Page 1 of 1  [ 10 posts ] 
Author Message
PostPosted: Fri Oct 9, '09, 7:40 pm 
I bet we've all played games that, at some point or another, just absolutely rip your heart from your chest and hack it into little pieces. Share them here! So I'll share one of mine.

By a longshot...the game that breaks my heart the most is Mother 3. Much as I consider it the weakest of the Mother series for a variety of reasons...that lost boss fight...

Most of Mother 3 you play as Lucas. The final boss against your twin brother Claus. Early in the game, your utopian hometown is invaded by mysterious soldiers, who are experimenting on wildlife and turning them into hybrids and chimera cyborgs. You, Claus and your mom Hinawa are visiting your grandfather, but on the way home, you get attacked by a chimera. Hinawa dies defending her twin boys, and Claus, being bold and stupid, decides to go out to kill the chimera. It doesn't go over very well, and the first chapter ends with an image of Claus laying on the ground, obviously injured. Your dad Flint is trying to find him...and never does.

During the seven needles quest, which takes place three years later and is the meat of the game, Lucas and co. keep running into a mysterious masked man. He and Lucas can both pull up the needles. To put it the final needle under New Pork City, the game's final area, the game tells you what you should already have figured out. The masked man is Claus, who was picked up by the invading army, and turned into a chimera-cyborg himself.

The final boss fight takes place at the last needle, and Lucas has a special protection against the lightning that Claus uses to strike down the rest of the party. The game's title couldn't fit any better as Hinawa tries to stop her boys from fighting. It is just survival for Lucas, who can't work up the will to strike his brother, even as Claus tries his hardest to kill Lucas. If you try to attack, Lucas misses, if he even attacks at all. He only begins to attack sometimes after Flint protects him and Claus nearly kills him. Survive long enough, as you hear Hinawa's voice, and you get a flashback of the twins' birth...

And it's here where the game really hacks your already cracking heart into microscopic pieces. After the flashback, a mix of the Mother 3 Love Theme that hasn't played before plays. The music alone can bring a tear to one's eye, as it is after this that Claus remembers who he is, and both boys struggle to strike the other, Lucas crying. Flint pleads with Claus, telling him he spent 3 years looking for him. Claus removes the helmet that was covering his face, and at the urging of Hinawa, commits suicide and dies in his twin brother's arms as his father looks on, near death at his own hand. :cry: I've really only had one other boss fight inspire as much emotional response from me as Mother 3's. And that's Earthbound's (Mother 2), but it inspired a very different emotion for a different topic...that I might create sometime.

Any other heartbreaking game moments from anyone?

PostPosted: Sat Oct 10, '09, 12:18 am 
In Grandia II, Mareg's scene was rough for me. I had come to really like the guy and relied on him a lot. He was easily my favorite member of the cast. Then when you're trying to escape from a horde of monsters on the moon, he stays behind to face them alone. He buys time for the others to escape, with his own life.

More recently, Lost Odyssey has a couple of scenes that are heart pullers. Near the end of the first disc, Kaim - the main character (who is immortal) - finds his long lost daughter. She fell off a cliff has a child and he never saw here again until this meeting, when she's got two children of her own. Not long after they meet, the daughter dies from a long illness. The game makes the player take part in her memorial ceremony.

PostPosted: Fri Dec 18, '09, 9:02 pm 
I remember that part Thoul...some of the recovered memories you find and go through are pretty heart tugging as well. I remember one where Kaim visited this little girl who was bed ridden due to an illness. Kaim would go on adventures but always stop by this house and tell the little girl these stories [forgot exactly why, I think he was friends of the parents] and of course she'd get excited to hear these stories from the world outside her room. Well a few years go by and she's dying. Kaim stops by and tells her one last story basically about her being able to travel and go wherever she wanted to go and she dies with a single tear running down her cheek. That story and the music playing during it brought me to fact a few just came out as I was remembering the story... :cry:

PostPosted: Fri Dec 18, '09, 9:12 pm 
Ok so I was a tad off on the story but here it is :

The family members have tears in their eyes when they welcome Kaim back to the inn from his long journey.
"Thank you so much for coming."

