魔法少年ブレックファストクラブ (yellow text on green)
This section is basically background on the situation. O'Neill and Orlesky announce their comic, open a patreon, generate buzz, and set Feb 5 as the start date. On Feb 2, a troll posts on their tumblr. The response to this troll by O'Neill (the tumblr is strangelykatie, so I assume it's her) sets off a lot of users who take umbrage at her arrogant attitude, unrelated to the comic's content. On March 3, an announcement is made that the comic is cancelled.
問題は、漫画の内容じゃない
This section covers the debate on bleedingcool.com. The author of the article opines that the important issue is not the content of the comic, but how people react to trolls and otherwise behave in a public environment.
あえて言おう、「ググレカス」と
The author of the article slams the first chapter for it's lack of realism, noting the ease with which video of anime voice recording sessions can be seen on youtube, literally saying it's just a google search away. The author further comments that such lack of professionalism might be acceptable from a kid drawing for himself, but is completely inappropriate for someone who's actually making money via patreon. The author also doubts the artists' claims about spending a year researching and immersing themselves in Japanese culture, and criticizes their arrogance in light of their lack of research. The author sums up by saying that if this is how O'Neill and Orlesky normally work, then it wouldn't matter what they tried to write about: it would still be crap.
偉大なる「日本文化かぶれ」の先人達よ
The author brings up Frank Miller's work in the 80s (doesn't name any specific titles) and Billy Tucci's Shi series, and says that despite their many inaccuracies in depicting Japan, they don't piss him off at all. This is because he can see the passion and effort that goes into every page, as well as evidence of the mountains of reference material they bought, the hours of research they did, and the effort they poured into creating works that had never been done before. Compared to these, he blasts O'Neill and Orlesky for neglecting even basic research, despite the fact that the information they needed was literally at their fingertips for free.
正しけりゃいいってもんじゃないだろ
The author defines cultural appropriation, fetishization, and stereotyping for the benefit of the presumably Japanese reader. He then criticizes the cancellation announcement as just another boilerplate non-apology without any trace of emotion. His last statements before the white line are rhetorical questions: Can't fetishism be an important driving force in creativity, and might this lack of it be the reason for such a careless approach to the production of the comic?
The author finishes by promising to continue something he wrote back in Fall 2013 about foreign comics about Japan.
