Imaginary Worlds - Pokémon and The Art of Dubbing Anime

Episode Date: February 26, 2025

This week’s episode comes from our Patreon podcast Between Imaginary Worlds. It’s a more casual chat show that appears between ad-free episodes of Imaginary Worlds for listeners who support the show on Patreon. I wanted to play this episode for you because it gives a good sense of the types of conversations we’re having on Between Imaginary Worlds. I talk with the anime voice actress Veronica Taylor about her career dubbing characters in shows like Pokémon, Dragon Ball Z, Sailor Moon, One Piece and Yu-Gi-Oh. We also discuss the differences between working with anime and working with American cartoons, like Teenage Mutant Ninja Turtles. Here is the link to support the show on Patreon. This episode is sponsored by ShipStation. Go to shipstation.com and use the code IMAGINARY to sign up for your free trial.  Learn more about your ad choices. Visit podcastchoices.com/adchoices

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Between Imaginary Worlds. Between Imaginary Worlds is a more casual chat show that's available to listeners who support the podcast through Patreon, or it usually is. I wanted to share this episode on the main show because I know it will interest a lot of my listeners. I interviewed Veronica Taylor, who does English language dubbing for anime. This episode gives you a good sense of what Between Imaginary Worlds is like and the types of conversations you'll hear there. And many of you will be listening

on February 27th, which is International Pokemon Day. Now there are ads in this episode, but Between Imaginary Worlds is part of the ad-free feed that you get when you pledge at level three, which is $10 a month, or level four, which is $15 a month. If you pledge at level two, which is $5 a month, you can still listen to Between Imaginary Worlds on the show's Patreon page.

Those episodes are made available on a delayed release schedule. The first three episodes from September and October are already available now to people pledging at level 2. And if you don't want to wait a few months, individual episodes are available for you to purchase. By pledging on Patreon you also get free Imaginary World stickers, a mug or t-shirt, and access to a Dropbox account which has the full-length interviews of every guest in every episode. I've also started using the chat feature for group conversations. I started a chat about the new season of Severance and will start another discussion group when Daredevil premieres next week. Those chats are available to anybody who pledges at any level on Patreon.

The Patreon link is in the show notes and it is on the Imaginary Worlds website. So, without further ado, here is the episode. You're listening to Between Imaginary Worlds. I'm Eric Malinsky. When I first moved to New York in 2004, I would often visit my dad when he'd come here for work. He used to write English as a second language textbooks, and they made audiobooks to go with them. I'd meet him in the sound studio and watch him work, and the actors were actually having

a lot of fun. They said recording ESL textbooks was a great vocal exercise in control and diction. After one of the recordings, we were chatting with an actress named Veronica Taylor, and my dad told me excitedly, "'She's the voice of Pokemon!' We both knew so little about Pokemon that I thought Pokemon was the name of the main character

that she did the voice for. Of course Pokemon stands for Pocket Monsters. The cute yellow Pokemon that most people know is called Pikachu. His trainer is a boy named Ash Ketchum. And that's the character who Veronica did the voice for over eight seasons. Pikachu. Its name is Pikachu. Oh, it's so cute. it's the best of all. You'll see. Oh, hi Pikachu.

Pika. Veronica and I ended up becoming friends. And even though I've known her for over 20 years, I never had a chance to talk with her about her work dubbing Japanese animation. I used to work in animation, so I know a lot about the industry, but only in terms of American cartoons. Dubbing Japanese cartoons is very different. Veronica never expected her career to be focused solely on voice acting, but it is something

she's always had a knack for. When I was little, I would tape record myself doing interviews of myself, different characters. So I guess I've always wanted to do, well, I've always wanted to be an actor. And voice acting is a big component of that. So how did you first get into doing animation voiceover, like the very beginning? I guess I kind of fell into this because I was working with an acting coach on a monologue for an audition and it just happened that that day someone else that he coached called him to say could he recommend someone to do a young girl

voice for an anime and then I they said oh can you come audition for this and then I booked that and then you know it just kind of rolled on from there. And then I was working on an anime called Slayers, which was a really fun kind of, I don't know, it's a magical adventure where people eat a lot and do magical spells. The people who cast me in that were casting for Pokemon. So that's how I got that audition.