He understands the situation immediately.

The time for departure is drawing near.

Too soon, too soon.

But still, he knows, this day would have come sometime, and not in the distant future.

"I might never see you again," she said to him with a sad smile when he left on this journey, her smiling face almost transparent in its whiteness, so fragile—and therefore indescribably beautiful—as she lay in bed.

"May I see Hanna now?" he asks.

The innkeeper gives him a tiny nod and says, "I don't think she'll know who you are, though."

"She hasn't opened her eyes since last night," he warns Kaim. You can tell from the slight movement of her chest that she is clinging to a frail thread of life, but it could snap at any moment.

"It's such a shame. I know you made a special point to come here for her..."

Another tear glides down the wife's cheek.

"Never mind, it's fine." Kaim says.

He has been present at innumerable deaths, and his experience has taught him much.

Death takes away the power of speech first of all. Then the ability to see.

What remains alive to the very end, however, is the power to hear. Even though the person has lost consciousness, it is by no means unusual for the voices of the family to bring forth smiles or tears.

Kaim puts his arm around the woman's shoulder and says, "I have lots of travel stories to tell her. I've been looking forward to this my whole time on the road."

Instead of smiling, the woman releases another large tear and nods to Kaim, "And Hanna was so looking forward to hear your stories."

Her sobs almost drown out her words.

The innkeeper says, "I wish I could urge you to rest up from your travels before you see her, but..."

Kaim interrupts his apologies, "Of course I'll see her right away."

There is very little time left.

Hanna, the only daughter of the innkeeper and his wife, will probably breathe her last before the sun comes up.

Kaim lowers his pack to the floor and quietly opens the door to Hanna's room.

Hanna was frail from birth. Far from enjoying the opportunity to travel, she rarely left the town or even the neighborhood in which she was born and raised.

This child will probably not live to adulthood, the doctor told her parents.

This tiny girl, with extraordinarily beautiful doll-like features, the gods had dealt an all-too-sad destiny.

That they had allowed her to be born the only daughter of the keepers of a small inn by the highway was perhaps one small act of atonement for such iniquity.

Hanna was unable to go anywhere, but the guests who stayed at her parent’s inn would tell her stories of the countries and towns and landscapes and people that she would never know.

Whenever new guests arrived at the inn, Hanna would ask them,

"Where are you from?" "Where are you going?"

"Can you tell me a story?"

She would sit and listen to their stories with sparkling eyes, urging them on to new episodes with "And then? And then?" When they left the inn, she would beg them, "Please come back, and tell me lots and lots of stories about faraway countries!"

She would stand there waving until the person disappeared far down the highway, give one lonely sigh, and go back to bed.

Hanna is sound asleep.

No one else is in the room, perhaps an indication that she has long since passed the stage when the doctors can do anything for her.

Kaim sits down in the chair next to the bed and says with a smile.

"Hello, Hanna, I’m back."

She does not respond. Her little chest, still without the swelling of a grown woman, rises and falls almost imperceptibly.

"I went far across the ocean this time," he tells her. "The ocean on the side where the sun comes up. I took a boat from the harbor way way way far beyond the mountains you can see from this window, and I was on the sea from the time the moon was perfectly round till it got smaller and smaller then bigger and bigger until it was full again. There was nothing but ocean as far as the eye could see. Just the sea and the sky. Can you imagine it, Hanna? You’ve never seen the ocean, but I’m sure people have told you about it. It’s like a huge, big endless puddle."

Kaim chuckles to himself, and it seems to him that Hanna’s pale white cheek moves slightly.

She can hear him. Even if she cannot speak or see, her ears are still alive.

