The Witcher 3, that one slow walk in the house on the Isle of Mists, best goddamn cutscene I've witnessed over my long years of gaming.
Dramatic Video Game Moments.......You DID took seriously?
- Thread starter Samtemdo8_v1legacy
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Oh inFAMOUS , you really fooled me.
The first inFAMOUS comes along and it's all slightly gritty with a bunch of comical stuff in between. Am I Lightning Skinhead JESUS or Lightning Skinhead EMPEROR PALPATINE?
After that horrific ordeal you'd think they'd cut Cole a break in inFAMOUS 2.
tl;dr, inFAMOUS is the only Cole Train that I will ever need in my entire life.
And then inFAMOUS: Second Son....which sucked ass so I'm not going to bother talking about it.
Bottomline, I thought inFAMOUS was a feels train. Sue me.
The first inFAMOUS comes along and it's all slightly gritty with a bunch of comical stuff in between. Am I Lightning Skinhead JESUS or Lightning Skinhead EMPEROR PALPATINE?
Cole's girlfriend, Trish, dies after she's dangled from a rooftop and Cole has to decide whether to save her or five innocent doctors who are dangled on another roof. The kicker isn't as much the death itself, but Trish's final words to Cole when he tries to revive her.
If Cole has been good throughout the game until that point, she tells Cole that she's proud of him for everything that he's done to try and save people right before she dies in his arms.
Now if you've been Evil, Trish tells Cole that she's ashamed of him for all the people he's hurt to get the powers that he has before still dying. This hurts twice as much if you've already done the Good route. It also serves as a good Wham Line for people to rethink their alignment in both cases.
If Cole has been good throughout the game until that point, she tells Cole that she's proud of him for everything that he's done to try and save people right before she dies in his arms.
Now if you've been Evil, Trish tells Cole that she's ashamed of him for all the people he's hurt to get the powers that he has before still dying. This hurts twice as much if you've already done the Good route. It also serves as a good Wham Line for people to rethink their alignment in both cases.
After that horrific ordeal you'd think they'd cut Cole a break in inFAMOUS 2.
The Unstoppable God Monster known as "The Beast" strolls along to Cole's home city and destroys it along with its entire population, while at the same time draining Cole of his powers and almost killing him. This is right after several civilians either ran away in terror of realizing they had to deal with Cole or The Beast (If you've been evil in the last game) or that their one true savior gets his ass beat in front of them and is powerless to stop them (If you were good in the last game).
Then it's all rednecks, swamp monsters, ice freaks and even more mutants right before The Beast shows up in the new city that Cole is in and they can't even stop it after dropping a nuke on it.
Then there's another subplot for Cole's fat sidekick best friend Zeke who we all saw coming in the first game to be the typical "Best Friend without powers got jealous" storyline. And then he came back to try and help however he could, even giving Cole a new melee weapon in the beginning of the game. All of which culminates to the end of the game....
In the good ending, you're tasked with using a device known as the RFI to destroy the beast, but there's a large chance that it won't just kill The Beast, but anyone who is or could be a Conduit (Person with superpowers in the inFAMOUS universe). And to make matters worse, he and Zeke had a goodbye hug. Once you've done The Beast's boss fight and beat one of the main characters who betrayed you before the final ending decision. Right before Cole activates the RFI, he admits that he's scared of dying to said character who betrayed him right before finally activating the device and ending The Beast. Instead of being scared of him as usual, the people in New Marais build a monument to Cole while Zeke takes his body out to sea. (Though there's a lightning strike at the end that might hint that Cole will be back...so do with that what you will)
In the evil ending, you join The Beast and wipe out every single person in your way. Which means that you'll have to destroy the RFI as well. But Zeke has it...so you go in to a standoff with Zeke, while he tries desperately to shoot you down, you have to blast him down there and then. And understandably, Cole is also sad because of this. Though after that Cole starts activating more conduits and eventually starts his own genocide on humanity, BECOMING The Beast.....no one catches much of a break in this series do they?
