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YouTubers Claim YouTube is Very Broken Right Now.

Over the past 72 hours, YouTubers have been complaining on X about everything from delayed comments to a noticeable decline in revenue and even videos being removed by Google for nebulous reasons after being online for years.

So what’s going on here?

I’m guessing it’s another one of Google’s infamous unannounced algorithm updates, like the March 2024 update that decimated search traffic for many blogs and news sites.

Google claims the update was designed to filter out “spammy” results from clickbait content farms and gratuitous use of AI, but they seem to be using AI themselves to determine what content gets purged or demoted in rankings. Google News, in particular, is a hot mess.

So what does that have to do with YouTube?

Unless you’ve been living under a rock, Google owns YouTube. In fact, it’s one of their flagship products. And it definitely isn’t immune to random, unannounced algorithm changes.

In fact, many longtime YouTube content creators have announced their retirements from the platform over the past year, and I have to wonder if these algorithm changes aren’t a driving force behind that.

There’s no guarantee that there will be room for the “you” in YouTube six months from now, let alone six years from now.

Fast forward to the past 72 hours…

So that’s a very, very high-altitude overview of what’s going on in the Google space. More recently, YouTubers are noticing some weird changes in the algorithm, their comments, their metrics and even their earnings.

Longtime YouTuber Keemstar asked if anyone else has seen this funkiness, and the replies seem to confirm that it’s a site-wide issue.

Complaints include comments not showing (I’ve seen this myself in recent videos), wrong view counts, subscribers not being notified of content, and more. Granted, some of these issues are certainly not new, but the “glitches” are so noticeable that everyone is asking questions.

Other YouTubers are being very vocal about their ad revenue taking a hit since last fall.

Even the world’s biggest YouTuber, MrBeast, is taking money from Amazon. Likely to shore up his presence outside the platform… just in case.

But wait, it gets even worse.

YouTube is purging years-old videos over politics?

On top of the algorithm shift, and on top of the monetization hit, Google is now reportedly removing old videos that violate their current year Terms of Service.

Political commentator Tim Pool is claiming that YouTube removed several of his livestreams without warning, with Google claiming that they violated their Terms of Service.

One pulled episode reportedly featured a discussion among Joe Rogan, Alex Jones, Blaire White, and Michael Malice about hot-button issues like the Kyle Rittenhouse trial and the border crisis.

“Youtube has declared war on Timcast IRL retroactively enforcing rules against our 2 biggest shows ever featuring Joe Rogan, Michael Malice, and Alex Jones,” Pool wrote.

Alex Jones was infamously banned from YouTube, however Joe Rogan is the most popular podcaster on the planet right now, and has had his deal with Spotify renewed.

So are these algorithm changes actually about what’s sure to be a very contentious 2024 election, about the AI horse getting away from the cart, or just a perfect storm of many different factors?

Whatever the case may be, it’s not a great time to be a content creator. Google was the glue that held all these websites together and let people get found.

We’re seeing what a world looks like without Google. Because for many content creators and journalists, it’ll be practically worthless going forward.

This is partly why we’ve decided to reactivate our Patreon after six years. Despite my having some reservations about the platform, direct sponsorship of creators is probably the way forward for many.

However, that’s assuming you already have an audience. Discovering new voices is going to be a lot harder.

Hopefully, that’s not the point of the algorithm change.

Disney Sued by Former ABC Employees Over Covid Vaccine Mandates

In the latest chapter of Disney’s ongoing legal dramas, the entertainment giant finds itself at the center of controversy, facing a lawsuit that’s more gripping than an episode of “General Hospital” — and indeed, it involves the cast and crew of the very same show. The latest drama unfolded when James and Timothy Wahl, two crew members who managed the construction shop and special effects department of the iconic soap opera, took legal action against ABC, a Disney subsidiary, after being terminated for refusing the COVID-19 vaccination​​​​.

The lawsuit, filed in the summer of 2021 when ABC implemented its vaccine mandate, accuses the company of religious discrimination. The Wahls had sought a religious exemption to the mandate but were denied. The heart of their argument lies in the belief that ABC, and by extension Disney, had no right to enforce a medical treatment on employees without consent, especially when religious exemptions were requested. The case brings to light the complex interplay between employer mandates in the face of a global pandemic and individual rights to religious freedom​​​​.

