The 360 had far less RAM than the average PC of 2010, and the engine has had a memory leak since Morrowind. I never finished New Vegas due to that, even on PC. Moving to a 64-bit version of the engine with Fallout 4 helped a lot, just because it took longer to run out of memory.
The monitor has to send some data to the computer to tell it what screen resolutions it accepts. VGA, HDMI, and DisplayPort will all do that for sure. Less certain about component, composite, and S-Video.
Fuck yes. A slave that takes on the slave owning Templar? Sign me up all day, I want to run into a confederate camp and crush them.
Freedom Cry, the standalone expansion for Black Flag, was essentially this concept in the Carribean. You play as Adewale, a slave turned pirate turned Assassin, and liberate plantations.
Cowboy Bebop and the Ghost in the Shell movies are great places to start.
Anyway, it's not so much a change in what's being produced as what's being imported to the US. There was a good mix of shonen and seinen at first, but shonen sells more merch so we get a lot of it now. Just watch stuff tagged as seinen if you want more mature themes or more sex and gore.
That one VTM player: "Your blood? Can I diablerize the son of God? And if so, does Jesus count as a 0th generation vampire, being an aspect of God, or a 1st generation vampire, being God's son and childe?"
This has been a problem for far, far, longer than you think. The silver age definitely had it, the golden age probably did, and I wouldn't be surprised if it cropped up in the proto-superhero stories, like Zorro. It's a consequence of having a long-form story where the narrative's status quo isn't allowed to meaningfully change and characters either aren't allowed to die or aren't allowed to stay dead. Recurring antagonists also can have much richer characterization and more complex relationships with the protagonists, which makes writing stories about them more appealing the more often they appear.
The usual trajectory for a new superhero or new incarnation of an existing superhero is to start off with street-level problems, then get a nemesis that has strong ties to those street level problems, then have the dynamic between the two grow in prominence to eclipse all other parts of the plot. The Joker, for instance, always starts off as either a mob boss with a gimmick or a serial killer with a gimmick, not far removed from the mundane crime Batman always starts with, but always winds up with a fixation on Batman and spawns stories designed as some commentary on Batman's no-killing rule. Again and again and again, dozens of times over the decades.
Why? Because the dynamic between the two characters tends to be fascinating and results in audience engagement.
Worse. The network went under and they finished up the show with the remaining budget, cramming the front half of what was supposed to be season 5 into season 4. They didn't get picked up by TNT until after they filmed the series finale. After unexpectedly getting renewed, they filmed a new season 4 finale and pushed the already filmed finale back to the end of season 5. And JMS had to scramble to fill content now that half of it had already been used.
Going to be completely honest, Dexter isn't worth finishing. The first few seasons are fun, but the show struggles to actually go anywhere until the final season, at which point it goes straight into a ditch. I think I lost any lingering respect for the show around season 6 and kept watching due to sunk cost fallacy and nostalgia for the first couple seasons. I haven't watched the spinoffs, but the only one that's finished so far apparently followed the same trajectory over much fewer episodes.
Now I want to play Plague Inc...