- Shin chan english dub felt like an abridge series series#
- Shin chan english dub felt like an abridge series tv#
“One of the most fascinating things (about “Doraemon”) is the different socio-economic classes being represented,” Freedman says. It’s a landscape that explores the stomping ground between postwar ruin, urban regeneration and urban decay - an endless inner city. The characters in “Doraemon” hang out in the backstreets of these areas and play in abandoned lots.
Instead, it locked into a “middle Japan” demographic that exists between the city centers and the countryside. The setting of the manga wasn’t completely urban in nature, though.
“In 1964, the Olympic Games were held in Tokyo, the shinkansen (“bullet train”) line began operations and the Metropolitan Expressway was opened, forming the foundation of Tokyo’s current prosperity.” “In 1962, the population of Tokyo broke the 10 million mark,” the Metropolitan Government website devoted to Tokyo’s history says. First and foremost, the manga’s predominantly urban setting - something Japan was moving toward in the late 1960s - made sense to a lot of people young and old. Women take a photo with a Doraemon figure in Yokohama. Mastery over the skies as well as the quantum world makes Doraemon, while maybe not 100 percent reliable, pretty cool. It’s a narrative tool.”Īnd then there is the much-loved regular roster of Doraemon’s secret tools, two of the most famous being take koputā (suction cups with mini bamboo heli-blades) and the iconic dokodemo doa (literally, “anywhere door”), allowing its users the power of swift travel. “If Nobita’s problems were resolved (with a single gadget), there wouldn’t be any episode next week. “It also keeps you going,” Freedman says. They’re not foolproof, are often convoluted - faulty, even - and, much of the time, cause more problems than the original issue they’re supposed to resolve. But Doraemon’s tools from the future frequently backfire. He is, however, able to produce a lot of quick-fix items - 1,963 himitsu dōgu (secret tools), Yasuyuki Yokohama, a former professor at Toyama University, told Kyodo News in 2004. “Doraemon” was a reflection of this modernity, offering a comedic glimpse into the future.ĭoraemon is not endowed with superpowers as such. As a result, the everyday lives of the residents of Tokyo underwent considerable transformation.” In a section on its website on Tokyo’s history, the Metropolitan Government describes the period as a time of mechanization: “Due to technological innovations and the introduction of new industries and technologies, this period (in the 1960s) saw the beginning of mass production of synthetic fibers and household electric appliances such as televisions, refrigerators and washing machines. Gadgets and appliances were becoming more ubiquitous and more affordable than ever before.
Shin chan english dub felt like an abridge series series#
When the series “Doraemon” first appeared in 1970, it was the advent of the technological age. This much is made clear in the first chapter of the original manga, with Nobita’s great-great-grandson saying, “He’s not that great of a robot.” It’s a brilliantly deprecating precedent to any series.
Shin chan english dub felt like an abridge series tv#
Still, it may baffle those who aren’t familiar with the series that Doraemon’s eventual interventions - and even his ties to the future - aren’t as case study-worthy as his present-day portfolio would have you believe.Ī scene from the ‘Doraemon’ TV series | ©FUJIKO-PRO, SHOGAKUKAN, TV-ASAHI / VIA KYODO The faults in our starsĭoraemon is a robot but he’s also flawed. The cat’s reputation is most definitely built on trust, and that’s why the child he has been sent to help, Nobita Nobi, never asks his parents for help, instead showing his worst (whiny and begging) side to Doraemon when he makes a request for help. However, this level of fame and, more importantly, trust can’t simply be generated by being omnipresent. Parents who were into “Doraemon” as children can now go with their own children - it’s a truly generation-spanning franchise. To date, the film series has earned around ¥187 billion ($1.7 billion). Movies centering on the character are big news, having surpassed “Godzilla” (in 2015) as Japan’s most lucrative franchise. “I don’t think there’s a religious lineage you can trace from the Sun Goddess to Hello Kitty,” she says.Īs a brand, “Doraemon” makes money. However, any cultural phenomenon is based on several coalescing forces, including “commercial factors” - or, at least, that’s what Freedman believes.
How far “Doraemon” fills this role, especially given the series’ origins as an educational manga and its current status as a pop-culture touchstone, is debatable. “You do see a lot of anthropomorphism in religious tales in Japan.” “There are certain yōkai that stem from popular Buddhist tales and mukashibanashi (tales from long ago),” says Alisa Freedman, an assistant professor of Japanese literature and film at the University of Oregon.
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