Strife (video Game) - Plot

Plot

The game is set in a world where a dark religion called The Order has taken over. The Order is composed of cyborgs who forcefully convert humans into their ranks. The player assumes the role of a member of rebel forces led by Macil. The primary goal is collect all pieces of a mysterious artifact, the Sigil in order to eliminate The Order's leaders, including The Programmer, The Bishop, and The Loremaster. This eventually leads the main character to final confrontation with the mysterious alien (The Entity) behind The Order.

Defeating the final boss may show two endings: one better (player decided to trust Macil earlier), where all the fighting stops and the rebuilding of human civilization begins, and one worse (player decided to trust the Oracle), where The Order still exists and there is little hope for the survivors to hold on long enough for the situation to improve on its own. If the player decides to trust the Oracle, the game is drastically shorter, with the entire Commons, Catacombs and Mines sections removed, though it is also more difficult due to the order in which the bosses are fought. If the player dies during the battle with the final boss, The Entity acquires the complete Sigil, leading to the worst ending in which humanity is extinct. This ending is also shown if the game is beaten by using a cheat to warp to the final level.

Read more about this topic:  Strife (video game)

Famous quotes containing the word plot:

    But, when to Sin our byast Nature leans,
    The careful Devil is still at hand with means;
    And providently Pimps for ill desires:
    The Good Old Cause, reviv’d, a Plot requires,
    Plots, true or false, are necessary things,
    To raise up Common-wealths and ruine Kings.
    John Dryden (1631–1700)

    Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.
    Jane Rule (b. 1931)

    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)