BlueStorm83 wrote...
--- A woman at Pixar has recently tweeted 22 rules that Pixar has for telling a good story. I'm gonna copy and paste a few of them here.
#2: You gotta keep in mind what’s interesting to you as an audience, not what’s fun to do as a writer. They can be v. different.
#7: Come up with your ending before you figure out your middle. Seriously. Endings are hard, get yours working up front.
#9: When you’re stuck, make a list of what WOULDN’T happen next. Lots of times the material to get you unstuck will show up.
#11: Putting it on paper lets you start fixing it. If it stays in your head, a perfect idea, you’ll never share it with anyone.
#13: Give your characters opinions. Passive/malleable might seem likable to you as you write, but it’s poison to the audience.
#14: Why must you tell THIS story? What’s the belief burning within you that your story feeds off of? That’s the heart of it.
#15: If you were your character, in this situation, how would you feel? Honesty lends credibility to unbelievable situations.
#17: No work is ever wasted. If it’s not working, let go and move on - it’ll come back around to be useful later.
#19: Coincidences to get characters into trouble are great; coincidences to get them out of it are cheating.
#21: You gotta identify with your situation/characters, can’t just write ‘cool’. What would make YOU act that way?
#22: What’s the essence of your story? Most economical telling of it? If you know that, you can build out from there.
--- Those I listed could have really cleaned things up here.
I think Bioware violated #2 at the very begging of ME2; I've never seen how Shepard could be brought back exactly as he/she was before dying. The whole "Reapers make goo out of advanced organics" idea also seems to be present to simply increase the player's hate of the enemy. There is also the fact that the beam in London stays active even when your forces are clearly headed for its location, and the fact that the beam doesn't send Shepard to "Organic Processing"; very accomadating of the Reapers, giving you a way to access the heart of their operations.
Also...
- Ashley/Kaiden was really lucky on Horizon in ME2
- The mystery shuttle departure befor the Collector attack on the Normandy
- The Crucible is implemented very poorly
- There are no visible reprecussions for Shepard's decision of ally with Cerberus (no trial is shown)
- the timing of TIM's indoctrination is convientently vauge
Honestly, the main narrative from ME2 on has numerous weak points, yet the missions to recurit characters in ME2 and their loyalty missions are good. In fact almost every aspect of the ME universe is well-crafted except for the main story (ME2 and ME3). I felt driven to explore the galaxy and the lives of my teammates, but the stopping the Collectors/Reapers was more of task for me. I wanted to save the crew and colonists in ME2, I wanted to save all the people suffering in ME3, and I feel that main story missions were fine; the overall reason for embarking on the journey just seems... unimportant. The ending is so jarring because, one its very poorly executed/badly broken, and two its the end; there isn't anything else to do, no more characters to talk to, no more places to explore, no more baddies to shoot/blast away at with tech powers/own with biotics.
Was ME1 victim to hard-to-believe events? Did the writer's change after the first game? Did EA put too much pressure on Bioware to quickly put out a product? Is everyone that praises the story of ME2/ME3 lying, or are they just ignoring the issues with the main plot?
BTW, I did enjoy the story lines on Tuchanka and Rannoch, and I'm glad Thane died a hero on the Citadel (beats wasting away in a hospital bed).
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