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《新德里时报》(Times in New Delhi)的高级配色师拉坦•巴鲁(Ratan Barua)却称，将史奴比改成灰色是他的主意。他表示，他觉得史奴比该是灰色的。虽然他按照出版商的要求为史奴比涂上了白色，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.

外来的角色偶尔也有成功的时候。例如当维亚康姆(Viacom Inc.)旗下的Nickelodeon电视频道准备在日本推出海绵宝宝(SpongeBob SquarePants)时，市场研究认为这是注定要失败的。因为据信日本的观众喜欢外表温暖舒服的造型，这是一种日本人称为“愈”(iyashi)的概念。根据这个概念设计的造型，通常是圆形的、没有嘴巴，眼睛也要小。此概念诞生于九十年代的日本，在经济长期低迷、老百姓对未来既渴望又迷茫的环境下逐渐流行起来。

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.

而回过头来看看海绵宝宝的造型：方形的身体、巨大的嘴巴和门牙，还有那大眼睛以及有点讨人厌的性格。这些都与“愈”的概念相左。但观众们并不在乎这些，节目一经推出就有两百万家庭每天收看。海绵宝宝取得成功的原因之一在于，它生活在一个没有人类、也没有明显的文化参照的海底世界。Nickelodeon旗下Kids and Family Group总裁西马•扎哈米(Cyma Zarghami)表示，海绵宝宝身上带有的“美国”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•麦克科拉肯(Craig McCracken)制作《飞天小女警》时，特意赋予了他认为带有“日本色彩”的造型。但当2001年节目开始在日本播放时，并未吸引到大量观众。因此卡通电视网决定针对日本重新设计造型，并且得到麦克科拉肯的赞同。

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.

在翻创过程中，布罗松(Blossom)、巴特卡普(Buttercup)和巴布斯(Bubbles)三个小女孩都有了新的日本名字，年龄设定也变成了日本高中生。鉴于日本小孩喜欢模仿心仪角色的穿着，因此新版角色的穿戴更现实化，不但穿上了迷你裙，还配了背心和紧身腰带。

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.

参与角色重设计的东映公司保留了小女孩利用超能力与罪犯战斗的情节。为了能更长久地吸引日本儿童观众，制作组加入了更多本土化的剧情，并将每集动画的播放时间由7至11分钟延长到15至20分钟。此外，制作组还赋予这部动画一个在日本很普遍的主题：接受与自己不一样的人。

'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.

参与协助制作该动画的东映公司制作人Hiromi Seki表示，任何与自己不同的异类都会被视为怪物。但只要改变这种态度，他们就能成为朋友。在日本，这是一个有重要意义的信息。在这个国家，孩子们中间要求一致化的压力非常大。

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，一个恶魔威胁要让富士山喷发，将东京葬送在火海中，并以此改变全球气候。而在另一集中，一位伤心的歌舞伎演员变成了怪兽并大肆进行破坏。

'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称，少女恋爱的主题在日本是必有的。当《飞天小女警Z》一年前在日本播放后，卡通电视频道的管理层很快就认识到，经过修改的剧情和更苗条的角色造型不但吸引了年轻女孩，喜欢该动画原造型的“御宅族”也加入了进来。

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.

接下来，与新版《飞天小女警》有关的消费品，如书签、限量发行的DVD和面向Hironobu Kamata这样的动画观众的流行音乐等陆续推出。今年42岁的Hironobu Kamata是东京一家版权机构的经理，他每周六早上都要收看《飞天小女警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.

他最喜欢的角色是豪德寺都(Miyako Goutokuji)，即美国版中的金发女孩巴布斯。Hironobu Kamata称，我喜欢所有的角色，她们都这么可爱。