KaiserShep wrote...
And that's really the thing. Fitting the narrative is generally what matters the most. If people get an ending that is senseless and anticlimactic, they'll just go ahead and express their desire for their ideal ending, many of which will just be fairytale grade. But what people desire for the protagonist can be overridden by an ending that properly follows through with how the story played out up until that point. Look at the big episode in season 3 of Game of Thrones. Lots of fans definitely did not want that to happen, but it not only fits completely with the story because of how it follows through with an event in the past, but it also made the story immensely more exciting for the right reasons. The end of The Walking Dead game may not be what people were hoping for, but it was a satisfying conclusion because it made sense, while hitting the right notes emotionally.
Another example I recently had the pleasure of playing - reload-sessions on suicide-mission-difficulty aside, although I got through them eventually - would be Spec Ops: The Line, which manages to gradually turn the protagonist from 'hero' to 'monster' as the game progresses. About the only 'heroic' moment I've had playing it was rescuing a couple civvies who said their 'thanks' and were gone.
Best of all, it manages ambiguity far better as it leaves the protagonist's sanity and perception, and thus the perception of players, in question: was it all fever-induced near-death illusion? Exactly who are the 'bad guys' at the end of the day?
Does Captain Walker 'wake up' or does he 'survive'?
Brilliant.
I have, I've been here for over a year and I've seen lots of criticism,
but it generally boils down to calling things that aren't plot holes,
plot holes, or ****ing about Bioware because the ending made them feel
sad. Have you ever actually seen anyone discuss the parts of the ending
they hate? Or do you just see ****ing about it and a point blank refusal
to change their faulty preconceived notions? Unlike you though, someone
below you has responded and I'll respond in kind.
My my, I nearly forgot how pleasant this corner could be...
For one, pin-pointing the one common key-problem is fairly easy: the Catalyst, its setting and the execution thereof. Simply removing it quite seamlessly gets rid of the most glaring problems - which, personally, includes the difficulty of taking an ancient AI in charge of eons-old kill-bots that has an inexplicable need to dress up as a kid seriously.
'Sacrifice of choice' is a consequence of that, you say? Why insist a story needs to have that for the mere sake of 'choice'? Why not let the choices accumulated throughout the series play out themselves? Is adding an 'If I were god'-scenario really that necessary when Shepards already were peacemakers or conquerors, heroes or villains in the third game alone?
As for alternate endings, there's a good number of those out there. Some better thought out than others, true, yet I am sad to say that the vanilla end, and the EC's insistence on keeping the Catalyst in there, isn't exactly stellar writing either, as what it comes down to is paving the road to 'playing god' in several flavours. You think that is perfectly 'logical' and 'innovative storytelling'? Your call, certainly not that of everyone.