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Post by Shadic? on Aug 23, 2010 22:34:29 GMT
The final 10 or so minutes of Lost got me.
Cause I'm a girly man.
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Post by Retro on Aug 24, 2010 12:04:47 GMT
Retro, there is literally nothing even remotely moving about Shadow of the Collossus. Explain in detail exactly what you felt and why, or I will dismiss it. Not that... not that you care. Or it matters. While I can't speak on behalf of Retro (primarily because he tends to think the opposite to me on a lot of things), I can guess why he thinks SOTC is a tearjerker of a game. It primarily concerns everything leading upto, and following the final boss, in particular starting with taking the horse to the final boss, then trying to make the leap to get to it and making it, only to see said horse ail to make the jump, and having to go the rest alone. You put the effort into beating that boss, as it's pretty much killed your only loyal companion on your quest, and it doesn't even care. The final boss sees you as nothing but an insect, it doesn't give a damn that in your efforts to kill it you've lost everything, or that you're desperate to beat it.
So you endeavor as hard as you can to beat him, giving it all you've got, and then it finally dies, and you collapse, relieved, and for the final time you watch it fall, accompanied by that post-boss music, an those black tentacles that pierce through your body. The scene then cuts away, and next thing you see is your loyal horse, approaching your unconscious body in the temple, hobbling as he does. That incident didn't get to me really, but I can understand why it would affect some people (even though the writing here doesn't really properly describe it). While that was a pretty iconic moment for the story, that wasn't the precise one I'm referring to. (Although it is a great one you pointed out) Just after the bit you mentioned, you finally come back to the temple, your epic quest completed (and it's one truly deserving of that word) and seeking your payment. You did the daemon's dues and expect repayment.
Only it doesn't quite work like that, in doing so, this heroic young man has corrupted himself within and without. He is little more than a shadow of his former self who has now unleashed the fury of a Dark God upon the world in his actions born of passion for someone he cares about. In effect, he ruined his life, his soul and his body for her. That along is touching enough.
But the real kicker is that she never knows you did. You are banished by the Priests into an Oblivion, slowly and relentlessly dragged across the temple into the void no matter what you do (and the fact the game lets you control this helps to no end) until you are finally gone.
Only then does she wake up...forever unknowing that her (presumably) lover had sacrificed his very soul for her. Thats what got me.
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Post by L. T. Dangerous on Aug 24, 2010 17:20:14 GMT
Doctor Who has delivered a few to me. Doomsday, for one. I don't even like Rose very much and I was whimpering. Completely bloody ruined by Catherine Tate (and I say that as a big Donna fan and a fan of the "What?" recurring joke) Then came the second series finale of Torchwood, Exit Wounds, and the tears were streaming. It was heartbreaking and shocking in that Owen had already died and been brought back- the fact he was given a final (and extremely horrible) death just a month and a half after his revival was made all the more crushing by the fact we'd seen in the interim he wasn't just a complete dick, he was a genuinely decent person who'd had some awful things happen to him to make him who he was. Plus all of the team evaded death only in the previous episode and then that goes and happens. And then Toshiko's death was completely senseless... but isn't that the point? When she told Owen he was breaking her heart, I just gave up trying not to cry. Back in Doctor Who, Donna's exit in series four was gutting. She so badly wanted to stay and her character evolution was so strong that a reversion to being a gobby cow was sad in itself. Then Wilf, practically in tears at the fact the Doctor has to go, tells the Doctor, "But she was better with you" . Gutting. Oh and then Torchwood had an amazing mini-series for series three and delivered the absolute most depressing ending possible, that left me feeling completely empty. And perhaps it was better for it. In real life, there aren't always happy endings, after all. I struggle to remember a film that's made me cry. I seem to remember The Two Towers has a moving speech in it, but it's been a while since I've seen it. Return of the King does have a sad bit at the end, but I'm not sure I cried at it. As for games, Metal Gear Solid 3's ending made me cry. A lot. When EVA reaches the climax of her narration and starts to cry herself and Big Boss salutes The Boss' grave it hits you pretty hard that you've essentially done absolutely the wrongest thing imaginable, setting in motion everything horrible in the rest of the series . Then MGS4's final act is practically made up of moments like that. The microwave corridor is harrowing, if not traumatising. To see a man that both the fans and his in-game friends know is amazing reduced to the absolute lowest point he can go is heart-breaking. Then there's the fist-fight with Ocelot. When they inject one another with their syringes, I cried once more- two men who live for the feeling of battle, knowing one has to die, both of them knowing which one it is, neither of them really wanting it to happen any more. And then Otacon starts crying and sets me off again. And then Big Boss dies and sets me off again. And then Sunny and Otacon tell Snake they'll stay with him until he dies. Tears of happiness are good for this thread too, right? As you can likely tell, MGS4 made me very emotional. It likely wouldn't have the same effect on someone who played it first in the series but for me, having gotten to know these characters, it was immensely powerful. It's not my favourite MGS game (not even my second favourite), but it's the one that makes me feel the most. EDIT: Spoiler tags don't work properly for me, apparently, but I'll leave them on like this.
