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#Laura Hickman
oldschoolfrp · 2 days
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Two of the witches now residing in the ruined wizard's tower with their pet panthers (Tim Truman, D&D module RPGA2: Black Opal Eye by Laura and Tracy Hickman, 1983)
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dndhistory · 1 month
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403. Tracy and Laura Hickman - DL8: Dragons of War (1985)
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Focused around the last part of the story retold in Dragons of Winter Night, the battle at High Clerist Tower, this 8th Dragonlance module makes heavy use of the new Battlesystem wargaming rules to bring to life epic battles. 
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This module is also, due to its setting, really heavy on the whole Knights of Solamnia lore, including a section before the adventure with two pages about the workings and structure of the order which will be of great use for any DM trying to bring the Solamnic fortress to life. 
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Most spectacular of all is the fantastic map for the tower that is included here, not only do we get a hex map for use with Battlesystem we also get an astounding map with the cross sections of all the floors of the tower in what is a work of art in itself. Fantastic module. 
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agentxthirteen · 4 months
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Sharon-A-Day, Day 697 (11/28/23) Avengers Vs. X-Men 3. On sale 5/2/12.
Writer: Ed Brubaker
Plotters: Jason Aaron, Brian Michael Bendis, Matt Fraction, Jonathan Hickman
Penciller: John Romita, Jr.
Inker: Scott Hanna
Letterer: Christopher P. Eliopoulos
Colorist: Laura Depuy Martin
Editor: Tom Brevoort
Wolverine goes dooooooooooown.
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laurakinney · 2 years
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laura taking the wolverine costume and name after logan died because she wanted to keep his memory alive, becoming something she for a long time didn't seem herself worthy of. and then fucking it up so bad that Laura Kinney is out there in xmen comics growling and getting two words an issue and jumping onto everyone like a rabid dog. like not even counting just erasing her for the sake of girl wolvering wolvering but girl but also like ur not even going to give her good Logan. you're going to give her badly written logan personality. kill yourself
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scottwellsmagic · 2 years
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681: MAGIC Live! 2022 - Day One Report
Sunday, May 15, 2022
24 hours Back Room Lounge
10:00 a.m. Registration until 10:00 p.m.
10:00 a.m. – Photo Badges until 10:00 p.m.
7:30 – 11:00 p.m. Welcome Celebration
7:30 p.m. until 11:00 - The Magic Shop (Dealers Room open)
11:00 p.m. Grand Prize Giveaway
Time stamps for this episode: Time to follow soon after I’ve gotten some sleep.
00:00:16 - Master Payne
Gregory Wilson
Karl Hein
George Reager - the Disney Tattoo Guy
Laura London
Curtis HIckman
Bruce Averbrook
Download this podcast in an MP3 file by Clicking Here and then right click to save the file. You can also subscribe to the RSS feed by Clicking Here. You can download or listen to the podcast through Stitcher by Clicking Here or through FeedPress by Clicking Here or through Tunein.com by Clicking Here or through iHeart Radio by Clicking Here..If you have a Spotify account, then you can also hear us through that app, too. You can also listen through your Amazon Alexa and Google Home devices. Remember, you can download it through the iTunes store, too. See the preview page by Clicking Here
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vintagerpg · 4 months
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Desert of Desolation (1987) is another supermodule, collecting the well regarded trilogy of Egyptian adventures, I3: Pharaoh, I4: Oasis of the White Palm and I5: Lost Tomb of Martek. These were initially conceived as a trilogy by Tracy and Laura Hickman and Philip Meyers, so collecting them together under one cover was a good choice. Sticking them behind that gorgeous Keith Parkinson cover painting was another inspired decision. William John Wheeler, who compiled the book, also took great pains to increase its usability. Not that the originals were bad, this book just makes conscious decisions about organization that I don’t think were on folks minds back in ‘82 (and really, as some of the first narrative-focused modules, the originals broke plenty of ground already).
