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Some of these stories (mostly set in the 80s and 90s) are among the most famous, disturbing and grotesque of the mangaka, linked to the recurring characters of his work such as the charmer Tomie – already the protagonist of transpositions in Oavee in a series of live action films – and the petty Soichi. Some take inspiration from Ito’s – literal – nightmares (balloons in the shape of a human brim come from a dream of his youth), others from the authors who influenced him. All have in common the ability to lead the viewer into one state of discomfort creeping: more than terror, they are tales of the disturbing. The atmospheres are more disturbing than creepy; the characters are immoral, envious, malignant and vindictive, spiteful entities that do not imply a morality but that act only to satisfy a whim, sadism and wickedness.
There is no sense or logic that somehow makes sense of so much cruelty or anything justify so much brutality (the only exceptions refer to the three stories of revenge, a source of satisfaction “karmic“). Some stories, like the two jewels Hanging Balloon And Tomb Town they describe inexplicable events involving entire communities, and are the most fascinating together with the most intimate ones, where isolated and alienated individuals are devoured by madness.
The charm of Junji Ito Maniac: Japanese Tales of the Macabre resides only in genius of its author, certainly not in the adaptation. A few years ago Studio Deen had already animated the Junji ito Collectiona collection slavishly adapted from the author’s works (and distributed on the anime streaming service Crunchyroll) with the similar listlessness with which he animated Maniac. The animation studio is infamous for the miserable and highly criticized work done with the last few seasons of Seven Deadly Sins and even with this title he demonstrates that he is making the minimum wage and chasing an easy profit.
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