There are two types of magic in fiction: Gandalf magic and Asspull magic.
"Gandalf" magic represents a kind of magic that is solidly bound in the telling of a story, explained in such a way that it doesn't break the fictive dream. Biotics represent this in Mass Effect, as does element-zero. As this type of magic has a solid definition, it does not break the suspension of disbelief when it appears in the fictive universe: we were expecting it, we know what it looks like, and our mind knows how to handle it.
"Asspull" magic just happens. There's no established reason why it works, why it is so powerful, or why it acts the way it does. The Star-God-Child's space magic is an example of this. You could even argue the "teleportation" of Normandy crew members are an example of "asspull" magic. In other words, this magic exists because a storyteller invoked magic without a proper definition or unsuccessfully presented it to the audience. The result is this magic breaks the suspension of disbelief, shatters the fictive universe in the audience's mind, and the house of cards collapses.
The reason the synthesis asspull-magic ending is so reviled is it is a
second dose of pissing on the suspension of disbelief. The first break during the conversation with the star-god-child mortally wounded the story for many-- any chance of redemption (or reconstruction of the universe in the audience's mind) is set on fire by the synthesis asspull.
*keep in mind it is
possible for magic to exist in a story undefined or unknowable to the characters, but an audience will tend to reject that magic if it operates outside of author-defined boundaries. These boundaries don't always need to be spelled out directly, but magic does not grant a storyteller a blank check to make anything happen. It is this reason why deus ex machina is so reviled, why contrivances are considered weak storytelling, etc.
Modifié par Dreogan, 28 mars 2012 - 03:58 .