Then it's all rednecks, swamp monsters, ice freaks and even more mutants right before The Beast shows up in the new city that Cole is in and they can't even stop it after dropping a nuke on it.
Then there's another subplot for Cole's fat sidekick best friend Zeke who we all saw coming in the first game to be the typical "Best Friend without powers got jealous" storyline. And then he came back to try and help however he could, even giving Cole a new melee weapon in the beginning of the game. All of which culminates to the end of the game....
In the good ending, you're tasked with using a device known as the RFI to destroy the beast, but there's a large chance that it won't just kill The Beast, but anyone who is or could be a Conduit (Person with superpowers in the inFAMOUS universe). And to make matters worse, he and Zeke had a goodbye hug. Once you've done The Beast's boss fight and beat one of the main characters who betrayed you before the final ending decision. Right before Cole activates the RFI, he admits that he's scared of dying to said character who betrayed him right before finally activating the device and ending The Beast. Instead of being scared of him as usual, the people in New Marais build a monument to Cole while Zeke takes his body out to sea. (Though there's a lightning strike at the end that might hint that Cole will be back...so do with that what you will)
In the evil ending, you join The Beast and wipe out every single person in your way. Which means that you'll have to destroy the RFI as well. But Zeke has it...so you go in to a standoff with Zeke, while he tries desperately to shoot you down, you have to blast him down there and then. And understandably, Cole is also sad because of this. Though after that Cole starts activating more conduits and eventually starts his own genocide on humanity, BECOMING The Beast.....no one catches much of a break in this series do they?
tl;dr, inFAMOUS is the only Cole Train that I will ever need in my entire life.
And then inFAMOUS: Second Son....which sucked ass so I'm not going to bother talking about it.
Bottomline, I thought inFAMOUS was a feels train. Sue me.
Shadow of the Colossus: the entire game (seriously).
Pretty much all of the parts of Kingdom Hearts II involving Roxas or Namine. (tears were shed)
The adam and eve video in Assassin's Creed II. (got me so excited for the possibilities of the story and ubisoft just wasted it all)
And also many of the moral choices in the Fallout games (and to a lesser extent Oblivion): I still haven't figured out what to do about the living tree guy in Fallout 3.
Pretty much all of the parts of Kingdom Hearts II involving Roxas or Namine. (tears were shed)
The adam and eve video in Assassin's Creed II. (got me so excited for the possibilities of the story and ubisoft just wasted it all)
And also many of the moral choices in the Fallout games (and to a lesser extent Oblivion): I still haven't figured out what to do about the living tree guy in Fallout 3.
Sniper Wolf's back story in Metal Gear was something I watched at because I really liked her boss fight in the snowy field. I was curious about this boss and I could tell I would get something out of her. Then she told her story, I played through until I beat the game, earning the stealth item and re-played the game immediately after this time watching every last cutscene. Sniper Wolf's backstory is the reason I started caring about the plots and characters of the games I played.
Took seriously as in it made me feel something other than mere surface emotion?
Hmm not many games have done that or films or music or shows I suppose a few books have but I digress hmm I suppose Valkyria Chronicles managed it from me in a few scenes especially the few death scenes one of your teammate and one of the enemy as well as its final scene. In the anime however it elicited no such reaction for me except a laugh at how poorly it was handled there.
Only other one I can think of was in FFVII with Red XIII and when he finds out about his father in the caves of the Gi that still gets me to this day everytime I play it.
If you count Steins gate as a game (which I dont as its a visual novel) then I would throw a lot of that in there as well. Which kinda surprised me about how much I ended up liking it and feeling for the characters and story.
Interesting how these are also quite possibly my favourite games as well.
Hmm not many games have done that or films or music or shows I suppose a few books have but I digress hmm I suppose Valkyria Chronicles managed it from me in a few scenes especially the few death scenes one of your teammate and one of the enemy as well as its final scene. In the anime however it elicited no such reaction for me except a laugh at how poorly it was handled there.
