that was an issue otl with both saturn controller( the normal one and the 3d pad) here with saturn more popular was adressed early. http://segaretro.org/Control_Pad_(Saturn)
Player Two Start: An SNES-CD Timeline
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that was an issue otl with both saturn controller( the normal one and the 3d pad) here with saturn more popular was adressed early. http://segaretro.org/Control_Pad_(Saturn)
Well, it's the same as OTL's original Saturn analog controller.
It's huge, isn't it?
Hey lol I actually asked if the Sega 3d controller was going to be replaced with something more manageable.
http://nfgcontrols.com/grafx/ASCII-SeaMic-padT.jpg
here is an idea on how to fix that!
So Sony buys Gamefreak? Interesting.
Pokémon is still copyrighted Nintendo/Gamefreak/Creatures, right?
Regarding Tale Phantasia, I thought it would be more like the original vision, according to this: http://aselia.wikia.com/wiki/Tale_Phantasia but I guess Cless/Cress' tale is the only one that gets noted.
Did they switch to Kousuke Fujishima (also famous for Ah! My Goddess) as the character designer like OTL?
That change though, a entity consuming Derris-Kharlan's energy instead of restoring Derris-Kharlan's mana tree. So I guess no Narikiri Dungeon or the Symphonia era prequels, eh?
Pokémon is still copyrighted Nintendo/Gamefreak/Creatures, right?
Regarding Tale Phantasia, I thought it would be more like the original vision, according to this: http://aselia.wikia.com/wiki/Tale_Phantasia but I guess Cless/Cress' tale is the only one that gets noted.
Did they switch to Kousuke Fujishima (also famous for Ah! My Goddess) as the character designer like OTL?
That change though, a entity consuming Derris-Kharlan's energy instead of restoring Derris-Kharlan's mana tree. So I guess no Narikiri Dungeon or the Symphonia era prequels, eh?
Pokemon...that is fun for later, wait for it.
Tale phantasia is closer to original vision but mostly the focus into cless tale, if you play the game, more details of the rest would be clear, but still they focus in gameplay and in theory the novel exist is in gotanda hands and nintendo was big with novelization in 90s(mother, fire emblem got severals)
They used more was original artwork but more sytlized, otl fujishima caused a issue between the lead artist and namco.
So, did Fujishima work on it or no?
Just wondering if he's only going to be known for Ah! My Goddess and You're Under Arrest.
etto, he was working in other videogame series at the time and that one will be more popular one.
The main art was Yoshiaki Inagaki as planned(the characther art looks like star ocean), would be like this: http://oi62.tinypic.com/15wmqep.jpg http://oi61.tinypic.com/dwcg2u.jpg
if you need spanish this would be useful(i used it): http://abysswalkers.com/foro/index.php?topic=350.0
The game freak part is pretty interesting, was not expecting that at all. The Tales series never interested me much iotl, the part about SRPG was pretty funny with the review panel.
Is it? I've never actually seen one in person (or it's been so so long I don't remember). Going purely by the pictures I thought it was the same size as the Dreamcast controller.Well, it's the same as OTL's original Saturn analog controller.
It's huge, isn't it?
Pretty much, yep. I already have the names of the next two Tale games in mind, everything after Phantasia is totally butterflied away.
Oh, just a reminder to everyone to suggest pop culture things for us to cover in our next update! If there's something about 1996 that's not video games that you want us to touch on, let us know and we'll try to get to the best ones!
I got an idea for an orginal RPG game. It is called Guardians of Nature. The game begins with a animal loving country boy moving to the suburbs. He becomes enemies with a bunch of rich snobs but befriends a group of eco conscious kids. One night the snob kidnaps the boy’s pet rabbit. He chases them into a cave where he falls through a hole. He awakens in an idyllic farming village in another world. However the village is soon attacked by mutant solider of a dark empire. The soldiers pollute the land and a build a grim factory. The boy finds out that since he has come to this world he has gained special animal themed powers which he uses to fight the mutants. He finds that his friends have also been transport to the world. They have gained elemental powers. Near the end of the game it is revealed that the leaders of the evil empire are the snobs from the boy home world. The game has mini games themed around undoing the pollution. There are hunting and farming mini games. Feel free to change any part you do like.
