The thing is crying out to be seen tearing up the landscape. It doesn't take much of a leap to see why the use of a gigantic digging machine, even if it were to be a rough, quick cut-scene, would have made all the dramatic difference in the world to the final act of the game. Instead, the bagger remains silent, and the entrance to the Vault is just over there, no, to the right a bit, down that gap in the rocks. Using the bagger to tear open the entrance to The Vault!” Except that doesn't happen. “Oh, I said,” smiling, “that's actually a pretty neat idea. Having realised the endgame was near, I suddenly realised - thought I realised – exactly how the end was going to play out.

Just before the location of mysterious game-goal 'The Vault' is revealed to you, there is a level set on a bagger.That's this thing: The ending of Borderlands is a quintessential videogame ending failure. None of us actually chose BioShock, probably because we were far too intimidated by Tom Francis's excellent re-imagining of the game post-your encounter with Andrew Ryan. Check out our maddened riffing on Borderlands, Half-life, The Longest Journey, Morrowind and System Shock 2 after the jump. We could have sat theorising in the RPS chatroom all day, but instead we collaborated on something far more proactive and arrogant: rewriting the endings of five of our favourite games. Maybe it’s because creating closure is an entirely different discipline to holding someone’s attention. Maybe it’s because statistically, developers know less people will see the ending than any other part of their game, and a finale is a lot of work.

They’re crap, aren’t they? Even games that tell engaging and creative stories have a habit of foundering abruptly instead of providing a satisfying finale.

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