So I think as with most creative jobs, I guess careers, you get all of your training, but then you kind of network and try to get your connections and you book work that way. So I've heard that it's particularly tricky to match the voice and the mouth movements with anime. Did you just kind of wig it at first, or did someone have to explain to you, okay, this is how you do it? Oh no, totally, I just jumped in the booth and did it. I would credit that to my acting training

in that you just have to jump into situations and be willing to learn and just say yes. So with anime, I just got in the booth. You have an understanding that you're looking at the script and you're watching the picture and that you kind of have to skim through the lines because you never know what's being said before you in an audition or in the job.

So you kind of skim to see what's being said, you see your line and then you're looking at the screen and then you just start doing the job. So you kind of skim to see what's being said, you see your line and then you're looking at the screen and then you just start doing the line. So it takes a lot of different skills, I guess, all at the same time that you just pull together. Yeah, because when I worked in animation, I mean, you know, they would record the voice first and then this is of course way back in the day, they'd give us a cassette tape of the voice, which we'd listen to over and over again of the lines to then figure out how you're going to animate

to the lines. Right. And I, so on one hand, this, you're going backwards. And on top of that in Japanese, you know, there are certain words, the words will be in different, in a different order. So in terms of what they're gonna emphasize as Japanese actors, as voice actors,

if you're gonna try to match the mouth, I think that's why anime voiceover can sometimes sound strange because it sounds like you're highlighting words that you wouldn't naturally highlight, but you're only doing that to match the animation. Yeah, well, part of it is those scripts come in, they get translated and then adapted,

and the people doing the adaptation are supposed to be watching the lip flap so that they can adapt it to the open mouth or the pauses in the line, all of that stuff. And so then when you get the script, you also are paying attention to that and trying to make those weird pauses make sense. And for the most part, you can't change on the fly. Like, there's

some things where you add a breath or you can put an um or, you know, other sounds. But once the script is given to you, there's not a lot that you can change. So I think a lot of the, maybe the weirdness comes from the adaptation. And then you also have to, in your acting, again, you have to make it make sense. And sometimes that is difficult to do. Meaning, gosh, you read the script

and you think the person is introspective and then you see their face and they're just yelling. So you have to really change and figure out how that works. It's like having a director that you don't always agree with, but you still have to do what they say. The animation is that way. You have to make, you have to fit the animation, whether what you think the character is doing

is right or not. It's a constant challenge. So, I mean, I know that, you know, once you get Ash, you're just doing Ash, you know. And I assume that's the same with other actors. Are there some actors that are better than others at kind of getting this right? You know, where there's sometimes we notice that there are some actors who are like, oh, they're just really not working. This is not working for them.

And then they just don't get called back specifically for anime. Yeah, I would say, yes, that's true. I've never actually had just one job, so I've always worked many, many jobs. And then also for those, you usually have to do multiple characters because they, you know, everything has a small budget, so they want you to do more things while you're there.

I would say the first season of Pokemon, they, the powers that be, knew more what they didn't want Ash Ketchum to sound like than what they wanted him to sound like. And even in the beginning, we redid that first episode so many times and tweaked it and tried to change things. And it was a lot. But at the same time, I would just go to work and see what happened. Meaning they constantly kind of said you could be replaced at any time. There was no job security even for the eight years I worked there. Wow. So it's always kind of, if you don't like it, you can be replaced type thing.

Did they actually say to you that or was it just sort of like implied? I think it was said, actually. And also on other cartoons, there's characters that I did, and then I would go back the next week and find out that they got someone else to do it. So you could be replaced and not even told that you were replaced. I remember when I used to work in animation,

I was friends with the casting directors and what used to frustrate her so much was that the directors have a background entirely in animation and know very little about acting. And so the director would come in and an actor would read something and they're like, I don't like him, get another actor. And she would be like, you don't understand,

these actors can do anything. That's right. Like you have no idea how malleable their voices are. Like work, you could work with them. You can say more of this, do this, do that. But it's like, if they don't hear it on the first try, sometimes ironically, even though they're very imaginative visually, they don't have a lot of imagination

in terms of the range an actor has. And I remember she'd be very frustrated that she was like, that actor was perfectly good. They could have done it. Totally agree. You just didn't know how to communicate with them. Right, and also just giving people the chance to just try something else.