What’s weird is that this book is retrofitted into the Forgotten Realms. It is, in fact, the first RPG product to bear the FR logo (Darkwalker on Moonshae, Douglas Niles’ novel, debuted the label; the box set would appear a month later). Even if the logo is on the back (and bears the lie “designed for use with” above it). To accomplish this, a pretty sizable amount of work went into renovating the original modules. For starters, you never got a real view of the setting region as a whole, which is rectified here. There’s a lot of lore and history added in to connect it to the Realms as detailed in the soon to emerge campaign box. Is that necessary? Ehhhhh. Probably not. But it doesn’t really take anything away, not even space — this book feels pleasingly overstuffed. Coupled with its overhaul of scenario presentation, that probably makes this the best of the reprint supermodules.
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brw · 2 months
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What is your opinion on how so many characters (specifically female characters) have felt the same or like stereotypes during the Krakoan Era?
Idk to me it feels like characters just act the same and have no nuance. Falling into the same stereotypes for every team.
Unfortunately it's kind of expected for Hickman, who is not a very strong writer of women–you can see it in his current project, you could see it with X-Men and with his Fantastic Four (both issues that properly focused on woman had them be mostly silent in them, which is .... Interesting!), and it's kind of expected for Duggan, who, as I've said, writes for stans on Twitter and not for the love of telling a story. Get that fucking Starbucks cup out of Lorna's hand Gerry. I'm going to hurt you.
I do think some women shone during Krakoa–namely, Storm and Kwannon, who have ended this arc in a much different place than when they started and have grown and changed throughout. Other characters, such as Jean, Rogue, Laura, etc feel very... flat. They haven't changed very much at all, at least not in a way that feels indicative of a grander plan with these characters. It's frustrating because it feels like writers have felt so long as they give one or two cool power moments, they don't have to worry about actually writing an interesting character and it's ://// I really hope more women writers who are not Leah fucking Williams join the X-Men team more permanently because I cannot stand another month of Duggan throwing crumbs for Emma Frost/Jean Grey/Lorna Dane/Rogue/(insert woman here) stans and doing nothing else.
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juspeczyk · 5 months
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slogging through this fic but real talk? i have not written fanfic in SO LONG. and it feels. SO GOOD. i love you baldur's gate 3 i love you forgotten realms i love you d&d worldbuilding i love you ed greenwood i love you chris perkins i love you r. a. salvatore i love you laura hickman i love you tracy hickman i love you beautiful expansive worlds where all the lore and characters are already made for me
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allycryz · 1 month
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Back on my Strahd hyperfocus planning for a possible campaign this summer and am once again annoyed at Tracy Hickman's foreword to CoS 5e.
I'm going to paste it below in full under the cut so no one can say I'm taking it out of context, but I will bold the parts I find especially annoying:
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We turned the corner, and there was a vampire.
I groaned and rolled my eyes.
It was 1978, and I was playing in one of my first dungeon adventures. It was being run by a friend I had known in high school, John Scott Clegg, and it was typical of the type of adventure that people played in those days. It was all about exploring a hodgepodge collection of rooms connected by dungeon corridors, beating up the monsters that we encountered, searching for treasure, and gaining experience points.
Now we were face to face with random encounter number thirty-four: a vampire. Not a Vampire with a capital V, but a so-many-Hit-Dice-with-such-and-such-an-Armor-Class lowercase vampire. Just another monster in the dungeon.
I remember thinking at the time, What are you doing here? This creature seemed completely out of place with the kobolds, orcs, and gelatinous cubes we had seen thus far. This was a creature who deserved his own setting and to be so much more than just a wandering monster. When I came home from that game, I told all these thoughts to Laura.
That was when Strahd von Zarovich was born.
Strahd would be no afterthought—he demanded his own setting, his own tragic history. Laura and I launched into researching the mythology and folklore surrounding the vampire. We started with the vague, black-and-white image of Bela Lugosi in 1931, but found so much more.