Only other one I can think of was in FFVII with Red XIII and when he finds out about his father in the caves of the Gi that still gets me to this day everytime I play it.
If you count Steins gate as a game (which I dont as its a visual novel) then I would throw a lot of that in there as well. Which kinda surprised me about how much I ended up liking it and feeling for the characters and story.
Interesting how these are also quite possibly my favourite games as well.
Samtemdo8 said:
Just when you thought it was safe to lampshade...Silentpony said:
Suddenly, everyone posts.
Fallout has the darkness of the world being destroyed by war thrust against the tongue-in-cheek humor of a world gone wildly mad, and that is good, but is it devoid of drama? No. It has it, sometimes in the strangest of places.
But for openers, though, the main characters of the games are mostly pretty tragic. The Vault Dweller (in the very first Fallout) was just going on a mission to repair Vault 13 by finding a new water chip in the wasteland when he got dragged into the troubles OF said wasteland where people are just barely surviving. You come back victorious and your Overseer basically has you shut out. If you have the Bloody Mess perk you DO get to kill him, but it's still terrible. The only GOOD thing is that the Vault Dweller establishes a colony and a family, buuuut...
In Fallout 2, the Chosen One (descendant of the Vault Dweller) is trying to save his people by bringing home a Garden of Eden Creation Kit to restore the land's eco-system and make it livable again. Upon finding one in Vault 13, you find a colony of intelligent Deathclaws who are totes fine with you taking one, and you even meet a scholar who can join your team. Cool! But then...you get back to the Arroyo to find that everyone's dead by the hands of the Enclave, who have also taken several people for study. And you also find out that they've been to Vault 13 and slaughtered the talking Deathclaws, the ONLY Deathclaws to have left you well enough alone. When you and a talking, thinking Deathclaw are essentially bonding over similar tragedy, you got drama, boy.
In Fallout 3, you have of course the intro of being raised by your father in-game after your mother dies at childbirth, your father leaving the Vault and you having to go find him, and then after you do...he gets killed because he didn't want the Enclave to control Project Purity. I knew something bad was gonna happen, but considering I vaporized Mr. Burke as he was drawing on Lucas Simms, I thought I could do something... Oh, and if you go back and solve things in your own Vault, you will of course be kicked out again. Dammit... Of course, ANOTHER tragedy about Fallout 3 is the fact that the Brotherhood of Steel here was REALLY DAMN DECENT...and once the Lyons died out, they went back to being those goofy zealots, probably worse, in Fallout 4.
New Vegas is a little less tragic in that it's mostly about the exploits of the Courier after he was shot by "I can't fucking aim to save my life, even at point-blank" Benny., but the situations surrounding you could get pretty bad. For instance, couple this music [https://www.youtube.com/watch?v=CRefjYYgtgw] with the backstory of the Sierra Madre, which is essentially about the greed of the casino and how, as the war drew on, the owner (Frederick Sinclair) was actually building it as a fallout shelter for his wife (Vera Keyes)...whom he knew was having an affair with Dean Domino, the expy of Dean Martin, who was obsessed with both her and the money of the Sierra Madre. The further tragedy, of course, is that she killed herself with drugs... And what's also sad is how Christine - the Brotherhood of Steel operative who's been trailing Father Elijah and was first made mute and then given Vera Keyes' voice - elected never to return from the Sierra Madre, which is inhabited by thousands upon thousands of Ghost People... And then, as I was leaving...
For one ghastly moment, I thought it was Christine, but it was just a ghost...
