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Is ME3 a satire on player choice?


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#1
cap and gown

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I was watching an episode of the PBS game/show about Team Fortress 2 and Far Cry 3 in which the author claimed that both games were actually satires of the FPS genre. Well, I never finished Far Cry 3, but the over-the-top empowerment fantasy the author talks about reminded me of the over-the-top "choices" the player makes in ME3.

 

Consider the three main choices the player has to make: 1) cure the genophage or sabotage the cure; 2) achieve peace btw the geth and quarians, or see one side or the other go extinct; 3) the ending choice with its incredible implications for the galaxy. Each of these choices will have galaxy-historical impacts in the decades/centuries to come. And here is one Alliance officer, not even a flag-ranked officer, making these choices on his or her own, the Council and the Alliance be-damned.

 

In many ways this is another expression of the empowerment fantasy the author of that video refers to. So it got me thinking: is ME3 really meant as a satire on player choice in video games?


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#2
Kurt M.

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Well, if it isn't one, at least it's way over-exaggerated. No wonder there are so many Jesus-Shepard jokes out there...

 

Fortunately the writers appears to have fixed that for MENext. Well, or at least they say so...



#3
Vazgen

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I think they were genuine in their intention of giving the player a power to make decisions that affect the entire galaxy. The whole Spectre idea is built around that.


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#4
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No, I think it was just a genuine power fantasy.


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#5
Orikon

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No.

 

While your choices don't matter in the ending (which is a whole other issue),ME3 makes a ton of small and subtle references to your past choices.



#6
Linkenski

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I find it hilarious and ironic that you see it that way because I think it's a statement towards how ME3 lacked subtlety in concluding the various subplots. Especially in the past I often expressed complete dislike towards ME3 on the forums, and though I've admittedly calmed down a bit, I still remember my initial reaction to many parts of ME3 being shudders and head-shaking. Too many conveniences too much larger-than-life crap when, after ME2, I was expecting ME3 despite having a larger scope and stakes to follow the same kind of intimate-focused story as ME1 and ME2 when instead it ended up being like an Interactive Michael Bay movie -- something that was directly decided by the higher-ups from Bioware as the concept. Remember those interviews with Casey and especially Mac Walters?

 

"Mass Effect 3 is the culmination of a trilogy. We knew we wanted to pull all the stops, have all the BIGGEST moments, BIGGEST decisions, BIGGEST consequences, but also have it mean something" - Mac Walters, 2011. 

 

And the result, as was hinted at by Walters was a series of ridiculously huge moments but they were centered around Shepard and I just couldn't help but lose my immersion because of it. It was just TOO big to feel believable, especially when out of nowhere I'm suddently told in the final chapter that "There is a weapon designed to kill all reapers that we just discovered", "that there's a facility we used to sterilize the Krogan, that can alternately be used to cure them as well" and that Shepard can single-handedly use the "Hammer of Dawn" from Gears of War to kill a Reaper Destroyer having a 1on1 battle with it (with the Quarian fleet having his back though) but I was just disappointed and thrown off at how much more subtle Bioware could've and SHOULD'VE gone around things.

 

I belive ME3 could've at large been about Shepard forming a splinter group on a lead to reverse-engineer Reaper tech and planning ways to survive the war through evacuation. Cerberus would've had the same grey role as in ME2. They had their own agenda but were willing to let you join them or work with you to use the data from the Collectors to find a way to backfire on the Reapers, and revealing the backstory to the Reapers would've been a more central point of the story that was drawn out throughout the whole campaign through several main-plot missions.

 

Now my pitch might not've been any better, and admittedly ME3 has some of it in it with the Crucible-Catalyst plot but I think my point still stands. Even with the plot ME3 had, the way Bioware decided to flesh it out could've been much, much more subdued instead of making every part larger than life and michael-bay style.



