As the Felicity Rampant boss fight draws on, her voice becomes gradually deeper and more robotic, and she begins to say things that seem eerily similar to some of the combat quotes we're familiar with from the Constructors in Borderlands 2 - 'I see you, Vault Hunter.' as opposed to 'Target sighted.' for example.The fact he seriously considers the alternative of copying her before deciding that it isn't an option is a testament to just how different this Jack was to the one we know from Borderlands 2. What Jack intends to do to her will repair the reprogramming and eliminate the same personality defects causing her lack of co-operation, and he has no way of knowing if she actually has the ability to feel emotion, or if The Bosun has simply programmed her to emulate it. She was extensively tampered with and reprogrammed by The Bosun, and while we have no idea what she was like before this, it's reasonable to assume that her reaction to violence and unwillingness to co-operate with Jack's plan are the result of this tampering. It can be justified beyond that: Felicity is, for all intents and purposes, a malfunctioning machine.It's a horrible act, but his reasoning (needing the Constructor program online as fast as possible, with no time to store a backup of Felicity's program) makes a sad amount of sense, as not retaking the Helios station in time would be devastating. The worst part of this is that it's not even Jack's Moral Event Horizon.She had just changed her name to a word that means "happiness." What happens soon after is equal parts depressing as it is nightmarish, as Jack forcibly moves her into a new body, has her murder Scavs by the dozen, and tries to wipe her memory to retain only the baseline military AI. The ultimate fate of Skipper, or as she is then known, Felicity.Enemies being frozen and then shattered into icy chunks.Two of the four playable characters in Borderlands: The Pre-Sequel are female, giving both genders the attention and diversity they deserve. Borderlands and Borderlands 2 each have four playable characters with only one female: Lilith functions as Roland’s love interest, while in the next game Maya is not an object of romance. The Borderlands games illustrate the changing attitudes toward teams with only one female member. Rouge is introduced in Sonic Adventure 2 and, despite her wonderful, non-sexual interactions with her own team, acts as the love interest of her rival, Knuckles.įortunately, games are increasingly escaping this trope. The Sonic Adventure games fully incorporate this trope: Amy spends her first missions chasing Sonic in Sonic Adventure, whereas other team members save the world. The female almost always acts as the love interest of the primary protagonist, turning women into an objectified stereotype. ![]() In video games, most teams that fall under this category are male teams with only one female. Teams made up of a single gender are entertaining, but teams with only one member of the opposite gender often repress that one character. Of all the tropes used in the 2000s, here’s 15 that are no longer acceptable. Older games using these tropes are heavily criticized when played today, while newer games are condemned for using these tropes. While these tropes thrived in the past, they no longer conform to present standards. Others use stereotypes and inadequate attempts at diversity instead of building believable worlds, creating terrible stories and characters. Some tropes on this list uncreatively exploit players, utilizing mechanics and marketing approaches that no company should ever consider. ![]() Whether they stem from poor mechanics or poor writing, these tropes incorporate lazy, manipulative, and offensive game design. Other tropes initially worked well but have been used so often that they are too unoriginal to entertain today’s players. For some of these tropes, criticism has always existed but has only now expanded enough to challenge companies’ decisions. The tropes on this list were either applauded or tolerated during the 2000s but are unacceptable in today’s society. With both critics and the public giving more attention to games, companies have had to remove unsatisfying tropes in order to please their growing audience. ![]() All media develop over time video games in particular have changed throughout the 21 st century thanks to their recent origins and growing popularity. ![]() Some tropes never get old, but a lot of characters, mechanics, and stories die from overuse and changing social standards.
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