When Japanese seiyuu idols intensified, domestic dubbing practitioners still seemed to struggle in a chaotic environment. As the country’s popularity continues to rise, many domestic masterpieces are becoming more and more luxurious in the seiyuu lineup, but they are still often unsatisfactory. Even a large number of viewers feel that the national match sounds awkward, even if the work itself is authentic. Made in China. On the Internet, this is also a long-standing controversial topic. The younger generation who used to the original Japanese animation and Hollywood movies has always had more or less resistance to domestic dubbing. So, let’s put aside the differences in the industry level at the macro level and the prejudice of the individual audience. Can we sum up some basic reasons while acknowledging that the domestic animation dubbing often causes viewers to vomit? . The

Answer is also very obvious. The fact is that there are problems and gaps. These problems are not complicated, but the result of the combination of multiple factors.

Voice actor angle.

What is the most common voicing for most of the domestic animated characters? . Install B, contrived, not grounded. Even the well-known seiyuu is hard to escape, and even the well-known seiyuu is more likely to be said that the sound is awkward and B is installed. In fact, the key to the audience’s spit is not the hard power in sound quality, but more in the interpretation of emotions. Why is it always said by the audience that “B”? It is because in the dubbing of domestic animation, especially in the network series of non- cinema movies, the emotion of the “dial” of the voice actors is very obvious and widespread. What does the so-called “dumping” mean? It is too much pursuit of “words and circles.” The most important mission of the voice actor is to give the two-dimensional character a “soul,” which requires dubbing to give the character a sense of reality. Standard Mandarin, full of emotions is a necessary condition when reading or presiding, but it is not enough to rely on these voices – because no one in the real world would say this. A character is doing what no one can do in reality, so naturally it is easy to be labeled as “loading”, “pretending” and “awkward”.

The play and the narration are the separation of the normal conversational language from the sense of every day, dramatic and musical, thus demonstrating the aesthetic value of the art – and this is exactly the opposite of what the voice actor has to do. We can see that it is in the interpretation of the “voice-over gods” that almost every character in some domestic animations is “high-pitched sweet, medium-pitched, and low-pitched.” Do not talk about the inferior net match works of those who are uneven in level. Some popular masterpieces clearly show that the voice-over lineup is gathered, why is it still being squandered by some viewers? The problem is here, because the sound of the excellent seiyuu is too good, but it is even more unrealistic. The protagonist needs to be highlighted, and the sound is low and calm, but many supporting roles are often a professional studio, and a serious and very lively line is clearly recited in a “sentimental” manner. It is just the role of an ordinary person. It is just a conversation and a chat that is every day, but it is made to have a sense of stage. This will make the audience have a funny feeling of off-play. Everyone speaks magnetically, and the sweetness of the male Su female. The result is that the character is too vain, the precipitation is not down, there is no appeal, and the recognition cannot be produced. Moreover, it becomes a representative of seiyuu.

So is there any surprise and worship when making a domestic dubbing? Yes, it is easy to implement in another case. I won’t go back to the old translations here. The older generation of voice actors actually grasped the feelings and charms in foreign languages, but at the same time, because of the language differences themselves, the translation system now avoids it. A slot point. Here are two TV shows, one is the childhood memories of many people, the “Art Creation” introduced by “Little Dragon Club” in the 1990s, and the other is the famous “Wildness Survival”. Uncle Neil Buchanan is the enlightenment of countless childhood imaginations. He brings us countless artisanal and fine works on the show, and each period will have lively and interesting teaching; Bell Griers It is also to show the stimulating skills of the audience in the wild environment where accidents occur at any time. . Once they get rid of the shackles of design and script, in this scene of the need to restore purely real daily conversation, the teacher Tian Bo who voiced Uncle Neil and the teacher Sun Yi who voiced the voice of Baye have shown their horrible strength. Provided a perfect interpretation for the audience.Uncle Neil’s muttering and cold jokes when painting and drumming various props, the sense of humor in the face of the children’s audience and the artist’s free and easy temperament, as well as the wheezing of Baye’s various strenuous sports and adventurous behaviors. The chewing and swallowing sounds when eating, sometimes cautious and sometimes wild and unrestrained explanations, were interpreted by the two teachers to the fullest, without any violation.

