First Impressions- Winter 2017 Anime (Part 1)

It’s the start of a new year, which also means it’s the start of a new anime season. Outside of a handful of sequels, I’m more or less going into this season blind, so hopefully I’ll be able to find a few gems worth keeping up with. Of course it’s far more likely I’ll have to burn my way through some stinkers first so without any further ado, let’s get started.

Ratings Scale

Bad: Stay away far away from this one.  Not worth watching

Decent: Has some okay elements to it. Might be worth giving a  couple of episodes to see how it goes

Good: Fairly solid show. Should be worth keeping up with for now

Great: Really good show. Definently worth seeing if you get the chance

Excellent: Really outstanding show. Absolutely worth following .

Akiba’s Trip: The Animation


Synopsis: Based off the hit game comes a new series about the danger lurking in the Otaku heaven of Akihabara. Vampires with an ability to take over anyone they bite seek their prey  in this anime fan’s paradise. When Tamotsu Denkigai encounters one, he nearly loses his life until the mysterious Matome Mayonaka revives him! Now part vampire, he forms a group to protect the streets of Akiba. fighting to keep the streets safe.

First Impressions: The only thing I knew about this one coming in was that it was being done by GONZO, who’s gone through some rather strange transformations since their bankrupcy a few years back and that it apparently had something of a lewd premise. Having watched the first episode, the latter is certainly…a thing, but my main form of curiosity came from the fact that it’s the first literal simuldub we’ve gotten since Space Dandy, and was made available less than an hour after the JP broadcast. Fortunently it doesn’t sound as rushed as that would imply, and everything here was perfectly servicable, if not great. As for the show itself, I find myself feeling rather mixed. Everything about it’s premise seems like it would be my kind of stupid, but there’s also a bit of a “self-aware” otaku edge to it, that feels slightly off putting to me, almost as though the show is trying to have it’s cake and eat it too. Of course that kind of thing can work for me (I enjoyed No Game No Life despite it’s various problems) but it usually has to feel completely over the top in all aspects and this felt a bit lacking. Still it certainly wasn’t boring, and it’s got some really fun animation so between that and the fact that it’s dub being available right off the bat meaning I don’t have to devote too much focus, I can probably be inclined to give it a couple more episodes.

Rating: Decent

Masamune-kun’s Revenge


Synopsis: As an overweight child, Makabe Masamune was mercilessly teased and bullied by one particular girl, Adagaki Aki. Determined to one day exact his revenge upon her, Makabe begins a rigorous regimen of self-improvement and personal transformation. Years later, Masamune re-emerges as a new man. Handsome, popular, with perfect grades and good at sports, Masamune-kun transfers to Aki’s school, and is unrecognizable to her. Now, Masamune-kun is ready to confront the girl who bullied him so many years ago and humiliate her at last. But will revenge be as sweet as he thought?

First Impressions: So going off the premise alone, this show seemed like it would be a bit too mean spirited for my blood, and the first episode more or less cemented those fears. Fat shaming in and off itself is a tired trope and one that anime never does particular well and this pretty much continues the trend. Neither the heroine or the protagonist come off as endearing in any respect since the former is basically a jerk and the latter is just faking any form of kindness. The fact that we’re supposed to on some level, root for him giving her comeuppance by crushing her feelings just makes it all the worse, and while it’ll obviously go through a more traditional romance route at some point, there really isn’t anything here to convince me it’s worth sticking around to see how that turns out. Mean spirited comedies only ever really work if said meanness can also be pointed towards itself, and this seems way too self-indulgent for that so I’m not sure what the appeal here is supposed to be. I guess if you’re just attracted to rom-coms in general, something here might click with you, but for me it’s a total pass.

Rating: Bad


Saga of Tanya the Evil


Synopsis: It is June of the year CE 1923. A young girl with blond hair and blue eyes, Tanya Degurechaff, has entered the final curriculum of the Imperial Military Academy and is training at the third patrol line in the northern military district, the Norden Theater, as part of her service to the force. Her training, the first step toward a brilliant career as an aviation mage, should have gone off without a hitch… but things took an unexpected turn.

First Impressions: This was another series that I was aware of soley by it’s absurd premise, but unlike Masamune-kun this one seemed like it had the potential to be entertaining. The first episode is pretty much a solid achievement in that respect as it does a solid job of establishing itself as a war drama with fantasy elements. Those fantasy elements in particular get some time to in the premiere, and I really like its sense of presentation. This is the first series helmed by the bizarrely named Studio NUT but aside from some awkward CG in the beginning, you’d never know it, as it’s a strong looking production, and there’s some solid combat sequences thrown into mix. As for the story itself though, it feels very much reminscent of last season’s Izetta: The Last Witch and while that one also had a pretty solid start it eventually devolved when the writer’s usual bad habits sunk in. This is a somewhat edgier take on that setting, so between that and our protagonist being rather…twisted it’s hard to say whether or not it’ll suffer the same fate (though I suppose if we can avoid having Tanya and her subordinate getting into wacky fanservice hijinks we should be alright). Still, while I’m feeling a bit cautious, there’s a lot to like about this premiere, and I’m willing to take a gamble on it

Rating: Great




Synopsis: New meetings always come suddenly! The protagonist, Yuu Haruna, moves into a new town where he meets a somewhat strange girl who doesn’t have a cell phone. The girl, Fuuka, seems to have a strange allure that draws people to her, very much like a summer breeze. Looks like Yuu has been caught up in one wild love story!

First Impressions: So full confession here: I’ve actually read a fair chunk of the manga for this one (mostly as a result of boredom on a quite morning off), so I came into this pretty aware of what it currently is and where it’s inevitably heading. What it currently is, is a fairly by-the-numbers fanservice romance show, with almost all of the usual tropes that implies, meaning that whether or not you can get through these first two episodes (they must really be a hurry to get to the actual show) depends on your tolerance for that sort of thing. Where it’s headed though is a bit more…interesting to say the least, and given that this is a series made by the same guy behind the polarizing romance shows Suzuka and A Town Where You Live, it’ll certainly be something to see the reactions when it gets there. As such I’m more or less in it for that reason as weird as it sounds, and while I normally don’t like to be this coy about things, saying anymore would probably hamper the experience for better or worse. At any rate I’m pretty much on board this train till we get to “twist” but as for anyone else, I guess it’s up to your level of curiosity

Rating: Just Here For The Twist


Schoolgirl Strikers: Animation Channel


Synopsis: Goryoukan Academy is a new private senior/junior high school for girls with a vast downtown campus. This highly popular school has “another face” — a secret hidden side. It organizes and trains the special unit Fifth Force to protect the world from invisible supernatural entities known as “Oburi” that are devouring the world. A team of five trained with powers against the Oburi is to be chosen from the student body to perform missions. A new team leader has been appointed to assemble the five students.

First Impressions: Well I wasn’t really expecting too much out of this one as I came into it mostly expecting it to be something of a fanservice/action show hyrid. What I got instead was something more akin to a gender reversed version of last season’s Touken Ranbu: Hanamaru where it’s a cute girls doing cute things type deal with some action stuff mixed in and a generic fantasy plot. Unforunently the former is 100% not my thing under most circumstances, and the latter didn’t offer nearly enough background details or anything else of interest to compensate. This left me feeling rather bored throughout and ultimately just waiting for the episode to end. As a positive it has some rock-solid production values, from it’s animation to it’s camerawork, and the few bits of action we do get look pretty cool, but sadly it doesn’t change the fact that there wasn’t really anything here of substance for me, and while I imagine this show’ll probably have it’s audience, I probably wouldn’t rank among them.

Rating: Bad




Synopsis: Shoichi Kamita is an ordinary high school boy, who is faced with the university entrance exam and worried about his future. This campus romantic comedy, “Seiren”, which means honest in Japanese, depicts his pure relationship with three different heroines. Each story is the unique and mutual memory between him and the heroine.

First Impressions: It’s been a while since I’ve heard of one of these alternate universe rom-com stories, featuring a protagonist romancing a different girl across several different takes, but I’ve always found the idea to be potentially interesting. Still I’d be lying if I said I had any high expectations and what we got in this first episode is more or less what I expected. Everything here is fairly light from the writing to the minimal fanservice, which means it’s more or less accessible to audiences of both genders and seems relatively harmless, but also not terribly interesting. Depending on how far it takes each individual story it’s possible at least one could amount to something notable but for now my expectations aren’t too high and I don’t see too much indication that it’ll rise above  being fluffy genre fare. Compared to Fuuka, though this at least feels a bit less rote, and all of it was inoffensive enough that I could maybe see myself tuning for more if my schedule isn’t swamped for this season (which doesn’t seem too likely for the moment).

Rating: Decent


Interviews with Monster Girls


Synopsis: Monsters of legend walk among us, going by the name “demi-humans.” Ever since he’s discovered the “demis,” one young man has become obsessed with them. So when he gets a job as a teacher at a high school for demi-girls, it’s a dream come true! But these demis, who include a rambunctious vampire, a bashful headless girl, and a succubus, have all the problems normal teenagers have, on top of their supernatural conditions. How to handle a classroom full of them?!

First Impressions: Monster girls are a tired enough premise from anime at this point, that I usually try to ignore them unless there’s something else that sticks out. However, Summer 2015’s Monster Musume turned out to be a lot of fun, despite it’s over the top nature, and it managed to make me feel a bit more open about what could be done with them. All that said, this is about as far south of that show as you can get, as instead of being a crazy fanservice harem show, this is much more of a chill slice-of-life thing that happens to be centered around monster girls. These kinds of shows can be a bit hit or miss for me, but I really liked this one as the girls all feel pretty endearing so far, and it’s kind of refreshing having an adult protagonist for this kind of story. While a lot of the show’s premise seems like it could easily veer into harem show territory, everything here seems perfectly harmless, and the relationship between the protagonist and his monster girl students manages to avoid any serious suggestions of future creepiness. It’s brief pokes at general monster lore are also pretty nice, if not particularly notable, and between that and the rest of it’s atmosphere it looks like it’ll be a nice thing to watch on quiet Saturday afternoons. I’m in.

Rating: Good

Toon Talk- The Best of Anime in 2016

Well it’s been a long time coming, but we’ve finally reached the end of 2016. It’s been a very…negative year to say the least in regards to world events and celebrity deaths (and I’m more than a little concerned about if we’ll be able to survive that first one), but it’s been a pretty alright year for Japanese cartoons, and a fair amount of solid stuff managed to make it’s way down the pipeline. So for now let’s forget about all the bad stuff, and take a look at some of the best that 2016 had to offer in the world of anime.


This category goes to things that aren’t exactly show specific, but nevertheless wanted to point out. That includes theme songs, characters and stuff related to English dubs. Anyway let’s get started:

Best Anime Opening– 99 by Mob Choir (Mob Psycho 100)

It’s been a fairly solid year for anime openings, and while there hasn’t been an abundance of standouts, there’s always been at least a few each season that managed to leave a mark. For me though, none have left as big an impression on me as Mob Psycho’s. To be honest when I first heard this song, I really didn’t like it, and thought it was a bit too Engrish-y for me, but the more I heard it every week, the more it stuck with me, and by the time I actually discovered how much some of the lyrics tied into Mob’s coming of age story, I couldn’t get it out of my head. It’s accompanied by some bombastic visuals as well as some of the most seamless scene transitions I’ve ever seen, making for a spectacle that’s equal parts catchy and breathtaking. 99 may not have gotten off to the best start with me, but it’s stuck with me more than any other opener I’ve heard this year, and even if you don’t care for the song itself, it’s hard to deny just how well executed of a 90-second music video it is.

Honorable Mentions: History Maker by Dean Fujioka (Yuri on Ice), The Day by Porno Graffiti (My Hero Academia), Great Days by Karen Aoki and Daisuke Hasegawa (Jojo’s Bizarre Adventure: Diamond is Unbreakable)


Best Male Character– Yoshikage Kira (Jojo’s Bizarre Adventure: Diamond is Unbreakable)


I could probably think of more compelling male characters if I wanted, but none have proven to be as consistently entertaining as Kira. For parts 1-3 of Jojo’s, Dio was pretty much THE villain, and while the Pillar Men were fun in their own right, there was no getting past the pure ham that comprised most of Dio’s evil antics. Amazingly though, what makes Kira such an interesting villain, is that in a lot of ways he’s almost Dio’s total opposite. He doesn’t particularly engage in ham (or what constitutes as ham by Jojo’s standards) and instead opts for a more pragmatic approach to his villainy, and his humble goals of just wanting to live a quiet life, strike an interesting contrast to the usual villain goals of world domination or power. Most of all, he’s a villain that actually progresses in becoming stronger, much in the same way you’d generally expect the heroes to, and by the time he’s managed to work his way towards becoming a truly horrifying threat, it’s as shocking to the audience as it is to the heroes. This shift in expectations was enough to really make Kira stand out as a villain, and while he’ll probably never be as beloved as Dio, I found him to be just as fun.

Honorable Mentions: Yuri Katsuki (Yuri on Ice), Mob (Mob Psycho 100), Izuku Midoriya (My Hero Academia)


Best Female Character– Tsumugi Inuzuka (Sweetness and Lightning)


Again, I could probably come up with someone better if I tried but gosh darn it, I really want to give this one to the adorable 4 year old. Portraying kids as well…kids has always been a challenge for most forms of media and the same goes for anime. The last time anime notably managed to get it right was with Naru from Barakamon, and while I found her endearing, I didn’t quite see her as the soul of the show in the same way that many others did. Here though, the stage really belongs to Tsumugi, and her infectious nature really helps in keeping Sweetness and Lightning consistently heartwarming. She really feels like an actual little kid from her curiosity about the things around her, to spontaneous tantrums that result from the tiniest problems, and all of those little quirks help in making her an absolute delight to watch. For all of that though, the real reason she’s topped the list for me is that her cute expressions managed to kill me every episode. Like seriously it should be illegal to make something this adorable *dies*

Honorable Mentions: Kayo Hinazuki (Erased), Nico Niyama (Kiznaiver), Asuka Tanaka (Sound!! Euphonium 2)


Best English Dub– Your Lie in April


I already talked about this one in my 25 Days of Dubs list so I won’t go too much into it, but this dub was a real standout. Patrick Seitz may not direct stuff often, but when he does, he really knows how to deliver. Everything from the direction to the scriptwriting works extremely well, and they’re matched by some equally great performances. Max Mittleman’s Kousei does a fantastic job at selling the character’s depression, and Erica Lindbeck’s Kaori works just as well, with the two playing off each other pretty well. The rest of the actors are strong too, and it’s a super-solid effort from top to bottom, as each of them manage to pull off the hefty amount of turmoil displayed throughout the series. There’s been some other solid dubs this year, but this one was easily the best of the bunch, and if you haven’t given it a peek yet I highly recommend it.

