Everybody's Mad At Netflix If you have to ask "Why, what did Netflix do this time?" Consider yourself blessed, because the Internet storm that ensued in the wake of Netflix's adaptation of the classic manga series Death Note was deafening. Some protests were over the white-washing of the series, where this award-winning, best-selling manga written by Japanese artists Tsugumi Ohba and Takeshi Obata, filled with Japanese characters and set in Japan, was re-set in America and re-cast with white people. Yes, that's an issue too. But the casting was just one gripe among many, the main one being that it was apparently made by people who - there is no nice way to put it - were just too stupid to understand anything about the series. Behold the below review, and you'll appreciate how much I held back anyway: The fundamental flaw with Netflix's adaptation is squarely pinned to the script. There is no logic to it at all. They ripped out everything in the manga and anime series they could get their…
From Uzumaki (Japanese: うずまき), Junji Ito (伊藤潤二) Every now and then, an artist comes along who is so original, so defiant, that they break all conventions that came before and force us to invent a special new category just for them. Comics existed before Rube Goldberg, but he alone invented the complicated machine gag. Thereafter every humorous complex contraption, be it in comics, cartoons, or even in film with Peewee Herman's "breakfast machine," is referred to as a Rube Goldberg machine. Single-gag one-panel comic strips had appeared in every newspaper, but Gary Larson was the first to introduce high-brow nerdy humor in his ground-breaking strip The Far Side. Thereafter, every nerd humor comic which is aimed at an educated and mature audience, from Dilbert to XKCD, owes a debt to Gary Larson. (Oh yes, mine too. Perhaps somebody read it once.) Horror manga existed before Junji Ito; we swear it really did! There was Kazuo Umezu, for one, whose first work was published just one year before…
Score: 1.32
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