Best build ups in games?

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The Wykydtron

"Emotions are very important!"
Sep 23, 2010
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Ok, what are your personal favourite build ups in a game and why?

I would have to say those... Blue tentacle head snake things? Yeah let's go with that, in Dark Souls. They're only in the big spiral staircase room in Seeth's place. The way the lizard people let them out of a giant cage then absolutely leg it out of the room and lock the door, zero attempts to attack you (for once) and you have to go through these things for the key out of there. These things even crawl up the stairs slowly at you to be even more dramatic.

Well, they're actually piss easy. I don't even know their damage values or attacks really. I just tear though their slow asses every time :p

That's not important though! The build up is awesome!


The room at the start of this hilarious video to be clear

 

hazabaza1

Want Skyrim. Want. Do want.
Nov 26, 2008
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While I have a lot of issues with the new Tomb Raider it certainly knows how pace itself so the end level feels cool as fuck.

Seriously, the whole game is a build up for this one final level. You spend most of the game with Lara getting all beaten and bruised and she's obviously in a bad state but when the final level shifts to
gunning down at least a fair hundred undead samurai and climbing up the tallest mountain on the island as it falls apart with wind and snow and shit blowing.
It was pretty good.
 

Shoggoth2588

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Aug 31, 2009
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I haven't beaten Final Fantasy VI but Kefka. You go through the game watching him commit atrocities as a human being and eventually destroy the planet to become God. You fight the guy numerous times and have many, many reasons to hate the guy. When you finally fight the guy for the last time, beating him is extremely satisfying.
 

Mordekaien

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Sep 3, 2010
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This scene... Those last words are beyond awesome.
 

Tom_green_day

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Jan 5, 2013
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Mass Effect 3... as in, the previous 2 games all lead up to it? They have a definate rise in tension- ME(1) has you fighting
1 Reaper and an Indoctrinated Turian, who are killing some people and doing harm here and there
And then ME2 has you fighting
a race turned by the Reapers, quite a lot bigger than the previous threat, stealing quite a few humans too
Then in Mass Effect 3, you're fighting
ALL der Reapers, who are frying whole planetloads of people at a time
You can't pretend that's not a tension curve and a half.
 

Fractral

Tentacle God
Feb 28, 2012
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The whole last month of persona 3 and the whole last month of persona 4. With persona 3 there's this feeling of the whole city is dying, with all the lost just collapsed everywhere, and the horrible depressing music, whereas in persona 4 it's personal, because you're chasing down the guy who
tried and nearly managed to kill your little sister and has tried to kill all of your friends repeatedly.
 

DoPo

"You're not cleared for that."
Jan 30, 2012
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Second Sight. The entirety of it.

The game starts off...generic. Your character wakes up in a strange facility, presumably medical, bandaged up and with no real memory. The into to the game showed him being interrogated or something, so the injuries could have been from then...or not. At any rate, amnesiac, strange place and, oh, he has psychic powers too. OK but a bit generic. He tries to escape and as he does, you get a flashback of him joining up with a military unit. Not being military but he's going to travel with them and so, he needs basic training. Cue the tutorial. Rather cute done, but still - he didn't have psychic powers, though.

The game progresses with the protagonist being on the run from whoever imprisoned him in the facility and also trying to understand what happened. The game cuts back to other him having flashbacks of presumably what happened right before. Overall, the idea is that he was erm, can't remember what - expert or something, but he was to travel with a military unit somewhere to stop something. And evidence suggests, they failed, the unit was wiped and the protagonist was captured. However, something weird happens at one point - when the main character finds out that another expert that travelled with the unit was killed, and she was the only lead for further info...the game cuts to a flashback where you save her and then in the present she is alive again, but hiding. Wow, that was...interesting. What the heck is the protagonist? Game goes on, there is more pieces of the puzzle and more flashbacks, some of which affect the present.

The grand finale comes, the protagonist faces off with the lead antagonist and...the antagonist cannot be defeated. After the military operation, he wizened up and you alone, just cannot get to him at all. All is lost - everything was doomed from the start.

Except...not. The flashbacks the protagonist was getting? They weren't flashbacks. He had latent ESP potential and during the mission, it manifested showing him visions of the future, if the unit fails. So the flashbacks were the present, while the "present" was flash forwards. And you manage to stop the villain in the "past" using the new knowledge you posses.
 

TheYellowCellPhone

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Sep 26, 2009
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Call of Cthulhu: Dark Corners of the Earth.

That is to be expected with a game that was based off of Lovecraft. The entire game you never know who the main antagonist is or who you will be facing or what terror has happened to you or the area you are in.

It really perfected Lovecraft's greatest suspense of "Missing the climax and piecing it together".
 

Gottesstrafe

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TheYellowCellPhone said:
Call of Cthulhu: Dark Corners of the Earth.