The complaint filed Wednesday in Los Angeles Superior Court reads in part “These actions were unlawful. ABC does not have the authority to force a medical treatment on its employees against their will. Even if it did, it must offer religious exemptions to anybody who requests one. It cannot discriminate among religions and cannot second-guess the sincerity of one’s religious beliefs without an objective basis for doing so. It did not have one here. ABC’s actions constitute religious discrimination and violate Plaintiffs’ rights under state law.”

The legal battle is emblematic of broader societal debates over COVID-19 vaccine mandates, pitting public health imperatives against personal liberties and religious freedoms. The Wahls’ suit alleges that ABC’s denial process involved a kind of “cross-examination” aimed at discrediting their religious exemption request without providing clear reasons for the denial. This move by ABC has been framed as not just a denial of a religious exemption but as an affront to the sincerity of the Wahls’ religious beliefs, which they argue is a violation of civil rights laws​​​​.

“ABC said nothing else. It did not ask Plaintiffs whether they could perform the essential functions of their jobs. It did not show that the company would be unduly burdened by continuing to employ Plaintiffs even if they did not get the Covid shots,” the complaint continues.

This legal skirmish is not isolated. In fact, it echoes a similar battle waged by Rockmond Dunbar, an original cast member of “911,” who also found himself at odds with Disney and its stringent vaccination policies. Dunbar’s lawsuit against Disney and 20th Television for religious and racial discrimination, retaliation, breach of contract, and more, serves as a possible precedent for the current situation.

These cases vary in their arguments, ranging from religious and racial discrimination to privacy rights and disability discrimination. However, a common thread in these disputes is how companies vet requests for religious exemptions, often leading to contentious legal battles​​.

Dunbar’s request for a religious exemption was denied, allegedly because he had previously received tattoos and ear piercings, which were deemed inconsistent with his professed beliefs, and further complicated by claims of threats of personal consequence if he complied with the vaccination mandate​​.

What makes this saga particularly compelling is its timing and the broader context. The implementation of vaccine mandates by employers, especially high-profile companies like Disney, during a global health crisis, has sparked a significant public and legal debate. The outcomes of these lawsuits could have far-reaching implications for employer-employee relations, public health policies, and the legal landscape surrounding religious and medical exemptions.

As this legal drama unfolds, it serves as a real-world soap opera, capturing the tension between corporate policies aimed at safeguarding public health and individual rights to religious and personal freedom. Whether this will result in a plot twist that reshapes employer mandates or simply another episode in the ongoing saga of pandemic-era legal challenges remains to be seen.

Disney, for its part, has yet to respond publicly to the lawsuit, leaving audiences and legal experts alike waiting for the next act of this unfolding drama​​​​.

[Source: Yahoo!]

Gamers Want Refunds for ‘Suicide Squad: Kill the Justice League’

The launch of “Suicide Squad: Kill the Justice League” has stirred a whirlwind of controversy, disappointment, and a staggering demand for refunds, painting a tumultuous picture for what was one of the most anticipated games of the year. Developed by Rocksteady Studios, known for their critically acclaimed Batman Arkham series, this game promised to bring the same level of polish and engaging gameplay to the table.

Instead, early access players encountered a host of problems that led to an unprecedented 791% surge in refund searches​​​​.

Technical Turbulence and a Buggy Start

At the heart of the backlash is a game-breaking bug discovered shortly after the game’s early access launch. This bug granted players 100% completion of the game without them having to play through it, locking them out of all story missions and tutorials. This effectively made the game unplayable, a critical hit to the game’s reputation right out of the gate​​.

A Departure from Tradition

“Suicide Squad: Kill the Justice League” marks a significant departure from Rocksteady’s traditional single-player, story-driven format, opting instead for an always-online model. This shift was met with skepticism and concern from fans who cherished the narrative depth and solo playability of the Arkham series. The controversy was further amplified by the game’s pricing, particularly the Deluxe Edition required for early access, which carried a hefty $100 price tag​​.

Critical Reception and Publisher Relations

The game’s early access period did not fare well with critics either. Major gaming outlets, including IGN, voiced their dissatisfaction openly, leading to Warner Bros. reportedly withholding review copies from them in retaliation. This unusual step has raised questions about the transparency and confidence in the game’s quality, contributing to the negative reception​​.

