Boo Saga, Goku, and Copyright

Goku vs. Kid Boo

When Gohan surpassed his father by attaining the Super Saiyan 2, he became the strongest character in Dragon Ball Z, at least as of the end of Cell Saga. But the story of Dragon Ball Z does not end in Cell Saga, in the final and concluding saga of Dragon Ball Manga and Dragon Ball Z, i.e. the Boo Saga, the author has once again established the main character, Son Goku, as the strongest character in the universe. In the anime series, the story ends in Dragon Ball GT while the manga ends in Boo Saga. Unlike Dragon Ball and Dragon Ball Z, the story of Dragon Ball GT does not follow the storyline in manga (the manga has ended) but acts as a sequel to Dragon Ball Z.

When Super Saiyan 2 was initially introduced, it was told that Gohan, who has seemingly limitless potential, was able to reach a stage beyond Super Saiyan. Seven years later after the end of Cell Saga, while still being dead, Goku, who was granted one-day visa to stay in living world, showed to the villain Babidi, Majin Boo, and the people of the earth that there exists a level of Super Saiyan surpasses the stage that surpasses the level of a Super Saiyan. To make it clear-cut, Goku performed each transformation himself: Super Saiyan 1, Super Saiyan 2, and Super Saiyan 3. Goku, thus the author, formally called the level of Super Saiyan that was supposedly exclusive to Gohan in Cell Saga, Super Saiyan 2, while unveiling to the audience the first time the strongest transformation of Super Saiyan in Dragon Ball Z, Super Saiyan 3. While Goku was unable to reach Super Saiyan 2 in Cell Saga, it’s clear that he not only reached Super Saiyan 2 but surpassed it to reach Super Saiyan 3. Before Super Saiyan 3 was introduced, Super Saiyan 2 was only known as a level that surpasses Super Saiyan.

When the people of earth faced the threat of Majin Boo, Goku did not rush to defend the earth as he previously did. He even claimed that he was not able to fight Majin Boo. He told Piccolo that he was already dead and the earth has to learn to defend itself as new threats will always emerge. But we also saw that Goku was able to hold off against the Majin Boo when he tried to stall for time to let Trunks to retrieve that Dragon Radar. He did not finish Majin Boo off. He departed as soon as Trunks got the radar. Was he able to defeat Majin Boo? He tried to tell the others he was not able to do so; thus Trunks and Goten (his son) have to train and fuse to fight Majin Boo. He contradicted himself later when he confessed to Vegeta that he probably could do it but wanted the next generation to do the job.

Gohan was severely outclassed by Majin Boo even in his Super Saiyan 2 form and nearly killed by him. Gohan was brought to the realm of Kaioshin. With the help of Old Kaioshin, his potential was being unlocked that he can fight without any change in appearance, or transformation, a stage where some people called “Mystic Gohan”. Some people would like to believe that “Mystic Gohan” is the strongest unfused character in Dragon Ball Z.

By the fusion of Goten and Trunks, a new character, Gotenks, was born. But fusion has an obvious flaw. It can only lasted for half an hour. If Gotenks transformed into Super Saiyan 3, the fusion only lasted for five minutes. When the fusion wears off, they will not be able to fuse again for more than an hour. Yes, Gotenks is the only character besides Goku can transform into Super Saiyan 3.

We now have three characters: Goku, Gohan, and Gotenks, who might save the day in the end. Goku was back to the Other World. But in the universe of Dragon Ball, he might be brought back to life when the situation needed. Upon learning the technique of fusion and training, Gotenks was the first among those three to fight Majin Boo. It’s not clear that he can defeat Majin Boo but at least he is able to hold off against Majin Boo before the fusion wears off. Gohan, now back on earth with newly untapped power, has managed to overpower Majin Boo. Majin Boo blows himself up and escapes. Majin Boo was able to regenerate himself as long as any fragment remains; but its ability to regenerate himself differs from one form to another. But the table turns after Majin Boo absorbs Gotenks, Gohan was going to be killed.

Goku was, perhaps unsurprisingly, brought back to life by Old Kaioshin. He was told that his only chance to defeat Majin Boo was to fuse with Gohan. But Gohan, was, too absorbed by Majin Boo when Gohan was caught off guard. At this point, it appeared that Majin Boo would be able to increase its power level by absorbing the strong fighter. Just like Goku, Vegeta was granted temporary visa to stay on earth to help fight Majin Boo.

Goku pleaded to Vegeta to use the Potara Earrings, which supposedly resulted permanent fusion. Vegeto, the fused character by Goku and Vegeta, easily overpowers Majin Boo, who had already absorbed Gohan, Gotenks, and Piccolo. Vegeto deliberately let Majin Boo to absorb himself while putting on a protective barrier to avoid being assimilated into Majin Boo’s body. While inside the Majin Boo’s body, when the protective barrier is off, Vegeto was defused into Goku and Vegeta. Vegeta vowed not to fuse with Goku again and destroyed the Potara Earring. Vegeta and Goku tried to bring Gohan, Piccolo, Goten, and Trunks out of Majin Boo’s body. They also found out that there was a “Fat Majin Boo” inside Majin Boo. When Vegeta tried to cut off the chord that connected the “Fat Majin Boo” inside Majin Boo, Majin Boo warned not to do so as he would no longer be himself. Vegeta did it. When Goku and Vegeta finally got out of Majin Boo’s body, together with Gohan, Piccolo, Goten, and Trunks, Majin Boo, with the chord connected to the “Fat Majin Boo” being cut off from the inside of its body, transformed into a smaller-sized form, Kid Boo. Seeing the transformation from the Kaioshin’s Realm, the Kaioshin’s face immediately turned pale; saying with great fear, “He turned back…”

As Kaioshin put it, he was the most difficult form. His heart, which through absorption allows his power to be reduced, has returned to its original form. What? “Power to be reduced due to absorptions?” Is it not established that Majin Boo got stronger by absorbing strong fighters? It turned out that what audience saw so far was not the original Majin Boo created by Bibidi, Babidi’s father. The original Majin Boo was an essence of evil, powerful and uncontrollable even by his creator, whose only interest seems to be cause destruction. He was practically unstoppable by anyone, until he absorbed South Kaioshin and then Dai Kaioshin, then transformed into a tamer, weaker form. He may got stronger after absorbing strong fighters but not as strong as he used to be, assuming that the original Majin Boo was the most difficult foe that the hero must face.

Without much hesitation, the Kid Boo went on to destroy the earth when Goku could not stop it but escaped to Kaioshin’s Realm with Kaioshin’s Instantaneous Movement, together with Kaioshin, Vegeta, Mr. Satan, and Dende. Gohan, Goten, Trunks, and Piccolo, who were unconscious and left behind, died in the explosion of earth. Kaioshin advised strongly for Goku and Vegeta to use Potara Earrings to fuse again to fight Kid Boo. But Goku would rather fight in one-to-one. Despite what Kaioshin said, there are some people who refused to believe that Kid Boo could be stronger than Majin Boo who absorbed Gohan, for whatever reasons.

