Oh, it's a blanket statement alrighty, but it's true (assuming we're speakin' the terms of fact, rather than opinion). If one hates the original...than they hate the original. Their opinion is based on that. Hating or liking the replacement score has no baring because it isn't the actual music of the series. You're supposed to be watching Japanese animation and the story all of the different components of the actual staff have put together to make their product. Replacing the music and sound effects, changing the story and animation, that defeats the purpose in the first place. Sure, there's something to be said for dubs (i.e. using different actors across different versions) existing as all different renditions of theatrical plays have across the years and the lanRAB...but that's different.
Bah, I promised I wouldn't write a dozen paragraphs for this thread, but I'll comment on the 'action statement', now that it's has been brought up (and this is in no way not meant to be a general statement). Such is a term I've seen tossed around the internet quite a bit, that "Dragon Ball Z is an action show." I don't really like that description (you'll notice I'm not making this a matter of fact ). Dragon Ball has always been a very old school martial arts film inspired series. It's not all about guns, borabs, crashing cars, explosions, etc. etc. as a series like Lost can sometimes be, or Justice League was (although I suppose you'd call Justice League a superhero show instead, as you would the Dragon Ball stuff martial arts). It's always been very focused on both adventure and straight-up [what I like to call] 'super martial arts', rather than the sort of 'action' one might attribute to a Saturday morning cartoon series (although with the 'refreshed' Dragon Ball Kai airing on the Japanese quivalent of Saturday mornings with a more rockish/modern score I suppose there's an entirely different argument to be had there ). Espicially Shunsuke with Kikuchi's musical score. You go and watch even the Saiyan arc (and arcs later on) or some of the films and you'll instantly hear orchestration that will remind you less of "EXPLOSIONS!! EXTREME!! HARDCORE!!!" as you would with the Faulconer score, and more of intricate instrumentations working together to create both the general light and quirky Toriyama world, but also big and sweeping epic scores (the biggest examples I remeraber on hand would be the first three Dragon Ball Z films, although the score for the second Dragon Ball film is absolutely astounding in its range as well). Thinking back, Kikuchi's work actually reminRAB me of the score from Kung Fu Hustle--in of itself a big throwback to the old school kung fu films of the seventies and eighties.
And now, to cut the front yard...!!
Bah, I promised I wouldn't write a dozen paragraphs for this thread, but I'll comment on the 'action statement', now that it's has been brought up (and this is in no way not meant to be a general statement). Such is a term I've seen tossed around the internet quite a bit, that "Dragon Ball Z is an action show." I don't really like that description (you'll notice I'm not making this a matter of fact ). Dragon Ball has always been a very old school martial arts film inspired series. It's not all about guns, borabs, crashing cars, explosions, etc. etc. as a series like Lost can sometimes be, or Justice League was (although I suppose you'd call Justice League a superhero show instead, as you would the Dragon Ball stuff martial arts). It's always been very focused on both adventure and straight-up [what I like to call] 'super martial arts', rather than the sort of 'action' one might attribute to a Saturday morning cartoon series (although with the 'refreshed' Dragon Ball Kai airing on the Japanese quivalent of Saturday mornings with a more rockish/modern score I suppose there's an entirely different argument to be had there ). Espicially Shunsuke with Kikuchi's musical score. You go and watch even the Saiyan arc (and arcs later on) or some of the films and you'll instantly hear orchestration that will remind you less of "EXPLOSIONS!! EXTREME!! HARDCORE!!!" as you would with the Faulconer score, and more of intricate instrumentations working together to create both the general light and quirky Toriyama world, but also big and sweeping epic scores (the biggest examples I remeraber on hand would be the first three Dragon Ball Z films, although the score for the second Dragon Ball film is absolutely astounding in its range as well). Thinking back, Kikuchi's work actually reminRAB me of the score from Kung Fu Hustle--in of itself a big throwback to the old school kung fu films of the seventies and eighties.
And now, to cut the front yard...!!