When talking about dubbing in terms of research in audiovisual translation, many tend to focus on the process of dubbing, its reception, the comparison with subtitling, etc. Even studies that deal with translation, that is, localisation itself, usually do not focus on names, but on other problems which occur during the localisation process, such as translating cultural elements, humour, accents, etc. As most research deals with such topics, there is not much written on the topic of name localisation in dubbed animated films, which might be due to the fact that names are often perceived as untranslatable. However, animated films prove that names can indeed be translated and localised, especially when the target audience is young children. Motivated by this lack of research regarding names in the dubbing process, the topic of this paper is localisation of names in cartoons dubbed into Croatian and German. We will try to prove that there is a significant difference in the way names are treated during the dubbing process in Croatia and Germany. Furthermore, we will try to prove that the Croatian dubbing culture favours name localisation and domestication, while the German dubbing culture opts mainly for foreignization. This will allow us to pinpoint and compare the dub localisation strategies used in these two dubbing cultures. The aim of this paper is to show similarities and differences between the Croatian and German dubbing culture on the example of animated films. The chosen research method for the purposes of this paper is corpus analysis. The corpus consists of names and their equivalents, which appear in four animated films, and their dub localisations for the Croatian and German market taken from popular video-on-demand services such as Netflix and HBO Max: Puss in Boots (2011), Cloudy with a Chance of Meatballs 2 (2013), Hotel Transylvania 3: Summer Vacation (2018), and Spies in Disguise (2019).