Not badass and heroic. Well-written. As opposed to abruptly cutting off a story arc that had been established in 201 and was never satisfyingly resolved, with little to no regret on the part of the other characters. When the automatic reaction to Sarah's gruesome and tragic death is an apathetic "oh, yeah, well, it was always going to happen, let's move on" then you know that, somewhere along the line, the narrative has gone awry.
yea i agree but they should have handled nick a little better but lets talk serious here guys did everyone really expect sarah to have a bad… moreass heroic death? cause that was never going to happen and the way sarah was acting in 204 there was no way there was time for goodbye
I can get what you mean. I played it in my early teens and it's difficult to play even the first one now because it's so kiddy in context. The later ones got a bit more mature, but there's only so much you can do when Disney is involved. That and like I've mentioned, the story got far too complicated and weighed under by spin-offs x_x I struggle to keep interested as much as I once did.
I love Kingdom Hearts, this scene was so sad... you would feel it if you played Kingdom Hearts 358/2 Days, also they brought time travel to the series... which never really goes well... and the third instalment is going to have major gameplay changes... which might not go well either...
I'm sad we didn't get to talk to Nick one last time, but I'm okay with how he went because I can think 'hey he died trying to do some good i… moren trying to get help' although having to chop his head open was terrible! Jane, could you have handed me that screwdriver maybe, like, before? I swear Telltale were just torturing us on that. I was fine with Sarah's first death, but the second made me feel a little hopeless. Couldn't she have survived at least until the shootout and died then?
But I guess the problem is if you have EVERY character go out with a tragic stretched out death scene or them dying heros, that in itself would just get really old. I think Nick and Sarah's deaths were to show how often death happens in that world and characters have to just deal with it, or they'll break down and die too. But also too that Clem and the others aren't always going to have the chance to say goodbye [look at the tv show for example, wasn't there tha… [view original content]
She pretty much committed suicide... she knew she would be defeated in her final form... and she was also only a puppet that was created by Vexen, a member of an evil organization of nobodies trying to make themselves whole, who they were before they died... it's very complicated xd, Roxas ends up forgetting Xion existed
I'm not so sure. For instance, I personally prefer hard science fiction to space-opera but then that's just me.
Also, would you rather hear some symbolic folk story that has absolutely no sense of logical reality (princesses appearing out of donkeys ears, the north wind living in a nutshell etc.) or a story that's more rooted in a reality we all can understand.
Personally I like realism, even magic realism, but realism but that preference is probably just down to my personal perspective.
Yes, Sarah and Nick's deaths were realist, the only problem with me is that the game is not realist most of the time: A 11 years old girl kicking a door open, Kenny who got "lucky, real lucky", adults relying on a little girl for everything, Clem's superhuman force...
I absolutely loved EP4 (the episodes are getting better and better) except for that.
I would say that the point is that you can create a good story without it being realistic, and it will still be worth something. Whereas if you make your story realistic and it's told badly, then all you've got on your hands is shitty story-telling, worth nothing at all.
I'm not so sure. For instance, I personally prefer hard science fiction to space-opera but then that's just me.
Also, would you rather he… morear some symbolic folk story that has absolutely no sense of logical reality (princesses appearing out of donkeys ears, the north wind living in a nutshell etc.) or a story that's more rooted in a reality we all can understand.
Personally I like realism, even magic realism, but realism but that preference is probably just down to my personal perspective.
What? How is Alvin remaining alive in Carver's office completely impossible? We don't know the extent of his injuries,
And realistic isn't always necessarily what's best dramatically. We have to buy into certain unrealistic things, like hyper competent 11 year olds, to get into a story. Not saying a hyper competent 11 year old is impossible, just unrealistic, but it's one of the foundations of this particular story. A story like this also has deaths that conveniently happens after, or is the cause of, some sort of emotional closure. Not impossible, but are a hell of coincidence to happen so often. Without these, stories like this won't be very fulfilling.
I personally don't find the notion of shambling, unintelligent zombies being able to defeat modern day militaries very realistic, for example. But I'll accept it happens somehow because, do I wanna get into a zombie apocalypse story or not? Btw, nevermind the existence of zombies in the story, supernatural or otherwise, in the first place. That has nothing to do with the point I'm trying to make.
There's rushed and there's expedient. I agree with you in the case of Sarah, but in Nick's case it felt like an easy way to get rid of a det… moreerminate with minimal editing either way. If he is alive in episode 3, he shows up as a zombie. If he's dead, the model is simply replaced with a generic zombie. At least for me, it wasn't the way Nick died, but the way the writers seemed to avoid branching aka having choices actually matter.
I'm not so sure. For instance, I personally prefer hard science fiction to space-opera but then that's just me.
Also, would you rather he… morear some symbolic folk story that has absolutely no sense of logical reality (princesses appearing out of donkeys ears, the north wind living in a nutshell etc.) or a story that's more rooted in a reality we all can understand.
Personally I like realism, even magic realism, but realism but that preference is probably just down to my personal perspective.