The first "modern" literary foundation of the vampire was penned by John William Polidori based on a fragment of a story by Lord Byron. It was while at the Villa Diodati—a rented house next to Lake Geneva, Switzerland—that Byron and Polidori met Mary Wollstonecraft Godwin and her husband-to-be, Percy Shelley. One night in June, Byron suggested that they each write a ghost story. Mary Shelley's contribution to the effort would later become Frankenstein. The short story "The Vampyre," published in 1819, was Polidori's contribution. He was Byron's personal physician, and the first of the so-called "romantic" vampires under Polidori's hand was actually modeled after Lord Byron.
Byron—like the fictional vampires that he inspired, from Polidori's Lord Ruthven down through the penultimate work of Bram Stoker—was a decadent predator, an abuser hidden behind a romantic veil. He was a comely and alluring monster—but a monster nevertheless. The romantic vampire of the earliest years of the genre was not just a spouse abuser but a spouse killer, the archetype of abuse in the worst kind of destructive codependency.
For Laura and me, those were the elements that truly defined Strahd von Zarovich—a selfish beast forever lurking behind a mask of tragic romance, the illusion of redemption that was ever only camouflage for his prey.
Initially we were going to title the adventure Vampyr—one of a series of games we called Nightventure that Laura and I were self-publishing back in 1978. The castle was called Ravenloft, and when Halloween came around each year, our friends asked us if we could play "that Ravenloft game" again... and so the better title won out. It was, in part, because of this design that I was hired by TSR, Inc., to write Dungeons & Dragons adventures in 1982. Soon thereafter, I6 Ravenloft was published.
Since then, fans of Ravenloft have seen many different creative perspectives on Barovia (a country which, by absolute coincidence, is featured in a 1947 Bob Hope movie called Where There's Life). It continues to be one of the most popular Dungeons & Dragons adventures of all time. In its various incarnations, each designer has endeavored to bring something new to the ancient legend of Strahd, and to each of them we are grateful.
But the vampire genre has taken a turn from its roots in recent years. The vampire we so often see today exemplifies the polar opposite of the original archetype: the lie that it's okay to enter into a romance with an abusive monster because if you love it enough, it will change.
When Laura and I got a call from Christopher Perkins about revisiting Ravenloft, we hoped we could bring the message of the vampire folktale back to its original cautionary roots. The talented team at Wizards of the Coast not only graciously took our suggestions but engaged us in a dialogue that delivered new insights on the nightmare beyond the gates of Barovia.
Now we invite you again as our guests to pass through the Svalich Woods if you dare. For here the romance is tragically dangerous... and a true monster smiles at your approach.
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It's just so
Patronizing
It would be an entirely different post to talk about the meaning of the vampire figure in folklore and literature and what it represents; because you cannot pin it to simply one meaning. Vampiric folklore can speak of fears of disease and death and plague, Dracula can represent xenophobia AND classism AND sexuality, Polidori's Lord Ruthven can be a high society predator AND an emblem of repressed queerness
But even if Tracy was correct that the vampire has one specific meaning...so what? Why can people not subvert and change the stock characters of fiction? Is there really a problem if Interview with a Vampire turned tropes on their heads? I'm no fan of Twilight but its sin is absolutely not "it made Vampires hot and romantic"
This is especially galling because when you release a ttrpg story or system out into the world, it's going to be changed at every table. For every group that runs a module as is, there are dozens making it their own.
I do think Strahd as written, as a monster who cannot recognize his faults is fascinating. I also think there are a lot of possibilities to mine if you have a table who likes romance and intrigue. My most frequent table plays a lot of Good Society and they get very excited when similar options show up in other systems.
And, honestly, at the end of the day Tracy just sounds like every guy whining that they made vampires sparkly and those aren't reaaalll vampires and every internet user handwringing over oh no there are people who find villains hot
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newx-menfan · 1 year
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It’s still weird so MANY people love the Krakoa era…
While I agree fully X-books haven’t been stellar since 2011… (“Age of X-Man”/Rosenberg/Bendis was PARTICULARLY AWFUL!), I just don’t see how the quality has really improved THAT MUCH?