That is true now with just auditioning in general because we don't go into a casting director anymore. So there isn't, you send in your two takes and that's just it. So you're guessing at what they want. But there's no one there to say, oh, that was great, but could you tweak it, make her a little older, or could you, you know, make change it to a boy character or, you know, all of that kind of stuff that actors want to do. There's no chance for that.

So you getting cast in something is, more luck is involved than skill sometimes. Yeah. I want to go back though to, with Ash, you know, I think it's really interesting that you said that they're very clear about what they didn't want. What did they not want? Well, that, it's a long time ago,

so I can't remember exactly. But I do know that, you know, at one point, my little brother was 10 at the time, and Ash Ketchum is 10. I had even recorded his voice to say, look, this is what a 10-year-old sounds like. When you're doing anime, specifically, they want you to sound similar to the original voices that the actors used. So my voice was chosen because it was, I guess, the most similar to Rika Matsumoto, who plays Satoshi in Japan. But even so, as it kind of was Americanized, you know, Ash was kind of a little more nasally or kind of here,

and then he was allowed to get here, and sometimes he was gruffer. And as time went on, I was able to play with it and kind of flesh him out to be a full, a real boy, you know? But in the beginning, it was very much, no, that's not right, or there wasn't a don't sound like this, but they were just very picky. And when you have many cooks in the kitchen, it's hard to please everyone.

But once it boiled down to one chef, then it was a little easier to just kind of move forward and really create a full character. and really create a full character. When I was a kid, one of my favorite shows was Get Smart. It was a parody spy show where the good guys worked for an organization called Control and the bad guys worked for an evil organization called Chaos. The main character, Maxwell Smart, worked for control, but he was always his own worst enemy in creating chaos,

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with the shipping software that delivers. Switch to ShipStation today. Go to ShipStation.com and use the code Imaginary to sign up for your free trial. That's ShipStation.com code IMAGINARY. Let's get back to my interview with Veronica Taylor. I asked her what were some of the hardest scenes she had to do as Ash Ketchum on Pokemon.

I don't think I had that problem in the sense that, you know, once you get in the groove, you're just acting. So, like I said, you skim the line, and then you're really watching the screen, and you're able to fill it in. So, I don't know that it was so difficult. It's just kind of as you're running up the stairs

or falling down a hill or, you know, he's so, you have a big battle and he's so genuine and kind at the end to Pikachu. Those are those beautiful moments that you really wanna make sure they're real. There was never a lot of time to work on things. You know, in regular animation, you kind of do two or three takes in a row,

and then one of those is chosen, either by the animators or by the director, for where it's gonna go. In anime, you really are... Sometimes you just do the line once and they move on, because there's not a lot of time and luxury there. Unless it's not fitting the flap, you have to go back over it and over it until it fits right. But I think for that, it's just trying to make sure that it's genuine and real, regardless of

what crazy thing the characters are doing. I will say that I can cry more easily than I can laugh as a character. So sometimes we'd have to do his laugh again because it didn't sound right. That was a little harder for me. Although now I can laugh as Ash a lot more easily because I do Ash's voice all the time for like goofing around with people, but not home alone, but just with people. So, but it's really, the difficulty is always just making it seem like that's exactly what the character would be saying, as if the flaps were written after the voice.

So I know, speaking of luxury, I know it's a luxury to have all the actors recording together. I assume you probably are not able to do that either, like, so that you can get the chemistry right. Yeah, that's right. That, I think, it all comes down to the director being able to pull it together.

Because when you are doing anime, you only hear your voice. For the most part, I would get in early in the episode, so I wouldn't even hear any of the other characters. Yeah, I wouldn't even hear the Japanese voice coming in. Nowadays, working on anime, we often watch the whole bit. So you hear the, in Japanese, you hear the other characters and you hear what your character sounds like

and you can kind of map it out a bit more. While I was doing anime in New York, we never, we didn't really preview very much. We just kind of ran with it. Little renegade recording, really. So how did you get involved with Sailor Moon? Well, I moved to Los Angeles in, I don't know, 2014, and I was able to audition for it.