#7
Vazgen

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I disagree. The Reapers are such villains that fighting them requires some decisions on the same scale. Anything less and Reapers become underpowered which contradicts their writing in both ME1 and ME2.

#8
ImaginaryMatter

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I don't think so. Far Cry 3 has some level of self awareness to it (it's theme song is Paper Planes) and thematically the game is about living out a power fantasy. ME3 doesn't have that. As ridiculous as some of the choices were they were played completely straight.



#9
Linkenski

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I disagree. The Reapers are such villains that fighting them requires some decisions on the same scale. Anything less and Reapers become underpowered which contradicts their writing in both ME1 and ME2.

 

I disagree. The Reapers are such villains that fighting them requires some decisions on the same scale. Anything less and Reapers become underpowered which contradicts their writing in both ME1 and ME2.

Again, I think the solution would've been to constantly remind you of the reaper war on the periphery, and a handful of actual encounters, but otherwise keep Shepard from where the heat is in his search for something to stop them.



#10
Vazgen

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Again, I think the solution would've been to constantly remind you of the reaper war on the periphery, and a handful of actual encounters, but otherwise keep Shepard from where the heat is in his search for something to stop them.

That's exactly what Mass Effect 3 did. We fight Cerberus most of the time. Reaper presence is heavy only on Menae, Tuchanka, Thessia and Earth (and Horizon but they're not really in force there). Also Rannoch but it was only one Reaper. The magnitude of the enemy is so big that even their small presence is felt like they are present in force. You speak with leaders in remote locations unaffected by war. Shepard is in the heat usually because of Cerberus or stupidity of other races (geth/quarian conflict). 


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#11
FaWa

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I dont know, I'm a sucker for big cinematic **** and yea it may have been really over the top at times but I guess I just like that sort of thing. I loved ME3. Was "eh" on it during my first playthrough, but when I played through it again I really enjoyed it. 



#12
ImaginaryMatter

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I disagree. The Reapers are such villains that fighting them requires some decisions on the same scale. Anything less and Reapers become underpowered which contradicts their writing in both ME1 and ME2.

 

The problem I found is that the choices Shepard was making felt so artificial and forced. Like why is he, in most cases unilaterally, making such choices like deciding the fate of entire species? I think there were better ways to implement big decisions, maybe like a Torfon like thing where Shepard has to choose to sacrifice hundreds of people for a single objective.

 

This sort of gets back into ME2 but I don't think Shepard carrying everyones' cross makes the Reapers more imposing. It just makes the galaxy look like a group of children to be babysat, lest they stick forks into electrical sockets.


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#13
Vazgen

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The problem I found is that the choices Shepard was making felt so artificial and forced. Like why is he, in most cases unilaterally, making such choices like deciding the fate of entire species? I think there were better ways to implement big decisions, maybe like a Torfon like thing where Shepard has to choose to sacrifice hundreds of people for a single objective.

 

This sort of gets back into ME2 but I don't think Shepard carrying everyones' cross makes the Reapers more imposing. It just makes the galaxy look like a group of children to be babysat, lest they stick forks into electrical sockets.

I find ME3 much more tasteful in that matter. Remember the rachni queen in ME1? There is no urgency there, you could simply contact the Council, secure her for later... Instead we were forced to make a momentary decision that decides the fate of entire species. In ME3, the decisions you make are forced due to the circumstances. Shepard doesn't decide the fate of geth/quarian conflict in the war room. He is in the field and the option to decide the conflict presents itself only in the last moment. Your mission is to stop the Reaper signal. Only when you do that, Legion presents an option to save the geth. You are forced to make a galaxy-changing decision, but unlike the rachni queen, your decision actually needs to be fast. 

I'm not happy with the exact ways of making those choices (the Shroud and Reaper code) but the way they are presented makes sense and doesn't force the idea of Shepard being someone who decides the fate of the galaxy. 


