William Chow's Personal Web Page Archive

 

 

 

Excel Data Table
Episode Chapter Title Description Regular Re-Drafted
11 03.0B.02.0a Origins of Arctic Animation Set the anime scene. How we created Arctic Animation. Came across the fansubbing group called "Ranma Project". How we watched subtitles from Chinese kung fu movies. The need for speed because of licenses there was a shelf life for the animes. Started the Orange Road Project. With the help from the C/FO to find better software on the Macintosh. Setting up the accounts. https://www.youtube.com/watch?v=-tSiJfsxy4M https://youtu.be/loSHJ8OIqV0
12 03.0B.01.00 Linear vs. Non-Linear Fansubbing This text discusses the evolution from linear to non-linear fansubbing methods in anime translation. In linear fansubbing, editors had to work sequentially, using multiple devices like Genlock systems, laser disc players, and VCRs in precise coordination. Any timing errors required complete restarts_1_, and video quality degraded with each generation of copying. Non-linear editing brought revolutionary flexibility, allowing editors to work on any scene in any order_1_, make instant corrections_1_, and maintain precise synchronization_1_. While this offered greater creative freedom, it sometimes led to excessive subtitling that could overwhelm viewers_1_. Early fansubbing groups like Arctic Animation prioritized speed over perfection_1_, focusing on basic translation to meet audience demands for new content_1_. This approach has been validated, as most titles have since received official commercial releases_1_. https://www.youtube.com/watch?v=shtrn3QGcDk https://youtu.be/Z_4xE9yALcg
13 03.0B.02.0b Arctic Animation Fansubs The episode highlights Arctic Animation's pioneering role in fansubbing influential series like Orange Road, Maison Ikkoku, and Pat Labor. Chow explains how Arctic Animation acquired laser discs of Japanese animated productions, commissioned professional translations, and distributed them, overcoming the language barrier. Their efforts led to these titles gaining significant popularity, eventually prompting major distribution companies to acquire official licensing rights. This early fan distribution served as crucial market research, proving the commercial viability of these anime properties in Western markets. The episode features a detailed examination of the Sol Bianca laserdisc collection, showcasing how this OVA series with its female space pirates resonated with audiences and became the subject of one of the first successful fan-produced anime music videos (AMVs), despite the technical limitations of analog video editing. Chow also discusses the Japanese animated adaptation of Robert A. Heinlein's Starship Troopers, noting its historical significance as an early anime adaptation of a Western sci-fi classic. He explains the challenges Arctic Animation faced in subtitling it due to the specialized genre and translator disinterest. The series is highlighted for its influence on modern sci-fi mecha designs, like those in the Halo franchise. Another significant title discussed is Here is Greenwood (also known as Kokoro Greenwood), a series that held particular enthusiasm for their translator, Desui. The teamÕs efforts led to its eventual commercial release, offering superior quality and features. Finally, Chow introduces anime adaptations of video games, specifically Graduation and Debut. He shares his fondness for Graduation, a high school simulation game where players manage students' academic and emotional well-being, and its sequel Debut, which involves managing aspiring performers. The series later took an unexpected turn into the mecha genre with Graduation Victory. Chow reflects on the bittersweet reality of graduation, a theme powerfully captured in the series. He encourages viewer engagement to help expand the reach of his documentary series. https://www.youtube.com/watch?v=QuGSaKruZas https://youtu.be/b1-rcPIQn_g
14 02.0F:01 Autographs William Chow shares personal anecdotes from early anime conventions in North America, highlighting memorable encounters with industry professionals and the unique atmosphere of the burgeoning anime fandom. Chow recounts his significant interaction with artist Kenichi Sonoda at Anime Expo 1990. In an era before easy internet access, identifying public figures relied on printed media. Chow joined a small queue for autographs and sketches, and despite initial unpreparedness, managed to get a sketch of Catty from "Gunsmith Cats" which he intended as a gift for a translator colleague. This encounter showcased the intimate nature of early conventions, where artists often ignored strict rules to deliver personalized work, like Sonoda's detailed, rule-breaking sketch of Catty. Another story, dubbed "the great Daisuke debacle," illustrates the cultural and linguistic challenges faced by early fans. When asking a Japanese voice actress to sign a photo to "Daisuke," a common Japanese name, multiple attempts were made due to different kanji spellings, eventually settling for the English spelling. This highlighted the cross-cultural adventures inherent in the early fandom. Chow also shares an embarrassing moment at Artist Alley, where he mistakenly complimented an artist's cover art while unknowingly insulting their interior work, realizing later he was speaking to the interior artist. This "10th Muse footmouth disaster" served as a humorous lesson in knowing who you're talking to. A "Buffy Vampire Slayer signature massacre" describes a cast member deliberately defacing Sarah Michelle Gellar's face on a DVD cover during a signing, a moment of delightful pettiness. Finally, the "plastic wrapper incident" involved Chow's well-intentioned but mortifying attempt to remind a manga artist to remove the plastic from a calendar before signing, only to be sharply rebuked by the artist's wife. These stories collectively capture the "beautifully chaotic spirit" of early anime conventions, where personal interactions, cultural nuances, and occasional awkwardness created unforgettable experiences for fans. Example: Kia Asamiya Batman Graphic Novel, figurines, Compiler, and Silent Mobius. https://www.youtube.com/watch?v=EVno8oo63-g https://youtu.be/oQtrli7O6ag
