You don't know what they actually "meant to" do. That's your personal narrative about "characterization contrast" that you insert for justification of a differing quality of delivery. A character could be voiced in the most bored-sounding voice throughout most of their lines that we hear, but when they clearly are animated to be displaying joy, insanity, anger etc, by your logic thus far, it's completely justified for them to continue to sound "bored" because that's how they've been portrayed thus far. An extreme example, maybe, but that's the implications I'm getting from you.
No, actually, I do get it. You've pretty much said as much earlier:Actually, you don't get it, or you'd have picked up on the fact that I think both work (as far as I can determine*) and that I've been trying to explain why the English version happens to work to those who continue to assume that only their interpretation is valid.
And before you backpedal and say "I said the voice better fits the English text-" what does that even mean? That the Japanese delivery doesn't suit the sentence structure of the translation? That Asahi going "You cannot, of course" in a triumphant and mocking tone while waving his arms somehow fits less than his calm indoor English voice to the same gesture? You say you think both work even though you've already shown your hand with your bias to the English delivery. Newsflash: both "work", they both get their point across. The argument was originally something about which one fits better. That's how you entered this thread.
Oh noooo, it's totally more natural to talk with an indoor voice while flailing your arms up, throwing your body back and giving someone a wide-eyed thousand-yard unblinking stare with the biggest grin on your face than raising your voice in a mocking tone that sounds like you want to laugh at any second. I shouldn't have to tell you that there's more to a character's emotional state than just their hand gestures, because if I did, then we're done here.You know, the kind that assumes that waving the hands in the air in a certain way can only mean they are engaging in an insane laugh that requires a louder voice
I don't think you even quite know what melodrama is if you truly believe that he can exaggerate his movements, eyes and face that doesn't match his voice tone. If you think he is purposely being melodramatic with everything but his voice, then I know you are grasping at straws to try to make a point.-and that there's no way that it could at all be the character exaggerating his movements in a moment of melodrama that isn't matched by the tone that he is using as he mocks and gloats.
Except both physical action and facial expression are pretty good indicators of a person's "characterization." Just because you can create your own narratives to justify performances where the voice actor forgoes both, doesn't suddenly make you someone enlightened to some imaginary intricacies of a characterization you think you understand. And all of those attributes you listed are present in the Japanese version as well (except maybe "soft-spoken," which becomes "polite/faux politeness"). The difference is the Japanese voice in this scene clearly played to his psychopathic nature in not only his body gestures, but facial features- while you're here practically saying "he's staying true to being soft-spoken, so the other two don't matter."Rather than look at the physical action and assume that it means a specific other aspect of the scene should have played out a certain way, I look at the entire scene and the characterization of those in it. He's soft-spoken, melodramatic at times, and has a tendency to mock, goad, and gloat. All of that allows for that kind of animation sequence to fit the character.