That is to be expected with a game that was based off of Lovecraft. The entire game you never know who the main antagonist is or who you will be facing or what terror has happened to you or the area you are in.

It really perfected Lovecraft's greatest suspense of "Missing the climax and piecing it together".
Ditto, who would've guessed that after the entirety of the game and all the Lovecraftian otherworldly cosmic horrors you've come to face that the main antagonist was ACTUALLY

A damn falling rock

Back on topic: Portal. You go through half the game thinking that you are simply in a high tech testing facility (albeit one with a shoddy safety code) being barked at by an AI while researchers are ostensibly studying your progression with clipboards through an opaque one-way window. Except for a few inconsistencies in the AI's voice that gradually develop over the game's progression and a few hidden areas with graffiti scribbled on the walls, you have no reason to suspect differently until

GLaDOS tries to have you immolated in a furnace. You're forced to escape into the extremely dilapidated inner maintenance hallways and office spaces of the testing facility, only to see the place completely deserted. You eventually piece together for yourself that the facility may have been abandoned for quite a long time now, something that GLaDOS admits to by releasing neurotoxin throughout the facility the second it became self-aware. I think the most chilling part of the game for me was when I managed to find my way into the hallway with the doors that lead to the observational rooms overlooking all of the testing rooms, only to see that they've been empty the entire time.
 

Terminate421

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Jul 21, 2010
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This:


I have never felt this hyped up about something until the ending to Skyrim in which you go here:

 

fix-the-spade

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Feb 25, 2008
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Going bac ka long way now, my favourite build up/opening is still Hal Life. Even though it's obvious that everything will go the way of the pear at the first opportunity, it's still cool to watch it happen. It's also the first time in my whole gaming life where I the player had been present during the disaster, as opposed to showing up to the aftermath (Doom, Quake/2, Pathways into Darkness, system shock etc), it made me tremendously hyped for the rest of the game.

King of Asgaard said:
The big twist in the original Bioshock.
Need I say more?
For those few who missed out on the original, would you kindly elaborate?
 

King of Asgaard

Vae Victis, Woe to the Conquered
Oct 31, 2011
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fix-the-spade said:
Going bac ka long way now, my favourite build up/opening is still Hal Life. Even though it's obvious that everything will go the way of the pear at the first opportunity, it's still cool to watch it happen. It's also the first time in my whole gaming life where I the player had been present during the disaster, as opposed to showing up to the aftermath (Doom, Quake/2, Pathways into Darkness, system shock etc), it made me tremendously hyped for the rest of the game.

King of Asgaard said:
The big twist in the original Bioshock.
Need I say more?
For those few who missed out on the original, would you kindly elaborate?
Sure thing.
Towards the end of the game, you're coming close to Andrew Ryan's room, when you see charts on the wall which all seem interconnected. The audio logs which were the most recent up until that point were talking about genetic science, which culminates in the creation of a child who does whatever he's told. It's as if he was created as a puppet. Anyway, you think nothing of it, and walk into Ryan's room and meet up with him. That's when, in the middle of Ryan's final speech, he says the phrase 'Would you kindly?', which reduces Jack (main character) to a puppet. Then come the flashbacks, showing the use of that phrase throughout the game, from Atlas specifically. Then it hits you: what you've treated as a linear game has really only been linear because you've been ordered down a specific path, to do specific things. You had no choice but to chase Ryan down and kill him (which Ryan orders you to do himself). This is followed by the revelation that you are actually the aforementioned child and that you are Ryan's son, which explains why you and no one else can use the Vita Chambers (that is, because they are set to Ryan's DNA). The final revelation is that Atlas, your ally from the first minute that you arrived in Rapture, is actually the reportedly dead Frank Fontaine, and that you had been created in an attempt to dethrone Andrew Ryan and hand control over to him.
I realise that this is a bit much to ingest from text alone, so here's the scene in question:
So really, once all this is revealed, you realise that the whole game is the build up to the scene.

So yeah, impressive stuff.
 

hazabaza1

Want Skyrim. Want. Do want.
Nov 26, 2008
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King of Asgaard said:
fix-the-spade said:
Going bac ka long way now, my favourite build up/opening is still Hal Life. Even though it's obvious that everything will go the way of the pear at the first opportunity, it's still cool to watch it happen. It's also the first time in my whole gaming life where I the player had been present during the disaster, as opposed to showing up to the aftermath (Doom, Quake/2, Pathways into Darkness, system shock etc), it made me tremendously hyped for the rest of the game.

