#junjiito

I might like anime

En ünlü mangakalardan biri neden durup dururken Türkiye'ye geliyor?!?!?!

Aman aman sevdiğim biri değil ama bende mangası var ve imzalatsam maddi manevi değeri artar....

Ama çok ünlü olduğu için de acayip kalabalık olur.....

Selección tipográfica para mis personajes favoritos. Parte 19.

Ito was recruited to make the manga in order to coincide with the release of the 1994 “Mary Shelley’s Frankenstein” film – directed by Kenneth Brannaugh and starring Robert DeNiro as the creature. 2/7

Ito is widely regarded as a managaka of incredible imagination and vision, and thus the idea of spending his time and talent on an already much-adapted work might seem counter-intuitive, but Ito never felt constrained by the process, noting that: 3/7

“The original is a classic, so I didn’t particularly feel constrained. In fact, I actually wanted to be as faithful as possible to the original…the original novel is a piece of literature that poses deep philosophical questions, so I wanted my adaptation to reflect that aspect.” 4/7

Ito’s commitment to fidelity is marked by one key point of departure: his rendering of the monster’s companion, Victor’s second creation: “In the original, the monster asks Dr. Frankenstein to make him a companion, but in the end, his companion was never finished.” 5/7

“I wondered why he didn’t use the perfect material — the head of his female servant who was executed by the guillotine — so in the manga, I had him use her head to create the companion.” As Ito notes, Kenneth Branagh’s film made the same creative choice (though Ito had not yet seen it). 6/7

Together begins on shaky footing, opening with a scene that feels entirely lifted from John Carpenter’s The Thing. It’s a derivative start that threatens to set the tone for the worst kind of homage. Fortunately, the film gains some ground as it progresses, offering up a handful of sequences that are genuinely frightening—or at least deeply unsettling. These moments, while effective in isolation, often feel disconnected from the larger narrative or overly reliant on jump scares rather than building lasting dread.

As the film reaches its conclusion, Together loses track of its tone entirely, wavering between dark comedy, Troma-style gross-out gags, and sub-Cronenberg body horror without ever fully committing to any of them. The result is a muddled third act that seems unsure of what it wants to be, and by extension, what the audience should be feeling.