Why Did Crunchyroll's Subtitles Just Get Worse?
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The article discusses the decline in quality of Crunchyroll's subtitles, sparking a heated discussion among fans about the potential causes, including cost-cutting measures and outsourcing to AI-powered subtitling services.
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And there's your answer. Bet they're replacing most of their artisinal subtitlers with AI.
For its own translations in Germany, CR uses freelancers which are VERY GOOD at their job, do not confuse them with the US Crunchyroll which consists mostly of the infamous Funimation staff.
https://www.reddit.com/r/anime/comments/1lqzdva/crunchyroll_...
They probably went with a "lowest bidder" approach and then didn't sufficiently check the quality of work being submitted.
Back when they had software developers they were rapidly improving the app but someone decided they needed more executive bonuses and laid everyone off. Their software hasn't moved an inch since.
Funimation had the same idea. They bailed out of VRV (Crunchyroll's attempt at an anime "marketplace" all-in-one app) and released their own garbage app that is somehow much much worse.
It is the classic "we have exclusives so these drooling morons will take whatever we deign to give them because we're the only ones with show X/Y/Z" move.
Funimation lowered the bar so much I thought it couldn't go lower.
Who knew HiDive would prove me wrong.
In Australia, AnimeLab used to be the gold standard. It had a polished app and dedicated team, mainly because it started out as a piracy site and went legal, keeping the passionate team etc.
They got bought out by Funimation and the app was shelved in favour of Funimation’s far worse but still usable one. Then Funimation was bought out by crunchyroll and their app was also shelved for crunchy’s terrible one. I kept paying for a while after that but after a few instances of missing subs and poor releases I gave up and just kept my Japan side subscriptions going, while getting my Australian side content ‘elsewhere’.
I’m sad the market doesn’t seem big enough to support a new competitor with a focus on quality, but as mentioned in TFA, exclusivity deals make this even harder than it otherwise would be. Shame really, as lately the releases from even the various smaller anime studios have been rather excellent.
Which is what we have on the music side of things. You can choose Spotify, Apple Music, YouTube Music etc based on how their service works for you rather than what music you want to listen to.
And don't get me wrong I love concerts and merch, but I'd rather people earn a reasonable living without needing to be on tour basically in perpetuity.
There was a lot of unrealistic hype that software magic could make everything between the consumer and the producer practically free, and that just hasn't happened and probably never will. Engineers need to get paid and infrastructure needs to get maintained too.
What streaming has cannibalized is album sales, which is the problematic aspect. The fixed price-per-month to access a vast library of music is a killer value prospect for the consumer, which is why Spotify et al have succeeded as they have. However, again, it's bad for the artists; they don't make shit. And I mean, think about the economics there and it'll become evident why: previously to access between 10 and 20 songs depending on the album costed you about $10-15, one time purchase, but it was yours for the life of the media. Now you're paying (if you're paying) about $15-20 per month to access all of the music ever. And yeah there's less cost, no printed CDs, no shipping, no retail markup, but come on, if you have 4 CDs in your spotify library and are on the most expensive family plan, which IIRC is about $30/month, you're already ahead by 50%. That doesn't bode well for the artist's revenue split.
Looking only at CDs ca. 2005, which sold at about $15 each, an album that went platinum (1 million sales) would gross $15 million in retail, probably $10 million in wholesale, leaving about $1-3 million for the artist depending on contract terms. Estimates seem to put Spotify compensation at $3000 paid to the artist per million plays. So, you'd need somewhere between 333 million and 1 billion plays to get comparable revenue to a platinum album.
"Blinding Lights" by The Weeknd is currently the most-streamed song on Spotify at 5 billion plays [1]. That's roughly equivalent to a 5-15x platinum album from a single song and streaming platform alone; the record for most platinum album seems to be 34x platinum for Michael Jackson's Thriller [2], which had 7 songs that all were hits to some degree or another. Michael Jackson did a lot besides just record the songs; he also put out elaborate music videos and went on showy tours. All told, there are more than 100 songs with more than 1 billion plays on Spotify (in fact, the 100th is still above 2.4 billion plays).
So, I think, the situation has not really gotten worse.
