![]() ![]() Originally titled Chorus: An Adventure Musical, today's Stray Gods announcement is also a rebranding under a new name. Over two years ago, BioWare lead writer David Gaider raised $690,000 in his first indie endeavor as the creative director at Summerfall Studios. Tasked with uncovering the mystery behind the tragedy, Grace begins an adventure described by Summerfall as a "heartfelt reconception of Greek mythology combining what we love about contemporary musical theater (think Buffy: Once More With Feeling, Hadestown, and Wicked) with video games where character and story take center stage (think Dream Daddy, Life Is Strange, and Dragon Age)." As the Last Muse passes, Grace is gifted with the ability to draw others into musical numbers. Stray Gods is the tale of Grace, a young woman thrust into a world of gods and monsters after the Last Muse of greek mythology dies in her arms. “You create something so enormous and so powerful that it seems like such just a fact of nature, almost,” Scott told his colleague Michael Barbaro on the podcast “The Daily.” “t just crushes any dissenting voice or point of view and doesn’t give you a lot to talk about.Among one of Humble Games' biggest announcements today, the publisher revealed it's teaming up with Summerfall Studios to launch Stray Gods: The Roleplaying Musical, over two years after its original crowdfunding campaign. Scott cited the Marvel-DC-Pixar behemoths as a major reason why he left the profession earlier this year. The comic book aficionados who once felt unfairly marginalized were suddenly all-powerful in the eyes of the studios adapting their beloved master texts with full-blast fully enabled, they turned tyrannical - to the point where New York Times film critic A.O. It’s no coincidence that the film arrived at the dawn of social media, when iPhones, Facebook and YouTube were still young and Instagram and Twitter hadn’t dropped yet those combined forces would create a world in which pandering has become a prime value. ![]() But something took stronger hold after “Iron Man” made its debut. It’s a truism that comic book movies have infantilized the culture, rewarding our craving for frictionless wish fulfillment fantasies of unaccountable power and righteous impunity. Ditto Jeremy Renner, whose breakout performance was in the Oscar-winning “The Hurt Locker,” and Tom Hiddleston, the British actor best known by cineastes for his work with experimental filmmaker Joanna Hogg, now known to millions as Loki in the “Thor” movies. Having grokked the piratical sensibilities that gave “Iron Man” its punchy, irreverent vibe, Marvel set about poaching actors and directors from that world - with admittedly smashing results: Mark Ruffalo fans who caught their first glimpse of the actor in small movies like the delicate family dramedies “You Can Count on Me” and “The Kids Are All Right” might have been bemused when he ended up in 2012′s “The Avengers” playing the Hulk, but no one could begrudge a big payday for a talented actor who had been toiling in the low-budget vineyards. Indeed, part of Marvel’s strategy for conquering mainstream entertainment has been to come for the indies, with wallets tantalizingly open. It’s precisely their global reach - and that sweet, sweet, Disney money - that made “Iron Man” and its Marvel brethren so irresistible to auteurs who might be expected to turn their noses up at such widget-y product. ![]()
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