Arthur's drawing book illustrates the problem I have with this game : extremely well crafted on details but unachieved on the long run. Artists who have draw his diary gave him a nice personality, but it's not enough compared to his the length and the pacing of the story.
Arthur is clearly in line with other Rockstar (modern) heros, someone who is doing what he does to stop having to do it. Someone who wants to hang up gloves and trying to interpret a traumatic event that had more or less put him in the mess.
Michael/Trevor and a failed heist both forced to recover a debt in
GTA V ; Max haunted by the massacre of his family forced to re-up bullets in
Max Payne 3 ; Nico Bellic and a betrayal during Balkan wars forced to cover his brother in
GTA IV ; John Marston and his disbanded gang forced to recover his freedom for a private agency in
RDR ; Cole Phelbes and his ambiguous pacific war medal forced to resignation to not compromise his integrity in
L.A. NOIRE ; a failed and unclear bank robbery that forced the gang to flee, and their will to establish a quieter life in
RDR2.
So that structure is very efficient in theory, and R* has achieved a great use of it. The double inversed narrative movement - advancing in the story to decipher the past, and the professional contradiction - doing dirty stuff to clean yourself - fits extremely well both the action and the narration.
But here we have the first problem of RDR2 : nothing will be explained about that traumatic past event. We won't never know anything about
what happened in Blackwater while everyone talk about it during the game, everything will stay in the fog. There I think is the reason why people can feel the story a bit repetitive, rather than learning something, they are just doing same mistakes again and again.
And the second problem is the incoherent morality of the game, where contradiction aren't hanged by characters but induced by them. Why it's immoral
to let a snitch dying alone by failing off a cliff but moral
to shot in the back a creepy homeless crawling in his own vomit? Why the
Marston's kid, after having passed ten years on the road with gangsters, being threatened by Pinkerton's shotguns, kidnapped by the mob and expressed his will to become a thug is suddenly a moral authority when John is forced to shoot bounty hunters?
And the list of incoherencies goes on. Now try to answer this question : why
Micah is so bad and why
Dutch is so mad ? Try with facts - situational, biographic, psychological - not interpretation. Something clearly stated by the game as a description, not a consequence. And (no) suprise : you can't. You won't find anything that can explain the madness of
Dutch by other reason that he's mad and the same for the cruelty of
Micah.
I can give you easy answers about why Freddy Krueger, Darth Vader, Jason, Leatherface, Michael Myers or the Joker are mad, bad, or both. And the list goes to Oedipus, Cruella de Vil, Fedor Karamazov or Richard III. But it's impossible in RDR2, characters won't move from the archetype of their first apparence. Sure that they are extremely detailed, but fridged in their role.
And so the Arthur's fate, jeez... Why the fuck do they chose
to let him starve in the player's imagination during all the playtrough ? Why show me in an ostensible slow-motion, a man dying of tuberculosis spiting on Arthur's face during the first 5 hours of the game ? I don't need a grade in medecine to know how it will end in a time without antibiotic.
So, at the end of the tutorial (start of thr Ch3), you have already figure everyting, because everything is spoiled by writers themselves. For Arthur but also for important members of the gang. And it wouldn't be a problem if the journey was varied, but as I show it, they are all tied down the railroad of their fate, with no asperity or facet for their roles.