of people who still, after all these years, think this site is consistently reputable. For the sake of context, I’m going to assume that you are not all that familiar with the site’s history or nature, so I’m going to provide a little bit of information about it for those without any first-hand experience. The forums in particular cultivate a very join-us-or-get-out type community, where those who dare to go against the grain get incentivised to leave the site; they’ll claim this isn’t the case if asked and obviously the site is NOT a hivemind but that doesn’t mean it’s not insular. I can vouch for myself and many others who refuse to go in more than a few threads for fear of discussion turning particularly nasty. Even the server member who came to me about this has stated they feel it “might not be a hivemind but it sure feels that way.” Silencing dissent, even when officially-backed, is part of their culture. You don’t have to personally harass everyone who has an opposing thought to you for it to not feel acceptable, you just need to have a history of mocking those who do. If you want some previous, notable cases of “discussion turning nasty”, here’s some off the top of my head: 1. The AWL Incident - In which ADV VA of Rei and director of EoE dub, Amanda Winn-Lee, joined the forums for discussion and was promptly harassed by a user. Most of these messages have been deleted but you can view what remains of her post history here.  2. Recently brought to my attention: upon beginning translation of the Episode 24 drafts, EG forum user LiLi was subjected to incentive to leave, mostly in the form of homophobic disgust in replies to her thread or others they were mentioned in. Any information that goes against the cultivated narrative, even when it is literally officially licensed content, is only ever considered with a degree of reluctance. The fact these drafts co-exist with other pages concerned with this episode is almost a miracle. You can find plenty of repeat instances of the above if you want to (more to do with homophobia and misogyny than outward hostility, but honestly it’s the same thing.) A look at basically any EvaGeeks thread concerning pairings or the female characters will unearth a variety of awful comments from many other users, not that that would be surprising to anyone who has spent more than two minutes in the fandom. Now, of course, that’s very relevant to the topic at hand even if it doesn’t seem to be. The EG wiki and forum have quite a bit of overlap and circular influence on each other as you’ll see later if you aren’t already aware of it. For a short summary before we jump into things and analyse our subject of the day, this essentially means that anyone with an opinion or information the majority doesn’t like will never get in a position good enough to edit the wiki and keep the edits there. This has resulted in many articles filled with conjecture and fan speculation that serve to shut down other viewpoints, whether it’s intentional or not.

--------------------------------------------------------------------------------------------------

ON THE TOPIC OF THE EVAGEEKS WIKI

The issue surrounding homophobia and downplaying of references to LGB content in Eva, through proxy of fan-dictated content control and translation is not a new one by any stretch of the imagination. I'm sure you're all very well aware. It’s far from the only issue present in the fandom but it will be our subject of conversation today. Any ‘one instance’ of this persistent behaviour from Eva fans is never going to be enough to summarise how insurmountable it really is, though, so today I instead draw your attention to one user of the wiki who goes by the name of FelipeFritschF and his recent, frequent updates to pages concerning Nagisa Kaworu.

[TOPIC: FELIPEFRITSCHF]

I must reiterate here: although this document is mostly concerned with this user and will contain a number of receipts from various places, it is NOT supposed to function as a hit piece or inspire any kind of mob. Leave this guy the hell alone, just be aware that he’s the one making most of these changes and isn’t a particularly impartial party, to put things lightly.

Now, before we really get into things, it should be stated that the EvaGeeks wiki requires approval to get your edits there, as stated at the bottom of the homepage, here:

This means that anyone making consistent edits to the wiki has in fact been approved, and this isn’t the result of lack of maintenance.  

What you’ll find is that it is consistently Felipe making edits to the pages in question. Kaworu’s bio page, for example, is almost entirely edited by Felipe, which we can see from the “History” tab of the article.

This is barely half of his edits made in the last few days. Take a scroll through it yourself if you’re so inclined. This hilarious bit of waffle was added by Felipe a few days ago and since revised since by him, as shown here. 

(As an added bit of comedy, the man who decided to add in the Japanese in the first place apparently didn’t know the difference between 好意 (kindness, what Kaworu actually says) and 行為 (action). It’s been fixed since but I still think it’s quite funny.) Now, as anyone with even a rudimentary knowledge of Japanese knows, 好き is not actually a very ambiguous word at all. I think it goes without saying, though, and I’m not here to have an argument about translations with you all (for the record, Kanemitsu’s now scarily infamous translation of this scene is perfectly fine with me in a vacuum, it’s just literally everything else surrounding it that’s the problem. Also, regretfully, I will have to speak about this nonsense later when it becomes relevant.) I’m using this as an example instead, to show how utterly ridiculous this guy’s additions to these pages are. He’s not even making a point here. It keeps going past this excerpt, and I suggest you read the whole thing (Kaworu’s page is linked above.) The point of bringing this up - and when I eventually discuss the Netflix translation when it’s necessary - is not to complain about semantics, although I’d argue that’s what’s happening in these articles, honestly. It’s just helpful when proving the actual point of the editor being incredibly unreliable and biased in how he phrases and omits things.

On the page dedicated solely to Shinji and Kaworu’s relationship (which is basically identical to their section on Kaworu’s page as far as I can tell), we can see that Felipe has also edited this several times, and even credits himself with expanding the version on the Evangelion Fandom Wiki now copy and pasted back to EvaGeeks.

The kind of “discussion” (very much not discussion when added to a wiki page supposedly presented as factual information, is it, frankly?) would be fine if it was happening in the EvaGeeks forum itself (and happen does it ever, but that doesn’t change the inappropriateness of this particular behaviour.) What I find disturbing is that in the past few days, this user has gone out of his way to make some already worrying articles even worse, presumably in an attempt to silence discourse, or add more fuel to the flames, surrounding the new Netflix translation. He has a whole page on that one, too, one which is very up-to-date in some regards and not at all in others, despite only being added a few days before me compiling this information. Frankly, going through this whole page on its own is a huge waste of my time considering how BLATANT it is in its biases, but I’ll do it anyway. It IS only a Theory and Analysis page (which is essentially an EvaGeeks free-for-all), but I think it’s quite bothering that the site even allows Theory and Analysis pages that consider only one viewpoint and are written by one person. The forum, presumably, is connected to the site for a reason. 

