Gaming Zitate VideoDiese Spiel-Zitate gehen uns 2015 nicht mehr aus dem Kopf The righteous and the meek may recoil at its cost Kampagne, Südamerika und mehr uvm. Long ago our ancestors reached for the stars, forging a bright new civilization across thousands of worlds. And on this day, the man, the legend, Kratos, will have his revenge. Springbok casino no deposit eher zurückgezogen in sicherer Obhut seines Brexit second referendum.
Everything the player does after first exiting the tram in the first Half-Life ends up having terrifingly far-reaching and unforeseen consequences.
Gordon fights through Xen and destroys the Nihilianth, only to find that his initial actions in the test chamber may have summoned an even greater evil.
Later, while under the thumb of the G-Man, Gordon kills Wallace Breen and seemingly harms the Combine -- and is suddenly robbed of his victory by being put into stasis once again.
Is Gordon free, or a slave? Is the G-Man good or evil? Fallout may be one of the most cynical, nihilistic game franchises in existence, which also makes it one of my personal favorites.
Cormac McCarthy would be proud. In the world of Fallout you can do varying amounts of good on your quest through the Wastelands but, more often than not, your efforts can be just as easily undone by bad luck or the corruption of others.
You can save the Ghouls of Necropolis from starvation, only to hear of their slaughter at the hands of Super Mutants.
And no matter how much good you do in the original Fallout -- no matter how quickly you save the denizens of Vault 13 from dehydration and destroy the Super Mutant base -- you will always be cast out by a hypocritical, bureaucratic Vault Overseer who claims that your heroism will make you a bad role model for the other Vault Dwellers.
Without getting into a current sociopolitical discussion, let me just say that the themes suggested in Fallout punishment of morality in an immoral world, the hypocrisy of authority, the petty and violent nature of humankind can be seen quite clearly even today.
Wars are driven by greed, necessity, stupidity, or fear -- and even after the cities have been burnt to cinders and the countryside irradiated, war will never change.
Videogames, according to Warren Spector, are work. We enjoy playing them, yes, but they also take a great deal of effort and frustration to actually complete.
Before getting our ultimate reward, whatever it may be a cool ending, a beautiful cut scene, a clever bonus level , we actually have to work to reach it.
Perhaps it was my feeble, insipid, six-year-old mind getting ahead of itself, but I fully expected the Princess to be waiting for me at the end of every goddamned castle.
Not only is this a moving, shocking, and all-around incredible quote about the consequences of blindly accepting authority, but it also represents one of the single most insightful statements ever made about videogaming in general.
Cut scenes are a form of gameplay slavery. They rob the player of control, take him out of the moment, and force him to passively witness as the events of the game -- the events he is supposed to have some degree of local agency over.
Ken Levine knows this, and chose to exploit it in creating one of the most memorable story twists of all time. When the player finds out that he has been subliminally controlled by Atlas throughout the entire game, he or she experiences a very sudden, shocking reassessment of values.
Having gone through the game thus far with the single-minded intent of beating Andrew Ryan to a bloody pulp, the player is suddenly forced to ask a question most other games would never dream of proposing to the player: Why, upon first entering Rapture, do you inject a Plasmid into his veins for seemingly no reason?
Why do you kill the innocent, nonviolent-unless-provoked Big Daddies? Why do you want to kill Ryan? The answer is depressingly simple: Not because you necessarily had any personal investment in the action, but because someone asked you nicely.
Even after realizing this, the player remains completely powerless to stop himself. Noninteractivity is used brilliantly within the context of the scene: It stands as the single greatest noninteractive cut scene in gaming history.
As a storytelling device, noninteractivity is used as a weapon against the player: Having control taken away is, within the context of the story, a tangible punishment for accepting things on face value and blindly following orders.
BioShock wants us to question authority and instruction not just for the big stuff -- politics, work, education and so on -- but for videogaming, as well.
One might suggest that questioning authority in a videogame, where structure is more or less mandatory and even the most nonlinear games still have an inescapably linear storyline, would be an ultimately meaningless gesture.
If the player is asked to mow down armies of faceless baddies simply because they are "evil," what does that even mean?
For these reasons, "would you kindly" is, quite simply, the most meaningful videogame quote of all time. It deeply affects the player on both emotional and intellectual levels; not only that, but the intensity of the former inspires the latter.
Check out more classic Destructoid articles in our Golden Archives. You are logged out. So real it hurts. Take a byte out of crime.
The fastest, most powerful, game console on earth. The fighting game for real fighters. The final test of the game master.
The game that takes you there. The more you play with it, the harder it gets. This one is totally infectious.
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