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It actually started as a 2-year contract. I agree he seems happy there and I think it's actually the best possible place for him. The Daily Show format + advertisers/corporate meddling would restrict what he's able to do.
Yeah, he's often right in his argument, he just doesn't make it honestly or fairly. A lot of people who might agree with the message are turned off by the tactics and oversimplified/condescending tone. It sucks for a lot of reasons: A high-profile messenger should hold themselves to a higher standard to better convey…
From a lot of the same people who tried to get F9/11 pulled from theaters, I'd imagine.
I feel like everyone with a political agenda and some friends on the other end of the spectrum thinks they're Frank Grimes. We all believe we're the only sane, hard-working people in a cartoon universe, but we're probably only right about the second thing.
I'm actually a little disappointed, as a big fan of Willmore on The Daily Show. Most of that is from the format. I find panel discussions with comedians to be insufferable, especially in 6-minute chunks with a studio audience and a lot of participants. There's not enough time for a real discussion, so you just get…
People don't bring up black on black murder after deaths like this because they're actually interested in discussing its causes. It's a deflection of a difficult conversation. It's a way of saying "well, they kill themselves more than cops do, so the cops thing isn't worth talking about".
The incredible incompetence of young people, who should be ashamed for struggling to do anything with the flaming shit pile the previous generations managed to cook up.
Everything with the street surgeon is gold.
The Zoidberg crying gag kills me every time.
I think JC2 believes it knows how stupid it is, but it's only about halfway there. Holy crap is it fun to play though.
Maybe they should make this stuff more like Doom to begin with, rather than setting it in Africa or Australia or Nepal and having you be a white American who kills a bunch of natives. The devs are the ones creating the weird context for it.
Got the same impression, and more to the point, it's totally fair to criticze a game's setting and point of view (or lack of one). If all you're making is a shooter where it's fun to shoot the guys, why construct a setting like this? That's what makes it weird.
For all its problems, I felt like Metal Gear Solid 2 did the "even though now that you know you were being manipulated, you don't have any realistic choice except to fight the final boss" thing pretty well. It points out how you were chosen because you would follow orders, no matter how weird things got, and plays…
My problem with Bioshock was that it couldn't pay off its big reveal about your lack of agency by offering you any real choices afterward. You still have to follow the path they laid out, with popups instructing you what items to pick up and use, and you still have other characters telling you what to do next. It…
I confess I've never understood the drive to 100% a game if the task itself is tedious or not fun. FFX had absolutely horrible minigames, so I gave up on them rather than let it ruin the game for me.
I always liked when, after he closes the pit he casts them into, he turns and opens it just a bit to hear their screams fade away. He lets go of most of his rage, but a little bit of it is part of him, and he lets himself enjoy hearing his obsessions "die".
Beneath it is another, and above it yet another.
This is the first explanation I've heard for the Fire + Water beatdown that makes character sense. What we learn about Locke as the show goes on reveals how fragile he is if something shakes his faith or reminds him of past betrayals.
Good satire isn't just about parodying it's target to flatter it. The original has no self-awareness about what it is, or to any degree that it does, it's totally mercenary about it. The point of the parody is to say, "Hey, this is manufactured stereotypical garbage, why do we continue to reward people for this shit?"…