Hickmans stuff was genuinely GOOD and creative…. So was Marauders when Duggan wrote it…
But most of the titles have been pretty disappointing and more or less the same quality of the past- there was so much potential there and so many things that COULD have been done…that just wasn’t. 😐
The same problems that plagued the line then are still plaguing the line NOW- using only the A-list X-Men over and over again, rehashing more or less the same old tired nostalgic drama, instead of developing new characters and ideas…
It’s more or less the same lack of consistency in canon and lower quality writing, all while the cost of floppies go up…
“Excalibur” was disappointing…ditto for “Fallen Angels”…
Honestly watching Beast devolve into a total psychopath with cringe-worthy “EVVVVVVIL” plans has just been sad when you remember what his character USED to be. Same with Moira.
The one plus side of Krakoa- no more Scott/Jean/Wolverine love triangle overused DRAMA- is possibly being done away with for upcoming Brood drama…
We’re still getting dumb creations like “Hulkverines”…
What was the POINT of bringing back X-men from the dead, if they’re not EVEN going to use them??
“Rogue and Gambit”- one of the only pluses to come out of the dismal Kitty/Colossus drama- is currently being made toxic and horrible…
Going at Scarlet Witch AGAIN for the whole M-Day thing seemed utterly pointless…
Laura’s characterization is completely gone; this time without even Taylor to make her SOMEWHAT palatable….
IDK- I just don’t know if I am gonna stick with the X-books anymore. The one character that was kind of holding me in- Laura- I just don’t even really like anymore. She’s so far removed from KYOST version, that just…don’t even really find her interesting anymore.
Other than Storm not being “Asleep” and Synch coming back…I just can’t think of a lot of things Krakoa GAVE readers. I just keep thinking- what was the point of all of this?
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houseofx · 1 year
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Wolverine, Forge, and Darwin in the vault today was really interesting. I think Hickman “killing” Darwin was one of the biggest mistakes he made, and both of them being alive felt like a predictable, but natural, and rewarding “twist.”
I’m excited to see how the second Laura feels about this, especially since Laura has been tampered with and used on multiple occasions under the Krakoan X-Men: Her skeleton becoming adamantium, Polaris animating and using her unconscious body, Cordyceps Jones using his power to control her. Laura has been stripped of her agency multiple times throughout Duggan’s run and I think that was an intentional choice. Resurrection is getting messier and messier, and honestly I’m sad that X-Factor no longer has a book, because I would love to see their perspective.
Considering Darkweb, maybe Laura 2 will be tempted into Limbo, since Madelyne claims it attracts people “like her.” Laura 2, and even the original Laura are clones like Madelyne. Both created without their consent for dubious intentions. Both having to fight for validation and basic dignity. I think there is a lot there, but, like I said in my previous post, I hate the “Goblin Queen evil titties out I hate the x-men” madelyne pryor.
Idk! Something to think about.
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dndhistory · 4 months
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309. Tracy and Laura Hickman - B7: Rahasia (1984)
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Initially published in 1983 as RPGA1 (Rahasia) and RPGA2 (Black Opal Eye), this new edition, B7, is now a proper mainstream TSR publication of the Rahasia module, instead of the RPGA member exclusive that the first modules were originally.
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This graduation of Rahasia to the level of "proper module" is natural taking into account the success of the Hickmans' previous modules, such as Ravenloft and the ongoing Dragonlance, and is well deserved. 
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With a fresh lick of paint and illustrations by masters Jeff Easley and Tim Truman, this refurbished version of a module that started its life all the way back in 1979 as an off-brand (DayStar West) module for D&D is finally given its rightful place in the canon of modules. You can look back at posts 191 and 195 in this timeline to see the original RPGA modules in all their glory, or all the way back to post 69 (nice) for the DayStar version!
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agentxthirteen · 4 months
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Sharon-A-Day, Day 669 (10/31/23)
Avengers Vs. X-Men 3. On sale 5/2/12.
Writer: Ed Brubaker
Plotters: Jason Aaron, Brian Michael Bendis, Matt Fraction, Jonathan Hickman
Penciller: John Romita, Jr.
