chemiclord wrote...
inko1nsiderate wrote...
Just to point something out. Drew wrote the first book (released before the first game), and in the first book Anderson takes a while to talk about the threat true AI poses to organic life in the galaxy. He goes so far to say that the geth aren't true AI, that true AI would achieve something akin to a singularity, and that this would lead to war and destruction of organic life. The council considers true AI to be the largest threat to the galaxy, which is why AI research is outlawed.
I'd say Drew started out down the path of 'AI is dangerous' with the first book. It isn't something wholly new to the series.
Oh, it's definitely THERE... but I think it wasn't nearly developed enough IN GAME for many players to latch onto it as a main theme. Players are given the aftermath of what apparently had led to a very strict "No AI" policy, but next to NONE of the context involved.
In principal, a story that has a theme and later decides to build upon, refine, and focus on that theme is not a bad form of story telling (even if the theme wasn't the biggest theme in earlier instalments). This theme was there, and if ME1 and ME2 are supposed to be the preamble to ME3 (saw this used as a description for the ME trilogoy plans), then it makes sense why this lurking theme would come to the forefront after the significant setting and character development had been finished.
Some would say that these themes were largely absent from ME3 until the very end, but I'd generally disagree. Particularly with Javik, EDI as sexbot, and other themes in ME3 I'd say conflict against creators is strong. The Geth are a major part of ME3, talking to the Reaper hints that they think conflict between synthetic and organic is inevitable ('your war here disproves this' says the dying Reaper). Then you have Javik, who goes really hardcore on the synthetic hate. Add in the fact that EDI helps you take down her creator directly, and you start to see how synthetic conflict with their creators is a major part of ME3. The Krogan rebellions were essentially created by the Salarians through their uplifting of the Krogan (the road to hell is paved on bad intentions) and it is implied the Salarians will try again with the Yahg. First thing I think of when I hear 'Yahg' and 'covert uplifting' I think the Yahg will rebel in short order and cause far more destruction than the Krogan Rebellions. This plays into that theme of created rebelling against creators. Perhaps more importantly, I see the themes of control, destruction, and synthesis play out throughout the game and not appear out of thin air at the end. Control is represented by EDI taking over Eva's body, the Salarians attempt to sabotage and the Genophage itself fit as well, possibly Admiral Xen's obsession with taking control of the Geth again, and obviously TIM. Destruction is exemplified by Javik, Vega, and Admiral Gerall. These are the characters focused on destruction of the Reapers (or the Geth in the case of Gerall). Synthesis is represented in every time Shepard is able to find a third path that amolerates conflict, or in the EDI/Joker romance, Legions sacrifice to bring freedom to the Geth and peace between the Geth and their creators, and more generally through Shepard's efforts to unite a galaxy starting all the way back in ME1.
Then again, that doesn't mean you can't think of the endings as 'thematically revolting', and there is probably a fair bit of revisionism happening here in my view of the trilogy as a whole. To me it still feels like ME3 picked up a particular thread that had been woven throughout the story and decided to emphasize it for the purposes of the finale of Shepard's journey.
I think the only place Mac Walters and Casey Hudson might have gotten carried away was with synthesis. Bringing in ideas from futurism that hadn't really been seen in Mass Effect, and making it a transhumanist utopia do seem a little over the top (at very best).
Anyway, that was a bit of a tangent, back to lurking.
Modifié par inko1nsiderate, 22 juillet 2012 - 11:15 .