vegettoex.com

Hi. I'm Mike. This isn't updated often.

Tag: dragon ball

Some Extra Funny Images

So late last month I wrote something called “The Great Canonical Debate” (it was pretty good; you should go read it). I wanted to include some type of moderately-snarky image of some type of god handing down a daizenshuu to go along with the section about how there is no officially-declared canon to the franchise, so I had requested on Twitter a great Photoshopped-image to include.

I ended up going with one by our good buddy Tekkaman-James — you might remember him as the great artist who brought Appuragas to life. As seen in my original article, here is James’ image (now available in full-size when you click! Whoa!):

I wanted to share some of the other ones that came in, though. Our One Piece-lovin’ buddy Alex tossed this together, which I almost used:

Our artistically-awesometacular buddy Karan gave us this one. I liked it a lot (‘cuz… it’s God. Get it?), but if you didn’t “get it”, it wouldn’t have really worked.

And that’s all I’s gots for ya’ today.

The Great Canonical Debate

It’s that time of year — there is a new Dragon Ball production (the animated adaptation of Episode of Bardock), and all the fans across the Internet want to know:

“Is it canon?”

Actually, they all ask if it’s “cannon”, and these people should all be promptly shot out of a cannon.

Back in August 2008 on Episode #0145 of our podcast over at Daizenshuu EX, we talked with our buddy Desire Campbell about the idea of “canonicity” with the Dragon Ball franchise. I’m pretty sure I remember a good deal of what we talked about, but if you’re looking for more (and someone else’s perspective, which is always important), definitely check out the episode.

It might be important to actually define what “canon” means. Let’s ask our good friends over at Merriam-Webster (yes, I just did the total-hack dictionary definition thing):

1
a : a regulation or dogma decreed by a church council
b
: a provision of canon law
2
[Middle English, from Anglo-French, from Late Latin, from Latin, model] : the most solemn and unvarying part of the Mass including the consecration of the bread and wine
3
[Middle English, from Late Latin, from Latin, standard]
a
: an authoritative list of books accepted as Holy Scripture
b
: the authentic works of a writer
c
: a sanctioned or accepted group or body of related works <the canon of great literature>
4
a
: an accepted principle or rule
b
: a criterion or standard of judgment
c
: a body of principles, rules, standards, or norms
5
[Late Greek kanōn, from Greek, model] : a contrapuntal musical composition in which each successively entering voice presents the initial theme usually transformed in a strictly consistent way

More often than not, you’ll see “canon” tossed out there with regard to religion. Lo-and-behold, most of the definitions you’ll see will thusly head in that direction. You’ve got things like the Dead Sea Scrolls, which were not “canonized” into the Bible. In other words, some dudes decided that those particular words written by some other dudes weren’t what they wanted to bank on and teach to more other dudes.

And that’s really the big difference between the Bible and Dragon Ball (among… uhh… a gazillion other things, I guess). Whereas the Bible has THE CHURCH™ to define which particular collection of stories into one book (and even which translation) they abide by, there is nothing like that with Dragon Ball. Sure, there are the ultimate rights holders and production companies, but none of them have ever come out and said, “Look upon ye’ official canonicalness!” and pointed over to a very specific number and type of books. No-one has ever blatantly said, for example, “movies don’t count” or “GT never happened”.

There are a couple things you might toss out there, though. “Hey dumbass!” you may say, “Toriyama said DBGT was just a side-story!” You would be correct, Mr. Rude Fan! In his introduction to the DBGT Dragon Box, Toriyama wrote, “DragonBall GT is a grand side-story of the original DragonBall, and it’ll make me happy for us to watch and enjoy it together.” What does that mean, though? Is he saying he personally does not consider it part of the story (and whether he does or does not, what does it matter to you?), or is he just making a general, sweeping statement?

You may go on to say, “Hey jerkface! Those diaz books put the movies on the same timeline as the manga, so it thinks they count!” You would be somewhat correct there, as well! At points, the daizenshuu will note how, if it had to fit, a particular DBZ movie would possibly fit in at Story-Point-X… but then go on to say that it would be impossible for it to work out that way. They acknowledge them, though, so are they considering anything they talk about part of the canon?

Which brings me right back to my main point: no-one’s ever sat down and said, “Mmm, yes… we consider the official story to be the original 519 chapters as written by Akira Toriyama, plus these other things, and absolutely nothing else what-so-ever!”

They just haven’t. No-one in any official capacity, that is.

image courtesy of our buddy Tekkaman James

I’m always curious what folks really mean when they ask: “is it canon?” How are they defining what “canon” is for themselves? I would assume what they’re asking boils down to something like, “Did someone say this is supposed to fit in with the original manga, and are we expected to accept it as always having been this way, despite it being shoehorned in so many years later?”

But it just circles back around at that point, since no-one’s ever said anything like that. Whenever a new animated special comes out (Jump Super Anime Tour Special), whenever a new spin-off manga comes out (Dragon Ball SD)… no-one from the production side ever makes any claim like that. They’re just making stuff for the sake of making stuff (well, they’re making stuff in an attempt to make money off you at some point down the line). They may make an attempt for whatever new story they write to fit in in the loosest sense, and maybe even give it a broader description, like was the case with Episode of Bardock, which was promoted as a “sequel” to the original TV special from 1990.

Well, of course it was a “sequel” — it picked up where Bardock’s story left off. You don’t have to like it, and it can be tons of fun to point out some of the inconsistencies which causes it to not actually work out flawlessly in conjunction with its inspiration… but no-one’s making any claim about “canon” in there. It just… kinda… “is”.

So are they inside or outside the ship…?

Lots of fans like to create their own canon. A pretty common one is: “if Akira Toriyama wrote it in the original manga between 1984 and 1995, I consider it — and nothing else — to be canonical”. That makes sense; it’s from the original author and written during the time frame of the franchise’s original publication and production.

They may go on to create different “levels” of canonicity, too. The manga may be the base level, and then the TV adaptation below it (basically “less seriously”). In cases like this, it’s usually for the purposes of ironing out contradictions (generally created by filler material or expanded conversations) and deciding which “truth” to go with.

Going even deeper, you have things like the movies and TV specials, and how they are placed into a canon, if at all. One traditional viewpoint is that movies 9 (Bojack) and 13 (Hildegarn) can pretty easily fit in with even the original manga, so hey, let’s consider them part of the canon just to flesh it out and have extra material. What about the TV specials? Bardock gets all the spotlight these days, but what about Trunks? The TV special adaptation took huge liberties from Toriyama’s original “TRUNKS THE STORY” (such as Trunks already being Super Saiyan versus transforming due to Gohan’s death), but most fans seem to “go with” the TV version, and usually because they simply like it more. Is liking something reason enough to consider it part of the canon, though?

Which is her natural hair color…?!

Whatever you “decide” to “go with”, it’s all fine and dandy. It’s a great way to get further involved with the franchise that you love so much, and even just to keep track of things in your ever-increasing head of knowledge.

But that’s really the extent that you can take it. You have examples like Dragon Ball GT, which was an officially-produced sequel (as in one of the rights holders, Toei Animation, had permission and the capacity to produce it). Is it part of the “canon”, though? Well, you can’t really answer that. Some fans will accept it since it continues where the story left off, and the producers were the ones who made it (as opposed to Joe Schmoe on the Internet writing another AF fan-manga). Other fans won’t accept it since Toriyama’s involvement was limited and only at the beginning of production. Other fans will accept it but also try to work in Dragon Ball Online, despite the two crossing paths.

