The biggest recommendation I can give on writing dialogue that sounds in character for the character to say is, not to read the quests they are in, but to listen to the English dub whenever you get the chance. This may seem difficult especially if you are used to playing it in another language, but listening is key to getting the vibe of a character down. What you pay attention to is, not what they say, but the cadence in which they say it. Pay attention to the emotion in their voice, the speed at which they say things, the volume, etc. Once you get this down, it becomes easier to get an idea of what “sounds” right and what doesn’t. Cadence is an especially powerful thing. By training your ears to a character’s cadence, you can get a better idea of which words they would prefer to use, the lengths of their sentences, and things of the sort.
For example, reader asks Zhongli to dinner and he accepts. How would he respond? “Hmm, I’m not busy this evening, so I accept. Thank you for the invitation.” But that doesn’t sound right, does it? Is Zhongli the type of person that uses many contractions? I don’t think so, so let’s fix it. “Hmm, I am not busy this evening, so I accept. Thank you for the invitation.” But would he say “I accept?” Perhaps, but it still doesn’t sound right. How has he accepted proposals in the past? A bit of research shows he has said “sure.” How can I mix that in? “Hmm, I’m not busy this evening, so sure. Thank you for the invitation.” But hmm… the second sentence doesn’t sound right. What else could he say instead? “Hmm, I’m not busy this evening, so sure. It would be my pleasure.” That sounds a lot better.
Some people may ask why you can’t do these things while listening to another language. Personally, I don’t believe you can. If you are not fluent in those other languages, your ears are not properly trained enough to understand the nuance of the ways they speak. The correct emotion and tone will come through, yes, but you still won’t be able to intuitively know what sounds right and what does not. You only will get this sense by listening to it in the language you choose to write in.
The only downside to this is that your writing will become based upon the English translation of the game. As many people know, the portrayal of characters in English often does not completely match the portrayals in Chinese. This is especially so for characters like Zhongli, Xiao, and Kaeya. A lot is lost in the translation and dubbing process. Characters do not vibe the same. Thus, your portrayals will be more true to English, but not how it technically is “supposed” to be. Personally, I don’t necessarily believe this is a bad thing. However, it is something that can bother people. The only way I can imagine getting around it is by playing the game with the Chinese dub and by following accounts that speak Chinese and can give insight on the literal translations and what they mean and imply.
10 notes
·
View notes
Mattel on the creation of She-Ra
Janice Varney-Hamlin, former Mattel Director of Worldwide Marketing Fashion Dolls, was interviewed in the 2021 book “The Toys of He-Man and the Masters of the Universe”, regarding her involvement in the creation of the She-Ra line in collaboration with Filmation. This interview is reproduced below in its entirety, featuring references to Greek mythology, a red-haired Adora, and hypothetical virtual reality powers. Never a dull moment with this franchise
You were director of worldwide marketing for fashion dolls at Mattel during the 19802. What did the role entail?
It was everything, actually, the way Mattel was set up. The way we were organized, project management reported directly to marketing, and we had corresponding members of cost accounting, packaging, and legal. The people on my team were responsible for those aspects of the brand. It was sort of a category management role.
Can you tell me how the Princess of Power line started and what your role was in it?
It's interesting because when I first started at Mattel I was part time, and still in college. I ended up finally getting in there full time, and I reported to a guy named Jack Beuttell. He came from a P&G background and funded an attitudes and usage study for Barbie. So we learned about the brand and what Barbie could do. One of the gaps was that Barbie couldn't be an action hero, a mom, or a fantasy doll. We looked for opportunities to grow flanker brands. Competition always came for Barbie, but never lasted. When it left it created a vacuum in the market, and we would create more products and suck up all those dollars.
Did you look to He-Man for ideas to create this flanker brand?
Barbie had plateaued--she stayed at less than $100 million for years. That's why we fielded the study. Jill Barad was there. We couldn't quite get a line going because we couldn't get it past buyers, because buyers didn't believe that little girls would buy it.
We tried to do it on our own first, outside of He-Man. Then we determined we wanted to take a second attempt a few years later because there was a belief we should operate from strength, and what was our strongest action brand? It was He-Man.
The boys' side of things developed She-Ra, but she was underwhelming. So then the girls' marketing side took over and it was quite a political battle from there. We did a lot of research on it and came up with this character, this female doll. We came up with She-Ra as a way to tie in with He-Man. We gave her a war cry and transformation powers just like He-Man had. The important thing with She-Ra was that she not only had to look beautiful, but also be beautiful within.
I've heard that a big proportion of the kids who played with He-Man were girls? Did that drive the creation of the She-Ra line? [[note: ~40% of MOTU sales at the time]]
No, didn't drive it. We already had the research that said girls were interested in this type of thing. It just reinforced what we already knew.
How successful was She-Ra compared to Barbie and He-Man?
She performed like a flanker brand. She was important because her job was to create and deliver on new play patterns for girls. We didn't expect her to outperform He-Man or Barbie. It was a nice flanker brand for girls to do role play and hair play. The sales volume didn't compare but we were pleasantly surprised with how well she performed.
All the female characters had to have fashion play and hair play elements, as well as some kind of feature. Catra had a claw. She-Ra had a costume change and a sword. She-Ra's horse had a transformation capability.
I've heard that early models for She-Ra were based on Teela. Is that true?