[1]: https://en.wikipedia.org/wiki/List_of_Spotify_streaming_reco...
[2]: https://en.wikipedia.org/wiki/Thriller_(album)
Ideally, like music, we'd get multiple vendors offering downloads that are high quality copy of video that isn't DRM encumbered.
But currently, we don't get this, and the closest legitimate way (modulo the DMCA...) to get video as a file is to buy physical media and rip it.
Serious shades of Gabe Newell's "it's a service problem, not a pricing problem" around all of this.
Australia is a tiny market but before the big american companies bought them out, our local AnimeLab offering was one of the worlds best. If a new similarly oriented offering could launch and compete I’d love to see it, but sadly only pirate operations can do so, and are doing so effectively.
completely agree - i think the gov't regulatory body should change the landscape to what film and cinema have; such that distributor of media cannot own and monopolize the broadcast rights on their own platform, and publisher of media be forced to sell/license at the same price to all distributors.
This way, a streaming service can always know and pay for a broadcasting license for _any_ media, and all media must be license-able for any streaming service (at the same price), thus no monopoly can exist under this system.
I'll be shocked if anime isn't available on YouTube.
You can also interpret that as I'll be shocked if AI doesn't result in every mangaka becoming their own small studio and distributing via YouTube.
In 2002 it was and I really liked it then.
You can look to the past to see what this might look like in the future:
- Publishing in the digital publishing era.
- Indie Gaming in the Steam Greenlight era.
- Indie music in the digital recording / DAW era.
- Trying to make it as an actor or musician in general.
- YouTuber careers vs. "YouTube poop"
- Trying to make it as a streamer / influencer
Novelty, self-promo, luck, preparation, right place/right time, likeability -- there are lots of things that can come together to make it work. But it's still a lot of work.
No fuss. It’s basically a 1-click operation. $2.99 or whatever to watch your movie in good quality.
https://youtu.be/wyyXL__Awlk
It was a deliberate choice that removed some of the value of the service and wiped out yet another swath of Internet history. The core is of course the videos, they can coast on that for a while, but it’s the changes like that add up that make Crunchyroll less competitive going forward, especially as other larger services acquire larger anime libraries.
I'm sure there was an extremely vocal minority that threw a fit when they killed it off, but I doubt their overall subscriber numbers were significantly impacted. The majority of people are just there to watch anime. There's plenty of subreddits that are vastly more suitable to discussion.
Calling the Crunchyroll anime comment section a community is a bit of a stretch, it's like saying that the comments under a TikTok video are a community.
My original point stands.
A company gets successful off the back of community engagement and builds great shared sentiment with its customers. They get bought, the incoming board members start cutting costs, accidentally cutting the artery they didn't realise fed the heart of the brand.
The company loses an edge the board didn't realise it had, and people slowly lose that connection, which allows them to painlessly jump ship to the next company with the same catalog but better sentiment brand.
Am I missing something here? (I don't use TikTok).
- The comment section under a youtube video is a community.
- The comments on the side of Instagram pictures is a community.
- Twitch chat is a community.
- Even Imgur has a community. I'm surprised that's a thing, but they do.
And.. it's actually better if absolutely everything is on Crunchyroll. One subscription and you're set. Or I am, at least. Having to hunt around to figure out where some particular show can be found.. subscribe there only for watching that particular one.. mostly it can't be done, in my region, and I absolutely don't want to.
Which of course also gives CR no competition, and that's the price we pay. When the quality has gone down enough, the alternative isn't moving to a competitor, it's to give up on anime altogether.
Plan B is of course to get my Japanese up to a level sufficient to be able to turn off the subs, at least any potential problem there will be gone.
I pay much less for CR than for Netflix, I would rather pay more on Crunchyroll if this could guarantee a certain quality. Netflix, on the other hand, is basically a giant waste of money for me. That I haven't cancelled yet is just lazyness.
Was always fun reading the top comments on big episodes. Finding those few other ppl who noticed that one small thing at timestamp 14:30, dunking on the first episode of the latest garbage isekai... etc
> dunking on the first episode of the latest garbage isekai
I was literally reaching to see if somebody else had already made a lame-ass “Truck-kun” joke on the first episode of No Longer Allowed in Another World or if I was going to have to provide a fill when I saw the change.