Honorable Mentions: Rage of Bahamut, Mobile Suit Gundam: Iron Blooded Orphans, Grimgar of Fantasy and Ash


Best English Voice Actor– Max Mittleman


While things managed to pick up a bit towards the end, this has been a fairly lukewarm year for dubs, and while there’s been some good individual performances, I haven’t seen much in the way of actors consistently hitting all the right marks. Of course there’s always an exception and this year that crown goes to Max Mittleman. While he’s only snagged two lead roles this year (and one is much more widely recognized than the other) his work on both proved to be excellent, with his aforementioned Kousei managing to standout as a very emotional performance, while his Saitama proved to be a lot more deadpan and comedic than I ever expected from him. Both roles showed that he has quite a bit of versatility, and his smaller roles this year have managed to work out pretty nicely as well. He’s well on his way to becoming the next JYB or Bryce Papenbrook of the California dub pool, and going by some of the work he’s displayed this year, it’ll likely be a title that’s well earned.

Honorable Mentions: Ricco Fajardo, Jad Saxton, Erika Harlacher


Best Japanese Voice Actor– Tasuku Hatanaka


I’ve been meaning to highlight some of my favorite Japanese VA’s for a while now, so I figure that now is as good a time as any to start. I’d first heard Tasuku Hatanaka as Yuma in Yu-Gi-Oh Zexal and given that Zexal is well…garbage, that didn’t exactly leave me with the best first impression of him. His work as Ushio in Ushio & Tora on the other hand, managed to pull a complete 180 for me, as he did a great job of selling the brash but endearing nature of the character, and his delivery of Ushio’s breakdown during the final arc of the series, really stood out to me as one of the more memorable performances I’d heard on the Japanese side of things this year. His Ikoma from Kabaneri, while less compelling than his Ushio was also a really solid performance, and there’s a very unique quality to his voice that really sticks out amongst the usual stock anime leads, and feels a lot more rough and grounded. I’m glad to see that he’s gradually getting more work these days, and while he may have gotten off to the wrong foot with me, he’s since become a pleasure to listen to.

Honorable Mentions: Megumi Han, Toshiyuki Morikawa, Akira Ishida



This category is centered around genre stuff. Unlike the best series which we’ll get to afterwards, this for things that stood out really well as a genre piece moreso than as an overall series. That said there’s still plenty of good stuff to be found here, so let’s take a look:


Best Comedy Series– Keijo!!!!!!


It’s been a really weak year for anime comedies (though coming off of something as off the wall as Mr. Osomatsu, there was nowhere to go but down) but a couple of good ones managed to work their way through the cracks. Among them was, Keijo which to be perfectly honest I wasn’t even going to watch at first. Almost everything about it’s premise seemed like an excuse for gross fanservice so I was happily surprised when it not only turned out to be a lot cleaner than I expected, but way more entertaining than it had any right to be. Keijo is completely aware of how silly it’s premise is, but rather than simply going the skeevy route, it has fun with it, and treats the “sport” as though it’s legitimate competition with everything from training arcs to “sad” character backstories, which sounds awkward in theory, but the show does a good job of making it all work. What makes it a great comedy though is all in the Keijo battles, as the crazy special attacks are all delightfully ridiculous, and over-the-top, never failing to deliver at least one or two good laughs. It feels strange saying good things about the show centered around bikini butt battles, but it’s certainly earned that much, and while the premise might more than a little off-putting, if you’re looking for a good time, this one’s more than likely to keep you entertained.

Honorable Mentions: Haven’t You Heard? I’m Sakamoto, Taboo Tatoo, Dagashi Kashi


Best Action Series– Thunderbolt Fantasy


When I first heard that Gen Urobuchi was doing a show about puppets, I was more than a little disappointed since I was really looking forward to his return to anime scriptwriting. Needless to say I was surprised when said puppet show, not only turned out to be good, but is also quite possibly the single most entertaining thing the man has ever written. The story follows a lot of the usual fantasy beats, but it has some solid execution both in part due to the show’s rich character dialogue as the conversations between the core cast are almost always excellent, and the over the top action action sequences, as the fight scenes have some surprisingly good action choreography and special effects which all make for a real treat. Of course if you’re a fan of the Booch’s usual sense of style there’s still some of that here too as he sprinkles in a few messages regarding tradition and what really lies beneath any “heroic” legacy, but he’s mostly here to entertain this time around, and if you found Fate/Zero or Madoka to be a bit too dour, this one’s a lot lighter in comparison. Urobuchi’s return to scriptwriting may not have happened the exact way I expected, but I’m more than happy with what we actually ended up getting, and I’m glad that there’s more of it coming our way in the future.

Honorable Mentions: Mob Psycho 100, Jojo’s Bizarre Adventure Diamond is Unbreakable, My Hero Academia


Best Drama Series– Showa Genroku Rakugo Shinju


It always feels a bit pretentious to say that something is “for adults”, but there’s really no other way to accurately describe this one. The series is a slow moving drama, and centered around an artform that’s about as strictly Japanese as it gets, which makes it a tough sell for both younger audiences and anime fans at large, but for all it lacks in broad appeal it makes up for in execution. The tragedy concerning the lives and respective downfalls of Yakumo and Sukeroku is a compelling one and the innate struggles concerning the former’s sexuality and the latter’s sense of identity really helps in painting a picture of what it was like to struggle as an artist during one of the harshest time periods in Japan’s history. I also found myself really getting drawn in to the show’s frequent demonstrations of Rakugo demonstrations, and they did an excellent job of simultaneously showing the insane level of skill required for the craft while also using some of the pieces as solid metaphors for some of the events that were going on around them. As I said before though it’s a very slow moving series, and I’m not really surprised at how much it flew by the radar for most people, but for me it was easily the most moving anime drama to come out this year, and one of it’s best shows in general.

Honorable Mentions: Yuri on Ice, Orange, Sound!! Euphonium s2



And now we’ve finally arrived at the best series for the year. You may notice that I have two series listed here instead of one, but that’s because I’ve picked the best based on two sub-categories: best adaption and best original work. While both adaptions and original projects both carry the intent to pick up an audience, they’re generally trying to accomplish different things as an adaption has to be a good piece of entertainment while maintaining the strengths of it’s source material where as an original work needs to stand completely on it’s own two feet and draw in a crowd on it’s own merits. As such I feel it’s only appropriate to bring up which two series did the best at tackling those things so without any further ado, here they are:


Best Anime Series (Adaption)– Mob Psycho 100


One-Punch Man was one of the biggest mainstream anime successes in recent memory, and as a series by the same author, Mob Psycho 100 had some big shoes to fill. Fortunately the team of animators at BONES and director Yuzuru Tachikawa of Death Parade fame were up to the task and delivered on an adaption that not only went toe to toe with it’s predecessor, but for me, exceeded it. As an adaption one of the biggest difficulties concerning this series was whether or not to stick to the original author, ONE’s, crude artstyle considering that One-Punch Man did not. However Tachikawa and co. made the decision to stick to that style, and while it might have cost the show the opportunity to enjoy the same level of mainstream success as it’s sister series, it gave the animators free reign to go all out with the show’s art design, making for one of the most impressively animated shows of the last decade, and giving it a unique visual aesthetic that really stands out from just about any other anime made in the last few years.

Of course while the show’s visuals are part of it’s appeal, the real heart lies in it’s storytelling, and it’s portrayal of Mob’s journey through adolescence. A lot of Mob’s issues concerning his abilities and his humbled attitude, seem reminiscent of Saitama from OPM at first glance, but it quickly becomes clear that his issues are less about his overwhelming talent causing him to hit wall, and more learning to deal with the reality that his abilities alone won’t get him on a fast track through life. It’s not a gigantic shift in perspective, but it’s enough of one to make Mob’s story his own, and he’s joined by a fun cast of supporting characters, all of whom manage to do a good job of standing out on their own. Especially Reigen, who managed to go from semi-annoying comic relief in the show’s early episodes, to it’s moral center and easily the best written character. All in all, Mob Psycho turned out to be a fantastic ride, and while it may not have been able to step out of the shadow of OPM’s popularity, it was certainly able to shine on it’s own as a stellar series.

Honorable Mentions: Showa Genroku Rakugo Shinju, Jojo’s Bizarre Adventure: Diamond is Unbreakable, Sweetness and Lightning


Best Anime Series (Original)– Yuri!! on Ice


So before this series even began, I was already pretty sure I’d like it. Sayo Yamamoto is a director with a lot of style, and her work on Michiko and Hatchin really won me over with it’s flare and strong feminist commentary. What I wasn’t expecting though, was exactly how much I’d end up digging this show, and I sure as heck wasn’t expecting so much of the anime fandom to latch onto it that it’s become the biggest mainstream success of the year. In a lot of ways though, it’s kind of fitting that this show would end up becoming so widely beloved, because love itself is what really lies at the core of the series.

Yuri on Ice is about love, and love in various forms. Familial love, sexual love, and most of all, being able to love yourself, as told through Yuri’s journey of self-discovery and his realization of the significance behind the various relationships that surround him. What’s really impressive is that none of this is every explicitly stated through the usual hamfisted means we’ve come to expect from most anime, and Yuri’s coming to terms with these feelings comes off in very much the same way you’d expect of someone his age in real life. Although, as is widely known by this point, one of the biggest highlights of this show lies in Yuri’s relationship with Victor, and the fact that their romance is portrayed in a way that’s just blatant enough that any denial of their sexuality would be delusional, while also having enough subtly and nuance to feel like a genuine relationship between two adults rather than the usual “will they or won’t they?” antics of anime, and I feel as though it’d mostly draw the same kind of reaction from me even if one of them was a woman.

The show isn’t without it’s problems of course, as it mildly suffers from some heavy repetition in it’s latter half, and the overambitious nature of the production in regards to animating every one of it’s figure skating scenes, leads to some serious woes. Ultimately though, these issues feel like minor gripes in comparison to everything else it achieves and between it’s stellar soundtrack and fun cast of characters, it’s hard not to get lost in the magic of everything it’s attempting to do. Yuri on Ice is by no means a perfect show, and if I were grading on consistency alone, Rakugo would probably beat it out as my favorite show this year, but this one spoke to me, and apparently a lot of other people in way that nothing else this year did, and for a show with about as anti-mainstream a premise as gay figure skaters, that’s one heck of an accomplishment.

Honorable Mentions: Thunderbolt Fantasy, 91 Days, Flip Flappers

And that’s it for me this year. A big thank you to everyone for reading my crappy little blog, and while it’s hard to say exactly what the future will bring for next year, I plan to keep writing as much as possible, and I’m looking forward to pumping out more work. Until then, have a happy new year, and stay animated.

The Sounds of Dubbing- 25 Days of Dubs (#5-1)


In honor of the holiday season I’m counting down a list of my 25 favorite dubs of all time between December 1st and Christmas. I’ll be adding a new entry each day so be sure to check back for my thoughts on each dub as we make our way through December.  To keep things simple my criteria for these is that they have to be from a TV anime or OVA since including movies would make things a bit convoluted, and it’s being kept strictly to things I’ve actually seen so certain “classics” like Haruhi or the Berserk 1999 dub aren’t gonna make the cut since I have yet to actually get around to them. With all that said, enjoy ^_^

*All series synopsis from Anime Planet 




ADR Director(s): Kevin Seymour (Code Geass, Akira), Mary Elizabeth McGlynn (Naruto, Digimon Tamers)

ADR Script: Marc Handler (FLCL, Code Geass)

Recorded at: Animaze (Manga Entertainment)

Synopsis: It is the year 2029, and as many rush to embrace the changes that cybernetic technology bring to mankind, the seedier side of humanity is even quicker to take advantage of it. This series follows Public Peace Section 9, a government organization that plays behind the scenes to stop the worst of these criminals. Join Major Motoko Kusanagi and her team as they take you through an incredibly vivid world filled with plots of such depth and intrigue as is seldom seen.

Thoughts: Ghost in the Shell has endured as one of the most iconic sci-fi franchises in anime, if not media in general, and there’s been a variety of iterations over the years. Out of all of them though, the Stand Alone Complex TV series stands at the head of the pack, and so it’s quite fitting that it also has the best dub out of the franchise. Mary Elizabeth McGlynn’s performance as Motoko is almost as iconic as the character herself, and while there’s been many an interpretation of her, none have come close to capturing the level of charisma and authority of McGlynn’s, and for me at least, hers is the definitive version.

The same pretty much goes for the rest of the cast as well. Richard Epcar’s (Jojo’s Bizarre Adventure: Stardust Crusader’s Joseph, Bleach’s Zangetsu) Batou is an equally memorable performance and so much so that the actor himself has gone out of his way to voice the character across various incarnations of the franchise, while some of the other Section 9 cast members like Crispin Freeman as Togusa and William Knight (Nura: Rise of the Yokai Clan’s Nurahiyon, Naruto’s Danzo) as Chief Aramaki brought a level of energy those characters that other dubs in the franchise haven’t come close to imitating. It’s just a really strong dub in general, and the combination of McGlynn and Kevin Seymour’s super strong directorial work here really helps to add some polish to the show’s stellar cast. GiTS is a franchise that will likely go on for years to come, but as far as Stand Alone Complex as it’s dub are concerned, both stand in a league of their own.




ADR Director(s): Mike McFarland (Blood Blockade Battlefront), Colleen Clinkenbeard (My Hero Academia, Yona of the Dawn)

ADR Script: Jared Hedges (Dragonball Z, Yu-Yu Hakusho)

Recorded at: Funimation Studios

Synopsis: Once upon a time, two brothers passed the happy days of their childhood by studying alchemy, which is governed by the equal transfer principle: an eye for an eye — you can’t get more than you give. But these brothers tried to defy that law, and a horrific accident resulted. Now, the older brother, Edward, is called the Full Metal Alchemist because of his metal limbs, and the younger, Alphonse, is a soul without a body, trapped within the confines of an automaton. Together they search for the power to restore themselves, to find the lives they lost so long ago…

Thoughts: Going off of one of my earlier entries, if Yu-Yu Hakusho is the dub that helped to turn Funimation’s reputation around, then Fullmetal Alchemist is the one that firmly cemented it. When FMA first made the anime scene it was a gigantic phenomeon, and there was a lot riding on Funimation getting the dub right. Fortunately they managed to meet those expectations and then some, making for one of the most iconic anime dubs to ever hit the market. While Vic Mignogna’s (Ouran High School Host Club’s Tamaki, Level E’s Prince Baka) Edward might not be quite as strong as Romi Park’s (but like I mentioned in an earlier entry, Romi Park’s in a class of her own so that’s not much of an insult) but it’s still an extremely solid performance, and the rest of the cast more than compensates. Aaron Dismuke (Blood Blockade Battlefront’s Leo, Corpse Princess’s Ouri) and Maxey Whitehead (Dimension W’s Elizabeth, Bacanno’s Czeslaw) do great work as Alphose in both incarnations of the franchise while the notable mainstays like Travis Willingham as Colonel Mustang and Laura Bailey (Soul Eater’s Maka, Glitter Force’s Emily) as Lust were roles so well performed that they pretty much helped in propelling those actors to stardom.

