Lost Eden - Plot

Plot

You begin the game as Adam, Prince of Mo. You've grown up in a world of humans, a place where the outside is kept out. You have been confined to Mo for good reason, however. Your mother and sister were killed not one day's march from the Citadel of Mo by the awful forces of the Tyrann, led by Moorkus Rex. Your father is king, a defeated man who has lost all hope for the world since this tragedy.

You, as Adam, are the heir to a long and proud family lineage. Your great-grandfather is remembered as the Architect, who built gigantic fortresses, great citadels across the land. The secret of their construction died with him. His son, your grandfather, is known as the Enslaver. He hated the dinosaurs, and most humans, too. He tore down all the citadels except the one at Mo. He drove the humans and dinosaurs apart, creating mutual distrust and, in places, sheer hatred.

At some point, Moorkus Rex came into the world. A strange, crimson, armor-plated reptile, his savagery knew no limits. He soon became the leader of the Tyrannosaurus armies, known as the Tyrann, and unleashed chaos. He would not stop until the world was turned to "blood and ashes" at his feet.

Now, one of the only remaining places of safety from the Tyrann is the Citadel of Mo. If only someone could discover the secret of the Architect, perhaps the humans and dinosaurs could defend themselves....

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Famous quotes containing the word plot:

    Morality for the novelist is expressed not so much in the choice of subject matter as in the plot of the narrative, which is perhaps why in our morally bewildered time novelists have often been timid about plot.
    Jane Rule (b. 1931)

    We have defined a story as a narrative of events arranged in their time-sequence. A plot is also a narrative of events, the emphasis falling on causality. “The king died and then the queen died” is a story. “The king died, and then the queen died of grief” is a plot. The time sequence is preserved, but the sense of causality overshadows it.
    —E.M. (Edward Morgan)

    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)