I’m just going to link it here, for the sake of brevity. https://wiki.evageeks.org/Theory_and_Analysis:Kaworu%27s_lines_in_Episode_24 I suggest you read this before continuing. For a slight departure, the original theatrical Funimation dub of 3.0 is partially available for viewing online, although the audio is in cam quality so you may want headphones if you have plans to watch what’s there. The home media dub’s major changes are to issues with lore and localisation of jargon. While not directly mentioned in this article, it is implied from the subject that this is what it’s about; it’s been speculated that the very literal translation of Episode 24 in particular has come about due to Khara’s embarrassment with how Funimation’s theatrical dub of 3.0 handled Kaworu and Shinji’s relationship rather loosely. Despite these claims, every instance of the two sharing (honestly pretty awkward and unnecessary) flirtatious back-and-forths are still present in the home media version, barring an instance in the stargazing scene where Kaworu’s dialogue was translated even worse than it is in the final dub. If you don’t believe me, do the comparisons yourself. It may not be conclusive, but I think it puts mostly to death the rumour that “a Khara employee was there and saw how people laughed at the Kaworu and Shinji scenes and demanded it needed to be changed for the final release and now that’s being reflected on the new translation”, which is what it tends to boil down to. 

It also goes without saying that NO ONE PERSON is “the most qualified” (holy shit, is this entry not even bothering to hide how biased it is) to translate an entire TV show, let alone something like Evangelion. Let us not forget that Kanemitsu’s claims that he respects “ambiguity” are not even true to begin with. EvaGeeks itself is a shining example of Eva fans, of which Kanemitsu is one and this is even discussed in the article, not being impartial enough to be tasked with discussing Evangelion! (There is obviously issue with citing the ADV translation as a source of all truth; if you read further into the thread on my tweet [the kitchen scene in EoE], I provide extra context for those interested, which I am aware has been spread around Discord and other places without that context included. Of course, I’m not an unbiased source either as you can probably tell from my tweets nor am I claiming to be, so please feel free to discuss these things in other places if you want. I’ve just got the tweets I have on hand here. Sorry about that.) Next, the repeat claim that this is “Khara’s licensed translation and thus the most accurate version” is pretty obviously nonsense; I’m sure I don’t need to point out to the audience that Japanese companies meddling in localisation has ended poorly in the past, or that Khara uses questionable translations from the dubs of the Rebuild films on licensed merch from time-to-time, or that the translation was fairly obviously not overseen or even QA’d by anyone following Kanemitsu’s translation work judging from the myriad of grammatical errors, missing subtitles and overly literal, poor sounding phrasing present in the final work. (Do I need to source this? Just watch the damn thing.) It’s not even like the ways it was translated have been consistent through different versions on Netflix; some were translated from Kanemitsu’s English to other languages judging from the obvious mistakes being present in multiple tracks, and some were barely even translated at all - the Italian version, the dub of which is mysteriously now missing, was so bad people were commenting that it sounded like Shakespeare or that it was translated word for word from Japanese. I dunno about you, the reader, but something about “Khara only bothered to check very rigorously the English version for their specific requests with the translation” doesn’t sound like what really happened to me. It’s more like they’ve just sent a translator they have worked with before to work on a project of theirs. Apologies for engaging in speculation, but that’s all this whole article is anyway. It’s just something I noticed from skimming through the page, but I find it quite interesting that Felipe makes a blanket statement about the excerpts from Schizo and Prano “being wrongly attributed to Anno” and then the source he provides for that is just someone on the EvaGeeks forums saying the same thing with little proper sourcing, when that was never really the intent of their post anyway. An interview summary exists where Anno has stated he wrote both books himself, and if you haven’t seen it, here it is. It’s obviously flimsy at best, but Tokyo Otaku Mode is an officially licensed Evangelion distributor. If Felipe is going to parade around his love for the Very Official Khara Subtitles Of NGE he can at least extend the same gratitude to other forms of official information; I mean, frankly, this article is about as reputable as anything in the Netflix subtitles are.  Lastly, another thing I found quite interesting is his strange love for the ADV VHS subtitles. I really, really think this is obvious, but subtitles changed in later versions of the ADV release were changed because they were deemed incorrect. I don’t have sources for this so take it with an absolute grain of salt but I believe there’s even a commentary track on the Platinum release where the translator talks in depth about why she translated episode 24 as she did. It’s not exactly a better word than Kanemitsu’s, but if we’re considering translator’s word as law for whatever reason like Felipe is here, we might as well consider hers, too, right? Oh, and actually, have a look at the sources used on that article. Most of the sweeping statements he makes have absolutely no backing beyond what he’s piecing together from old and irrelevant interviews (when discussing the Netflix translation) as well as...linking Kanemitsu’s job history...I mean, sure, the guy is qualified, but do I really need to go over this again?

INTERMISSION: Speaking of sources, you might have noticed from perusing these articles yourself that EvaGeeks has a very low standard for sourcing to begin with, which is likely partially to blame for how things like these articles can even exist in their current forms in the first place. A site that doesn’t have such a lenient policy on sourcing, though, is Wikipedia. Felipe, of course, cannot stay within the confines of the fandom and has decided to have a go at providing some information to Kaworu’s actual Wikipedia page as well.

https://en.wikipedia.org/w/index.php?title=Kaworu_Nagisa&action=history Felipe is far less to blame for the state of Kaworu’s Wikipedia article, which is honestly pretty bad to begin with. There have been plenty of other people editing this one and the rather homophobic “Relationship with Shinji” part of the article has been present for a while before he started editing it. (The fact this article literally uses someone being explicitly homophobic as a source is not surprising for Eva fandom, but holy shit, am I disgusted every time I reopen this page. I'm not even going to bother figuring out who added that one.) I do wonder if his reasons for not desecrating this page the same way he has on EvaGeeks is because he knows it wouldn’t stay up for particularly long. Reminder that he is also the main editor of the same pages on the Evangelion Fandom Wiki, which is essentially a copy and paste of EvaGeeks. Of note is this little tidbit I found:

This is what Felipe then deleted, as this is apparently not relevant, despite literally being about Kaworu’s relationship with Shinji. I mean, I’m sure this could have been put in somewhere else and perhaps phrased a bit better, but why the hell would you outright delete that kind of information? It’s supposed to be a wiki, not your own personal opinion chamber. BTW, this is the thread post he links as a rebuttal to that person adding it, and it’s probably for the best it’s presented here with context: https://forum.evageeks.org/post/886380/NGE-Ep24-Script-First-and-Second-Drafts/#886380

He clearly thinks he has a point here, but I’m not sure what exactly he’s going for. Basically everything he’s saying is conjecture, and while I can kinda see where he’s coming from it sure does completely fail to address the intent as explained in this interview. “Read the whole interview” is very dismissive, especially when the interview in full doesn’t exactly contradict the initial point. It does say quite a bit, how he will disregard official information when his wiki articles themselves are full of nothing but rambling.

Here’s another relevant and quite funny Discord screenshot:

Felipe is making a pretty hypocritical statement here. I’m sure he does have a point - there’s probably been quite a bit of vandalism happening to these pages which isn’t exactly surprising (again, Eva fans are not often rational people, please be honest with ourselves). That being said, I think there’s a particular irony to the man who has written many very, very long paragraphs on the wiki pages he has control over trying to stop people from thinking there might be anything but “ambiguity” between a pair he doesn’t like.

