Definitely Deus Ex. Tons of twists and turns, and morally ambiguous endings.
Homefront.
[QUOTE=KataKlipse;28486853]Call of Duty 4 (Modern Warfare).
[sp]The level when the atomic bomb goes off and you are in the helicopter. Then you are crawling around the school yard with your broken legs in the aftermath of the bomb. It just sort of stuck with me. Made me think should something this powerful be used even in war...[/sp][/QUOTE]
I hope you figured out the answer to that :|
[editline]9th March 2011[/editline]
I'd have said Star Control II. [sp]No other game has made me empathise with villains so greatly, much less with writhing tentacle monsters.[/sp]
Fable 2 mostly[sp]The part in the tower were you are prisond and the ending with the wishes[/sp]
Also dead island trailer touched me(no not like that)
I'm pretty sure I'm alone with Red Orchestra.
[QUOTE=Hiccuper;28507294]In the first mass effect, where you have to decide whether to save the council, or focus on Sovereign, on one hand, saving the council means the galaxy will have solid leadership, but thousands of others will die. On the other hand, focusing fire on sovereign will save more lives, but I kinda guessed that humanity would seize control, which, knowing human nature, wouldn't be the best course of option. I'm still not sure if either was the morally "right" answer.[/QUOTE]
humanity uber alles
[editline]9th March 2011[/editline]
[QUOTE=Doomish;28503863]This. If you bother to travel backwards through the game after reaching the canal segment (and later on in the city after Nova Prospekt), you will find that the people you've met along the way are dead. The first time this happens is immediately after the shelling begins and you get the airboat. If you go to the next map, then turn around and come back, the girl who gave you the airboat will be dead and there will be a fast headcrab on the dock, if you go back even further, the man you meet before the shelling is also dead. It really makes you think about the consequences of your actions, but that you have no power to change them as the G-Man controls your every move. It makes you feel powerful yet powerless if that makes any sense.[/QUOTE]
Woah. I never knew this.
Deus Ex was also another game that truly makes you think, and inspires flamewars to this day as to which ending was the most ethical one.
I still side with Tong :colbert:
[QUOTE=orcywoo6;28507666]The original pokemon games, but only after I read this :saddowns:[/QUOTE]
Say what.
Another Half-Life 2 related thing I wrote up that is probably overanalyzing but hey I do that for a living anyway:
In Sandtraps, "Sandy" tells you not to step on the sand as it will make the Antlions go nuts, as it is their breeding season. The coast is in a state of disrepair as you make your way across the beach. However, it's a stable environment. There are literally no enemies on the Antlion beach unless you come in contact with the sand. It shows that the Antlions alone have kept the place clear of obstacles, even headcrabs. They have a controlled environment to call their own, a niche if you will. This niche doesn't get disrupted until you kill the Guardian at the end of the beach.
When you get the bugbait and are on your way to Nova Prospekt, you take a giant neverending mass of Antlions with you. At the end of Sandtraps, you kill their leader and take the bugbait, making [I]you[/I] the new leader. By deactivating the thumpers, so you can let your pets in, you open the floodgates. As soon as you enter Nova Prospekt's old prison side, the Antlions start tearing the place upside down. They wreck the security, kill the guards, and even break down the place's inner structure. A guardian literally bursts through a wall to chase after the Combine attacking it, and then it attacks YOU when it's done with them. As you go on and on, it gets worse and worse, until finally you enter the side of the prison that's succumbed to the Combine's moving walls. Then your antlions are useless and you're left to fend for yourself.
But it doesn't stop there. When you take the slow teleporter back to the city, there are Antlions THERE too. Episode 1 is an example of this as you fight all kinds of guardians and hordes and plug up holes and everything. By taking the bugbait with you into the city, even though it does nothing anymore, the Antlions, being naturally drawn to it, kill anything in their path to get back to you, even though they don't obey you anymore.