Well with Sony now acquiring Game Freak, how will that affect the anime? Do you think it might change how the anime plays out a la Adventures?
It'll depend on:
- Who they'll pick to staff the anime
- The goals of the adaptation (weekly anime? half-year season anime?)
- How tied the adaptation is to the games. IOTL the anime was originally planned to end with just adapting the 1st gen games.
Trying to do something like adapting Adventures would be difficult in my opinion, considering how the plot was written out as of late. Currently, the XY chapters are serialized monthly in the Corocoro magazines, the ORAS chapter is a monthly web release, and the Black 2/White 2 chapter will only be completed in the manga volume releases, which are irregular.
TTL's Legion Of Superheroes
The Legion of Super-Heroes is something of a curiosity in the DC Universe. It began life as a throwaway story by Otto Binder in 1958 where the nascent “Legion of Super-Heroes” inducted Superboy into their ranks through a series of trials. It eventually replaced the Boy of Steel in Adventure Comics where it would gain its own rogues gallery and iconic elements like the inverted rocket clubhouse. They would move to Action Comics by the end of the sixties, then to Superboy where the title would become Superboy and the Legion of Superheroes, and then eventually oust Superboy from his own title by the dawn of the eighties. At the height of its popularity, some claim the Legion was seconds in sales to only the Marv Wolfman and George Perez’s New Teen Titans. However, Crisis on Infinite Earths was not kind to the team. The removal of both Superboy and Supergirl created the mother of all continuity snarls as Superboy was the inspiration for the team and Brainiac 5’s complex relationship with Supergirl was a longstanding subplot. Paul Levitz attempted to rectify this with the Pocket Universe saga, which worked as something of a stopgap measure, and then the “Five Years Later” story arc sparked a series of retcons that fed into Zero Hour.
DC wiped the slate clean and assigned Grant Morrison to the Legion titles: the fourth volume of Legion of Super-Heroes and Legionnaires. Well, Morrison himself wrote LoSH while writers like Mark Millar and Tom Peyer scripted his plots for Legionnaires. Despite protests from Superman editorial (Superman and Batman’s editors were notorious for being uncooperative with the characters in their stables), Grant Morrison restored Superboy to the Legion of Super-Heroes in a roundabout way. Since the clone Superboy already appeared in his own book and the Superman titles, Morrison reused the Kent Shakespeare and Laurel Kent characters as the Superboy and Supergirl of the 30th century though no one explicitly referred to them by those appellations in-story. Instead, Morrison used the now-vacant codenames Valor and Andromeda to distinguish them from their contemporary counterparts. The setup was simple: Earth of the 30th century was utopian society free of huger, war, disease, and other societal ills under the cyclopean eye of the “benevolent” Solaris, the Living Sun. Kent Shakespeare had everything he ever wanted: a stable hoe, loving parents, and a girlfriend until a trio of strange teenagers whisked him away and revealed the truth of his “perfect” existence.
Cosmic Boy, Saturn Girl, and Lightning Lad exposed Solaris’ true nature. The tyrant sun brainwashed countless worlds into submission while his army of stellar computers were subjugating the galaxy. Part of his plans included “programming” the various superhero “dynasties” into compliance. Kent and Laurel was members of the Superman dynasty, the greatest of the heroic houses. Over time Morrison introduced characters from the Flash with Impulse’s cousin, Rush, and with James Robinson’s blessing, retroactively made Thom Kallor (AKA Star Boy) a member of the Starman dynasty. With the veil over his eyes lifted, Kent dedicated himself to the overthrow of Solaris.
Some fans often derisively call his take on the team, “the Justice Legion” because of its overt use of legacy characters from the Justice League. Interestingly, Morrison himself would appropriate the name for a future project. Morrison’s Legion was something of a sleeper hit for DC Comics; it garnered critically acclaim that compared his run to science fiction pulps like Flash Gordon and Bryan Hitch’s panels introduced the “widescreen” look that gave the book a cinematic feel. He would alternate with Morrison’s frequent collaborator, Frank Quitely, for a two year run before he moved on to Adventures of Superman. However, the penultimate arc involved a concept that would reshape DC Comics over the next two decades: the introduction of Hypertime.