Believing and hoping this to be true, Kaim continues with the story of his travels.

He speaks no words of parting.

As always with Hanna, Kaim smiles with a special gentleness he has never shown to anyone else, and he goes on telling his tales with a bright voice, sometimes even accompanying his story with exaggerated gestures.

He tells her about the blue ocean.

He tells her about the blue sky.

He says nothing about the violent sea battle that stained the ocean red.

He never tells her about those things.

Hanna was still a tiny girl when Kaim first visited the inn.

When she asked him "Where are you from?" and "Will you tell me some stories?" with her childish pronunciation and innocent smile, Kaim felt soft glow in his chest.

At the time, he was returning from a battle.

More precisely, he had ended one battle and was on his way to the next.

His life consisted of traveling from one battlefield to another, and nothing about that has changed to this day.

He has taken the lives of countless enemy troops, and witnessed the deaths of countless comrades on the battlefield. Moreover, the only thing separating enemies from comrades is the slightest stroke of fortune. Had the gears of destiny turned in a slightly different way, his enemies would have been comrades and his comrades enemies, This is the fate of the mercenary.

He was spiritually worn down back then and feeling unbearably lonely. As a possessor of eternal life, Kaim had no fear of death, which was precisely why each of the soldier’s faces distorted in fear, and why each face of a man who died in agony was burned permanently into his brain.

Ordinarily, he would spend nights on the road drinking. Immersing himself in an alcoholic stupor—or pretending to. He was trying to make himself forget the unforgettable.

When, however, he saw Hanna’s smile and begged him for stories about his long journey, he felt a far warmer and deeper comfort then he could even obtain from liquor.

He told her many things...

About the beautiful flower he discovered on the battlefield.

About the bewitching beauty of the mist filling the forest the night before the final battle.

About the marvelous taste of the spring water in a ravine where he and his men had fled after losing the battle.

About a vast, bottomless blue sky he saw after battle.

He never told her anything sad. He kept his mouth shut about the human ugliness and stupidity he witnessed endlessly on the battlefield. He concealed his position as a mercenary for her, kept silent regarding his reasons for traveling constantly, and spoke only of things that were beautiful and sweet and lovely. He sees now that he told Hanna only beautiful stories of the road like this not so much out of concern for her purity, but for his own sake.

Staying in the inn where Hanna waited to see him turned out to be one of Kaim’s small pleasures in life. Telling her about the memories he brought back from his journeys, he felt some degree of salvation, however slight. Five years, ten years, his friendship with the girl continued. Little by little, she neared adulthood, which meant that, as the doctors had predicted, each day brought her that much closer to death.

And now, Kaim ends the last travel story he will share with her.

He can never see her again, can never tell her stories again.

Before dawn, when the darkness of night is at its deepest, long pauses enter into Hanna’s breathing.

The frail thread of her life is about to snap as Kaim and her parents watch over her.

The tiny light that has lodged in Kaim’s * will be extinguished.

His lonely travels will begin again tomorrow—his long, long travels without end.

"You’ll be leaving on travels of your own soon, Hanna." Kaim tells her gently.

"You’ll be leaving for a world that no one knows, a world that has never entered into any of the stories you have heard so far. Finally, you will be able to leave your bed and walk anywhere you want to go. You’ll be free."

He wants her to know that death is not sorrow but a joy mixed with tears.

"It’s your turn now. Be sure and tell everyone about the memories of your journey."

Her parents will make that same journey someday. And someday Hanna will be able to meet all the guests she has known at the inn, far beyond the sky.

I, however, can never go there.

I can never escape this world.

I can never see you again.

"This is not goodbye. It’s just the start of your journey."

He speaks his final words to her.

"We’ll meet again."

His final lie to her.

Hanna makes her departure.

Her face is transfused with a tranquil smile as if she has just said,

"See you soon."

Her eyes will never open again. A single tear glides slowly down her cheek.

