Short answer? Yes.jgibson14352 wrote...
if the created always rebel against their creators shouldnt the reapers have rebelled against the AI?
this is probably nothing but still
Modifié par BansheeOwnage, 31 août 2012 - 07:30 .
Rifneno wrote...
legaldinho wrote...
RavenEyry wrote...
There's a child on the board of murders although I can't tell if it's Creepy McBlownup.
I'm gonna keep reposting this til someone replies.
It's been mentioned before. The child has got his back to the camera, so hard to tell. Also seems to be darker haired than bieber, but hey.
Citadel lawyer: Look kid, if you take this plea bargin it'll save you a lot of jail time.
Starbinger: You can't save me...
Citadel laywer: Stop saying that! It doesn't make any sense!
Modifié par SauliusL, 31 août 2012 - 07:33 .
Rifneno wrote...
legaldinho wrote...
RavenEyry wrote...
There's a child on the board of murders although I can't tell if it's Creepy McBlownup.
I'm gonna keep reposting this til someone replies.
It's been mentioned before. The child has got his back to the camera, so hard to tell. Also seems to be darker haired than bieber, but hey.
Citadel lawyer: Look kid, if you take this plea bargin it'll save you a lot of jail time.
Starbinger: You can't save me...
Citadel laywer: Stop saying that! It doesn't make any sense!
RavenEyry wrote...
Glad everyone knows then, I missed the discussion and was ignored the last two times I mentioned it.legaldinho wrote...
RavenEyry wrote...
There's a child on the board of murders although I can't tell if it's Creepy McBlownup.
I'm gonna keep reposting this til someone replies.
It's been mentioned before. The child has got his back to the camera, so hard to tell. Also seems to be darker haired than bieber, but hey.
legaldinho wrote...
Rifneno wrote...
legaldinho wrote...
RavenEyry wrote...
There's a child on the board of murders although I can't tell if it's Creepy McBlownup.
I'm gonna keep reposting this til someone replies.
It's been mentioned before. The child has got his back to the camera, so hard to tell. Also seems to be darker haired than bieber, but hey.
Citadel lawyer: Look kid, if you take this plea bargin it'll save you a lot of jail time.
Starbinger: You can't save me...
Citadel laywer: Stop saying that! It doesn't make any sense!
Citadel lawyer: Listen, I'm trying my best to help you but if you don't let me, the case will go to the feds.
Starbinger: Good. We welcome their involvement.
Citadel laywer: ...
legaldinho wrote...
Rifneno wrote...
legaldinho wrote...
RavenEyry wrote...
There's a child on the board of murders although I can't tell if it's Creepy McBlownup.
I'm gonna keep reposting this til someone replies.
It's been mentioned before. The child has got his back to the camera, so hard to tell. Also seems to be darker haired than bieber, but hey.
Citadel lawyer: Look kid, if you take this plea bargin it'll save you a lot of jail time.
Starbinger: You can't save me...
Citadel laywer: Stop saying that! It doesn't make any sense!
Citadel lawyer: Listen, I'm trying my best to help you but if you don't let me, the case will go to the feds.
Starbinger: Good. We welcome their involvement.
Citadel laywer: ...
SauliusL wrote...
Don't know if this was talked about, but some more speculation to IT.
I was just now listening to Mass effect soundtrack. The last song called "An End Once and For All".
The one we get after finishing the game. Since I am a professional musician, I tried to look at the piece as if I was a composer and some interesting thought got me - even an untrained ear hears that the beggining is really calm and smooth, as if everything is over, the battle is won etc. But what got my attention is the very end, where harmony and volume rises as if realizing something horrible. Let's say, if I was the composer for this soundtrack, and someone from bioware would ask me: "please write very soothing and nice melodie for the end, but before it finishes make it sound like waking from a horrible nightmare, realising something terrible" - I would compose exactly the same.
Somehow it fits perfectly for me to the IT theory, as there would be no other reason to make such a soundtrack, especially when we have "good" endings, where Shepard has stopped the Reaper threat and become a legend.
Modifié par Dwailing, 31 août 2012 - 07:37 .
legaldinho wrote...
RavenEyry wrote...
Glad everyone knows then, I missed the discussion and was ignored the last two times I mentioned it.legaldinho wrote...
RavenEyry wrote...
There's a child on the board of murders although I can't tell if it's Creepy McBlownup.
I'm gonna keep reposting this til someone replies.
It's been mentioned before. The child has got his back to the camera, so hard to tell. Also seems to be darker haired than bieber, but hey.
The bit about darker hair is just me. I'm not sure there was a discussion; I remember someone posting about there being a kid with the back to the camera and reining in his/her own speculation about that. No real discussion.
You can't expect everything to get picked up. That's a highly solipsistic approach.
NOW WHAT ABOUT THE RED POPPIES YO
BansheeOwnage wrote...
Good to see you TSA. Sorry to say it doesn't do much at all for the endings. So little in fact that I'm convinced (again) it couldn't have happened in real life. And how did you go to the citadel after it disappears?TSA_383 wrote...