Initially, the two had a deal where Funimation would allow subtitle-only versions of series to appear on Crunchyroll, while Funimation would focus on the dub audience. In November 2018 some corporate hijinks happened, and the alliance was considered no longer viable. Funi pulled about 240 series from Crunchyroll, amounting to nearly 20% of Crunchyroll's library at the time.
When the merger happened in 2024, Funimation's shutdown FAQ implied that Funimation's content would be available on Crunchyroll, and even encouraged users to cancel their Funimation subscription and subscribe to Crunchyroll going forward. However, there are still some 182 series which never made it back to Crunchyroll, even though they had been there before. There are just a bunch of anime that aren't legitimately available on any streaming service any more.
A generous explanation would be that the localized subtitles under the Japanese audio are licensed for use with that audio only, but that’s pure conjecture, and even if that’s the case, there is no excuse for how terrible the captions can be.
The official translator should in theory have the Japanese closed captioning and copies of the anime's original manga or light novel to work from, as well as a direct line to the original studio for clarifications on spelling. In practice, I suspect they aren't given enough resources (particularly time) to do this, and the exact romanization of fictional names is not always clear from the katakana or so. Lately there are so many fantasy series where characters have made-up European-sounding names which don't translate unambiguously from katakana - is it Chilchuck or Chilchack, for example?
Years later it turned out some of the giants had classes / types and the title was a reference to the Attack type of giant. Thus the English title would've been better as "The Attack Titan", and indeed the Japanese title could also have been interpreted as that, though it's only obvious in hindsight. The Japanese title was likely deliberately intended to have the double-meaning "Attack of Titans" and "The Attack Titan", though this double-meaning cannot be conveyed in English, and in fact we're now stuck due to inertia with a third English rendering that is completely disconnected from either meaning.
[1]: https://commiesubs.com/shingeki-no-kyojin-01/
Actually, another quirk is the German lyric in the first season's opening theme. Crunchyroll doesn't usually translate opening or ending lyrics, but translating the lyrics was standard practice in the fansub era, so the. However, they misheard the lyric as "Sie sind das Essen und wir sind die Jäger" - "You are the food and we are the hunters" - as if the line is spoken by the Titans (perhaps the English-speaking audience is primed to the Germans being the bad guys in movies). The actual lyric was revealed in official Japanese sources as spoken from the perspective of the humans: "Seid ihr das Essen? Nein, wir sind die Jäger!" - "Are we the food? No, we are the hunters!" However, the incorrect lyric persists among fans because the second opening theme superceded the first before the error was widely noted in the English speaking anime community.
Of course, I just went back to scrub for examples and either I am remembering incorrectly which shows demonstrated it most frequently or they’ve fixed Zeta Gundam in the spots I’ve checked.
If only. I wish they would stop localizing it. Just give me the raw episodes. It seems like every site outside of Japan insists on ruing it by putting English on top of it. Unfortunately the economics of the situation means that sites will server the interests of tourists instead of otaku, so it's unlikely to ever change.
I feel like one reason is that subtitles in Japan never match what the characters actually say. A character may say "I've missed you so much. It's been so long." The subtitles will read "Hey. Long time. " (both quotes would be Japanese) Not sure why but the Japanese subtitle industry is just terrible in so many ways.
This is standard in closed captions and is not specific to Japan. So perhaps the service you're talking about only has closed captions and is incorrectly marking them as subtitles.
Funnily enough, the complaints you have here actually apply more to English subtitles in my experience. Modern English subtitles tend to accurately transcribe what was said, but if you look at official subtitles from the mid-2000s and earlier you'll see that most subtitles are made much shorter than the original text. Tom Scott's video on subtitling talks about this historical practice and how it is different today[1].
Are you sure that the subtitle services you used are actually using official subtitles, and that they aren't actually translations or from some other source? How old are the shows you're watching (I believe some movies from the 70s I watched were character-accurate but that might not have been as common in the past)?
[1]: https://youtu.be/pU9sHwNKc2c?t=124
If you don't understand the above, then you don't want raw episodes after all.