Examples of these two programs can easily find a lot of content on the Internet that specifically praises their dubbing conscience, but in fact, these two voice actors also have a lot of classic performances in other film and television games, such as Zhang Jizhong’s version of “Dragon” Duan Yu and Lucio in the Blizzard game “Watching Pioneer”. From a certain point of view, this fact also strongly counters the criticism that the domestic dubbing actors are not able to withstand the hard power. Even if there is still a gap between the overall level and the Japanese seiyuu, the strength of the top domestic voice actors is unquestionable. . The main reason for the difference in evaluation today is not the quality of their voices, but the way they perform. In the above two examples, the most important task is to “restore” because it belongs to the dubbing of the program. You don’t need to be deep and magnetic, or highlight what people are. The key point is to restore the speaker as much as possible. At that time, the expression, the sense of reality and the sense of presence were the first. This is the mission that fits the seiyuu to the soul of the character. And their performance in domestic animation works is not so famous, I am afraid it is more limited by the work itself. Excellent dubbing is to serve the whole work. You don’t need to make the reader feel that the character is “speaking good”, even in some cases, to avoid this, but to make people think that this is the real look of the character. . There is a flaw, but it does exist. When many voice actors are performing, what they want is to show off their excellent voice, not the service character. Therefore, in the domestic animation, there will be a clear voice. The ones are big gods, but the mouths are all too slow, the air is too full, the nasal sounds, the tail sounds dragged, the excessive words are round… …and the most basic words, speak well, but are lost. The more you end up, the more you want to express “I am a very good seiyuu”, the more it deviates from the original positioning of the dubbing.

In addition, there is a more cruel status quo, that is, the level of most practitioners is far from the level of “Great God”, and even the cost of “showing off” is not. There are only a few hundred professional voice-overs in our country (compared to more than 100 in Japan’s Opto-School School), and they have to undertake many works that are tens of thousands of pieces each year. In particular, it is limited by the basic skills of some new generation of young actors. Many domestic TV dramas need to be dubbed twice. This invisibly further reduces the time and effort of the voice actors to leave the animation works. A few outstanding voice actors have contributed their talents to film and television dramas and translation programs. When it comes to animation, they have been unable to do so. It is not bad to be able to complete several masterpieces. After that, it is often difficult to jump out and break through their own. Signboard style. And because the entire industry has not established a healthy and well-developed training mechanism and business model, the remaining seiyuurs with uneven levels are even less motivated and motivated to promote and demonstrate themselves. Can have a single pick, can punch the card to complete the task is a success, but also do not show off themselves, do not deliberately express some so-called “sound line”, to pursue what constitutes the soul of the resonance and back to the true sense of truth, afraid that it is long ago Can’t eat it anymore.

Animator side angle.

Since mentioning the phenomenon of “during” and “following”, the reason for this situation is all the voice actors themselves? Obviously not, the producers of domestic animations actually have to divide the bigger one. Let this group of talented talents, or at least a passionate voice actor who has to struggle in the lines of 尴尬 can not play, the amateur and rough of the animation itself is the culprit. Animation is a Comprehensive art, it is impossible to put a mediocre work on the altar by any single item. The script, dubbing, soundtrack, painting, splitting, and editing need to be organically combined and coordinated to complete outstanding performances. The original script is full of rotten stories of Long Aotian and Mary Su. The original story is the lack of a truly vivid and characteristic figure. The voice actor wants to perform well and has no room to play.The picture is stiff and not smooth, and the characters are sometimes not good for the basic mouth shape, let alone the shaping of the scene and the characters. This is the limitation brought by the work itself. In live-action shows, TV dramas and games, this situation is much better, because seiyuu only need to do the utmost to truly restore the actors’ appearances at the time, and there are real people who can refer to them. The game is the carrier that emphasizes the sense of substitution. The player itself can directly control or interact with the character. In fact, it is equivalent to participating in some of the characters’ performances. The purpose of dubbing is to serve this interactive experience without using it.

Domestic film and television dramas also speak Chinese, why no one wants to vomit the voice over? Because we originally said this. Even if there is a sputum, it is more of a line for Ray, and there is less to talk about the actors. But after the animation and the live-action film and television drama, after the difference between the real and the fictional in the picture, what really deserves to be done is the sound. For example, the paper in an animation and the real person in the movie can be far apart in appearance. For example, in order to highlight the cute and unproportionate eyes, these viewers will automatically change the viewing angle without feeling off–but as long as The role setting is a normal “human”. When the audience does not look at the picture and listen to the sound, the requirements should be consistent with the real person. In addition, dubbing works are exaggerated and show unique sound lines because they need to highlight the character’s characteristics, which is not in conflict with this really moving request. We often say that the seiyuu or the character’s voice recognition can also find examples well in real actors. For example, Jiang Wen, his voice is quite recognizable. Just give a proper dialogue, don’t ask for any dubbing cavity, let Jiang Wen speak as usual, naturally it is a very distinctive and infectious voice (in fact Jiang Wen did participate in the animation dubbing, Erlang God in “Lotus”.). And in turn, let the animated character do it. “Talk like a real person”. , but it is the script and production of many domestic animation works that are difficult to support and realize.

