Here’s more evidence that “localization” is being used as a tool for colonization, allowing progressives to impose their own agendas upon Japanese media.
Failed YouTuber, JelloApocalypse, recently published a Patreon blog post proudly expressing his disdain for an anime series he worked on as a “freelance contractor” for a recently released English dub of Lovely★Complex. (Thank you Scratch Point Z)
He boasted about how the alterations made in the revised English dub release significantly improved the show.
The post has since been deleted or made private (you can access an archive here), Brendan Blaber aka JelloApocalypse discussed his involvement in the series and the rationale behind countless alterations he implemented in the dubbed version of the anime series Lovely Complex produced by Sound Cadence Studios and distributed by Discotek Media.
Once more, we’ve previously established how egregious localizers purposefully butcher and alter the original Japanese content freely to remove controversial themes and topics or to push their own agenda, these very same individuals then attempt to gaslight the community by proclaiming how it isn’t happening.
Japanese companies, influenced by Western standards of Environmental, Social, and Governance (ESG), are now directly modifying the content at its source. This process aims to eliminate disparities between the original Japanese release and the version distributed in the West. Both regions undergo censorship to cater to sensitive Twitter enthusiasts and to secure greater financial support due to an improved ESG score.
However, when it concerns anime adaptations and localized releases, Western audiences are subjected to the progressive monopoly of Crunchyroll, who are more than willing to significantly diverge from the original script in order to promote certain political agendas.
These such companies continue to employ cancerous individuals such as Katrina Leonoudakis, one of the most infamous localizers.
The Lovely Complex dub was maliciously crafted by individuals who openly despise the original series and its script. The articulate process of deliberately subverting Japanese anime involves reviewing the rewritten script with the help of “sensitivity readers” and selectively hiring individuals from specific groups to join the cast, rather than prioritizing the faithful telling of the author’s story or hiring voice actors who can actually act in the first place.
Brendan Blaber, otherwise known as JelloApocalypse has a fart/scat fetish, which might be completely irrelevant to the whole conversation about how he’s openly stating that localization teams deliberately colonize Japanese media to suit their own selfish sensitivities, though the fact that the man has such a kink sheds light on his character and personality.
To put it simply, I don’t want no goddamn scat freak fucking with my anime.
Regardless, JelloApocalypse wasn’t personally hired for Sound Cadence Studios’ dubbing project, more rather he was an outsourced contractor made by the writers and voice actor Marissa Lenti to assist with their antics.
Amber Lee Connors, CEO of Sound Cadence, aimed to produce the show’s dub on a tight budget, reportedly because she’s a fan of the series. Despite their clear disdain for the original material, Lenti worked as the dub writer without pay, and Blaber volunteered his assistance.
In his post, Blaber tries to defend his censorship and alterations from the source material. He references transphobic tropes and expresses his view that the main character, Risa Koizumi, is “an actual psychopath and all-over useless freak.”
The primary source of disagreement for the dub writers revolves around Seiko, a male who identifies as a woman, introduced early in the series. Initially, Risa harbors animosity towards her , attributing it to some ambiguous intuition about her being transgender.
Instead of striving to preserve the original script as faithfully as possible, Blaber and Lenti opted to make cuts, alter context, and modify dialogue from the original translation. Blaber even suggests that viewers can watch the English dub with subtitles to “hear our edits in real time.”
They’ve boldly taken the initiative to deliberately manipulate the script, essentially reshaping entire characters with their own fanfiction, boasting about the extent of their alterations or, more accurately, how little of the original remains intact.
Because these assholes want to remain in the shadows, you can see it right there “the amount of rough edges we shaved off of this are entirely invisible”. They don’t want you to notice that they are swiftly and quietly subverting and destroying the media you hold dearly, but their own hubris and inability to shut their goddamn mouth is what inevitably does them in as their actions are thrusted into the spotlight.