King of Asgaard said:
The big twist in the original Bioshock.
Need I say more?
For those few who missed out on the original, would you kindly elaborate?
Sure thing.
Towards the end of the game, you're coming close to Andrew Ryan's room, when you see charts on the wall which all seem interconnected. The audio logs which were the most recent up until that point were talking about genetic science, which culminates in the creation of a child who does whatever he's told. It's as if he was created as a puppet. Anyway, you think nothing of it, and walk into Ryan's room and meet up with him. That's when, in the middle of Ryan's final speech, he says the phrase 'Would you kindly?', which reduces Jack (main character) to a puppet. Then come the flashbacks, showing the use of that phrase throughout the game, from Atlas specifically. Then it hits you: what you've treated as a linear game has really only been linear because you've been ordered down a specific path, to do specific things. You had no choice but to chase Ryan down and kill him (which Ryan orders you to do himself). This is followed by the revelation that you are actually the aforementioned child and that you are Ryan's son, which explains why you and no one else can use the Vita Chambers (that is, because they are set to Ryan's DNA). The final revelation is that Atlas, your ally from the first minute that you arrived in Rapture, is actually the reportedly dead Frank Fontaine, and that you had been created in an attempt to dethrone Andrew Ryan and hand control over to him.
I realise that this is a bit much to ingest from text alone, so here's the scene in question:
So really, once all this is revealed, you realise that the whole game is the build up to the scene.

So yeah, impressive stuff.
I think you missed it or you're being incredibly in depth for the sake of an ironic joke.
 

King of Asgaard

Vae Victis, Woe to the Conquered
Oct 31, 2011
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hazabaza1 said:
King of Asgaard said:
fix-the-spade said:
Going bac ka long way now, my favourite build up/opening is still Hal Life. Even though it's obvious that everything will go the way of the pear at the first opportunity, it's still cool to watch it happen. It's also the first time in my whole gaming life where I the player had been present during the disaster, as opposed to showing up to the aftermath (Doom, Quake/2, Pathways into Darkness, system shock etc), it made me tremendously hyped for the rest of the game.

King of Asgaard said:
The big twist in the original Bioshock.
Need I say more?
For those few who missed out on the original, would you kindly elaborate?
Sure thing.
Towards the end of the game, you're coming close to Andrew Ryan's room, when you see charts on the wall which all seem interconnected. The audio logs which were the most recent up until that point were talking about genetic science, which culminates in the creation of a child who does whatever he's told. It's as if he was created as a puppet. Anyway, you think nothing of it, and walk into Ryan's room and meet up with him. That's when, in the middle of Ryan's final speech, he says the phrase 'Would you kindly?', which reduces Jack (main character) to a puppet. Then come the flashbacks, showing the use of that phrase throughout the game, from Atlas specifically. Then it hits you: what you've treated as a linear game has really only been linear because you've been ordered down a specific path, to do specific things. You had no choice but to chase Ryan down and kill him (which Ryan orders you to do himself). This is followed by the revelation that you are actually the aforementioned child and that you are Ryan's son, which explains why you and no one else can use the Vita Chambers (that is, because they are set to Ryan's DNA). The final revelation is that Atlas, your ally from the first minute that you arrived in Rapture, is actually the reportedly dead Frank Fontaine, and that you had been created in an attempt to dethrone Andrew Ryan and hand control over to him.
I realise that this is a bit much to ingest from text alone, so here's the scene in question:
So really, once all this is revealed, you realise that the whole game is the build up to the scene.

So yeah, impressive stuff.
I think you missed it or you're being incredibly in depth for the sake of an ironic joke.
But I must obey the master!
[sub][sub][sub]So, the latter.[/sub][/sub][/sub]
 

MysticSlayer

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Apr 14, 2013
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The final battle against Mumkhar/Metal Face in Xenoblade Chronicles. Ever Metal Face led the attack on Colony 9 towards the beginning of the game, I was anxiously anticipating the battle. When it was very clear that Mumkhar and Metal Face were the same person, and, remembering how Mumkhar had betrayed Dunban at the Battle of Sword Valley, it only made me anticipate the battle even more. Fighting through the massive Mechon forces to reach Galahad Fortress (you fight him right before you infiltrate the fortress) proved an excellent build up as well. The battle and aftermath didn't disappointment. While the battles with Egil, Dickson, and Zanza were also built up well, I think the early impact of Mumkhar and the amount of time you spend chasing him down made his build up the best in the game.

Also I remember really enjoying the buildup to Fort Schmerzen in Medal of Honor: Allied Assault as well. Essentially, you have to incorporate everything you've learned in the game-sniping, stealth, incognito espionage, and just good firefighting skills-to make it to the fort. Running through the basement with a gas mask on (it's a mustard gas facility) and understanding you'll have to rush to get out before the fort collapses on you aids in building the tension. Then, it really doesn't matter if you rush to get out (something you learn after a few play throughs), so they sort of fumbled right at the end. Still, the build up to it was great.
 

