Divinity II: Original Sin

At the midpoint through Divinity: Original Sin II’s campaign, I was informed to visit the family farm of a heroic colleague named Gareth. Upon arrival, I noticed him mourning his massacred parents and reaching on me to back him up on taking revenge. Pretty common RPG stuff.

I was welcomed by paladins who hindered me from proceeding inside, that’s when I progress to the farmhouse to look for the killers. During the dialogue with the in-game enticement skill, I attempted to change their minds. No dice. I am encountering a brick wall with this hunt. The only option I had was to slaughter the paladins. So that’s precisely what I did. I uncovered that the murderers inside were possessed faultless humans, that’s after I stamp on over their bodies to proceed into the farmhouse. No way of setting them free from this magical mental enslavement presented itself. To kill them is the most efficient way of moving forward with the quest was. I executed that…and then found a love letter from a possessed woman to one of the paladins that had ceased me at the door.

Say hello to my guilt. Just to move on about how bad I felt about killing these people, it took me some time. Deep in me wanted to load a save and play it all back. But my victims have already perished. By going back and attempting to change what I’d undertaken wouldn’t wash the blood from my hands. I ultimately moved forward and went on to execute a lot more people in even more heart-rending ways. And yet, this scene at the farmhouse never left my mind, because that was an “innocence lost” scenario that opened my eyes to how it made an impact on me and astounding Divinity II: Original Sin can be.

I cannot remember if I’ve ever felt this emotional about a game and its characters. For me, this is one of the finest role-playing epics of all time, because of the wholly believable world, relevant choices, evocative writing, and superb acting in the fully voiced script.

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