But that isn't all. By usurping Nova Prospekt, you basically become a hero of sorts to the rebels even though you did virtually nothing yourself. In fact, when you get back, you're worse for wear. Eli Vance has been captured by Judith and Doctor Breen. It's a week later, the Combine and the rebels have started the fight without you, and the place is crawling with Antlion scourge. Even deeper than that, the shelling the Combine did to flush out the rebels (and more importantly, [I]you[/I]) way earlier on in the canal chapters has turned on them, introducing hundreds of zombies into the city in a small attempt to control the impending revolution, and now every faction is working against one another. You've got the rebels against the combine, the Xen fauna against the Antlions, and the Antlions against basically everyone.
In Episode 1, things take a turn for the worse. When your train crashes on the way out of the Citadel, you have no choice but to travel through the underground. The underground, of course, is bursting with zombies and antlions, their infighting going on for god knows how long before you arrive. As you make your way through the abandoned car lots and crumbled structures, it is evident that the Combine tried to take back this area and failed miserably. The hole in the walls that you come through after you break out of the train had already been made by something else and then plugged up with bricks, if you look closely down the tunnels. The turrets in the first hallway are all spent, showing that the zombies and Antlions were trying to push their way into the Citadel as well and had brought the fight to the Combine's front door. In fact, the Antlion contamination is so bad that you have to plug up their burrows to keep them from flooding into the room and killing you.
As you get back to the city, there is an obvious power struggle going on, but it isn't between the rebels and Combine anymore. The Combine are trying to get out of the city, as are the rebels, and there's practically no interaction between the two, as they go their separate ways. Not to say there is a peaceful resolution, but they just try to ignore each other while they work individually toward their common goal. Amongst the shelled buildings and destroyed city, the zombie-Antlion fight has been brought out of the underground unintentionally by the Combine and forced into the city, unleashing hell on an already quickly escalating conflict. The first time you see a Guardian in Episode 1, it's fighting against a pretty large group of Combine and quickly overpowers them. This shows that even the Combine are powerless to stop the chain reaction you set off.
However, at the end of the game, any conflict you caused in the city is completely wiped out. The Citadel explodes, and everything still in it is vaporized. Not to imply that the Antlions are all gone, as you enter their caves directly in the very next Episode, but calmed somewhat, I guess is the term. There's almost no Combine interaction with zombies or Antlions later on in the series, aside from some shelling during the events of the next game.
All this sums up to one simple fact: Everything that happens in Half-Life 2 is your fault one way or another. The Combine had a peaceful, if not ideal society. The rebels are literally rebels without a cause. The Combine provides a safe environment, a shelter from the outside world, the world which you accidentally bring in and wreak havoc with. When you are put in control of Gordon Freeman, you basically assure City 17's downfall from the very beginning.
Whew, that was pretty long-winded. My point is that Half-Life 2 has a very deeply threaded plot that nobody really gives it credit for, you just have to think about what you do during the game.
I always thought the silent hill games made you think
I mean all the enemies are related to the characters personality and what she/he's done and then there's this huge attention to all the tiny details.
Fable 3 for various reasons. Some of the decisions weren't just black and white.
[url]http://jayisgames.com/games/babies-dream-of-dead-worlds/[/url]
Fucking shit. Awesome game. Solid game play. A shiver ran down my spine when the game actually presented it's flagship phrase.
[b]LIMBO[/b] for Xbox Live Arcade made me think about the backstory, why the little boy is there, how did he died, who are the other kids there, but they never tell you anything of that. Nothing. It's not a single cutscene. The game doesn't tell you [b]anything[/b]. If you read the info about the game it says that he is going to save his sister, that's all.
[img]http://www.gamecore.se/2-650-280-201008-1417_1281527839.png[/img]
Red Dead redemption, specifically the stranger mission "I know you". It gave me chills.
[sp]The place the stranger is standing on when he says "this is a beautiful spot" (or something like that) is Johns grave
Also; some people think that the stranger is either god, the devil or an angle, either way it really made me think about Johns death.[/sp]
Portal.