15 02.0A.02.0a.01.0C.01 SonMay Records CD Collection William explores the challenges and evolution of distributing Japanese anime music CDs in North America during the late 1980s and 1990s. He details how Japanese music, especially anime soundtracks, became universally accessible despite language barriers, often crossing over with mainstream Japanese pop music. The acquisition of these CDs faced significant hurdles due to the lack of high-speed internet and limited file-sharing services at the time. Physical importation was the primary method, but Japanese CDs were prohibitively expensive. This price disparity fostered alternative distribution channels in regions with lower economic costs. The emergence of a global economy and population migration, particularly a substantial Asian population in Vancouver, created a demand for Japanese cultural products. This led to legitimate regional licensing agreements, as seen with Hong Kong PolyGram releases of artists like Anzen Chi, which were significantly cheaper than their Japanese counterparts while maintaining identical audio content. Similar situations were observed in mainland China, where licensed CDs sold for a fraction of the Japanese price. A key player in this alternative distribution was SonMay, a Taiwan-based company that produced extensive catalogs of anime and game music CDs. Their success was a result of price disparities, growing international interest in Japanese culture, demographic shifts, and the limitations of early distribution systems. The host notes that Sunme releases maintained high audio fidelity and packaging quality, providing educational value by offering affordable access to diverse Japanese musical trends. https://www.youtube.com/watch?v=ixXr-9_wtg4 https://youtu.be/Z2DWJuAbKd0
16 02.0C.03:01 My Sailor Moon Card Collection William Chow delves into his extensive collection of Sailor Moon collectible cards, highlighting their pioneering role as one of the very first anime collectible card systems. He shares his personal journey into collecting a wide variety of Sailor Moon cards from different series, as well as other merchandise like stationery, Shitajiki (writing boards), and figurines. This broad collecting habit was fostered by the early stages of anime merchandise, encouraging fans to acquire diverse items. Chow meticulously showcases his organized collection, interweaving personal anecdotes about selling and acquiring these cards. While acknowledging other popular card sets from series like Dragon Ball, PokŽmon, and Yu-Gi-Oh, and the emergence of Magic the Gathering, this episode firmly spotlights Sailor Moon cards. He provides a detailed look at various card sizes, with a particular emphasis on those featuring his favorite character, Sailor Mars, and presents special items such as bookmarks and large pictorial cards. He explains the purpose of Shitajiki and discusses the variations found in the cards, differentiating between authentic Japanese versions and more common knockoff versions from places like Hong Kong or China. Chow provides insight into the pricing structure of cards during that era, noting that rare shiny cards could fetch up to $5, and unique, specially labeled rare cards could command prices as high as $10 each. He shares a poignant story about a young girl whose Sailor Moon cards were stolen, leading him to offer her some from his personal collection. This anecdote leads to a broader discussion about the problems associated with card collecting, including theft and violence, which ultimately led to cards being prohibited in schools during the PokŽmon and Magic card eras. He also touches upon the crucial topic of card authenticity in the secondary market, particularly with the rise of platforms like eBay. Chow explains that bootlegging and piracy emerge when an item's market value significantly surpasses its production cost, making printed materials like cards particularly susceptible due to the widespread availability of printing machinery. https://www.youtube.com/watch?v=l4XHn5MAZK8 https://youtu.be/tGCn330ZSq4
17 01.0C.03:02 Where to find anime in Vancouver before Google In the late 1980s and early 1990s, before the widespread availability of the internet, finding and watching Japanese animation in Vancouver was a significant challenge, requiring considerable effort and resourcefulness from fans. William Chow details the intricate methods employed to access anime during this period. Sophia's bookstore in downtown Vancouver was a vital early source, offering monthly subscriptions to leading Japanese anime magazines like Anime V, NewType, and Animedia. These magazines provided crucial information on new releases and allowed fans to special order merchandise. As the Japanese population expanded into areas like Richmond, larger stores such as Iwase Bookstore emerged, featuring extensive art book collections and dedicated videotape rental sections with recorded Japanese TV programming, including anime. Kinokuniya also offered discounted older anime tapes. Dedicated Japanese video rental stores like Kiku Video and Fuji Video were indispensable, specializing in Japanese dramas, music, and anime, often through timer-recorded TV content or original Japanese movie releases. Unexpectedly, even a small Japanese grocery store near Main and Hastings stocked video cassettes