Then, of course, we have you and ED-E. This is sort of only kind of tragic, but it still hit me fairly hard. SO! You're off in the darkest, dankest, most horrible place you've ever seen in Fallout: New Vegas, The Divide. You don't know what happened here, but on your way in...you find ED-E. Wait, what? But he's back in New Vegas, right? Well, the little Eyebot has his mind zipping back and forth between bodies, apparently. He's a welcome companion since there is so much in here trying to kill you, some of it OP as shit for no other reason other than it CAN. (Tunnelers were a STUPID idea, Bethesda. They're not Legendary beasts, so give it up.) Ahem... Anyway, you're going through this pretty-damn-terrible wasteland where you have NO allies apart from ED-E, and you're finding out that ED-E may be more than he seems. That dickhead, Ulysses, wants him for some reason, and apparently it's because he has the command codes for all the old world nukes in The Divide. During this time, you've always learned that ED-E associates himself with a childhood show robot, Ralphie, trying to keep himself out of the hands of a 'mean old general'. Sounds familiar, given that Ulysses takes over ED-E for a while to get the command codes. My reaction was definitely "You bastard!", and Ulysses really is a bastard. He has reasons, but he's bastard still. I mean, he IS out to send an old world nuke straight into the heart of New Vegas and destroy everything, if not all of NCR with even more nukes, all because you happened to deliver a package where the device (It was probably another eyebot with command codes.) detonated a ton of nukes UNDER your current setting. But how the fuck could YOU know? You're just a Courier, like him! I, personally, tried to kill him several times, but it was too hard because I wanted ED-E alive and he kept dying. And then, it turns out to get the good ending to Lonesome Road, ED-E (or at least this version of him) has to sacrifice himself.
*Clears throat* I DID blow Ulysses off of that cliff he was sitting on with a Fatman later. He deserved it.
Additional: I'm not done with Fallout 4 yet, actually. I tend to do that. I love these games.
But for openers, though, the main characters of the games are mostly pretty tragic. The Vault Dweller (in the very first Fallout) was just going on a mission to repair Vault 13 by finding a new water chip in the wasteland when he got dragged into the troubles OF said wasteland where people are just barely surviving. You come back victorious and your Overseer basically has you shut out. If you have the Bloody Mess perk you DO get to kill him, but it's still terrible. The only GOOD thing is that the Vault Dweller establishes a colony and a family, buuuut...
In Fallout 2, the Chosen One (descendant of the Vault Dweller) is trying to save his people by bringing home a Garden of Eden Creation Kit to restore the land's eco-system and make it livable again. Upon finding one in Vault 13, you find a colony of intelligent Deathclaws who are totes fine with you taking one, and you even meet a scholar who can join your team. Cool! But then...you get back to the Arroyo to find that everyone's dead by the hands of the Enclave, who have also taken several people for study. And you also find out that they've been to Vault 13 and slaughtered the talking Deathclaws, the ONLY Deathclaws to have left you well enough alone. When you and a talking, thinking Deathclaw are essentially bonding over similar tragedy, you got drama, boy.
In Fallout 3, you have of course the intro of being raised by your father in-game after your mother dies at childbirth, your father leaving the Vault and you having to go find him, and then after you do...he gets killed because he didn't want the Enclave to control Project Purity. I knew something bad was gonna happen, but considering I vaporized Mr. Burke as he was drawing on Lucas Simms, I thought I could do something... Oh, and if you go back and solve things in your own Vault, you will of course be kicked out again. Dammit... Of course, ANOTHER tragedy about Fallout 3 is the fact that the Brotherhood of Steel here was REALLY DAMN DECENT...and once the Lyons died out, they went back to being those goofy zealots, probably worse, in Fallout 4.
New Vegas is a little less tragic in that it's mostly about the exploits of the Courier after he was shot by "I can't fucking aim to save my life, even at point-blank" Benny., but the situations surrounding you could get pretty bad. For instance, couple this music [https://www.youtube.com/watch?v=CRefjYYgtgw] with the backstory of the Sierra Madre, which is essentially about the greed of the casino and how, as the war drew on, the owner (Frederick Sinclair) was actually building it as a fallout shelter for his wife (Vera Keyes)...whom he knew was having an affair with Dean Domino, the expy of Dean Martin, who was obsessed with both her and the money of the Sierra Madre. The further tragedy, of course, is that she killed herself with drugs... And what's also sad is how Christine - the Brotherhood of Steel operative who's been trailing Father Elijah and was first made mute and then given Vera Keyes' voice - elected never to return from the Sierra Madre, which is inhabited by thousands upon thousands of Ghost People... And then, as I was leaving...