There was an opportunity to recognize that the anime reflects the era in which it was created (a 2007 adaptation of a manga serialized from 2001 to 2007), not to condone its content, but to maintain the series as it was for fans of the original. However, the writers opted to make changes, and even then, they failed to be transparent about it.
Instead, Blaber sheds light on the industry’s approach to these alterations, which essentially amounts to nothing. Publishers like Discotek Media, Funimation, and Crunchyroll are encouraging localizers to take liberties as long as they refrain from boasting about changes made.
His post also confirms that localizers are deliberately dishonest when it comes to translating anime for Western audiences, which is why Jello explicitly states that anime fans are full of HORRIBLE RACISTS / SEXISTS AND BIGOTED FOLK for noticing their misdeeds, which is why they want to subvert your interests without being noticed.
While they’re not allowed to brag about destroying your media for their own smooth brained consumption, most anime distributors in the West apparently do not care about its localizers making a product less transphobic, or in Blaber’s own words “add more representation” or make it “more gay”.
These individuals openly acknowledge rewriting the script due to their disdain for it, yet they portray those advocating for faithful translation of the original work as unreasonable transgressors and or racist. The true irrationality lies in hiring someone who despises the source material in the first place.
Fortunately, the reworked dubbing of Lovely Complex marked JelloApocalypse’s initial foray into anime localization and hopefully will be his final one as Sound Cadence Studios issued a typical PR post, apologizing for a contractor’s personal sentiments regarding the project, followed by outright lies about their supervision process.
They claimed to go through “many layers of supervision,” including a head writer, at least two supervisors, and a single middleman as the liaison between the Japanese licensor and the end client (Discotek).
Of course, people aren’t retarded. The subversive nonsense produced by the likes of Brendan Blaber and Marissa Lenti made it into the finalized product without any issues or hinderance, absolutely not a single layer of their supposed “supervision” prevented such blatant disrespect of the source material and allowed it to snowball drastically.
In my personal opinion, Sound Cadence Studios are just as guilty as JelloApocalypse.
As a company, they are responsible for allowing this situation to occur by failing to properly vet their team. Despite claiming that the individual in question “does not speak for us”, they consistently overlooked his work and allowed it to proceed without addressing the issues. I find it hard to believe.
A representative from Discotek Media also commented on the situation, asserting their commitment to authenticity in translating media from other languages, which clearly wasn’t upheld in this case. They claimed to have “cut ties” with the individual, but considering JelloApocalypse / Brendan Blaber was essentially an outsourced contractor.
Who’s to say that the slimy prick wouldn’t find a way to involve himself in another production, especially thanks to his connection with Marissa Lenti.
Essentially, these corporate PR speeches can be summarized as, JelloApocalypse alongside others purposefully butchered an entire production with personal pro-trans agendas and sheer malice for the franchise, they know they did it and quite frankly they didn’t really care until the arrogant prick confessed his sins by letting people know about it, resulting in consumer outrage.
In essence, both Discotek and Sound Cadence seem to endorse rewriting entire scripts in progressive ways, as long as these alterations go unnoticed. The situation only came to light when the localizer responsible for many of these changes boasted about it and attacked the series and its fans.
So quite frankly both of these companies can certainly go fuck themselves. Despite never having done so before, I wouldn’t even consider giving them my money after this incident. If I wished to support a cherished anime franchise (which I pirated), I would prefer to purchase official merchandise or manga/novel volumes from more reputable outlets such as AmiAmi instead.
When it comes to individuals as egregious as JelloApocalypse/Brendan Blaber and his accomplice Marissa Lenti, words fail to express the depth of my personal disdain for them. Merely blacklisting both parties from the anime industry for their malicious actions and arrogance would be too lenient a punishment.
However, I would relish the opportunity to meet with Brendan, not harboring any ill-intentions, but as a “fan” of his channel. This would afford me the chance to convey my sentiments through actions rather than mere words.