The Kevin Conroy Controversy and Batman’s Fate

Another layer to the tumult surrounding “Suicide Squad: Kill the Justice League” is the poignant controversy involving the late Kevin Conroy, revered for his iconic voice role as Batman across various media for over three decades. The game’s narrative choice regarding Batman’s fate has ignited a firestorm among fans and critics alike, especially considering this marks one of Conroy’s final performances as the Dark Knight following his passing in 2022​​.

Leaked details from the game suggested a grim end for Batman, portrayed by Conroy, culminating in a scene where Harley Quinn, one of the titular Suicide Squad members, fatally confronts him. This narrative choice has been met with a mix of shock, disappointment, and speculation regarding its appropriateness as a capstone to Conroy’s legendary tenure. Fans have expressed concern over whether this dark turn respects the actor’s legacy and the character he brought to life for so many years​​.

The Search for Refunds

The aftermath of the launch saw a massive spike in searches for refunds, as reported by analytics firm McLuck. This 791% surge reflects a deep sense of buyer’s remorse and raises concerns about the game’s future. Players looking to get their money back face uncertainty, as refund policies vary across platforms like Steam and Xbox, and it’s not guaranteed that refunds will be issued beyond the usual usage periods​​​​.

The Road Ahead

Despite these challenges, some players and critics have found elements to praise, such as the combat loop and the voice acting. However, the overwhelming issues at launch have overshadowed these positives, leaving Rocksteady with the formidable task of addressing these concerns swiftly to salvage the game’s reputation​​.

As the dust settles, the gaming community waits to see how “Suicide Squad: Kill the Justice League” will navigate through these turbulent waters. The controversy serves as a stark reminder of the challenges and expectations that come with high-profile game launches, emphasizing the importance of quality, player feedback, and clear communication between developers and their audience.

[Source: Yahoo! News]

WWE’s Vince McMahon Steps Down from TKO Amid Sex Scandal Accusations

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Vince McMahon, the larger-than-life figure synonymous with World Wrestling Entertainment (WWE), has recently resigned from his position as executive chairman of WWE’s parent company, TKO Group Holdings. This move follows a lawsuit filed against McMahon by former employee Janel Grant, which accuses him of sexual assault and trafficking.

Grant’s lawsuit, filed in a court in Connecticut where WWE is based, alleges McMahon coerced her into a sexual relationship, shared sexually explicit photos and videos of her with male colleagues, and subjected her to “increasingly depraved sexual demands.” These allegations include sexual encounters with John Laurinaitis, the former head of talent relations, and others. McMahon has vehemently denied the accusations, describing Grant’s lawsuit as filled with “lies, obscene made-up instances that never occurred, and is a vindictive distortion of the truth.”

Despite his denial, McMahon chose to resign “out of respect for the WWE Universe, the extraordinary TKO business and its board members and shareholders, partners and constituents, and all of the employees and Superstars who helped make WWE into the global leader it is today,” as stated in his announcement.

This isn’t McMahon’s first departure from a leadership role in WWE. In 2022, he stepped down as CEO amid an investigation into similar allegations and payments to women to keep quiet about affairs and alleged misconduct. During his absence, his daughter Stephanie McMahon took over as interim CEO. However, McMahon returned to the company in January 2023 after engineering a comeback as a board member. This return was short-lived, as the recent lawsuit and subsequent resignation have again distanced him from the company he helped build into a global entertainment powerhouse.

McMahon’s resignation comes at a significant time for WWE, following a 10-year, $5 billion broadcast deal with Netflix and the recent merger of WWE and UFC to form TKO Group Holdings. The impact of his departure on WWE and its future direction, especially in light of the major deals and partnerships, remains to be seen​​​​​​.

[Source: Fox Sports]

Ex-WWE Boss Vince McMahon Accused of Sexual Misconduct. AGAIN.

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Vince McMahon, former WWE boss, is embroiled in a scandal involving serious sexual misconduct and sex trafficking allegations, as detailed in a lawsuit filed by former employee Janel Grant. Grant accuses McMahon of physical and emotional abuse, sexual assault, and trafficking, including coercing her into sexual encounters with him and other men at WWE’s headquarters. McMahon, who denies these allegations, stepped down as WWE’s CEO in 2022 amidst similar accusations.