Inker: Scott Hanna
Letterer: Christopher P. Eliopoulos
Colorist: Laura Depuy Martin
Editor: Tom Brevoort
Steve is not a good patient.
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beroli · 2 years
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...And Now
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...For Laura and me, those were the elements that truly defined Strahd von Zarovich--a selfish beast forever lurking behind a mask of tragic romance, the illusion of redemption that was ever only camouflage for his prey. Initially we were going to title the adventure Vampyr one of a series of games we called Nightventure that Laura and I were self-publishing back in 1978. The castle was called Ravenloft, and when Halloween came around each year, our friends asked us if we could play "that Ravenloft game" again ... and so the better title won out. It was, in part, because of this design that I was hired by TSR, Inc., to write DUNGEONS & DRAGONS adventures in 1982. Soon thereafter, 16 Ravenloft was published. Since then, fans of Ravenloft have seen many different creative perspectives on Barovia (a country which, by absolute coincidence, is featured in a 1947 Bob Hope movie called Where There's Life). It continues to be one of the most popular DUNGEONS & DRAGONS adventures of all time. In its various incarnations, each designer has endeavored to bring something new to the ancient legend of Strahd, and to each of them we are grateful.
But the vampire genre has taken a turn from its roots in recent years. The  vampire we so often see today exemplifies the polar opposite of the original archetype: the lie that it's okay to enter into a romance with an abusive monster because if you love it enough, it will change.
When Laura and I got a call from Christopher Perkins about revisiting Ravenloft, we hoped we could bring the message of the vampire folktale back to its original cautionary roots...
I would entirely sympathize with “people are treating or writing Strahd, this character we created, with a degree of sympathy that suggests they misunderstood the original character.” I roll my eyes at efforts to pretend that famous vampires like Dracula, Carmilla--and Strahd--can be divorced from sexual predation without ripping the core out of their myths. I have much less sympathy for “everyone must write vampires as one-dimensional monsters.” Twilight is, of course, the easiest of easy targets (and if there was any ambiguity in what Hickman was getting at, Tracy and Laura Hickman’s personal blog has an old post titled, “Will The Real Vampire Please Stay Dead?” with the caption, “VAMPIRES    real ones don’t sparkle...The End”), but older works than that have presented vampires who are not simply one-dimensional monsters. However, staying focused on this one vampire as Hickman really should have, Strahd is still the epic villain he was since he was introduced, right? Well...
The nature of Strahd’s curse and his existence were described in my last post. Strahd tried to own Tatyana because that’s the sort of person he is, alive or undead. Strahd made a pact with a mysterious entity which causes Tatyana to be brought back to him again and again, so he can fail to win her love, which is his obsession.
Curse of Strahd, on page 25, explains that Barovia is a closed system. Anyone who dies there is reincarnated. Any time an infant is born there without a formerly-dead-person’s soul waiting to inhabit the new body, that person simply has no soul, because an infant only has a soul if that soul is reincarnated from someone who died there. Tatyana is not specifically brought back because of her ties to Strahd, but reincarnated like everyone who dies in Barovia. Strahd is not obsessed with causing her to feel things for him that she never could; rather, he will tell PCs who ask that Tatyana’s soul belongs to him, and if the adventure ends with the PCs’ defeat and Tatyana’s current reincarnation without Strahd’s reach, he simply turns her into a vampire spawn and puts her in one of the crypts below Castle Ravenloft. In Vampire of the Mists, Strahd yells at his murder victim, blaming his actions on Sergei, and protests at the denouement that he loved Tatyana. In Curse of Strahd, “He feels neither pity nor remorse, neither love nor hate. He doesn't suffer anguish or wallow in indignation. He believes, and has always believed, that he is the master of his own fate. When he was alive, Strahd could admit to letting his emotions get the better of him from time to time. Now, as a vampire, he is more monster than man, with barely a hint of emotion left. He is above the concerns of the living. The only event that occasionally haunts him is the death of Tatyana, but his view of the past is bereft of romance or regret. In his mind, her death couldn't have been prevented, and what is done cannot be undone.“
Curse of Strahd describes Strahd as having made a pact with “the Dark Powers of the Shadowfel,” but it also features a section, in the Amber Temple, where the PCs can discover a number of vestiges, each offering boons at a terrible price. One of them offers the “dark gift of the Vampyr” to any humanoid creature of evil alignment, requiring that person to kill someone who loves them and drink their blood, and then be killed by someone who hates them, requirements the module writer unambiguously based on Strahd’s murder of Sergei and subsequent death at the hates of the castle guards. Thus is all the mystery dispelled. This version of Strahd did not accept a pact he did not realize would not give him his heart’s desire: far more prosaically, he followed a recipe to become immortal, knowing exactly what the result of his actions would be.