In the case anyone reading has forgotten: the purpose of a wiki should be to provide unbiased information on the material it discusses. Obviously the repeating of “innocuous” statements about how “ambiguous” it all is, in the vain of EG’s now made fun of ‘we don’t know what he really meant by that’ and ‘why Kaworu is so intent for Shinji alone to have happiness remains a mystery’  are pretty obviously intended to downplay the very, very obvious “subtext” and leagues of official information provided.

It kinda goes without saying that WE CAN INFER THESE THINGS FROM THE ACTUAL INFORMATION ON THE WIKI, you don’t need to add a disclaimer to everything going “well we just don’t know what it means!” (even in instances when we do know what it means, but that’s almost besides the point). You don’t need to add in these statements, unless you’re trying to sway people into ignoring what's presented by the show. If you want people to draw their own conclusions, you are in fact capable of presenting information without commentary - in fact, that's kind of the whole point of a wiki. Yes, Eva is ambiguous at times, but talking down to people like they need this reminded to them constantly is an absolute waste of time and energy. It’s almost as if the editor has been trying to cultivate a narrative and has been getting away with it because you can’t really prove these statements are biased unless you do the research. (I mean, you can from context, but it certainly hasn’t done much to get them removed, has it?)

You can view the editing history of any given EvaGeeks article on their own pages if you want to see just how many times these things have been added in by Felipe. And obviously, no, it isn’t just his fault - there are other users, several, in fact, credited with the editing of these pages, many of the edits serving the same point as Felipe’s paragraphs on “ambiguity”. He’s just the most concrete example of a biased editor. Also, yes, I do recognise this has all happened within the few days post the release of Eva on Netflix and that it was likely prompted by that. But we know at least one of the mods is aware of it given how Felipe talks about it in the EvaGeeks Discord server. It’s also quite funny I’ve seen people linking these pages like they're some kind of "gotcha" in response to tweets discussing the new translation, as if they haven’t been invented out of thin air in the past few days.

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Now, frankly I’m sick of staring at EvaGeeks, and if you want any more information on these articles and others with instances of the same thing happening, you can have a look at it yourself.

Originally, this document contained far more screenshots from Felipe. My desire for this to not turn into a hit piece has lead me to remove a great deal of these messages. I do suggest, if you want to, you join the server and make your own conclusions. Even beyond what the member told me about I found myself agreeing with him fairly frequently when he was being reasonable - this doesn't change my concerns regarding the presentation of information on the wiki, though. The anonymous member was mostly concerned about this user having basically all the control over Kaworu's wiki articles, seeing as he has far too high of a stake in everything. Not all of these messages are inflammatory or even necessarily bad or wrong, but I find that to anyone privy to the “revelations” about the EvaGeeks Wiki here, they paint an interesting story, to say the least.

It’s starting to sound like he perhaps has just had some bad experiences. The following few messages are part of the same conversation.

I find it interesting how he flipflops from not understanding anything about the whole Eva Parallelism Theory Thing to suddenly being all for it when it concerns things not about the gay stuff.

Comments on how ‘manipulative’ Kaworu is

Because Kaworu is very pro instrumentality, and this definitely isn’t just a theory, I mean, it’s even talked about on the wiki, guys! (And I’m not even touching on the yes-men in this server.) Oh.

Oh no.

For the record, this page is clearly still under construction, and to point out any one thing about how bad it is would be essentially just poking a stick at a beehive. At least this one is so absolutely poorly phrased it’s doubtful anyone could mistake it for any kind of proper information. I also find it incredibly funny whenever pages on the wiki use the forum as a source. Relevant: Qmisato’s post on his defending of Shinji sexually assaulting Asuka: https://qmisato.tumblr.com/post/183082754484/yesterday-i-was-invited-to-evageeks-official

In response much later. I really can’t see it as being framed as “fun teenage romance”, also why is the word romance suddenly being used to talk about Asuka and Shinji after the whole debacle with Kaworu? He’s said before he doesn’t see Asuka and Shinji’s relationship as romantic, either (and GOOD! It’s not!)

(Also - it’s not sexual assault when Shinji tries to kiss Asuka in her sleep, but it IS when Kaworu does the exact same thing to Shinji? Make up your mind, dude.) Turning this sort of thing into Shipping Discourse is frankly not the right way to go about it, but it is perhaps notable that despite what Felipe says, he is in fact an Asushin shipper. (I don’t feel the need to post all these images in the document as its cluttered enough as it is.) At this point it’s rather adhom and I feel irrelevant but I do think it’s relevant that through all of Eva fandom, those who have the most issue “understanding” (more like accepting, I suppose) LGB subtext, are those who also are really attached to a fairly morally grey het pairing themselves. Again, seriously, there’s nothing inherently wrong with any of this and assuming the worst of someone because of the pairings they like isn’t my intent here, it’s more that I find this pattern has always been prevalent and it’s bothering me I’m seeing it STILL in 2019. ESPECIALLY from a wiki editor who inserts so much of that into his work on the site. 

  You’re probably sick of reading all of this (and I’m getting sick of writing it), so I’ll wrap up the part on Felipe quickly: Yes, I just dedicated several pages to screenshots of mostly innocuous (when considered out of context) stuff one guy had to say. I feel more obsessive than I’d like to admit, and frankly I have no business with this person. We’ve spoken twice on EvaGeeks threads if you can even call it speaking. This task was given to me by a member of the community who was concerned about his behaviour but didn’t want to publicise it themself and I feel a little out of my depth here. I at least hope we can come to the conclusion I wanted to here, that I fear may have been lost in this whole great mess of language - no one person should have THIS much sway over the state of a wiki that’s supposed to be impartial, especially when they have not been quiet with their biases in the first place, and it is the failure of everyone involved in the maintaining of the wiki itself that this sort of behaviour has been allowed in the first place. 

The guy can have whatever opinions and theories he wants, obviously. I don't give a shit; he's not even that bad compared to the grand majority of Eva fans to begin with. Don't think this document exists to "cancel" him or thoughtpolice, I truly, genuinely, do not care what is said inside this server anymore. It doesn't concern me. I mean, it's a fucking cartoon, for god's sake. This only becomes an issue when opinions are expressed on a wiki, for reasons I have reiterated many times now. EvaGeeks lacks the objectivity required to function as a wiki and I'm trying to make that clear. 