The introduction of the film has a natural language barrier for the time being, in the original animation of the domestic, facing a silent plane setting without the original image reference, how to play under the limit of the low quality word, a role Forming from nothing, is the place to truly test the voice actors. Faced with this kind of comprehensive project, it is better to say that we lack a professional dubbing director, rather than a good dubbing actor. Because in this situation, the influence of the original author and director on the role shaping is actually far greater than what the voice actor can do.

Audience perspective.

If you only talk about dubbing itself, it is undoubtedly the most valuable to analyze from the perspective of practitioners and producers. But to discuss “why is the dubbing of domestic animations difficult to satisfy?” The phenomenon itself, the most important factor is actually the audience. The popular point is that in fact, the domestic dubbing is not as bad as everyone thinks. The audience often feels the difference by comparing Japanese seiyuu. It is another reason. The most important point is that you listen to foreign languages. Do not understand! . In fact, ordinary Japanese do not speak in the same way in the animation, no matter the tone, speed and feeling are completely different. Under the premise that most viewers do not understand Japanese, the most straightforward feeling is the emotion expressed by seiyuu. You can feel very shameful when you read it in Chinese, because you can understand it; but if you read it in Japanese, the audience will listen to the seiyuu fascinating voice and tone, even if there are subtitles. Can not correspond to the pronunciation one by one. As long as the momentum is right, the audience can understand the meaning. When a person snarls in tears in a language you can’t understand – “the synthesis and balance of the plane couples and the four basic deformations of the poles”, just match the well-painted face close-up and the explosion. BGM, in conjunction with the vivid interpretation of the vocal tone, the audience will be infected with blood. What does it feel like to use the S&P to scream out this sentence with the same sensation? .

In addition, although there are already many domestic seiyuu, they have begun to be famous and gain recognition. But the audience’s appreciation of their level is still very superficial. Often men can only make their ears “pregnant” as long as they can make a sexy magnetic sound. Women’s voices as long as they have ** and Yujie become “ The seiyuu are monsters, and these are actually the most basic skills.When the sound is really put into a work, what is needed is not how good it is, but the sense of inclusion and fit. The audience will feel a good sound when they purely evaluate the sound, but when watching the animation, this kind of good hearing may become a burden. Compared with the so-called “reflective acting strength” of Japanese seiyuu, what we need more at this stage is the real performance that can make people forget the seiyuu.

The light itself, most Japanese animations are much more shameful than domestic animations. In addition to animations and live-action films, the style of Japanese actors is also more exaggerated. Except for the difference in production level, the audience is still a cognitive bias because they don’t understand. If you are a friend who uses local dialects from a small family, you can make up your own family and suddenly start talking in standard Mandarin. What kind of scene will be, surely the first reaction is also awkward and funny. Another reason is that most young viewers have watched many Japanese animations first, and it has become a habit to watch them. And the current domestic animations are generally imitating and imitating Japanese works. Many works are filled with a lot of routines and settings of Japanese popular animation. Some elements and lines, speaking styles and habits are unique to Japan. If you just leave the environment, you will all follow suit. In the case of similar plots and lines, it is naturally difficult for the audience who are used to the deity to accept the routine of the tiger dog. When the domestic TV station introduced Japanese animation in the early years, everyone grew up watching the digital version of “Digital Baby” and “Slam Dunk” in the Mandarin version. Before moving through the network and subtitle groups to access many works that touched the Japanese original sound, No one has ever been so fierce and overly responsible for the problem of dubbing (of course, most of the animated dubbings that were introduced in the past were really excellent). Therefore, in the case of a gap in the overall level, since the audience can understand each word and add to the Japanese original sound, the defects of the domestic dubbing will be put even bigger.

In the final analysis, we are creating animation itself, lacking sophisticated localized works that are truly rooted in cultural soil and language habits, and lacking high-quality, influential original works that have long-term subtle influence on the audience. But in any case, the industry is progressing at a visible speed. The best way for the audience to choose is to not bias or prejudice, and truly feedback their feelings. A lot of arguments are meaningless. It is nothing more than a hat between the two sides for each other to “catch foreign and foreign” and “do not support domestic”. However, the audience’s position should not be so narrow and extreme. This kind of direct influence on the quality of the work, straightforward feedback is the greatest respect for the author. Dissatisfaction is dissatisfaction, no relationship, no one dares to say it and how to improve? But it should not rise to the degree of sarcasm and sarcasm. Practitioners can get accurate market feedback, as long as the people who are slightly pursuing will want to go forward, in order to survive and develop, it is necessary to continuously improve and improve the level. In the long run, there will always be more and more excellent works, and the whole industry will get better and better. The ultimate benefit will be the audience.

——And those who are really working hard for their dreams.