Note that some people, like Goku, was given a physical body while being dead in the Other World because of his contributions while being alive. A dead person, even with a physical body, cannot stay in the world of living for long. A temporary one-day visa may be given, which when the “living energy is used up”, he must be back to the Other World. In some rare, exceptional cases, Vegeta, who was notoriously cruel and evil while being alive, was given a physical body and even a visa back to the World of Living because of the threat posed by Majin Boo. The Kaioshin’s Realm is technically in the Other World but most dead people cannot get there by themselves. Goku can go to Kaioshin’ Realm by himself while being alive with his signature Instantaneous Movement.

If Kid Boo is truly considerably weaker due to removal of absorptions, Gohan or Gotenks can technically fight him in Kaioshin’s Realm while being dead, if Kaioshin brought them to Kaioshin’s Realm. Gohan has overpowered Majin Boo before he absorbed Gotenks. If you die again while being dead, you will disappear entirely from both the Worlds of Living and the Other World. Being a dead person is different in the sense that you do not actually need to eat, or do anything for a living; even though Goku apparently still has appetite while being dead. You will not fall sick or “die” again usually. But if someone powerful comes and destroys you, you will disappear entirely.

If Vegeta can be brought to fight Majin Boo, surely Gohan and Gotenks can too. Old Kaioshin used to be confident in Gohan beating Majin Boo; that is before absorbing Gotenks. But Kaioshins seem to be fixated to the idea that Goku and Vegeta should fuse once again to fight Kid Boo, not even mentioning bringing Gohan to the battlefield. Goku boldly take on the challenge to fight Kid Boo in one-to-one and managed to hold himself well against him in Super Saiyan 3 without going full power. Goku’s fatigue resulted himself to reverted to his base form after the intense fight with Kid Boo.

When Vegeta restored the earth and brought people on earth back to life using Namekian Dragon Balls before Kid Boo was defeated, exhausted Goku asked if Vegeta planned to bring Gohan and Gotenks to the battlefield. Some people incorrectly said that Goku suggested to bring Gohan and Gotenks to the battlefield. Vegeta’s plan is to ask the people on earth to give up most of their energy to Goku to form a giant, non-conventional Genki Dama. Genki Dama usually consists of the small portion of energy of surrounding life. This time, Goku needs to push them right to their limits. Forming Genki Dama requires some time and energy. When this giant Genki Dama was formed, Goku could not muster enough strength to kill Kid Boo with Genki Dama in one instant. As Vegeta put it, it was a miscalculation; strength is critical to throwing Genki Dama of this level, which Goku is lacking due to fatigue. With a wish granted by Namekian Dragon Balls, Goku has his strength back to his usual level. He transforms into a Super Saiyan and kill Kid Boo with Genki Dama once and for all. The death of Kid Boo is in Dragon Ball Z Episode 286, titled “Son Goku is Strongest After All!! Majin Boo is Eliminated”.

Indeed, the evenly-matched battle between Super Saiyan 3 Goku and Kid Boo and decisive victory of Goku in killing Kid Boo once again establish Son Goku as the strongest character in the universe of Dragon Ball.

If Kid Boo is indeed the most powerful form of Majin Boo in Dragon Ball Z, is there any reason for Goku to fuse with others to fight weaker forms? Super Saiyan 3, as Goku put it, exhausts himself rather quickly, which Goku would rather not use it when other options are available. Before a fight takes place, betting on Super Saiyan 3 is rather risky, compared with fusing with somebody. Fusion also allows Vegata, who was already dead, to remain in the World of Living while being fused into Vegeto. After trying out fusion and decided to fight in one-to-one, Super Saiyan 3 would be necessary to fight Kid Boo. The strain that Goku’s body endure is beyond Goku’s anticipation as he first achieved Super Saiyan 3 when he was dead. Hypothetically speaking, if Goku was able to go full power right in the beginning, will he kill Kid Boo without Genki Dama? But Goku’s miscalculation also allows the people on earth to help to defend the earth for once; only this time they believed that Mr. Satan was fighting on behalf of them, not Goku. The author might establish Goku as the strongest man in the universe once again; but hilariously, people of earth, most of them do not know the truth, only know that Mr. Satan is the strongest man on earth, who defeats Cell (who is actually defeated by Gohan). People of earth has no recollection of memory of the wrath of Majin Boo as Goku erased their memory using Dragon Balls to allow Mr. Boo, the good version of Boo being spit out by Kid Boo, to live on earth in peace.

Those who question why Goku did not transform into Super Saiyan 3 should ask themselves: how often do we run at full speed in our lives. In Marathon, which is a competition for both endurance and speed, we run at a pace which we can reach a long distance in the shortest time. On the other hand, in a sprint, we run at highest speed in a short distance. To reach a long distance, we need to preserve our energy thus reducing our speed from the highest speed. One advantage Kid Boo has over Goku is that he does not lose any resiliency. In the usual fight, the longer and more intense you fight, the weaker and more tired you become. Majin Boo is indeed a magical creature the puzzles the mind of many Dragon Ball fans. Compared with other forms of Boo, Kid Boo can regenerate itself much easily and quickly, not to mention his power and speed. On the other hand, he is also completely insane and bellicose, practically enjoying bring destruction to wherever he goes or torturing his opponents.

You do not have to take my version of Boo Saga as the truth. Go and order original Dragon Ball, Dragon Ball Z, and Dragon Ball GT DVDs. Thanks to the popularity of Dragon Ball franchise, it’s available in several versions, some of them are legally licensed but some of them are not. In Malaysia, a version of Dragon Ball series is being marketed as “Malaysia Edition Original”, which is in fact a bootleg copy.

http://bit.ly/YaS1SX

Yes, it appears to be dirt cheap compared with those available at amazon.com or yesasia.com, such as http://amzn.to/122p47j or http://bit.ly/1830ych. The “Malaysia Edition Original” even carries the certificates from both Film Censorship Board of Malaysia, an agency under the Ministry of Home Affairs, and Ministry of Domestic Trade, Co-operatives, and Consumerism (MDTCC) under Federal Government of Malaysia.

Let me say about what both departments do.

Film Censorship Act 2002 (Act 620) Section 6:

(1) No personal shall –

(a) have in possession or in his custody or under his control;

(b) or circulate, exhibit, distribute, display, manufacture, produce, sell or hire,

any film or film-publicity material (e.g. trailers, advertisements, etc.) which has not been approved by the Board (Film Censorship Board of Malaysia).

(2) Any person who contravenes subsection (1) commits an offense and shall be liable on conviction –

(a) in respect of any film, to a fine of not less than five thousand ringgit and not more than thirty thousand ringgit or to imprisonment to a term not exceeding three years or to both;

(b) in respect of any film-publicity material, to a fine of not less than one thousand ringgit and not more than ten thousand ringgit.