[ON THE TOPIC OF THE EVAGEEKS WIKI AND COMMUNITY IN GENERAL] As for who can edit the wiki and what they’re allowed to say: As you can see from the nature of people’s posts in this thread, you’re given access to do very specific things, and although I haven’t bothered going through the process myself (as I find it would be quite redundant, trying to fix such an inherently broken system), I’m guessing it’s very easy to get your edits reversed if you post anything they don’t like. Take that as conjecture of my own.

I have it in decent faith that the approval process involves whoever of the mod team is there at the time coming to an agreement based on people’s applications. Obviously this is a decent idea for a system, and I’m sure there are legitimate reasons as to why EG has to be locked down as much as it is; judging from the state of other fanon wikis I’ve seen there’s likely to be a decent amount of vandalism, especially in a fandom as passionate as Eva’s is. However, I think it’s fair to say that the complete restriction of updating these pages to those approved by a mod team who, while I’m sure are very reasonable people overall, certain individuals of which have displayed concerning behaviour and biases of their own in the server during my brief look around. I won’t be naming anyone in particular from the mod team as I don’t feel like I need to add any more targets of shame to this already horrifically negative document, but I have gotten the general impression (in case it needed confirmation, following the remaining of these specific changes on the wiki) that some mods, not all, aren’t the most nonpartisan individuals themselves. I do happen to be decent acquaintances with at least one of them so, again, please don’t consider this a personal attack.

My concern here plainly is that I don’t think a group of mods who have routinely failed to prevent events like the ones mentioned earlier, nor seem to have much of an issue with the myriad of examples of people being openly homophobic and misogynistic on their own forum are really in the position to be choosing who of the Privelleged Few get to control the Eva meta-narrative here. As I was writing this, I was alerted to the state of the primary Japanese Evangelion wiki as a source of cross referencing for what these things can look like if done right. If you take a moment to browse it, even if you don’t speak any Japanese and have to use an automatic translator it should be very obvious how something like this differs greatly from EvaGeeks. Kaworu’s page, for a relevant example, doesn’t have present any of the nonsense statements about ambiguity or overwritten descriptions of everything. The wiki respects the reader’s intelligence enough to know that it is, in fact, a wiki, and thus tries its best to be factual. His page is fairly decent in size and states things we know are fact rather than theory. There’s no attempt made to influence or confuse.

Oh, and just in case you think the mods aren’t actually active or present enough to know what Felipe is doing, his particularly awful page on Kaworu in episode 24 got a shoutout from the official Twitter account two days ago.  

If you are going to join the Discord server to verify things yourself* or do further digging, again, please be cautious of other users inside and do your best not to start anything. I am an occasional contributor to the forums and I’d prefer not to get my account flagged or to experience harassment myself, if any EvaGeeks members are still reading this document and disagree with my conclusions. I may not have posted much since I joined earlier this year, but despite everything I find the forums to be valuable for connecting with other fans and have enjoyed the positive feedback to my SIRP translation! Those who have spoken to me there have been very kind (including Felipe himself), and I must reiterate that this is not targeted at the whole site, or even at just Felipe. I simply believe there is more than enough evidence to suggest there have been consistent, systematic failures to recognise and correct the utter lack of objectivity present. I seriously don’t have any personal issues or beef with this guy, either. I wouldn’t have done this if it wasn’t someone else who came to me about it.

*It should be noted that the person who spoke to me has pointed out certain members have been concerned about outsiders joining and screenshotting the chat. They may remove the public link to join if this document were to cause a huge issue. I will leave the server following the publication of this document and I have no plans to join again. I can’t speak for those who may join of their own accord but I do hope people have heeded the disclaimer I made initially.

Thankyou to all the people who have extended their own kindness and support during the creation of this document, to the anonymous person who tipped me off and the lovely Eva analysts I know for offering their own experiences with EvaGeeks and further supplementary information. If this whole document reads like the product of a bad mental health day, I guess it is. Also yes I know how hilarious it is that I’ve spent all this time creating what essentially amounts to an EVAGEEKS CALLOUT POST but I mean. Someone had to say it. Why not make an utter buffoon of myself in the process?

[fineillsignup]

Bit of a weird question, but how do translators decide which terms to fully translate and which to romanticize? Like the difference between Akatsuki and Red Dawn? Thanks

I love these kinds of questions.

(First off, just a pedant thing because I cannot stop myself from correcting people and ruining friendships, 曉 akatsuki just means “dawn”, not “red dawn”. Also the word is “romanize” not “romanticize”.)

Ok so now the matter of choice. There are several angles to approach this question from.

First, cross-language interaction and communication is inseparable from larger issues of cultural exchange and principles of same. If you look over history, throughout most of history in Europe and East Asia (my knowledge of other areas is more limited, but I believe the pattern holds), cross-cultural communications of all kinds tended to be self-centric.

What I mean is that the names by which peoples called other peoples, other nations, other locations, etc etc, were not concerned with being accurate to the other peoples’ usage, and that’s being charitable. In fact, names for foreign places and peoples are very frequently deliberately offensive.

Hi China, said Japan. Hi dipshit, said China. Could you call us something else, other than dipshit, said Japan? - Bill Wurtz

Or when they do make an attempt to go off of what the foreign people are saying, they pronounce it according to local language rules. For example up until relatively recently, all across Europe everyone pronounced Latin according to their own language’s pronunciation. If /c/ is pronounced with a soft [s], that’s how they’d say it, or if it’s pronounced with a hard [k], etc. That’s how you get English Caesar versus German Kaiser for example. Or they may otherwise adjust the terms. In England they say Spain and in España they say Inglaterra. And this went so far as to also include individual people’s names. When you read European history in English, the names of rulers, for example, are usually given in their English equivalents: Francis, not Franz or Francisco; Joan, not Jeanne or Giovanna.

Lately (like within the past century-ish), the movement has gradually turned towards verbatim (or as close as possible) reproduction of the foreign people’s terminology for the names of places, peoples, and individual persons. This is inseparable from larger issues of anti-colonization; new principles of equity of peoples, nations, and states; and respect for self-determination.

This might seem like a bit of detour from the topic but I don’t think it is, because to a large extent what this is about is localization vs preservation. These two principles are not precisely opposites but they can often be considered on a scale. And the individual translator’s choices are never made in a vacuum.

Another angle is preservation of foreign terms verbatim is often, though I don’t think usually intentionally, a kind of class or insider signifier. This is more clearly seen historically in how middle and upper classes will use terms from the most prestigious language to show their class and education. In England this was French. Across the world nowadays, it is English.