Both versions of the series feature top-shelf talent, from Chris Patton (Akame ga Kill’s Run, Black Cat’s Creed) to Kent Williams (Yu-Yu Hakusho’s Narrator, Kenichi: The Mightiest Disciple’s Akisame) and even Troy Baker (Naruto’s Pain, Code Geass’s Schnitzel), with both also benefiting from a solid dub script and excellent voice direction, helping to capture so much of the humanity and drama that made the series so beloved in the first place. Funimation’s put out a lot of strong dubs over the years, but this is easily their best work, and after having delivered on such high expectations, it’s easy to see how they’ve gained so much goodwill.




ADR Director: Mary Elizabeth McGlynn

ADR Script: Marc Handler

Recorded at: Animaze (Bandai Entertainment)

Synopsis: Follow interstellar bounty hunters Spike Spiegel and Jet Black as they scour the galaxy for criminals with prices on their heads. Hoping to escape their past, they live on the spaceship Bebop, but it’s a dangerous business and old enemies don’t forget easily. Allies come from unlikely sources, however, as they find comrades in the beautiful swindler Faye Valentine, the genius child hacker Ed and the genetically engineered ‘data dog’ Ein. Will they be able to help each other though their respective struggles, or is their fate really inevitable?

Thoughts: Well it was pretty much a matter of where not if Bebop would spring up on my list, but that pretty much speaks to how influential both the show and its dub were to the western anime market at large. While there’s a few more decent dubs from the yesteryears of anime than is given credit for, for the most part, dubs were once considered something of an afterthought and weren’t taken nearly as seriously as they are today. However Bebop managed to change things for the better by bringing out a level of quality unlike any of the other dubs from its time, and even some dubs today, setting a golden standard for future works for to follow. There’s not much I can say about the cast that hasn’t been said already, but it really is difficult to understate the lead performances in this show as his Spike Spiegal is what helped to cement Steve Blum’s reputation as one of the best VAs in the business and he’s joined by Beau Billingsea (Digimon Adventure’s Ogremon, Gungrave’s Bear Walken), Wendee Lee (Bleach’s Yoruichi, Digimon Adventure’s T.K.) and Melissa Fahn (Digimon Tamers’s Rika, Fate/Stay Night: Unlimited Blade Works’s Rider), with the latter two having become voice acting staples in their own right, and all of them demonstrating some of their best work in this series.

The performances here all carry a very natural quality to them that very few dubs have been able to imitate, and everything from the show’s zaniest antics to its most dramatic stakes all come across as genuine and the cast members rarely miss a beat. It also serves as another example of where being flexible in the translation for the dub script can be to the dub’s benefit, as much of the dialogue here is refined to sound smoother in English and just about all of it works. Most significant of all though, is Mary Elizabeth McGlynn’s voice direction for the series, as she manages to bring out the best from nearly all the actors involved and the end result is incredibly smooth pretty much all across the board. From great casting, to great scripting to great voice direction, Bebop more or less paved the way for anime dubs, and while that’s been slowly taken for granted over time, it’s also something that should never be forgotten.




ADR Director(s): Jamie Simone (Afro Samurai, Only Yesterday), Suzanne Goldfish (Sailor Moon, K: The Animation)

ADR Script: Jamie Simone, Liam O’ Brien(Naruto, Gun x Sword), Ardwright Chamberlain (Digimon Adventure, Naruto), Sam Regal (Tweeny Witches, Megaman Starforce)

Recorded at: Studiopolis (Viz Media)

Synopsis: In Sternbuild City, corporate logos not only cover billboards, but also the costumes of the super-powered heroes that act as its protectors. Veteran and newcomer warriors of justice alike compete in a reality TV show that offers points for apprehending criminals while giving champions’ sponsors a chance to promote their brand. When the low-ranking Wild Tiger loses his backing after a string of outrageous, botched rescues, he finds himself paired with an up-and-coming spotlight-seeker called Barnaby. But with their wildly different personalities, will the pair be able to save their beloved Sternbuild City and win the game show, or will their constant tension be the undoing of the world’s first hero team?

Thoughts: Tiger and Bunny was one of my favorite shows of the last decade, and one that was filled to the brim with a very western style of flavor. It pretty much goes without saying that I was really looking to its dub, and the end result both met and exceeded those expectations. Viz Media and Studiopolis managed to assemble an all-star cast for this dub, featuring the likes of anime regulars like Jamieson Price (Bleach‘s Zangetsu, Fate/Zero‘s Rider), Kari Walgren (Durarara‘s Celty, Fate/Zero‘s Saber) and Micheal Sinternklass (Bakuman‘s Mashiro, Urusei Yatsura‘s Ataru), to names that are a lot harder to come by these days like Daran Norris (Digimon Frontier‘s Mercurymon, Fist of the North Star‘s Rei), Jason Spinsak (Zatch Bell‘s Kiyo, Scry-ed‘s Ryuho), and Beau Billingsea, all bringing their A-game to the table and all brought together under Jamie Simone’s rock solid direction. The scripting here is just as noteworthy, as it stands as what is probably my go-to example of how to do liberal translations without distorting the original intent of the story. Almost every bit of dialogue that’s changed here is done so for the specific purpose of sounding more like native English, and it both allows for a bit more fun with some of the comedic scenes, while also allowing some of the heavier character interactions to flow more naturally, accomplishing pretty much everything a good translation is supposed to do.

For all that though, the dub wouldn’t be nearly as strong without its two lead actors and what they bring to the table. While Wally Wingert’s (Bleach‘s Renji, Zatch Bell‘s Brago) Kotetsu sounds a bit younger compared to Hiroaki Hirata’s performance, it still hits just as strong, and he does a fine job of playing the washed-up old dork. Similarly Yuri Lowenthal’s (Persona 4: The Animation‘s Yosuke, Naruto‘s Sasuke) performance as Barnaby also hits all the right notes, and gave him an opportunity to display something a bit more on the natural side compared to some of his other work around that time, while also making good use of his more melodramatic tendencies for the character’s harsher scenes. Both performances are great and the chemistry between them always sounds genuine, making all their interactions a blast to watch. All in all this dub is really good at pretty much everything it does, and so much so that Sunrise actually managed to have it air on TV in Japan as an example of what good English dubs are really capable of. It’s hard to get much more praiseworthy than that, and while this dub may not have quite gotten the level of attention it needed to (it really needed to hit the US airwaves rather than Japan’s), for me it’s easily the best one of the last five years, and one of the finest examples of dubs in general.




ADR Director: Patrick Seitz (Your Lie in April, Blazblue: Alter Memory)

ADR Script: Patrick Seitz, Taliesen Jaffe (Ergo Proxy, Read or Die), Micheal Sorich (Digimon Adventure 02, Digimon Tamers)

Recorded at: Salami Studios (Viz Media)

Synopsis: Dr Kenzo Tenma is a genius surgeon working in post-Cold War Germany who has a bright future ahead of him. He is admired by his colleagues, loved by his patients, and due to marry his boss’ daughter, the beautiful Eva Heinemann. One day, when two patients in desperate need of emergency surgery are wheeled into his hospital, Tenma faces a terrible choice of saving the orphaned boy who came first or the mayor of Düsseldorf, whose recovery would raise the hospital’s profile and boost his own career. Against the demands of his superior, Tenma does what he believes is right and saves the child. However, his decision not only damages his prospects, but unleashes a chain of events so horrific that it might have come from the depths of his worst nightmares. Laden with guilt, Tenma begins a journey across Germany in search of a formidable young man who will challenge his morals, his love for life, and his very sanity.

Thoughts: When I was thinking about what would qualify as the strongest dub I’ve seen, I knew right away I had to go for something featuring a large ensemble cast. While there’s almost always instances of individual performances sticking out among the crowd in shows, it’s the stuff that gives focus to the largest amount of characters possible that really tests the quality of how well a series is acted as a whole and for me, I can think of no better example than Monster. Naoki Urasawa’s masterpiece is a work that truly defines what it means to be human, and at what point someone can no longer be redeemed. As such it required a certain touch in order to best convey those themes, and Patrick Seitz’s proved to be the perfect match. His vocal direction here is strong, bringing out the best from virtually all the actors involved, making it sound less like an anime dub and more like a live-action drama, with every display of emotion and drama coming off as genuine and powerful.

The actors themselves of course, are where this dub truly shines, and despite the massive cast assembled of the course of the show’s 75 episode run, almost all of them manage to be distinct and memorable. Performances like Liam O’ Brien’s Johan and Karen Strassman’s  (Code Geass‘s Kallen, Persona 4: The Animation‘s Nanako) Nina do a fantastic job of conveying their respective character arcs and the extent to which their belief in human goodness is tested, while on the other end of the spectrum Keith Silverstein’s (Hunter X Hunter‘s Hisoka, Jojo’s Bizarre Adventure‘s Speedwagon) chilling work as Johan manages to sell every ounce of the villain’s inhumanity and sounds unsettlingly creepy at every turn. The rest of the ensemble is stellar too, from Richard Epcar’s Lunge to Tara Platt’s (Buso Renkin‘s Tokiko, Tiger & Bunny’s Agnes) surprisingly strong delivery as the snide Eva, bringing in a performance that sounded a lot more natural than a lot of the other work I’ve seen her in. Honestly the work here is so strong all across the board that it’s hard to choose a standout, but if I had to, the prize would likely go to Patrick Seitz himself as Grimer, with his portrayal of the character’s final scene, standing out as one of the finest performances of acting I’ve seen just not in anime, but media in general. While I can certainly think of more fun examples of a good ensemble cast, to me the real test is how well the actors can express the various emotions of their characters, and as far as that goes, this is the one that really stands above the rest.

And that’s it for my favorite dubs. Thanks to everyone for reading and I hope you enjoy the rest of the holiday season. I’ll be back next week with my Best of 2016 highlights for anime but until then, stay animated.

<- #10-6

The Sounds of Dubbing- 25 Days of Dubs (#10-6)


In honor of the holiday season I’m counting down a list of my 25 favorite dubs of all time between December 1st and Christmas. I’ll be adding a new entry each day so be sure to check back for my thoughts on each dub as we make our way through December.  To keep things simple my criteria for these is that they have to be from a TV anime or OVA since including movies would make things a bit convoluted, and it’s being kept strictly to things I’ve actually seen so certain “classics” like Haruhi or the Berserk 1999 dub aren’t gonna make the cut since I have yet to actually get around to them. With all that said, enjoy ^_^

*All series synopsis from Anime Planet 



ADR Director/Script: Alex von David (Blue Exorcist, Kill la Kill)

Recorded at: Bang Zoom! Entertainment (NIS America)

Synopsis: Ryuuji Takasu has an eventful life: his classmates think he’s a delinquent due to his ‘killer’ eyes; his crush Minori seems ever out of reach; and he’s just had an unfortunate encounter with ‘palm-sized Taiga’ – a feisty and dainty wench in his class. With different cleaning habits and tempers, the two clash like night and day; that is, except for the fact that Taiga and Ryuuji have crushes on the other’s good friend! With school rumors abounding, the duo must now work together to play matchmaker for each other. Who will end up with their true love?

Thoughts: For a long time, Toradora was one of those shows I had always meant to get around to watching but for one reason or another never actually did. So when the dub was first announced, and made available on Crunchyroll no less, I was figured it was as good a time as any to check it out. Admittedly I wasn’t expecting too much from the dub initially since while I liked most of the VAs in it, I figured that I knew what they were capable and the same went for Alex von David who I found to be really consistent as a director but not quite what I’d call amazing. Needless to say I was pretty surprised when the dub turned out to not only be good, but downright incredible and it really made going through the series a memorable experience for me.

While I liked Erik Kimerer’s (Accel World’s Haruyuki, Magi: The Labyrinth of Magic’s Alibaba) work up to this point, I also found him to be a bit inconsistent at times. However his performance here as Ryuji is easily the best he’s ever done, and also served as a good demonstration that he could do pretty well outside of his more traditionally heroic type casting. I was equally impressed by Christine Marie Cabanos (Puella Magi Madoka Magica’s Madoka, Kill la Kill’s Mako) as I honestly wasn’t too big on her up till that point, but she really excels here as Minori and turned in a grade-A performance that I wasn’t even sure she was capable of.

Although while the cast is excellent across the board, the real star of the show here is Cassandra Lee Morris (Yu-Gi-Oh GX‘s Yubel, Puella Magi Madoka Magica’s Kyubei) as Taiga, with her performance more or less serving as the heart and soul of the dub. I’m generally not a fan of Taiga’s tsundere-loli archetype (and even less when I know she was originally played by Rie Kugimiya, who while a good actress, has done that character type so many times that they all just kind of blend together for me) but Cassandra Lee Morris does an excellent job of making the character feel genuinely endearing, and does well at serving up both the soft and brash sides of her without going too heavily in either direction. All of these fine performances come together really well under Alex von David’s strong direction, and even among his solid track record, this is by far his best work. This dub was really something of a welcome surprise for me, and while I didn’t expect a whole lot coming in, what I got coming out was enough to easily mark among some of the best work I’ve seen.




ADR Director: James Corrigall (Zoids, Mobile Suit Gundam 00)

ADR Script: Stephen Hedley (The Law of Ueki, Kurozuka)

Recorded at: The Ocean Group (Geneon USA, Funimation)

Synopsis: Rokuro Okajima is a small-time salaryman who is carrying documents for his company, when the ship he’s traveling on is attacked by pirates. Kidnapped, he discovers to his dismay that his employers’ main concern is to ensure the documents don’t get into the wrong hands, even if it means sending the carrier to the bottom of the sea. Now, with his former life ruined and his kidnappers seeming comparatively friendly, “Rock” decides to join their merry band of mercenaries, and sets out with a new career to the shadier corners of the South China Sea.

