" Maybe you don't like the style. If anyone says comics are bad in a serious manner in this thread they will be destroyed. "
I agree. I don't hate the format I just really can't get into it. I dunno I just find it weird that all these characters I love originated from something I don't really like at all.
It takes a lot longer to get into comics because they are inherently a rather slow form of storytelling. They need more time to cover the same ground as even just an episode of a cartoon, not to mention a motion picture. There's a reason there are three different Sin City books woven into one movie.
If you still want to get into comics, you have to trust that it happens eventually. It can be difficult, because even though you like the stories told in the cartoons and movies, it doesn't mean you're guaranteed to connect with where the comic is at currently. I would suggest going back to story arcs that people like, and even THEN you can't expect to be hooked instantly. Just keep "surfing" the comic book you're interested in based on your experience with the arc you read. Saw a character in it that interested you? Ask the communities for stories involving that character and so on. Eventually you're more broadly "into" the book, and you become interested in characters and events that unfold in a way that a lot of comic books take for granted. That presumption about the readers is what makes it so hard to connect to initially, because they are mainly serving people with prior investment.
I went through this exact same thing a little over a year ago and I can absolutely relate. Good luck in your endeavours.
On the internet we are our words. If your words are sexist, homophobic, racist, then you'll be perceived as such. It's incredibly simple. There's no pride in creating a bad atmosphere, making people feel uncomfortable and then going "fuck em!". If that's your whole thing, then at least don't be surprised when people peg you for an asshole.
@Djratchet: If you've played a lot of Amplitude, Typewriter will easily make the most sense. Just put your index and middle finger on A and B and rest the controller on your leg. Would've mentioned it earlier if I noticed you mentioning it. Fellow Amplitude/Frequency fan here.
Alright, following up on what I said earlier, I've now put in twoish hours with the Madcatz SF4 Fightpad and the Typewriter config. Absolutely superb. Highly recommended.
Typewriter. On standard controller right now, but arcade stick post gave me some ideas. I have a fightpad around here somewhere that might make switching tracks snappier. There's just no way any of the other control schemes work for me when things start heating up. Using thumbs to keep a beat feels plain unnatural to me.
You can save Silent Hill, but by doing so it would need to step away from the imagery and elements that have made SH too familiar. "Fans" - incidentally going on about how the unknown defines the series - are the first to dismiss a take that is different. That's why the series is stuck eating its own tail.
This can be done by anyone with a solid vision and the freedom to explore new venues with the IP, you don't need to namedrop industry celebs to get it back on track. Or, perhaps more accurately - back off track.
Uncharted absolutely had its problems, but Uncharted 2 did little to address them. The individual components of Drake's Fortune hint at a much more gamey game than Naughty Dog were attempting to make - if we are to take 2 and 3 as indications of what they were gunning for all along - and that promise makes me remember the first game more fondly than either of its sequels. I realise in hindsight that the game they were making wasn't the mindful puzzle solving, taxing platforming and rewarding combat amalgamation I was looking for, but going into Among Thieves I definitely didn't expect it it to pile scripted spectacle on top of virtually the same game. Its prefab "almost misses" and "almost falls" numbing the sense of real, player-dependent urgency and adventure, and its puzzles working on the assumption that you check your convenient in-game instruction manual - effectively turning most of them into distance to be travelled.
There's something to be said for the storytelling aspects of Uncharted 2, however, and it breaks some really cool ground in terms of bringing narration and gameplay together - so much so that the clashes between the two that were left unattended prompted the "Nathan Drake is a psychopath" angle. That, purely because for the first time the rules of the GAME bled into the rules of the NARRATIVE, and that's actually a bit of a compliment. More so than people give it credit for.
Its framing of set pieces and the momentum and cohesion of its "campaign" design is what people respond so positively to over its predecessor, but looking squarely at the part where it's a video game, very few of Drake Fortune's issues are actually resolved with Uncharted 2. They're just spackled over *beautifully*.
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