Well holy ****.
Leviathan... EVERYTHING in the dlc was about indoctrination...
I've still not replayed London after doing it yet, as I played through leviathan immediately after cerberus took the citadel. Surely there's scope for this DLC to affect London in a big way... Surely?
Modifié par spotlessvoid, 31 août 2012 - 07:40 .
SauliusL wrote...
Don't know if this was talked about, but some more speculation to IT.
I was just now listening to Mass effect soundtrack. The last song called "An End Once and For All".
The one we get after finishing the game. Since I am a professional musician, I tried to look at the piece as if I was a composer and some interesting thought got me - even an untrained ear hears that the beggining is really calm and smooth, as if everything is over, the battle is won etc. But what got my attention is the very end, where harmony and volume rises as if realizing something horrible. Let's say, if I was the composer for this soundtrack, and someone from bioware would ask me: "please write very soothing and nice melodie for the end, but before it finishes make it sound like waking from a horrible nightmare, realising something terrible" - I would compose exactly the same.
Somehow it fits perfectly for me to the IT theory, as there would be no other reason to make such a soundtrack, especially when we have "good" endings, where Shepard has stopped the Reaper threat and become a legend.
Music is an extremely important part of anything, especially when it comes to mood, as I'm sure you know. I'm hoping to make a video showing this. Here's another thing to think about. In the endrun in ME2, The End Run looped. It made it feel much more epic and gave you a feeling of victory. Now think about London. There is only one track that plays at all in London (unless you count the cutscene where the destroyer dies). It's the extraction music that plays in Vancouver while waiting for the Normandy. But in 90% of London there is literally no music. No one does that without meaning something else. To add to that, "The night is always darkest just before the dawn."SauliusL wrote...
Don't know if this was talked about, but some more speculation to IT.
I was just now listening to Mass effect soundtrack. The last song called "An End Once and For All".
The one we get after finishing the game. Since I am a professional musician, I tried to look at the piece as if I was a composer and some interesting thought got me - even an untrained ear hears that the beggining is really calm and smooth, as if everything is over, the battle is won etc. But what got my attention is the very end, where harmony and volume rises as if realizing something horrible. Let's say, if I was the composer for this soundtrack, and someone from bioware would ask me: "please write very soothing and nice melodie for the end, but before it finishes make it sound like waking from a horrible nightmare, realising something terrible" - I would compose exactly the same.
Somehow it fits perfectly for me to the IT theory, as there would be no other reason to make such a soundtrack, especially when we have "good" endings, where Shepard has stopped the Reaper threat and become a legend.
Dwailing wrote...
legaldinho wrote...
RavenEyry wrote...
Glad everyone knows then, I missed the discussion and was ignored the last two times I mentioned it.legaldinho wrote...
RavenEyry wrote...
There's a child on the board of murders although I can't tell if it's Creepy McBlownup.
I'm gonna keep reposting this til someone replies.
It's been mentioned before. The child has got his back to the camera, so hard to tell. Also seems to be darker haired than bieber, but hey.
The bit about darker hair is just me. I'm not sure there was a discussion; I remember someone posting about there being a kid with the back to the camera and reining in his/her own speculation about that. No real discussion.
You can't expect everything to get picked up. That's a highly solipsistic approach.
NOW WHAT ABOUT THE RED POPPIES YO
WHAT'S ALL THIS TALK ABOUT RED POPPIES?! Seriously, I think I missed something. Will someone please fill me in?
legaldinho wrote...
Time to prompt my betters to do some speculating/ investigating/ picturing/ youtubing.
Subject: The red poppy that features in Leviathan.
Motive:
This poppy is everywhere on the citadel. I think it appears elsewhere
too, i think. It features everywhere in Dr Bryson's lab's balcony.
Support:
It looks a bit like the scarren flower in Farscape. We know how far the
sci fi influence net is cast in Mass Effect's case.
Relevance of
Leviathan: When chasing Garneaux, you enter the research lab or
something. This is where you pick up lots of conversations/ datapads.
One of these datapads is next to a bunch of these red flowers. It says
something like "though common, this strand is extremely dangerous". With
the recap of indoctrination-creatures including the thorian and its
"spores", as well as emphasis on the organic nature of the Leviathan's
indoctrination means, I say this warrans some monocle popping
speculation.
Found a vid that does some semi-thorough investigating.
At 07:12.
Datapad says:
"NOTE TO STAFF:
This new crossbreed appears harmless and would be inconspicuous in an
office environment. However, it is exceedingly dangerous. Use extreme
caution when working with all third-generation plants."
This
guy's shep is jittery as ****, but anyway, you can see the plant is in
Dr Bryson's office, inside at 00.16 and outside at 4:14
The flowers are in udina's office, and elsewhere on the embassies ward.
legaldinho wrote...
*snip*
Yeah, you are completely right. They changed that completely. InterestingDwailing wrote...
SauliusL wrote...
Don't know if this was talked about, but some more speculation to IT.
I was just now listening to Mass effect soundtrack. The last song called "An End Once and For All".
