Story
The story of Lufia & the Fortress of Doom begins, in accordance with an ancient prophecy of the Lufia world, with a massive floating island with a large castle located on it emerging into the sky one dark day. Dubbed the "Fortress of Doom", this castle served as the base of operations for a group of all-powerful beings known as the Sinistrals, who planned to use their strength to bring the world to its knees.
In response, the people sent four of their bravest warriors: Maxim, Selan (Serena in Estopolis Denki), Artea (Arty in Estopolis Denki), and Guy, to infiltrate the dark fortress and destroy the Sinistrals before they could do any harm. The game begins with the player controlling these characters as they prepare to engage the Sinistrals, and eventually defeat them. However, after the battle, the fortress begins to collapse, with Maxim and Selan becoming trapped on the other side of a deep chasm that formed when the Sinistral throne room split apart. Unable to teleport them to safety, Artea and Guy left the falling island alone, and their trapped allies apparently perished when it crashed into the earth below.
Peace reigns for ninety years after the heroes' encounter with the Sinistrals, and the actual game begins nine years after that. The story is told from the perspective of a red-haired boy the player is in charge of naming, and along the way he gets caught up in a struggle to save the world once again from the newly emerged Sinistral army.
Read more about this topic: Lufia & The Fortress Of Doom
Famous quotes containing the word story:
“My story being done,
She gave me for my pains a world of sighs;
She swore, in faith ‘twas strange, ‘twas passing strange;
‘Twas pitiful, ‘twas wondrous pitiful.”
—William Shakespeare (1564–1616)
“In how few words, for instance, the Greeks would have told the story of Abelard and Heloise, making but a sentence of our classical dictionary.... We moderns, on the other hand, collect only the raw materials of biography and history, “memoirs to serve for a history,” which is but materials to serve for a mythology.”
—Henry David Thoreau (1817–1862)
“Television programming for children need not be saccharine or insipid in order to give to violence its proper balance in the scheme of things.... But as an endless diet for the sake of excitement and sensation in stories whose plots are vehicles for killing and torture and little more, it is not healthy for young children. Unfamiliar as yet with the full story of human response, they are being misled when they are offered perversion before they have fully learned what is sound.”
—Dorothy H. Cohen (20th century)