No-one’s “right” or “wrong” here. There is no, to bring it back to the definition, “authoritative list of books accepted as Holy Scripture”.

Maybe there is, though. I don’t see anyone debating that what Toriyama originally wrote for the pages of Jump shouldn’t be taken as “canon”. That’s pretty “accepted” as the “authentic works of a writer”, correct?

It gets tricky the instant you step outside of that, though. How about things that Toriyama wrote or decided later on after the series’ completion? There are things like Mr. Satan’s real name being “Mark”, the Kaioshin coming from the Shin-jin and apples and Makaioshin and all that jazz… the original author declared all this, so is it “canon”?

While we’re at it, what about the revised ending that Toriyama drew for the kanzenban? It’s from Toriyama. It’s manga. Is it “canon”…? What about the prior version? Should it be disregarded, as if it never happened?

That brings us to a fun little thought exercise. Let’s say that Toriyama decides he doesn’t just want to keep slapping his name onto things with a “supervisor”-esque credit anymore, and writes a true continuation of the series. It could be right after the original manga, or after GT — it really doesn’t matter in this example. What would you consider this new story? Would it be part of the canon for you? It could go one of two ways. One school of thought places anything that the original author writes for the series (in this case, let’s say just in manga form to keep it simple) in the canon. The other school of thought believes that unless it was part of the original series and was always intended to be a part of the series, it doesn’t matter if even the original author comes back to it — it’s still a new addition, separate from the original canon.

And that’s why I think you can’t (and perhaps shouldn’t) even attempt to ask: “is it canon?” No-one who produced the series seems to care enough to make a declaration of canonicity, and it continues to expand with new productions every single year. I’m not pulling the, “it’s a fun series from a poop-joke author” card here like I usually do, either (well, maybe just a little bit). It really does continue to build with so many different bits of lore every single year, and so much so that if you’re asking what the “canon” is, you’re already so far down the rabbit hole that you’ll never decide on a proper answer.

(Next time on “Mike Rants About Insignificant DBZ Stuff”, perhaps something like “Why you’re missing the point about battle powers”… along with some of the other great “God hands down ye’ golden daizenshuu” images folks slapped together for us!)

Otakon 2011 In Review

My first Otakon was back in 1999. I went for just one day, but for little 17-year-old Mike, it was quite an eye-opening experience. Bootleg CDs were obtained (how was I supposed to know what SonMay was?!), anime was watched (Hiko Seijuro walking on-screen during the Rurouni Kenshin OVA received the loudest applause I’ve ever heard), and fandom was confirmed.

Things are different in 2011. I first submitted an AMV in 2001, and then regularly from 2003-2008, nothing in 2009, again in 2010 (finally winning at Otakon with that one!), and doing many AMV panels there throughout the years with our generational cohorts. Shockingly (more so to us than maybe to anyone else), we actually skipped watching the AMV contest entirely this year — it conflicted with other events we had more interest in. All three of our panel submissions were declined, so unlike 2007 and 2010 with DragonBall-related panels (and other years in there sprinkled with AMV panels), we had nothing to prepare for in that regard. Even our hotel roommates had to bow out toward the end (through no real fault of their own), so it was the first time in around ten years that it was just the wife and I attending as regular ol’ attendees.

Having gone to the convention with that mindset (“I am just another person here!”), I felt like I actually had a lot to say about this year’s convention. Maybe some of it is helpful to someone. Maybe some of it is too rose-tinted. Maybe some of it is too critical. Maybe some of it will guarantee I never get another panel at the convention again. Oh, well.

COSPLAY

No, not of our own — never done that before — I’m talking about everyone else! I am of course drawn to the DBZ cosplay throughout the convention, but I notice a few other things here and there. Still a lot of Fullmetal Alchemist, still a bit of Ouran, a lot more Pokemon than in the past, still a good amount of Final Fantasy VII and Kingdom Hearts… you know, the usual suspects. What would normally annoy me (moderately disruptive behavior) was somehow one of my favorite examples of literal cosplay (as in playing it out in costume): the three dudes decked out in full Beastie Boys “Sabotage” outfits ducking and spinning down the hallway blaring the song on a boombox. I applaud you, good sirs.

Only managed to snap a few shots of DBZ cosplay this year, unfortunately:

Quite a few other good ones (Uub, Selypa). I should probably make more of a concentrated effort to take these types of photos. My bad.

WATCHINGS

The plan was to catch the Otakon debut of Trigun: Badlands Rumble and then head on downstairs in the short buffer period to get in line for Fullmetal Alchemist: The Sacred Star of Milos. I was led to believe both would be subtitled, but it turned out the Trigun movie would be dubbed, followed by a Q&A session with Johnny Yong Bosch. Having zero interest in the latter but still having an interest in seeing the movie, we crammed into line for the HD theater. A good portion of the folks behind us were told they would not make it inside, so I consider us somewhat lucky that we got in at all. Things ran about 15-20 minutes late, but with that being the norm for these types of events, nothing was particularly frustrating.

The dub was thankfully solid (not that I didn’t also think the same of the TV series dub, but it’s a Japanese production — I want to watch it in Japanese at a Japanese animation convention with one of the Japanese guests being the head of the movie’s Japanese animation studio [follow all that?]). As I’ve heard described elsewhere, the three main returning characters had re-castings that were so close to the prior actors that undiscerning ears might not even be able to tell the difference: Milly was a dead-ringer, Meryl was pretty close, and Wolfwood was better (from what little he spoke, anyway). I’m really glad we got a chance to see it first during a convention with such a massive audience, because I’m not sure it would have had some of the emotional impact just by ourselves, even at home in HD with surround sound. The instant Vash appeared screaming on the ground in the opening, the crowd erupted in laughter and cheers. The first moment Wolfwood’s gun/cross got unwrapped, the applause rivaled what I remember from Hiko slashing the Hell out of grunts back in 1999. These were magical shared moments, and ones that I will treasure for a long time to come. Without the audience? Next time I watch the movie, I will likely start picking apart some of the needless exposition, dragging pace of certain scenes, and occasional cheap 3D animation integration. Until then, every time I think of the movie there will be a smile on my face.

Like I said, the plan was to then run on down to Video 1 to get in line for the new Fullmetal Alchemist movie, but the overwhelming crowd and lack of a room-clear following the AMV contest left us in a weird situation: do we wait it out and hope we make it in, and what else could we be doing in the mean time if we decided to just bail? In retrospect, it sounds like we would have been able to get in if we stuck it out, but I’m OK missing out on one movie after having just sat through one immediately beforehand. Besides, without stadium seating, the poor short wife might not have been able to read the subtitles! Insert annoying “chibi” joke / FMA reference here. Funny, right?

We ended up walking on over to the Sailormoon / DBZ panel, instead. More on that later. Much more.

DEALERS ROOM

We buy less and less every year. We at least grab the obligatory gashapon to add to the display in our basement, but unless something major catches our interest (like the DBZ movie 4 program guide from last year), there really isn’t anything to pick up at a convention that I don’t already either own or have on pre-order elsewhere.