After the Legion had finally defeated Solaris, Kal Kent, the Superman of the 853rd century, arrives at Legion headquarters to enlist the aid of Valor, Andromeda, and the Legion founders for a mission to stop the Chronovore an eldritch abomination that fed on time. Many fans criticize the story for having little to do with the Legion itself, but it introduced the Fortress of Solidarity where various “discarded” versions of Superman and his supporting cast (including previous versions of the Legion) gathered to combat threats to Hypertime.
Kal Kent described it as this, “Imagine time as a river where you throw a stone and the ripples change its course. The main timeline changes but the old timeline exists as a ripple… an echo that exists independently of the changed timeline; every possibility exists within Hypertime and it is the mission of the Superman Squad to protect all of it.”
By “ripple,” Kal obliquely refers to the events of Crisis on Infinite Earths and Zero Hour, and the appearances of the Superman: The Animated Series, Chrsitopher Reeve, Dean Cain, and Bruce Campbell versions of the Man of Steel enforce that these versions are all exist within the Superman canon. Morrison essentially revived the DC Multiverse; the original Superman from Action Comics #1 now existed in his own timeline, as did the 50s version of Superman, the Silver and Bronze Age versions—hell, Supermen from obscure “Imaginary Stories” existed in their own timelines. In many ways, it more resembled the Marvel Multiverse that took the many-worlds interpretation with branching timelines rather than the pre-Crisis DC Multiverse though the possibility that Earth-2 and those other Earths still spun somewhere out in Hypertime was present. However, DC would not fully explore this idea for nearly a decade.
The idea was not without controversy either. Alan Moore was working on Supreme, a Rob Liefeld pastiche of Superman who had spent much of the nineties as a violent anti-hero, accused Morrison of plagiarizing his work. Moore’s grand arc on Supreme included the idea of the Supremacy; a limbo-like dimension where various versions of Supreme (themselves mirror images Superman’s various incarnations) went after reality “revised” itself. Similarly, Morrison criticized Alan Moore’s complaint as, “ludicrous considering the character he was writing was himself a copy of Superman.” The point became moot as a lawsuit from Marvel/NewsCorp over the long-forgotten Joe Simon/Jack Kirby creation, the Fighting American, bankrupted Awesome Comics when its larger investors backed out and Disney (of all companies) ultimately bought its properties in 1999. Moore would leave his run on both Supreme and the new Youngblood unfinished… but I digress.
Justice League might have been the best-selling title of the mid-to-late nineties, but Legion of Super-Heroes was arguably the most influential. Many elements from his Legion run carried over into other titles such as the expansion of the superhero dynasties in Mark Waid’s run on the Flash and James Robinson’s Starman. Solaris would plague the Justice League and Superman when he forced them to build his past incarnation as part of a convoluted time travel plot in 1998’s DC One Million crossover and the idea of “rippling Hypertime” played into his 1997 “evolution” of the Superman titles that saw many changes (including the controversial removal the red briefs from the uniform) to the Man of Steel that rivaled John Byrne’s 1986 reboot. However, one of the most notable was the third season Superman: TAS episode “Must There Be A Superman?” three-parter that aired in the spring of 1999.
As mentioned earlier, TAS version of Superman appeared in Morrison’s final Legion arc and “Must There Be a Superman?” adapted it from the perspective of the TAS Superman. After Lois is hospitalized in an Intergang attempt on her life; a distraught Superman has a crisis of confidence when two imposter “Supermen” appear in Metropolis voiced by Christopher Reeve and Bruce Campbell as special guests. After a brief battle, he follows them through the lightning door to the Fortress of Solidarity where he meets Valor (voiced by Christopher Daniel Barnes), Andromeda (Mary Kay Bergman), and the Legion (Lightning Lad voiced by Jason Priestly, Saturn Girl by Melissa Joan Hart, and Cosmic Boy by Chad Lowe.) The story follows Morrison’s nearly verbatim and boasts some of the most fluid animation since “World’s Finest.” However, Paul Dini wrote an epilogue that answered the question “Must There Be A Superman?” where the TAS Superman speaks as the lightning door closes.
“Must there be a Superman, Kal? The answer is yes. Even as an idea, every world needs a Superman.”
