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| DonFerrari said: I wasn't talking about how good Mario games are (because they are good). I was saying that the story offered good enough entertainment for you to keep watching even tough you say it's bad. While a game with no storie or a bad one you wouldn't be able to keep the attention for so long just on watching others play. SPOILER 1 - It isn't necessary to kiss the guy, you can even let him to die if you want. Or at the end decide to live with a different person. But I do agree that the relationship with him is poor, altough a lot of love stories put weak reasons for a girl to suddenly go crazy about a prick. 2 - The native americans are unecessary, but it do show the humans tempering with the other domain ghosts and the consequences, and history repeating itself. And the older boy was a better option than the "policeman", and he wasn't a douche, just shut from people from outside, the younger brother wasn't a good matching because of age - but I could accept if they decided to use him instead. And you don't need to kiss all the guys (you can refuss to kiss him), basically just give you the option to kiss or not so you can start deciding with whom you want her to be after all. 3 - That is because you aren't supposed to think he is a villain (because he isn't), he believed he was a hero bringing better thing to all, and he was tender to Jodie. Basically each other transferred their feelings of parenthood/childhood to the other. If they developed the loss of the family and the impact more you wouldn't be so surprised at the end. Altough I don't like when a history keeps element away from you to cause awe, I love when everything is said but we are too silly to note. 4 - Maybe you are confunded by the non-linearity of the tale... in homeless she wasn't that powerfull yet. She was still a hookie in the CIA, and not that skilled with Aiden yet.. altough maybe she could have saved herself you forgot that she get tired/sick after using her powers too much... You done 4 shows for your homeless friends, played for money, robbed a supermarket, fought 4 guys, delivered a baby, saved a lot of people from the fire, etc... have you had time to think that she was tired and almost collapsing and them she got saved? It actually shows that all humans are fallible even a strong willed woman. Maybe the history is a little deeper than your rushed judgement made from not playing and immersing in the game, but just watching someone bash the history 100% of the time for the gigs. And you are a expert in Dave Cage work by watching someone play and comment one game? |
1. Watch this video at 21minutes: https://www.youtube.com/watch?v=1TND984HW1s
3. Definition of Tragic Villain: A character who, although acting for primarily 'evil' or selfish goals, is either not in full control of their actions or emotions and the reader or viewer can sympathize for due to them not being evil by choice; but rather by them being a victim of circumstance. These villains can face a crisis of conscience in which they submit to doing evil. These villains often have confused morals believing that they are doing moral when in fact they are doing evil.
The main point of my statement though was that such a huge, pivotal moment in the story was just clumsily jammed into the game with cheap tricks and bad writing leading you to not really empathise with Dafoe when he ultimately became a tragic villain.
Also, some of the way you worded that statement confused me a bit so I apologize if this isn't exactly what you mean, but this seems to be a victim of Beyond's pointless non-linearity. You seem to be saying that if they played a bigger role, you would realize that they were gone and lose the shock when you find out they died and that may be true. HOWEVER, that does not make it well written. If the story was arranged linearly this wouldn't really be a problem in the first place and would make the game much better. I have stated before that I love non-linear stories when done right, but Beyond seems to answer all the questions before the questions are actually asked leaving you with no sense of mystery or tension throughout the game.
4. Homeless occurs chronologically after her CIA training, after Somalia and after she kills many CIA agents...she was pretty damn powerful at the time. Sure that is a lot but she was in a pretty dire situation (showing pretty much no signs of fatigue written into the story) and the solution was that an essentially powerless guy just walked in, somehow flew over the flames and walked out unscathed with a 100+ pound woman in his arms. Seems pretty farfetched to me....
For my arguments, I've seen a lot of "Yeah, it could've been a lot better" or, "Yeah, that didn't really make sense"...is that really what makes a good story? As I said, I see fragments of things that are good (albeit often heavily trope-y) but they collapse behind bad writing and what seems to me like multiple layers of pretension. Honestly, I can't think of any reason why Beyond needed to be non linear other than the fact that QD thought that meant it would be more complex or artistic. It seems like they just took the story and threw it in a blender and glued it together. A good non-linear story builds up plotpoints paralel to each other, leading to a climactic revelation, it does solve problems before they arise...