Yes. The misstep there was Teela was part of He-Man's world, which was rightful, but she had no characteristic features that appealed to traditional doll play, like rooted hair and clothing. She also lacked the transformation, the traditional world of role play. When She-Ra transformed she became superpowerful [sic]. She was empowered and she empowered others.
The marketing behind the He-Man line was all about empowerment for young kids, who often felt powerless in their relationships with adults: "I have the power." What was the driving theme behind She-Ra?
I think it was empowerment, and also making the world a better place for those around her. She took care of animals and people. She was a nurturer.
To your earlier point, Barbie wasn't either of those things.
Exactly. I was a lit major, there was this literary book called Bulfinch's Mythology [[note: this was written in 1867 expressly to unite Greco-Roman myth with contemporary (that is to say, Victorian) English literature. If you love expurgation and the British Empire it may just be the book for you]]. It covers archetypes through Roman and Greek mythology. A lot of our characters were modeled after those gods and goddesses, like Athena and Venus. Those were the inspirations. Even She-Ra herself looks like what you might imagine Athena to look like. That or Venus.
The original renderings for She-Ra had red hair, but it didn't test well for little girls.
In many ways She-Ra was ahead of her time and served as a strong, action-oriented role model for young girls. How do you think She-Ra fits into the world of today?
I think she's a good fit. I think she fits right in. I'm completely amazed with how mesmerizing she was. She has really maintained her original characteristics and inspiration. It's classic. Just like the mythical characters we emulated.
She stands for a lot of goodness. We took great strides to make sure that happened. Even in the research we did, we discovered that it was really important to young girls that She-Ra was a good person and did the right thing.
Every generation has notions of violence. That was played back to us by kids. Even with her enemies like Catra, she may try to scratch you or be mean to you. But little girls would still feel Catra should be forgiven. It was never a fight to the death.
Do you have any fun stories from your time on the brand?
When we did the press event in New York, we hired a model who rode on a white horse down the middle of the street; she actually rode bareback down the street with her entourage of people dressed as the characters. We went to a hotel, and Andy Warhol showed up at the press event. He invited us to his club for the evening. He thought it was the most amazing thing, and he loved the costumes. Apparently he had read about the press event that day and just showed up.
What was your personal favorite character?
I would say She-Ra was my number one and Catra was my number two. Actually, I would say probably her horse as well. She-Ra, Swift Wind, and Catra, in that order.
It was really a fun line to work on because you're making the stuff up in your head. There was another person I worked with, Cathy Larson, who was incredibly creative. I just really liked working with her. We came up with all these things. She was in the sales department, and I brought her in halfway through. We would just make up the story line and characters.
With something like She-Ra, you get to swing out creatively. With Barbie there were a lot of guidelines, and standards. We had some pretty fun meetings about She-Ra. Going from Barbie meetings to She-Ra meetings, it was a totally different attitude, more creative and more fun.
What about the Evil Horde? How did that come into the picture?
We were great toy designers, but that did not mean we could produce a great TV series. There were certain things we didn't get about the entertainment industry. One of the areas to bridge the gap between He-Man's and She-Ra's world was to infiltrate characters that weren't in our product line. When story lines from the cartoon came back, they were completely different from storybooks we were developing at Mattel. We had to make the two come together. We didn't want three different story lines for the same thing. That was one of the things, to have cross over characters that appeared in both places.
There was a lot of resistance to that, more on the boys' side. They had more restrictions too, and we were more or less an open book.
What can you tell me about the She-Ra cartoon?
We knew there had to be an animated series for the brand. There weren't a lot of strong female characters in cartoons at the time that had these abilities. Maybe a few, like Supergirl and Wonder Woman, were predecessors. But in terms of integrating her into He-Man's world, it was really important. We lucked out, we met with Lou Scheimer at Filmation.
So how did the She-Ra line come to an end?
There were two different challenges. First, She-Ra sales were slowing. The second problem was we shipped to much product into the marketplace. This was over my pay grade, but we would ship product based on what retail would buy, not on what would sell through. That creates a problem going to next year. If there's too much inventory left over, it creates the sense that the toy line isn't successful. At the end of year two that happened. Something similar happened in He-Man--they overproliferated [sic] characters that didn't even make sense.
What did you do after She-Ra ended?
I went and worked on other products because I was able to grow the Barbie business. It had been stagnant for twelve years. Jack Beuttell and I were able to introduce secondary dolls, more new dolls each year, to create synergy and new roles for Barbie. For example, we put out Golden Dreams Barbie, with a golden convertible, coordinated outfit, golden make-up, and we would advertise everything in one commercial. That created a halo effect which would sell the whole thing. Jack came up with that, and after he left I continued it.
If you could do She-Ra, how would you approach it this time?
I'd make her more modern. Her powers would have to do with AI and virtual reality. She would be in the modern era. I would retainn certain aspects of her. It would be traditional but also embrace technology in an exciting way and in a global way. It would be incredibly inclusive with world cultures.
Anything else?
I think She-Ra's a classic. I used to think, "Why do people want to talk about this?" It's because She-Ra is an empowered, self-confident woman. She empowers other people to be confident and do the right thing. One thousand years from now that will still be an important characteristic to have. Regardless of your background, do the right thing. I hope that's what she stands for; that's what she was designed to do.
14 notes
·
View notes