They were doing the re-dub of the original Sailor Moon episodes and then the new Sailor Moon Crystal. So I had the opportunity to audition, which I wouldn't have had if I were still in New York. So that was pretty exciting. It's really amazing to be part of such a legacy cartoon, but also such an incredible fan base. The Sailor Moon fans are quite devoted and quite wonderful. So that's been really great. Who did you play in Sailor Moon? Oh, I'm Sailor Pluto.

She is the furthest out of the outer guardians. She's the guardian of space and time. The great thing about her is she's on screen a lot, but doesn't say very much. So as far as being like paid by the hour, it's not a great job, but it's certainly fulfilling. I cannot die yet. I must remember the reason I was born

and the reason I was reborn. And then Dragon Ball, who was, who's your character on that? I have the honor of playing the most hated character, which is Brienne Ribrianne. And so when Brienne changes into Ribrianne, she's this gigantic ball of a superhero who fights with love.

And she's really so, so fun to play. And many people actually abhor her. So that's also nice, because she's so irritating. Because she's like, um, I'll defeat you with love. And then she's just out of control. But she's, uh, yeah, she's super fun to play. out of control. But she's, yeah, she's super fun to play. Happiness to one and all.

I send you my love, Rivrienne. My transformation is complete. No breaks, no breaks. I just love saying crazy love things. So it's been really fun. And then Yu-Gi-Oh, who are you playing Yu-Gi-Oh! For that I played small characters throughout but in Yu-Gi-Oh! 5Ds I played

Carly who is in love with Jack Atlas. She's a journalist. She has glasses and we made her a little bit asthmatic. When that giant dragon appeared during the final duel it looked like Yusei's arm was glowing or something. Did that glow on his arm have any connection to the giant dragon? So she's always really trying and somewhat succeeding, and then she becomes a Darksigner, and she's quite evil, which is unexpected for Tiny Carly.

I must warn you that I'm not the same person. Since I've joined the Dark Signers, I've grown up. You want to really see how exciting a duel can be, Sayer? Then why don't you agree to battle me in a shadow duel? Wow. Was that temporary evil, or did she become evil? I think it's always temporary. I only see, you only see your lines, and it's hard to,

I don't really know how it fit in with the final arc of that whole series. So I don't know. That sounds terrible, but I don't know. Wait, so you only see your lines? You don't even get a whole script, and then it's highlighted like these are your lines, and you get to see the whole script.

They're just like, these are your lines. That's correct. You have it. So in the old days, we did have paper. And you could kind of flip through to see where your next line was. And the whole script was there. But you didn't have time to read the script,

nor did you have time to see the whole episode. They would just pop through the time code from this line to your next line to your next line. You know, if there was a big battle but you didn't say anything, it just skipped to when it was over. I mean, that's how do you jump in with so little context? I mean, as an actor? Well, you know, I think it's kind of great because you really are playing the moment.

More so, that's what your acting training is, to go moment to moment and not know what's going to happen next. And here, that's what you're actually doing. You have to play the line. The only good thing is sometimes when you can see the full script and you can skim ahead, usually while they're fixing something, you have time to just look ahead a little. So there have been times where, as I've skimmed through, I can see that the tension heightens. And so I can say, I don't think we should play this line so big because it has to get

big in three lines. But you don't always know that. And also nowadays, often the script is on the screen, so you can't skim ahead. So are you ever able to go back, like once you get to that line, you're like, hey, you know what, I didn't realize this is where I was heading. Can I go back and redo that because I think I need to build to this. You would want to do that, but often you can't because there's just no time. I think a lot of it is dictated by budget.

And there's not time allotted to kind of do that. So it's really on the actor to make sure you get it right the first time. It's fun, but it's pretty difficult. I had this image of you like a trapeze artist or something. Like you have to just sort of like be really, like it seems like it's built into the job to be incredibly nimble and to sort of not know

exactly what you're standing on. You know going into it, you're not gonna know. You can't be a perfectionist. You just have to be like, you know, okay, this is where the wind's blowing. I did that, okay. You know, this is kind of the job. I'm just jumping from tightrope to tightrope.

Yeah, I do love that analogy. It's pretty great. I guess it is like that. The only thing is, I think we all, well, at least I really do seek perfection. So, you know, one time I worked on an anime whose name I've really blocked out, but I was playing a boy character. And then at the very end, we found out that it was a girl disguised as a boy.

