Ce sujet est fermé
Patriota125 wrote...
This SHlT is still going on?
Don't you get it?
FACTS:
Twilight fangirls crying because his hero died and the whole crew included claiming "Bioware destroyed their series". How exactly are they destroying Mass Effect? I can't see it, how are they destroying it? Stop b.i.t.chin and just cancel your preorder-
Unit-Alpha wrote...
For someone who goes on and on about it, it sure seems like he does.
They say the greatest homphobes are those that have homoerotic feelings themselves...
maybe the same thing?
recentio wrote...
blueruin wrote...
I get your point, but all along we've been told the magic of Mass Effect is that the game's Shepard is YOUR Shepard, that your decisions have a material impact on the outcome especially in the final piece of the trilogy where the endings can be whatever. If they had been pitching it as, hey you get to make window dressing choices along the way but we're going to pre-decide all the important stuff, it wouldn't have the same allure. That might be how it turned out, but that's not what they've been promising. It would be interesting to see how many people agree with you that the marketing materials and PR statements and interviews clearly made sure people knew the whole "decision" aspect of the game was relevant "only to a certain degree."
Well, ideals meet reality then, lesson learned? Just imagine for a moment about what the development process for a game like Mass Effect 3 would have to involve. The production costs, animation, voice acting alone. Think about the logistics of trying to write to the variables laid out from the previous two games and the amount of planning that would take. The budget and time constraints. To expect a multitude of wildly divergent narratives branching off from the main story is not realistic. Especially when the vast majority of people who buy your games are not going to play through multiple times and see all of the content they invested time and money into.
Games with choice are as good as they are, right now. And they're pretty good Why don't you just try to enjoy the ride?
It should be pretty easy to do divergence at the very end of a story because nothing after that point has to agree. I think the Fate of the Normandy was fixed on purpose to make the ending more "moving" because their doom and separation from Shep and the rest of the galaxy is unavoidable. Including even one 'Together to the End' ending would, by some imagination, "weaken" the plot point they wanted to ram down our throats.
Patriota125 wrote...
This SHlT is still going on?
Don't you get it?
FACTS:
Twilight fangirls crying because his hero died and the whole crew included claiming "Bioware destroyed their series". How exactly are they destroying Mass Effect? I can't see it, how are they destroying it? Stop b.i.t.chin and just cancel your preorder-
blueruin wrote...
Well, ideals meet reality then, lesson learned? Just imagine for a moment about what the development process for a game like Mass Effect 3 would have to involve. The production costs, animation, voice acting alone. Think about the logistics of trying to write to the variables laid out from the previous two games and the amount of planning that would take. The budget and time constraints. To expect a multitude of wildly divergent narratives branching off from the main story is not realistic. Especially when the vast majority of people who buy your games are not going to play through multiple times and see all of the content they invested time and money into.
treesnogger wrote...
So, I am new to the BSN, after a long break, but are there really people giving a **** about 10 seconds long "romance sub plots", like, seriously?
That game was always about some B-Movie plot in taking the galaxy back from some evildoers.
Who the **** cares if someone of cast gets killed/stranded? Seriously?
humes spork wrote...
Unit-Alpha wrote...
For someone who goes on and on about it, it sure seems like he does.
They say the greatest homophobes are those that have homoerotic feelings themselves...
maybe the same thing?
Couldn't say personally, but sure seems like it. Kind of like that gay Shep sex scene thread right now.
treesnogger wrote...
So, I am new to the BSN, after a long break, but are there really people giving a **** about 10 seconds long "romance sub plots", like, seriously?
That game was always about some B-Movie plot in taking the galaxy back from some evildoers.
Who the **** cares if someone of cast gets killed/stranded? Seriously?
DeinonSlayer wrote...
Even the hard-SF element is going right out the window. What was that about some magical green energy pulse that spontaneously implants every organic in the galaxy with cybernetics? If I wanted to play a fantasy game, I'd buy a fantasy game. This is sci-fi.Weltenschlange wrote...
Raxxman wrote...
kingsims wrote...
Well the endings are pretty much deus ex. I posted this previously.
Synthesis - JC uploads himself to Helios and now humanity is one and together and he controls all of earths electronics including microchips. JC no longer exists as a single entity.
Destroy - JC says this is all wrong and destroys Helios which then humanity is plunged into a dark age. JC supposedly escapes or dies in the explosion.
Control - JC decides to preserve helios and gives power to the illuminanti which he becomes a member of giving the illumanti total control of humanity.
See the similarities? Btw for anyone who has not played Deus Ex go play it, its way ahead of its time.
