Oooh, I want that book now.EternalAmbiguity wrote...
I have this kind of compilation book created by The Writer's Digest that's called the "Handbook of Novel Writing." It's basically a compilation of articles in their mag by various authors, featuring authors such as Tom Clancy, Joel Rosenberg, and Dean Koontz.
One section is titled, How Fictional Can Fiction Afford to Be? Here's the first paragraph.
Every story you write must be true, at least to some extent. There are, of course, many levels of truth: The story must be true to the human spirit, to the basic realities of life. If it doesn't contain real feelings of love, lonliness, mirth, glory, disappointment, horror, or whatever, it is a lie [italicized in the book] in the worst sense, and wholly unconvincing, no matter how realistic its setting or subject matter.
Anyway that helps prove the point I was getting at. Of course a story has to contain elements of who we are. That's how people connect with a story in the first place. I was talking about "realism" in terms of real life science, setting and whatnot. Just because ME is science fiction does not mean it has to emulate real life perfectly.
(I'm using something MovieBob once said here)
I'm just saying that fiction shouldn't be used to bash the science, but at the same time science shouldn't be used to bash the fiction. It's science fiction, therefore a balance needs to be struck where people can be that hero, but still feel that human connection with Shepard. I think multiple endings can achieve that because people differ in their perception of Shepard.
Death is not the only way to get drama. Drama can be achieved through other means. Allowing the player the ability to save their squad is not a bad thing as long as it is challenging, it makes sense within the established lore, it doesn't compromise any other ending, and drama is used wisely elsewhere.
Modifié par Enmystic, 12 octobre 2011 - 03:29 .




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