The one we get after finishing the game. Since I am a professional musician, I tried to look at the piece as if I was a composer and some interesting thought got me - even an untrained ear hears that the beggining is really calm and smooth, as if everything is over, the battle is won etc. But what got my attention is the very end, where harmony and volume rises as if realizing something horrible. Let's say, if I was the composer for this soundtrack, and someone from bioware would ask me: "please write very soothing and nice melodie for the end, but before it finishes make it sound like waking from a horrible nightmare, realising something terrible" - I would compose exactly the same.
Somehow it fits perfectly for me to the IT theory, as there would be no other reason to make such a soundtrack, especially when we have "good" endings, where Shepard has stopped the Reaper threat and become a legend.
I should point out that they DID put a rewritten/extended version of An End Once and For All in the EC. It's a lot more... optimistic, maybe? Here's the link to the song:
True, but it still sounds very cut off. Cliffhanger. It's still the melodification (I made that word up) of "We're not done here yet".Dwailing wrote...
I should point out that they DID put a rewritten/extended version of An End Once and For All in the EC. It's a lot more... optimistic, maybe? Here's the link to the song:
BansheeOwnage wrote...
True, but it still sounds very cut off. Cliffhanger. It's still the melodification (I made that word up) of "We're not done here yet".Dwailing wrote...
I should point out that they DID put a rewritten/extended version of An End Once and For All in the EC. It's a lot more... optimistic, maybe? Here's the link to the song:
I recall that a lot of lists of problems made after the initial release was 'Not feeling like you won'. Even Lance Henricksen commented on it! Making the player feel victorious is so easy to do. Look at ME1 and 2 for easy examples.BansheeOwnage wrote...
If they wanted it to feel like you won, they could have easily done so!
That actually goes a bit deeper than I thought. BleedinUranium and I were discussing that, and it went like this:Dwailing wrote...
RavenEyry wrote...
As far as I can tell leviathans don't indoctrinate, they just control. There isn't the degredation either I believe. However, it's not much of a leap to assume indoctrination is a descendant of whatever levis do.
It would make sense for indoctrination to be a refinement of what the Leviathans do. I think Levvy specifically mentions that the Reapers refined their method of control into indoctrination. Which makes me wonder about just what Harby is capable of. If he's the first Reaper, then that means that he probably has Levvy's original control powers at his disposal in addition to regular indoctrination. Implications... unpleasant (Or very pleasant, depending on how you look at it.).
Edit: Oh! I just realized! That explains the whole "Assuming direct control" thing that he does all the time! He's employing traditional Leviathan control!
BansheeOwnage wrote...
Music is an extremely important part of anything, especially when it comes to mood, as I'm sure you know. I'm hoping to make a video showing this. Here's another thing to think about. In the endrun in ME2, The End Run looped. It made it feel much more epic and gave you a feeling of victory. Now think about London. There is only one track that plays at all in London (unless you count the cutscene where the destroyer dies). It's the extraction music that plays in Vancouver while waiting for the Normandy. But in 90% of London there is literally no music. No one does that without meaning something else. To add to that, "The night is always darkest just before the dawn."SauliusL wrote...
Don't know if this was talked about, but some more speculation to IT.
I was just now listening to Mass effect soundtrack. The last song called "An End Once and For All".
The one we get after finishing the game. Since I am a professional musician, I tried to look at the piece as if I was a composer and some interesting thought got me - even an untrained ear hears that the beggining is really calm and smooth, as if everything is over, the battle is won etc. But what got my attention is the very end, where harmony and volume rises as if realizing something horrible. Let's say, if I was the composer for this soundtrack, and someone from bioware would ask me: "please write very soothing and nice melodie for the end, but before it finishes make it sound like waking from a horrible nightmare, realising something terrible" - I would compose exactly the same.
Somehow it fits perfectly for me to the IT theory, as there would be no other reason to make such a soundtrack, especially when we have "good" endings, where Shepard has stopped the Reaper threat and become a legend.
London is that dark. Literally! London can't be the end! If they wanted it to feel like you won, they could have easily done so!
Pretty much. I need to get around to recording the end run so I can show everyone what I mean exactly. Anyway, I need to go eat. See you soonish.RavenEyry wrote...
I recall that a lot of lists of problems made after the initial release was 'Not feeling like you won'. Even Lance Henricksen commented on it! Making the player feel victorious is so easy to do. Look at ME1 and 2 for easy examples.BansheeOwnage wrote...
If they wanted it to feel like you won, they could have easily done so!
Collectors are just prothean husks so Harby is probably doing the same thing.BansheeOwnage wrote...
That actually goes a bit deeper than I thought. BleedinUranium and I were discussing that, and it went like this:
Banshee: "Sovereign assumed control of Saren."
Blur: "Actually he didn't. He only took control of his mech half after he died."
Banshee: I guess that's true. He didn't ever take control of him, just his mechanical parts after he died. So Harbinger remains the only reaper to ASSUME CONTROL of things."
Harbinger's role would be perfect if he was the kid in disguise.
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