Thoughts: Black Lagoon is more or less the anime equivalent of a Hollywood blockbuster so it’s not particular surprising that it would sound strong in English, but even keeping that in mind it’s still incredible just how fun it’s dub is. The cast features a variety of crazy and/or sinister performances such as Patricia Drake’s commanding presence as Balalika or Tabitha St. Germain’s (Shakugan no Shana’s Shana, Elemental Gelade’s Aljenna) Roberta perfectly demonstrating how terrifying she can be beneath her initially unassuming exterior.

Of course the real prize here goes to the two leads. Brad Swaile (Dragon Drive’s Reiji, Mobile Suit Gundam’s Amuro) does a solid job of portraying Rock’s gradual transformation from an empathetic optimist to a manipulative cyni and delivers on a very grounded performance, even among a cast of hams. Maryke Hendrikse’s (.hack//Roots‘s Tabby, Mobile Suit Gundam 00‘s Wang Liu Mei) Revy on the other hand, is pure unadulterated fun almost every time she’s on screen selling every ounce of her perpetual rage and insanity, while also knowing when to dial things down for her more introspective moments. The dub also benefits from a really fun script as it opts to dial up the amount of swearing to eleven and while that sounds like a bad idea on paper, it’s exactly what something as action movie-esque as Black Lagoon needed and it really helps to add to the overall aesthetic of the series. While I’ve watched a lot of fun dubs over the year, very few have compared to Black Lagoon in that department, and even though it’s been close to a decade since I first listened to it, it’s never failed to put a smile on my face every time I come back for another look.




ADR Director: Kevin Seymour (Akira, Ghost in the Shell: Stand Alone Complex)

ADR Script: Liam O’ Brien (Naruto, Gun x Sword), Marc Handler (FLCL, Tenchi in Tokyo), Mary Claypool (El Hazard, Hyper Doll)

Recorded at: Animaze (Bandai Entertaiment)

Synopsis: In 2010, the Britannian Empire enslaved Japan using powerful mecha known as Knightmares; in the aftermath Japan was renamed Area 11, and its people began a hard and terrible existence. Lelouch, a Britannian student living in Area 11, has grown up hating the Empire and everything it stands for. One day, in the middle of a terrorist attack, Lelouch meets a mysterious girl who grants him the ability to control minds. Can he use his new power to fight for freedom, or will his hatred twist his good intentions into mindless acts of vengeance?

Thoughts: This was the final dub produced by Animaze and the late Kevin Seymour, and it’s one that really demonstrates the power of the legacy they left behind. Code Geass is a super over-the-top show with super over-the-top voice acting to match so attempting to match that level of energy in English was already set up to be something of a challenge to put off but Kevin Seymour proved he was more than up to the task and assembled an all-star cast of VA’s all elevated by his stellar sense of direction. Trying to match the sheer ham of names like Takahiro Sakurai and god himself, Norio Wakamoto would be a difficult climb for most but Yuri Lowenthal (Naruto’s Sasuke, Hellsing Ultimate’s Pip) and Michael McConnieh (Hunter x Hunter’s Narrator, Mobile Suit Gundam: Iron Blooded Orphans’s Lieutenant Crank) managed to pull it off as Suzaku and Emperor Charles respectively with other big names such as Crispin Freeman (Hellsing Ultimate’s Alucard, Naruto’s Itachi), Mary Elizabeth McGlynn (Sailor Moon’s Queen Metalica, Naruto’s Kurenai) and Steve Blum (Digimon Tamers’s Guilmon, Naruto’s Orochimaru), filling out the rest of the cast, making for a great experience all across the board.

Once again though, the show really goes to Johnny Yong Bosch’s (Trigun’s Vash, Jojo’s Bizarre Adventure’s Johnathan) performance as Lelouch, giving off a level of arrogance and audacity that was unlike anything else he’d done up until that point. It worked so well in fact that it not only matched Jun Fukuyama’s original performance, but in some instances, outright surpassed it for me, and given that the character was originally made with Fukuyama in mind that’s saying a lot. There was clearly a lot of energy going into this dub, and it’s one whose popularity has managed to persist pretty well over the years.  It’s sad knowing that both Animaze and Kevin Seymour are gone, but as a final hurrah, this dub was certainly a good note to go out on.




ADR Director: Karl Willems (Inuyasha, Cardfight Vanguard)

ADR Script: Stephen Hedley, Michelle Clough (My-Otome, Pretty Cure)

Recorded at: The Ocean Group (Viz Media)

Synopsis: Have you ever felt like the world would be a better place if certain people weren’t around? Such grim daydreams might occur when watching the dismal daily news, but on one fateful day, Light Yagami finds that these daydreams can become reality. By pure happenstance, he comes across a black notebook entitled “Death Note”, whose text within states that whoever’s name is written on its pages will die. With the aid of the death god Ryuk, Light takes it upon himself to rid the world of its corruption, ushering in a new era of purity one death at a time. But as Ryuk foretells, Light’s actions will not go unchallenged…

Thoughts: Death Note was the other super-ham show of decade next to Code Geass, and between the two it’s enjoyed a bit more in the way of popularity in the west. This is large in part due to its strong dub, and it’s one that’s become nearly as memorable as the show itself. Mamoru Miyano is one of the hammiest actors in the Japanese side of voice acting no matter what he’s in so going head to head with that is no easy feat but Brad Swaile’s Light is every bit as wicked and over the top as Miyano’s, making for a delightful spectacle across the show’s 37 episode run. Alessandro Juliani’s (Ranma ½’s Prince Toma) L on the other hand, is a pretty notable departure from Kappei Yamaguchi’s performance since it sounds notably more mature, but it works well and he manages to capture all of the character’s quirks and childish tendencies. Brian Drummond’s (Black Lagoon’s Benny, Dragon Drive’s Mahiru) Ryuk works pretty similarly in that respect, as it’s a lot raspier than Shidou Nakamura’s but it’s just as sinister and the rest of the cast is strong too, with all of the performances proving to be a perfect match to their Japanese counterparts. I honestly had a hard time deciding whether or not to place this one above Code Geass, but I think this dub edges out just a little bit more in the ham factor, and the fact that Brad Swaile was able to deliver lines as ridiculous as “I’ll take a potato chip and eat it” without missing a beat is a feat unto itself. As a whole, Ocean’s track record is a bit mixed when it comes to their dub output, but this one is by far their strongest effort, and one that’s become something of a classic for me.




ADR Director: Justin Cook (Fruits Basket, Kiddy Grade)

ADR Script:  Jared Hedges (Fullmetal Alchemist, Gangsta)

Recorded at: Funimation Studios

Synopsis: Yusuke Urameshi was a normal middle school punk until he was hit and killed by a car, while saving a child. His selfless action earned him the right to gain his life back and serve as a detective of the spirit world, keeping the world of the living safe from a myriad of demons. But being reborn has its price: Yusuke must hatch a spirit beast that will develop according to his actions, and if he doesn’t act in a good and honest manner, it will eat his soul. Can Yusuke protect the human and spirit worlds and still manage to save himself in the process?

Thoughts: While Funimation currently enjoys a mostly well-deserved reputation as one of the best in the business when it comes to anime dubs, this wasn’t always the case. In fact for a lot of their earlier years, they were despised much in the same vein as 4Kids for their work on the old Dragonball Z dub, and the numerous problems that came with it. However there was one dub that managed to help turn their reputation around, and that distinction belongs to Yu Yu Hakusho. Like the Dragonball Z dub of old, there’s a lot of liberties regarding its scripting and it’s distinctly snarkier and more potty-mouthed than its original Japanese counterpart, but unlike with Z, YuYu’s dub actually knew where to draw the line, and never veered too far off course from it’s source material, making for a sharp, energetic script that actually helped to make the show a bit more fun during some of the few slow parts of the series. Of course while the script is fun, the dub cast is even more so, and they’re a blast to watch. Justin Cook’s Yusuke served as one of the most memorable anime performances from my childhood and it one that was constantly filled with attitude as he delivered every bit of the character’s brash personality. Equally memorable was Chris Sabat’s Kuwabara, and while the voice itself is admittedly pretty silly, his actually delivery is really strong, and he manages to make it work, even during the character’s more emotional moments.

The other members of the cast are all strong too, and many of the performances here served as introductions to some of my favorite actors, from minor ones like Ed Blaylock (Fairy Tail‘s Master Jose, One Piece‘s Sengoku  as one Yusuke’s sadistic teachers, to Robert McCollum’s (Psycho-Pass’s Kogami, Drifters‘s Nobunaga) chilling work as Sensui, the latter of which has gone down as one of my favorite villain performances in anime and turned the character himself into one of my favorites as well. While the series is regarded as something of a classic, it’s a shame that it isn’t as well remembered as Funi’s old Z dub because despite being from around the same time period, there’s really no comparison when it comes to their quality, and with how much went into this one, it’s easy to see how this was the one that helped to turn Funi from reviled to beloved.

<- #15-11

The Sounds of Dubbing- 25 Days of Dubs (#15-11)


In honor of the holiday season I’m counting down a list of my 25 favorite dubs of all time between December 1st and Christmas. I’ll be adding a new entry each day so be sure to check back for my thoughts on each dub as we make our way through December.  To keep things simple my criteria for these is that they have to be from a TV anime or OVA since including movies would make things a bit convoluted, and it’s being kept strictly to things I’ve actually seen so certain “classics” like Haruhi or the Berserk 1999 dub aren’t gonna make the cut since I have yet to actually get around to them. With all that said, enjoy ^_^

*All series synopsis from Anime Planet 




ADR Director(s): Lia Sargent (Gatekeepers, The Big O), Joe Romersa (Street Fighter Alpha, Fist of the North Star)

ADR Script: Steve Nattow, Trina Watton

Recorded at: Animaze (Geneon USA)

Synopsis: “Vash, the Stampede” – worth 60 billion dollars to the one who can turn him in. Bounty hunters everywhere are on the lookout for this legendary gunman, not to mention insurance agents Meryl Stryfe and Milly Thompson, who are tasked with preventing any potential damage that this Vash can cause. But with 60 billion on his head, Vash is not an easy man to find.

Thoughts: The now dead Animaze was once revered as the Holy Grail of anime dubbing studios, and their track record more or less speaks for itself. One of the series that helped cement their reputation was Trigun, and it’s a series whose dub is still pretty well respected to this day. What’s likely the most notable thing about this dub for many is that it’s the one responsible for kickstarting the voice acting career of the now super iconic Johnny Yong Bosch (Bleach’s Ichigo, Jojo’s Bizarre Adventure’s Johnathan) and to this day, his Vash still stands as one of his strongest performances. The way he nails both the perpetual goofball and deeply tortured soul that make up both sides of Vash’s personality makes for a powerful performance and it’s easy to see how his work here helped to turn him into such a popular actor. Jeff Nimoy (Digimon Adventure’s Tentomon, Zatch Bell’s Kanchome) also does great work as Vash’s buddy and overall thematic opposite in Wolfwood, and the rest of the cast is strong too (plus it’s worth noting that the now equally iconic Bryce Papenbrook was also in this dub as Young Vash in the flashback episodes), with the majority of the performances holding up really well despite the age and time period of the dub. This is a dub that helped to launch a couple of noteworthy legacies, and while Animaze may be gone, it’s hard to imagine their work on this dub will be forgotten anytime soon.




ADR Director: Taliesen Jaffe (R.O.D-The TV, Nazca)

ADR Script: Taliesen Jaffe, Mike McFarland (One-Punch Man, BECK)

Recorded at: New Generation Pictures (Geneon USA, Funimation)

Synopsis: Alucard is a vampire who works for Hellsing – an organization responsible for hunting down and destroying other vampires. In these dark times, whoever is bitten by a vampire turns into a ghoul — with the exception of Seras Victoria, Alucard’s newly created and appointed apprentice. Now, Seras must serve her master, Alucard and work for Integra Wingates Hellsing. Nefarious vampire activities are being reported throughout England, and it all traces back to the organization named “Millennium”. Will the Hellsing organization, under the command of Sir Integra Wingates Hellsing, be able to prevent a full scale war? Or will the world become a battlefield of destruction?

Thoughts: Crispin Freeman (Naruto’s Itachi, Eureka Seven’s Holland) is one of the most popular and well respected voice actors in the industry, but this wasn’t always the case. Back in the yesteryears of his early work on NY dubs, his track record was less than stellar, and while he did have a couple of highlights, his reputation left much to be desired. However one role of his helped to change that perception, and it belongs to his Alucard in Hellsing. I haven’t seen the original Hellsing TV series (and given that Ultimate is more or less the definitive version I don’t see a need to) but even just going off of his performance in the Ultimate OVAs it’s easy to see why it helped transform him into such an icon as he pretty much chews the scenery every time he’s on screen, and his powerful baritone gives off a sense of presence and menace that makes his Alucard as cool as it is frightening. Even though his voice for Alucard has carried over onto a lot of his other performances this is the one where it clicks the best and it’s really impressive, even by Crispin Freeman’s usual standards.

Of course while the show mostly belongs to Crispin Freeman, the other members of the cast are great too, as the dub features a wide variety of talent from well-known veterans such as Yuri Lowenthal (Gurren Lagann‘s Simon, Bayonetta Bloody Fate’s Luke) and Kari Walgren (Durarara’s Celty, FLCL’s Haruko) to actual British actors like Steve Brand for Father Anderson and Victoria Harwood for Integra (with my personal favorite being Gildarts Jackson’s ultra-hammy performance as The Mahor). Bringing in foreign actors is almost something of a rarity for voice acting in general so seeing it actually applied to a dub really shows how much they went the extra mile on this production. Virtually every second of the dub bleeds cool, and even when the series itself eventually slows down into a series of long-winded monologues the performances still manage to carry on strongly enough to keep things from slogging. It’s easy to see why this one’s so well regarded and for a series with as much over-the-top cool stuff as Hellsing, it’s nice to see it got the dub to match.




ADR Director: Christopher Bevins (Drifters, Jormungand)

ADR Script: Jared Hedges (Dragonball Z, Gangsta)

Recorded at: Funimation Studios

Synopsis: Hana is a nine-year-old girl who lives in constant fear of her abusive family; Michiko is a sexy woman who has just done the unthinkable: broken out of the impenetrable Diamandra Penitentiary. After Hana is whisked away by Michiko, who claims to be her mother, the duo sets forth on a high octane ride towards freedom. In the streets of Brazil and aboard Michiko’s motorcycle, Hana and Michiko will look for Hana’s long lost father, try to learn to co-exist and get along together, and stay one step ahead of the police and afro-clad Atsuko.