Section 2:

(1) For the avoidance of doubt, it is hereby declared that this Act does not apply to Federal Government or the Government of any State.

(2) This Act shall not apply to –

(a) any film sponsored by the Federal Government or the Government of any State;

(b) any film transshipped within Malaysia for delivery at a place outside Malaysia;

(c) any film whether produced in or imported into Malaysia which the owner does not intend to exhibit in Malaysia or any film which is produced in Malaysia and intended by the owner for worldwide distribution, other than Malaysia, where a permit or certificate of exemption has been granted under section 8 by the Board;

(d) any film, not being obscene or lewd, which is in the possession of any person or his agent and is intended for his own private use and not for the purpose of sale, hire, distribution, public exhibition or circulation so long as the film remains in such possession.

(3) This Act shall not be construed as permitting the censorship of any film or film-publicity material published, displayed, circulated, exhibited, distributed, or transmitted over the internet or over Intranets.

Section 8:

(1) The Board may issue a permit for the purpose of Section 7 if an application is made to the Board in the prescribed manner.

(2) a permit issued by the Board –

(a) shall be valid only for such period as may be specified in the permit; and

(b) shall specify the time and place for the submission of the film or film-publicity material for censorship.

(3) Notwithstanding subsection (1) and (2), the Board may issue a certificate of exemption for the purpose of Section 7 in respect of any film or film-publicity material imported into Malaysia –

(a) which the owner does not intend to exhibit it in Malaysia or permit its exhibition in Malaysia, and has supplied the Board with a full description of the film or film-publicity material;

(b) which the Board is satisfied is intended for private use;

  • or

(c) where such film has been made or produced in Malaysia by a local or foreign corporation or company with a view for worldwide distribution, other than Malaysia,

if an application is made by the owner in the prescribed manner.

(4) Without prejudice to subsection (2), the Board’s power to issue a permit a permit or a certificate of exemption under this section includes the power to impose conditions subject to which the permit or certificate is issued.

It’s no secret that Malaysia is not a country with the high freedom of media or expression. Film censorship is part of what the federal government does to control the information circulated within the border of Malaysia. The advocates of film censorship may claim that some obscene or “political film” may somehow corrupt the mind of the people, assuming that people do not have the capability to judge what is right or wrong on their owns.

In this context, what we need to clarify is that Film Censorship Board of Malaysia does not prove or show whether a particular film is legally licensed from its copyright owners under Copyright Act 1987 (Act 332). For any film distributors in Malaysia, regardless of whether or not they legally own the distribution rights, they have to get approval from Film Censorship Board of Malaysia before they can distribute the films either commercially or for non-profit purposes. Film Censorship Board of Malaysia is the federal government agency that enforces Film Censorship Act 2002 while clearly the enforcement of Copyright Act 1987 is not within its power.

Copyright Act 1987 Section 3:

In this Act, unless the context otherwise requires –

“adaption” includes any of the following, that is to say –

(a) in relation to a literary work, a version of the work (whether in its original language or a different language) in which it is converted into a dramatic work;

(b) in relation to a dramatic work, a version of the work (whether in its original language or a different language) in which it is converted into a literary work;

(c) in relation to a literary or dramatic work –

(i) a translation of the work;

(ii) a version of the work in which the story or action is conveyed wholly or mainly by means of pictures in a form suitable for reproduction in a book or in newspaper, magazine, or similar periodical;

(d) in relation to a literary work in the form of a computer program, a version of the work, whether or not in the language, code, or notation in which the work is originally expressed not being a reproduction of the work;

(e) in relation to a musical work, an arrangement or transcript of the work;

(f) in relation to a literary or artistic work, a version of the work (whether in its original language or a different language) in which it is converted to a film;

“author” –

(a) in relation to literary works, means the writer or the maker of the works;

(b) in relation to music works, means the composer;

(c) in relation to artistic works other than photographs, means the artist;

(d) in relation to photographs, means the person by whom the arrangement for the taking of photograph were undertaken;

(e) in relation to films or sound recordings, means the person by whom the arrangements for the making of film or recording were undertaken;

(f) in relation to the broadcasts transmitted from within any country, means –

(i) the person transmitting the program, if he has the responsibility for the selection of its contents; or

(ii) any person providing the program who makes with the person transmitting it the arrangements necessary for its transmission;

(g) in relation to any other cases, means the person by whom the work was made;

“broadcast” means a transmission, by wire or wireless means, of visual images, sounds, or other information which –

(a) is capable of being lawfully received by members of the public; or

(b) is transmitted for presentation to members of the public,

and includes the transmission of encrypted signals where the means of decrypting are provided to the public by the broadcasting service or with its consent;

“broadcasting service” means any service of radio or television broadcast, operated under general direction and control of or under license by the Government, in any part of Malaysia;

“communication to public” means the transmission of a work or live performance through wire or wireless means to the public, including making available of work or live performance to the public in such a way that members of the public may access the work or live performance from a place at a time individually chosen by them;

“copy” means reproduction of a work in written form, in the form of recording or film, or in any other material form;

“copyright” means copyright under this Act;

“derivative works” means the works mentioned in Section 8 Subsection (1) Paragraph (a) and (b);

“film” means any fixation of a sequence of visual images on material of any description, whether translucent or not, so as to be capable by use of that material with or without assistance of any contrivance –

(a) of being shown as a moving picture; or

(b) of being recording on other material, whether translucent or not by the use of which it can be shown,

and includes the sounds embodied in any soundtrack associated with a film;

“fixation” means the embodiment of sounds, images, or both, or the representation thereof, in a material form sufficiently permanent or stable to permit them to be perceived, reproduced, or otherwise communicated during a period of more than transitory duration;

“future copyright” means copyright which will or may come into existence in respect of any future works or class of works or other subject matter, or on the coming into operation of any provision of this Act, or in any future event;

“Government” means the Government of Malaysia or the Government of any State;

“graphic work” includes –

(a) any painting, drawing, diagram, map, chart or plan; and

(b) any engraving, etching, lithograph, woodcut, or similar work;

“infringing copy” –

(a) in relation to copyright, means any reproduction of any work eligible for copyright under this Act the making of which constitutes an infringement of the copyright in the work or, in the case of any article imported into Malaysia without the consent of the owner of copyright, the making of which was carried out without the consent of the owner of the copyright;

(b) in relation to performers’ right, means any reproduction of any recording of a live performance the making of which constitutes an infringement of the performers’ right or, in the case of any recording imported into Malaysia without the consent of the performer, the making of which was carried out without the consent of the performer;

“license” means a lawfully granted license in writing, permitting the doing of an act controlled by copyright;

“licensing body” means a society or other organization which has as its main object, or one of its main objects, the negotiation or granting, either as owner or prospective owner of copyright or as agent for him, of copyright licenses, and whose objects include the granting of licenses covering works of more than one author;

“licensing scheme” means a scheme (including in the nature of scheme, whether described as a scheme or as a tariff or by any other name) setting out –