The lawsuit alleges that WWE financially benefited from a “commercial sex act venture” orchestrated by McMahon, using Grant as a “sexual commodity” to secure new contracts for wrestling talent. McMahon reportedly passed explicit photos and videos of Grant to other WWE employees. The lawsuit seeks compensation and aims to void a $3 million non-disclosure agreement, of which Grant claims to have received only $1 million.

“This lawsuit is replete with lies, obscene made-up instances that never occurred, and a vindictive distortion of the truth. He will vigorously defend himself,” McMahon’s lawyers said in a statement sent to website Wrestling Inc.

McMahon’s Past Controversies:

McMahon’s career, marked by controversies and allegations, now faces its most serious challenge yet with the recent lawsuit. The unfolding scandal could not only affect McMahon’s legacy but also have significant implications for WWE’s business relationships, including the high-profile Netflix deal.

  • Nancy Argentino Case (1983): McMahon was involved in the case where wrestler Jimmy Snuka was accused of murdering his girlfriend, Nancy Argentino. McMahon reportedly joined Snuka during a crucial police interview, and the case was not pursued until much later​​.
  • Steroid Distribution (1993): McMahon faced charges for distributing steroids to WWE performers but was acquitted due to weak legal arguments and testimony​​.
  • Montreal Screwjob (1997): McMahon orchestrated a controversial scenario to strip Bret Hart of the WWF Championship, an event known as the “Montreal Screwjob“​​.
  • Alleged Sexual Assault (2006): McMahon was accused of sexual misconduct by a tanning salon employee, but no charges were filed due to lack of evidence​​.
  • Business Ventures: McMahon launched various WWE-related ventures like the WWE Network and was involved in other businesses like the XFL and World Bodybuilding Federation​​.

This scandal could potentially impact the WWE’s business deals, including their recent agreement with Netflix. The partnership, focused on creating a multi-part documentary about McMahon’s life, could face scrutiny and reconsideration in light of these allegations. WWE, now under the TKO Group, states that McMahon does not control the company or oversee its daily operations, and they are taking the allegations seriously​.

[Source: SkyNews]

Kyoto Animation Studio Arsonist Sentenced to Death

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In a chilling development that has left the animation world in shock, Shinji Aoba, a 45-year-old man, was sentenced to death for his heinous act of arson at Kyoto Animation’s Studio 1 in 2019. This horrific incident claimed the lives of 36 people and injured 32 others, making it the deadliest crime in Japan in recent decades​​​.

Aoba, who harbored a grudge against the studio for allegedly stealing his novel ideas, carried out this premeditated attack with a devastating outcome. On the fateful day of July 18, 2019, he broke into the building, doused it in gasoline, and set it ablaze while shouting “drop dead.” The fire rapidly engulfed the studio, trapping many inside. Most victims, primarily young artists, died from carbon monoxide poisoning, while others suffered severe injuries​​​​.

Kyoto Animation Studio on July 18, 2019 (Reuters)

The Kyoto District Court found Aoba mentally capable of facing punishment for murder, arson, and other crimes. Despite his lawyers’ claims of mental incompetence, the court ruled that Aoba was neither insane nor suffering from diminished mental capacity at the time of the crime. This decision came after a thorough evaluation of Aoba’s state of mind, considering his calculated actions and preparation for the attack​​​​.

Aoba himself was severely injured in the attack, suffering burns to over 90% of his body. He spent 10 months recovering in the hospital before his arrest in May 2020. During the trial, he expressed regret for the extent of the tragedy, stating that he did not anticipate so many deaths and acknowledged that he had gone too far​​​​.

This tragic event has left an indelible mark on the anime industry and its global fanbase. Kyoto Animation, also known as KyoAni, is renowned for its popular TV series such as “The Melancholy of Haruhi Suzumiya” and “K-ON!.” The studio has been a significant contributor to the anime world, known for its creative storytelling and vibrant animation​​.

The sentencing of Shinji Aoba brings a somber closure to this dark chapter in the history of Japanese animation. However, the pain and loss endured by the victims’ families, the survivors, and the entire anime community continue to resonate deeply. This incident not only highlights the tragic consequences of unchecked rage but also underscores the need for better mental health support and vigilance against such extreme acts of violence.

The Anime Community in the Aftermath of the KyoAni Tragedy

The news of the devastating arson attack on Kyoto Animation’s Studio 1 in July 2019 sent shockwaves throughout the anime industry, both in Japan and internationally. The tragedy, which resulted in the deaths of 36 people and injuries to many others, was a moment of profound sorrow and disbelief for the anime community.

