Ratan Barua, senior cartoon colorist for the Times in New Delhi, says coloring Snoopy brown was his idea. 'I thought he should be brown,' he says. While he has complied with the distributor's request to adhere to white, he says the result is 'not very good.'

而《新德里時報》(Times in New Delhi)的高級配色師拉坦•巴魯(Ratan Barua)卻稱，將史奴比改成灰色是他的主意。他表示，他覺得史奴比該是灰色的。雖然他按照出版商的要求為史奴比涂上了白色，但他表示，效果“不是很好”。

Characters occasionally thrive despite their foreignness. When Viacom Inc.'s Nickelodeon looked into bringing SpongeBob SquarePants to Japan, market research said the show was bound to flop. Japanese viewers were believed to favor characters whose appearance exudes warmth and comfort, a concept known in Japanese as iyashi. Iyashi characters -- typically round, with no mouth and small eyes -- rose to prominence in Japan during the long-running economic slump that began in the early 1990s, when people were anxious and uncertain about the future.

外來的角色偶爾也有成功的時候。例如當維亞康姆(Viacom Inc.)旗下的Nickelodeon電視頻道準備在日本推出海綿寶寶(SpongeBob SquarePants)時，市場研究認為這是注定要失敗的。因為據信日本的觀眾喜歡外表溫暖舒服的造型，這是一種日本人稱為“愈”(iyashi)的概念。根據這個概念設計的造型，通常是圓形的、沒有嘴巴，眼睛也要小。此概念誕生于九十年代的日本，在經濟長期低迷、老百姓對未來既渴望又迷茫的環境下逐漸流行起來。

SpongeBob, with his square body, huge mouth, buckteeth, big bug eyes and somewhat annoying personality, was the antithesis of iyashi. But viewers didn't mind: Nearly two million households soon tuned into the show every day. One thing that may have helped is that SpongeBob lives in an undersea world without humans and overt cultural references. 'There is very little about SpongeBob that is 'American,'' says Cyma Zarghami, president of the Nickelodeon MTV Networks Kids and Family Group.

而回過頭來看看海綿寶寶的造型：方形的身體、巨大的嘴巴和門牙，還有那大眼睛以及有點討人厭的性格。這些都與“愈”的概念相左。但觀眾們并不在乎這些，節目一經推出就有兩百萬家庭每天收看。海綿寶寶取得成功的原因之一在于，它生活在一個沒有人類、也沒有明顯的文化參照的海底世界。Nickelodeon旗下Kids and Family Group總裁西馬•扎哈米(Cyma Zarghami)表示，海綿寶寶身上帶有的“美國”色彩非常少。

When Craig McCracken created the Powerpuff Girls show, he deliberately gave it what he thought was a 'Japanese look.' But when the show first aired in Japan in 2001, it failed to attract a wide audience. So Cartoon Network decided to reinvent the characters to boost its appeal in Japan, an idea Mr. McCracken welcomed.

克雷格•麥克科拉肯(Craig McCracken)制作《飛天小女警》時，特意賦予了他認為帶有“日本色彩”的造型。但當2001年節目開始在日本播放時，并未吸引到大量觀眾。因此卡通電視網決定針對日本重新設計造型，并且得到麥克科拉肯的贊同。

In their transcreation, Blossom, Buttercup and Bubbles got Japanese names and the lives of typical Japanese junior-high-school students. Since Japanese kids like to dress up like their favorite characters, the girls got more realistic outfits, with miniskirts, matching vests and hip-hugging belts.

在翻創過程中，布羅松(Blossom)、巴特卡普(Buttercup)和巴布斯(Bubbles)三個小女孩都有了新的日本名字，年齡設定也變成了日本高中生。鑒于日本小孩喜歡模仿心儀角色的穿著，因此新版角色的穿戴更現實化，不但穿上了迷你裙，還配了背心和緊身腰帶。

Toei, the Japanese animation house brought in to help rework the characters, kept the original Powerpuff premise of crime-fighting girls with superhuman powers. To appeal to a preference among Japanese kids for longer, more dramatic plots, it made the seven-to-11 minute shows 15 to 20 minutes long. It also gave them a common Japanese theme: accepting people who are different.

參與角色重設計的東映公司保留了小女孩利用超能力與罪犯戰斗的情節。為了能更長久地吸引日本兒童觀眾，制作組加入了更多本土化的劇情，并將每集動畫的播放時間由7至11分鐘延長到15至20分鐘。此外，制作組還賦予這部動畫一個在日本很普遍的主題：接受與自己不一樣的人。

'Monsters can be anyone who is different from us. If we change our attitude, they can become our friends,' says Hiromi Seki, a producer at Toei who helped create the show. That is a particularly relevant message in Japan, where the pressures among children to conform are very intense.

參與協助制作該動畫的東映公司制作人Hiromi Seki表示，任何與自己不同的異類都會被視為怪物。但只要改變這種態度，他們就能成為朋友。在日本，這是一個有重要意義的信息。在這個國家，孩子們中間要求一致化的壓力非常大。

In one episode, an evil character threatens to bring about an eruption of Mount Fuji that would make Tokyo unbearably hot and spark global climate change. In another episode, a heartbroken performer of traditional kabuki theater turns into a monster and wreaks havoc on his community.

在其中一集，一個惡魔威脅要讓富士山噴發，將東京葬送在火海中，并以此改變全球氣候。而在另一集中，一位傷心的歌舞伎演員變成了怪獸并大肆進行破壞。

'In Japan, girly love themes are a must,' Ms. Seki says. When 'Demashita! Powerpuff Girls Z' was launched in Japan a year ago, the executives at Cartoon Network soon realized that the revamped plots and skimpier outfits not only attracted young girls, but they also broadened the audience to include animation-obsessed adult men known in Japan as otaku, or geeks, who were also fans of the original.

Hiromi Seki稱，少女戀愛的主題在日本是必有的。當《飛天小女警Z》一年前在日本播放后，卡通電視頻道的管理層很快就認識到，經過修改的劇情和更苗條的角色造型不但吸引了年輕女孩，喜歡該動畫原造型的“御宅族”也加入了進來。

So the network came out with special consumer goods like bookmarks, limited-edition DVDs and pop music targeted at viewers like Hironobu Kamata, a 42-year-old manager of a copyright office in Tokyo. Every Saturday morning, Mr. Kamata watches the Powerpuff Girls.

接下來，與新版《飛天小女警》有關的消費品，如書簽、限量發行的DVD和面向Hironobu Kamata這樣的動畫觀眾的流行音樂等陸續推出。今年42歲的Hironobu Kamata是東京一家版權機構的經理，他每周六早上都要收看《飛天小女警Z》。

His favorite character is Miyako Goutokuji, the blond girl known as Bubbles in the U.S. 'I love it all! The characters are so cute,' says Mr. Kamata.

他最喜歡的角色是豪德寺都(Miyako Goutokuji)，即美國版中的金發女孩巴布斯。Hironobu Kamata稱，我喜歡所有的角色，她們都這么可愛。