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Spudiator
Artist Hume
High Priest of the Religion of Football
STC-O's resident footy obsessive
Posts: 2,815
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Post by Spudiator on Aug 24, 2010 17:20:29 GMT
OF&H used to be blinding. The episode after Leonard Pierce's death, it destroys me. It is incredible, incredible writing and incredible performance. I can't find it on Youtube, but it's on Wikiquote. After Rodney accuses Del of getting over Grandad's death too quickly. Agreed, the scene in the lift following Cassandra's miscarriage is potent, but no scene in the history of OFAH comes close to comparing to Del Boy's emotional rant about Granddad, which I believe was the first time OFAH had attempted to show such emotions, and they got it down to a tee. Found the video, here: www.youtube.com/watch?v=_KkZ86SMxfs&feature=relatedAlso, on the subject of OFAH, notable mention goes to the scene at Rodney and Cassandra's wedding reception as they're preparing to leave for honeymoon and Del stands there (with Simply Red - Holding Back The Years playing in the background) looking like the loneliest man in the world. Not quite up there with granddad's death, but it's still pretty potent.
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Post by L. T. Dangerous on Aug 24, 2010 17:29:11 GMT
Also, on the subject of OFAH, notable mention goes to the scene at Rodney and Cassandra's wedding reception as they're preparing to leave for honeymoon and Del stands there (with Simply Red - Holding Back The Years playing in the background) looking like the loneliest man in the world. Not quite up there with granddad's death, but it's still pretty potent. I remember John Sullivan saying in an interview he couldn't understand why the studio audience weren't laughing very hard after this point; someone told him that it was because they were all crying. When I think of OFAH at its absolute best, episodes that can make you laugh and cry a minute apart, it astonishes me that Sullivan allowed some of the weaker episodes of Green, Green Grass to be made. I know he didn't write them all, unlike with OFAH, but he must have known that people had certain expectations and they just weren't met with GGG in most cases.
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Post by The Shad on Aug 26, 2010 9:40:35 GMT
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Post by Lost Mercenary on Aug 26, 2010 10:01:12 GMT
Agreed, the scene in the lift following Cassandra's miscarriage is potent, but no scene in the history of OFAH comes close to comparing to Del Boy's emotional rant about Granddad, which I believe was the first time OFAH had attempted to show such emotions, and they got it down to a tee. Found the video, here: www.youtube.com/watch?v=_KkZ86SMxfs&feature=relatedI love that scene. Another one that stands out in my mind is the scene in Who Wants To Be A Millionaire where Del is arguing with Rodney about leaving for Australia for an actual chance at becoming a millionaire and leaving his family behind. From what I understand it was meant to be the original series finale and given the heartfelt performances of the actors you firmly I can believe it. www.youtube.com/watch?v=ZyhXk-mu3qw
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Post by The Forgotten Optryx on Sept 22, 2010 18:01:45 GMT
You're guaranteed to Baw about once a series in Battlestar Galactica.
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Post by Lost Mercenary on Sept 23, 2010 7:22:44 GMT
You're guaranteed to Baw about once a series in Battlestar Galactica. This is true. Very very true. Roslin's death in the finale being the biggets one for me.
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Post by Arch_one_zero_one on Sept 23, 2010 16:09:16 GMT
For me, that bit was kind of marred by the confusion on why, having fought so hard to reconnect with Lee, and all the ups and downs they'd had, Adama was content to just abandon him right at the end. Only thing I didn't like about the resolution of the show.
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Post by L. T. Dangerous on Sept 26, 2010 11:56:23 GMT
I've just remembered one that gets me every time. Technically, it's not a TV example as it's based off one of the original comics, but there's an episode of Spider-Man: The Animated Series that's really quite gutwrenching at the end. For those of you who may have an inkling of what I'm talking about, it's based on the Spidey story "The Kid Who Collects Spider-Man". For those who don't know, allow me to go into detail (though I'll be non-gender-specific as the kid in question is female in the cartoon yet male in the comics): Spider-Man visits a young kid who is quite apparently his biggest fan. Posters, bedsheets, newspaper clippings, the works. Obviously, this is all rather new for Spider-Man since he's used to being the most hated and feared man in New York due to The Daily Bugle's tireless smear campaign against him (for non-fans, imagine if The Sun and The Star ran a smear campaign against a real life Captain Britain. The inevitable public reaction is essentially what Spidey has to deal with). During the course of the story, he reveals his origin to the kid, including the fact his arrogance led to his beloved Uncle Ben getting murdered and, of course, the all-important lesson: with great power comes great responsibility. The kid wonders who Spider-Man is, given it's a very well guarded secret. Spider-Man unmasks and reveals he's Peter Parker, the Bugle's freelance photographer who gains most of his pay by photographing himself in costume, his awesome photos ironically helping doom his alter-ego's public image. The kid is in awe and proud to have met such a wonderful person as Spidey. As Spider-Man swings away, it's revealed the kid is terminally ill and is expected to die soon. He visited to grant their final wish of meeting their hero.
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