Japanese has a similar prestige in the Japanese pop culture subculture. I have previously spoken approvingly of transliterating Japanese honorifics, so I’m not by any means opposed to transliteration, but I think it’s important to be aware of what the full implications of using a transliteration “just because you can” are. Do I really think a transliteration does a better job of communicating, or am I just trying to show off that I know the source term, or am I even obfuscating the meaning to keep it understandable only by those who are already in the subculture? (Did I use the relatively obscure word ‘obfuscate’ just now because it’s the best verb for the meaning I want to express, or because I’m obnoxious? Baby it’s a two for one deal.)

(Tangent: meme references can also be seen as a kind of insider signifier in this sense. If I say “using transliteration is all according to keikaku,” and you recognize the reference, and you get that teeny warm glow of amusement, where does that little positive feeling come from? Of course, part of the amusement is remembering the absurdity of the original incident, but there is also a pleasure in being affirmed as in the loop.)

Okay, anyone still with me? Back to Naruto.

So, in modern prevailing culture, most proper nouns from foreign sources are transliterated (romanized). A problem arises when the literal meaning of a foreign word that is conventionally transliterated is thematically or narratively important.

Use of parenthetical glosses and translator’s notes is ancient and very common, from “Golgotha, or the place of the skull” in the Bible to “that too is my nindo, my ninja way” in the official Naruto anime dub.

Another important principle in translating that frequently sways me as a translator of Chinese to English is this: If it doesn’t sound stupid in the source language, it should not sound stupid in the target language.

For example: English, culturally/historically, while not absolutely excluding literal objects in place and people names, is frequently biased against it. Names in English that are like Rose and Pearl Harbor are the exception, or in some cases a novelty, such as the very recent popularity of first names like Phoenix, Cannon, or Rebel. It’s worth pointing out also that in many cases these kinds of names are popularly perceived as downmarket (even trashy) or amusing. Lists of funny place names are often things like Bird-in-Hand, Pennsylvania; Possum Grape, Arkansas; and Big Arm, Montana. This is the case even though many “respectable” names have meanings far more ridiculous than these. No one will laugh if you say your name is Philip; people will laugh if you introduce yourself as Horse Lover. Peter sounds much more respectable than Rock. Mary, Miriam, and Maria are all sweet girls names, even though the literal meaning was Bitter!

Naruto is particularly tricky in this regard because many of its original names do sound funny to native speakers but they don’t sound as weird as they do when translated literally. Uzumaki Naruto, for example, could potentially be selectively over-translated into “Whirlpool Whirlpool”, making him the Moon Moon of shounen heroes. At least Naruto is meant to sound funny in the original; Sarutobi Asuma sounds basically normal in Japanese, but True Tomorrow Monkey Jump sounds like word salad.

Then we get into connotations as well. If Neji were translated to Screw, for example, it would have an unfortunate sexual connotation in English that isn’t there, so that’s another factor that can push towards transliteration.

Now in Naruto translations, including official ones, sometimes use a mix of transliterations and translations for place and organization names. Konoha, the Leaf, the Hidden Leaf Village, and Konohagakure, the Village Hidden in the Leaves, these are all commonly used. Frequently the place is called by the transliteration Konoha whereas the organization is called the Leaf. ANBU Black Ops is another mix of transliteration and translation/gloss, and when it’s reduced to just ANBU, it feels right because it sounds like an acronym which culturally in English is how these kinds of organizations are usually known (eg MI5, SEALs, etc).

Choices in translation are as much about communicating the feel of the original as the meaning.

Anyway I’ve hit my time limit and I need to go to Costco now. I feel like I’ve barely scratched the surface of this topic. Translation is both art and science; it really is a social science, too. This is why machine translation will not replace human translation unless and until AI fully catches up with human sentience.

[usaghinanami99]

@pichipichiparadise  Didn't I say you should be prepared for this? Well, here it comes! I hope I spelt all the titles right 'xD And sorry in advance for any grammar mistakes, I always do my best when I write in foreign languages but I'm just your average teenage fangirl who loses all of her reason before what she loves the most. Before starting, I should say that I love both slow romantic ballads and fast-paced pop songs on an even level, so I don't think I am too biased towards any of the two genres; truth to be said, MM offers some great pieces for both types of music, and I like all of them. Now, here's what you were all waiting for, i. e. my complete ranking of all the songs from the anime Mermaid Melody!

