PS—Set the next game in Baltimore, you fucking cowards. I’m fucking tired of LA.

Will grow and become better people.

Anyway, rant over. (11/11)

It doesn’t deconstruct the tropes it’s playing with for the sake of parody or lampooning the genre; it takes those tropes apart and then uses them to build something back up.

It reconstructs. It reconfigures.

I’m eager to see just how these chucklefucks (10/?)

A much needed shot of whimsy to a genre that’s so desperate for it.

It treats its heroes *like* heroes, warts and all. It lets them go out and do good, despite it being their job/obligation. It refuses to give into the Nolan-esque urge to darken the mood. (9/?)

That’s why Superman is my favorite superhero.

We want to *believe.*

Dispatch understands this better than most, though that understanding’s buried under the premise of an absurdist office dramedy. That being said, it feels like a breath of fresh air and (8/?)

Want to believe that the world can be *better.*

We watch because we want to see good triumph, no matter how fleeting that triumph is nor how long it took to get there.

That’s why I tend to stick to shows like Kamen Rider and Ultraman. (7/?)

We do not watch superhero movies because we hate the genre.

We do not care about these stories because Sir Killington Killer of the New Hampshire Killers murdered six different orphanages while on the trail of Nazi McFascist.

We care because, if only for a moment, we (6/?)

(Snarky, lampoons itself constantly, refuses to treat the premise seriously, expects the audience to constantly be in on the joke).

Both categories fundamentally misrepresent and, more poignantly, misunderstand *why* superheroes are popular. (5/?)

Most Western/US superhero media made post-July 18, 2008 falls into two very broad categories: Nolan’s Spank Bank (dark, gritty, refuses to let the heroes be heroes, “realistic” to the point of mockery, pessimistic as all hell) or Wannabe Joss Whedon Show (4/?)

The little “X will remember this” blurbs hint at might not be worth it (or at least they haven’t become relevant to my playthrough yet).

Another thing that’s really sticking with me is how the game treats its “heroes,” both on and off the clock. (3/?)

Via obtuse and sometimes inscrutable context clues will definitely turn people off, though it’s not as bad as it could be.

Second, the cinematic choices DO seem to have some impact during the story, but I feel like whatever delayed payoff (2/?)