For one ghastly moment, I thought it was Christine, but it was just a ghost...
Then, of course, we have you and ED-E. This is sort of only kind of tragic, but it still hit me fairly hard. SO! You're off in the darkest, dankest, most horrible place you've ever seen in Fallout: New Vegas, The Divide. You don't know what happened here, but on your way in...you find ED-E. Wait, what? But he's back in New Vegas, right? Well, the little Eyebot has his mind zipping back and forth between bodies, apparently. He's a welcome companion since there is so much in here trying to kill you, some of it OP as shit for no other reason other than it CAN. (Tunnelers were a STUPID idea, Bethesda. They're not Legendary beasts, so give it up.) Ahem... Anyway, you're going through this pretty-damn-terrible wasteland where you have NO allies apart from ED-E, and you're finding out that ED-E may be more than he seems. That dickhead, Ulysses, wants him for some reason, and apparently it's because he has the command codes for all the old world nukes in The Divide. During this time, you've always learned that ED-E associates himself with a childhood show robot, Ralphie, trying to keep himself out of the hands of a 'mean old general'. Sounds familiar, given that Ulysses takes over ED-E for a while to get the command codes. My reaction was definitely "You bastard!", and Ulysses really is a bastard. He has reasons, but he's bastard still. I mean, he IS out to send an old world nuke straight into the heart of New Vegas and destroy everything, if not all of NCR with even more nukes, all because you happened to deliver a package where the device (It was probably another eyebot with command codes.) detonated a ton of nukes UNDER your current setting. But how the fuck could YOU know? You're just a Courier, like him! I, personally, tried to kill him several times, but it was too hard because I wanted ED-E alive and he kept dying. And then, it turns out to get the good ending to Lonesome Road, ED-E (or at least this version of him) has to sacrifice himself.
*Clears throat* I DID blow Ulysses off of that cliff he was sitting on with a Fatman later. He deserved it.
Additional: I'm not done with Fallout 4 yet, actually. I tend to do that. I love these games.
Xion and Roxas's "final" encounter in the DS version of Kingdom Hearts: 358/2 Days...
Within the whole context of that event, even the one line that one would have laugh at ends up being the one that gets to me in the feels...
Other than that, would you kindly...
Other than that, would you kindly...
Several parts of Nier.
A few parts of FF9 (special shout out to You're Not Alone).
A couple of moments in Crystal Chronicles.
Some of Majora's Mask.
Usually if a game shows something dramatic I'll laugh because they actually put something like that in the game which is a rarity to me, but I'm more moved by implied drama.
A few parts of FF9 (special shout out to You're Not Alone).
A couple of moments in Crystal Chronicles.
Some of Majora's Mask.
Usually if a game shows something dramatic I'll laugh because they actually put something like that in the game which is a rarity to me, but I'm more moved by implied drama.
God, Mordin's death in ME3 was heartbreaking. Seriously. I can't describe how badass it was in the end. I knew the paragon interrupt wouldn't work and I still did it.
The part in Bastion where the Kid is carrying Zulf's unconscious body through a horde of pissed off Ura warriors that are trying to kill him, only to stop when they realize he isn't fighting back. Hell, when one starts shooting at the Kid, one of the Ura kills him to make him stop. After that, when you arrive at the Bastion, the narration stops and you can hear Zia talk. I just found that to be a really cool moment.
