Plot
Many contended that the illegal fighting tournament in Southtown was sponsored by the gangland syndicate "Mephistopheles" to achieve the annihilation of their rivals and procure some operating capital. After its "King," Duke, suffered defeat at the hands of Alba Meira in the finals, he and his organization vanished from Southtown. Meanwhile, the media, firmly under Duke's control, released a fusillade of sensational exposés based on information from confidential sources regarding their former oppressors. In spite of this new torrent of "information," almost no one knew that an even larger entity had been pulling Mephistopheles' puppet strings.
The truth behind the Addes organization name was only known throughout the dark recesses of the underworld. No one really had an inkling as to what this organization truly entailed. Now, another of Addes was to reveal a new battle royale. Invitations in white envelopes were sent to the world's mightiest, who will find the call to the battle by Addes irresistible.
As stated in Alba Meira's private novel by Akihiko Ureshino on the official KOF Maximum Impact 2 site (which serves as an official follow up to the story of KOF Maximum Impact 2), Alba was in fact the one who defeated Jivatma and Luise. Soiree was kidnapped as a result of that and Alba has not seen him since then.
Read more about this topic: KOF: Maximum Impact 2
Famous quotes containing the word plot:
“Ends in themselves, my letters plot no change;
They carry nothing dutiable; they won’t
Aspire, astound, establish or estrange.”
—Philip Larkin (1922–1986)
“We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.”
—E.M. (Edward Morgan)
“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)