The immediate reaction was one of shock and grief. Kyoto Animation, affectionately known as KyoAni, is a beloved studio in the anime industry, known for its high-quality animation and heartwarming stories. The studio has a reputation for treating its staff well, a rarity in an industry often criticized for grueling work conditions. The attack was not just seen as a loss of life but as an assault on a studio that represented some of the best aspects of the anime industry.

Following the attack, there was an overwhelming outpouring of support from fans, industry professionals, and companies worldwide. Many took to social media to express their condolences and share memories of how KyoAni’s works had touched their lives. The hashtag #PrayForKyoani became a rallying cry on platforms like Twitter, where artists and fans alike shared artwork and messages of solidarity.

Recognizing the financial impact of the tragedy, Sentai Filmworks, a U.S.-based anime licensing company, started a GoFundMe campaign to help Kyoto Animation recover. The campaign raised over $2 million, far surpassing its initial goal. Fans and other companies in the industry also organized various fundraising efforts, showing a global unity in support of the studio.

Studios and creators across Japan and beyond paid tribute to Kyoto Animation. Competing studios put aside business rivalries, offering condolences and support. Many industry figures reflected on the influence KyoAni had on the anime world, highlighting their unique approach to storytelling and animation. Memorials were held, and tribute art was created to honor the victims and the studio’s legacy.

The attack sparked discussions about the working conditions in the anime industry. Kyoto Animation was known for its fair treatment of employees, which is not always the norm in the industry. This tragedy brought attention to the need for better working conditions and mental health support in the anime world.

The Kyoto Animation fire was a tragic event that united the anime community in grief, support, and solidarity. It highlighted the deep connections fans and creators have with the medium and the studios that produce it, and it underscored the importance of compassion and support within the industry.

[Source: Aljazeera]

The Valaverse ‘Action Force’ Vanguard Vehicle is Here!

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After months of the 1:12 scale vehicle being teased, pre-orders have finally started for the Action Force Vanguard! Give your Valaverse figures and G.I. Joes something extraordinary to roll around in!

Last year, I had the opportunity to review several figures and accessories Valaverse had to offer. Needless to say, I was impressed. As a long-time G.I. Joe and Marvel action figure collector, I was happy to see that the Action Force line delivered the same (if not better) quality toys as Hasbro.

Now, we get to see that kind of dedication poured into a vehicle. While it may not be the H.I.S.S. tank, it also isn’t as expensive (only $184.99). Plus, it’s just as modular and more customizable.

As of today, there are two Vanguard colors to choose from: Stealth Gray and Desert Tan. Regardless of which one you pick, they’ll come with the same accessories and include one action figure:

  • Over 20″ long
  • Includes 6″ Reaper driver figure
  • Four removable doors
  • Turn steering wheel to turn front tires
  • Working front winch
  • Each Vanguard includes sticker label sheet
  • Removable gas cans in trunk
  • Top hatch can be removed to install machine gun turret or missile launcher
  • Control arm rifle fits on the turret or inside trunk
  • Removeable shovel accessory
  • BONUS missile launcher included with all pre-order Vanguard items
Action Force Vanguard Vehcile
Photo Credit: Valaverse

One of the best things about Valaverse’s Action Force line is the endless amount of customization. Hopefully, this trend will extend to the Vanguard with future accessory packs.

Another positive about Valaverse producing a vehicle under $200 is that it will force Hasbro to rethink the G.I. Joe Classified line and cause the company to produce additional and more affordable vehicles for the 1:12 scale line of figures.

Bobby Vala discussed the Vanguard and the toy industry with us on the D-Rezzed Podcast. Check that out below.

[Source: Valaverse Website]

OPINION: Comics Journalism Isn’t Dying, It’s Changing… And That Has Some People Scared.

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Maybe the day that saw alleged comics news site, Bleeding Cool, report that Arsenal Comics in Newbury Park, Los Angeles was having a signing with a host of comic creators in order to raise money to keep their business afloat wasn’t the best day for us to hear the woes of the “comics journalism” community.

Perhaps just days after Megabrain Comics of Rhinebeck, New York posted a Gofundme to prevent them having to close their doors wasn’t the best time to cry about not getting to wear your “Eisner Awards dress.” 