PostPosted: Fri Dec 18, '09, 11:43 pm 
Ah yes, that story is a great heart breaker. Honestly, the stories like that one are better than the game's main plot. :lol:

PostPosted: Mon Dec 28, '09, 9:10 pm 
Stuff like this:


Last edited by MrKite on Tue Dec 29, '09, 1:54 am, edited 2 times in total.

PostPosted: Mon Dec 28, '09, 10:52 pm 
MrKite, when you want to post a Youtube video here, you can't use the full page address of the video. You need to extract a small part of the address for the tags.

For instance, with the first video you posted, you used:

And that doesn't work. What you need to do is find the v= part of the address and copy everything before the & following, then use that. For example, in the address above there is:

The bold part is what you need to use, like this:

PostPosted: Tue Dec 29, '09, 1:58 am 
Sorry about that. You have to remember I haven't been here for that long, so I don't know how EVERYTHING on the board works yet. But hey, you learn something new everyday.

EDIT:And I just realized what this thread was really about, and I originally thought it was about games that we thought were bad. Anyway, Megaman X4, my favorite in the Megaman X series has one of the saddest most emotional storylines ever when you play as Zero. Especially when he loses Iris. That was really sad. Really makes me emotional every single time.

PostPosted: Tue Dec 29, '09, 5:17 am 
It's no problem. The Youtube code is fairly new to the boards too, so it's something we've all had to learn how to use. :)

PostPosted: Mon Jan 11, '10, 10:54 pm 
It's not part of a game, but it did get to me quite a hell of a lot.

Elfen Lied - final episode.

Mariko, Daughter of Director Kurama, is confronted by her father, whom she has no knowledge of save his last name "Kurama". Going from homicidal murderer to innocent child, Mariko attempts to stand up and walk towards her father, tears welling in her eyes, but having spent her entire life (5-6 years?) in extreme isolation her legs cannot carry her farther than the 4 feet she manages. Kurama, fully aware of what must be done, points a handgun at Mariko who then tells him, (she has a very sweet little girl voice, btw) how she dreamed of the day her daddy would come and take her away from the island where, accompanied by her mother, would go and live a normal life together. She says she waited all her life to meet her father and doesn't understand why he has turned on her the way he has when he was supposed to love her and care for her. She begins to cry.

Nana, another Diclonius like Mariko, tells Director Kurama (whom she refers to as "Papa" although she is not his biological daughter) that what they're doing is dangerous and they should leave. Mariko becomes jealous that Nana is allowed to call Director Kurama "Papa" when she's not even his real daughter. She is angry that Kurama betrayed her when all she did was wait for him when he knew how she suffered. Using her vectors (watch the anime) she attacks Nana and asks her father if he would be sad if Nana died. When he fails to respond, Mariko says she'll kill Nana so they can find out.

At this point, Director Kurama drops his gun and walks over to Mariko, holding her tightly and apologizing for the pain he has caused her and all the joy she'll never be able to experiance because of his actions. He picks her up and tells Nana to live a happy life then orders his subordinate to "do it. I know what kind of measures the Director takes" (Kakuzawa is lead director of the Diclonius Project and had a bomb implanted in Mariko after birth to ensure Kurama's cooperation and as a fail safe against Mariko who is the strongest Diclonius in existance).

Kurama promises that he and Mariko will be together forever and tells her how her mother loved her very dearly to her dying breath and how he loved her too. Embracing his daughter, Kurama and Mariko enjoy their last moments together as the timer on Mariko's bomb goes off and a very brief flash of what their life might have been like had Diclonius not been deemed and enemy of mankind right before the bomb goes off, killing both of them.

Elfen Lied. Watch it. You'll love it. Mature audiences only.

 Page 1 of 1  [ 10 posts ] 

Who is online

Users browsing this forum: No registered users and 0 guests

Display posts from previous:
Sort by  
You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum
You cannot post attachments in this forum

Jump to: