Hmmm..
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"Miranda? But you're with Shepard. The three of us? Well, hmmm."
Hmmm..
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"Miranda? But you're with Shepard. The three of us? Well, hmmm."
Biotic pillow fights!
Miranda would win easily.
Since one of the ME3 fixed roster is either Ashley or Kaidan and one of them will be dead no matter what, They should have allowed the player to bring an exclusive ME2 character to fill that spot.
Since one of the ME3 fixed roster is either Ashley or Kaidan and one of them will be dead no matter what, They should have allowed the player to bring an exclusive ME2 character to fill that spot.
Miranda would win easily.
I wonder who had the bigger pillows?
If you are playing femShep, romance Liara. You need Lair of the Shadow Broker for this.
Actually no. Don't romance Liara. Those playthroughs made me miserable. The endgame is exquisite but before that is like watching paint dry.
I was expecting a full scale of Squad mates combining ME1 and 2. Of at least some specific missions where you could play with each character from ME1 and 2.
They aren't actually squaddies. But you do meet all of them again in some capacity.
Who would you romance as femshep then just out of interest?
My personal preference in the "if I were Shepard" sense is Thane. My current, canonical Shep will probably romance Sam.
Considering how damn-near impossible she was to kill during the suicide run, I figured she would've had an automatic spot in ME3's roster, especially considering the Cerberus-centric story.
She isn't all that hard to kill. She dies on the final mission or holding the line like everybody else.
But she can't die before then. Unlike everyone else, Miranda will survive no matter what if loyal.
Mass Effect 2's premise and possible endings were a headache to write around, Walters admitted, particularly given the need to prepare the ground for a threequel.
I don't think I'd call it 'trapped'," he explained, when asked how he felt about having to accommodate several possible player decisions at key plot junctures. "They're more hurdles. Sometimes they're hurdles that we've given ourselves, so we kind of smack ourselves in the head and say 'What the hell were we thinking? Why did we do that?'
The classic example is 'Hey, let's make the ending of Mass Effect 2 a suicide mission where all your henchmen can possibly die, and Shepard can even die!' Oh right... and then we're gonna do another game after that. What the hell are we gonna do with all those guys?"
Oh and don't look in the 'What did you do today..' thread unless you want massive spoilers ![]()
That's certainly the moral of the story for the Mass Effect trilogy: write this stuff out ahead of time.
Ridiculous.
If you actually done some research, you would know that plenty of famous and successful writers have 'written on the fly' and came out with great works. It's a technique. Sometimes it works. Sometimes it doesn't. But shrieking this as a 'moral' because things didn't turn out the way you wanted for one story is laughably shortsighted and clueless.
Ridiculous.
If you actually done some research, you would know that plenty of famous and successful writers have 'written on the fly' and came out with great works. It's a technique. Sometimes it works. Sometimes it doesn't. But shrieking this as a 'moral' because things didn't turn out the way you wanted for one story is laughably shortsighted and clueless.
I don't think I was some how shrieking, David.
Plus, did you even read the article?
Ridiculous.
If you actually done some research, you would know that plenty of famous and successful writers have 'written on the fly' and came out with great works. It's a technique. Sometimes it works. Sometimes it doesn't. But shrieking this as a 'moral' because things didn't turn out the way you wanted for one story is laughably shortsighted and clueless.
You strawmanned his argument, you twisted his argument, and you came to completely separate conclusion from his argument based on intentional semantics.
Many successful writers have written on the fly and come out with great works. That does not mean that it's guaranteed to work. Especially not for a video game that has a branching narrative and decision based universe that alters the universe based on the combination of all the decisions and choices and variables made by the player.
It's not a writing technique David. Are you a writer now too? A physicist, a biologist, an economist, a field-grade military officer, a behavioral and sociological psychologist, a sociologist, a video game engineer, a computer engineering and programming expert, and now a writer/editor. Is there anything you aren't a master of?
Did you know that many of the things written on the fly were singular, self-contained stories that didn't rely on a great deal of input for the narrative variables by the readers or audience (which is completely different from the direct integration of player agency and interaction within video games, especially video games that are specifically made for the purpose of choosing how the story goes?)
In general, you'd be so much better served, especially with a story and setup such as Mass Effect, to plan ahead and prepare for a long-term story/series arc and what each and all possibilities within the story could be. Making it up as you go along is really about the worst thing they could have done when writing the series. Especially when they planned for a trilogy.
It's unforgivable that they plan to make a trilogy, but don't plan ahead for each game. It's like saying that you want to graduate college while you're a high school freshman, but completely making up your way for how you want to get to your degree. You'd fail out, or graduate late and/or with some lesser degree that is essentially known as a 'At least you tried' Major.
I understand what the ME produces are trying to say when they are saying they write themselves into a corner, but they made the most difficult happen. They created entire arcs and missions with the ME2 characters as NPCs. What would happen to those missions if they died in ME2? I'm sure they had a solution to that (please no ME3 spoilers). By allowing these characters as playable characters would be just a minor addition in that context.
In addition, Miranda, Mordin and Thane were the flagship characters of ME2. They were on a lot of promotional art: Disc covers, posters etc. At least one of them should have made the roster for ME3.
I think a good roster would be at least: Kaidan or Ashley, Tali, Garrus, Liara, Wrex, Miranda, Mordin and Thane. Jack and Legion would be good options too.
Obviously not all squadmates could return as full members of the crew, not unless they all were only going to get a couple conversations each...there was just too many of them to account for. So I was totally fine with the ME2 cast being sidelined for the ME1 crew's return. I knew going into ME3 that some characters were inevitably going to end up with cameos and that companion content (past and present) wasn't going to be equally balanced. I also liked the ME1 cast of characters, so I was glad to see them return as full members of the crew.
The only complaints I had with the ME2 companions in ME3 is that some of the cameos were not well handled, and that I think they should have brought all surviving companions back for the final mission. You should have had something similar to ME2's Suicide Mission with every surviving companion from ME1 through ME3 on that mission.
I would at least have Miranda and Jack on the ship since they're LI's. It wouldn't be hard to have them on the ship. If both or one of them are dead from the suicide mission have it setup the same way like with Garrus and Tali(if she's recruited) are dead in ME2.
Somebody, anybody who was ME2-exclusive. I felt like the game was almost holding me in contempt for not liking the ME1 cast.
Somebody, anybody who was ME2-exclusive. I felt like the game was almost holding me in contempt for not liking the ME1 cast.
Even then, only certain ME1 characters