What kind of man was Strahd in life? In previous works he repeatedly says that he was good and just, but of course he is always an unreliable narrator.  In the Roots of Evil module, the PCs travel through time and briefly meet the living Strahd, whose listed stats describe him as Lawful Good, but this is only one interpretation. In Curse of Strahd, there is, again, no mystery: he is repeatedly described in omnipotent voice as a brutal conquerer, and, of course, his immortality recipe would never have been offered to him if he was not evil-aligned when he came to the Amber Temple.
The Fifth Edition D&D Monster Manual entry on vampires has this to say: “Whether or not a vampire retains any memories from its former life, its emotional attachments wither as once-pure feelings become twisted by undeath. Love turns into hungry obsession, while friendship becomes bitter jealousy. In place of emotion, vampires pursue physical symbols of what they crave, so that a vampire seeking love might fixate on a young beauty.”
So are all the pieces of Strahd’s dark fate separated and laid out. He is a vampire, because he followed a specific formula of which the result is becoming a vampire. Tatyana is reincarnated over and over, because people who die in Barovia are. He is incapable of love not because of the all-consuming selfishness of the choices he made previously and reaffirms every day, but because vampires are. It seems clear to me that the whole which exists in portrayals of Strahd prior to Curse of Strahd was far more than the sum of the parts which exists in Curse of Strahd. Annoyance at a vampire having too few motivations caused Tracy and Laura Hickman to turn Random Encounter #34 into an epic villain. Annoyance at other people writing vampires with too many motivations caused them to turn an epic villain into Dungeon Boss #34.
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Note
What do you think of Superman leaving Supergirl in an orphanage?
Guess this is the weekly review thread then!
Batman/Superman #8 - Of course I grinned in glee at Waid referencing that old Silver Age continuity of Clark dumping Kara into an orphanage because raising her himself would jeopardize his secret identity! Clark was a real dick back in the day and I am in favor of canonizing pieces of that. Waid is building a canon Neo-Silver Age in the book that I'm enjoying a lot, he and I see eye to eye with regards to Kara's characterization. She's traumatized and compensating for that trauma with aggression, but that means she's the one who reaches out to David when she sees he's hurting because she knows what to say (or at least she thinks she does, David's situation is clearly being built up to be partly his fault). Key was used well here in a way that made him a credible threat, Batman teasing Robin about his failed date with Supergirl was funny, and I'm actually eager to see the Joker get involved.
Nightwing #97 - Solicits made it seem like Dick would propose to Babs but that hasn't happened yet. I'm wondering if plans changed at the last second, or if it was just solicits lying as they sometimes do. Maybe issue 100 will be the actual proposal? I don't really enjoy the way Taylor writes Dick and Babs together, but like it or not DC seems committed to those two are the OTP, might as well pull the trigger on it.
Batman: One Bad Day: Penguin - First one of these I can give a thumbs up to! We get a compact Penguin origin, we get a focus on his relationship to Gotham and Batman, and we get to see what he believes is his role in the status quo. Penguin is a character defined both by his brains and by getting lucky which Ridley did a great job showing as we follow Penguin climbing back to the top from his starting point of having nothing but one gun and a single bullet. Bit of an asspull that Batman would let Penguin and Umbrella Man fight each other to the death for control, that's a "I won't kill you but I don't have to save you" moment which you can either accept or it will ruin the story for you.