UrinalDook

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Jan 7, 2013
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It seems that in this little corner of the internet, Halo: Reach is generally regarded as the weakest entry in a franchise that isn't really all that great. Which, frankly, baffles me because I think it's a superb FPS, and easily the best entry in the series with the obvious exception of the nostalgia-fest that started it all.

I won't go into the details of why I think Reach is sorely underrated round here, but I will offer it up as an example of a game that knows how to do build up. I suppose it is at least fitting, in a game where everyone already knows the ending before they even fire up the disc.

Not only does Reach do build up very well within the context of its own narrative, I think it's also an excellent peak for the series as a whole to cap out on. Some examples:

Reach finally let you play a level in space, controlling a spaceship.

Reach finally gave the Covenant a sense of threat; they actually do something.

Reach finally let us see precisely why other Spartans aren't as successful as the MC.

Reach finally brought us face to face with Dr Halsey.

Reach finally let us fly a Pelican (yeah I know it's an easter egg, it still counts).

The game pretty much flat out tells you from the start that your character won't be making it out, but I think the way it builds to that is brilliant. There are just enough moments in the story to give you a little hope. You succeed in driving the Covvies away from a key base, showing they can be beaten. You succeed in finding out how they got to the planet undetected. You get the UNSC moving quickly enough that a counter attack might work, and for a brief few seconds it looks like it did. Even then, you quickly come up with a plan to counter this newest threat and even that works. For a few minutes.

The ultimate tragedy of the story is that you are successful far more often than you fail. There are simply more of them than there are of you, and they just keep coming. Every victory is stifled moments later with an even bigger threat. As more and more of your team buy the farm, you feel the game putting more and more pressure on you. Every level sees the Covenant getting more and more challenging, and your team getting smaller and smaller.

Then Reach throws its final hope spot at you. You've made it, your mission is complete and you're only metres away from a transport that will take you to safety. Then, all at once the enemy you've seen in the background the entire game appears and kills the guy who had already sacrificed himself to get you to safety. To get Cortana and the Autumn off planet, you're going to have to make that sacrifice. To get there, you have to go through not only the toughest individual enemy of the game, but a bunch of guys who would essentially be the boss of any other level.

And even then, the game's theme of 'but there's an even harder enemy' continues. Only moments after you take down the Elite in charge of the entire ground operation, a goddamned cruiser turns up. Now, as the Master Chief you do indeed kill a lot of aliens. You see cutscenes where MC takes out gigantic carriers with borrowed bombs. You've fought and beaten two Scarabs at once, you've killed the chieftain of the Brutes and blown up the wreckage of the Covenant's flying city. But you've never taken out one of the cruisers that have been hovering over battlefields since the first game's third level in actual freakin' gameplay. For it's grand climax, Reach lets you do just that.

And it's still not done. The credits roll, and you're left alone against a legion of enemies. There's only one thing to do, and that's go out in a blaze of glory. And blam, you're back at the very first scene of the game.

That, my friends, is build up.
 

skywolfblue

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Build up as in "Plot foreshadowing" or "Enemy foreshadowing"?

For Plot foreshadowing, I'd go with Bioshock: Infinite. Bioshock 1's reveal was a bit more surprising, but it was a bit simplistic. Bioshock: Infinite has you wondering WTF is going on (In a good way). The mysterious man and woman (Lutece twins) that appear throughout the game with carefree attitudes and silly banter, the Tattoo on the hand and how the prophet knew booker was coming, and so on. There are a ton of strange details that eventually all make sense.

For Enemy foreshadowing... I'll pick an odd one here: Arthas (from Warcraft). Despite being a very stereotypical cartoon style villain, it takes two games and three expansions to finally take him down. Even though in Wrath of the Lich King he basically did a "I'm not going to kill you yet, I'm making you stronger before I kill you and raise you up" every time he shows up, it was done very well, in an imposing way. I was always excited to see him show up, and know that later on that expansion I'd finally be able to kill him after so many years. Even if the boss fight itself wasn't the most memorable, the build up was definitely one of the highlights of the game.
 

Soviet Heavy

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Killzone 2 had one hell of a buildup to the final assault. The game drops you straight into combat from the first moment you are given a gun, and does not let up for half the game. However, after the second act takes a slower pace than the first (traveling to the refinery, rescuing your teammates and defending your flagship). Then a nuke goes off. All the gains you made in the game are reduced to a radioactive crater, and the remaining Helghast forces in Pyrrhus fall back to Visari Palace. You fight through the entire army on your way to the throne room. The steps to the palace doors have got to be the most intense firefight I've ever fought in a game. Dozens and dozens of elite troopers falling back deeper and deeper into their fortifications, and you have to root them out one at a time.
 

Darren Carrigan

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I'd like to say Mass Effect 2 had an awesome build-up and beginning for the Suicide mission.
Mass Effect 3 too but that could be attributed to the game in general all setting up the ending...
yeah...