jarrettwold wrote...
Dreogan wrote...
jarrettwold wrote:
It was crushing. Because, at that moment my epic hero was transformed into little old me. A bit personal, but that's why I escape into video games, music, movies and books. There are times where I need a little more hope than life's giving me 
You already knew the answer-- added emphasis for you. What we've seen throughout this whole ordeal is the penalty of the storyteller breaking the suspension of disbelief. The story, the fictive universe, of Mass Effect, existed in your mind for five years. When those last five minutes came about, a series of errors forced you to second-guess the story, brought you out of that universe, and did much more damage to that universe (by invalidation) than the explosion of relays could ever do to the actual universe of Mass Effect. The fabric of Mass Effect was torn.
This has happened in smaller scale in other works, but Mass Effect is unique. You were led through, again, five years and three "renewals" of the writer-reader contract. Every single "renewal" multiplies the destruction of the universe when the suspension of disbelief is broken.
It didn't exist for me for five years, as I picked up Mass Effect 2 last year. I think in some ways that video games deliberately break the fourth wall and that's a good thing. I mean, today's 360 avatars are going to be vividly real in oh 20 . The possibility of it visually being a simulacrum of me is a very real possibility, hopefully a bit more buff
That's where Mass Effect is groundbreaking is in that it did it so well. It really reached out and was like here you're Shep. The illusion of choice was so well done compared to previous games.
As far as writer-reader contracts. I have no idea, or experience in that. I wouldn't even try to go to a wiki and read what exactly that meant... but yea. I would say that playing ME2 last year kept it fresh for me going into this year.
I would love to see a panel of sociologists and psychologists dissect the impact of Mass Effect and the ensuing backlash. I don't know why this resonated so quickly and so loudly.
The entire reason the decisions were so compelling in Mass Effect is Bioware was able to force your mind into Shepard's, rather than a third-person camera. You may not have played five years, but you certainly did have a strong connection to the character, and as a result the story. It wouldn't resonate with you otherwise.
The writer-reader contract isn't a legal agreement, it's more of a(n unwritten) system of guidelines writers tend to follow to avoid breaking the suspension of disbelief. Mass Effect doesn't exist on a disc or at Bioware, it exists in the head of the person immersed in its world. This isn't limited to Mass Effect-- it's true of most fiction; all games, anything where the suspension of disbelief is invoked to create a universe inside your head. Maintaining the suspension of disbelief is essential-- without it, books are abandoned, games are put down at a random save point, you never bother to finish That Movie once your friend comes to visit. Breaking the suspension of disbelief -- or never managing to invoke it -- results in a story that is not compelling.
While it is true you can play as your avatar in a game, such a representation is compelling because you can "move" your mind's eye to the screen. You
become that avatar. If your super-buff facsimile of yourself suddenly deflated during a dramatic scene (with a comic thbbt) the typical reaction would be to second-guess the scene. This breaks the suspension of disbelief, and makes it Just Another Talkie.
Mass Effect transcended this until the last few minutes, when we found out not the genre shifted (space opera to mind**** scifi), badly-defined characters were introduced (star-god-child), ill-explained concepts which seemed to clash with existant themes were introduced (synthetics will never get along with organics), ill-explained logic breaks were tossed in our lap (yo dawg, racisim), and poorly-defined ... stuff came out of nowhere (space magic!). All of these are violations of the writer-reader contract, and this isn't even an exhaustive list. In the last five minutes. Keep in mind many of these can be resolved through hysterical backpedeling through the various apocrypha of the game, but the
presentation absolutely failed to sell these (evidence is the audience reaction). The selling is the breach.
Our brains just basically said "screw you guys, I'm goin' home" and the universe we built up in our minds throughout the story just... shattered.
That is why we just won't let it go, we resent a story that forces us to so suddenly second-guess the Teller. It resonated so quickly because it was such a catastrophic failure of storytelling a
huge portion of Bioware's strongest supporters ran right into it.
Modifié par Dreogan, 29 mars 2012 - 08:47 .