One question if you have a minute. Why is it アメリカだけに吹き替えされている instead of 英語だけに吹き替えされている?
英語に吹き替える to dub in English (the base case of 吹き替える)
英語だけに吹き替える to dub just in English (だけ + に)
アメリカだけに吹き替える to dub, just because it's America / as you'd expect of America (だけに grammar https://tanosuke.com/n2-dakeni)
Good luck in your studies.
I'd be willing to wager Netflix, which has a fair amount of anime, can do the same.
What site(s) are you referring to?
I flip pretty frequently between Chinese and English subs and it'll remember the last setting between episodes / shows / etc.
look, buddy, anime is mainstream now
It wound up being quite a large document!
But the thing to realize here is that, all of these subs have to be placed by hand. There are AI tools that can help you match in and out times, but they have a difficult time matching English subs to Japanese dialogue. So what you have to do is have a human with some small grasp of Japanese place each of these in/out times by hand.
If you’re really good you can do one 25 minute episode in about 35 minutes. But that’s ONLY if you don’t spend any extra time coloring and moving the subs around the screen (as you would song and sign captions).
Elite tier subs can take up to two or even three or four hours per episode. That’s why the best subs, are always fan subs! Because a business will never put in 8x more time on an episodes subtitles than “bare minimum.”
Crunchy roll looks to have at least gone halfway for a while… but multiply those times across thousands of episodes over X years… and you can see why some manager somewhere finally decided 35 minutes was good enough.
I am in the Product world now, and I do think this was a bad move. Anime fans LOVE anime. The level of customer delight (and hate) in the anime industry is like no other. I really miss the excitement that my customers would get (and happily telegraph!) when I launched a product in those days. Which is all to say, you HAVE to factor delight into your product. Especially with a super fan base like you have in anime.
Another thing that happens is time code shifts that come from differences in frame rate between source material and what the subtitlers end up with (eg 24 vs 23.98 if I’m remembering correctly), which can cause subs to have what we called “ramping” issues over time (timing gets less and less accurate). So you have to go through and reset all the lines anyway.
That being said, we DID do this sometimes, but maybe that takes your time down to 25 minutes, the hard minimum possible time to accurately subtitle a 25 minute show.
And translators hated having to add the times codes (or copy paste their translations over the CCs) — they preferred to just give a script to the subtitler and let them handle it. And actually, if it’s a really good subtitler, they can! In about 35 mins.
So I think the translators were probably right to push back, as it’s only 10 minute savings for probably >10 mins on their part.
- Japanese has very different word order and word lengths, and furthermore some constructions that are short and natural in Japanese have no universally good English parallel. (Vice versa as well, of course, but that’s not really a problem here.) To give a sense of the alienness at play here, Japanese is essentially postfix throughout, that is the most literal counterpart of “the car [that you saw yesterday]” is “[[you SUBJECT] yesterday saw] car”; and it also has no way to join sentences that would not make one of them potentially subordinate to the other (like the “and” before the semicolon does in this sentence). Virtually anything longer than a single line has to be retimed (and occasionally edited for length).
- “Forced” subtitles for captions, on-screen text, etc. are simply absent in the original, for lack of need. True believers (like GP apparently used to be) will try to match the positioning and even typesetting of the on-screen original, either replacing or supplementing it. (Those aren’t your run of the mill SRT subs, ASS is a completely different level of functionality.)
One of my favourite things that clearly makes sense and sounds natural in Japanese but obviously doesn't translate well to English is "that person".
Every now and then you'll see some line of dialogue in an anime where someone says "Oh no, if this mark is showing up then we could see the return of _that person_." - which appears to be a way to refer to someone in the third person who the speaker knows but the listener doesn't - a linguistic "he who shall not be named", or "at least he who I'm not naming at this specific moment".
Discussion here, it seems: https://www.reddit.com/r/anime/comments/llpqxt/is_that_perso...