There's a difference between deaths being sudden and surprising and deaths being rushed and kind of lazy. Carley's death is the former. Carley died suddenly and unexpectedly, but there was great buildup beforehand - even before she died you could sense that something was about to go wrong. Conversely, Sarah's death also happened suddenly, but there wasn't really any buildup that suggested it was going to happen. Which would have been fine if she were a less important character, but this is Sarah we're talking about, not Brie or Travis.
Sure, the group was in immediate danger on that platform, but I honestly thought that everyone would make it out of that particular scenario. It just wasn't the right moment to kill someone that important off, IMO.
Not to mention that when Carley died she at least had already served the story well. Not only did she help get everyone out of the dairy, she also give Lee the opportunity to tell the rest of the group about his past. Sarah, while definitely a well-developed character personality-wise, never really got the chance to contribute to the story. She never even got to use a gun. Now both she and her dad are dead, with nothing to show for it. Even the characters seem to forget that they're even dead. It's just not satisfying, at all.
Comments
Not badass and heroic. Well-written. As opposed to abruptly cutting off a story arc that had been established in 201 and was never satisfyingly resolved, with little to no regret on the part of the other characters. When the automatic reaction to Sarah's gruesome and tragic death is an apathetic "oh, yeah, well, it was always going to happen, let's move on" then you know that, somewhere along the line, the narrative has gone awry.
I can get what you mean. I played it in my early teens and it's difficult to play even the first one now because it's so kiddy in context. The later ones got a bit more mature, but there's only so much you can do when Disney is involved. That and like I've mentioned, the story got far too complicated and weighed under by spin-offs x_x I struggle to keep interested as much as I once did.
I love Kingdom Hearts, this scene was so sad... you would feel it if you played Kingdom Hearts 358/2 Days, also they brought time travel to the series... which never really goes well... and the third instalment is going to have major gameplay changes... which might not go well either...
She pretty much committed suicide... she knew she would be defeated in her final form... and she was also only a puppet that was created by Vexen, a member of an evil organization of nobodies trying to make themselves whole, who they were before they died... it's very complicated xd, Roxas ends up forgetting Xion existed
I'm not so sure. For instance, I personally prefer hard science fiction to space-opera but then that's just me.
Also, would you rather hear some symbolic folk story that has absolutely no sense of logical reality (princesses appearing out of donkeys ears, the north wind living in a nutshell etc.) or a story that's more rooted in a reality we all can understand.
Personally I like realism, even magic realism, but realism but that preference is probably just down to my personal perspective.
I guess you're right, but the thing is... killing off a character in a realistic fashion will upset people.
Yes, Sarah and Nick's deaths were realist, the only problem with me is that the game is not realist most of the time: A 11 years old girl kicking a door open, Kenny who got "lucky, real lucky", adults relying on a little girl for everything, Clem's superhuman force...
I absolutely loved EP4 (the episodes are getting better and better) except for that.
I would say that the point is that you can create a good story without it being realistic, and it will still be worth something. Whereas if you make your story realistic and it's told badly, then all you've got on your hands is shitty story-telling, worth nothing at all.
What? How is Alvin remaining alive in Carver's office completely impossible? We don't know the extent of his injuries,
And realistic isn't always necessarily what's best dramatically. We have to buy into certain unrealistic things, like hyper competent 11 year olds, to get into a story. Not saying a hyper competent 11 year old is impossible, just unrealistic, but it's one of the foundations of this particular story. A story like this also has deaths that conveniently happens after, or is the cause of, some sort of emotional closure. Not impossible, but are a hell of coincidence to happen so often. Without these, stories like this won't be very fulfilling.
I personally don't find the notion of shambling, unintelligent zombies being able to defeat modern day militaries very realistic, for example. But I'll accept it happens somehow because, do I wanna get into a zombie apocalypse story or not? Btw, nevermind the existence of zombies in the story, supernatural or otherwise, in the first place. That has nothing to do with the point I'm trying to make.
You're right on that one. It's just lazy.
I'd like a story that was good, realistic or not. And not one that kills off established characters unceremoniously with no buildup.
There's a difference between deaths being sudden and surprising and deaths being rushed and kind of lazy. Carley's death is the former. Carley died suddenly and unexpectedly, but there was great buildup beforehand - even before she died you could sense that something was about to go wrong. Conversely, Sarah's death also happened suddenly, but there wasn't really any buildup that suggested it was going to happen. Which would have been fine if she were a less important character, but this is Sarah we're talking about, not Brie or Travis.
Sure, the group was in immediate danger on that platform, but I honestly thought that everyone would make it out of that particular scenario. It just wasn't the right moment to kill someone that important off, IMO.
Not to mention that when Carley died she at least had already served the story well. Not only did she help get everyone out of the dairy, she also give Lee the opportunity to tell the rest of the group about his past. Sarah, while definitely a well-developed character personality-wise, never really got the chance to contribute to the story. She never even got to use a gun. Now both she and her dad are dead, with nothing to show for it. Even the characters seem to forget that they're even dead. It's just not satisfying, at all.