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| machine, protein, bbw facesitting , bbw single , alida, michael b. clark, forever, week, pure, rpg, diets, key, buka, bioscopia, hero, business / economics / finance, masterpiece, bbw pic, watchmaker, try, mafia, | To throw away such a thrummingly powerful image of mechafascist horror is just ... wasteful. Writers dream of coming up with something as menacing as the Combine Wall, and st. martin's press Valve just tossed it aside st. martin's press like a piece of narrative flotsam. The ending is so anticlimactic and nonsensical that I can only assume it was not originally intended to be the ending. There is literally no warning that the game is about to end, not even the whisper of st. martin's press a suggestion that you're facing the final encounter. Indeed, the "final encounter" isn't really an encounter at all—there is no opponent in the classic sense, and you're given a weapon of such devastating power that you barely even realize you're fighting before what passes for your final adversary is defeated. |
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| Here's the sitch: late in the game, the Combine apparently decides that Gordon must be eliminated regardless of the cost and unleashes its most devastating weapon—a big metal wall that rings the city. Not very scary. Thing is, alida though, the wall moves—and it's encroaching, step by step, crushing everything in its alida path. Allowed to continue alida unchecked, it would eventually destroy City-17, along with everything and everyone in it. The Combine Wall is one of the most chilling representations of malevolent automation I've ever seen. It's the sort of thing that KY-fueled dystopian sci-fi nuts dream about: a faceless, inexorable horror that cannot be stopped, cannot be slowed, cannot be reasoned with, and cannot be escaped. But in the game, no one even mentions the Combine Wall. It's just there, slowly squishing the city, and no explanation of what it is or what it means is ever offered. |
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