(a) the classes of case in which the operator of the scheme, or the person on whose behalf he acts, is willing to grant the copyright licenses; and

(b) the terms on which licenses would be granted in those classes of case;

“literary works” includes –

(a) novels, stories, books, pamphlets, manuscripts, poetical works, and other writings;

(b) plays, dramas, stage directions, film scenarios, broadcasting scripts, choreographic works, and pantomimes;

(c) treatises, histories, biographies, essays, and articles;

(d) encyclopedias, dictionaries, and other works of reference;

(e) letters, reports, and memoranda;

(f) lectures, addresses, sermons, and other works of the same nature;

(g) tables or compilations, whether or not expressed in words, figures, or symbols and whether or not in visible form; and

(h) computer programs

but does not include official texts of Government or statutory bodies of a legislative or regulatory nature, or judicial decisions;

“live performance” –

(a) includes –

(i) a performance of a dramatic work or part of such a work, including such a performance given with the use of puppets, or the performance of an improvised dramatic work;

(ii) a performance of a musical work or part of such a work, or the performance of an improvised musical work;

(iii) the reading, recitation, or delivery of a literary work, or part of such a work, or the reading, recitation, or delivery of an improvised literary work;

(iv) a performance of a dance;

(v) a performance of a circus act or a variety act or any similar presentation or show; or

(vi) a performance in relation to expression of folklore,

which is given live by one or more people in Malaysia, whether in the presence of an audience or otherwise; but

(b) does not include

(i) any reading, recital, or delivery of any item of news or information;

(ii) any live performance of sporting activity; or

(iii) a participation in a live performance by a member of the audience;

“manuscript”, in relation to a work, means the original document embodying the work, whether written by hand or not;

“material form”, in relation to a work or a derivative work, includes any form (whether visible or not) of storage from which the work or derivative work, or a substantial part of work or derivative work can be reproduced;

“Minister” means Minister for the time being charged with the responsibility of intellectual property;

“musical work” means any musical work, and includes works composed for musical accompaniment;

“performer” means a person who performs a live performance under this Act;

“performers’ right” means the performers’ right under this Act;

“photograph” means a recording of light or other radiation on any medium on which an image is produced or from which an image may by any means produced, and which is not part of a film;

“premises” means any place, stationary or otherwise established or set up by any person, whether such place is with or without enclosure, and also includes vehicles, aircraft, ships, and any other vessel;

“qualified person”, –

(a) in relation to an individual means a person who is a citizen of, or a permanent resident in, Malaysia; and

(b) in relation to a body corporate, means a body corporate established in Malaysia and constituted or vested with legal personality under the laws of Malaysia;

“rebroadcast” means a simultaneous or subsequent broadcast by one broadcasting service of the broadcast of another broadcasting service, whether situated in Malaysia or abroad, and includes diffusion of such broadcast over wires; and “rebroadcasting” shall be construed accordingly;

“recording” means a sound recording or film, other than a recording made under Section 16A Subsection (3);

“relevant day” means Merdeka Day in respect of Peninsular Malaysia and Malaysia Day in respect of Sabah, Sarawak, and the Federal Territory of Labuan;

“reproduction” means making one or more copy of the work in any form or version, and in relation of an artistic work includes the making of a copy in three dimensions of a two-dimensional work, and “reproducing” shall be construed accordingly;

“sculpture” includes a cast or model made for the purposes of sculpture;

“sound recording” means any fixation of a sequence of sounds or of a representation of sounds capable of being perceived aurally and of being reproduced by any means, but does not include a soundtrack associated with a film;

“Tribunal” means the copyright Tribunal established under Section 28; and

“work of joint authorship” means a work produced by collaboration of two or more authors in which the contribution of each author is not separable of other author or authors.

Section 7:

(1) Subject to this section, the following works shall be eligible for copyright:

(a) literary works;

(b) musical works;

(c) artistic works;

(d) films;

(e) sound recordings; and

(f) broadcast

(2) Works shall be protected irrespective of their quality and the purpose for which they are created.

(2A) Copyright protection shall not extend to any idea, procedure, method of operation, or mathematical concept as such.

(3) A literary, musical, or artistic work shall not be eligible for copyright unless –

(a) sufficient effort has been expanded to make the work original in character; and

(b) the work has been written down, recorded, or otherwise reduced to material form.

(4) A work shall not be ineligible for copyright by reason only that the making of the work, or the doing of any act in relation to the work involves an infringement of copyright in some other work.

(5) Copyright shall not subsist under this Act in any design which is registered under any written law relating to industrial design.

(6) Copyright in any design which is capable of being registered under any written law, which has not been so registered, shall cease as soon as any article to which the design has been applied has been reproduced more than fifty times by an industrial process by the owner of copyright or, with his license, by any other person.

(7) For the purpose of this section, “any written law relating to industrial design” includes:

(a) the United Kingdom Designs (Protection) Act 1949 (Act 214) (Repealed by Industrial Designs Act 1996 (Act 552);

(b) The United Kingdom Designs (Protection) Ordinance of Sabah (Sabah Cap. 152); and

(c) the Designs (United Kingdom) Ordinance of Sarawak (SWK Cap. 59).

Section 8:

(1) The following derivative works are protected as original works:

(a) translations, adaptions, arrangements, and other transformation of works eligible for copyright; and

(b) collections of works or collections of mere data, whether in machine readable or other form, eligible for copyright, which by the reason of selection and arrangement of their contents, constitute intellectual creation.

(2) Protection of works referred to in subsection (1) shall be without prejudice to any protection to any protection of the existing works used.

Section 36:

(1) Copyright is infringed by any person who does, or causes any other person to do, without the license of the owner of the copyright, an act of the doing of which is controlled by copyright under this Act.

(2) Copyright is infringed by any person who, without the consent or license of the owner of the copyright, imports an article into Malaysia for the purpose of –

(a) selling, letting for hire, or by way of trade, offering, or exposing for sale or hire, the article;

(b) distributing the article –

(i) for the purpose of trade; or

(ii) for any other purpose to an extent that it will affect prejudicially the owner of copyright; or

(iii) by way of trade, exhibiting the article in the public,

where he knows or ought reasonably to know that the making of the article was carried out without the consent or license of the owner of copyright.

(3) Copyright is infringed by any person who circumvents or causes any other person to circumvent effective technological measures that are used by authors in connection with the exercise of their rights under this Act and that restrict acts, in respect of their works, which are not authorized by the authors concerned or permitted by law.

(4) Copyright is infringed by any person who knowingly performs any of the following acts knowing or have reasonable grounds that it will include, enable, facilitate, or conceal an infringement of any right under this Act:

(a) the removal or alteration of any electronics right management information without authority;

(b) the distribution, importation for distribution, or communication to the public, without authority, of works or copies of works knowing that electronic rights management information has been removed or altered without authority.

