- #CRAYON SHIN CHAN EPISODES SOCKS LICENSE#
- #CRAYON SHIN CHAN EPISODES SOCKS SERIES#
- #CRAYON SHIN CHAN EPISODES SOCKS TV#
As per all international licenses for the series, TV Asahi remained a licensing partner for North America.įUNimation's dub features their Texas-based cast of voice actors.
#CRAYON SHIN CHAN EPISODES SOCKS LICENSE#
As both dubs have never been released in the US and had limited release in other countries, they are very difficult to find, with the Phuuz dub being near-impossible to find.įUNimation Entertainment acquired the Shin-chan North America license in 2006. Vitello and Phuuz episodes lasted on an average 21 minutes and contained three segments of 5 to 7 minutes. However, the Phuuz dub contained none of the original voice cast from Vitello's, with all the characters voices being replaced with a different talent pool.ĥ2 episodes have been produced of the Vitello dub and at least 78 episodes of the Phuuz dub. In 2003, Phuuz Entertainment was commissioned by Lacey Entertainment to continue the dub in similar style as the Vitello dub.
For example, episode 29 shows Shin bringing his classmates to visit his newborn sister, episode 30 shows his sister coming home from her birth in the hospital and in episode 52 it was revealed that Shin was going to have a sister. Additionally, the episodes were dubbed out of their original order which created continuity errors. Some episodes that displayed adult material and mature content were not dubbed at all. However, the frequent appearance of Shinnosuke's naked buttocks, as well as humor relating to breast-size and sexual themes, remained in the finished product. Most adult jokes were re-made into family-friendly jokes, and the profanity was edited out. Many characters had their names changed to American-sounding ones, the original background music was completely replaced with new background music, and scenes with nudity were edited to remove any signs of indecent exposure.
During the early 2000s, it ran on Fox Kids (and later Jetix) in the United Kingdom, on Fox Kids in Australia and on RTÉ Two in Ireland. The dub featured veteran voice actors such as Kath Soucie, Russi Taylor, Grey DeLisle, Pat Fraley, Eric Loomis and Anndi McAfee playing the characters.
#CRAYON SHIN CHAN EPISODES SOCKS SERIES#
Animation producers in the US could stand to learn from this and recognize that letting artists grow with a show can only be something positive.The series was first dubbed into English by Vitello Productions in Burbank, California through 2001–2002, when TV Asahi and Lacey Entertainment decided to market the series worldwide. It’s refreshing to find that in Japan, certain animated shows still allow for artists to be a creative partner in the production of the series. By season six or seven, however, the producers had clamped down and decided that the show was going to exclusively be a platform for smug writing and dialogue, not for anything resembling art or animation. THE SIMPSONS allowed artists some extent of creative feedom for quite a few seasons, especially during its earliest Klasky Csupo years, and also in some of the subsequent Film Roman seasons. If a layout artist on the SIMPSONS draws ‘off-model,’ that’s viewed without question as an error, never as a creative choice on the part of the artist. But on the SIMPSONS, machine-like repetition of style is the order of the day. No self-respecting musician would ever agee. Imagine a record label that asks a musician to compose one song and then replay that song for the rest of his career. SIMPSONS producers, quite unbelievably, pride themselves on putting out a show that doesn’t exhibit stylistic evolution – and they certainly wouldn’t stand for anything that showed personal creativity or the sign of an individual’s hand in the production. Here, the drawing in shows – most shows, at least – tightens up with every passing season, exemplified most clearly (and sadly) in America’s longest running animated series THE SIMPSONS, which hasn’t had an original character expression or bit of movement in well over a decade. What strikes me as fascinating about this stylistic evolution is that it’s the complete opposite of the tendencies of US series. (Ben’s article also includes links to video clips.) Check out the revealing stills above – left is from a 1992 episode, right is from 1996. Initially, the show remained faithful to the comic that it was based on, which from what I’ve seen is rather poorly drawn, but within a couple seasons the animators were pushing the look of the show into a more experimental (and even abstract) direction. My favorite anime critic, Ben Ettinger, recently wrote a piece about the long-running Japanese animated series CRAYON SHIN-CHAN and how since its debut in 1992, the animators’ styles have evolved and become more distinct and personal.
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