Limiting the option to a single instance does little to nothing to alleviate this presented problem. It is precisely the lack of a simple menu option (concerning the difficulty) that doesn't need to be earned in some way or form that enables for the tension to take and have effect.Seth Carter said:A fair argument. Simple solution, lock the difficulty in (or only let it move up from the initial setting).Rooster Cogburn said:I want uncompromising tension and genuine challenge that can't be trivialized with a menu, and a crafted experience that doesn't resemble repetitive encounters lining long hallways.
The lore in Dark Souls is a puzzle and the pieces can be found throughout the game. You can't expect to complete a puzzle with only a couple of its pieces. The AI is at times truly hilarious, especially if there are multiple players (co-op). Hopefully it is improved for the Dark Souls 2. Armor weight has no bearing on how much you take fall damage (right...?) as it is a constant. No matter how much health you have the same fall does to your character the exact same amount of damage in percents as it would with any other set of statistics, I think. Also, for the Gaping Dragon to take you that long of a time to defeat your equipment simply must not have been upgraded at all. Or you made the mistake of summoning NPC phantoms to seemingly help you out. Even hitting the Gaping Dragon in the head (weakest point) with any basic +5 weapon should end the fight in no more than 10 minutes. Then there are also several buffs that you could have used to improve your damage output.Seth Carter said:Rather then bloat the post, I've spoiler tagged my brief summary of Dark Souls below which actually does contain praise.
I actually found the premise interesting, and the lore sort of interesting (albeit rather limited, unless it ups itself at some point after Blightown, where I dropped off the game). On the other side, theres a fair amount of glitches (Attacks going through walls, getting enemies stuck in walls), hideous AI (Luring/Kiting, also the hilarious tendency to be able to trick them into power attacking off a cliff, and one guy I killed by running circles in a stairwell cause my armor was light enough to avoid the fall damage), and stuff that makes the game seem dated or poorly made like getting stopped up on a shin height tree root or piece of rubble or homing arrows that curve in midair). And the main determinator in my dropping the game off was the Gaping Dragon, where it was basically defeated in spirit 3 minutes in when I figured out how to take it on, but the battle was artificially extended to 20some minutes by raw HP inflation.
Much like games are quite easily accessible in many stores as either physical or downloadable copies. Getting to see a painting is no harder than managing to buy a game and place your newly bough game disc into a disc drive. This is not what the experience paintings and games can provide you with consists itself of. You can view the painting all you want but without first comprehending it it has no content or meaning to you. As is with games, some paintings may simply require more from you than others or present themselves in a way that is especially difficult for you to comprehend (in a way that gives meaning) or even enjoy at all. The same holds true for any form of art or entertainment; some works demand more than others. Neither is intrinsically better, but individuals can appreciate one over the other.Artists put their paintings in public museums, they don't put it up in a tower you have to scale.
Ideally an artist creates only out of a desire to create something. In general it shouldn't matter whether your work will be appreaciated by others or not. If the work is genuine it most likely will be appreciated by some, which is of course a positive thing for all parties, but the creation of the work shouldn't be dependent on this.