: Reflections on the dubbing
Hey, where's Perry? have always considered myself an advocate of seeing audiovisual products (films, series, whatever) of any kind in its original language (with or without captions according to whether they need), the reasons for this are diverse. Since many times the dubbing does not convey the emotion or the original interpretation as it should be, which is applicable to any language you understand or not. Going a step beyond word games, language references, jokes, double meanings, accents and regionalism, etc., that already require either knowledge of the original language or a subtitle half recorded.
Still, all these cases have some sense in a country with tradition (wrong) for dubbing as Spain. Not everyone speaks English and not everyone can be adapted to read subtitles while following the action. So dubbing as a lesser evil is an option despite all the above problems: worst performances, losing information and depth, and not have the appropriate references (in this case if the number is exaggerated references can opt for a creative dubbing as the mythical " The Prick of Bel-Air "and change all references to popular culture by imitation yankee television as a kid).
I Know What We're Gonna Do Today!
But there are more extreme cases, in which the dubbing directly devalued the tone of the series, where the presence of bending alters the intentions of the original creators, and that can produce well motivated budget, either just plain stupid decisions of the distributors or people who send a lot without having no fucking idea. A pretty clear case of this I have found revisiting a series that I like enough to be dubbed, but that is simply masterful original "Phineas & Ferb "
For those who do not know (shame of your children), "Phineas & Ferb " is an animated series produced by Disney, and a breath of fresh air and fun in a canal filled to the rafters with products (in the worst sense of the word ) of pre-teen fucking asshole (Hanna Sow, Tupu Brothers, etc). The series is about the adventures of two brothers able to build anything over a summer full of wit, of the obsession of her sister caught, of the struggles of the family pet platypus against the kind of evil genius (!), and much more. Relying on dozens of frames transverse cross sections with a vertical structure and closed seemingly repetitive, surprised by the extreme and ongoing care that their creators are bent on giving. Also notable for its many references to pop culture by combining many different ways to humor and its manicured musical aspect.
I began to see her in a English version because usually American animation usually more like me and paid the price doubled of losing a game of words for a vocal that I like more. And yet, the series did not quite shut. A series that is so full of references to classic cinema, the theory of relativity and various physical laws to internet memes, the music world, in short, a series with so many complex levels of viewing could not have those lows: simplification, parts very nones, voiceover explaining things!, etc. Simply made no sense, so I wanted to see her taking advantage decided to do the full original version to see this, and often change.
La serie, que en español estaba muy bien, visionada en inglés pasa a ser la mejor serie animación que se produce en estos momentos, y lo mejor que ha hecho Disney_no_pixar en quince años, así a bote pronto. ¿A que se debe esto? Pues fundamentalmente a la abismal perdida de calidad musical con respecto a la versión original, y las simplificaciones (excesivas y muy excesivas) que se han hecho en la versión española. Estos dos factores se suman a todo lo que se pierde en cualquier caso por el doblaje (el delicioso acento British de Ferb y el demenciado acento alemán de Doofenshmirtz, los juegos de palabras muy mamarrachos, etc). Todo esto aleja a la serie doblada de la visión compleja and several layers that have the original, for the sake of matching the bottom quite harmful.
Is not Got Rhythm The theme song in the English version suffers for two reasons: the first is as simple as the voice actors do not always know how to sing as well as originals (some singers and composers of right). The second reason is far more important: simply the selection of songs from the original is amazing, a lot of young singles (not normally spend two minutes) to fit in a masterly way the episode and situation, and gender so shoot as
metal, hard rock
,
power-pop, blues
,
swing-jazz, hard
, music
eighties, hip-hop
and just about anything. This in Spain has not gotten respect: almost all the English songs have a musical twist to what we can define a "Disney style" which makes some songs slip through more or less (more pop) and others (most ) miss important nuances. Becoming parodies that do not fit the tone of the series (and an egg that squeak when you're viewing) or losing specific references to stream this song. Pongo
example one of my favorite songs from the second season: "My ride
from outer space" in the episode "The Chronicles of Meap
, a strong theme of southern rock with some thugs own ZZ Top:
And the English version, in addition to an adaptation of the disgusting letter presents us with a smug voice-plan that are judged on duty: not only much worse than the original, but it fit like above eye with the music:
This affects almost all of the tracks on the series, which makes the English version I do not like at all listen to the songs, while the original wore them on the iPod and I singing like a freak on the street. So
Phineas, Whatcha doin '? But if the music can be more excusable, the change in tone and overall simplification of the English version is another matter, because it implies intentionality. One executive from here and there I saw the original too complicated for us, or just wanted to make it more for children by eliminating parts of the upper layers that can be enjoyed by adults.
We found a simplification of references and jargon. Long paragraphs and goings of several jar physics or math in the original version are cut things easier or less likely in the English version. On the other hand does not respect the continuity of the series: one of the things that makes great Phineas & Ferb is that although its chapters are apparently independent (and very close) there really is a conscious effort to create a continuity creators and a mythology cut across all chapters. This in the English version is rarely respected, the disappearance of key phrases in the original version apparently have sense, but serve to bind elements to previous chapters.
But these things, more or less criminal, more or less tolerable, at the bottom are bullshit compared to the stupidity that is making Disney Channel Spain with the series now. Chapters has stepped again to add a voiceover (which of course is not in the original version) that describes what characters were doing, especially what makes Perry (who does not speak). The joyous voice of the balls has everything that goes on the screen, point by point, treating the audience not as children, but as the bean directly congenital idiots that we are not able to understand what we see and what we have to explain. It is difficult to describe what comes to bother, because no paste or glue, cut the pace of action, reduces the volume of the soundtrack when it enters and, in general, fuck the whole series from top to bottom. If you want to see for yourself put a chapter on television, those on youtube are usually the first dubbing and do not have this shit.
Oh, There You Are Perry In conclusion, the dubbing sucks because it takes away the original works in exchange for lowered by a bastard version know that mess. If you still do not know I heartily recommend you to get down to see Phineas & Ferb and, if you already know try to view the original version. And if even that which ye find at least enjoyed the post and the songs.
PD: Yes, I know I have this left, sorry, I'm writing other things:
on 
life as anyone. In many cases ended his concerts with her and the audience stayed silent, absorbed to interpret it that way and before told the same story, the story of pain, the American wound. 