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#14
sH0tgUn jUliA

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And then there's the Herald of Andraste in DA: Inquisition who has god-like powers. Rescued by Andraste herself in the beginning, and now has the mark on her hand that can seal rifts, and even the breach itself. This isn't a spoiler. It's only act 1. But wait! There's more but I won't go into that. You'll have to go to the DA: Inquisition forums or play the game!

 

Skyrim: You get to be the Dragonborn with godlike powers with your Thum! And if you don't have enough, your can sure craft your way to them.

 

Oblivion: Do enough of the Daedric Quests and you're a god. Hell, do the last DLC and you become a Daedric God. At least the game doesn't pretend, and I crafted armor such that I didn't have to even swing a sword. Hell I was doing damage to Mehrunes Dagon when he was attacking me, and taking almost no damage myself due to my armor reflecting 95% damage.

 

Then there was Hawke. I loved Hawke. She was my favorite video game champion. Dragon Age 2. Perhaps the second most hated Bioware game after ME3 and not because of the ending although that played a part in it. DA2 hated because of the reused areas and lack of depth. ME1 reused areas a lot. DA2 was about political intrigue in the City of Kirkwall. Oh, yeah,

Spoiler
But it was the only Bioware game I'd ever played that wasn't about saving the bloody world from some big bad thing that was going to destroy it. The character felt human, not like a god. She wasn't over the top. She was a person and wasn't making life changing decisions for everyone. DA2 was a kick in the teeth to players who wanted the empowerment fantasy, and I think that was one of the reasons it wasn't as well received. And the champion had to run into hiding in the end. I loved the story.

 

Why do I need to go out and save the bloody world all the time. Blah blah blah.

 

I'd like to see more characters like Hawke. But I guess the reason we see the empowerment fantasies is that people are not getting empowered in real life. We get stuck in crap jobs where we're pretty powerless, and the games give us a place to do sh*t we'd never do in real life, because let's face it. If we had to play a video game about real life it would be boring as hell. I'm a sucker for cinematic sh*t, too. I love RPGs with the cinematic sh*t in them, and characters that are larger than life. I love the character customization screens, and the ability to play pretty much any way you want. So I'd err on the side of the empowerment fantasy, but what is important is that the writers need to disguise the choices better.

 

Example: Don't put things like the fate of the quarians or the geth in the hands of the player. That's way too much. One other option should have been presented aside from peace. If you had not overwritten the Heretics in ME2, Xen's solution, control of the Geth by the Quarians should have been an option. "Return of the Geth to their true masters: the Quarian race." + 300 Geth War Assets, and have this available to players for whom peace is not possible.

 

But in the end of ME3, there were three things that happened, and this is where it went wrong: 1) we learned in the last five minutes that everything we had learned over 140 hours was wrong, and that there was no conflict, only a harvest. 2) the reapers were saving organic life from itself making us the bad guy for fighting against them. 3) we were told that their solution wouldn't work any more and we would have to choose a new solution for the galaxy among the three they presented otherwise they would continue with their old solution. The solutions were pretty stupid, basically pick a color, and left many with a hollow feeling afterward. Each ending had its own set amount of hubris. No one should have that much power.

 

That was so over-the-top that it completely broke the suspension of disbelief. As far as your character was concerned they were identical: you died, the relays exploded, and the Normandy crashed in different colors. I hope we never see another ending like this.


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#15
Kurt M.

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I disagree. The Reapers are such villains that fighting them requires some decisions on the same scale. Anything less and Reapers become underpowered which contradicts their writing in both ME1 and ME2.

 

That's true, but I still think there was a blatant use of the "Deus ex Machina" technique regarding the Crucible. A bit dissapointing IMO, regarding imagination.

 

I sincerely hoped the dark energy thing on Haestrom would have been the solution to the Reaper problem somehow, but it ended up being merely a waste of plot opportunities.



#16
Vazgen

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That's true, but I still think there was a blatant use of the "Deus ex Machina" technique regarding the Crucible. A bit dissapointing IMO, regarding imagination.