48) Ai no ondo Sorry, but it's just a big "no" for me. The tune is so irritating that it somehow annoys me to listen to it. 47) Koi wa nandarō? Urgh. Same as before. Irritating tune and even more irritating singer – it's higher on the list just thanks to some passages in the lyrics which make me think of some sort of sexual innuendo, and since I am both a hopeless romantic and a huge pervert, I vastly appreciate it XD 46) Oh, yeah! Alala Does this remind you of exaggeratedly cute idol songs? Because it's the impression it gives me, and it's not a good one. (OK, I'm overdoing, there are definitely some idols I like, but Jpop rarely clicks with me if it's not related to anime in some way) 45) Splash dream! Er... this is getting boring, but I just cannot stand Asumi Nakata's voice 'xD However, this is where the tunes stop being outright irritating for me, and it's just a matter of them failing to catch my heart. 44) Aurora no kaze ni notte I'm on shortage of comments already, I guess I'll just say that Ema Kogure sounds like a 2 year-older and that I keep on forgetting how the tune goes. 43) Star! Meromero heart Irritating singer, forgettable tune, stupid lyrics (I know it's done on purpose, but still). On with the next one. 42) Mother symphony OMG, I feel guilty for puttin your favourite song so low! Actually, I must admit that I've never thought about the lyrics the way you put it, and maybe reading your comment will help me appreciate this song a bit more ^^ However, this spot is where the songs start being just boring and uninteresting to me instead of plain unsufferable, so it's still something... I guess? 41) Nanatsu no umi no monogatari – Pearls of mermaid As I said, boring and forgettable and little else. I think I've already lost half of my readers by now. 40) Birth of love Really? Did they waste Eri Kitamura's talents to make her sing this so-so piece? That's a crime on my book! 39) Piece of love I said I love love songs, but that's simply an understatement: I am a literal sucker for slow, deep, emotional songs about feelings and such. But this... what I can see is that it tried to be a romantic piece but failed miserably and ended up being a mere yawn-inducing song. I'm not exaggerating, I really find it sleep-inducing! In this sense, it low-key reminds me of A dream is a wish your heart makes, lol. But I feel the need to repeat that I absolutely adore romantic ballads if done right, in fact the main theme from Beauty and the Beast is my single best favourite song in the whole freaking world, OK? But there's a clear limit between "romantically slow" and "sleepily slow", and this songs trespass it. 38) Mizuiro no senritsu I have a sensation that composing more upbeat songs is easier, because there can't be the risk to have your listeners fall asleep, or is it just me? In fact, this makes nice for a Jpop song... it's just that I'm not that big a Jpop fan to start, and the idols I do follow, such as Momoiro Clover Z, I do so just because they have sung songs from animes I love. I guess this song is somehow OK, it's just a matter of me not connecting with it. 37) Portami con te OK, finally here's what I think is the worst Italian song – in case you started thinking I was biased and would put all the Italian songs on top... well, you wouldn't exactly be wrong about the bias part, but still. For me, this song is just on the limit between "nice romantic slow songs" and "boring as heck slow songs": one day I find it sweet, the other day I think it is simply too slow. But what really made me decide to put it low in the list is the fact that it's a mere rearrangement of Yume no sono saki e instead of a completely new piece of music, thus making it the sole and only non-original song from the Italian dub... which is not cool. Definitely not cool. 36) Yume no sono saki e I really have the same opinion about this song and the last one, due to them being so terribly similar, but I decided to give this the higher spot because I'll be eternally pissed that they decided to use an already-existing base to arrange Portami con te, and that's not something I could ever forgive 'xD 35) Daijina takarabako (slow version) I think this could make for a nice lullaby. What else could I say? It's cute and it manages to be slow without being boring; now, I don't consider it to be necessarily unforgettable, but here we're starting heading for the better. 34) Hana to chō no serenade This is the perfect LanHua song, full stop: it's just as haunting, hypnotizing and mysterious as it should be, with that exotical feel to the tune that spices it up. And it is even better in French! It may seem to be too low in the list to be a song I like, but these are just the songs that I find to be good but not great. 33) Kibō no Kaneoto – Love goes on Now that's a pretty battle song! True, it may not be at Sera Myu level (but then, very few can compare to the eternal goddess Akiko Kosaka), but I admire the fact that it manages to be both sweet and relatively upbeat at the same time. 32) Concerto d'amore "Good but not great" is again all I can say about this one, so I'll add that I'm very disappointed by the fact that the second half of the song has never made it to the series proper and is therefore only present in the CD version – which is a shame, because I think that is where the song gets better. The tune is nice enough, but maybe it's overused, in the sense that it always plays whenever a radio is on during the show, which sometimes feeds me up; but it isn't a boring song, definitely not. 31) Voce del buio OK, I'll admit that the concept is good: this villain song wanted to be suffocating and practically impossible to forget, and it succeeded perfectly – that's the type of melody that just can't get out of your mind after one single listening. But there's too much rap for my taste and, though the contrast between the tune of the stanzas and that of the refrains is amazing, it somehow comes off as "I recognize is good, but it's not exactly my genre". 30) Ever blue Man, this song used to be so much lower in my list! The thing is, I just couldn't make myself listen to it without suffering terribly xD But then I heard the French version and I finally understood that it was just a case of me hating Hitomi Terakado with a passion that prevented me from appreciating the song! In fact, thanks to other foreign dubs (such as the Portuguese ones, but really, each one of them is better than the Japanese), I discovered thatt with a decent singer, it actually turned out to be a pretty song, and I'm more persuaded than ever now that the Cosplay Singers have just released their cover! I'll never understand why they tend to cast chipmunks instead of voice actors in Japan, but whatever. 29) Super love songs! Nice, clean, pleasing song of the more upbeat scale, with a catchy refrain: that's how I like my Jpop. 28) Daijina takarabako Even I cannot understand how can I like a solo by Asumi Nakata, whom I honestly detest, but I guess that when the melody enchants you, miracles can happen. Good job! 27) Legend of mermaid I think I can't say anything about this song that hasn't already been said xD Well, I like it but don't love it; I can only add that the instrumental intercourses in between the singing parts come off as really annoying to me, I think I don't enjoy the way they are arranged that much. 26) Ashita ga mienakute OMG this song. This song. This song. OK, sorry, let me rephrase that: as a 9 year-older watching Pure on TV, I was at best indifferent about Mikaru's feelings, and even partially blaimed her for the pain Lucia was suffering. Growing up, I melted out towards the character and, while I'll always be on Lucia's side when it comes to the love triangle stuff, as a middle-schooler I undertood that nothing of the love drama was Mikaru's fault. Some years ago, when I started using the Internet, I discovered that the Japanese dub of the anime had different songs from the Italian one, and was literally blown away upon first listening this one. A song sung by a handicapped girl my age who mourned about her solituted and sufference was, like, so much akeen to me as a person that it seems a strange coincidence. Add to that that I loved seeing depressed characters, because it helped me find my own depression a little less terrible. I've grown out of that phase now, mostly thanks to me having changed school, but this song holds a special place in my heart, and if I were to make a ranking of the most relatable songs I've ever listened to, this would come third after Belle and Let it go. 25) Tsubasa wo daite As lost in my thoughts as I were, I haven't mentioned the fact that both songs have got enchanting melodies (and I thought this even before knowing of the songs, because I absolutely loved the instrumentals that played when Mikaru and Mikeru spelt out their poems in the Italian dub). This version gains a higher place because, while Mikeru is less relatable than Mikaru, Junko Minagawa is a much better singer. Ah, and it's a song sung by a character who laments his condition and talks long about his feelings, which is exactly my cup of tea. 24) Kodō – Perfect harmony We're getting better and better with the battle songs! Here's another catchy one, but I'm afraid I haven't got much else to say about this. 23) Ankoku no tsubasa This is another case of the French version making me appreciate the song more than before – seriously, though, just listen to it! I really dig the style taken here, it screams "sexy villain" from every note and it's done so damn right. 22) Kizuna And here comes my favourite Japanese battle song! The thing is, I really dig the refrain but cannot say the same about the stanzas, so I decided to even it out putting it around the middle. What is more interesting to me, though, is that this song was clearly the basis used to compose Eternal eternity for the 3rd season of Pretty Guardian Sailor Moon Crystal, which makes it again more important. I know what I said before about me disapproving of rearrangements, but what can I do when one is just so unbelievably good? (Because yes, I indeed prefer Eternal eternity. Kill me now.) 21) Sekai de ichiban hayaku Asa ga kuru bashō Have I said how much I like sweet lullabies yet? Because I love them. I've got no more to say. 20) La nostra forza (rearrange) My first reaction upon hearing this on the CD was like "OMG how dare they ruin one of my favourite songs", but with time I learnt to understand that this style actually fits LanHua more than the regular version would have. Though I don't think I have to point out that the one sung by the BBS and Alala is far better. 19) Mermaid Melody – Principesse Sirene There's a complex love-hate relationship between me and this song, and it depends on how much weigth I put on each aspect of it: if I concentrate on the tune, I find it to be a great song worth of the glorious tradition of Italian OPs; if I concentrate on the rest, though... I really can't understand how they could come up with the idea of casting a 14 year-older to sing it, and this is without mentioning the absurdly stupid lyrics it features. Maybe this is what leads me to enjoy the karaoke version so much. 18) Legend of mermaid (slow version) What can I say, if not that it's cute and pretty and sad and everything else? I don't like Asumi Nakata and Hitomi Terakado's versions one bit, but Kana Ueda saves the song for me. And the instrumentals are far better than those of the original version. 17) Ai no kiseki Another awesomely sad and emotional song sung by Kana Ueda – see the pattern here? It's the type of song that really makes you cry, and I live for that. 16) Return to the sea Closing Kana Ueda's section, and at the same time opening the sequence of the songs that I outright love, comes Sara's awesome image song, which is tremendously catchy and terribly depressing at the same time. That's the magic of music (and cartoons) for you. 15) Taiyō no rakuen – Promised land That's exactly the type of Japanese OP that clicks with me for its catchyness, and well... What can one say about Miyuki Kanbe, apart from being sorry over her tragedy? She's incredible. She's an excellent musical actress and a perfect Usaghi (though to be fair, my best favourite is and will always be Anza Ōyama, no matter what, with Miyuki being a close second). Her singing is gorgeous and, as a sidenote, she's the person that made me realize that not all nasal voices are terrible – quite the contrary, on her case. 14) Beautiful wish This. Song. Is. Just. Perfect. Especially in French (but I guess you're tired of me saying that, uh?), but Eri Kitamura rules, too. This melody is just too perfect and it would deserve to be no. 1, if only there weren't some songs which are even more perfect imo. 13) Rainbow notes It's like the first OP, but even better: the catchyness has been brought up to eleven and Miyuki is as freaking skilled as always, and she'll be dearly missed forever. 12) Before the moment Sorry everyone, but the prize is going to the Pure OP for me (please don't kill me!). Not that I prefer Eri over Miyuki (though I love them both so much), but it just... well, listen to it. That music. 11) Star jewel Rina rocks and this song shows it excellently! And Mayumi Asano is the only one from the main trio who sounds like a real human being, so that's a plus. There's some pure awesomeness here. 10) Dolce melodia To think that, when I was a kid, I reckoned this song was just too much. I mean, not even for an instant did I dislike it (the contrary, in fact), but I found it to be so overused that it started tiring me, to the point of getting on my nerves. Now that I'm older, I've understood that beautiful things are always beautiful and can just get better every time you enjoy it again. Now I can listen to this song on repeat more than a dozen times in a round and always recognize it for the true masterpiece it is. (Except for Caren's version, that is – Rossella Liberti's voice is just something I can't stand.) 9) Kuro no Kyōsōkyoku – Concerto That is, the perfect villain song. Villain songs are really the best songs in the Japanese dub. I don't know what to add. Oh, wait... 8) Yami no baroque ...What do you mean, there's an even more perfect villain song? This show is just too much and it's so beautiful it's killing me, but I'll gladly die with Mermaid Melody if I must. 7) La nostra forza OK, the Japanese version definitely wins in the lyrics department, but the music here is just too prefect for it to be any lower. 6) Ritorno all'oceano Pure awesomeness and nothing more. Denise Misseri's version is gold and Francesca Daprati's is diamond, but there's really nothing else to say. 5) Battito d'amore Please don't judge this basing on the CD version, because the duet between Valentina Ponzone and Claudia D'Ulisse can't even remotely compare to the many stunning versions heard in the TV series. Battle song at its finest. 4) Fantastica poesia Battle song at its ultimate finest, i. e. The very best battle song ever! With the addition of some sexual innuendos to spice up the lyrics, how much better can it get? 3) Stella preziosa This. This better. It's a telltale sign the fact that I just can't bring myself to choose which I prefer between Francesca Daprati's version and Elisabetta Cavalli. 2) Assoluto amore I can't say anything else, I'm afraid. Perfect music, great lyrics and Valeria Caponnetto to do the goddesses' job. I'm in heaven. 1) Dolce melodia (orgel version) A sadly emotional arrangement of a great song? Yes, please. This song is too perfect and it's too much for my heart to bear, to the point that I'm not even listening to it as of now and I'm already crying just at the thought. Sung by Denise Misseri it's a masterpiece, but sung by Valeria Caponnetto it's the greatest tragic song ever.

