It depends, I suppose. Dan Abnett makes the ridiculous maximalism almost work, and Eisenhorn and Ravenor both manage to be pretty serious and surprisingly emotional in parts. Same with Gaunt's Ghosts. On the other hand, anything involving orks or written by Sandy Mitchell is probably going to be a bit more lighthearted and embrace the stupid-awesome over-the-top nature of the setting. I think it's more about who's writing it than the setting itself.
Think of Star Wars for a moment--it's about laser-sword-wielding kung fu space wizards, which is ridiculous. Nonetheless, there are humorous and much darker stories that fit into the setting. The same thing can be said for 40k, I think.
Think of Star Wars for a moment--it's about laser-sword-wielding kung fu space wizards, which is ridiculous. Nonetheless, there are humorous and much darker stories that fit into the setting. The same thing can be said for 40k, I think.
Best response I've seen yet. Well done, sir.Axolotl said:You've got to bear in mind just where 40K came from conceptually, I mean it's largely just typical fantasy with Star Wars tech but also with heavy helpings of Dune. However easily the biggest influence on 40K in terms of tone is 2000 AD (especially Nemesis the Warlock but not quite as preachy). Once you spot this and understand it the whole setting makes alot more sense, it's basically an exercise in camp nihilism, taking cheesy sci-fi ala Star Trek/Star Wars/Flash Gordon/Buck Rogers and so on and then making tongue-in-cheek and twisting it to be as dark as possible. Then combining this with a bunch of riffs on all the historical periods and genre styles the developers liked, filtered through artwork styled after HR Giger and Hieronymus Bosch and you end up with 40K. The whole thing is best described as a baroque characture and it take only a slight twist to remove all the satire or to make it a full on parody. And there are alot of works that do these that make it completely straight or make it a comedy with slapstick, puns and pop-culture refrences (although the slapstick involves genocide, the puns revolve around cannibalism and the pop culture is distopian literature).
So in answer to whether I take it seriously or not seriously I have to say both, simply because the setting allows for both interpretations without nessasarily falling apart.