And I said, couldn't you have told me that before we started? Because I would have played it differently with some subtext in there, you know? And they were like, oh no, it sounded fine. It's all right. So I don't even know if they knew. You know? Like, it's just horrible.

So that, I've blocked it out because I don't want to remember. For that, you have to let it go. I think for me, there's an incredible amount of focus that is necessary so that you are just in the moment. And then, yeah, you do have to kind of let it go and hope that the director's able to build the scene around the voices that are recorded. So, Mobile Suit Gundam, who did you play in that? Oh, I don't know, actually.

That was a while ago, and I think I've been in another Gundam since then. And well, you know what? But there's so many things that I worked on so many shows in, gosh, kind of a short period of time, let's even say 10 years. Probably it was 15 years. So much anime and some characters.

The thing is, is that you audition quickly, then you get the role and you just go in and you work on it. It can be for one hour, it can be for four hours or five days. And then at the same time, you're working on other shows or other projects. And so they kind of glom together. And then on top of that,

I had a baby in 1998. So in the middle of that, I was also like going to work and then going to get her from school and you know, all of those things. So some characters I don't fully remember. Although if I see a picture, I can remember it. And often I can remember the voice then, but off the top of my head, I can't always recall it. Now, I wasn't very familiar with a lot of the cartoons that Veronica worked on, but there was one that I definitely knew, One Piece. I did an episode about One Piece last year.

She was part of the first set of actors who dubbed the show. It was redubbed later with a different cast. She played the character of Nico Robin. It was part of the Straw Hat Pirate crew. I asked her if it was fun playing that role. she's whom I aspire to be because she has all those arms and I could really use them sometimes to juggle everything. But she was you know really great and she had this southern accent which again many people hated but that's what I was directed to do. So there's a lot of stuff where you get you get a lot of pushback on things but you don't have control over. So what's the deal with Zolo?

How does a pirate hunter get mixed up with a bunch of pirates? He's a swordsman first. It was really fun to be a part of that time because you would be working on something and they'd say, can you come audition for this? And then I could do two hours on Pokemon and then go over and do an hour for Yu-Gi-Oh! And then maybe half an hour for Wink's Club. And then, you know, so you could book in maybe five hours or four hours and then pop from show to show.

So given that you do so much work with the anime, when you do work on a US TV series, like I know you did April is one of the many, many Teenage Mutant Ninja Turtle series. Yes. Like, it doesn you did April as one of the many, many Teenage Mutant Ninja Turtle series. Yes. Like, it doesn't suddenly feel, like, what feels strange when you go back to the sort of typical US cartoon way of working? Well, it is great to be able to work in the room with other people and kind of radio play

it, you know, rather than just doing your lines solo. For other pre-lay things where we record first, I have had to be alone. So you're still, you really, you have to create the world in your mind in a bigger way when you're working without picture. You have to see what's happening. Whereas when you're doing anime, it's shown to you. I do enjoy both. I think they both are challenging in different ways, but you do have a bit more freedom when you are doing voice first before picture. And so that's pretty great.

You can come up with an idea. You can say, oh, I just, you know, could we try this? Or there's a little bit more feeling of working together. Oh, so are you with, like when you did the Teenage Mutant Ninja Turtle series, were you with the other actors playing the turtles? Yeah, for the first season. We did 2003 to 2007.

And for the first season, we rehearsed, and then we recorded all together. So if I'm keeping your secret, what exactly is it? Who are you people? Turtles? Whatever. It was just extraordinary. And then after that, they started paring back.

We didn't have rehearsals anymore. And then, you know, we would record sometimes with a few of us and then sometimes just alone. So it all became budget. You know, you still have to bring the quality, but they wouldn't pay us to be all together. So given that you're jumping around so much and you're doing characters that have sometimes

been recast later or characters you don't even remember, how is it that Pokemon now has become, I think it sounds like that's your main sort of thing that you're known for, that people associate you with the character? I was only in the first eight years before we were all recast. And Pokemon, I think, is a show that really hits people deeper.