Do you also find it ironic that the writers said that there'd be 'no Deus Ex' in the ending.
I'm not sure if I would call it ironic.
Anyway - assuming that these are the actual endings, what I find so unsatisfying about them is not the fact that they were seemingly "inspired" by the original Deus Ex (of which I have many fond memories), but that they clash so violently with the overall tone of the Mass Effect series.
To me the ME trilogy is essentially a space opera with some hard-SF elements. In my experience space operas tend to have an overall positive outcome even if there is doom and gloom inbetween. ME 1 and 2 both had an overall optimistic sense of "we can do this". Even the 'suicide mission' could be turned into a full success given some effort.
And now with ME3 we apparently get endings that are very fitting for a dystopian game like Deus Ex, but to me seem absolutely out of place in a space opera like Mass Effect.
I don't know anymore...
no one reasonable expects a significant amount of variation, just something comparable to what we saw in me2, where the overall narrative stayed the same, but shep's choices and readiness determined outcomes on a more personal level (ie, squadmates/friends living or dying).blueruin wrote...
I get your point, but all along we've been told the magic of Mass Effect is that the game's Shepard is YOUR Shepard, that your decisions have a material impact on the outcome especially in the final piece of the trilogy where the endings can be whatever. If they had been pitching it as, hey you get to make window dressing choices along the way but we're going to pre-decide all the important stuff, it wouldn't have the same allure. That might be how it turned out, but that's not what they've been promising. It would be interesting to see how many people agree with you that the marketing materials and PR statements and interviews clearly made sure people knew the whole "decision" aspect of the game was relevant "only to a certain degree."
Well, ideals meet reality then, lesson learned? Just imagine for a moment about what the development process for a game like Mass Effect 3 would have to involve. The production costs, animation, voice acting alone. Think about the logistics of trying to write to the variables laid out from the previous two games and the amount of planning that would take. The budget and time constraints. To expect a multitude of wildly divergent narratives branching off from the main story is not realistic. Especially when the vast majority of people who buy your games are not going to play through multiple times and see all of the content they invested time and money into.
Games with choice are as good as they are, right now. And they're pretty good Why don't you just try to enjoy the ride?
This is how I feel, too. I cared at first, now I'm just going to wait and see for myself what they're like. Either way, 95% of the game should be highly enjoyable, and since there really isn't too much I have hated in the Mass Effect series so far, I trust the writers to give us a decent send-off.XX55XX wrote...
Is anyone still really upset by the endings? I find myself not caring anymore.
Tietj wrote...
This is how I feel, too. I cared at first, now I'm just going to wait and see for myself what they're like. Either way, 95% of the game should be highly enjoyable, and since there really isn't too much I have hated in the Mass Effect series so far, I trust the writers to give us a decent send-off.XX55XX wrote...
Is anyone still really upset by the endings? I find myself not caring anymore.
XX55XX wrote...
treesnogger wrote...
So, I am new to the BSN, after a long break, but are there really people giving a **** about 10 seconds long "romance sub plots", like, seriously?
That game was always about some B-Movie plot in taking the galaxy back from some evildoers.
Who the **** cares if someone of cast gets killed/stranded? Seriously?
BIoWare's writing is so good that people buy into their characters and worship them like gods. It's kind of creepy, but I've been there with characters like Tali.
Same reason people ****** about Luke Skywalker in Star Wars. Sometimes, the characters are just that believable, and we pour our hearts into them.
Rdubs wrote...
blueruin wrote...
Well, ideals meet reality then, lesson learned? Just imagine for a moment about what the development process for a game like Mass Effect 3 would have to involve. The production costs, animation, voice acting alone. Think about the logistics of trying to write to the variables laid out from the previous two games and the amount of planning that would take. The budget and time constraints. To expect a multitude of wildly divergent narratives branching off from the main story is not realistic. Especially when the vast majority of people who buy your games are not going to play through multiple times and see all of the content they invested time and money into.
Blue I actually agree with you but from a different perspective. I hundred pages or so ago I spoke exactly about what you reference above, how in ME and ME2 it was easy for them to make promises about how all this was going to come together to create your very own awesome ME3 outcome - yet when they sat down to draft that out, they were like AW CRAP. My theory is instead of trying to do a wide variety of outcomes as promised, and possibly let quality suffer, they just said "screw it let's force everyone into a big melancholy ending and call it art / drama / "emotional experience."