Roland's death in Borderlands 2. I had to stop playing the game and sit outside for a while when that happened. I maintain that that's how you do a death scene right. You do it to a character that you get to know and talk to for hours and hours on end, not two hours after you meet them and five minutes after an exposition dump on their backstory. It's far too much of an indicator if you give the player backstory during a single calm moment after so much high octane action. Rolan died almost suddenly without so much as a warning. Yeah, I saw it coming. Didn't make it any less impactful when it happened.
The part in Bastion where the Kid is carrying Zulf's unconscious body through a horde of pissed off Ura warriors that are trying to kill him, only to stop when they realize he isn't fighting back. Hell, when one starts shooting at the Kid, one of the Ura kills him to make him stop. After that, when you arrive at the Bastion, the narration stops and you can hear Zia talk. I just found that to be a really cool moment.
Roland's death in Borderlands 2. I had to stop playing the game and sit outside for a while when that happened. I maintain that that's how you do a death scene right. You do it to a character that you get to know and talk to for hours and hours on end, not two hours after you meet them and five minutes after an exposition dump on their backstory. It's far too much of an indicator if you give the player backstory during a single calm moment after so much high octane action. Rolan died almost suddenly without so much as a warning. Yeah, I saw it coming. Didn't make it any less impactful when it happened.
Aw really? I haven't been a Xbox gamer for years now but when I was, Gears of War was one of my favorite game series of all time.Samtemdo8 said:
Ryallen said:
undeadsuitor said:
That was especially sad when you were playing as renegade Shepard.The Purple Grape said:
Oh, I wasn't thinkin' about that when I came in here but yeah, Dom's death man, the music God damn makes that scene.BabyfartsMcgeezaks said:
Adam Fenix I didn't take too seriously, I mean, I didn't laugh at it but it kinda fell flat for me but Dom's death still hits.
Anyway.
To The Moon left me in a weeping heap, there was a time when I could throw myself completely to a game's story and that thing tore me to shreds.
On the opposite end of the spectrum for the same reasons, Heavy Rain. Like I said, I was so focused on throwing myself into it that I sorta became blind to all the things that don't work in that game, what it was meant to be came across, not necessarily what it was. It didn't absorb me *that* much though I was still able to laugh when the Zaibatsu picked it apart and nod my head in agreement to most of the flaws they pointed out.
Um, no?Samtemdo8 said:
I think this thread is kind of redundant, as not being able to take something seriously is the exception rather than the rule. It would be easier for me to say "these are all the dramatic moments I can't take seriously," and then by default, establish that every other moment is one that I did. Not that that stops people from posting such moments, but for me, it's far too much time, and far too many games. Just assume that every game I speak of glowingly in terms of plot is one I took seriously unless it was obviously not serious, and therefore enjoyable for different reasons.
There's this part in The Witcher 3. Right at the end.
Lore-wise, Witcher mutations strip an individual of their ability to express emotions, it takes something incredibly powerful to even provoke a facial twitch. Now, with that in mind, there's this point if you get a certain ending (the one where you take Ciri to go see Charles Dance) where it dawns on Geralt that this is almost certainly the last time he'll ever see a character he's very close to.
His facial expression at that moment is so appropriate and well crafted I doubt I'd expect it in even an amazing film with top tier actors.
When a characters reaction is that well put together, it puts this finishing touch on the illusion that makes you empathize with the characters in ways that fiction is only very, very, incredibly rarely capable of.
Lore-wise, Witcher mutations strip an individual of their ability to express emotions, it takes something incredibly powerful to even provoke a facial twitch. Now, with that in mind, there's this point if you get a certain ending (the one where you take Ciri to go see Charles Dance) where it dawns on Geralt that this is almost certainly the last time he'll ever see a character he's very close to.
His facial expression at that moment is so appropriate and well crafted I doubt I'd expect it in even an amazing film with top tier actors.
When a characters reaction is that well put together, it puts this finishing touch on the illusion that makes you empathize with the characters in ways that fiction is only very, very, incredibly rarely capable of.