with jumbled anime episodes, forcing fans to piece together series. Other commercial ventures like the Sunday bookstore and Kobiniya convenience store also had video rental sections. The used media market, with stores like Half Moon Books and Book Off, provided avenues for finding discounted Japanese books, CDs, and games. Beyond Japanese communities, Chinatown proved to be an unexpected resource, offering Japanese anime merchandise. As Chinese communities grew, malls began stocking anime-related items, often from Taiwan or Hong Kong. These included VCDs and DVDs, which were crucial for fan subtitling projects. The era highlighted the dedication of early anime enthusiasts who physically sought out content in a pre-internet landscape, building the foundation for anime's widespread appreciation today. https://www.youtube.com/watch?v=gJdklbLPqRA https://youtu.be/-kP92DJCJlU
18 02.0A.02.0a.01.0A.02 CD Reviews Vol 1 William Chow provides a tour of his extensive Japanese anime CD collection, offering personal insights and music suggestions. He begins with Mobile Police Patlabor, showcasing a wide selection of CDs from the movies and TV series, including unique "phases" CDs for the OVA series and dual-formatted CDV discs like "Contact." Chow moves on to Project AKO CDs, describing the series as a strange but influential movie series due to its advanced animation. He presents the four corresponding soundtracks and highlights "In Your Eyes" as a favorite song. A notable item is a giant Project AKO robo figure that came as a gift with early orders of the third soundtrack. Shifting to gaming, Chow discusses the soundtrack for Wizardry, an 8-bit Apple II game that profoundly influenced him. He notes the rarity of soundtracks for such old games and explains the anime connection through Robert Woodhead, who later founded AnimEigo. Chow then delves into Street Fighter CDs, specifically highlighting drama CDs for their artwork by Satoshi Urushihara and a unique collection featuring vocal tracks by various singers. He also reviews Record of Lodoss War, which he considers an accurate portrayal of Dungeons & Dragons in anime. He shares an anecdote about subtitling the series and causing an uproar by overdubbing the Japanese opening theme with an English version. Addressing requests for classic Studio Ghibli tales, Chow recommends "Animation the Movie" for its comprehensive collection of songs from iconic films like NausicaŠ of the Valley of the Wind, Castle in the Sky Laputa, and My Neighbor Totoro. Chow discusses Gundam, recommending "Gundam 0080" for its movie theme song and "Gundam Singles History" for a general collection of classic series music, including tracks from Mobile Suit Gundam, Zeta Gundam, and Double Zeta Gundam. https://www.youtube.com/watch?v=X3aLhFmJcCs https://youtu.be/VCDCJdgnc9Y
19 01.0D.03.0a Karaoke William Chow explores the world of karaoke, sharing his personal journey and offering valuable tips for a more enjoyable experience. He defines karaoke as a "silent orchestra" where vocal tracks are removed, allowing individuals to sing along to instrumental versions of songs. Chow traces the origins of karaoke from early "karaoke boxes" that used cassettes, then laserdiscs, and now digital formats, highlighting the evolution of on-screen lyrics with bouncing dots or changing colors to guide singers. Chow recounts his pioneering efforts to bring Japanese karaoke to anime conventions in Vancouver. He amassed a collection of nearly 400 Japanese VCD discs and, through self-taught PHP and MySQL skills, built a computer server for karaoke before modern hard drive systems existed. This initiative expanded his collection to include Chinese songs, which have since become equally popular at conventions. He provides several key tips for karaoke participants with examples. https://www.youtube.com/watch?v=vPm5vFJ_lqQ https://youtu.be/5z2i8FvVKYw
20 02.0A.02.0a.01.0A.04 CD Reviews Vol 2 William Chow shares his personal CD collection, primarily focusing on music from anime series and influential Japanese pop artists. He begins by discussing his team's subtitling work for the anime Maison Ikkoku and highlights some of the musical artists associated with it. Chow features the band Anzen Chitai, recommending their "I Love You Kahajima Best Vocal Collection," which includes "Suki Sa" and "Red Wine." He also mentions Kozu Morishita's song "Hidomari" from the same series. Another Maison Ikkoku-featured band, Picasso, is discussed, with Chow finding their promotional video for "Cinema" humorous. He suggests checking out their self-titled album and another CD titled "Cinema." Beyond anime soundtracks, Chow expresses his passion for "Para Para Paradise," an arcade rhythm game. He describes the game's challenging nature due to its light sensors for hand motions and shares his dedication to playing, even buying the entire arcade machine. Moving to Japanese J-pop idol singers, Chow recommends Shizuka Kudo, noting her song "Blue Velvet" as the ending theme for Dragon Ball GT. He also recounts an anecdote about her live performance. Chow delves into two PC Engine simulation games: Graduation and Debut. For Graduation, he discusses the "Teach Me Please OVA" soundtrack, including the game's ending theme, and a second OVA part called "Sailor V." He also touches upon the "Graduation" CD dramas, which portray the girls' teenage struggles, and the game's decision-making aspects. For Debut, he discusses the soundtrack CDs for act one and act two, along with the vocal collection, emphasizing the good music in the game where players manage budding idol stars. https://www.youtube.com/watch?v=u5qhxWajh4w&list=PLuCjDb3AP-cS43IysjHXkf40Gyp6SGLxs&index=23 https://youtu.be/aP5-ECZdmQQ

 

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