Hmmm, one of River Trap's endings was like this. Things happened and then the protagonist was thinking about how he loves his girl now and that they are together, and final choice was something along the lines of "I love you,.."dizzcity wrote:It's actually a mini-example of what I was planning to do for my major project (where it gets even more complicated), but I'm having second thoughts about whether I should continue along this line of development or not.It works in a small piece of fiction with only one choice, but once you take it to the larger scale, it's incredibly difficult to continue preserving that state of undecidedness and ambiguity until the end. (Well, to be more precise, it's a trade-off. I can preserve ambiguity at the expense of telling a good and rich story. So it's either vague but technically brilliant, or technically straightforward but richly descriptive.)
... and you could choose Girl-1 or Girl-2. And once you made the choice, THE END would appear. So in effect, you could retrospectively influence the epilogue - it's a bit different, because at that time the player probably already had made up his mind which girl he likes, so that means when reading he might have been thinking about her - but nevertheless, that part of the story was in effect influenced by the player in a similar way.
It's a difficult terrain though, and I think that it would probably work better in short sequences - when you construct the story in a way that it can have many meanings and then invite the player to decide, it's certainly a great narrative and construction-wise achievement, but you'll most probably lose a lot of emotion (although you won't lose thoughtfulness) if nothing is fixed and the player floats in insecurity. And, it can be the case that at the end players may feel cheated - they played it as a story and now they find out they have to fill the blanks (and considerable blanks) themselves.
So I would probably limit that device to very short and most of all closed sequences. It's tempting and IMO in theory it looks very good, I'm just not sure that it would play out quite as well as it sounds on paper.
If there is a cat trapped in a closed box, the uncertainty principle states you won't know whether the cat in the box is alive or dead until you open the box. And until you do, the cat is neither alive nor dead... it exists as some sort of weird half-collapsed cat-wave object. 
Yeah, the sunset with the pier was the most fitting scene in the entire story, I felt. I deliberately chose it because of the sense of finality it gave - the pier gives you the sense that the protagonist is walking away from the lake, from the sunset. It was the most meaningful scene to me as well. I just wish I could have found better pictures for the other ending, but I had to make do with what I had.