Thoughts: While Christopher Bevins has been directing at Funi for a long time now, there was also a long time where I found his track record to be inconsistent and for every good dub he put out there’d be one that I found a bit questionable. However there was one work of his that managed to pull a 180 on my opinion of his skills and has since made him one of my favorite directors from that area, and that distinction belongs to Michiko and Hatchin. Between Sayo Yamamoto’s sense of style, and the obvious parallels to works by Shinichiro Watanabe, this was definitely the kind of show that needed a strong dub, and thankfully Bevins delivered. At this point, Monica Rial (Penguindrum’s Ringo, Drifters’s Easy) has been in at least 70% of all the Texas anime dubs ever made, and her work while consistent, is also fairly predictable, but the performance she brought for Michiko is unlike anything I’ve ever seen from her as she delivers every ounce of the character’s gruff, woman-child attitude with finesse, and it’s by far my favorite thing from her. This was also another dub that properly me introduced me to a VA that I’ve since become a fan of as Jad Saxton (Log Horizon’s Akatsuki, Grimgar of Fantasy and Ash’s Mary) plays off of Monica Rial really well as Hatchin, and the chemistry between the two really helps to carry the dub. This level of energy carries on through the rest of the cast as well, with the other big standout being Akron Watson’s (Jormungand’s Wilee) Satoshi, as he does a great job selling the villain’s mix of menace and false bravado. It was nice to see Christopher Bevins put out such a strong dub and he’s been continuing to put out solid work ever since.




ADR Director: Tyler Walker (Fairy Tail, Ninja Slayer)

ADR Script: Eric Vale (Baki the Grappler, Basilisk)

Recorded at: Funimation Studios

Synopsis: It’s the 1930s, and Mafia groups fight for supremacy in American cities. Young Firo joins the secretive Camorra group; a meek street boy, Jacuzzi, finds himself the leader of a gang of thugs; an alchemist is producing a liquor of immortality, and a homunculus tries to retrieve it; and upbeat thieves Isaac and Miria head to New York after failing to strike gold in California. They ride the novel train, the Flying Pussyfoot, across the continent. However they find themselves embroiled in a ruckus caused by gangs, terrorists, serial killers, and others as multiple stories intertwine and unfold on this fateful ride. All are haunted and hunted by the legendary Rail Tracer…

Thoughts: This is another big ensemble show, but where it’s sister series Durarara falls a bit short regarding it’s dub, this one succeeds. While I like the most of the performances in Durarara, it was easy for them to get lost in the shuffle, and not all of them carried enough presence to make each of the characters distinct. Not so with Bacanno’s dub though, as this one does a much better job at giving each character’s performance a real sense of presence, and there’s rarely a dull moment no matter who’s on screen. From mellow performances like Todd Haberkorn (Fairy Tail’s Natsu, Claymore’s Raki) as Firo to show stealing ham like Bryan Massey (Dragonball’s Oolong, Overlord’s Cocytus) as Ladd Russo or Jerry Jewell (Casshern Sins‘s Dio, Kenichi: The Mightiest Disciple‘s Odin) as the Rail Tracer, there’s a ton of memorable work in this dub, and it does well in making the most out of every character. It’s helped by some attention to detail regarding both the script and the voice direction doing its best to match the time period of the show, and while the barrage of New York accents could have easily been a distraction, they’re given just the right amount of restraint to work and it helps to give the dub a bit of extra flavor. This dub’s a prime example of how to do ensemble performances right, and given how heavily reliant the show itself is on it’s wide cast of characters, the extra touches here are greatly appreciated.




ADR Director: Christopher R. Sabat (Solty Rei, Speed Grapher)

ADR Script: John Burgmeier (Darker Than Black, Dragonball Z)

Recorded at: OkaTron 5000 (Funimation)

Synopsis: Five years have passed since Goku and his friends defeated Piccolo Jr. and restored peace to the planet. Gohan – Goku’s son – and a variety of good, bad, and morally ambiguous characters are back, and perpetually not ready for action! Aliens, androids, and magicians all hatch evil plots to destroy the world and it’s up to Goku to save the Earth once more – that is, once he and his comrades train plentifully in preparation.  Enemies will become friends and power levels will rise to unimaginable levels, but even with the help of the legendary Dragon Balls and Shen Long will it be enough to save Earth from ultimate destruction?

Thoughts: Dragonball Z is indisputably the most iconic anime series in the west, and many of us grew up watching Funimation’s original dub. However while that dub was often held up through the years as a beloved classic, in truth its quality was frankly…pretty bad. From Saturday morning cartoon style dialogue, to heavy amounts of overacting, the old Z dub just doesn’t hold up all that well, and while I was once among those who defended it against the naysayers who proclaimed it was but a shell of what the series actually is, in hindsight it’s kind of hard to deny they had a point. There enters Dragonball Z Kai, and while this half-hearted attempt at a remake didn’t do a ton to elevate itself over the original anime (well aside from improved pacing up until the Buu Saga) it gave the dub a second lease on life, and this time Funimation made sure not to waste it.

Much of the old cast returns and better than ever with Sean Schemmel’s (Shaman King‘s Amidamaru, Giant Robo‘s Tetsugyu) Goku having improved dramatically after finally managing to capture the spirit of the carefree nature of the character as opposed the more superhero-esque performance of the old dub, while Christopher Sabat’s hammy Vegeta, managed to gain enough nuance to capture every ounce of his prideful attitude without overselling it as much as he did in the old days. On the opposite end of the spectrum, the few major recasts that do happen are pretty much all for the better such as Colleen Clinkenbeard’s (One Piece’s Luffy, Yurikuma Arashi’s Yurika) Gohan sounding much more child-like than Stephanie Nadolny’s did in the old dub, with Chris Ayres’s (Devil May Cry‘s Sid, Gantz‘s Kei) Freeza in particular being the biggest standout, as his pitch-perfect take on the character’s arrogance and gentleman-like facade is a welcome departure from the infamous “evil Grandma” voice that comprised Linda Young’s performance. The scripting here is solid too, and while does include a few of Funimation’s usual liberties, they’re never intrusive enough to distort what’s happening, and it manages to capture the spirit of the Japanese version in a way that the old Z dub never did, making it by far the best translation Funimation’s ever given to the franchise. This was the dub that the diehard Dragonball fans were waiting for and while it might have taken Funimation nearly 15 years to finally get it right, this one proves that it was certainly worth the wait.

<- #20-16                                                                                                                                                                       #10-6 ->

The Sounds of Dubbing- 25 Days Of Dubs (#20-16)


In honor of the holiday season I’m counting down a list of my 25 favorite dubs of all time between December 1st and Christmas. I’ll be adding a new entry each day so be sure to check back for my thoughts on each dub as we make our way through December.  To keep things simple my criteria for these is that they have to be from a TV anime or OVA since including movies would make things a bit convoluted, and it’s being kept strictly to things I’ve actually seen so certain “classics” like Haruhi or the Berserk 1999 dub aren’t gonna make the cut since I have yet to actually get around to them. With all that said, enjoy ^_^

*All series synopsis from Anime Planet 






ADR Director: Christopher Sabat (Blue Gender, Case Closed)

ADR Script: Mike McFarland (One Punch Man, Hyperdimension Neptunia), Colleen Clinkenbeard (Moonphase, Samurai 7), Sean Micheal Teague (Case Closed, BECK)

Recorded at: Funimation Studios

Synopsis: Twelve years ago, an incident known as “Blast Fall” unleashed major destruction and chaos. Now, years have passed, and mankind has learned to adapt by incorporating cybernetic limbs into its citizens. Roy Revent is a bounty hunter known for his violent acts towards criminals due to the loss of his daughter in Blast Fall; and when a criminal tries to take revenge on Roy, an unknown girl falls from the sky and saves him. She has no memory of who she is, or where she came from. With the help of Miranda, his boss and landlord, he takes in the girl and gives her a name of Solty. What is the real identity of Solty, and what caused Blast Fall?

Thoughts: This is one of Funimation’s lesser known titles from the mid 00’s but it’s one that’s stuck with me over the years and largely due in part to how much I liked dub, or more specifically a certain performance in said dub.  It’s rare for a single performance in a dub to elevate the whole thing for me but Chris Sabat’s Roy Revant stands as one of my favorite roles for him, and for a long time it was my favorite before his Vegeta got better. While Chris Sabat has a pretty remarkable voice range, he tends to lean towards sounding on the gruff side for a lot of his work, and I ran into quite a few situations where I felt it didn’t always work (His Zoro in OP having been my go-to example, although I’ve warmed up to it with time). This however, has always been my go-to exception, as having him play a grumpy middle aged dad not only allowed for his usual sound to actually fit, but also allowed for a chance for him to demonstrate a bit more of his emotional range compared to most of his other work, and it still stands as one of his stronger performances

Though while I’ve gone on and on about Chris Sabat in this show, the rest of the cast works well too as it was the show that first introduced me to Carrie Savage (Fairy Tail’s Lisanna K: The Animation‘s Kukuri, ) in her role as Solty and I’ve enjoyed her work ever since while other Funimation regulars like Colleen Clinkenbeard and Luci Christian (My Hero Academia’s Ochako, Corpse Princess’s Makina) all pop here, bringing their usual brand of solid performances. The show itself on the other hand isn’t anything particularly special but it still holds up fairly well compared to the other GONZO shows of its day, and my somewhat strange appreciation for this dub has kept me coming back to revisit it every now and then. I feel sort of awkward having this dub so high up on my list, and especially when it’s mainly based around my feelings about one performance from it, but it’s still a pretty good one, and if nothing else it’s a nice example of why Chris Sabat is one of the best at what he does.




ADR Director/Script: Patrick Seitz (Jojo’s Bizarre Adventure, Blazblue Alter Memory)

Recorded at: Bang Zoom! Entertainment (Aniplex of America)

Synopsis: Kousei Arima was a genius pianist until his mother’s sudden death took away his ability to play. Each day was dull for Kousei. But, then he meets a violinist named Kaori Miyazono who has an eccentric playing style. His monotonus life was about to change forever.

Thoughts: It feels a weird to include a dub from this year on the list (especially when it hasn’t been a particularly great one for dubs in general until recently) but I was so blown away by it that I felt I had to include it here somewhere. While Patrick Seitz is well regarded for his work as a voice actor and a script writer, he’s not often used as a voice director and it’s a shame too because his track record is consistent enough that he could really stand to be used more in that area. This dub in particular marked his first major anime directing gig in a while (well I guess Blazblue technically counts, but did anyone really watch that show?) but he certainly hasn’t lost his touch as the dub’s direction is downright fantastic, and his doubling as the script writer really helps to emphasize how much work went into this one and it really shows.

This dub served as Max Mittleman’s (Aldnoah Zero’s Inaho, A Lull in the Sea’s Hikari) third leading role in an anime, and while he’ll likely be better remembered this year for landing the role of Saitama in One-Punch-Man, his performance here as Kousei is just as strong if not more so, and he does a wonderful job of portraying the character’s inner turmoil and depression.  Playing opposite him is Erica Lindbeck (Coppelion’s Ibara, Aldnoah Zero’s Yuki) as Kaori, who despite my initial reservations about the casting choice, delivers an equally powerful performance and they’re joined by a strong supporting cast including Erica Mendez (Sailor Moon’s Haruka/Sailor Uranus, Kill la Kill’s Ryuko), Erik Kimerer (Accel World’s Haruyuki, One-Punch Man’s Speed O’ Sound Sonic), Erika Harlacher (Hunter x Hunter’s Kurapika, The Seven Deadly Sins’s Elizabeth) and Wendee Lee (Bleach’s Yoruichi, Jojo’s Bizarre Adventure’s Lisa Lisa), with all of them delivering on some stellar work. Patrick Seitz may not direct anime as often as I’d like, but this one’s a great example of what he’s capable of and it easily stands as not only the best dub of the year, but one of my personal favorites.




ADR Director: Jason Grundy (Chaos; Head, Medaka Box Abnormal)

ADR Script: Andrew Rye (Eden of the East, Desert Punk)

Recorded at: Funimation Studios

Synopsis: In a dark future, the world is in ruin and everything is slowly crumbling away into dust. Humanity is almost extinct, while robots desperately seek out new parts to replace their rusting bodies. Their only hope for survival is to devour the one known as Casshern… or so they believe. Meanwhile, Casshern himself has lost all memory of his past. Why are these robots attacking him? Did he really kill the one known as Luna; the Sun that was called Moon? And why is he, alone, unaffected and undamaged by the ruin?

Thoughts: Casshern Sins is a show that’s practically overflowing with melodrama, and it can be difficult to balance that sort of thing without getting to the point where it can’t be taken seriously. The series itself managed to avoid crossing that line, and cemented itself as one of my favorites in the process, so needless to say I was pretty pleased to see that the dub did an equally effective job of knowing where to toe the line, and the results were pretty great. Eric Vale (Desert Punk’s Ganta, D. Gray Man’s Krory) is general best known for his hammier performances so seeing him play a character like Casshern was a welcome surprise to me when I first saw the dub, and I was equally amazed at how much vunerability he brought to the character and while it’s a striking contrast to the more intentionally robotic performance that Tohru Furuya in the Japanese track, it works just as well and holds up as one my favorite performances from him.

This dub was also the first I’d heard of Brina Palencia (Durarara’s Valona, Fairy Tail’s Juvia) who played Lyuze, and she’s since become one of my favorite actors as Lyuze in particular is the one character who’s angst can get overwhelming if done wrong, and her delivery here does a great job of portraying the constant anger without being too over the top. The other cast members do well too from Monica Rial’s (Penguindrum’s Himari, Yurikuma Arashi’s Ginko) sugar sweet Ringo to Trina Nishimura (Attack on Titan’s Mikasa, Gai-Rei-Zero’s Kiri) dishing out a chilling performance as Luna with the one sore spot for me being that J. Paul Slavens (One Piece’s Wyper, Basilisk’s Jingoro) didn’t carry anywhere near the amount of presence that Kenji Utsumi did for Braiking Boss (may he rest in peace). It’s a great dub for a beautiful show and while it could have very easily gone wrong, I’m certainly glad that it managed to come out so strong.




ADR Director: Eric P. Sherman (Argento Soma, Gungrave)

ADR Script: Kristi Reed (Accel World, Lagrange: The Flower of Rin-ne)

Recorded at: Bang Zoom! Entertainment (Geneon USA)


Synopsis: Samurai Champloo is all about style, from the dj-style scratching scene changes to the hip-hop-inspired soundtrack to the eclectic character design. Mugen’s fighting style is a funky meld of capoeira and limb-cutting, and Jin is the dramatic foil; he is all steel and old-school samurai style. What binds them together is the desire to test each other’s abilities, and a promise to a girl named Fuu: to find the samurai that smells of sunflowers, who plays a pivotal role in her past. Together they travel through edo-era Japan, finding battle and comedy wherever they stop.