[QUOTE=cathal6606;28527601]Red Dead redemption, specifically the stranger mission "I know you". It gave me chills.
[sp]the stranger is either god, the devil or an angle, [/sp][/QUOTE] wat?
back to topic, yeah that part did give me the chills when I did that mission.
I've not finished Deus Ex, but I've thought about my actions in it a lot. I thought about killing that augmented bitch. AND THEN I DID!
At the beginning of STALKER SoC when Sid asks you to kill a few guys who borrowed some money and never gave it back.
I found one of the guys alone, under a tunnel, by a fire, playing his guitar while it rained. I crept up behind him and planted a single bullet in the back of his head, and returned to Sid to claim my reward.
I didn't realize until after I got my reward that I had ended a man's life simply because he had taken a few dollars. I felt like shit :(
[QUOTE=skynrdfan2;28535524]At the beginning of STALKER SoC when Sid asks you to kill a few guys who borrowed some money and never gave it back.
I found one of the guys alone, under a tunnel, by a fire, playing his guitar while it rained. I crept up behind him and planted a single bullet in the back of his head, and returned to Sid to claim my reward.
I didn't realize until after I got my reward that I had ended a man's life simply because he had taken a few dollars. I felt like shit :([/QUOTE]
It's really sad because stuff like this happens in real life.
[QUOTE=Hiccuper;28507294]In the first mass effect, where you have to decide whether to save the council, or focus on Sovereign, on one hand, saving the council means the galaxy will have solid leadership, but thousands of others will die. On the other hand, focusing fire on sovereign will save more lives, but I kinda guessed that humanity would seize control, which, knowing human nature, wouldn't be the best course of option. I'm still not sure if either was the morally "right" answer.[/QUOTE]
"The Council were always holding us back,when I saw the opportunity to get rid of 'em I did"
[QUOTE=Sift;28489796]Heavy Rain made me think
How the hell can anyone like this plot hole riddled story with amazingly bad script writing.[/QUOTE]
looool
Yes, finally someone who feels the same way.
Red orchestra for it's grim realistic presentation of world war 2 in the eastern front.
And Civilization 5, mostly because i saw how peaceful world can turn into bitter nuclear war. Fighting with tanks and soldiers when nuclear missiles and planes are flying shows how deep shit world can go into.
The Ship makes me question how many people would participate in the murdering of each other if it did happen.
[QUOTE=cathal6606;28527601]Red Dead redemption, specifically the stranger mission "I know you". It gave me chills.
[sp]The place the stranger is standing on when he says "this is a beautiful spot" (or something like that) is Johns grave
Also; some people think that the stranger is either god, the devil or an angle, either way it really made me think about Johns death.[/sp][/QUOTE]
Undead nightmare if it counts would make him the devil
Mass Effect series. Specifically, ME2 and the final major decision.
I still have NO fucking clue what to do with that god damned base a whole year on.
The original XCOM.
I'm not even joking, when I was a little kid and I first played it (granted I didn't know what the fuck I was doing), my mind was filled with concepts of alien invasion.
What would we do? Where would we go? Would we fight back? Could we fight back?
Nowadays, I don't really think about that game much, but I do think about things like my character's backstory and personality in games like Fallout 3 and sometimes Oblivion.
I want to get a greater sense of character than just 'go there, shoot that, here's a quest, finish good ending, hurrah'. When I played the Trouble on the Homefront mission in Fallout 3, I imagined my character being distraught by the outcome[sp]where Amata kicks you out[/sp] so he left the Capital Wasteland for the 'luxurious' Point Lookout.
Of course, it was as he had partially expected and he realized that he could never escape the horrors of the wasteland. It was at this point that I actually felt sorry for the character.
Also Metal Gear Solid 4, but I had no idea what was going on during my first play-through.
[QUOTE=Johnny Boy;28493061]Fallout 3.
All the choices you have, and the things that the cause.[/QUOTE]
What choices?
Half-Life 2.
Bioshock and Metal Gear Solid 4...especially the end.
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