Williamson keeps improving with Birthright. He never loses what he’s already done, but he develops further–and not with his flashbacks to fantasy land, which get tiresome (something the father realizes too, in a great scene). Instead, he’s able to reveal things about the family without having to use a flashback. It comes up in the conversation, with the older brother reminding Conan of their lives before fantasy land.
What’s particularly compelling about Birthright is how seriously Williamson takes both sides of the story. I’m dismissive of the fantasy elements because I’m not interested in them. But he’s still doing a tough story about this sword and sandal alternate reality; he never forces the tough. There’s an idealism, but a grounded one.
And the family stuff is just getting better. It’s getting so good, actually, Bressan’s a little too clean for it.
Birthright isn’t just impressive, it’s getting more so.
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