panapp

Infinite river review that denotes the reviewer’s boundless passion for this animated series; I can understand it: I also liked it very much and it’s one of the total cult series for my girlfriend, who loves Zelgadis and hates Amelia. I agree with the reviewer in saying that "Slayers" (the "The" was added by Panini because they already had a comic with a similar title and later they were afraid of being confused) is an excellent fantasy series with classic elements, supplemented by a powerful dark vein and, above all, explosive comedy. The review earns an extra star for the hard work, and is a beautiful and capital work for contemporary fantasy in Japan and the world.

@giutiziere: thank you, what an embarrassment, I'm sorry! ^_^'''

Review: a beautiful bike and a conceptual masterpiece of a game: it’s not a video game where there’s a mission to complete; rather, there’s no concept of “victory” or “defeat.” If your Sims die through sadistic little games, it’s even more fun than watching them succeed and grow; you don’t necessarily have to do anything—you can make your family the Perfect Ones, or leave them as homeless people with a tragic clown wandering around the house and laugh about it. The total freedom of action, not conditioned by time, missions, resources, or anything else, is the key strength of this game. About the capitalism in "The Sims": it all depends on how you play it. I used to build very discreet and elegant little houses with music rooms and cream-colored wallpapers I chose among my favorites, not the most expensive ones just to show I had money; my sister, on the other hand, created families of twenty members and placed them in houses designed specifically to kill them with diabolical traps. It all hinges on HOW you play it, precisely because "The Sims" has no set purpose. A descendant of "The Sims" is "Doshin the Giant" (only for GameCube), where you are a giant on an island and you can help the villagers, kill them, or simply disregard them and spend your days gazing at the sky: it’s brilliant, but a second-hand kind of brilliant inherited from "The Sims." Full five stars for a game with a true and strong underlying idea (one that probably counts among maybe ten others, if that).

@Lewis Tollani: if "Punny" is me, thank you for the very nice nickname and I've already sent the review for "Snuff 2000"! ;)

I want a Gretsch. @Bartleboom: what does "it doesn’t matter how many you love/hate, but WHO" mean? Who are these chosen ones?

Someone explain to me how DeRango works, please.

@gasta: sorry, I misspoke, it would have been better if I specified that I meant kids in a metaphorical sense, mental age if you prefer (especially since I'm 26, so we're not so far apart in age).

Oops, I misspelled it: $i£vio B€r£u$coni. There, that sounds better now.

A very beautiful review and an iconic book. Orwell has written even better, reaching one of the peaks of literature of every place and time with "1984", but here too he manages to be perfectly understood by the reader. About Silvio Berlusconi, I have nothing to say but OUT OF ITALY IMMEDIATELY... then I think again and I can only agree with him that he is the most average of average Italians, and that he fits right in here.

I’ll start by saying that I never, ever, ever expected to see this comic reviewed, whose legal troubles I see are well-known; anyway, good review. As for the comic, I’ve read Martin’s “Brian the Brain” and “Snuff 2000” (in the same genre as the title reviewed here) and I can understand his poetics which, yes, is disturbing, but better disturbing and focused on the result than delicate and anonymous. I write for a comic magazine, and now I’m posting an old review of “Snuff 2000” just to expand on the discussion.