What is your EPIC-DEATH scene?
- Thread starter MDAWG909
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I would be injected with something that made my bones melt so that i just collapsed into a soggy jelly like semi fluid goo...
While surrounded by gun men, I take a shot of adrenaline. They gun me down until their out of bullets and then, in slo-mo, I disarm the first guy, take his gun and a magazine and maybe a knife, and just go to town on the rest before tearing the head off the last guy, and dying of blood loss.
Um... actually, just the battle scene against the Crazy 88 from that film would be pretty damn cool, except it would only be one 8. And that 8 would be on its side[footnote]I mean an infinite symbol[/footnote].
That's right. Shit got real.
Look at the death of the Collector General in Mass Effect 2.
I'd go out like that! Only change it slightly so I'm using a bunch of computers and machines to HELP people escape from a high tech base as it explodes around me, eventually willingly let myself die in the massive base-destroying explosion in order to pull off one last move to save the lives of my allies.
either that OR being shot down in a hail of gunfire while engaged in a gun-fight with enemy forces to stop them reaching and killing allies...then detonating explosives that I'd strapped to myself beforehand to blow myself, the enemies, and the entire room or even the entire floor of the building straight to Hell.
Yeah....I like the idea of valiantly dying in an epic explosion.
I'd go out like that! Only change it slightly so I'm using a bunch of computers and machines to HELP people escape from a high tech base as it explodes around me, eventually willingly let myself die in the massive base-destroying explosion in order to pull off one last move to save the lives of my allies.
either that OR being shot down in a hail of gunfire while engaged in a gun-fight with enemy forces to stop them reaching and killing allies...then detonating explosives that I'd strapped to myself beforehand to blow myself, the enemies, and the entire room or even the entire floor of the building straight to Hell.
Yeah....I like the idea of valiantly dying in an epic explosion.
hmmm, the ultimate death huh?
enter the room with a magnum shoot 5 guys, then with the sixth shot, shoot the villain straight between the eyes just before literally being dissolved by bullets.
enter the room with a magnum shoot 5 guys, then with the sixth shot, shoot the villain straight between the eyes just before literally being dissolved by bullets.
Take the key to the baddies power from his floating base, Jump off of the ledge and into the ocean, making sure the evil artifact is never seen again
Walk over to ground zero and shout that 9/11 was an act of justice and see how long it would take before somebody shoots me.
Shit, I knew I saw that somewhere... well at least the head part is different.baconsarnie said:
First off I'd have wings or an iron man style propulsion system (because why the fuck not?), then I'd be with my allies trying to disarm a bomb as the enemy's floating base got closer and closer. We'd soon realism that (surprise!) the bomb can't be disarmed, after taking a moment to look at everyone one last time, I'd rush forwards, grab the bomb and fly out the ceiling before anyone could stop me, then I'd fly right into the big ol' bad dude's place of operation (maybe he'd be piloting the floating fortress?). I'd be flying ridiculously fast and shooting the crap out of every enemy that got in my way (dual wielding SMGs of course), eventually I'd crash through the main antagonist's office (or something), slam the bastard into the wall and put my gun right into his face. Click. Out of bullets. I'm shot to pieces by everyone in the room and fall to the floor to the sound of the bastard's laughter. Then he sees the bomb on my belt. Camera cuts to a crooked smile before we see the entire base blow the fuck up. Fuckin' glorious.
I already posted this, but it was ages ago, and I put that much effort into it I thought I'd post it again.
It is a very early, warm, and bright summer Morn in the City of London, England. The silence is almost absolute, apart from a soft melody emitting from the Royal Festival Hall, as the London Philharmonic orchestra are practicing Bach's Air on a G-string for a concert, while the rest of the city sleeps. Suddenly the heavens are rent asunder as two Russian Migs descend from the stratosphere, disturbing the otherwise tranquil scene, they scream up the River Thames, carrying their deadly nuclear payloads to the intended target: The Houses of Parliament. However something is amiss, as flames and fire erupt from one of the Migs, its wing is sheared off and it plummmets abruptly and fatally into the murky Thames.
Screeching out of a side street appears the cause of the Migs sudden demise. An open-topped double decker London Tourbus, emblazened with Union Jacks and filled with semtex. At the wheels of this whimsical war machine is none other than Sir Sean Connery, in his suavest suit looking impecable. I am also wearing a suave suit, standing strapped to the top of bus, M-32 grenade launchers akimbo, and it was a grenade I shot that struck the first nefarious jet.
Connery contacts me on the walkie talkie strapped to my bandolier of spare grenades, and tells me in his distinct scottish accent that the one remaining Mig, which had already dissapeared around the next riverbend, is flying too fast for us to catch it by tracking alongside the Thames, but he knows a shortcut. We cut across many blank sidestreets and alleyways, whose very existence right now hang in the balance, to try and catch up with the Mig, who in following the path of the river, must take a far longer route.
Connery screams "Get ready! we will only have one shot at this" as he turns the final corner into a dark, narrow dead end alley that terminates at the Thames, just opposite the Houses of Parliament.