I mean, the theme of it is friendship and adventure and personal challenges. The fact that you have a 10-year-old boy who gets to go out on his own and train his animals and himself to be the very best and work together, there's something that we can all relate to in that. And because of that, so many kids started watching that when they were 10. Then they had their siblings watch it.

Now I see a lot of kids who are in their 30s and they're watching it with their children. Sometimes I've met a grandmother, mother, and child who've all watched the show. It's an incredible journey that we've all taken together. So I think that's one reason Pokemon still survives to this day. I mean, it's part of our culture. And then there's all the other things, how you can get involved through the games or the tournaments, collecting cards, you know, all of that stuff. It involves you in so many different ways.

So how much of your career is going to the Comic-Cons? Gosh, I travel a lot right now. I record from home. I do a lot of audio books and still cartoons and anime, some commercials. I can do stuff on the road because I bring my whole mic kit with me. And if I had the best way in my hotel room, I can do recording from there. But I'm gone most weekends. And then last year, for instance, we had a lot of, we being my daughter and I, we had a lot of shows out of the country. So we were gone for bigger chunks of time

because of the travel that goes along with that. You know, I kind of see where I'm invited and then I have to map it out so that. You know, I kind of see where I'm invited and then I have to map it out so that it doesn't, you know, like I don't do 10 shows in Massachusetts or something. But I do a lot. I get a lot of invitations, which is really quite lucky. And I get to meet so many people. And obviously those are paid, you know, appearances, right? I do sell autographs at those. But they fly, they fly the guests, the Comic-Con flies the guests out

and puts them up in a hotel. Okay, so you're not paid to be there, but they pay your airfare at the hotel and then the autographs? Yeah. So having been to many Comic-Cons, I know what it's like to be strolling around and then just see somebody in a booth and you're like,

hey, oh my God, that's so-and-so. But from your perspective, what is it like to go out there? What's it like to sit there all day? I mean, what is it like, what's the behind the scenes experience that those of us who are on the show floors don't really understand? I think especially since lockdown ended,

people need connection more than they ever have before. So from my perspective, it's just really meeting people and making sure they feel heard. There's a lot of hugs and there's a lot of stories that people tell me about when they were growing up. There's just, it's so much community. There's a lot of people that I've seen over and over through these many years. Some people I've met, gosh, back in, oh, I don't know, 2000, maybe 1998, and I still see them today

at different shows. I've met kids when they were 10, and I've seen them again with their children. It's hard to put into words how extraordinary it is, but from the basics, I show up, my daughter and I set up our table the night before, and then we get there early in the morning and we leave late into the evening and we just talk to so many people. And people bring their favorite things like their Pokedex or their first movie, you know, all different things or something that they've made. People are incredibly generous and they've given me things that they've made for me. Drawings, little

kids make drawings. It's just Comic Cons from any point of view are so necessary because of the community that they enable. From my point of view, I'm a big part of that community, which I'm incredibly grateful for and really honored. I mean, it's such an opposite to what you're describing before, because you're describing your recording at home or they're just sort of like, you're playing this, you're doing that, you know,

wait, my character's actually a girl pretending to be a boy. Wait, why is it the accent doesn't matter. You know, this kind of like, you know, if you weren't doing a good job, we would have fired you already kind of thing. And then you go to these, then you get to sit there in these booths all day where people tell you how much you mean to them.

It's such an opposite experience. It seems like it must be like so gratifying to sort of, you know, to have that. Well, yes, it is definitely. But I think it speaks to a bigger message of I'm really there as it's not really about me. It's I'm the bridge. I'm the bridge from who and where they are now

to their past. And that me being there enables them to pop back for a minute to when they were 10 or when they were watching Saturday morning cartoons. And it gives you a buoy for a minute to float down the river on and just remember the times when you didn't have as much responsibility and all you were doing is just watching cartoons.

So we've met and now we move forward. So the next time I see those people, we talk about what they're doing now and someone's looking for a job and did they get it or how their family is doing and things like that. Yeah, it is really great to know that it went to see, especially, let's say, for Pokemon, the stress that we were all under and how much more we cared than anyone else producing it cared. The fact that somehow it was good.

Somehow people enjoyed it and got something out of it is amazing. And it makes me want to still give my 100% every day, because it works. When everybody pitches in to do a great job, that quality comes through. [♪ music playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes playing, chimes