(5) For the purpose of subsection (4) and Section 41, “rights management information” means information which identifies the works, the author of the work, the owner of any right in the work, or information about the terms and conditions of use of the work, any numbers or codes that represent such information, when any of these items of information is attached to a copy or work or appears in connection with the communication of a work to the public.

Section 41:

(1) Any person who during the subsistence of copyright in a work or performer’s right –

(a) makes for sale or hire any infringing copy;

(b) sells, let for hire or by way of trade, exposes or offers for sale or hire any infringing copy;

(c) distributes infringing copies;

(d) possesses, otherwise than for his private and domestic use, an infringing copy;

(e) by the way of trade, exhibits in public any infringing copy;

(f) imports into Malaysia, otherwise than for his private and domestic use, an infringing copy;

(g) makes or has in his possession any contrivance used or intended to be used for the purposes of making infringing copies;

(h) circumvents or causes the circumvention of any effective technological measures referred to in Section 36 Subsection (3);

(i) removes or alters any electronic rights management information without authority; or

(j) distributes, imports for distribution, or communicates to the public, without authority, works of copies of works in respect of which electronics right management information has been removed or altered without authority,

shall, unless he is able to prove that he had acted in good faith and had no reasonable grounds for supposing that copyright or performers’ right would or might thereby be infringed, be guilty of an offense and shall on conviction be liable –

(i) in the case of an offense under paragraph (a) to (f), to a fine of not less than two thousand ringgit and not more than twenty thousand ringgit for each infringing copy, or to an imprisonment for a term not exceeding five years or to both and to any subsequent offense, to a fine not less than four thousand ringgit and not more than forty thousand ringgit for each infringing copy or to imprisonment for a term not exceeding ten years or to both;

(ii) in the case of an offense under paragraph (g), to a fine of not less than four thousand ringgit and not more than forty thousand ringgit for each contrivance in respect of which the offense was committed or to imprisonment for a term not exceeding ten years or to both and for any subsequent offense to a fine of not less than eight thousand ringgit and not more than eighty thousand ringgit for each contrivance in respect of which the offense was committed or to imprisonment for a term not exceeding twenty years or to both;

(iii) in the case of an offense under paragraph (h), (i), and (j), to a fine not exceeding two hundred and fifty thousand ringgit or to imprisonment for a term not exceeding five years or to both and for any subsequent offense, to a fine not exceeding five hundred thousand ringgit or to imprisonment for a term not exceeding ten years or to both.

(2) For the purposes of Subsection (1) Paragraph (a) to (f), any person who has in his possession, custody or control three or more infringing copies of a work or recording in the same form shall, unless the contrary is proved, be presumed to be in possession of or to import such copies otherwise than for private or domestic use.

(3) Any person who causes a literary, or musical work to be performed in public shall be guilty of an offense under this subsection unless he is able to prove that he had acted in good faith and had no reasonable grounds for supposing that copyright would or might thereby be infringed.

(4) Where an offense under this section is committed by a body corporate or by a person who is a partner in a firm, every director, secretary, or manager of the body corporate or, as the case may be, every other partner in the firm shall be deemed to be guilty of the offense unless he proved that the offense was committed without his consent or connivance and that he exercised all due diligence to prevent the commission of the offense.

I selected the excerpts from Copyright Act 1987 (Act 332) (Malaysia) to clarify what copyright means, especially in the case of Dragon Ball anime series which could be regarded as films. Is film or other works which are eligible for copyright under Copyright Act 1987 (Act 332) (Malaysia), originated from outside of Malaysia, eligible for copyright as well? Copyright Act 1987 (Act 332) does not provide an answer but Berne Convention does.

As an international treaty, Berne Convention currently has 166 contracting parties, which include United States, Japan, China, Malaysia, etc. Go to http://bit.ly/186c5Yz to find out who are the current contracting parties of Berne Convention.

Berne Convention Article 3:

(1) The protection of this Convention shall apply to:

(a) authors who are nationals of one of the countries of the Union, for their works, whether published or not;

(b) authors who are not nationals of one of the countries of the Union, for their works first published in one of those countries, or simultaneously outside the Union and in a country of a Union.

(2) Authors who are not nationals of one of the countries of the Union but who have their habitual residence in one of them shall, for the Purposes of this Convention, be assimilated to nationals of that country.

(3) The expression “published work” means works published with the consent of their authors, whatever may be the means of the manufactures of the copies, provided the availability of such copies has been such as to satisfy the reasonable requirements of the public, having regard to the nature of the work. The performance of dramatic, dramatico-musical, cinematographic or musical work, the public recitation of a literary work, the communication by wire or the broadcasting of literary or artistic works, the exhibition of the work of art and the construction of the work of architecture shall not constitute publication.

(4) A work shall be considered as having been published simultaneously in several countries if it has been published in two or more countries within thirty days of its first publication.

Article 5:

(1) Authors should enjoy, in respect of works for which they are protected under this Convention, in countries of Union other than the country of origin, the rights which their respective laws do now or may hereafter grant to their nationals, as well as the rights specially granted by this Convention.

(2) The enjoyment and the exercise of these rights shall not be subject to any formality; such enjoyment and such exercise shall be independent of the existence of protection in the country of origin of the work. Consequently, apart from the provisions of this Convention, the extent of protection, as well as the means of redress afforded to the author to protect his rights, shall be governed exclusively by the laws of the country where protection is claimed.

(3) Protection in the country of origin is protected by domestic law. However, when the author is not the national of the country of origin of the work for which he is protected under this Convention, he shall enjoy in that country the same right as national authors.

(4) The country of origin shall be considered be:

(a) in the case of works first published in a country of the Union, that country; in the case of works published simultaneously in several countries of the Union which grant different terms of protection, the country whose legislation grants the shortest term of protection;

(b) in the case of works published simultaneously in a country outside the Union and in a country of the Union, the latter country;

(c) in the case of unpublished works or of works first published in a country outside the Union, without simultaneous in the country of Union, the country of Union which the author is the national, provided that:

(i) when these are cinematographic works the maker of which has his headquarters or his habitual residence in a country of the Union, the country of origin shall be that country, and

(ii) when these are works of architecture erected in a country of the Union or other artistic work incorporated in the building or other structure located in a country the Union, the country of origin shall be that country.

Akira Toriyama (or Bird Studio), the author of Dragon Ball manga, shall enjoy the copyright protection in Malaysia, so do Toei Animation and Shueisha (manga publisher). Dragon Ball manga was adapted into two anime series, Dragon Ball and its sequel Dragon Ball Z. Dragon Ball GT is the final installment of the anime series of Dragon Ball, as a sequel to Dragon Ball Z or manga but is not directly created by Akira Toriyama but being licensed and created by Toei Animation. Dragon Ball manga is was serialized in Japan, a member state of Union of Berne Convention, from December 3, 1984 – June 5, 1995, spanning 519 chapters (or 42 volumes). The first installment of anime series, Dragon Ball originally ran from February 26, 1986 – April 12, 1989 in Japan, lasted for 153 episodes. The second installment of anime series, Dragon Ball Z, originally ran from April 26, 1989 – January 31, 1996 in Japan, lasted for 291 episodes. The third and final installment of anime series, Dragon Ball GT, originally ran from February 7, 1996 – November 19, 1997, lasted for 64 episodes. Collectively, Dragon Ball anime series has 508 episodes in total.

