Revan312 wrote...
Science fiction to me is a piece of fiction that asks if a certain technology or situation or ability is possible in the future, without knowing whether or not it could realisticly happen, a genre of ideas and questions. It's also about the human condition and how humans might cope with advances in technology.
Fantasy is a genre that is about having a story in an alternate world where things can happen that in our reality are already proven impossible. Mass Effect sits squarely into the fantasy genre.
Actually, I'd say your perspective is too binary/black-and-white. I believe it is more logical to view it more as a continuum. On the one hand, you have pure fantasy, which has absolutely no interest in science and uses magic to explain anything that is impossible (or simply ignores what is impossible). On the other hand, you have (super-)hard sci-fi, which grounds
everything in current scientific knowledge and refuses to speculate on
anything. Most hard sci-fi will stray a little from this extreme, adding
some speculation or hand-waving unobtainium-type element, either to advance the plot or as the basis for the plot itself (i.e., what would happen if X were possible...?).
Now, where do our popular "sci-fi" universes fall on this spectrum?
Star Wars, as "science fantasy" (I didn't make the term up) space opera, falls quite far on the fantasy side of the continuum. It's not
completely devoid of all things scientific (especially in the expanded universe), but it's obviously not bound in any way by current scientific understanding.
Dune? Not much better than
Star Wars, if at all. (Genetic memory? Give me a break!)
Star Trek? A little more to the science end, but it routinely either bungles the science (e.g., referring to the thalamus as part of the human memory system rather than the hippocampus as Dr. Crusher did on an episode of TNG that I saw the other day) or just skips it altogether (e.g., telepathy).
Mass Effect is far more on the science end than
Star Trek. More on the science end, in fact, that virtually any other popular form of sci-fi story I've ever seen. It really looks like Bioware did some work in the Codex entries and the planet descriptions and the like. Sure, it's not perfect (see my previous post in this thread), but overall, they've done a great job.
And then there's the final boss of ME2.

Oy. What a mess...
Revan312 wrote...
It's IMPOSSIBLE to
Stop right there, sparky.

No good scientist should ever say what is possible or impossible. All scientific knowledge is tenative. It is much better to say, "We do not know of any way to..." than to say, "It is impossible to..." Newtonian physics would probably suggest that gravity bending time is impossible, but there you have it. Likewise, even Stephen Hawking didn't like the idea of Hawking radiation because he thought it should be impossible.
I don't think it's at all out of line for sci-fi authors to suggest that something that currently
seems impossible could be possible in the distant future. It all just depends on how they go about doing it.
Revan312 wrote...
Also, if you believe their story was original I'll go ahead and point you to this list
home.austarnet.com.au/petersykes/topscifi/
Go ahead and browse through it and I guarentee you'll find at least 5-10 works that have the same story when boiled down.
Sadly, gaming writers generally suck. Even the best ones write stories that are
highly derrivitive. ME's writing is, IMO, among the cream of the current crop. I'm hoping as gaming continues to develop that writing will be seeing as more and more important, as right now it takes a very, very distant backseat to gameplay and graphics for most developers. I'm quite glad that at least someone (Bioware, in this case) thinks it's integral to the gaming experience.
Revan312 wrote...
My only point was, that to compare any of this to science is redundent as it's not based on actual scientific principles. Sure, having some techno babble about how quantum communications works is neat, but when that's in the same setting with ships that can travel many times the speed of light it's nothing but alternate reality fluff.
Again, personally I'm of the opinion that you can step on science to varying degrees in science fiction without totally destroying suspension of disbelief. Some things (e.g., FTL travel) are much less of a threat to suspension of disbelief than others (e.g., the end boss of ME2). And when you create a series that is generally more of the former than the latter, the latter, especially when it's really bad, can be so jarring as to be noteworthy.