We perused the hanger in shifts this year: halfway through on Friday, and halfway through on Saturday. During our Saturday run, we happened across an enormous table filled to the brim with DBZ figures! Most dealers have a few figures and plushies from various series, but this guy had an entire table dedicated to just DBZ stuff. He (unfortunately) wanted to keep a low profile and had no business card or contact information (and declined an interview), but near as I could gather from what he let slip, he grabs a metric crap-ton of stuff when he goes to Japan, and when he needs to pay his daughter’s next college tuition fee, he heads to a convention and sells the stuff. What was most amazing to me was how reasonable his prices were — he easily could have added $5 to the price of any small figure, $20+ to the price of the larger stuff, and I would not have batted an eye.

picture swiped from our buddy TanookiKuribo

I had already grabbed the Piccolo “Creatures” figure elsewhere, and we picked up a few new ones from this dealer. Good little stash, I’d say.

I saw the program guides for DBZ movie 2 and the 10th anniversary movie, but I wasn’t willing to spend $25 a pop on program guides again this year. I almost walked out with a boxed copy of Famicom Jump: Hero Retsuden for the Famicom ($40), but the figure purchases changed that plan.

OTAKU IDOL

Something we had never attended before, Otaku Idol was at least a quick check-in for us this year with our friends Peter and Katie being participants. Due to what I assume is not wanting to overly criticize poor otaku souls, the largest dissections by the three judges were limited to things like “that song was within your range / maybe a little outside your range” or “great job moving around / I wish you moved around a little more”. We watched the ten finalists do their thing, and just about all of them were impressive in their own right. It was no surprise to hear that Peter ended up winning it all in the end based solely on his amazing “GA-GA-GA, GA-GA-GA, GAO-GAI-GAAAAAAR!” first-round performance.

IRON EDITOR

Since we didn’t make it to the Fullmetal Alchemist movie, we also had time later on to attend Iron Editor. After sitting around for a little bit waiting for the event to start up, we got the request to be judges yet again. I love that the AMV winners are played during the second half of the event, but that also means that we literally sit up there for one of the two hours and do absolutely nothing (well, we watch the videos along with the audience). I’m not sure how I feel about that. If we are asked again to be judges (which I certainly enjoy!), I will have to toss some ideas over to Peter (who took over hosting duties this year and did fantastically) in terms of how to make the judges appear to be more than dead weight on the stage. In the past we would choose some of the audience participants for contests, but even that isn’t enough. What else can we do? Hmm…

FAN PARODIES

We were mostly excited to see the Otakon debut of Fanboy Soze, but it sounded like there were a couple other new items being played that might also be fun to check out.

Our own Obligatory EVA Trailer was played Friday evening — that was an interesting experience. We put that together in 2003 when Sealab 2021 was still new. It actually won “Grand Prize” in the 2003 Anime Weekend Atlanta AMV Expo contest! I still love it to death and think it’s genuinely funny and well-put-together, even without any familiarity with either source material (Sealab and Evangelion). In 2011, though? Barely any response. Wow. Really goes to show just how much comedy is subjective, especially to an audience so many years removed from when it was originally created. Honestly, it was somewhat embarrassing. Really puts things in perspective! I wonder how many of our AMV-related works will stand the test of time — will any of them? I have an entirely different perspective since I actually worked on them, and can’t always remove myself from their creation process.

Fanboy Soze, the new parody from NoN.D.E. Fan Films, went over fantastically. The wife and I were discussing how we think the underlying plot point about how many series (particularly DBZ) getting re-released so many times in different formats may have went over the audience’s head a little bit, but everything else made up for it. All the right jokes hit home, and some that seemed like they may be too old or obscure for today’s fans (such as when “West of Home” in the Zork parody came up) really surprised me with how amazing the reaction was. Conventions really are the best place for parodies like these, and with both the video and particularly the audio being set up pitch-perfect this year, it just made everything all the more awesomer. For those interested, Scott has put together a jam-packed DVD with tons of extras. It’s currently available in a multi-part download via their forum.

The biggest surprise in the parody block Saturday night was Macross 7.5 1/2. Especially for a one-man production, I was absolutely blown away. The entire thing could have ended after the 1-2 minute introduction, and I would have been satisfied, but the fact that it went into a full-episode parody hit it out of the park. There were a couple instances where it dragged or became a little confusing, and of course a little extra production help could have helped, but all-in-all you can color me impressed.

PANELS

Oh geeze. Where to start?!

I guess I have to preface this by saying that I absolutely adore panels. When done well, they can be some of my favorite experiences and memories from a convention. I’ll never forget the discussion at Shoujocon one year equating Jem and the Holograms to American shoujo, the genre’s/classification’s relevance to something like Escaflowne, etc. The gekiga panel at Otakon a couple years back was a fascinating look at where hilariously-manly storytelling could go above and beyond shonen and seinen. Every year in between I have attended a panel that blows me away with the amount of research, knowledge, and professionalism that can be presented by mere fans to their comrades.

The other side of panels is what drove me to start doing my own, not to mention the podcast over at Daizenshuu EX. You know the ones — a dude or two sitting up front that simply like something and want to talk about it. Hey, remember that time Person X smashed Person Y in the face? Yeah, that was awesome! What do you think about Event Z? Yeah, that was pretty sweet. Any other questions? No? OK, let’s attempt to be funny for the next fifty-five minutes.

There is a time and a place for that type of conversation, but a panel at one of the largest anime conventions is not it.

Here is a break-down of all the panels we had the opportunity to hit up this weekend. This isn’t even cracking the surface of what was offered, but it might be a pretty good surface-level glance at the type of stuff available to attendees:

  • Remembering Satoshi Kon
    Presented by Daryl Surat (Anime World Order / Otaku USA), I knew what I was getting into with this one — a deliberate format, examples to back up claims, microphone etiquette, and all the other stuff that goes along with a fantastic panel. I learned new things, I remembered things I forgot, and gained an even larger appreciation for the late Satoshi Kon than I already had. Daryl gives himself a hard time by admitting that much of his research extends to on-disc extras and basic online research (indeed, much of what he covered is listed in the Satoshi Kon Wikipedia article), but it’s the way that it’s presented in-person that makes it so engaging. I can’t say enough good things about this panel.
  • Becoming a True Pokemon Master: An Introduction to Competitive PKMN Training…
    We arrived just after the start of this panel (thanks to having to run from the convention center over to the Hilton), and it was filled up enough to have to wait for a couple folks to leave before we were let in. That means we unfortunately missed the beginning portion, so I have no idea who presented the panel and how the first half went, but I was impressed enough with what I saw. Things were a little rough around the edges (you don’t need to read entire paragraphs off your PowerPoint presentation — please learn how to outline!), but the content was solid. I had never heard of “RNGing” before, so I can definitely say I learned new things. The content was excruciating for the wife who had zero knowledge and interest, so this was definitely one for the hardcore fans, and them alone.
  • Anime News Network
    Chris was at least aware of how bad this was and acknowledged it at the beginning, but the panel was basically just “what do you want us to talk about?” I can understand how that is somewhat appropriate for a mainstay website/panel like this, so it gets a little bit of slack. Nothing particularly enlightening or enthralling either asked by the audience or answered by the panelists, but them’s the breaks. Lots of prizes for the audience, so at least the bribes were appropriate.
  • FUNimation
    The only industry panel we attended this weekend, FUNimation’s was by-the-books, covering recent releases, current statistics, upcoming plans, and a few light announcements. Nothing earth-shattering out of the panel (still no Sailormoon! Blargh!), but for the DBZ superfans, we at least got some preliminary clarifications about the upcoming Blu-ray sets (un-cropped, apparently a new remaster). It sounds like they had one or two more announcements they were hoping to make, but the ink wasn’t dry and they had to hold off on them. Oh, well!
  • Deculture! A Macross Panel
    Walked out after the first ten minutes. The panelists did not introduce themselves, could not get their words out, seemed woefully unprepared, and did not know how to use a microphone anyway. Having recently watched the original Macross TV series (finally!), we have still been riding a high of enjoyment about the franchise. An overview of all the series and some new tidbits of information sounded like a great time. Unfortunately, this seemed like it was destined to be the exact opposite of a great time.
  • Unusual Manga Genres
    We only managed to catch the second half of this one as presented by Erin Finnegan (Ninja Consultants / ANN), but it was still a great time — endless examples of every niche genre spanning hilarious to serious and back again. She knew what she was talking about, was aware of the time constraints and adapted appropriately where necessary, spoke loud and clear… again, another fantastic panel that both enlightened and entertained, the two things I want out of every panel.
  • Masao Maruyama Q&A
    Despite him attending the convention for years, I think this was actually the first time we had a chance to stop by the Madhouse director’s general Q&A panel at Otakon. Another by-the-books professional panel with the expected questions from the audience, but a great and honest commitment by Maruyama to secure funding for and complete Satoshi Kon’s unfinished work (The Dream Machine) was a testament to his own professionalism and integrity.
  • Noburo Ishiguro Q&A
    Why waste time talking about things like Yamato and Macross when you can spend 20 minutes talking about the production of Cream Lemon?! That’s how things roll with Ishiguro! Lots of fantastic anecdotes dropped in this woefully-ill-attended panel.
  • Birth of a Generation: Dragon Ball Z and Sailor Moon
    In the interest of full disclosure, I should note that we submitted detailed proposals for two DBZ-related panels (one was media-focused regarding parodies and homages in both Japanese and American popular culture, while the other was a more formal dissection of how and why the franchise seemingly failed in Japan this past year). Neither were accepted. I can deal with that — we got our panel last year, it went well, and I suppose you can have someone other than the folks who run the oldest-currently-running and largest English-language resource for the franchise who do this stuff on a daily/weekly basis run a panel about it (ugh, sorry for how amazingly egotistical that sounds… but I’m also not sorry…). This was going to combine TWO FRANCHISES, so I totally get it: twice the potential audience. Makes complete sense, and I might make the same decision. Unfortunately, it was quite possibly the worst panel I’ve ever attended in my life. To be fair, we arrived about 25 minutes into the one-hour block. It looks like they had a PowerPoint at some point, but by the time we arrived, they were already well into a line-up of questions from the audience. The two panelists admitted they weren’t really experts (they just like the series), could not answer any of the legitimate questions asked of them (one regarding “the lost movie” from DBZ), and spent far more time bantering about whether Tuxedo Mask, Moonlight Knight, or Super Saiyan Vegeta would win in a fashion contest, or just how friendly Goten and Trunks really were with each other. The audience walked all over them, the panelists let them and indulged them with each and every painful question, and I struggled to convince the wife to stick around and watch the rest of the train wreck with me. Here’s the conundrum, though: the audience seemed to love it. They cheered with each and every Q&A, kept running up to ask more questions, and seemed to be having a great time. Plenty of people walked out, too, but plenty of people walk out of every panel, so I can’t really make a call in that regard. It just flabbergasts me. These people had absolutely no authority, no real preparation, no presentation skills at all, and yet received both a time slot and free compensation. I’m sorry, what world am I living in that this is not only OK, but appreciated by the audience? Am I the crazy one, here? One of the reasons I love doing panels is that I get a chance to share information and adoration with fans who don’t already partake in that stuff online. They have questions, I have answers, and everyone leaves in a good mood with knowledge they didn’t have an hour prior. That fulfills me in a way that I don’t get in any other fashion at conventions these days anymore, and with the personal interaction that even the podcast doesn’t truly have. At this point, I just don’t even know what to do about it.
  • The Abridged Panel
    A perfect example of a lackluster panel for me, but an extravaganza of awesomeness for others, and one that I totally understand and respect. People attend these panels to see their favorite “Abridged” series creators do some voices, share some new clips, yell things when bubbles appear on the screen, and gracefully accept the random fortune cookie tosses. Thrown in the mix you have people asking the obligatory questions like how to get into abridging on their own, and at the end of an hour, you’ve got a fantastically-attended panel full of laughs. I get it. Not for me, but I get it.

MEETING PEOPLE

With no panels of our own, we didn’t even bother trying to set up some type of community meet-up. I guess I shouldn’t be surprised that if I was putting in so little effort, I wouldn’t be meeting too many new people! Major props to Doug (“Drabaz”) for recognizing me during the Friday evening fan parodies block. Having just recently spoken with him on our podcast about his custom LittleBigPlanet level, it was great to chat in person for a bit. The only other new meeting took the entire weekend, but I finally got a chance to man-hug our buddy MasakoX from TeamFourStar after the giant “Abridged” panel Sunday morning. It would have been criminal for him to have flown all the way out here and then never get a chance to say hello at some point, so I am incredibly grateful for him taking the time out of autographing gazillions of program guides, DVDs, books, bare chests, and whatever else fans were throwing his way to instead briefly hang out with us.

There were of course all the catch-ups with old friends, but two new people? That’s it? Lame, Mike. Very lame.

SO WHAT DID I ACTUALLY THINK?

Otakon 2011 was pretty fantastic. We saw a lot of great people, saw a lot of great things, had a great time, and I don’t see why I won’t be back in 2012 for my 14th consecutive time to the only convention I actually still go to. Some things still need work, but they always do, and I look forward to seeing it continue to evolve.

Internet Persona (And Personal) Growth

I recently archived some of my earliest online endeavors. Some of them are filed away under lock so none of you will ever have a chance to see them. Some, like what I am about to share, are too cute to hold back. It is occasionally a good thing to look back at where you came from, figure out how much you have grown, and where to go from there.

When FUNimation (in conjunction with Pioneer) was releasing the first three DragonBall Z movies state-side back in 1997-1998, I was just beginning my website and writing quick reviews of the releases. Here is what my 15/16-year-old self wrote about “The Tree of Might” (DBZ movie 3), and specifically the uncut home release of its dub, back in 1998:

