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Questioned By Fandom For The Week Of March 7th, 2015

6 min read

Squid GirlI’m still largely in catch-up mode from being out but I’ve managed to field a few questions this week from readers. Things are still a bit dub heavy, which is to be expected, but a lot of questions have gone back to dubs from years ago and I start feeling senile about it since I haven’t heard some of them in about a decade! So this week we’re covering a few different areas and some dub questions as well.

Check out some of the things we were asked about this week, and hit us up with new questions here because we definitely enjoy it! Remember, it doesn’t have to be just about anime.

Any predictions as to what NIS America’s next dub will be? (I’d love to see Kimi ni Todoke or Anohana get one)

It’s really hard to say what they might do. I suspect they won’t really go back and work on previous releases too much. I’m admittedly kinda hoping Occult Academy would get another go round simply because I really enjoyed the show.

Looking at their list, there’s not a lot that really screams dub for what they’ve picked up. Maybe Kanojo ga Flag o Oraretara. But mostly their stuff just doesn’t scream “dub me”.
If the Pandora Hearts manga hadn’t ended, I would have guessed that as one of their potentially more accessible shows.
Why were American co pros (animatrix,marvel anime) a big thing at one point?

It was pretty much just an area where anime was booming in popularity, especially the early days of Toonami, DVD sales were strong and there was a lot of interest in the early 2000’s and we saw a small cash grab at it. The biggest was really Disney making their move with Ghibli, and while it has its pros and cons, I think it largely worked out.

It’s never really been huge, but there were the obvious notable examples where things were done such as the Animatrix piece and some work done with one of the Batman shorts collections. The Marvel Anime stuff is a little different and I really wish that succeeded more. Marvel’s simply trying to gain a bit more ground in Japan. Their films do well, but superheroes in general still aren’t really a big thing and are trying to just be a “thing” in general. Hence we get those shows and the current Disk Wars show that’s going for a more Japanese route overall. They’re mostly trying to spend money to make money by seeding more fans for their upcoming slate of films.
Do you think Crunchyroll, Viz, and Sentai should do broadcast dubs?

I’m wary of it to a degree because there is a thing such as oversaturation. There has to be a balance with it. And you also start running into a lot of logistics problems in trying to get it all done while working on back catalog shows and so forth.

I’d rather just see smart choices made each season with a couple of shows, some real marketing put behind them, and building it in a careful way rather than just throwing everything at it.
Do you think Aniplex of America’s entry into broadcast dubs will be a gamechanger?

Space Dandy was the game changer.

What we’re seeing now is the exploration of really trying to monetize it. The ripple will be watching how it impacts home video sales down the line as to whether the Broadcast Dubs undercut those releases since you’ll have a number of dub fans that will already have heard what they wanted to hear and just had to pay for the EVS with FUNimation for example.
The more dubs the better though and it’s great to see them really getting a lot of attention and truly competing for the mindshare with the simulcasts.
Since Sentai Filmworks have home video rights to Parasyte for FIVE regions (which is probably their most expensive license), do you think it’ll be wise for them to give Parasyte an English dub AND get Toonami to air Parasyte?

It’s a given that it’s getting a dub. Plain and simple. Even more obvious considering the roll out style being used for it and their approach. Everything says “big property” here and has from the start – even with the segment of fans that are ripping the show heavily.

As for the regions, this just means that they’re going to work with various partners there in order to spread costs to get the dub done, which they’ve done before.
As for broadcast, yeah, hopefully this is the one that they actually manage to get out there. The dynamics in working with Toonami are all over the map. I like seeing anime on TV, not that I watch it there, but I have nothing but distrust and disgust for Cartoon Network and their practices. So while I hope it makes it there, I really wish that there was some other route companies would start taking in finding a more reliable partner with which to show anime on TV.
Which anime director do you wish would direct more if given the option to?
I have a particular fondness for Akitaro Daichi with some of his works, mostly in that I like it when he deals with shorter form stuff or OVA releases as opposed to full on series. I wish he was able to do more of the silly stuff that’s original.
What shows you think Funimation, Sentai, Aniplex, ViZ, and Ponycan will get for the spring season?
Honestly, I haven’t really thought of the spring season that much yet. I’m covering a lot of it, but I haven’t thought of it in that way as we’re still working through the winter season. This month is all about the refocus though – and getting some reviewers on board to cover more series!
Do you think that if Log Horizon would air in Toonami, it will beat Sword Art Online ratings by a lot?
As much as I enjoy Log Horizon, I kind of doubt it. Action is what typically drives Toonami and Log Horizon doesn’t have that much of it overall. It’s a very different approach to the fantasy/game genre in terms of how it wants to present itself.
Do you think Japanese companies and studios involved as a factor on why some anime get dubbed or doesn’t (i.e. Manga Time Kirara titles are often released sub-only)?

To some degree; there’ve been instances where a Japanese licensor wants to see a show dubbed and that’s part of the deal, but that tends to be on the lighter side of things. Most of the time there’s just a deference to it for most shows outside of the big ones simply because they know the US market and those licensees that they’re working with.

With the Manga Time Kirara titles, a lot of it is that they’re just niche titles in general and don’t do well, or break even, that it’s hard to invest in them with a dub. They may perform better with one, but under perform when you add the cost of the dub to it.

I still miss the days when everything was dubbed and there wasn’t much question about any of it. But this is the new reality.

The recent way that it was discovered that “My Little Monster” got licensed got me thinking: what was the most memorable “oops annoucement” in your opinion?
There’s been so many ways over the years that I admit that some of it blurs. We’ve had a number of shows get announced through Diamond Previews listing them. We’ve had catalog release news ahead of time similar to this. There’s been instances where we’ve seen trailers show up on early review discs and word gets out from there, which I admit used to amuse me a lot. There’s been accidental data going live on sites earlier than it should have. Even some banner advertising revealing things that went live as they should that revealed shows that weren’t yet announced.
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