But if the end result is over-promising and under-delivering, whose fault is that? Is it the producer for making hype and promises they couldn't keep, or is it the consumer for not discounting what they were told? I say both, but the key issue is that most consumers trust what they are being told until proven otherwise. The net effect of this I predict is that no one will believe much of what Bioware says in the future when they try to hype something. It was easy to say "ME3 and DA2 were made by different studios so compeltely unlrelated" but two data points is harder to dismiss than one.
ratzerman wrote...
So now Priestly is tweeting fake ME3 spoilers. I'm glad he finds this so amusing.
recentio wrote...
Salvadore Dali -- some wildly innovative and thought-provoking, yet not depressing, art. Even 'The Scream' (by Edvard Munch) isn't so much sad as disturbing. Makes you wonder what is really going on there...just like the BW writing room.
(EDIT: clarifying that 'The Scream' was by Munch, not Dali)
Modifié par Indoctrination, 02 mars 2012 - 03:07 .
blueruin wrote...
Rdubs wrote...
blueruin wrote...
Well, ideals meet reality then, lesson learned? Just imagine for a moment about what the development process for a game like Mass Effect 3 would have to involve. The production costs, animation, voice acting alone. Think about the logistics of trying to write to the variables laid out from the previous two games and the amount of planning that would take. The budget and time constraints. To expect a multitude of wildly divergent narratives branching off from the main story is not realistic. Especially when the vast majority of people who buy your games are not going to play through multiple times and see all of the content they invested time and money into.
Blue I actually agree with you but from a different perspective. I hundred pages or so ago I spoke exactly about what you reference above, how in ME and ME2 it was easy for them to make promises about how all this was going to come together to create your very own awesome ME3 outcome - yet when they sat down to draft that out, they were like AW CRAP. My theory is instead of trying to do a wide variety of outcomes as promised, and possibly let quality suffer, they just said "screw it let's force everyone into a big melancholy ending and call it art / drama / "emotional experience."
But if the end result is over-promising and under-delivering, whose fault is that? Is it the producer for making hype and promises they couldn't keep, or is it the consumer for not discounting what they were told? I say both, but the key issue is that most consumers trust what they are being told until proven otherwise. The net effect of this I predict is that no one will believe much of what Bioware says in the future when they try to hype something. It was easy to say "ME3 and DA2 were made by different studios so compeltely unlrelated" but two data points is harder to dismiss than one.
The realities of their business dictate that they're obligated to hype up their games and dance the PR dance. Even if they're secretly dissatisfied with their product and it was rushed due to forces beyond their control or whatever. As the consumer though, we're not obligated to believe them.
WvStolzing wrote...
recentio wrote...
Salvadore Dali -- some wildly innovative and thought-provoking, yet not depressing, art. Even 'The Scream' (by Edvard Munch) isn't so much sad as disturbing. Makes you wonder what is really going on there...just like the BW writing room.
(EDIT: clarifying that 'The Scream' was by Munch, not Dali)
You'll get the writers thinking: See, they're comparing us to great artists!
I'll say it again: To give an ending that is 'bleaker than bleak' (...get it?) without having it degenerate into sadistic tripe, to have gruesome scenes yet do it in good taste and be able to say something through them, and to end on a faint note of 'hope in a new beginning, after the destruction that transforms us all', etc. you have to be the guy who wrote King Lear.
How about trying to become geniuses of light entertainment in perfectly good taste? There are people who do it so well, that they become legends. You really can do this kind of thing...
vanetian wrote...
Sashimi_taco wrote...
webhead921 wrote...
Wowzers this thread is big. The endings are not the best, but it could be worse. I'm glad I pre-ordered it. I had fun playing the single player demo with every class, so I want the full game.
Also, there are endings to sub-plots that I am invested in. What happens regarding the krogan genophage? How will the quarian/geth thing get resolved? What are Miranda and Jacob up to now that they are no longer Cerberus? Etc. Etc. I still want these answers, even if things end up sucking for the Normandy and Shep.
Also, for the record, I have no problem with the idea of the relays being destroyed. I'm just curious to see the stranded normandy/shepard for myself.
The relays are not what people are mad about. It is the fact that your LIs and crew are left stranded on a random planet and you never get the see them again if you live.
I feel like a broken record here.Can anyone provide screenshots of this stuff?
treesnogger wrote...
So, I am new to the BSN, after a long break, but are there really people giving a **** about 10 seconds long "romance sub plots", like, seriously?
That game was always about some B-Movie plot in taking the galaxy back from some evildoers.
Who the **** cares if someone of cast gets killed/stranded? Seriously?
Modifié par recentio, 02 mars 2012 - 03:07 .
xtorma wrote...
Yes
Retour en haut