DragonBall Z Movie # 3:  The Tree Of Might

Was I ever surprised with this one!!  This IS NOT, I repeat, IS NOT the same “Tree of Might” that was shown on television.  It has been completely re-dubbed, and it is SOOO much better.  No more of that, “jerk” crap.  Instead of Taurus (yeah, it’s still “Turles” in the dub,  folks) saying to Piccolo, “And just who are you?” he now says, in a tone that suggests he is quite unimpressed with Piccolo, “Who the Hell are you?”  Just great!!  While the signature move names (for the most part) have still been changed (“Kienzan” – “Destructo Disc”…. “Taiyo-Ken” – “Solar Flare”….. “Genki-Dama” – “Spirit Bomb”… etc.), I must say, it was nice to hear Gokou (uh… whoops… it’s “Goku” in the dub, still) say “Kaio-Ken” the correct way!!  No longer is it being pronounced “Kayo-Ken”… we now get the true, wonderful, “Kaio-Ken!!!”…. I love it.  The new voice actors actually didn’t get on my nerves!!  Goku kept it pretty good, Oolong’s new one sucks like Hell, Roshi seems to have about three different people doing his voice, and….. uh….. Higher Dragon (yes, no more of that “Icarus” crap!! We get an actual translation of “Heiya Dragon”) must have had his Japanese “voice,” because it wasn’t half as annoying as it was as the TV version.  The gay-ass one liners have all been taken out, and I’m pretty sure they’ve stuck to the original Japanese script (from what I’ve read of the translated Movie # 3 script, so far).  I’m still in shock at the new queer names for some of the moves, though… no more “Kamayamaya” for “Masenko,” but now it’s called “Power Beam!”  “Souki-Dan” was “Here’s a power shot!”  Oh well… can’t have everything you want (actually, you can…. buy the sub-titled version!)  This movie is a whole hour long (15 minutes longer than # 1).  It’s a great hour, though.  There’s a ton of scenes in the Movie here that weren’t shown on TV, which made it all the more enjoyable.  The original Japanese soundtrack was also left intact in this movie, from “Cha La Head Cha La” to the ending song (who’s name I can’t remember… I’ll put it in when I watch the movie again).  This is just another example that says the guys behind the dub CAN pull something off that is somewhat worthy of Toriyama’s name.  Once again, I commend them.  Now, if we could only get this “Masenko,” Taiyo-Ken,” “Kienzan,” “Souki-Dan,” and “Genki-Dama” stuff right…..

Contrary to earlier reoprts, “The Tree of Might” is already available, on Dubbed VHS, sub-titled VHS, sub/dub Laser Disc, as well as sub/dub DVD.  Pick up a copy!!

SCORE —- 5.5 out of 7 DragonBalls

It is horribly embarrassing. To be fair, I was 16 years old — random cursing and slurs was awesome, and knowing any amount of Japanese (never mind character name pun origins) at that time was equivalent to being King of the Moon. I insisted upon spelling the main character’s name as “Gokou” (something I have done a complete 180 on) simply because it was “different” from what “THE MAN” told me it was. I used a numerical grading scale, something I would never imagine doing these days. I somehow managed to use more ellipses than I even do today. I used the wrong “whose”.

You can probably imagine me bashing my head against the wall right now.

At the same time, it is interesting to see some of the things I have not compromised on. I still have a huge problem with mispronunciations. I still have a huge problem with replacement musical scores. I still have a huge problem with revised scripts. Amusingly, these things all affect me far less due to the widespread availability of the shows in their original Japanese format — as you have come to hear me explain time and time again, an English dub these days is irrelevant to me (up through the point of it affecting greater conversations and information accuracy widespread-ness).

I think this is why I have more patience for kids on our forum over on Daizenshuu EX than a lot of you wish I had. I know that some of them just need a path and a guide. VegettoEX of 1998 was just a punk-kid with delusions of grandeur. He kept working at it, though, until those delusions were at least halfway real…!

Now you have to suffer with me whether you like it or not… which is just the way I like it.

Otakon 2010’s Yûji Mitsuya Panel of Awesomeness

There are plenty of stories to share about this year’s Otakon, and rest assured that many more will make their way to either this blog or our podcast over on Daizenshuu EX. One story in particular is a combination of news and hilarity (and has pictures to go along with it!) so you can imagine that I could not wait to share it with everyone.

Saturday afternoon at 1:30 pm, veteran voice actor and director Yûji Mitsuya was holding a second Q&A panel. We had missed out on his panel Friday afternoon due to conflicting events, but made sure to be open for Saturday’s panel. Mitsuya is perhaps best known to DragonBall fans as the voice of Kaiôshin in DragonBall Z, so while he is not necessarily in the same “importance” league as, say, someone like Toshio Furukawa or Mayumi Tanaka (both of whom are somehow tied to him in one way or another…!), he is no stranger to our extended anime fandom.

While it could be the subject of an entire blog post in-and-of-itself, and while it certainly is never a surprise to me, it continues to be an extreme disappointment to see how few people turn out for Japanese guests at anime conventions these days. Whether it is a lead animator, the creator of a series, a notable voice actor… it does not seem to matter. If they are not the hot English voice actor of the moment (hey, remember when Richard Ian Cox was the big shit for, like, a year?)… no-one comes to see them. It is incredibly sad when you take a step back and realize that we are all coming together to celebrate Japanese animation and culture (debatably, anyway; there is an argument for it all just being general nerd-culture-celebration loosely focused around anime).

But I digress.

Despite the ridiculously low attendance to the panel, Mitsuya charged forward like a champion with all sorts of stories. We heard about drunken sempai lessons and advice, learned how he formed a quasi-male-idol band with Toshio Furukawa (Piccolo) in the past, forming a theater group with Mayumi Tanaka (Kuririn, Yajirobe), and much later on after moving around so many times (keep reading!), ghost-directing the cast of Rurouni Kenshin for three months before deciding to allow himself to be credited and specifically choosing and mentoring Mayo Suzukaze for the lead character’s role based on her own theater performance. The man was just full of astonishing stories and genuine humility.

Then the fire alarm got pulled.

Translator Toshiyumi Yoshida first asked if we should all just stick around and continue, but Otakon staff insisted that we all must leave as the entire building had to be evacuated. In an amazing showcase of professionalism, Mitsuya suggested we all come along with him to the outside plaza there on the third floor and he would gladly continue telling stories and taking questions. So… the dozen or so of us followed him along and continued listening!

As we got going into the next story, Otakon staff insisted that we had to evacuate all convention center-related areas, including this outside area. Mitsuya was far from done, and insisted we all continue on with him! We traveled down an escalator, down some flights of stairs, and ended up alongside a wall outside of the convention center. Just as we started up again, Otakon staff yet again insisted that we continue onward away from the convention center.

Mitsuya was unphased. Much to the surprise of Yoshida, the entire group plugged onward with him and Mitsuya inside the nearby Sheraton hotel. We plopped in a corner and continued onward with the stories and questions! Mitsuya explained how he ran into Nathan Lane (the voice of “Timon” in Disney’s The Lion King) in New York and screamed “I am Japanese Timon! I am Japanese Timon!” into the frightened actor’s face. Unprovoked, he would burst into his characters’ voices and lines to describe his excitement over the roles and love of his fellow actors.

I managed to get in the last question he had time for. It was still quite a ways off, but did he know if he would be returning to voice Kaiôshin in DragonBall Kai…? The answer that we received confirmed quite a bit about the show’s production.

Mitsuya knew exactly what we were talking about, and admitted that he was not yet sure, himself. Being a director more than a voice actor, he is friends with the director of DragonBall Kai and has already expressed his desire to return to the role. What he told us next spoke volumes in very few words — he was unsure if they would be able to afford him, and if the series would even make it that far. He even slyly mumbled that he would be willing to take the job at a reduced rate!

