@delta_vee
delta_vee wrote...
I'd argue that the dream-like section between Harbinger and Conduit is specifically meant to evoke the cinematic, slow-motion, hero-arises-after-near-defeat sequences drilled into our brains by dozens of movies. Once the Citadel is reached, Shepard's still limping but the slow-mo is gone. Thinking it's anything but a stylistic choice seems like making the data fit the hypothesis.
I would say that is the most overtly dream-like part, but for me the following scenes were totally bizarre as well. The search for the console with Anderson in particular. He describes finding landmarks, as Shepard is finding them. Based on his descriptions of where he is, we should be able to see him run across the bridge and up the ramp. Then there is TIM controlling Shepard and Anderson, the magic elevator, and the ghostly presence of the catalyst, the sense of awe the music and lighting seemed to convey, and Shepard's inability to question the Catalyst at all. The same shepard that headbutted a krogan! (as Drayfish mentioned a while back). Maybe I was just feeling the conditioning of those fade to white seques.
I don't think the mistakes were subtle, either. But from BW's POV, destroy had to carry extra baggage, if only to get people to stop and weigh their options. There are some who buy into synthesis, filling BW's information void with speculations of their own, and are fine with it. Others choose control because for them, sacrificing a principle is better than sacrificing a friend. (Also, it should be noted that control is the only option wherein the Citadel survives.) These are the arguments the player is meant to have within themselves, while limping towards the RGB machine.
Always remember: de gustibus non disputandum est.
I had to look that up. You and I did not get the same classical education.
This (bold) is my point. That Bioware thought that was necessary to make people consider the alternatives, it meant they saw the inherent failures in those alternatives. By including the Geth, they were twisting our (a huge chunk of the audience anyway) arms into considering what we were happy to discard. It seems bizarre to me that bioware would culminate the final installment of their magnum opus on what many (most?) people can agree was an obviously shallow and contrived decision. Each decision invalidates the (or an aspect of the ) journey in it's own way. We seem to agree this was forseeable. For them to do so anyway, and think it was fitting boggles my mind.
It depends on your definition of "lose". Under 1750 EMS, you have a single option (destroy, with the complications to IT that entails) which cauterizes the whole planet (and possibly, by implication, the galaxy). The Reapers go with it, but that feels even more like losing than the high-EMS endings.
Well, yes. My definition of lose is the cycle continuing unabated. We were never really given an in-game reason to care about Earth. Incidentally, I think this was why the intro was what it was, witnessing the Reapers take Earth as you retreated to Mars and later the Citadel, helpless. It was a contrived means of investing the Player in the return to Earth later. Back to point, I didn't really see a reason to think the galaxy was incinerated as well. Well, beyond the exploding relays that apparently didn't supernova. I view the <1750EMS as a Pyrrhic victory. Earth is lost, but the galaxy is spared and free of the torment of the Reapers. As worst case scenarios go, that looks pretty nice.
I think the backlash would've been far, far worse had IT's conclusion been implemented within the framework of the current game. It's easier for fans to speculate on their own reactions as it stands, without feeling like they're actually, currently missing out on the Right Answer.
I'm not sure what that would have looked like. More importantly, I think it would have undermined the experience. I keep harping on it, but IT is about the
experience of being indoctrinated. You don't even realize it happened. Sovereign didn't turn to Saren and say "Haha, you're indoctrinated! Now fetch me some Geth" he allowed Saren to continue doing what he thought was necessary. By having the reveal in game (in the following scene perhaps) there is no uncertainty. There is no
speculation. I also think "speculation" was a significant word. Not debate, not argument, not dissent, not critique, and not frothing nerdrage. Speculation. If everything is as it was presented, where does speculation fit in?
If you want a sample, though, here's one (which isn't big, but may get people upset with me): the popularly-chosen version of Mordin's death is narratively indefensible and manipulative as all get out. Thematically effective, and they sure as hell made the scene evocative, but the only reason he dies in that permutation is to pluck at your heartstrings. The spire blowing up (slowly, WTF?) was a contrivance to give Mordin an excuse to sacrifice himself.
Consider the context: you need all the support you can. The greater good demands it. Curing the genophage can wait; there are no scores to settle if the Reapers win. The Salarians can be haggled with afterwards, but you need their fleets now. You need every fleet now.
Remember that Rosencrantz & Guildenstern Are Dead quote? "Events must play themselves out to aesthetic, moral and logical conclusion."
The only permutation of that scene which fits those criteria is for you to shoot Mordin in the back. All others are a cop-out.
I was a little annoyed that the control room was at the top of the (crumbling for no apparent reason) tower, but aside from that none of it really bothered me. It served the narrative (to me) and fit reasonably within the story. No, the genophage didn't
need to be cured, but Wrex had a bargaining chip and he wasn't going to let it go to waste. So to get him on board, you had to cure it, and you
needed him on board. The ME3 narrative in a vacuum was Shepard... er, shepherding (real subtle, Bioware) the galaxy together into a cohesive armada, and all the politics that involved. The actual scene of Mordin going up was a little cheesy and contrived, a forced show of him finding catharsis. I can see it as visually manipulative, but not wholly illogical. A wrong that he had helped aggravate needed to be undone, not just for the Krogan but for the galaxy, and since it was him or Shepard he needed to be the one to do it. Although, I have to say the "did s/he die?" moment that accompanied
every single character got tired pretty quickly (and only seemed to work with Grunt).That said, I would hardly say it "screwed" the narrative.
I've long seen ME for what it was, a space opera, filled with little contrivances. You put on your suspension of disbelief pants and roll with punches. You could probably bring up more that I'm forgetting, but the only ones that felt inexcusable to me were 1) Shepard twiddling his thumbs and getting fat on Earth between Arrival and ME3. Somebody a few pages back posted an alternate intro that would have been
much better. And 2) the guilt play with the child. Even my paragon shep was annoyed by them, I can't imagine how CG Girl's "Crow" would view them. Number 2 kind of ties into
a post Drayfish made a while back. The same Shepard that did all those things is a sputtering mess at the beginning of the game, guilt-ridden over a single child (out of billions), and even going so far as to
stare helplessly at Kaidan's injured frame until Liara has to point out that they should go to a Hospital. My Shepard was certainly not unfeeling, but he was unflinching. Also, he never really liked Kaidan. I chose Kaidan over Ashley because his powers were more useful. The way Bioware was so heavy-handed with his story arc was pretty annoying.