[1]: https://github.com/kaegi/alass
It's wild to hear someone - especially someone in the industry - say that. Fans definitely bring the most enthusiasm to their work, but fan subs are notorious for mistranslations and awkward hyperliteralism.
funny to see the comment. I was rewatching JoJo, this time in dub, and just came across a line like this. (the context is a fight between two 19th century British characters in a very theatrical setting):
Sub: "Stop the futile, useless resistance. Don't hide in the curtain's shadows and come out!"
Dub: "You're behind the curtain, like Polonius. And, like Polonius, it is there that you shall meet your end."
I was so surprised that they threw in the Hamlet reference it's what made me look up what the original Japanese line was. The English dub writing often strikes me just as straight up better the more I watch of it.
P.S. For an example of when "yes" might really mean "no", I heard an anecdote. An American guy had been hired by a Japanese company to work in their offices in Japan and be a liaison to foreign businessmen. He was attending a meeting once where everyone but him was Japanese. The boss presented an idea. There was silence for about 10-15 seconds, then people said things like "Yes, that's a good idea, let's do that." The American left the meeting thinking that the idea had been approved, only to have his Japanese colleague explain to him that the key part was the silence. The boss clearly heard and understood the message that his employees didn't think it was a good idea, and the idea was dropped and never mentioned again.
So I could see a case where the character says "Yes" but the subtext is "No", and that would be clearly understood by a Japanese viewer. Different translators would choose different approaches there; some might translate the text, and some might translate the subtext. I'm curious to know if this was a case like that, or if it was a clear-cut case of one translation being right and the other one being flat-out wrong.
IIRC it was the DVD release of Tenchi Forever.
I guess I could be the odd one out but I'm not keen on the 'localisation' efforts that replace the cultural elements of the underlying media, e.g. how in Ace Attorney ramen is replaced with t-bone steaks (iirc?), prompting the meme 'Eat your hamburgers, Apollo'
"Are you not a student?"
In English, the non-student speaker would respond with "No", short for "No, I am not."
In Japanese, the non-student speaker would respond with "Yes", short for "Yes that's correct."
A literal translation would make this mistake.
(Native American English speaker.)
French draws this distinction; ordinary 'yes' is oui; 'yes' contradicting a negative is si instead.
Mandarin gives you a variety of options for how to respond. You can use equivalents of 'yes' and 'no', but it's more common to echo the verb in the question.
你喜欢吃辣的吗?("Do you like eating spicy food?")
不喜欢 ("[I] don't like [it].")
Here we have no need to worry about whether the question was positive or negative; if I like the food I'll say 喜欢 and if I don't I'll say 不喜欢.
It's also possible to say 对 "correct", in which case it does matter how the question was phrased.
The specific question here, 你不是学生吗 "Are you not a student?", might be a little odder than usual because the verb 是 is also what's used for a simple "yes". But for "No, I'm not" 不是 is unambiguous, and I have a vague gut feeling that 是啊 would probably be taken as "Yes, I am". And of course you have the option of continuing your response ("yes, I'm a student, I've been enrolled here for two years") if you feel the short answer was too cryptic.
Source: I once said "So I guess you don't want to do the long-distance thing" to a native English speaker and she said "no" meaning she did, while I interpreted it the way you suggest and we (briefly) were not on the same page as to whether or not we were in a relationship.
“You didn’t go?” → “No, I didn’t go” (agreeing) or “Yes, I went” (disagreeing).
In Japanese, you should say “yes, I didn’t go” or “yes, I didn’t go”:
行かなかったんですか。→ はい、行きませんでした。(agreeing with the negative) or いいえ、行きました。(disagreeing with the negative)
(This difference possibly shows the more fundamental difference in the cultures, where one values truth more, and one values agreement/harmony more.)
I’m not saying that’s what happened to you, just that it wouldn’t necessarily be wrong to see it.
In Japanese, you should say “yes, I didn’t go” or “no, I did go”:
I'd be extremely wary of ascribing any cultural significance to the language modes here. Negation and especially affirmative/negative responses to negative questions is just extremely variable among languages. Even languages in the same language family just end up doing it differently.
It is quite tricky and this Shakespeare reference might be a little bit out of context...
Similarly there are some phrases which are probably unavoidably awkward. Like when translating vaguely as “that guy”.
Just according to keikaku.