I Am Batman #14 - Now here is where the lucky breaks Ridley employs didn't work for me, Jace accuses a guy of murder with no evidence and instead of just brushing him off the guy tries to kill him. It's too convenient and doesn't feel believable, Ridley needs to start developing Jace as a detective because Jace sucks at it, and I don't think Ridley realizes that.
Batman: The Knight #10 - Batman: Year One is the best entry for Batman comics as a whole, but this strikes me as the best jump on point for the new era that Tynion kicked off and Zdarsky is continuing.
Black Adam #5 - I am actually excited to see Batman show up in someone else's comic. Unbelievable. Priest's attempt to provide a "realistic" explanation for the gods stalking Adam and Malik is convoluted and hurts the book, DC's cosmology is a pain in the ass to wrap your head around already, just make them gods Priest instead of sentient bacteria that evolved into gods because of Adam... being afraid and the Dark Multiverse reaching out to make his fears real? Can't wrap my head around it and Priest tends to love making things ambiguous that would be better off simple. Adam and Malik are entertaining nonetheless, and given Malik is in Lazarus Planet and the DC Power oneshot, maybe I was wrong about him dying after all. Do feel bad that Sandoval is getting poached but Eddy Barrows is a great replacement.
X-Men #16 - So Synch and Old Woman Laura will go back into the Vault and stay there as Guardians over the Children right? Feels like that's where this is going. Must admit I'm disappointed Duggan is the one finally addressing this particular issue over Hickman, Ewing, or Gillen, especially since this was an issue Hickman had seeded from the beginning of the Krakoa era.
Miracleman: The Silver Age #1 - Finally after all this time we're getting this series. First two issues are reprints with new art, and I gotta say it looks gorgeous.
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sbgraphic · 1 month
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Astonishing Little Feet from Maegan Houang on Vimeo.
Starring Celia Au, Perry Yung, Robert Lewis Stephenson, Brian Wallace, Max Faugno and Robert Brettenaugh
Written and directed by Maegan Houang Produced by Pin-Chun Liu Executive Produced by Glenn Kaino, Lauri Michelle Firstenberg, and Elaine Sir Cinematography by Christopher Ripley Production Design by Terry Watson Edited by Gus Spelman Composer: Robert Ouyang Rusli Costume Design by Anne Valliant Hair & Makeup by Moung Park Casting Director: Tanya Giang Co-EP: Brooke Baker Sound Design & Mix by Grant Meyers Lead VFX Artist: Jeff Desom Animation & Title design by Laura Nasir-Tamara Production Manager: John Lozada 1st AD: Ted Keffer 2nd AD: Kat McArdle Associate Producer: Po-wei Su Script Supervisor: Merina Seidel Language Consultant: Alice Ko Set PAs: Ferran Molina, Slava Makarov Production Intern: Max Hickman Art Director: Jay Dizon Scenic: Alexandra Papoban Art PA: Le Quang Nhan Lead Man: Angel de La Rosa Set Dressers: Franki Wujcik, Vincent Quintana, Yingxi Wan 1st AC: Jacob Perry, Felipe Larrondo Loader: Darrell Ham 2nd AC: Mohammed Samra Still Photographer: Peter Yung Gaffer: Chase DuBose BBE: Vahagan Gukasyan Swing: Tanner Johnson Key Grips: Luke Poole, Lance Gegner, Brandon Diaz BBG: Myles Evenson Swings: Erik Gold, Ricky Ramon Velazquez Production Sound Mixer: Gabriel Linkiewicz Key Makeup & Hair: Akihito Sawada Healthy Safety Supervisors: Loreto Rodriguez, Wayne Landry, Joowan Bosco Kim On Set VFX Supervisor: Cooper Vacheron @coopvchrn VFX Artist: Matthew Wauhkonen ADR Recordist: Mauricio Escamilla
Shot on Kodak
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