The popularity of Dragon Ball franchise, be it manga or anime series, goes beyond the border of Japan. Whether it’s Asia or United States, it was broadcasted and dubbed in many countries; often time, unlicensed publication of Dragon Ball manga circulated in many places. Being a largely unrecognized state and one of region that is not a party to the Berne Convention, Taiwan is notoriously known for having unlicensed Chinese-version manga translated from Japanese. The copy of TV series that originated from recording directly from TV Broadcast, widely being known as bootleg, is widely available in many markets, including Malaysia, Singapore, Taiwan, Hong Kong, China, and many other regions. Of course, without proper license from the copyright owner, distribution of bootleg copy is of course illegal in many countries, especially in those countries of the Union of Berne Convention.

We talked about copyright not only because we care about the protection of intellectual property or creativity but also the rights of consumers. How can the rights of consumers be infringed when those pirated goods are often sold in remarkably low price? At Best Buy Anime DVD Store, Dragon Ball Anime Series is collectively being sold at the price of US$65.58, without regards to any shipping and handling fee or taxes that may be incurred. How much have I paid for Dragon Ball anime series?

Item

Amount (USD) Seller

1

Dragon Ball Season 1

14.96

Amazon.com

2

Dragon Ball Season 2

16.93

Amazon.com

3

Dragon Ball Season 3

21.97

Amazon.com

4

Dragon Ball Season 4

16.93

Amazon.com

5

Dragon Ball Season 5

16.93

Amazon.com

6

Dragon Ball Z Season 1

34.98

yeasia.com

7

Dragon Ball Z Season 2

19.96

Amazon.com

8

Dragon Ball Z Season 3

21.93

Amazon.com

9

Dragon Ball Z Season 4

21.93

Amazon.com

10

Dragon Ball Z Season 5

34.98

yeasia.com

11

Dragon Ball Z Season 6

21.93

Amazon.com

12

Dragon Ball Z Season 7

17.99

Amazon.com

13

Dragon Ball Z Season 8

24.99

Amazon.com

14

Dragon Ball Z Season 9

21.73

Amazon.com

15

Dragon Ball GT Season 1

16.99

Amazon.com

16

Dragon Ball GT Season 2

18.89

Amazon.com

Sub-total

344.02

Shipping & Handling

82.84

Amazon.com

Total

426.86

Shipping & Handling per Item

5.92

Amazon.com

Average Price of A Season

21.50

Listed Price Per Season

34.98

Listed Total Price

559.68

Saving

132.82

Saving (%)

23.73%

Total (MYR)

1332.11

Currency Exchange Rate

3.120718737

Note that the price you may pay for a season of Dragon Ball may vary according the market availability. I mostly bought Dragon Ball anime series from amazon.com but two seasons, which are Dragon Ball Z Season 1 and Dragon Ball Z Season 5, from yesasia.com. The real reason is of course the price and availability. At the time I bought them, Dragon Ball Z Season 1 and Dragon Ball Z Season 5 were not available at amazon.com but was available at amazon.ca. I saw the following message:

Item Under Review

While this item is available from other marketplace sellers on this page, it is not currently offered by Amazon.com because customers have told us there may be something wrong with our inventory of the item, the way we are shipping it, or the way it’s described here. (Thanks for the tip!)

We’re working to fix the problem as quickly as possible.

The prices at amazon.ca were remarkably higher than what I saw at yesasia.com. As a price-sensitive consumer, I chose yeasia.com instead. But overall, because yesasia.com sells at listed price or suggested retail price, which is US$34.98, instead of discounted price, exclusively buying at yesasia.com is not a wise option to me.

Click the above image to see Dragon Ball DVD Covers for each season.

The shipping & handling fee depends on where you want them to be shipped as well as the shipping option you choose. It charges on you per shipment per item basis. In general, fewer shipment cost less than more shipment. Amazon.com may try to have fewest shipment possible but not necessarily ship everything you order at once, subject to shipping fee or availability of the product, unless you explicitly request it. Amazon.com also allows you to choose different shipping speed. Faster you choose, the higher the price you must pay. In my case, I chose AmazonGlobal Expedited Shipping. For information about Amazon Shipping Rates and Time, visit http://amzn.to/11x4o8z.

Now, these copies are undoubtedly licensed but being produced by a U.S. company, FUNimation Productions also means that they have not been censored by Film Censorship Board of Malaysia. Generally speaking, film censorship law only applies when you try to be a distributor of Dragon Ball anime series or publicly exhibit them. It’s legal to possess and import uncensored films into Malaysia for private home use. Film Censorship Board of Malaysia cannot legally require a company outside of its jurisdiction to submit their films for censorship.

Just like many other consumers, I did not pay much attention to copyright or authenticity of media goods that I might bought. Yet, it’s no secret that piracy has been rampant in Malaysia.

Trade Description Act 1972 (Act 87) (Malaysia) Section 11:

(1) Where it appears to the Minister necessary or expedient in the interest of people to whom any goods are supplied that the goods should be marked with or accompanied by any information (whether or not amounting to or including a trade description) or instruction relating to the goods, the Minister may by order impose requirements for securing that goods are so marked or accompanied, and regulate or prohibit the supply of goods with respect to which the requirements are not complied with; and the requirements may extend to form and manner in which the information or instruction is to be given.

(2) Where an order under this section is in force with respect to goods of any description, any person, in the course of any trade or business, supplies or offers to supply goods of that description in contravention of the order shall be guilty of an offense.

(3) An order under this section may take different provision for different circumstances where the information or instruction required by the order would not be conveyed until after delivery, require the whole or part thereof to be displayed near the goods.

Hence under Trade Description Act 1972 (Act 87) (Malaysia), Malaysia Minister of Domestic Trade, Co-Operatives & Consumerism issued Trade Descriptions (Optical Disc Label) Order 2010.

Optical Disc Label

The optical disc label was introduced as part of the government’s effort to eradicate copyright piracy and at the same time protect intellectual property rights in the country.

Optical disc labels are issued to eligible applicants to be affixed to all optical discs embodied with contents and meant for trade or business.

Optical discs in the context of the Order include:

  1. Compact Disc-Audio (CD-A)
  2. Compact Disc-Video (CD-V)
  3. Compact Disc- read only memory (CD-ROM)
  4. Compact Disc-interactive (CD-I)
  5. Compact Disc- Photo (CD-P)
  6. Digital Versatile Disc (DVD)
  7. Blu-ray Disc (B-RD)
  8. Laser Disc (LD)
  9. Mini Disc (MD)

USE OF OPTICAL DISC LABEL

  1. The optical disc label must be affixed at a conspicuous place, either:-
    1. to the optical disc; or
    2. to any container in which, or to any other materials with which the optical disc is supplied .
  2. An optical disc label must not be affixed to any disposable wrapper.

