u/Undergrizer1994

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Because of her emotions. Because of her heart, which is both the source of her strength and her vulnerability. This is something that could be worked on in a hypothetical comic book sequel. To preserve her emotions, but not allow them to cause actions with similar consequences.

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And after Ann/Dwan arrived on the island, an interesting conflict could have ensued. While those brides had been prepared for such a fate from childhood, Ann/Dwan wasn't, yet she became friends with Kong.

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This would allow us to, for example, learn about her relationship history with her signature outfit.

The attitude towards some outfits during the game could be supplemented with new versions of the text.

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He had a great influence on French (and not only) comics. He also contributed to such cult films as Alien, TRON (a reference to which can be seen in the character Bit), Blade Runner, James Cameron's The Abyss, and The Fifth Element (co-directed with Jean-Claude Mézières, the author of Valérian and Laureline). The spirit of the latter is clearly felt in the Gravity Rush duology, only with an emphasis on retro-punk. This influence can also be seen in the comic book Incal, which is a collection of ideas and designs from Alejandro Hadarowsky's unreleased film adaptation of Dune (as Moebius was working on it before its cancellation). Video games that bear Monsieur Giraud's influence include Panzer Dragoon and Jet Seat Radio Future (as well as its spiritual successor, Bomb Rush Cyberfunk). Tragically, Jean died a month after the Japanese release of the Gravity Rush 1.

Jean Giraud was born in a Paris suburb on May 8, 1938, to Raymond Giraud and Pauline Vinchon. He was an only child. When he was three, his parents divorced, and he was raised by his grandparents. He was fascinated by Westerns from childhood, and between the ages of 10 and 12, he began drawing his first Western comics. In 1954, at the age of 16, he entered the École Duperré, a college of design and art. There, he resumed drawing Western comics, much to the disapproval of his teachers.

In 1956, he dropped out of college to go to Mexico to live with his mother, who had married a Mexican, and spent nine months there. The Mexican desert, the endless blue sky, and the flat plains—the astonishing vistas he had previously admired on screen in Westerns—left a lasting impression on his subsequent work. After returning to France, he began working as a staff artist for the Catholic publisher Fleurus.

In 1959-1960, during the Algerian War, Giraud was drafted into military service. Thanks to his graphic arts training, he managed to avoid the front lines, serving as an illustrator for an army magazine and a logistician. During his service, Giraud encountered many exotic cultures and, just as in Mexico, absorbed the experience, which left a lasting impression and left its mark on his later comics, especially those created under the pseudonym "Mœbius."

Giraud drew his first comic, the humorous western "Frank et Jeremie," at the age of 18 for the magazine "Far West." He worked for the publishing house Fleurus from 1956 to 1958. In 1961, he became an apprentice to the Belgian artist Joseph Gillain. In 1963, together with Belgian screenwriter Jean-Michel Charlier, he created the first comic in the Lieutenant Blueberry series, which continues to be published today. Giraud adopted the pseudonym "Moebius" in 1963, when he turned to science fiction.

He contributed to the British magazine "New Worlds," edited by Michael Moorcock, and illustrated books by Moorcock, Samuel Delany, Philip K. Dick, and Roger Zelazny.

In 1974, Giraud, along with Philippe Drouet, Jean-Pierre Dieunet, and Bernard Farkas, founded the magazine Métal Hurlant (French for "howling metal"). The quarterly publication specialized in adult comics, primarily in the genres of science fiction, horror, and erotica. Many leading European artists collaborated with the magazine, and the visual style of the published comics was always distinguished by its high quality, professional, and often experimental graphics.

Métal Hurlant had a huge influence on the comics world, not only in Europe but also in the United States and Japan, as well as on artists, illustrators, and graphic designers of the time and subsequent generations.

In 1974-1975, Giraud's four-part comic book Arzak, the first wordless comic in the genre, immediately became a cult classic. The visual style of Arzak influenced the development of the classic American superhero comic style. Hans Giger and Mike Mignola (creator of Hellboy) recalled being struck by this particular Moebius comic. Likewise, Japanese animation director Hayao Miyazaki said that the aesthetics of Arzak greatly influenced the design of his 1984 animated film Nausicaä of the Valley of the Wind. Miyazaki and Giraud had been friends for many years; Giraud even named his daughter Nausicaä.

In 1975, while filming Dune, based on the novel by Frank Herbert, Giraud met American screenwriter Dan O'Bannon, who was to be responsible for the special effects. In his free time before filming began, Dan wrote and illustrated a short detective story set in a future world. The comic parodied many tropes of science fiction and noir detectives. O'Bannon showed the comic to Giraud, who liked the story so much that he asked permission to illustrate it and publish it in Métal Hurlant. O'Bannon agreed and forgot about it, not taking his creation too seriously. In 1976, "The Long Tomorrow," illustrated by Giraud, appeared in Métal Hurlant, and in 1977 in the first issue of Heavy Metal. Thanks to its original style, The Long Tomorrow is considered a precursor to the cyberpunk visual style. Ridley Scott used it as a reference when creating the future world of Blade Runner, and George Lucas in The Empire Strikes Back. The Long Tomorrow had a strong influence on William Gibson, author of the cyberpunk classic Neuromancer, and Katsuhiro Otomo, creator of the iconic manga and anime Akira.

In the late 1970s, Giraud entered the film industry. He worked on the art direction for the cancelled film Dune by Chilean writer and director Alejandro Jodorowsky, producing over 3,000 drawings. In the 1980s, they collaborated on the comic book series Incal, which was published in Métal Hurlant.

He collaborated with director Ridley Scott on Alien (1979) and Blade Runner (1982). He designed costumes for the cyberpunk film Tron (1982). For the animated film The Lords of Time (1982), Giraud not only designed but also wrote the screenplay. In 1989, Giraud collaborated on the Japanese English-language animated film Little Nimo and James Cameron's The Abyss. In the mid-1990s, he returned to film, working on Space Jam and The Fifth Element.

In the early 2000s, Giraud became one of three participants in the Italian project to illustrate "The Divine Comedy," drawing illustrations for "Paradise." In 2003, the animated series "Arzak," created by Giraud based on his own comic strip, was released.

Giraud died after a long battle with cancer on March 10, 2012, in Paris at the age of 73. He was buried on March 15 at Montparnasse Cemetery.

Thanks to him for influencing our beloved duology.