Thoughts: Shinichiro Watanabe’s unique style of anime has always done pretty well at capturing an aesthetic that appeals to western audiences, and even a series about medieval samurai is no exception. Given that, it’s no surprise that his stuff also lend themselves pretty well towards English dubs, and Champloo’s is a great one. The core trio composed of Steve Blum (Naruto’s Orochimaru, Durarara’s Kadota) as Mugen, Kirk Thornton (Rurouni Kenshin’s Saito, Blue Exorcist’s Father Fujimoto) as Jin and Kari Wahlgren (Durarara’s Celty, Fate/Zero’s Saber) as Fuu, all have great chemistry, and play off each other really well while also really helping to highlight each character’s personality with Steve Blum’s Mugen being the standout, even if it’s not quite as well regarded as his spike. As the series is pretty episodic in nature, the focus Is primarily on these three, but the other members of the cast as just as fun, and includes voice acting veterans such as Dave Wittenburg (Naruto’s Kakashi, Digimon Tamers’s Henry), Micheal McConnieh (Hunter x Hunter’s Narrator, MAR’s Babbo), Lex Lang (Aldnoah Zero’s Cruhteo, Blue Dragon’s Blue Dragon), all of whom do well at bringing the weird and wacky world of Samurai Champloo to life. Honestly I don’t have a whole ton to say about this one, but it’s been held up as one of the classics for good reason, and much like with the show itself, it’s hard not to have a good time watching the dub.




ADR Director: Mike McFarland (Attack on Titan, Blood Blockade Battlefront)

ADR Script: Aaron Dismuke (Nanbaka, Fairy Tail), Josh Grelle (Mobile Suit Gundam: Iron Blooded Orphans, Bodacious Space Pirates), Monica Rial (Ben-To, Gatchaman)

Recorded at: Funimation Studios

Synopsis: In modern day Tokyo, society lives in fear of Ghouls: mysterious creatures who look exactly like humans — yet hunger insatiably for their flesh. None of this matters to Ken Kaneki, a bookish and ordinary young man, until a dark and violent encounter turns him into the first ever Ghoul-human half breed. Trapped between two worlds, Ken must survive the violent conflicts of warring Ghoul factions, while attempting to learn more about Ghoul society, his newfound powers, and the fine line between man and monster.

Thoughts: When simuldubs (formerly known as broadcast dubs) were first announced my feelings were a bit mixed. On the one hand the idea of getting dubs out a faster rate sounded appealing and if done right had the potential to be a game changer, but on the other hand I feared that it would lead to lower quality productions as a result. However there was one simuldub that managed to toss aside those fears, and that would be the one for Tokyo Ghoul. Mike McFarland’s track record as an ADR Director pretty much speaks for itself at this point so when I heard he was directing it I figured it’d be good but I was still blown away at just how much he was able to get out of it on an initially limited schedule. While I was about as mixed on Austin Tindle (My Love Story’s Suna, Assassination Classroom’s Karma) as I was about the idea of simuldubs in general up to that point, his portrayal of Kaneki has since turned me into a huge fan of his work, as he manages to real sell the contrast between Kaneki’s human side and his inner ghoul, and sometimes to a very chilling effect as the character goes down a path of self-destruction.

He’s joined by a cast of Funimation veterans such as Monica Rial, J. Michael Tatum (Black Butler’s Sebastian, Attack on Titan’s Erwin) and even Mike McFarland himself, as well as a few lesser known names such as Kenny Green (One Piece’s Jango, Desert Punk’s Rain Spider)for Mado, all of whom bring their A-game for this dub. The scripting here works well too, and while it does get a little overly-liberal in some instances, it never veers too far off track (especially in comparison to how some other Funi dubs have gone) and captures the spirit of the series pretty well. It’s such a solid dub that’s almost hard to believe that half of it was done on a tight schedule, but it just goes to show how good of a director Mike McFarland is, and while most of the other Funi simuldubs haven’t quite reached this level of quality, it’s still nice to know that even under those circumstances, it’s totally achievable.

<- #25-21                                                                                                                                                                     #15-11 ->

The Sounds of Dubbing- 25 Days of Dubs (#25-21)


In honor of the holiday season I’m counting down a list of my 25 favorite dubs of all time between December 1st and Christmas. I’ll be adding a new entry each day so be sure to check back for my thoughts on each dub as we make our way through December.  To keep things simple my criteria for these is that they have to be from a TV anime or OVA since including movies would make things a bit convoluted, and it’s being kept strictly to things I’ve actually seen so certain “classics” like Haruhi or the Berserk 1999 dub aren’t gonna make the cut since I have yet to actually get around to them. With all that said, enjoy ^_^

*All series synopsis from Anime Planet 




ADR Director(s): Jeff Nimoy (Zatch Bell, Digimon Data Squad), Kirk Thornton (Bleach, Blood Lad), Liam O’ Brien (Gun x Sword, Koi Kaze), Mary Elizabeth McGlynn (Wolf’s Rain, Digimon Tamers)

ADR Script: Ardwright Chamberlain (Glitter Force, Digimon Adventure-tri), Liam O’ Brien, Jeff Nimoy, Steve Blum, Sam Riegal (Megaman Star Force, Tweeny Witches)

Recorded at: Studiopolis (Viz Media)

Synopsis: Naruto Uzumaki is a young ninja who bears a great power hidden inside him, a power that has isolated him from the rest of his village. As such, his only dream is to become the Hokage – the most powerful ninja, and leader of the village; but first he needs to graduate! With his inability to perform even the most basic ninja techniques, it seems that all Naruto has going for him is his determination to succeed no matter what. Teamed up with the genius Sasuke, book-smart Sakura, and their team leader Kakashi, Naruto embarks on his quest to become the Hokage. But with outside forces posing a threat to the entire Hidden Leaf village, Naruto discovers that he must become much stronger if he ever wants to realize his dream and protect the friendships he’s forged.

Thoughts: Naruto was a big gateway drug into anime for a lot of people in it’s heyday and despite how much opinions on it have soured in recent years, it’s significance in that area is hard to deny. It’s dub on the other hand was taken far less seriously and practically to the point where it became something of a meme in and of itself.  Everything from the silly “Believe It!” catchphrase to Yuri Lowenthal’s (Durarara‘s Shinra, Gurren Lagann‘s Simon)over the top portrayal of Sasuke’s angst was mocked by the show’s fandom with the stilted direction of the early episodes only serving to add fuel to the fire. As a kid, I was pretty much the only one among my group of friends who stood in staunch defense of it, and while there’s admittedly no denying that it’s early parts are rough, ever since Mary Elizabeth McGlynn took over directing duties for it, the dub’s transformed into a really rock-solid effort.

These days Maile Flanagan’s Naruto is more or less on par with Junko Takeuchi’s while performances that were already good like Dave Wittenberg’s (Digimon Tamers‘s Henry, Blood +‘s Solomon) Kakashi or Tom Gibis’s (Shinzo‘s Mushra, Honey and Clover‘s Takumi) Shikamaru have only gotten better with time. Although more than anything, while the dub’s had it’s ups and downs regarding Naruto and his friends, it’s always been excellent when it came to the villains. Roles such as Liam O’ Brien’s Garra or Steve Blum’s sinister Orochimaru proved to be every bit a match for their Japanese counterparts, and in several instances outright surpassed them when it came to which ones I preferred with almost all of those performances leaving enough of a lasting impact that I can still perfectly recall how much they creeped me out as a kid, years later. It’s a shame that the dub’s relevance has mostly faded into obscurity nowadays (though I imagine Shippuden’s drastic drop in quality might have helped play a part in that) and while may never quite get the amount of appreciation it deserves from it’s fandom, it’s one that still holds a special place in my heart.




ADR Director(s): Kevin McMullan (Coppelion), Patrick Seitz (Blazblue: Alter Memory, Girls Bravo)

ADR Script: Patrick Seitz, Tony Oliver (Fate/Zero, Gurren Lagann), Micheal McConnohie (Digimon Adventure, The Seven Deadly Sins)

Recorded at: Bang Zoom! Entertainment (Warner Bros Entertainment)

Synopsis: When Jonathan Joestar was just a baby, his mother tragically died in a carriage accident, and his father George was saved by the kindness of a stranger, Dario Brando. At least, that’s what George believed, unbeknownst to him that Dario was just attempting to steal from the victims. Thus, when Dario later dies and his son, Dio, comes to his doorstep, the wealthy George eagerly adopts the boy. But what should have become a budding friendship between two siblings quickly becomes a nightmare for poor Jonathan, as Dio is cruel, calculating and will go to great lengths to become George’s primary heir. Little does Jonathan know that this unfortunate childhood is only the harbinger of things to come…

Thoughts: The start of Jojo’s journey to western shores was plagued with troubles as after initially failing to market the show to any would be US licencors, Warner Bros took it upon themselves to put out the show on DVD here and the results were…less than stellar. Fortunately the show has since fallen into more competent hands, and while it’s still easy to look back on that first release with horror, they at least managed to get one thing right: the dub. Dubbing Jojo’s was always going to be something of a thankless task as it’s fandom has constantly been of two minds as to what exactly makes the series work. On the one hand, there’s those who enjoy it’s high levels of testosterone and action, while on the other there’s those who enjoy how self aware it is about those things  and how much it intentionally plays up the goofier aspects of those areas. The dub opted to lean towards emphasizing the latter and pretty much runs with it. It’s got everything from silly British accents to ultra-hammy acting all across the board, and while that would pretty much be a death knell for just about any other series, for Jojo’s it’s pretty much exactly what the dub needed.

While I wasn’t too sure about the casting choice back when it was first made for the test dub to Stardust Crusaders, Patrick Seitz (Blazblue‘s Ragna, K: The Animation‘s Munakata) made for a fantastic Dio and plays up every bit of his cartoon villainy to perfection, while Ben Diskin (Naruto‘s Sai, The Seven Deadly Sins‘s Ban) proved to be just equally as fun playing Joseph Joestar, and rather than detracting from their performances, the silly accents helped add to the charm, and especially so when it came to casting choice of Bryce Papenbrook(Attack on Titan‘s Eren, Blue Exorcist‘s Rin) as Caesar since that role wouldn’t have worked nearly as well without it. The dub script works wonders too, as it does just as well a job of playing up the show’s inherent silliness as the performances, and while it does have to work around some of the show’s most meme-tastic dialogue in order to flow better in English, it more than compensates by keeping things as breezy and fun as possible. Of course it goes without saying that such a silly dub has earned it’s share of detractors, and there’s some who wish it had gone the more serious route, but I feel like the staff here ultimately made the right call, and while it may not be the dub that some Jojo’s fans wanted it is the one we definitely needed.




ADR Director/Script: Alex von David (Erased, Blue Exorcist)

Recorded at: Bang Zoom! Entertainment (Aniplex of America)

Synopsis: Ryuuko Matoi is a fiery, feisty girl on a vengeful mission: she’ll find her father’s murderer at all costs, with only a giant red scissor blade as a clue to the villain’s whereabouts. Using the item as a weapon, she fights her way into the terrifying Honnouji Academy to track down a lead, unaware that the institute is brutally governed by a student council that’s anything but ordinary. Wielding special “Goku uniforms”, the group, led by president Satsuki, uses superpowers to keep the student body in check – but things are about to change now that Ryuuko’s in town!

Thoughts: Whatever else might be said about Hiroyuki Imashi, it’s hard to deny that his works are pretty high energy, and the dubs of his projects have had quite a time of it trying to match said intensity. For the most part those have turned out pretty well and the dubs to both Gurren Lagann and Panty and Stocking were pretty well recieved but out of all of them, the one that really takes the prize goes to the dub for Kill la Kill. While I liked the dub to Gurren Lagann a lot and it was a pretty solid effort overall, it was slightly held back by a couple of casting choices and some minor issues in direction. As its spiritual successor however, Kill la Kill has pretty much none of those problems. Ryuko marked the second lead role for the up and coming Erica Mendez (Sailor Moon‘s Haruka/Sailor Uranus, Magi: The Labyrinth of Magic‘s Aladdin) and ultimately served as the one that propelled her to stardom as her performance for the character proved to be downright fantastic, and every bit as over the top as Ami Koshimizu’s.

The rest of the cast works wonders too, with everything from Christine Marie Cabanos’s (Puella Magi Madoka Magica’s Madoka, Blue Exorcist‘s Shiemi) hyperactive Mako to Ben Diskin practically stealing the show with his pimp daddy take on Takaroda, all serving to make for a cast that’s every bit as fun as the original with the only real deduction being that Laura Post’s (Squid Girl‘s Cindy, Sailor Moon‘s Tellu) Ragyo isn’t quite as good as Romi Park’s (but matching Romi Park is a nigh-impossible task to begin with so that’s not anything I can really hold against it). Putting it all together however, was Alex von David’s spectacular work on both the direction and the dub script as he played up the show’s pure ham to perfection, and managed to deliver on the rather lofty expectations the dub was facing. It’s hard not to have a good time with an Imashi show, and out of all his works that have been dubbed, this is definitely the one that’s cut from the best cloth.




ADR Director: Suzanne Goldfish (K: The Animation, Tiger and Bunny: The Rising)

ADR Script: Mark Ryan (Shaman King, Digimon Adventure), Seth Walther (Digimon Frontier, Naruto: The Last), Michael Sorich (Digimon Adventure 02, Shinzo)

Recorded at: Studiopolis (Viz Media)

Synopsis: Life can be tough when you’re a teenager. Enter Tsukino Usagi, an average, if somewhat clumsy, junior high student whose voracious appetite for sweets and capacity for tears are offset by her enthusiasm for life. Her normal existence is suddenly turned upside down when a talking cat named Luna comes into her life. Suddenly, Usagi finds herself with the ability to transform into the superhero known as Sailor Moon. Fighting the occasional monster may be the least of her worries, though…

Thoughts: With the exception of Dragonball Z, few anime have left as big an impact in the west as Sailor Moon. Unlike Dragonball Z though, the reception of it’s dub was far less stellar, and while it still has it’s fans as much as anything else from that time period, the hope that it would one day be done right was one that fans held onto for over a decade. Needless to say that left some rather lofty expectations for Viz to live up to when they rescued the show back in 2014, and while there’s been a fair share of issues with that revival (mainly when it comes to the video quality) the dub is definitely the one area where they succeeded. Stephanie Sheh’s (Naruto’s Hinata, Eureka Seven’s Eureka)  Usagi is easily the best the character has ever sounded in English and nails her to perfection while Robbie Daymond (Tales of Zestria’s Sorey, The Seven Deadly Sins’s Gilthunder) proved to be every bit as impressive in his debut anime role as Mamoru/Tuxedo Mask and has since gone on to do some impressive work.

