Plot
Set in between Revenge of the Sith and A New Hope, Darth Vader is sent by Emperor Palpatine to destroy a Jedi who survived Palpatine's Jedi purge and is hiding on the Wookiee homeworld, Kashyyyk. The Force Unleashed begins with the player controlling Darth Vader as he searches Kashyyyk for the Jedi. After defeating the Jedi in battle, Vader discovers a child who is strong in the Force and raises him to become his apprentice, unknown to the Emperor for several years. When the apprentice (known in the game as "Starkiller", and whom the player now controls) reaches adulthood, Vader sends him to kill the remaining Jedi as training for his ultimate goal: assassinating the Emperor so Vader and Starkiller can rule the galaxy together.
However, the Emperor discovers Starkiller's existence and forces Vader to kill the apprentice; Vader hurls Starkiller into space, but secretly dispatches droids to retrieve and revive him. Vader sends his apprentice to foster a rebellion among those who resist the Empire, distracting the Emperor so Vader can make his move. Breaking into various Imperial facilities, Starkiller rescues Rogue Shadow pilot Juno Eclipse, Jedi Master Rahm Kota, Princess Leia Organa, and Senator Bail Organa. In the process, Starkiller learns from Kota about the Jedi way, ultimately sparing Jedi apprentice Maris Brood. Starkiller travels between missions aboard the Rogue Shadow, whose crew develops a close relationship.
Senators Organa, Mon Mothma, and Garm Bel Iblis meet to plan a rebellion against the Empire, but are interrupted when Darth Vader arrests them and Kota. Vader attacks Starkiller and reveals that Starkiller was never meant to overthrow the Emperor; from the beginning, he was the Emperor's tool to expose his enemies, and that Vader's plans to overthrow the Emperor did not include Starkiller. Surviving Vader's attack, Starkiller uses the Force to ascertain the senators' and Kota's location: the Death Star. Inside the station, Starkiller duels Darth Vader. Kota attempts to fight the Emperor, but is wounded by the Emperor's Force lightning.
At this point, the player chooses to either seek revenge on Vader or save Kota from Emperor Palpatine:
- If the player attacks and kills Vader, the Emperor offers to let Starkiller take Vader's place as his apprentice if Starkiller proves himself by killing Kota. Starkiller instead attacks the Emperor, who crushes Starkiller with the Rogue Shadow and kills Kota and all his allies. The story ends with Starkiller's broken body being grafted with armor, turning him into a Sith Stalker so he can serve as the Emperor's assassin until Palpatine finds a new apprentice. The game ends with Palpatine assuring Starkiller that he, like Vader, will be cast aside when he finds a new apprentice. The Infinities expansion content builds on this ending.
- If the player attacks and defeats Emperor Palpatine, Kota prevents Starkiller from killing Palpatine in hatred. Starkiller dies while absorbing the Emperor's renewed attack, but Kota and the senators escape. The Emperor and Vader look over Starkiller's corpse, concerned that he has become a martyr to inspire the newly formed Rebel Alliance. Senator Organa and the others agree to proceed with their rebellion and Leia decides to use Starkiller's family crest as the Rebellion's symbol. Outside, Juno talks to Kota, who tells her that among Starkiller's dark thoughts, Juno herself was one bright spot that he held onto right until his death. This is the canonical ending.
Read more about this topic: Star Wars: The Force Unleashed
Famous quotes containing the word plot:
“The plot was most interesting. It belonged to no particular age, people, or country, and was perhaps the more delightful on that account, as nobody’s previous information could afford the remotest glimmering of what would ever come of it.”
—Charles Dickens (1812–1870)
“Those blessed structures, plot and rhyme—
why are they no help to me now
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—Robert Lowell (1917–1977)
“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
—James Thurber (1894–1961)