With the entirety of Ginyu-Tokusentai being replaced with new voice actors (including Kenji Utsumi as Recoom, despite him returning to the show to voice Shenlong), along with plenty of other voice actors that have become much bigger in the industry since their roles in DragonBall, it has really made us wonder just how expensive DragonBall Kai actually is to produce, despite us always describing it as “cheap” and “a money-grab” and “half-assed” in almost every way. Hujio and I later discussed how it seems that these days we get confirmations of actors returning either very close to their first appearance in the series… or not at all. Many times it will not even come from the official site for the series, and instead from the actors themselves or their fan communities (such as the case with #17).

Branching off of that, we could not help but speculate further. Was the licensing of Kai to FUNimation for American distribution a way to raise quick capital to fund the further production of the series? When it was first announced, it was clear that the series would go through at least the Freeza arc, since the villain was clearly shown on all production materials. The fact that it would be moving onward into the next story arc with Cell was a very casual “announcement”.

At the end of the day, this set of rambling paragraphs is less about DragonBall and more about how great of a time we had with Mitsuya. His courtesy and enthusiasm is unparalleled, showcased by his desire for a group photo with everyone at the end of the “panel”:

What a freakin’ great time…!

(Thanks to Hujio and… oh hey, myself!… for the photos :P)

Say It This Way ‘Cuz I Said So

I won’t lie. I sometimes lurk around other forums. There are only a couple I regularly keep up with (my own, the FUNimation DB forum section)… but there are a couple others I have bookmarked that I check in on every couple of weeks. I feel somewhat of a responsibility to keep up with what the general zeitgeist seems to feel, think, and discuss. Even if they are discussions I have zero interest in participating in, if I am going to call myself an authority figure, I should at least be aware of what the current trends are.

This thread on the GameFAQs “DragonBall – General Message Board” area piqued my interest. I have a morbid curiosity in seeing how people explain Japanese pronunciations to other people in textual form. Someone wanted to know how to pronounce “Kuririn” — a valid question, especially considering that I have been working on my own pronunciation of the name for years. I know how to pronounce it, obviously, but my linguistic lack of skills have always slurred my “r” into “d” sounds! I think I have gotten it down pretty well these days… though I am certainly no Julian ^_~.

Anyway, this response made me chuckle:

Krillin. You’re not Japanese.

We have done whole podcast topics about “today’s fans with regards to the series and the way they view it (both the Japanese version and the English version, in relation to their [dis]placement)“. It is totally fine if you want to be that way — as Julian has humorously quoted (and I paraphrase), “If English was good enough for Jesus, it’s good enough for me!”

Why bother with the “Japanese names”…? You speak English! It makes so much sense! We won’t even bother with examples like “Cell” and “Trunks” which Japanese-ify “English” words with their inherent extra syllables, but:

  • What about some of the other character names, though? Don’t you say “Kami“…? OK, fine — maybe you try to be self-consistent and translate/speak it as “God”. I will give you an “out” on that one.
  • Don’t you say “Goku“, which is a Japanese reading of the Chinese name for the Monkey King…? OK, fine — maybe you drop the “Son” surname to feel better about it and yourself.
  • Don’t you say “Tien“, which is a reference to something Chinese, never mind that it is not even how his name is spelled/pronounced in the original Japanese version of the show? I suppose this is pretty similar to the “Kuririn/Krillin” adaptation…
  • The name “Kuririn” is every bit of a pun-based name as “Ginyu“, which American fans typically write out and pronounce near-phonetically-equivalent to its original Japanese pronunciation — why is that one OK? Don’t you see the hypocrisy?
  • Don’t you say “Kamehameha“, which is a combination of actual Japanese and gibberish?
  • I am seeing hilarious conversations these days where dub fans are now trying to figure out which sounds “more cool” to keep, since the dub of (Z) Kai has changed things like “Destructo Disc” to “Kienzan” — their own overlords (the FUNimation English dub) won’t stay consistent for them, so they are left to flap about in confusion.
  • Worst of all… the Viz manga (you know, the English version) spells it as “Kuririn“. This has nothing to do with pronunciation, of course, though… but it somehow seems relevant, ya’ know?

I mean, shit… what about other shows where a character’s name is a Japanese name…? Do you “translate” it for fear of being seen as anti-American? Do you call the author of the series “Bird Mountain“, and if so, how do you reconcile the fact that his studio is literally called “Bird Mountain“…?

Why is it OK to keep some names with their Japanese pronunciations, and then disregard all others while scoffing at anyone who doesn’t choose to use your preferred dub’s spelling? Much like folks who have only read Viz’s translation (which has exclusively used the spelling “Kuririn”), I would wager that if the name was never changed to “Krillin” in the first place, these folks wouldn’t even blink at “Kuririn” all these decades later. I hate to play this card, since I am so sick of talking about it (and you are so sick of hearing about it)… but is it not simply because FUNimation just happened to have decided to change that name?

It is entirely inconsistent. It is ignorant. It is fearful. It is arrogant. It is hypocritical.

The mentality of “STFU your not jap spell/pronounce it dis way” is laughably moronic when you are using other Japanese-based (if not un-changed, entirely Japanese) character names in the same breath.

Yes, I am right and they are wrong. I dare you to argue otherwise ^_~.

(P.S. – Oh, and to answer the question… Japanese is pronounced very phonetically and with few exceptions. クリリン breaks down to “ku – ri – ri – n“. The ku is a short syllable that sounds close to the beginning of our word “cool”, the ri is a short syllable that sounds close to the beginning of our word “reed”, and there are two of those in a row, and then the last syllabic-“N” sound is pretty obvious in that it sounds just like it does at the end of our words like “pen”. It all slurs together pretty quickly so that it sounds like what I talked about here [MP3 example included]. “Krillin” is something that I feel is a totally legitimate transliteration of the name, but let’s not pretend that “Kuririn” is absurd.)

(P.P.S. – To semi-quote myself being sarcastic recently… “Shit’s serious, yo.” No, this is not a big deal. At all. It does not affect anyone’s day-to-day life. Just felt like writing about it.)

Behind The Joke: Appule

Regular fans of Daizenshuu EX no doubt have heard us drop Appule’s name in semi-sarcastic and humorous ways. It has grown into something of an “in-joke” over the years — it is funny enough on its own (“lolz random character”), but the way in which the joke continued to build upon itself adds a little bit to its mystique and hilarity, and may be worthy of discussion.

So, hey. Here you go.

Many years ago, I started working on a “Character Guide” for the website. It ultimately never turned into anything because I constantly bite off more than I can chew. Whenever I finished a page for a character, I realized I wanted to include even more information, and constantly found myself going back to do additional research. It was a never-ending cycle, so I eventually just gave up. Other areas of the website were far more important and useful.

In 2004, while still working on the section, I decided to develop a page for a character that appeared for a very limited amount of time. I had already done characters like Nappa and Raditz who, while they were only around for a short period of time, could still be considered “major” characters. My stipulation for myself was the character that I did a page for next had to at least have a name — no random characters like “Jingle Village Filler Man #2”. One of the first characters that came to mind was Appule. He was one of the most minor of henchmen, yet the fact that he not only had a name, but had a name that was actually spoken aloud during the anime, is what solidified the choice for me.

The character profile was slightly more interesting than others to write because Appule gained a palette-swap named Oran in the anime who occasionally replaced what might have been Appule in the manga — it was difficult to tell in black-and-white with so many henchman looking so similar to one another. I even enlisted the help of our forum to scan through some of the scenes and figure out exactly which character was absolutely Appule in which scenes.

After writing the character biography page, I quickly adopted him as my scapegoat character for random jokes. What really solidified the joke for me was the Sparking! series of video games on the PlayStation 2 (and eventually the Wii) — so many new characters were being tossed into the game, I joked often (on and off the podcast) that when they announced that Appule was a playable character, we would know that they had finally begun scraping the bottom of the barrel. With the first Sparking! game featuring 90 playable characters and its sequel featuring 129, it didn’t seem like there would be many other notable characters to toss in.

In December 2006, Namco-Bandai announced a port of Sparking! NEO (released outside Japan as Budokai Tenkaichi 2) for the Nintendo Wii. We received the game first in North America as a near-launch game for the console, but it took a little bit of time for the game to be released in Japan and Europe. As a fun extra for the delayed port, these versions received a couple new characters to the roster. Guess who was announced?

Appule would go on to be a regular roster choice in Sparking! METEOR (released outside Japan as Budokai Tenkaichi 3), fulfilling his destiny according to my jokes.

In 2008, TeamFourStar debuted their DBZ Abridged fan parody series. In the very first episode, Raditz makes an off-hand joke (after killing “The Farmer”):


On Episode #0135 of our podcast, KaiserNeko confirmed for us that it was a reference to our recurring joke with the character, launching Appule to even further in-joke stardom.

MIKE: And I have to say, I guess I’ll interrupt you, ya’ know, how you’re describing the process, there are certain jokes that almost seem directly aimed at Meri and myself.

MERI: Hah, what?!

KAISER: You know, that might actually have to do with the fact that I am a hardcore listener of your show!

(a little later in the show)

MIKE: I have to ask, was there an Appule joke early in that episode?

LANI & KAISER: Yes there was!

MERI: I thought so!

MIKE: I didn’t hear it the first time. Meri was like, oh my god, they just made an Appule joke. I was like, really?

LANI: “So this was why Dad said I couldn’t keep Appule…”

MIKE: Yes! Ah, Appule, these guys are right up my alley!

KAISER: Actually, ya’ know, when we wrote that joke I was thinking of you.

MIKE: Aww!

MERI: That’s so sweet!

KAISER: That’s mostly because, I thought he’s the ONLY person who’s going to get the joke!

That same year, I decided to pay tribute to my favorite, ridiculous, minor character in the series. I collected every single last bit of footage from the anime in which Appule appeared (including an episode during the Garlic Jr. filler arc where it seems like Vegeta kills an entire planet of Appule-esque characters), and tossed together a funny little trailer called “Dead In Two Episodes” in a couple hours. I did not end up using every last second of footage, but only because many of the scenes are just redundant shots of the exact same thing. For all intents and purposes, every scene of Appule appears in the trailer. I happened to finish the trailer in time for Anime Weekend Atlanta‘s “Professional” anime music video contest that year. It was nominated for “Best Trailer”, but I have to imagine it was only because there were so few trailers submitted to the contest.

In November 2008 on Episode #0152 of our podcast, our buddy Jeff asked us about character name puns that had not been “completed”. For example, the Jump Super Anime Tour special completed “Vegeta” with “Table” (using the entire word “vegetable” now to form two distinct name puns). For whatever reason, Appule’s name was brought up:

JEFF: Well, that kinda leads to the question, are there any other characters that haven’t filled out their pun yet?

MIKE: Aahh… yeah!

MERI: “Paragas” — “a”…!

MIKE: “Broli” — “co”…!

JEFF: No, no, wait. I could say Appule… Appu… Paragas…

MIKE: He’s neither Saiya-jin nor vegetable.

JEFF: True. But, like, “Appule” and “Paragas”, you could say “Appu… ra… gas…”… never mind.

MIKE: So Jeff, you want Appule and Paragas to fuse!

MERI: SOMEONE DRAW THIS!

MIKE: Into what?

JULIAN: Oh noooo!

MIKE: What is the resulting fusion name?

JEFF: “Appuragas”.

Within a week, that drawing existed. Our listener Tekkaman-James created “Appuragas” for all the world to see:

Just this year (2010), a new line of figures call “Freeza’s Force” has been seeing a release in Japan. While the first line contained the expected characters like Freeza himself and all of Ginyu-Tokusentai, the third line was set to contain Appule (along with plenty of other extremely minor henchmen). I was more than happy to place my order when he became available for purchase on Play-Asia!

So that brings us all the way up through today. It may not seem it (especially after an action figure and even an appearance as a playable video game character), but there are plenty more places to take Appule. Hopefully we will see some more of him in the near future.

Long story short, The Farmer has nothing on Appule. We also certainly would not some kind of short manga explaining “Appuragas” and his origin story…

Individual Contributions to DBZ Fandom

It is always fascinating when we are able to track down the actual first-time uses of certain words or phrases in DBZ fandom. Some of the things we take for granted and simply accept as commonplace were actually created by fans either for simplicity’s sake, out of ignorance, or even sometimes out of honest mis-translation.

Some of our favorite examples are things like:

  • Ultra Super Saiya-jin“, a term coined by Curtis Hoffmann back in 1993 in his summaries of the tankôbon to describe the in-between stages of SSJ that Vegeta, Trunks, and even Goku showcase after Cell has been introduced
  • Kushami“, the Japanese word for “sneeze”, also coined by Hoffmann in 1993 as a nickname for Lunch in her transformed state
  • AD” as used for years in the chronology of the series, a mis-translation of eiji or simply “Age” by Greg Werner in the late 1990s from his translation of the timeline in the seventh daizenshuu

There are other ones that we have not been able to track down the first-ever uses for. There is “Mystic Gohan” to refer to the character after his “upgrade” from the Old Kaiôshin (which goes back to at least the year 2000 in quick searches); there is the word “zenkaiincorrectly used as a proper noun to explain the power-up that a Saiya-jin receives after recovering from near-death, which appears to be an English-language-only development, possibly originating sometime in the early-to-mid-2000s; there is “base” that gets used to refer to the “normal” (tsûjô in Japanese), non-SSJ forms of characters, which appears to have become common-place in the English-speaking fandom during the PS2 video game revival for the franchise.

It really gets funny when people cross the line into delusional territory, though. A commenter on our third “Inconsistencies” video posted and asked why the video was receiving bad comments. When another commenter was challenged on their response of it being from “some guy [who] is being critical and nitpicking when he himself has made no creative contribution to this world”, they followed up and justified their existence and contributions to fandom with:

Well if you really need to know, I’m the first person to use the word “canon” in reference to continuity. That was on the Pojo forums way back in maybe 2002. You won’t find any record of that word being used in that context previous to that time either. So, yeah it’s more of a contribution to a subculture in general and not specifically to DBZ, even tho it was on a DBZ forum.
I’ll add that it was a more or less original contribution and not simply a commentary on a finished work.

Yes. You read that right. This individual honestly believes that they invented the term “canon” as it relates to continuity in a work, fictional or otherwise (or, giving them the biggest benefit of the doubt that I can, perhaps just DragonBall). Either that, or they at least have a hilarious (if not obnoxious) sense of humor about themselves.

The word “canon” shows up at least two years prior on alt.fan.dragonball (and probably much earlier if you are willing to dig). This person’s claim is essentially dead-on-arrival from the very beginning.