The rest of the core cast doesn’t slouch around either as the other Sailor Guardians are comprised of a balanced cast between established veterans like Kate Higgins (Naruto’s Sakura, Fate/Stay Night’s Saber) as Ami/Sailor Mercury and Cherami Leigh (Fairy Tail’s Lucy, D. Gray-Man’s Road) as Minako/Sailor Venus as well as fresher faces like Amanda Miller as Makoto/Sailor Jupiter (Accel World’s Nomi, Squid Girl’s Takeru) and Erica Mendez as Haruka/Sailor Venus, all helping to do justice to these beloved characters. The villains are equally well cast, bringing in talent such as Cindy Robinson (Moribito: Guardian of the Spirit’s Balsa, Tweeny Witches’s Sheila) for Queen Beryl and Steve Staley (Buso Renkin’s Kazuki, Bleach’s Hitsugaya) as Rubeus to make for a rock-solid dub, full of fun performances. A lot of credit also has to be given to the direction and scripting here too, as both not only deliver on capturing the heavier aspects of the material but also do a wonderful job of giving the dub an appropriately retro feel that really matches the time period of the series without making it sound too dated. All in all it’s a fantastic effort, and one that really helps to demonstrate just what’s allowed Sailor Moon to endure as such an iconic anime franchise.




ADR Director(s): Mike McFarland (Attack on Titan, Blood Blockade Battlefront), Joel McDonald (Assassination Classroom, Space Dandy)

ADR Script: Mike McFarland, Clint Bickham (Barakmon, From The New World), Bonny Clinkenbeard (Death Parade, Black Butler), Brandon Potter (Absolute Duo. Riddle Story of Devil)

Recorded at: Funimation Studios

Synopsis: Long ago the infamous Gol D. Roger was the strongest and most powerful pirate on the seas. As he was about to be executed he revealed that he hid all of his wealth, including the legendary treasure known as One Piece, on an island at the end of the Grand Line – a treacherous and truly unpredictable sea. Monkey D. Luffy is a spirited, energetic and somewhat dim-witted young man with a very big dream: to find One Piece and become the Pirate King! However Luffy is no ordinary boy, as when he was younger he ate one of the Devil’s Fruits and gained its power to become a Rubber Man. Now in this grand age of pirates Luffy sets out to gather a crew and sail to the most dangerous sea in the world so that he can fulfill his dream… and maybe even his appetite!

Thoughts: It goes without saying that One Piece got off to a really rough start in the west (and doubly so if you were lured here by my tweeting the infamous rap song) and when the show was finally allowed the grace of shifting hands from the much reviled 4Kids to Funimation, they had a lot of work to do in helping to give the series a second chance. Fortunately they proved to be up to the task, and while the Funimation cast may have primarily started out mostly as improved versions of the 4Kids one (well minus Eric Vale’s Sanji since that was mercifully about as far south of David Moo’s as possible) they’ve since gone on to turn the dub into a real grade-A effort. The Straw Hat performances are all great with Colleen Clinkenbeard’s (Fairy Tail’s Erza, Kiddy Grade’s Éclair) Luffy serving as the glue that holds it all together and while I was admittedly more partial to Marc Diarson’s Zoro than I am Chris Sabat’s (My Hero Academia’s All Might, Fairy Tail’s Elfman) it’s still hard to deny it’s solid.

They’re all joined by a cast that’s as almost as vast as the world of One Piece itself as the show has brought in voice actors from various talent pools from Patrick Seitz as Franky, to even bringing in Canadian actor Scott McNeil (Inuyasha’s Koga, Gundam 00’s Ali-Al Saachez) for one of the films, allowing for a wide variety of performances that are all held together by Mike McFarland and later Joel McDonald’s stellar direction for the series. Truth be told, I haven’t seen a whole ton of this dub (mostly because I can’t bring myself to slug through the anime’s pacing when reading the manga’s easier) but what I have seen is more than enough to convince me that this dub’s a real standout, and while Funimation may never truly be able to erase the sins of the past wrought by 4Kids, they’re at least doing a bang-up job of helping to propel One Piece into the future.

<–Honorable Mentions


The Sounds of Dubbing- 25 Days Of Dubs Eve

The holiday season has crept up upon us, and people everywhere are already counting down the days to Christmas. In honor of the season, and more importantly getting around to things I keep meaning to, I’ve decided to do something a little special. Keeping in the spirit of the whole “25 Days of Christmas” thing I’ve decided to make a list counting down my 25 favorite dubs of all time between December 1st and Christmas, with a new entry being added every day. To keep things simple my criteria for these is that they have to be from a TV anime or OVA since including movies would make things a bit convoluted, and it’s being kept strictly to things I’ve actually seen so certain “classics” like Haruhi or the Berserk 1999 dub aren’t gonna make the cut since I have yet to actually get around to them. With all that said, before diving into the actual list, I’d like to take a bit of time to throw in a few honorable mentions that either didn’t quite make it, or I can’t count for obvious reasons.

*All series synopsis from Anime Planet







ADR Director: Christopher Ayres (Chika: The Coffin Princess, Phi Brain season 2)

ADR Script: Clint Bickham (One Piece, Barakamon)

Recorded at: Seraphim Digital (Sentai Filmworks)

Synopsis: One thousand years from now, humanity live pastoral lives aided by psychokinetic powers and the subservient Monster Rats. Saki Watanabe has just come of age, and her power has been reined in through meditation and hypnosis. She joins the Unified Class, where she will learn about her power and the world around her; yet so much of the truth is kept hidden. Her friends Shun, Mamoru, Satoru, and Maria share in her curiosity, and decide to go out of their way to seek the truth. But will the secrets of the past and present turn out to be things that Saki really wants to know?

Thoughts: Sentai has come a long way with their dubs over the last few years, but it’s hard to forget that they had some pretty dark times back in the day. They were pumping out a high volume of dubs, and had only three ADR Directors to shuffle them through: Chris Ayres, Kyle Jones, and the infamous Steven Foster, with the level of quality generally ranging anywhere from passable to horrifying. A few solid ones managed to slip through the cracks though, and none as pristine to me as the dub for From the New World. Chris Ayres was in charge of this one, and his overall direction on the dub is pretty smooth, with Clint Bickham’s script for the dub doing a fantastic job of keeping things on point for such a wonderful sci-fi fantasy. The casting works really well here too as Emily Neves (Future Diary‘s Minene Uryu, Akame ga Kill‘s Chelsea) does a fantasic job as the heroine, Saki, and while Greg Ayres (Deadman Wonderland‘s Ganta, Negima‘s Negi)often gets flack for how distinguishable his voice is in proportion toWonderland his actual performance, he does good work here as Satoru, and the rest of the cast works just as nicely. The one somewhat weak link here would be that John Kaiser’s (Night Raid 1931‘s Shinichiro, Tamako Market‘s Nobuhiko) doesn’t quite sell the character’s final scene as well as he needs to, but the dub otherwise works well. Solid as it is though, it doesn’t pack quite enough of a punch to crack my top 25, but it’s still nice to know that as much as Sentai was getting wrong in those days, this one shows that they were still capable of getting one right.




ADR Director: Anthony Salerno (Revolutionary Girl Utena, Slayers)

ADR Script: Mark Ryan (Zatch Bell, Sailor Moon)

Recorded at: Taj Studios (4Kids Entertainment)

Synopsis: The time has come for the next Shaman King to be crowned in the great Shaman Fight. Yoh Asakura is one such hopeful, a kind-hearted boy with a hidden power… and a terrible secret. Now, the fate of all mankinds rests in the hands of Yoh and his companions as they must battle the most powerful shaman who ever lived!

Thoughts: Despite having been dead and buried for roughly half a decade now, 4Kids name still lives on in infamy and justly so given the amount of hackjob dubs they produced over the years. However while Pokemon is the one that most are willing to cite as something of an exception when it comes to some semblance of quality, for me, I’d have to say the Shaman King dub was probably their best work. The dub’s very existence is something of an anomaly as despite 4Kids reputation for removing any notable instances of major violence, this one managed to get away with blood, guns, smoking and even one bizarre instance of swearing, and I’ve rewatched it quite a few times just to get a laugh out of radar dodging it managed to pull. As far as actual voice work and direction goes, it’s mostly par the course for what you’d expect from 4Kids, but a lot of it still holds up pretty decently. Sebastian Arcelus’s (Gokusen’s Yoichi, Seven of Seven’s Mutsumi) performances as Yoh and Hao/Zeke respectively are both pretty solid, and while it’s chock full of voice actors doing ridiculous accents and the like, it sometimes manages to work, with Sean Schemmel’s (Dragonball Z’s Goku, Giant Robo’s Tetsugyu) Ryu/Rio and Andrew Rannells’s (Pokemon’s Harley, Sonic X’s Decoe)Tao Ren/Len  in particular working in some surprisingly good delivery every now and then, despite the outrageous accents they were burdened with. For everything I’ve said though, there’s still no getting around that this is a hackjob dub and it’s ultimately just something of a guilty pleasure for me. Still it’s a guilty pleasure I’ll stand by, and while I’ll never actually be able to defend my weird attachment to this dub, I doubt it’ll be fading anytime soon.





ADR Director(s): Kristi Reed (Accel World, Lagrange: The Flower of Rin-ne), Kirk Thornton (Bleach, Blood Lad), Patrick Seitz (Monster, Girls Bravo), Alex von David (Blue Exorcist, Erased)

ADR Script: Kristi Reed, Alex von David, Caitlin Glass (Love Live!, Yuki Yuna is a Hero)

Recorded at: Bang Zoom! Entertainment (Aniplex of America)

Synopsis: Looking for a change, Mikado moves from the countryside to bustling Ikebukuro to attend the same high school as his best friend, Masaomi. Though navigating a new school and friendships can prove tough by itself, Mikado also finds an overwhelming number of new delights and dangers in the district he now calls home. From a friendly Russian sushi bar to the violent color gangs, to even an urban legend in the form of a black motorcycle rider, each resident of Ikebukuro is unique and frightening. But the town is smaller than it seems at first, and these strange events appear to be connected. Will the growing storm sweep up the transplanted country boy and his friends or will Mikado find himself at the center of a dramatic change for Tokyo?

Thoughts: Well if I were being honest, there’s frankly a lot of dubs I’d rate over DRRR’s, but it’s such an insane little project that it’s hard not to give it some due. Over the course of the franchise’s 65 episode run, the show introduces an outrageous amount of characters, and almost all of them end up playing a major role in the story at some point. Given that, the dub eventually turned into something of a who’s who of California based-VAs and despite the orgy of characters the show has to offer, the majority of the performances work out pretty well. From Johnny Yong Bosch’s (Bleach‘s Ichigo, Sailor Moon‘s Artemis) slimy Izaya, to Kari Walhgren’s (FLCL‘s Haruko, Wolf Rain‘s Cher) perfectly-awkward Celty, there’s a lot of fun performances to go around, and even some of the rough ones like Darrel Guilbeau’s (Magi: The Labyrinth of Magic‘s Hakuryu, Nura: Rise of the Yokai Clan‘s Rikuo) Mikado and Bridget Hoffman’s (Digimon Tamers‘s Jeri, Fate/Zero‘s Irisviel) Namie manage to improve a bit with time. Perhaps most notably though is that the show went through not one, but four different ADR Directors over the course of it’s run and managed to any serious rough patches outside of the second season’s first few episodes. That’s something of an achievement for a show with a cast as large as this one, and while as a whole, it’s not strong enough to rank among my all time favorites, it’s still one that’s worth checking out.




ADR Director(s): Wendee Lee (Bleach, A Lull in the Sea), Micheal Sorich (Shinzo, Bo-bo-bo-Bo-bobobo), Mary Elizabeth McGlynn (Wolf’s Rain, Blue Dragon), Jeff Nimoy (Zatch Bell, Naruto)

ADR Script: Jeff Nimoy, Steve Blum, (Naruto, Megaman NT Warrior), Ardwight Chamberlain (Tiger & Bunny, Glitter Force), Mary Elizabeth McGlynn

Recorded at: Studiopolis (Saban Brands, Toei Animation)

Thoughts: I could seriously be here all day if I were to go over my feelings on each Digimon dub individually, but the franchise is near and dear enough to my heart that I had to mention it somewhere so I’ll try to keep things to a general summary. Digimon was the big monster franchise of my childhood next to Pokemon, and unlike virtually every other kids show of it’s heyday it was blessed with the miraculous gift of the dub staff realizing that they were adapting something that was actually pretty good, and tried their best to keep as much of the show’s original tone as possible within the expected limitations of hackjob kids’ dubs at the time. The result turned out something that’s been looked back on fondly, and a lot of it holds up surprisingly well to the point where it has more vocal defenders then pretty much anything else from it’s time period despite the flaws. It helps that each iteration was blessed a cast comprising of some of the best voice actors in the industry with talent such as Steve Blum (Cowboy Bebop‘s Spike, Naruto’s Orochimaru), Crispin Freeman (Hellsing‘s Alucard, The Irresponsible Captain Tylor‘s Tylor), Quinton Flynn (Kingdom Hearts‘s Axel, Bleach’s Kon), Laura Bailey (Soul Eater‘s Maka, Fullmetal Alchemist‘s Lust)and Kari Walgren having all been involved with the franchise at some point (and Derek Stephen Prince has popped up in it so many times that I’m convinced he’s contractually obligated to be in every incarnation of the series). The voice direction is equally effective as Mary Elizabeth McGlynn lended her legendary talents to much of the franchise, and while not every incarnation succeeds in that department (looking at you Data Squad) it still stands heads and shoulders above the level of quality typically expected of dubs targeted towards kids. Of course at the end of the day, while the dubs have all been relatively faithful adaptions, they’re still edited down versions of their original counterparts and as such I can’t include them on my list, but in spite of that obvious problem, I’d still say the Digimon dubs have more than earned their fame.





ADR Director/Script: Tony Oliver (Gargantia on the Verdurous Planet, K-ON!)