However there was a problem. Since Connery had last been down this alley a huge billboard had been placed at the end of the road, on the banks of the Thames, completely obscuring our view of the River, and far bank. Realising that we would never see the Mig when it passed, never mind get a shot at it, and that all was lost, Connery's voice, in a saddened exhausted tone, crackled on the walkie talkie, "Well, its been a pleasure working with you, it really has, but it looks like this is the end of the road."
I am standing sideways on the bus, my head bowed in defeat, when his words give me an idea. I lift and turn my head sideways while raising one of the guns at the billboard and say, "Where were going, we don't need roads." Two grenades erupt from the gun in quick succession, and find their mark at the base of the billboard, shattering the wooden supports so the billboard falls towards us, its top laying on the dusty road, while the bottom of the billboard is sitting on the wall of the Thames River, creating a ramp. Connery instantly knows what to do, he slams the accelerator, tears up the alleyway at a speed that seemed impossible in such a large vehicle, we hit the ramp perfectly and rocket out into the Thames, just as the Mig rounds the corner. The pilot, seeing the bus appear in his path, curses in Russian and begins to pull up. As he is about to pass over the bus I release the harness holding me down to the bus and grab a medieval greataxe embedded in the chair beside me. A running jump of the side of the double decker is all it takes to bridge the gap between me and the fighter jet. With all my weight behjind it the greataxe smashes through the cockpit glass, cleaving the pilot in twain and he jolts forward, sending the Mig into the bus. The semtex explodes from the collision in a collossal fireball, and the twisted metal husk falls into the Thames, sinking to the bottom of its murky depths. Except for a side panel of the bus which depicts the union jack, burnt around the edges and as it sinks below the waves a small orphan child standing on Westminster bridge, the sole witness of the whole affair, gives a salute and says "God save the queen".
It is a very early, warm, and bright summer Morn in the City of London, England. The silence is almost absolute, apart from a soft melody emitting from the Royal Festival Hall, as the London Philharmonic orchestra are practicing Bach's Air on a G-string for a concert, while the rest of the city sleeps. Suddenly the heavens are rent asunder as two Russian Migs descend from the stratosphere, disturbing the otherwise tranquil scene, they scream up the River Thames, carrying their deadly nuclear payloads to the intended target: The Houses of Parliament. However something is amiss, as flames and fire erupt from one of the Migs, its wing is sheared off and it plummmets abruptly and fatally into the murky Thames.
Screeching out of a side street appears the cause of the Migs sudden demise. An open-topped double decker London Tourbus, emblazened with Union Jacks and filled with semtex. At the wheels of this whimsical war machine is none other than Sir Sean Connery, in his suavest suit looking impecable. I am also wearing a suave suit, standing strapped to the top of bus, M-32 grenade launchers akimbo, and it was a grenade I shot that struck the first nefarious jet.
Connery contacts me on the walkie talkie strapped to my bandolier of spare grenades, and tells me in his distinct scottish accent that the one remaining Mig, which had already dissapeared around the next riverbend, is flying too fast for us to catch it by tracking alongside the Thames, but he knows a shortcut. We cut across many blank sidestreets and alleyways, whose very existence right now hang in the balance, to try and catch up with the Mig, who in following the path of the river, must take a far longer route.
Connery screams "Get ready! we will only have one shot at this" as he turns the final corner into a dark, narrow dead end alley that terminates at the Thames, just opposite the Houses of Parliament.
However there was a problem. Since Connery had last been down this alley a huge billboard had been placed at the end of the road, on the banks of the Thames, completely obscuring our view of the River, and far bank. Realising that we would never see the Mig when it passed, never mind get a shot at it, and that all was lost, Connery's voice, in a saddened exhausted tone, crackled on the walkie talkie, "Well, its been a pleasure working with you, it really has, but it looks like this is the end of the road."
I am standing sideways on the bus, my head bowed in defeat, when his words give me an idea. I lift and turn my head sideways while raising one of the guns at the billboard and say, "Where were going, we don't need roads." Two grenades erupt from the gun in quick succession, and find their mark at the base of the billboard, shattering the wooden supports so the billboard falls towards us, its top laying on the dusty road, while the bottom of the billboard is sitting on the wall of the Thames River, creating a ramp. Connery instantly knows what to do, he slams the accelerator, tears up the alleyway at a speed that seemed impossible in such a large vehicle, we hit the ramp perfectly and rocket out into the Thames, just as the Mig rounds the corner. The pilot, seeing the bus appear in his path, curses in Russian and begins to pull up. As he is about to pass over the bus I release the harness holding me down to the bus and grab a medieval greataxe embedded in the chair beside me. A running jump of the side of the double decker is all it takes to bridge the gap between me and the fighter jet. With all my weight behjind it the greataxe smashes through the cockpit glass, cleaving the pilot in twain and he jolts forward, sending the Mig into the bus. The semtex explodes from the collision in a collossal fireball, and the twisted metal husk falls into the Thames, sinking to the bottom of its murky depths. Except for a side panel of the bus which depicts the union jack, burnt around the edges and as it sinks below the waves a small orphan child standing on Westminster bridge, the sole witness of the whole affair, gives a salute and says "God save the queen".