In fact, I might go as far to say that maybe, just maybe, the last eight years, as western comic book sales continued to decline, equating the fans and customers who began to call out why as “Nazis” wasn’t a winning sales strategy.

It is, as comics journalists often like to say to indicate a target to be cancelled… “a bad look.”

And yet, here we are. In a week that sees two more comic book retailers fighting for their very existence (an all-too common phenomena these days) Heidi MacDonald, alleged comics journalist, wants to remind you who is really suffering… our heroic reporters that walk the comics beat. 

On 1/18/2024, Heidi, in an article titled “I guess I’ll never get to wear my Eisner Awards dress again,” laments the elimination of the “Best Comics-Related Periodical/Journalism” category from the 2024 Eisner Awards, and quotes numerous other comics journalists caterwauling that they won’t have a chance to win that “tattly little” trophy.

Good riddance to bad rubbish, I say.

The “comics journalism” sphere hasn’t been about journalism in a long time. It’s been about currying favor with the right people, pushing politically aligned cronies regardless of ability or talent, and whisper networks where so-called journalists plot and scheme against wrong-thinkers who dare not embrace the status quo and parrot the “current thing.” For as long as I’ve been in the comics industry, comic book news sites have been widely recognized as places that simply regurgitate comic book press releases so that they can maintain their access, run cover for cronies who get accused of being sex pe– I’m sorry, “obnoxious flirt”—or outright accused of theft before running to Canada to (allegedly) avoid charges.

Not sure what I’m referring to? Don’t bother searching the stories on Bleeding Cool or The Beat… they won’t be there. They’ve long since been purged to protect the perhaps not-so-innocent.

Don’t think this policy of silence pertains only to the people they want to protect, however… it can also be used quite effectively to punish those who dare cross the Grand Inquisitors of comics. For example, when publisher Dynamite Comics had the temerity to step out of political line with the industry at large by daring to partner with Comicsgate creator Cecil, the retaliation was swift… hit piece after hit piece was written until Nick Barrucci, Dynamite’s owner, was bullied into canceling the partnership.

Sadly, capitulation was not enough… the jackals that Mark Millar would late last year rebrand as “Cancel Pigs” demanded penance for Nick’s hubris.

For well over a year, Rich Johnston of Bleeding Cool would make sure to hyperlink the articles of Nick Barrucci’s crimes against “the right side of history” in every article published about Dynamite… a not-so-subtle reminder for other publishers that might see an opportunity to make some money that their social credit score would suffer. For Heidi’s part, she would simply refuse to report on anything Dynamite announced, at a time when comics news sites were beginning to need every story they could get to maintain any sort of regular traffic.

Another silence campaign would be waged against an entire crowdfunding platform. Despite having a regular column that was presented as a “round-up” of the independent, customer-sourced comics, MacDonald would consistently ignore any crowdfunding campaigns on the IndieGoGo site.

IndieGoGo, an alternative crowdfunding site to Kickstarter, was regarded as a more favorable and less politically hostile option for many creators, including the creators of the loose consortium that calls themselves ComicsGate. By allowing these creators to dare earn a living after being excommunicated by the Holy Church of The Comics Community, IndieGoGo was hosting heretics and could not be given any oxygen.

Never mind that many other non-Comicsgate creators were also using IndieGoGo… guilt by association is crime enough in itself. Using the Nazi-because-we-say-it-is platform was enough for you to be labeled “ComicsGate adjacent,” and even if you weren’t, well… there’s always an acceptable level of civilian casualties… after all, this was war.

In the article, MacDonald says “Comics are a community as well as an art form.” While I maintain that comics should be an industry, not a community, it is hard to deny that people like Heidi have made it one… one of rigid conformity coerced by fear of cancellation, with swift and brutal retribution for wrong-think. Mainstream comics is Animal Farm by design… and some animals, of course, are more equal than others.

MacDonald goes on to state that one of the reasons to keep the award is “it’s all we got,” stating that “The entire profession of journalism” is “under attack.” She goes on to blame “content creators” that monetize platforms “that originated to support some form of journalism,” further lamenting that these same platforms “are making it nearly impossible to earn a living wage” by “prioritizing AI and SEO tricks.” 

