Apr. 4th, 2019

laughing_tree: (Seaworth)
[personal profile] laughing_tree

What I hope people take from it is that you can tell slightly more low-key adventures. I think it becomes an arms race that’s unwinnable to continue to keep topping everyone’s world-ending scenario. It can be fun, but I think we’ve all done it for so long now that it becomes yet another trope. So the idea was to just take it back to the everyday. And you don’t have to worry about the end of the universe, you just have to worry about telling a decent story. You know, having some good characters and things that get raised and then resolved. And little subplots. It seems to make it easier, and I think it also makes it more universal, storytelling-wise, when it’s not about gigantic crises. It’s about stories we understand but are not necessarily on an epic scale. -- Grant Morrison

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stubbleupdate: (Default)
[personal profile] stubbleupdate
Now, in the status quo, Red Sonja is Queen Sonja, charged with repelling a superior invading army from her borders.
But in her recent history she was a mercenary adventurer.
pay attention )
So...what's the moral of this story?

Cover gallery )
ozaline: (Default)
[personal profile] ozaline

So some more news has come out for Project Sakura Wars, Sega's French division accidently put out an unfinished version of the trailer that gave us a bit more information than Sega wanted us to have on the characters. Famitsu did a spotlight (my favourite part was findng out series director Takaharu Terada had been submitting Sakura Wars proposals every year when Sega took game submission ideas from staff (his coworkers apparently knew it was Summer time when Terada began working on a new Sakura Wars proposal), and it was after the 2016 poll where Sega asked what franchise that fans wanted to see revisited that Sega took this seriously (always nice when a company listens). And finally there was a poster of a painting by the new cast, by character designer Tite Kubo In this week's Shounen Jump

9 out of 27 pages )
laughing_tree: (Seaworth)
[personal profile] laughing_tree

I think I’d actually argue that one of the great strengths of Sandman is that it carefully refuses to be Of A Particular Time, dancing between the raindrops of date and detail. It’s as relevant today as it was when it was released (some of the haircuts notwithstanding) precisely because it was less interested in the minute vicissitudes of “now” than in the big Human Condition stuff. It asks: what is it to be a thinking, idea-having creature, with a sense of consciousness which often seems distinct from one’s physical life? How does wonder change the way you live? And to whom do you make your votive offerings when all you have to give are stories? That’s Sandman, and it needs no timestamp. -- Si Spurrier

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