“Must There Be A Superman?” is a personal favorite of mine and many other fans. Not only did it “canonize” the Morrison story, it also received a mention in 1999’s Man of Tomorrow film. Grant Morrison’s Legion run had far-reaching consequences on not only the comic books but on other media as well.
-from the blog "The Musing Platypus" by B. Ronning, May 10, 2015
DC wiped the slate clean and assigned Grant Morrison to the Legion titles: the fourth volume of Legion of Super-Heroes and Legionnaires. Well, Morrison himself wrote LoSH while writers like Mark Millar and Tom Peyer scripted his plots for Legionnaires. Despite protests from Superman editorial (Superman and Batman’s editors were notorious for being uncooperative with the characters in their stables), Grant Morrison restored Superboy to the Legion of Super-Heroes in a roundabout way. Since the clone Superboy already appeared in his own book and the Superman titles, Morrison reused the Kent Shakespeare and Laurel Kent characters as the Superboy and Supergirl of the 30th century though no one explicitly referred to them by those appellations in-story. Instead, Morrison used the now-vacant codenames Valor and Andromeda to distinguish them from their contemporary counterparts. The setup was simple: Earth of the 30th century was utopian society free of huger, war, disease, and other societal ills under the cyclopean eye of the “benevolent” Solaris, the Living Sun. Kent Shakespeare had everything he ever wanted: a stable hoe, loving parents, and a girlfriend until a trio of strange teenagers whisked him away and revealed the truth of his “perfect” existence.
Cosmic Boy, Saturn Girl, and Lightning Lad exposed Solaris’ true nature. The tyrant sun brainwashed countless worlds into submission while his army of stellar computers were subjugating the galaxy. Part of his plans included “programming” the various superhero “dynasties” into compliance. Kent and Laurel was members of the Superman dynasty, the greatest of the heroic houses. Over time Morrison introduced characters from the Flash with Impulse’s cousin, Rush, and with James Robinson’s blessing, retroactively made Thom Kallor (AKA Star Boy) a member of the Starman dynasty. With the veil over his eyes lifted, Kent dedicated himself to the overthrow of Solaris.
Some fans often derisively call his take on the team, “the Justice Legion” because of its overt use of legacy characters from the Justice League. Interestingly, Morrison himself would appropriate the name for a future project. Morrison’s Legion was something of a sleeper hit for DC Comics; it garnered critically acclaim that compared his run to science fiction pulps like Flash Gordon and Bryan Hitch’s panels introduced the “widescreen” look that gave the book a cinematic feel. He would alternate with Morrison’s frequent collaborator, Frank Quitely, for a two year run before he moved on to Adventures of Superman. However, the penultimate arc involved a concept that would reshape DC Comics over the next two decades: the introduction of Hypertime.
After the Legion had finally defeated Solaris, Kal Kent, the Superman of the 853rd century, arrives at Legion headquarters to enlist the aid of Valor, Andromeda, and the Legion founders for a mission to stop the Chronovore an eldritch abomination that fed on time. Many fans criticize the story for having little to do with the Legion itself, but it introduced the Fortress of Solidarity where various “discarded” versions of Superman and his supporting cast (including previous versions of the Legion) gathered to combat threats to Hypertime.
Kal Kent described it as this, “Imagine time as a river where you throw a stone and the ripples change its course. The main timeline changes but the old timeline exists as a ripple… an echo that exists independently of the changed timeline; every possibility exists within Hypertime and it is the mission of the Superman Squad to protect all of it.”
By “ripple,” Kal obliquely refers to the events of Crisis on Infinite Earths and Zero Hour, and the appearances of the Superman: The Animated Series, Chrsitopher Reeve, Dean Cain, and Bruce Campbell versions of the Man of Steel enforce that these versions are all exist within the Superman canon. Morrison essentially revived the DC Multiverse; the original Superman from Action Comics #1 now existed in his own timeline, as did the 50s version of Superman, the Silver and Bronze Age versions—hell, Supermen from obscure “Imaginary Stories” existed in their own timelines. In many ways, it more resembled the Marvel Multiverse that took the many-worlds interpretation with branching timelines rather than the pre-Crisis DC Multiverse though the possibility that Earth-2 and those other Earths still spun somewhere out in Hypertime was present. However, DC would not fully explore this idea for nearly a decade.