Algorithmic histrionics aside, I am friends with many “content creators” in the YouTube space… and they’re not having any problem monetizing reporting on said content into a living wage. The problem with old-school comics journalism is that it is rotten to the core, yes; but it’s also that the traditional news website with the easily culled and controlled comments section is the horse and buggy, and the customers are driving shiny new Model T’s. Sites like Bleeding Cool and The Beat, propaganda at worst and yellow journalism at best, are dinosaurs thrashing around in the tar, refusing to admit that they’re already dead.

YouTube has eaten the lunch of the traditional comic news site, offering straightforward reporting as well as far more editorialized content, delivered in a more digestible manner by orators with far more charm and personality.

The rise of pop culture commentators like The Critical Drinker, Nerdrotic, Film Threat, Clownfish TV, Disparu, RK Outpost, and Thinking Critical (shameless plug) offer fans a space to return to the comic book shop arguments of old, from topics like “The reasons ‘The Marvels’ sucked” to “What’s your favorite Spider-Man run?” 

Gone are days of a coven of cackling hens like those at The Mary Sue having any influence over the discussion at large. No more can run afoul of the comics community intelligentsia hold any sway over any creator with the talent and brass balls to bet on themselves, break their tether like a circus elephant gone rogue, and maul a coolie on the way to freedom.

As Princess Leia once said in Star Wars (before Disney ruined the franchise) “The more you tighten your grip, the more star systems will slip through your fingers.” One positive side effect to these ideologues shrinking the comic industry is not only that it forced trailblazing creators to seek their fortunes elsewhere, thus building a parallel industry.

Comics “journalists” can choose not to report on those campaigns… but in their zeal they have not only exposed themselves as the propagandist hacks that they are… but they’ve truncated their own reach to the point that coverage from them won’t reach anyone anyway. 

It’s not the loss of the award they fear as much as a further loss of clout. While I have no doubt some bloggers report on comics for the love of the medium, for far too many it was a means to an end… a chance to curry favor by reporting favorably on the right people; shunning those deemed “bad…” all in a sad attempt to toady enough until the vampires sucking the lifeblood out of a once healthy and robust industry might deign to transform these familiars into fellow creatures of the night.

Unfortunately for these ill-intentioned nosferatu, these shameless bloodsuckers… the long night is ending; the breaking of dawn is almost here.

VIZ Starts Up A One-Shot Portal for American Comic Creators

Manga Publisher VIZ Media has launched a one-shot submission portal for the American creators to have a chance at getting their original story picked up for publication on Viz Manga alongside other well established manga creators.

This is a common practice in Japan as a way of finding stories that find large enough audiences to garner an interest in having a serialized series. Some well known creators who have gone on to become very successful by way of submitting one-shots include Rumiko Takahashi (Inuyasha and Ranma 1/2), Eiichiro Oda (One Piece), Masashi Kishimoto (Naruto) and Tite Kubo (Bleach).

Leading the acquisitions is former Weekly Shonen Jump Editor-in-Chief Hisashi Sasaki who oversaw the Japanese magazine at the time the previously mentioned creators were being serialized.

“In Japan, a yomikiri or one-shot story has a proven track record for producing hit manga, and I’m thrilled to implement this method at VIZ for local writers in the U.S.,” said Sasaki. “I’m particularly excited to work with aspiring mangaka as Japanese pop culture continues to keep fans enthused and wanting more.”

Until now, this opportunity was only available in Japan. So if you wanted to participate in submitting one-shots to Shonen Jump, you either had to already be living in Japan, or move to Japan. This will be the first time American creators will be offered the chance to have their names listed among other manga creators without having to go to Japan.

VIZ is accepting one-shots that are 20-50 pages or at least 10 pages of VIZ Originals. A one-shot manga is a complete story whereas an Original is a scene from the story you want to tell. They must all showcase dynamic paneling, skillful black-and-white artwork, and compelling storylines that keep readers hooked. Expect each submission to receive professional feedback and advice with notes on ways to improve the work that was submitted.

They accept submissions both right-to-left (Japanese style) and left-to-right (western style) way of reading. For either one-shot or Original they must also include a story synopsis, character descriptions, character designs (if an artist is attached), target audience and comparable titles, and creator bios.

As a bonus addition, a creator can also include samples of previous work for them to get a sense of how ready you are to achieve the visual aims of the submitted manga.

If someone is selected they will be able to work closely with Sasaki as well as have all that VIZ Media has to offer which includes licensing and establishing of the IP as an ongoing series for both digital and print formats, an anime adaption, and the creation of consumer products.