 

I sincerely hoped the dark energy thing on Haestrom would have been the solution to the Reaper problem somehow, but it ended up being merely a waste of plot opportunities.

That dark energy thing was uncontrolled and would not have worked as a means to fight the Reapers. It's similar to blowing up all mass relays Arrival-style. Sure, Reapers are dead, but so are you. 

I mentioned it in another thread. ME2 introduced things that could've worked as a great plot material but never developed them. Shepard's resurrection and implants, dark energy, Collector Base...



#17
SwobyJ

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I don't think so. Far Cry 3 has some level of self awareness to it (it's theme song is Paper Planes) and thematically the game is about living out a power fantasy. ME3 doesn't have that. As ridiculous as some of the choices were they were played completely straight.

 

 

Mass Effect trilogy is power fantasy.

 

"Wake up."



#18
Kurt M.

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That dark energy thing was uncontrolled and would not have worked as a means to fight the Reapers. It's similar to blowing up all mass relays Arrival-style. Sure, Reapers are dead, but so are you. 

I mentioned it in another thread. ME2 introduced things that could've worked as a great plot material but never developed them. Shepard's resurrection and implants, dark energy, Collector Base...

 

I'm not saying to start blowing up all the stars in the Milky Way, but maybe luring the Reapers to one and making it explode or something.



#19
ImaginaryMatter

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Mass Effect trilogy is power fantasy.

 

"Wake up."

 

I know that. Far Cry though is about the main character living out a power fantasy and the player playing out one through the character. It's all pretty meta. The game gives you several nudges and winks that it's guiding you through such an adventure and the ending choice is ultimately rejecting the fantasy or continuing to play it out. That's what I mean that the game is about playing out a power fantasy and commenting about the whole thing (although not particularly well); while Mass Effect simply is one by giving you a bland protagonist, plenty of stuff to shoot at, and big choices to make -- all while not having anything meaningful to say about it. If that makes any sense.



#20
justafan

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No, I think Bioshock:Infinite was more a satire, NONE of you choices mattered in that game (Which oddly enough was kinda the point).  At least in Mass Effect there are some results which you can shape.

 

Sure Shepard has a disproportionate amount of influence for a lowly commander, but I think the whole point of creating something like the Spectres and making the player one in ME1 was a way to hand wave away the fact that one person could have so much power, and I think for the most part it worked.



#21
Alamar2078

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I don't believe that ME3 was [intentionally] a satire on player choice -- just poor handling of various game elements made it look that way.  For example the original A/B/C color swapped endings sure gave the middle finger to choice but I'm willing to chalk that up to incompetence / rushed-product as opposed to malice at this point.

 

If the pre-game hype hadn't have played up choice so much and if the devs would have talked about the "illusion of choice" and the necessary tradeoffs that you make when making a game I believe that people wanting choice to really make a difference wouldn't have been as disappointed. 


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#22
Iakus

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"Satire" may be the wrong word

"Cruel prank", maybe?
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#23
ZEMBANU

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The problem with ME3 choices for me, is not Satire, as ME1 and ME2 were both great story based games.  ME3 simply was not made properly. They did not have the time, I believe EA was to blame for that.

 

The story and choices were focused too much on saving people and were one sided regardless of the choices.

 

The ending as we all know even with the DLC was crap, maybe the ending was true satire, as a Hitler parody said, the end choices are 1 SUICIDE, 2 SUICIDE  3 SUICIDE.

 

Yes the ending choices were satire whether or not it was meant to be that way!


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#24
von uber

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Me1 for me felt the least power fantasy like.

#25
ImaginaryMatter

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Me1 for me felt the least power fantasy like.

 

I think it's because one of the themes of ME1 was about being a newcomer to the galactic scene. The other games start with the premise that Shepard is a central figure and wholly dependent to humanities survival.


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