The idea was not without controversy either. Alan Moore was working on Supreme, a Rob Liefeld pastiche of Superman who had spent much of the nineties as a violent anti-hero, accused Morrison of plagiarizing his work. Moore’s grand arc on Supreme included the idea of the Supremacy; a limbo-like dimension where various versions of Supreme (themselves mirror images Superman’s various incarnations) went after reality “revised” itself. Similarly, Morrison criticized Alan Moore’s complaint as, “ludicrous considering the character he was writing was himself a copy of Superman.” The point became moot as a lawsuit from Marvel/NewsCorp over the long-forgotten Joe Simon/Jack Kirby creation, the Fighting American, bankrupted Awesome Comics when its larger investors backed out and Disney (of all companies) ultimately bought its properties in 1999. Moore would leave his run on both Supreme and the new Youngblood unfinished… but I digress.
Justice League might have been the best-selling title of the mid-to-late nineties, but Legion of Super-Heroes was arguably the most influential. Many elements from his Legion run carried over into other titles such as the expansion of the superhero dynasties in Mark Waid’s run on the Flash and James Robinson’s Starman. Solaris would plague the Justice League and Superman when he forced them to build his past incarnation as part of a convoluted time travel plot in 1998’s DC One Million crossover and the idea of “rippling Hypertime” played into his 1997 “evolution” of the Superman titles that saw many changes (including the controversial removal the red briefs from the uniform) to the Man of Steel that rivaled John Byrne’s 1986 reboot. However, one of the most notable was the third season Superman: TAS episode “Must There Be A Superman?” three-parter that aired in the spring of 1999.
As mentioned earlier, TAS version of Superman appeared in Morrison’s final Legion arc and “Must There Be a Superman?” adapted it from the perspective of the TAS Superman. After Lois is hospitalized in an Intergang attempt on her life; a distraught Superman has a crisis of confidence when two imposter “Supermen” appear in Metropolis voiced by Christopher Reeve and Bruce Campbell as special guests. After a brief battle, he follows them through the lightning door to the Fortress of Solidarity where he meets Valor (voiced by Christopher Daniel Barnes), Andromeda (Mary Kay Bergman), and the Legion (Lightning Lad voiced by Jason Priestly, Saturn Girl by Melissa Joan Hart, and Cosmic Boy by Chad Lowe.) The story follows Morrison’s nearly verbatim and boasts some of the most fluid animation since “World’s Finest.” However, Paul Dini wrote an epilogue that answered the question “Must There Be A Superman?” where the TAS Superman speaks as the lightning door closes.
“Must there be a Superman, Kal? The answer is yes. Even as an idea, every world needs a Superman.”
“Must There Be A Superman?” is a personal favorite of mine and many other fans. Not only did it “canonize” the Morrison story, it also received a mention in 1999’s Man of Tomorrow film. Grant Morrison’s Legion run had far-reaching consequences on not only the comic books but on other media as well.
-from the blog "The Musing Platypus" by B. Ronning, May 10, 2015
I honestly have no clue how Pokemon will play out at this point!
It's something we'll need to spend quite a bit of time thinking about.
I honestly have no clue how Pokemon will play out at this point!
Oh my God!!
This needs to happen! I would build a time machine or transporter, and go to this world just for this to happen!
And a bit of information: if there is a anime adaptation of Pokemon Adventures, then there is the dreaded anime/manga release line, which will result in.....
lots of filler, alla Naruto/FMA 2003.Oh my God!!
This needs to happen! I would build a time machine or transporter, and go to this world just for this to happen!
And a bit of information: if there is a anime adaptation of Pokemon Adventures, then there is the dreaded anime/manga release line, which will result in.....
Its' not like the current anime is filler free in itself, or is it?
Again thinks will be different, jus think about but read between lines, why you think sony owning pokemon would be interesting and different at the time?
Oh my God!!
This needs to happen! I would build a time machine or transporter, and go to this world just for this to happen!
And a bit of information: if there is a anime adaptation of Pokemon Adventures, then there is the dreaded anime/manga release line, which will result in.....
The Electric Tales of Pikachu? I thought that only covered the first generation anime.... Wait, in that case, then, there would be a lot of filler
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