LogFAQs > #896591308

It's magnificent to see her. It's been hours and hours since the last time we've seen Chloe alive - we're coming off at least three separate timelines in which she's died - and it's awesome the dialogue tree we have to go through in order to ensure that she listens. I thought for sure Chloe was going to be upset as hell that we kept the paralyzed universe away from her, but she actually responds positively when we tell her that we killed her. (Though honestly, who is she not to respond positively? We're the superhero around here.) Yet somehow, we end up on the beach. I guess the lighthouse is safe...?

... That's when the game just shits itself. This next segment is so unflinchingly bad, at such an unflinchingly critical moment, and so unflinchingly long, that it actually ruined the ending for me. I've been moved to near-tears several times this game already watching the relationship between the plaintive Max and the aggressively vulnerable Chloe.

But the ending, where it all comes pouring out and we (obviously) sacrifice all of Arcadia Bay for Chloe? I barely batted an eyelash. The nightmare sequence was actually bad enough to ruin the emotional torque of the ending. With my mood influenced by that shit section, the ending felt over-acted and overly familiar, and I feel really upset that I missed out on something emotionally crushing. Couldn't we get a longer palette cleanser? Something that could more adequately let us get back into the moment so we could feel emotion? Maybe a longer section to show us who survived (or didn't survive) the tornado?

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J. Deitz
David Foy
Adam B.
Lisa Simpsons
Thomas Farber
Anthony Kaes
John Doe

Anyone have the guide for the references here?

* The museum is actually one of the funnest sites of the game. A douchebag dad tries to tell his family about how impressive his photography knowledge is... but the sign next to the photo undermines his fake encyclopedic powers. Then, there's a guy deeply admiring a portrait of two women kissing.

* Principal Wells is deeply regretful that he didn't do enough, and acutely aware of his own shortcomings (such as his taste for prestige) in the alternate timeline. Of course it doesn't stick.

* Even Nathan gets some redemption here when his final call as a living human in universe T-1 is to warn us about Jefferson. It's kind of nice that the series works so hard to redeem three insufferable pieces of shit in Nathan, David, and Frank - but I think the image rehabilitation is at least a little incomplete here.

* Only good thing about the nightmare sequence: some of the text messages. Especially Pompidou sending one.

* Is it just my game glitching, or do Max's lips not move when she talks to Warren?
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yet all sailors of all sorts are more or less capricious and unreliable - they live in the varying outer weather, and they inhale its fickleness