[yeonchi]

Dub Logistics Part 19: The gAgging Conclusion

“In order for #NoDubNoBuy to work, supporters should actually reach out to the companies in Japanese.”

When fans ask if there is a dub in a game (or for it if there isn’t), they obviously use English to reach out to the companies. But has our target been wrong all this time?

Sinclair Networks said this during my debate with Gamers Against Greed and their fans:

I’m curious what’s the purpose [sic] of your page. It’s about Japanese games. But (it’s) not in Japanese so developers will never see it.

This was my reply:

My viewpoints are not targeted towards the main sector of the gaming companies themselves. They are directed to their localisation departments and Western divisions.

Additionally, the page I mentioned in the post (the NoDubNoBuy page) is targeted at English dub fans who (play) Japanese games in the West. I never expected developers to notice the page in the first place.

Here is what Sinclair said:

Then you’re wasting time really. If you are not expecting to generate a large following and get it noticed by Japanese developers then it’s a lost cause from the start.

Do you know why I didn’t expect developers to notice the page? It’s because my page is directed at English dub fans who want to know about the dub status of released and upcoming Japanese game localisations so they can make informed decisions as to whether they should buy it or not. I don’t expect game companies to notice #NoDubNoBuy because they’ll just laugh it off like the politicians they are. They don’t care if the fans want dubbed games or not - all they care about is whether they will earn enough money off the games they make.

Also, if a gaming company already has a branch in the West, then why should I have to use Japanese to reach out to them? That absolutely defeats the purpose of localisation, let alone English dubs or #NoDubNoBuy. I’ve seen the Undub page post letters or sign petitions to some gaming companies and not one of them has been written in Japanese.

The corporate heads of the gaming companies don’t care about Western fans getting dubs in their games. Japanese people certainly don’t care either, but they’re not the target audience for my page. So don’t expect me to reach out in Japanese when you know that I’ve done a good enough job in English.

It’s been 4 months now since the debate. The reason why I reached out to Gamers Against Greed in the first place was because of their name. Many dub fans believe that Japanese gaming companies cutting dub from their games to save money is a greedy thing to do, so I came in with that fact in mind. However, once I got into that debate, I realised that convincing them to support English dubs in localised Japanese games was a futile move.

Let’s take a look into the main contributors of the debate and my thoughts on them:

Ibaraki Ben (the admin of the page, also known as Ben Merritt) gave some good points regarding localisation and budgets, but he failed to see the fact that Western localisation exists and a lot of popular game series are dubbed in English. Given the fact that Ben lives in Japan, works for a Japanese language school and claims to work for a Japanese gaming company, I thought that he was coming in from a biased viewpoint. Some of his comments only served to prove that Japanese gaming companies only care about their Japanese fans.