Translator's note: "Keikaku" means plan
3-4 hours of time for a sub must be a rounding error for the production costs of these shows. No?
Or, this could be reflection of that "the kaigai" mindset rapidly changing causing prices to skyrocket. Anime is exclusively made in Japan(with outsource efforts from all over East Asia, but always concentrated back into Japan), so there's no competition. Zero competition over nonzero demand -> +Inf price.
Either ways, it does feel that licensing model could be key to understanding this.
However, there is somebody in charge of subtitles, and they don't really care about overall business outcomes. So if they can reduce the budget of their department by squeezing typesetting, they win on an objective metric at the cost of a subjective (ie ignored) one.
While it's true crunchyroll has a lot of the anime market, there are more streaming platforms than ever right now, and people don't just consume a fixed amount of legal anime episodes per week, forever unchanging. If they have it in their head that they cannot gain or lose subscribers, that's extremely short-sighted.
And we're talking a difference of ~7 hours of labor. $200 difference at most?
$100k per month is extra revenue, if they do a half-assed job. A customer actually has no competitor to move to - crunchyroll has a defacto monopoly (barring piracy).
The price of the subscription is already adjusted to be the maximum of what the market would bear for maximum revenue - presumably raising that price higher would lead to lower subscribers and revenue.
That’s the key right there.
When fansubs were good, Crunchyroll was forced to compete with them on quality. It's hard to convince people to pay when the alternative is both free and much higher quality.
Now that they've driven fansubs groups "out of business", they no longer face the same degree of competitive pressure to deliver a quality product.
They have 17 million paying subscribers. If they subtitled 1,000 episodes of content a month * 200$ = 200k / 17 million ~= 1 cent per subscriber per month. Actual cost per subscriber is well below that.
Outside of Asia, Crunchyroll is a de-facto monopoly on legal anime. From the article, 70% of new releases are exclusive to Crunchyroll. They're not losing customers to platforms with better subs, because customers have no alternative.
(Besides pirating, but I assume the golden age of Tier 1 fan subs is over)
That's just because the legal options were easily available, right? Kind of like people stopped pirating as much when Netflix was actually decent. But now the tides are turning again, so maybe the fan subs will start coming back as well.
Still, though, I wonder if that mindset is still going to be around.
I remember seeing (I think Netflix release) of Komi-san can't communicate, noticing A lot of things being missed, like Komi's literal main manner of communication (A notebook where she writes) not getting any translation for some episodes, or a lot of things I'd have to fill others in that normally at least would have been a T/N in fansub
It was bad enough that I went looking elsewhere to see if I had missed more than I realized, and the fansub did have everything covered
Here's the answer right here...
* Shonen anime, which are consistently the most popular ones, are also on netflix and probably several other services. Eg, demon slayer, dandadan, etc.
* there are still shows that are japan-exclusive because nobody bothers to license them. Roboshinkalion is an entire franchise that nobody cares to import! We actually had to wait two extra years for gridman universe because nobody bothered to license it for English localization!
* just this year they failed to obtain the rights to Mobile Suit Gundam G-Quuuuuux and Panty and Stocking With Garterbelt because amazon outbid them. These are both new entries in well-established brands and they're both made by studios with large fan followings (khara for g-quuuuuux and trigger for panty and stocking).
* somehow Hulu ended up breaking harmony gold's 45-year blockade around the macross franchise and won exclusive streaming rights.
* netflix has a lot of exclusives these days, including Jojo stone ocean and the upcoming steelball run.
They should probably consider that this competitor is actually mpv playing the DRM-free blu-ray quality fully subtitled mkv files obtained for a grand total of zero dollars from organized groups of people who simply care about anime to an absurd degree.
"Paying customer" is a synonym for "fool" in this context. Paying for inferior products is just foolish. It is damaging to one's self-respect. It is even more damaging for the reputation of the corporation. A bunch of fans regularly put them to shame by releasing better products on a daily basis. That's just pathetic.
But still, I often find myself watching anime from fansub groups even though I have a legitimate, official way of watching them. Paying for a streaming service that is objectively, significantly worse than even the shittier pirate offerings does make me feel like a fool.
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