OFFENSES

Any person, in the course of any trade or business who,

  1. supplies optical disc without an optical disc label.
  2. supplies optical discs that have been affixed with fake/counterfeit optical disc label.
  3. supplies optical disc that have been affixed with optical disc label other than those titles granted in the approval.
  4. Produces, supplies or possesses fake / counterfeit optical disc label.
  5. Supplies optical disc label to persons not approved
  6. has in possession an optical disc label without the approval of the Controller.
  7. affix optical disc label on any disposable wrapper.

PENALTY

Individual

First offense: A fine not exceeding RM100,000.00 or imprisonment not exceeding 3 years or both.

Subsequent offence: A fine not exceeding RM200,000.00 or imprisonment not exceeding 6 years or both.

Body Corporate

First offence: A fine not exceeding RM250,000.00

Subsequent offence: A fine not exceeding RM500,000.00.

Yes, unlike Film Censorship Board of Malaysia, Intellectual Property Corporation of Malaysia, a federal government agency under Ministry of Domestic Trade, Co-operatives & Consumerism (MDTCC), is actually a legal enforcement agency under Copyright Act 1987 (Act 332). By issuing Trade Descriptions (Optical Disc Label) Order 2010, MDTCC is supposed to verify whether or not applicants’ optical disc products are legally licensed from the copyright owners, which is to see if the distributors have the licenses in writing given by the copyright owners. Only with the proper verification process, the federal government of Malaysia can meaningfully serve the original intended purposes of enforcing the copyright laws.

When I first bought the Dragon Ball Collection of “Malaysia Edition Original”, which apparently is also being sold outside of Malaysia, I initially thought that these amazingly cheap DVDs are licensed goods as I saw both the certificate from Film Censorship Board of Malaysia and Optical Disc Label issued by Malaysia MDTCC. “The federal government of Malaysia endorsed this product, then it must be the thing,” at least that’s what I thought. But I never blindly believe in anybody, writings, or authority. I had my initial doubts when I looked at the DVDs covers.

Distributed by / Edaran:

Animedia Entertainment

No.58-GM, Jln Pandan Perdana 6/8,

Pandan Perdana, 55300 Kuala Lumpur.

TEL: 03-9200 4686 FAX: 03-9200 4467

You can find the above the distributor’s information the back of DVD cover, which I have already shared in the public SkyDrive folder of Dragon Ball DVD Covers in this blog post. Other than the distributor’s contact info, I cannot see any mentioning of the copyright owners. I might not study much about copyright but I thought, “Which copyright owners would not want their names on their products? It simply didn’t make sense.” As somebody have mentioned in some public online forums, these types of DVD do not have any copy protection and are region-free. But Best Buy Anime DVD store said: “We stand behind our service, and guarantee satisfaction with our products. We only sell original DVD, our product come with Original Seal and Authentication from Malaysia Government. All the DVDs we sell are distributed by Licensed Publisher in Malaysia and Brunei. All DVDs were authorized by National Film Development Corporation Malaysia. All DVDs is Region Free which make it compatible most all DVD players all over the world.” – from http://bit.ly/YiDSD9.

As you can see in the back cover of original DVD, you can see the following copyright information:

Original Japanese version “Dragon Ball GT” Original Author: Akira Toriyama Produced by TOEI ANIMATION Co., Ltd, Japan. English version by FUNimation® Productions LTD. Executive Producers: Gen Fukunaga, Cindy Fukunaga. Producers: Daniel Cocanougher, Barry Watson

© 1996 TOEI ANIMATION CO., LTD. © 2008 BIRD STUDIO/SHUEISHA, TOEI ANIMATION. Licensed by FUNimation® Productions, Ltd. All Rights Reserved. Dragon Ball GT and all logos, character names and distinctive likenesses thereof are trademarks of TOEI ANIMATION. OC-04874

Other than the DVD covers, copyright information is also printed on the surface of original DVD; as you would expect, the pirates do not bother to attend to such details.

Original Dragon Ball Z Season 2 Disc 1 Original Dragon Ball Z Season 2 Disc 1 Fake Dragon Ball Z Disc 1 Fake Dragon Ball Z Disc 1

It turned out the omission of copyright owners’ information on the DVD covers is not a mere accident or due to negligence. With 32 – 33 episodes jammed into a single DVD-9, I certainly could not expect much for the video/audio quality. That said, the use of newer codec standards such as H.264 or VC-1 does allow video to be encoded in lower bit rate while retaining comparable quality, compared with MPEG-2 being used for DVD-video. H.264 or VC-1 is not part of DVD-video standard but is part of Blu-ray video codec standard, which includes H.262 (MPEG-2), H.264 and VC-1.

Excessive lossy compression is not the only reason for low-quality video/audio. You cannot have high quality video or audio without a good source, even if the compression is optimized for retaining quality. With the licenses from copyright owners, you can have access to the master copies, which allows compression with the optimization for quality and prevents generation loss. In the case of Dragon Ball anime series, however, FUNimation Productions has to go through a process of digital remastering to restore image from frame to frame because of the loss of quality from the master copy itself due to the age of the films. That’s why you will see “Digitally Remastered” every front cover of each season of Dragon Ball.

Say, even if you realize that the copies you got may not be authentic/licensed, especially after watching them for a while, you will soon realize that the audio/video quality is not the only thing you should worry about, say you are willing to put up with lower quality for lower price. The “Malaysia Edition Original” I got for “Dragon Ball Collection” came with two or three audio tracks, every episode has Japanese and Cantonese audio track. I happened to know Cantonese even though it is not my first language; I also slightly understand Japanese. Many pirated anime only come with Japanese audio track or some languages you might not understand. You might need to rely on good English subtitles to know the story. However, these subtitles were poorly made, full with grammatical error, or even mistranslation of people’s name. Good luck understanding the conversations or storyline. The localized dubbing of anime, whether it is English, Malay, Cantonese, Mandarin, or any other language, is not a mere translation from the Japanese audio. It’s not unusual to find some of the details to be different in localized versions, even when the same video footage is being used.

Hence, if you want to know what the original story the author intended it to be, you might need to listen to the original audio track with a good subtitle in the language you understand. Unlike the localized dubbing, this subtitle is a direct translation of the original audio. The inclusion of original Japanese audio track with English subtitle in Dragon Ball anime series thus should be highly appreciated for those who want to know the original story.

As I said earlier in this blog post, copyright protection is not just for the copyright owners. We, the consumers, can’t have good experience with these fake products, or even forcefully argue what we think of or know of the anime because of the poor subtitles. The introduction of Optical Disc Label is supposed to combat piracy. However, if the Malaysia MDTCC cannot do its job to properly verify the authenticity of the optical disc goods, Optical Disc Label cannot be deemed as a reliable indicator of authenticity, if not indirectly legitimize the pirated goods.