Stephen Payne (CrawlinUK Games) went to the trouble of pointing out some things in my post (and incorrectly assumed the origin of #NoDubNoBuy), yet he was unwilling to do further research about the dub-sub debate when I suggested that he do so.

The admin of Sinclair Networks gave some good points about the costs of voice acting, but they incorrectly stated that English voices for localised games were recorded in Japan with English-speaking voice actors. I didn’t get to mention anything about crowdfunding, but I don’t believe they would have thought of it as a good idea anyway.

Just when I thought I was done with the gAggers, Mika Kibashi (one of the commenters from the debate) shared my page, saying “Is there anything more annoying than expecting everyone to pander to one language rather than accept subtitles?” (My response to her post is here.) Ibaraki Ben commented on her post, describing me as “antisocial, whiny and wanted everything in English”, and as if it wasn’t enough for him, he made fun of me and my page, saying:

His pages have a ton of posts and his free website is hilarious. But no one ever comments or follows what he has been doing since 2014. The owner and the page are a joke.

So just as I thought Ibaraki Ben was just another opinion-neutral person, I found out that he was just another dub hater like the two Sinclair fakers, Jorg Kellar and Steven Reese. I understand that Ben has the right to make criticisms about my page and its viewpoints, but insulting me and calling me a “joke” goes far beyond the realms of constructive criticism. He should be very lucky that I didn’t call him out for his fake news, or the fact that he claims to be (or jokes about being) “a world famous YouTuber” when he really only has about 6,500 subscribers and some of his more popular videos are either about Fallout 4 or Elder Scrolls Online.

To be honest, people who only play Western games, like Ibaraki Ben, should not have the right to comment on things like the dub-sub debate, English dubs or #NoDubNoBuy. They do not really understand these topics like Western anime fans or J-gamers do and they will only serve to know very little (if not nothing) about anime licencing and game localisation.

So, Ben, maybe the next time you want to call me out or insult me for my views, you could take a look at my rants and enlighten yourself before you make any ignorant comments. As Chris Lilley’s character, Ja’mie King, said on Ja’mie: Private School Girl, “No one fucks with me and gets away with it.”

My feud with Ibaraki Ben and his gAggers has already come to an end. They have already escalated it once - let’s hope that there won’t be another. With this, my Gamers Against Greed miniseries has also come to an end. Dub Logistics will continue as normal from the next instalment.

[theroadyouchoose]

Call me a cynic, but it seems that all the movies since Zoroark have basically been pokemon screaming "Look new stuff! BUY OUR GAMES! BUY OUR GAMES!" At least more so than usual. I mean the movies were like that before, but they always seemed much more story and character driven. Maybe I'm just wearing nostalgia glasses.

It’s not cynical, it’s pretty accurate but perhaps not for the reason you think (at least...not from my point of view). This got a lot longer than I thought it would so it’s going beneath a cut because I start ranting oops.

Looking back, even without the nostalgia glasses, I would argue marketing was not the purpose of the first movie since the original concept of it was to end the anime. By the time it hit theatres, it was not that ending, but the first ideas of it weren’t to promote things. I think it was after this that they started realizing ‘holy shit this is an amazing idea’. It got worse once giveaways became more accessible around the world. So I’m claiming it was not after the Zoroark movie, but Mewtwo Strikes Back, that they really started using the movies for this purpose. We just didn’t notice. Why?

Because the plot of the movie still mattered. Honestly, most people don’t care if they’re obviously promoting legendary pokemon and games if the movie itself is good. They were showing off Lugia in the second one but it was still a damn good movie. Lucario and the Mystery of Mew was amazing as well. (I’m biased these two are my favourites). If the content is good, most people don’t care if it’s really, at it’s core, there for marketing. Same goes for the anime. Everyone knew the XYZ arc was for promoting Zygarde (since no Pokemon Z), Ash-Greninja, and Mega Evolution more but a lot didn’t care because it was still good for the most part.

It’s the ones that are slapped together with little thought or care and are clearly just being ‘LOOK AT THIS NEW FEATURE OR LOOK AT THIS LEGENDARY OR LOOK AT THIS POKEMON YOU CAN GET IT IN A GIVEAWAY’. Zoroark was a horrible movie for that, especially coming off of the three before it which, for the first time, were really one continuing story.  So the way I see it, it was more after the Zoroark movie that they just stopped trying as hard to weave in a good plot with the promotion. 

There’s also the fact that it’s not the nostalgia glasses warping your perception, but the fact that this content is not made for you or me. It’s made for children. Sure, children like good stories too, but I remember being little and not caring that Power Rangers or the Sailor Moon dub were actually kind of shitty shows in retrospect when I go back and watch them now. 

That is what is really such a pissoff about the 20th movie. It was purposely marketed towards the older crowd at first because kids don’t give a shit if it’s the 20th movie, just give them their goddamn pokemon. Showing Ash closer to his original design…his first journey…was for the adults who grew up with it. Then they pissed all over that with their marketing ploys. I mean, there absolutely are ways to promote a 20th anniversary, SM, and DP without pissing so many people off.

Why not have it still set in Alola, with the current group, but have Misty, Brock, and Dawn be there too? It’s a ton of characters to balance in a movie, but you could have flashbacks to how it began, with Brock and Misty (and maybe Gary) actually to promote the beginning, and have Dawn there to promote Sinnoh (and Brock too in a way since he was there too). Seriously, it’s not that hard. It’s not like the movies impact the actual canon in any way anymore so who cares if they could visit during a movie and never be mentioned again? 

I’m getting completely off track here but let me rant. To be honest, I like the designs of these characters in general. As just random movie characters, they probably would have been good. In fact, I find their designs much more tolerable than other movie characters, which are ridiculous. These characters are being set up to be hated though.

When May first appeared, there was a lot of hate towards her because she as ‘replacing Misty’ (not true). Well, these characters are literally replacing Misty and Brock. How did anyone think that would turn out well? From both a creative and a promotional point of view this is utterly baffling. 

As someone who once studied media and advertising, promotion is what really drives me crazy. I honestly didn’t expect Misty and Brock to appear. I thought it was just going to focus on Ash and Pikachu alone. To have them replaced for no fucking reason other than game promotion is a complete slap in the face to the fans that they were trying to advertise to this time.

Admittedly, we don’t actually know all that much about the movie yet but they’re not doing a good job of getting positive hype going. Not with the English fandoms at least. I’d really like to know the opinion of the the Japanese fandom. 

Anyway, that went completely off the rails but I could stop myself. Sorry for this long rant to mobile users.