Most gut-wrenching cutscene in a video game. (maybe spoilers)

[QUOTE="PBSnipes"]

The last third of Heavy Rain. The idea that a story with such obscene plotholes had recieved so much praise gave me a hernia.

Seriously, I think I'd go with the end of ME1. BioWare did a great job with the handful of twists, and unlike the vast majority of games actually had me wondering how things were going to turn out.

NAPK1NS

From the completely irrelevant dreams, to the hilarious conclusions of the police, horrible character development, and one of the most absolutely terrible 'twists' in any game, let alone thriller to date.

How people look past it is beyond me, it is worse than a bad TV drama in this regard.

I appreciate the game for what it does, and certainly like what it achieves, but wow the narrative was a horrible mess.

The fact that it is overlooked makes me question exactly what people consider as a 'good storytelling' when it comes to video games. Clearly the bar is way too low.

Half Life 2: Episode 2

[spoiler] The ending. The way you and Alyx are forced to just watch as Eli is killed brutally right in front of you as he tells Alyx he loves her and begs her to look away. Then there's the fade to black where all we can hear is Alyx's desperate crying over her father's corpse. [/spoiler]

Gears of War 2

[spoiler] When a game is filled with grizzled quasi space marines murdering the **** out of something and filled with scenes like this, you wouldn't expect seeing a side character forced to euthanize his wife who he's been searching for in the past two games because she's brain dead from years of torture. [/spoiler]

Silent Hill 2

[spoiler] James has been searching for his wife who he believes died of disease. (long story) He makes it to their old hotel room and watches a videotape. It reveals his wife didn't die of disease. He killed her. I'd nominate the long hallway scene as well, but I can't seem to find a video of it. [/spoiler]

Silent Hill 3

[spoiler] The death of Heather's father. Her reaction nails it for me. It manages to feel genuine. [/spoiler]

Had videos for every scene, but gamespot won't let me post them in spoiler tags.

Got_to_go

do you mind pming me the scenes? i'm interested

GeoW2*

Got_to_go

I thought it was unintentionally hilarious. There was zero player driven empathy towards her, the only reason you had to care was because the game told you so. Personally I found the scene amusing, watching characters who were never taken seriously in the first place attempt to try drama. Kind of like a bad school play, only with ridiculously macho space marines. But eh, it is Epic.

The last third of Heavy Rain. The idea that a story with such obscene plotholes had recieved so much praise gave me a hernia.

Seriously, I think I'd go with the end of ME1. BioWare did a great job with the handful of twists, and unlike the vast majority of games actually had me wondering how things were going to turn out.

PBSnipes

[QUOTE="HAZE-Unit"] I actually felt for Raiden in that game in the ending of act 4.AAllxxjjnn

[QUOTE="NAPK1NS"][QUOTE="PBSnipes"]

The last third of Heavy Rain. The idea that a story with such obscene plotholes had recieved so much praise gave me a hernia.

Seriously, I think I'd go with the end of ME1. BioWare did a great job with the handful of twists, and unlike the vast majority of games actually had me wondering how things were going to turn out.

skrat_01

From the completely irrelevant dreams, to the hilarious conclusions of the police, horrible character development, and one of the most absolutely terrible 'twists' in any game, let alone thriller to date.

How people look past it is beyond me, it is worse than a bad TV drama in this regard.

I appreciate the game for what it does, and certainly like what it achieves, but wow the narrative was a horrible mess.

The fact that it is overlooked makes me question exactly what people consider as a 'good storytelling' when it comes to video games. Clearly the bar is way too low.

As a great story? or something like that? nah i thought it was pretty sloppy at times. What I love about it is all the personal connection to how it all turns out. It's more of a love for what it does do right than the actual plot. The characters are decent enough to keep you hooked, and all the scenarios are brought up nicely enough to actually keep you engaged. A little rediculous with the story? Yeah but I can see why it get the praise. Gamespot didn't exactly throw roses at the feet of the story and didn't mention the plotholes(it was one of the complaints), but the admiration for the game was how personal it makes the game(personal as in how much you can change how the game finishes and plays out).jg4xchamp

Seriously the development of the killer is an absolute abomination in characterisation, let alone plot development and good writing, the character development is hilariously broken (seriously Ethan and Maddison?); there is so much wrong with it, for a game that depends so heavily on the plot and narrative to drive the game, as well as the decisions and consquences, much of it is not convincing in story or by design (which is smoke and mirrors so much of the time).

I sound like a broken record as I already had a good rant about it tonight with a friend, and lost count the amount of mistakes in the game we picked. What is even more amusing is how the game becomes almost a parody of itself. She tried multiple times to kill off the characters; It didn't allow it until extremely specific instances, much of the time the game can't even cover its own tracks [spoiler] A hilarious instance being when shelby is in the sinking car and he frees himselfautomatically [/spoiler]

As far as creating drama in a game that feels personal, Heavy Rain completely missed the mark for me. By the end of the game the characters I had grown empathy for was completely gone due to the story taking a nose dive, the developments and the seams in the design facade became more apparent - completely obliterating my suspension of disbelief.

It astounds me how the game when recieved, completely avoided such critism when it is at the games core.

Anyway, I admire Heavy Rain for what it does achieve, but as far as interactive drama goes it isn't even close to a game like Facade; It cannot hit the right notes of valuing the players input, balancing with a a steady driving narrative.

I have a few:

CONDEMNED 2: You put a doll-woman's head into a flattener... and it pops.

RESIDENT EVIL 5: Getting chainsawed. Yech.

Pretty well all of God of War III

In FEAR, where *spoils* Harlan Wade lets Alma out, and then it just gets all bloody.*ends*