Plot
Steel Soldiers is plot driven, unlike the original game, which had little or no plot and consisted of two sides fighting each other for no given reason. After 509 years of conflict MegaCom Corporation (red) and TransGlobal Empires (blue) are set to make peace and sign a treaty; in preparation, forces on both sides have reduced their military presence to a skeleton regiment. The culmination of the peace treaty is the removal of both forces from the contested territory on Planet Rigal. The plot was written by Martin Pond. As the game is played it progresses with elements of intrigue and conspiracy.
The peace initiative is brokered personally by Commander Keeler and TransGlobal’s premier, Commander Rieman. After a court martial judgement, the recently demoted Captain Zod, previously Commander Zod in the original Z, has been sending patrols into the demilitarized zone to spy upon the TransGlobal Empires. The scouts Brad (one of the pilot robots from the original Z; the other one, Allan, is staying in the campbase) and Clarke find a secret landing strip and promptly shoot down a transport ship after this discovery. The game begins with Zod sending in forces on a mission to retrieve the two missing scouts and find out "what the hell is going on", during which they find a broken box with the word "Omega" on it. Brad and Clarke's radio remains silent and although Zod lacks the proper authority, he is confident the peace agreement will remain intact but his aide Lassar is more concerned.
Read more about this topic: Z: Steel Soldiers
Famous quotes containing the word plot:
“If you need a certain vitality you can only supply it yourself, or there comes a point, anyway, when no one’s actions but your own seem dramatically convincing and justifiable in the plot that the number of your days concocts.”
—John Ashbery (b. 1927)
“Trade and the streets ensnare us,
Our bodies are weak and worn;
We plot and corrupt each other,
And we despoil the unborn.”
—Ralph Waldo Emerson (1803–1882)
“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)