Recorded at: Bang Zoom! Entertainment (Aniplex of America)

Synopsis: Ten years before Shirou Emiya’s and Saber’s fateful meeting, Japan is the stage for the fourth Holy Grail War. Seven Masters, each with his own dreams, step forward to win the boon of the mystic relic. Into this fray comes Kiritsugu Emiya, the enigmatic “Mage Killer” who wants to use the Grail to make a better world. Can he, paired with the indomitable Saber win the War? Or will he fall to the ambitions of the other mages?

Thoughts: So much like with the dub to Soul Eater, I’m that one weirdo who doesn’t like this dub as much as everyone else seems to, but unlike SE, the worst performance here wasn’t enough to kill the whole thing for me, and I can still acknowledge that it has a lot of merits. Like DRR above, this is an ensemble show, and thus lives and dies on the strengths of it’s various individual performances. Fortunately a lot of them prove to be up to the task with everything ranging from ultra hammy performances like Dan Woren’s (Bleach‘s Byakuya, Persona 4: The Animation‘s Igor) and Crispin Freeman’s Kirei to heartbreaking ones like Kari Walgren and Matt Mercer (K: The Animation‘s Kuroh, Gargantia on the Verdurous Planet‘s Chamber) respective takes Saber and Kiritsugu, with Jamieson Price (Blazblue‘s Iron Tager, Gurren Lagann‘s Lordgenome) and Lucien Dodge (Accel World‘s Taku, Pokemon Origin‘s Blue) in particular, having great chemistry as Rider and Velvet. The one sore spot in the cast would be David Vincent (Gun x Sword‘s Vann, Bleach‘s Grimmjow) as Gilgamesh since he wasn’t really suited to the level of ham that role required but it’s not nearly enough to take away from how strong the rest of the cast is, and as a whole it’s a great ensemble. Unfortunately while the cast is great the voice direction, while very solid, feels a bit stiff at times and it’s enough to keep this dub out of the running for my top 25, but while I may be the outlier in not thinking it’s a masterpiece, it’s still pretty darn good

And that’s it for the honorable mentions. Come back tomorrow as I start counting the full list of my 25 favorite dubs. Until then, stay animated.

Toon Talk- Monthly Retrospective (October 2016)

We’ve finally hit November and this long year is finally starting to wind down. October saw the start of a new season and with it some new shows as well as some new highlights so let’s take a brief look at some of what happened last month.

New Season, New Anime


The beginning of October marked the start of the Fall 2016 anime season, which means a ton of new shows have come out over the last few weeks. I already went over my first impressions of a lot of these shows earlier so I won’t go into too much detail on individual stuff again, but I will say that despite some of the reservations I brought up while I was doing those (and nearly burning myself out in the process) it’s actually looking to be a pretty strong season. There’s a lot of chaff as always but stuff like Izetta: The Last Witch and Flip Flappers have stayed consistent enough that I’m fairly confident they’ll make for a fun ride the whole way through, and while Yuri on Ice already seemed like it was easily going to be the best show of the season, it’s only improved since it’s first episode, and to my amazement it seems to actually be popular. It’s certainly nice to see something that doesn’t scream super-mainstream actually picking up steam (and weirdly not many people seem to be actively talking about Drifters despite that being the obvious big action title of the season) and I guess it’s another sign that times are changing. Time will tell if the bigger Fall titles manage to stick the landing in the end but now that I’ve got the amount of shows on my plate down to a manageable number, I’m certainly pleased with what I’m seeing so far.


Toei FINALLY Brings Dragonball Super to the States


So it’s finally happened. After over a year of being denied Dragonball Super despite DBZ being about as mainstream as anime can get when it comes to the U.S., Toei’s finally decided to wisen up and bring the show to legal streaming channels ala Crunchyroll and Daisuki. All I can say is: it’s about time, and while it’s easy to speculate over what the hold up was (knowing Toei I imagine it was them trying to push for television deals first) at this point I’m just glad it’s been made available. As of right now I have yet to actually check out Super since I have a ton of other things on my plate to shift through, but I’ve heard a lot of good things about it from both enthusiastic and jaded Dragonball fans alike, and I’m looking forward to taking a peek at it whenever I get the chance.


Shelter and the “Anime” Debacle


One of the most interesting and simultaneously irritating discussions of the month came when a short music video called Shelter was uploaded to Crunchyroll. It looked absolutely gorgeous, and was helmed by some of the folks at A-1 Pictures, but despite that listing, having a Japanese voice actress attached to it, and being having some marketing in Japan, the fact that it was partially produced by American musician, Porter Robinson was enough for the mods at Reddit’s anime forums to declare it “not-anime” and similar debacles were brought up elsewhere. Honestly I have to say that it’s really frustrating to still be having this conversation in 2016, but apparently some parts of the anime fandom haven’t moved past gatekeeping culture, and the whole thing has gotten to be tiresome. I’ve made my stance on the whole east v.s. west thing and what exactly defines “anime” pretty clear, so I’m not going to go into too much of a tirade on that, but as far as I’m concerned if it was animated in Japan, features Japanese voice talent and was marketed for Japanese audiences in some capacity: it’s anime and arguing otherwise is kind of nonsensical.

Co-productions have been a thing for years now, and with the ever increasing influence of the western market and China on anime sales they’re only going to grow in number and it’s time for folks to start getting with the program. It’s fine to debate over exactly how much good or ill western influences might have on what gets produced, but arguing their validity is inherently pointless when you take into account how fragile the west’s definition of “anime” is, and the time people spend arguing over this stuff, is time taken away from actually evaluating the works themselves, and for what it’s worth, Shelter was pretty good, and the overall reception seems to have been positive. Sadly I don’t imagine this’ll be the last time these kinds of debates pop up, and all the more considering stuff like Children of Ether is coming down the pipeline, but I do wish certain sections of the anime fandom would give it a rest already.

And that’s it for this time. This one was kind of short despite October being a fairly big month, but I mostly just wanted to get my thoughts out on the Shelter thing (and to be frank I almost forgot about doing this entirely). Hopefully I’ll have a bit more to talk about next time but until then, stay animated.

The Sounds of Dubbing III- One-Punch Man

And here comes another one of these. I wasn’t sure if I was going to make this a regular thing, but since it’s a little easier to do than regular reviews, it seems to be working out pretty well for me. I guess for now the goal is to try and pump out one of these every month but since I’d like to keep it centered around dubs whose runs have actually completed, I may have to do some backtracking to keep a steady schedule. We’ll have to see what happens with that, but for now, onto the review!

Dub Rating Scale

Bad– Really horrible voice direction and cringeworthy performances or scripting. Perhaps a couple of decent performances in the mix but  an overall bad product to the point where even if you aren’t particularly concerned about acting it’s immediately apparent how awkward it is (ex. Revolutionary Girl Utena, Penguindrum, 4KIds One Piece, Guin Saga)

Serviceable– A dub with a mix of performances ranging from good to mediocre. The good mostly outweighs the bad and the scripting and voice direction are workable. Not particularly good by any means but okay sounding enough that if you ignore the existence of the Japanese version and just want to listen to the show in English, it’ll do the job though it may not have much in the way of rewatchability (ex. Majestic Prince, Prince of Tennis, Gatchaman Crowds)

Good– A solid and competently put together dub. The majority of the performances work with only at best a couple of dull sounding ones and a possibly a few that are outstanding. Scripting and voice direction hit the right marks and even if the Japanese version is more technically competent in a few areas it’s a good enough production that you can stick with it and not miss out on much. Worth revisiting every now and then (ex. Gargantia on the Verderous Planet, Psycho-Pass, From the New World)

Exceptional– An extremely well made dub. A lot of really outstanding performances, great voice direction and a well crafted script. Can be perfectly comparable to the Japanese version in terms of technical competence and in some rare instances can stand out as the superior product. Definitely worth revisiting and recommending to others (ex. Cowboy Bebop, Fullmetal Alchemist, Death Note)


Synopsis: Saitama was once an average joe who was down on his luck after losing his job as a salaryman, but after saving a young boy and recalling his childhood dream of being a superhero, he decides to dedicate his life towards becoming a strong hero. Three years later, Saitama has become the strongest hero around and is capable of taking down all sorts of villains and monsters with single punch. However with great power comes great boredom, and Saitama’s inability to be challenged starts to suck all the fun out of the job. Now he finds himself largely unsatisfied, and if he can’t have fun being a hero, then what’s really the point?

Intro: So coming into 2016, this was easily my most anticipated dub of the year. One-Punch Man’s anime turned out to be a stellar adaption of the original manga thanks to the director Shingo Natsume managing to assemble a crack team of animators, turning the series into an overnight sensation. Needless to say this put some heavy expectations on the dub and having it slated for a run on Adult Swim’s late night Toonami block only added to the pressure. Now that it’s run has ended and the dub’s been displayed for all to see (well anyone with cable I guess), it’s time to see whether or not the dub lived up to the hype.


Voice Direction


One of the most notable things about Viz Media when it comes to dubs is that they’re more or less the only remaining anime distributor in the U.S.(outside of Funimation on the rare occasion where role reprisal requires it) who ships their dubs around to multiple recording studios. In particular they tend to send their dubs to one of two places: Studiopolis, who is usually handed their monolithic properties like Naruto and Sailor Moon (also K…for some reason) and Bang Zoom! Entertainment who’s usually handed their lower priority shows like Blood Lad or Lagrange: The Flower of Rin-ne. Going by that trend, I assumed OPM would be going to the former, but to my surprise it ended up with Bang Zoom. BZ’s overall track record, while solid, isn’t quite as consistent as what Studiopolis puts out so I was slightly worried about the outcome, but the show was put into good hands with Chris Cason (Birdy: The Mighty Decode, The Seven Deadly Sins) who’s worked on Bang Zoom and Funimation dubs alike over the years. All that experience certainly shows as the dub’s direction maintains a consistent tone, hitting all of the comic timing for the jokes effectively, and ensuring that none of the performances sound particularly stilted (well maybe one, but we’ll get to that later). Given that the show’s primarily a comedy, there’s nothing too mind-blowing here, but nothing feels off about it either and it all comes together pretty well. That said, there are a couple of areas where I feel like Chris Cason could have pushed the actors harder, and while it’s solid overall, it feels just a few steps shy of being outstanding which is what I was kind of hoping for here.




Ever since last year, there’s been a notable trend with BZ dubs borrowing script writers better known for their work at Funimation, so when another one of them popped up here I wasn’t too surprised. What did shock me though, was that the script writer was Mike McFarland (Hyperdimension Neptunia, Hellsing Ultimate) who’s better known for his directing credits than his scriptwriting. Thankfully he doesn’t seem to be lacking in the latter department, as the scripting here is solid and manages to feel just loose enough not to sound stiff, while also sticking closely to the source material. Since this was a pretty high-profile series, I’m glad that the script mostly errs on the side of caution (especially since the same can’t be said for a certain other blockbuster anime hit *cough*AOT*cough*) but at the same time it also feels a little too cautious, and might have benefited from punching up the dialogue here and there given that the show is mainly a comedy. Still. between the problem of a script that’s too loose and one that’s too faithful, I’d definitely rather deal with the latter so as far as that goes, I’m more than happy to give it a pass.


Casting and Performances


Casting is always something of a give and take scenario when it comes to BZ since while they rarely miscast actors, their preferred style of imitating the original Japanese performances as much as possible tends to make some of their casting choices a forgone conclusion, and by extension less interesting. Fortunately this was one of their better efforts in that respect as we ended up with a good mix of solid choices and genuine surprises. When I first saw that Max Mittleman (Your Lie in April’s Kousei, The Seven Deadly Sins’s King) was cast as Saitama I have to admit I was a little skeptical. One of the most appealing things about the character is how unconventional he looks and sounds as a protagonist, so casting a guy who was already well on his way to becoming one of the next big names in California dubs seemed a bit strange. However he proved to be more than up to the task as he nailed all of Saitama’s dry humor perfectly, and his delivery of the character’s constant boredom stayed consistent the whole way through, while also allowing him to show off some of the deeper parts of his vocal register between jokes. Some other standouts include Robbie Daymond (Sailor Moon’s Tuxedo Mask, Tales of Zestria the X’s Sorey) as Mumen Rider, who captured the humble nature of the character to a tee, and Chris Jai Alex as  (Jojo’s Bizarre Adventure’s Esidisi) Boros, whose naturally powerful baritone really helped to give the villain the level of presence needed for his big confrontation with Saitama.

I also have to give some props to some of the dub’s gag casting as it pays homage to the similarities between the baddies Saitama faces and characters from other series, helping to give the dub a little extra flavor. This results in some hilarious moments like Saitama slaying a Titan look-alike voiced by Bryce Papenbrook of Attack on Titan fame or a bi-pedal lion-man voiced by George C. Cole suffering the same cruel fate as every Leomon from the Digimon franchise. There’s a few casting choices like this sprinkled throughout the dub and it really goes a long way in making it stand out.

Sadly though, the dub cast isn’t without a few hiccups. Zach Aguilar (Aldnoah Zero’s Slane, The Seven Deadly Sins’s King Arthur) sounds a bit stiff as Genos, and the voice itself feels sort of forced at times. While it’s possible this was done intentionally in an attempt to make him sound more robotic given that the character himself is a cyborg, it still sounds a little off compared to Kaito Ishikawa’s performance and doesn’t quite match up. Similarly Erik Kimerer’s (Accel World’s Haruyuki, Toradora’s Ryuji) Speed O’ Sound Sonic doesn’t go quite as deep as Yuki Kaiji’s and performance and while he’s certainly capable of pulling off a lower vocal register, for whatever reason he doesn’t here, and the performance loses some of it’s intensity as a result. The weakest link though, would be newcomer (well anime-wise anyway) Ben Lepsky, whose Amai Mask, while perfectly functional, doesn’t carry much in the way of presence, and especially compared to Mamoru Miyano’s natural ham (even if this show featured a more subdued version of it). None of these performances are weak enough to seriously drag down the quality of the dub (and in Erik Kimerer’s defense his performance improves the most out of the three) but given how high the expectations for this were, having even a couple of slightly underwhelming performances in the main cast is a little disappointing.

Final Thoughts: So did the OPM dub manage to live up to expectations? Well the overall reception seems to be positive, but for me I’d have to say not quite. It certainly isn’t a bad dub by any means and it could still end up ranking among my top 5 for this year (though as of this writing I have yet to see the dubs for Erased or Escaflowne, and the new crop of simuldubs seem pretty promising) but I’d be lying if I said I wasn’t slightly curious how things would have fared had the dub gone to Studiopolis instead. There’s a lot of strengths to this dub and I certainly can’t accuse the staff of not going the extra mile with some of the casting choices, but while it’s pretty great as a whole, it’s one punch shy of perfection.

Rating: Good