The word itself goes back thousands of years with this very same definition, so they certainly can’t take the claim in that respect. As far as I know (and I hardly claim to be an expert), the term originated with the Bible and what the church deemed to be the “true” and “correct” stories to include in their official version. The word and its associated phrases (“Such and such is canonical…”) have been floating around with not just anime, but all types of fiction for decades. I know little-to-nothing about Star Wars, but I know there are just as many heightened-emotion arguments about what is canonical with its expanded universe as there are with our own ridiculous arguments relating to DragonBall GT and the movies and the guide books and the international translations and so on and so forth.

That someone honestly believes that they were the first person to use the word “canon” as it relates to DragonBall… and did so only in 2002… and relays this information with the tone they did, propping their “original contribution” above something that is “simply a commentary on a finished work”…

I mean, it goes beyond delusional at that point, right…?

Why the “Frieza” Spelling Drives Me Nuts

Know this, dear Internet readers: it was painful to type the name as such into the blog post title.

Anyone who has followed my wacky adventures online for any amount of time knows how much I squirm at FUNimation’s spelling of the name of this character:

フリーザ
freeza_top

I once wrote up a somewhat-detailed explanation on how to romanize the character’s name that I inserted into Wikipedia articles, which were then deleted and re-added to some pretty terrible DB Wikia articles, getting re-written and distorted along the way. If you read any of those sites, perhaps this explanation may sound familiar.

Like his brother and father, Freeza’s name is a pun on all things relating to the cold. As both Freeza’s and Coola’s names end in a short “a” vowel (rather than the long â/aa which usually signifies “er” in kana spellings of English words), Freeza’s name is typically spelled with an “a” at the end (as opposed to “Freezer”). Logic would of course follow that his brother’s name should in turn be spelled in a similar fashion as “Coola” (rather than “Cooler”). FUNimation chooses to spell the names as “Cooler” and “Frieza”, removing the consistency between the names and their final vowels.

The actual English word “freezer” would be written out in katakana as フリーザー / furîzâ, so it would stand to reason that we should spell the DragonBall character’s name as “Freeza” instead of “Freezer” (note that in Japanese, the Pokemon we know as Articuno is actually フリーザー…!). There are other, similar examples in the series. イレーザ / irêza is typically adapted as “Eresa” instead of “Eraser”, while the ミスター in ミスター ・サタン / misutâ satan should pretty clearly be adapted as “Mister” rather than “Mista”.

This all ignores the elongated î/ii sound in the middle of the name, which is dandy and all, except that it ignores the point of this post. That’s fine. With knowledge in hand (and knowledge is, of course, power), here is a breakdown of why “Frieza” irritates me so:

(1) Lack of consistency
As noted, if you are going to end one character’s name with “a”, it should follow that the other character’s name should end in the same way. Instead, FUNimation provides a name spelling of “Cooler”.

(2) Lack of common sense
Leading up to the written-form appearance of the character’s name in the TV version of the series’ title cards (original, edited, dubbed episode 34: “The Ruthless Frieza”), every single instance of the name written in our alphabet used the commonly-accepted “Freeza” spelling. If you turn on the closed captioning for TV broadcast recordings of episodes before (and even sometimes after!) #34 from 1997, during any case in which a character speaks “Freeza” by name aloud, it is written with the double-“ee” spelling… clearly indicating that there was no style guide provided to the closed captioning transcribers, and that they obviously thought it was the “correct” spelling.

freeza_dub_cc
In the closed captioning for season two, it was almost always written as “Freeza”

frieza_dub_titlecard
Original FUNimation DBZ dub episode 34 title card

Furthermore, Bandai actually released versions of the “Super Battle Collection” figures in 1997 in North America, which was the very first run of licensed (through FUNimation!), domestic figures. Which name spelling appeared on the box?

freeza_1997_figures

(3) Lack of fans’ ability to even spell the misspelling properly
Freiza. Frezia. Frizea. (Insert Maximum the Hormone joke here.) Even the dub fans have no clue how to spell it.

(4) Lack of pronunciation guide
How exactly do you speak aloud “Frieza”…? You may think it’s simple, but take a listen when you view GameTrailers’ video review of Raging Blast. “Saiyan” is pronounced as it should be (which is to say, not as FUNimation pronounces it), and “Frieza” comes out as something like “Fray-za”.

(5) Lack of other English-language production support
In the subtitle track corresponding to the Japanese audio on all FUNimation releases, the character’s name is spelled as “Freeza”. Thankfully, Viz was releasing the manga at a time when FUNimation consistency or alignment was laughable, and so the standard “Freeza” spelling also made its appearance.

freeza_funi_subs
FUNimation Japanese-Language-Track Subtitle Example

freeza_viz
Viz Manga Translation Example

(6) Lack of any Japanese precedent
It goes without saying that no Japanese product had ever spelled the name with an “i” leading up to FUNimation’s release. When written with our alphabet, the spelling of “Freeza” was always and consistently used.

freeza_jp_sbc
Japanese “Super Battle Collection” figure; image courtesy of dragonballtoys.com

freeza_daizenshuu2
SOURCE: Daizenshuu 4, “WORLD GUIDE”

freeza_landmark
SOURCE: “LANDMARK”

(7) Infestation of later Japanese products
It was painful to see websites for then-upcoming Japanese games, and even the final releases of games such as Battle Stadium D.O.N. and Jump Ultimate Stars, using the “i”-spelling. Since it was not consistently used before and even after, it appeared to be cases of the Japanese developers referencing official English products and not realizing the lack of accuracy.

freeza_bsdon
Battle Stadium D.O.N. (PS2/Gamecube), unreleased in North America

You may try to make the argument that since a direct romanization of the name would be furîza, which does use an “i” due to using our alphabet, that there should not be any problem with using an “i” in an English adaptation/spelling of the name. Unfortunately for those making that argument, your logic is horribly flawed. A romanization is not necessarily the same as a name adaptation. We may spell “Kuririn” as such, but that is because the romanization aspects of it work perfectly fine in conjunction with the intended name pun (kuri meaning “chestnut”, a play on his head and shape). We spell the name as “Cell” because seru simply does not make any sense when trying to adapt the name into our alphabet, especially considering that the pun is based around the fact that he uses cells from other characters.

“Kuriza” is an interesting example. At Daizenshuu EX, we have decided upon a spelling with an “i” it in (rather than “Kreeza”), but this has nothing to do with FUNimation’s name spelling, and everything to do with preserving the same type of kuri pun as used in “Kuririn”. Toriyama abandoned the “cold” pun scheme for the character, and therefore we did the same with our spelling adaptation.

freeza_kuriza

“Frieza” seems like a completely arbitrary spelling change, contrary to all common sense, for completely inexplicable reasons. Did someone think it made the name look cooler (pun completely intended)? I simply cannot think of a single reason why it could or would be changed.

At the end of the day, this is nothing more than endless whining by another purist, and if you read this far you will fall into one of two camps: (1) you loathe me more than you already did, or (2) you’re shaking your head in recognition that I am just preaching to the choir. I realize this. I truly do. I will change nothing. “Frieza” will always haunt me, just as horribly as misappropriated apostrophes in non-possessive words do on a daily basis. At least now I can endlessly annoy someone with a link to a single resource when they ask me why the spelling bothers me so.

Remember, kids: “i” before “e”… except in “Freeza”.

© 2019 vegettoex.com

Theme by Anders NorenUp ↑