From a technical point of view, it’s entirely possible to create a duplicate of original DVD without DVD region code or copy protection. While some people may argue that reproduction of copyrighted works without license is a crime in many jurisdictions, it is highly unlikely that reproduction for private use and backup purposes without distribution of the copyrighted works would result in conviction as the purposes of copyright is to protect the profits or rights of copyright owners.

Why, some may ask, these pirates do not make high-quality duplicates? Consider this, a single DVD-9 in the original Dragon Ball only holds at most 7 episodes when theirs can hold more than 30 episodes. Reduced compression also means higher cost. Sub-optimal quality source is far cheaper or even free than acquiring licenses. More importantly, pirates are not accountable for the quality of the products that others created.

Before you can make judgment or opinion on anime, get a good and reliable source first. Do understand that there are some differences between local dubbing and original Japanese audio track in terms of meaning or storyline; even though the main plotline may remain intact. In fact, for every episode of Dragon Ball anime series, the title for each episode in Japanese is different from the localized versions. Some people may have argued that the anime adaptions may introduce different interpretations of the some scenes. It’s true that not every anime (adaption) closely follows the storyline of its original creation, be it light novel, manga, etc. Dragon Ball anime series do have fillers, which are scenes that are anime-exclusive. But in Japanese versions, the mutual scenes share the same conversations or even wordings. The first two installments, which are direct adaptions from the manga, at least in Japanese versions, are largely, if not mostly, consistent with the manga. In other words, manga and anime are both telling the same story.

Now, I know that despite all being said to argue for Goku is in fact strongest character at the end of Dragon Ball (manga) or Dragon Ball Z (anime), there will be some who always be in denial. In a democracy, each of us is entitled to our own opinions; but we are not entitled to our own facts. To be honest, I’ve always wanted to argue for Goku’s strength and position, especially after seeing a dominant vocal group of “Mystic Gohan” advocates. Let’s not forget Dragon Ball Z is in fact licensed from Akira Toriyama himself. Nowhere in the anime or manga ever mentioned the term “Mystic Gohan”. Even when Vegeta explicitly admitted that Goku is number one; even when Vegeta explicitly said Genki Dama used to defeat Kid Boo required most energy from people of earth, some people will always come up with their own excuses:

  1. “Genki” is somehow different from “Ki” or energy, Gohan only donates small portion of his energy. But Goku himself used both terms interchangeably when he collected Genki/Ki during the formation of Genki Dama when he fought Kid Boo. This argument is without any solid proof, of course.
  2. Goku is afraid of fighting “Super Boo” but not afraid of fighting “Kid Boo”. Is Goku the one who is afraid of fight someone with superior strength? How did he then fight Tao Pai Pai, Piccolo, Vegeta, Freeza, Cell, etc.? Goku was concerned with Super Saiyan 3 transformation as he had not experienced it while being alive. He considered fusion a better option until he decided that he wanted to fight alone to see his own limit as usual. How are you going to convince Vegeta to fuse with you? By claiming that you do not need Vegeta because you can transform into Super Saiyan 3?
  3. Kid Boo is weak or not as strong as the “Gohan Boo”. They completely dismissed what Kaioshin said or simply did not get what he said. In Mathematics, when it comes to mathematical relationship, we have the notion of direct proportionality, linearity, non-linearity, inverse proportionality, exponentiality, etc. Nowhere did Kaioshin ever mentioned the exact nature of absorption. When we got a general statement that absorptions reduced Kid Boo’s power, we did not know the exact nature of the relationship between absorptions and Kid Boo’s power. In English version, though, Kaioshin did say “They, i.e. Kaioshins, weakened him, i.e. Kid Boo”. In original Japanese version, Kaioshin only said that absorptions made Kid Boo’s power reduced. We can only said for sure that his power was reduced but we cannot further to say that each absorption reduced his power or a specific absorption reduced his power. What Kaioshin said was, the Kid Boo was the original Majin Boo, of course without any absorptions. With absorptions, he became weaker. In Dragon Ball Z, the power of one warrior is not necessarily resulted from a simple addition or subtraction; or else, fusion will not create a warrior stronger than both combined.
  4. Goku’s Super Saiyan 3 put too much strain on Goku’s living body, which made Super Saiyan 3 impractical. Again, we do not know the exact nature of Super Saiyan 3. All we know is that Goku is up against an opponent who does not lose any resiliency but still can fight him for a while. He did not fight at full power at the beginning. He had little practice over Super Saiyan 3. Goku did not have much chance to test Super Saiyan 3 except for against a strong opponent like Kid Boo. When he was up against a weak opponent, he would take out the opponent rather quickly. When he was up against a strong opponent, he would need to consume a lot of energy. Kid Boo is not only strong and fast, but magical, able to regenerate himself from pieces, never showing any loss of resiliency, stamina, or power, even after causing massive destruction.
  5. Kaioshin said Kid Boo was the most dangerous but never said he was the strongest. Again, this statement came from a non-official translation made for manga. In the official translation in anime, Kid Boo was said to be most difficult; before that, Kaioshins explicitly said absorptions reduced his power. The most difficult opponent naturally means the strongest opponent when it comes to fighting. Then again, it’s an opponent that can somehow push back the power formed by most power of every person on earth when Goku cannot muster enough strength. “strength is critical in throwing Genki Dama” could also mean somebody else who is capable of forming Genki Dama, if ever exists, cannot win against Kid Boo with Genki Dama even if he is not tired because he is not strong enough. The term “most dangerous” does not make sense in the case of Kid Boo when we have no way to compare or measure the amount of danger each form of Majin Boo may pose. Assuming danger would mean the likelihood and ability to cause destruction indiscriminately; other than the kind Fat Boo, each of them will ultimately cause destruction indiscriminately if no one can stop him by force; or, we simply define the amount of danger as the strength of Boo himself as stronger he got the less likely he would be killed or stopped. You may call Kid Boo insane, which he rightly is, but can you reason with other forms of Boo, with the exception of the Mr. Boo? If danger is just another word for strength, most dangerous would mean strongest.

Now, just like people of earth are willingly believe in their hero, Mr. Satan, “Mystic Gohan” will continue to have his believers. I do support the freedom of religion. But as Conan Edogawa put it, “there is only one truth”. I’m willing to speak up my mind in my own blog

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3 Responses to Boo Saga, Goku, and Copyright

  1. Pingback: “Cinderella” and “Fated To Love You” | Jia Chie's space

  2. Eloisa says:

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    what can I say… I hesitate a whole lot and never manage to get nearly anything
    done.

  3. 94Leslee says:

    Hi blogger, i must say you have very interesting articles here.
    Your page can go viral. You need initial traffic only.
    How to get it? Search for; Mertiso’s tips go viral

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