For more information on how to prepare and submit a one-shot or Original, click on here.

‘Blue Eye Samurai’ Coming to Netflix In November

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A revenge story set in the 17th-century Edo-period Japan, Blue Eye Samurai is arriving on the Netflix streaming platform on November 3rd. It will be an 8-episode series. This animated project was created by a wife and husband team who were initially inspired by the birth of their daughter, who was born with blue eyes, which the wife, half-Japanese Amber Noizumi saw as a big deal. Noizumi and her husband Michael Green (writer for films such as Logan and Blade Runner 2049) would have “creative conversations” that would eventually span 15 years, as they began with spinning a tale about how times were different in 17th-century Japan if you were not completely Japanese. And at some point in the 15-year conversations, “We said something like, ‘She’s like a little blue-eyed samurai. I wrote that down, knowing it was a good title,” Green said of the inspiration their daughter gave them.

See the official trailer here:

The summary of the story is:
In 17th-century Japan, when borders are closed to the outside world, citizens would never see a face that was not Japanese, except in rare cases of illegal trade. Our hero, Mizu (Maya Erskine), knows there were only four white men in Japan at the time of her birth and sets off to kill these men, one of whom might be her father, who made her a “creature of shame.” But revenge is not an option for women, so Mizu must forge her revenge quest while hiding her gender as well as her blue eyes.

Mizu is joined on her journey by Ringo (Masi Oka), an overeager soba maker who dreams of greatness; Taigen (Darren Barnet), a pompous samurai whose rivalry leads to an uneasy truce; and Princess Akemi (Brenda Song), Taigen’s betrothed, whose gilded life seems a foil to Mizu’s. Her revenge quest leads us across Edo-era Japan in a provocative series that immerses the viewer in vivid adult animation with a live-action edge.

Other cast members include George Takei (Seki), Cary-Hiroyuki Tagawa (The Swordmaker), Randall Park (Heiji Shindo), Kenneth Branagh (Abijah Fowler), Stephanie Hsu (Ise), Ming-Na Wen (Madame Kaji), Harry Shum Jr. (Takayoshi), and Mark Dacascos (Chiaki).

“It’s an Edo-period tale of revenge — Kill Bill meets Yentl,”

Amber Noizumi

As fans much of fans of anime as Green and Noizumi are, they themselves would not classify this as anime. Green says, “It’s a 2D/3D hybrid, utilizing technologies of both. But even when we use 3D, we wanted it to have a 2D handcrafted feel.” Green went on to explain that they used a lot of filmmaking techniques that don’t always show up in animated series, including a pre-visualation department, stuntvis department, and a wardrobe department.

This will be their first animated project, and they’ve been help with supervising director and producer Jane Wu, who’s previous work includes storyboarding for Mulan 2020, Spider-Man: Into the Spider-Verse, Shang-Chi and the Legend of the Ten Rings, and Game of Thrones. Wu’s previous producer work is the 1997-2001 animated series Men in Black: The Series.

Green said of Wu, “Jane is a once-in-a-generation talent who can see a story visually, put it down on paper, and then teach everyone around her how to make that vision a reality. She not only assembled the team that made this show, she then patiently taught everyone how to make a show like this.” The couple had complete trust in Wu and her team, which Wu appreciated. They told her, “You do anything you want,” due to their lack of experience in the animation world.

Jane thought about her approach to how to create the animation and the visuals, and realized she couldn’t do anime. “Not because I’m not a fan, but because there’s been such great samurai animation out there that I was just going to get lost in that voice and I couldn’t do better,” she said. “I didn’t want this to look like a game. I knew that I didn’t want this to look like a Pixar- or a Disney-animated story.”

Instead, Jane Wu took inspiration from Japanese art. “I designed the characters after Bunraku puppets, which is a traditional Japanese puppet performance that dates back over 300 years, and these puppets are about 3-feet tall. They aren’t for children,”

Erwin Stoff is the executive producer who’s past works include The Matrix and Constantine. Blue Eye Samurai was animated by studio Blue Spirit, which is located in Paris. Blue Spirit’s previous works include Ernest & Celestine, The Secret of the Kells, and the animated series The Long Long Holiday.

What do you think? Will you be tuning in to check it out? Let us know in the comments below!

Source: Netflix

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