106 réponses à ce sujet

[Barquiel]

The first impression was bad. The Prologue Mission was one of the worst missions for me. I didn't have many problems with ME3's auto dialogue, but that mission...there was simply too much railed dialogue. And "This isn't about strategy or tactics, this is about survival" and "The Citadel? The fight's here." are two of the dumbest lines in the entire series. But I liked the next missions. I got Liara (the buggy romance flag was irritating though) on Mars. The whole setup and mission on Menae was great...loved the visuals there. Tuchanka and Rannoch were the absolute highpoints of the game. The citadel coup was also enjoyable. The Fighting on the Presidium was nice and the "Wrexican Standoff" at the end is one of the best moments of the game, IMO. The AY monastery, the rachni mission and Grissom Academy were also fun...it was great to see Samara, Grunt and Jack again.

The weird part about ME3 was that the first half of the game played out absolutely fantastic and felt amazing (except for the prologue and Shepards weird Earth centric bias). But Thessia and onward is where the game went downhill (then plunged off a cliff in London). There were still some good scenes I enjoyed, like Liara's goodby scene in London, the time capsule or the bottle shooting contest with Garrus. But the next missions were all rather short (no side missions on Thessia for example) and totally linear (no major decisions), nothing about the catalyst made any sense and we got more Kai Leng.

[Khajiin]

My first impression was like: "WTF ... all this for nothing???"...

Because after 2 Games I ended up arrested on Earth (I doubt they are actually allowed to arrest a Citadel Spectre), with a Stranger (Vega) beiing my new best buddy in town and the Reaper tearing appart Earths defendes...

 

Not like i spend dozend of our preventing exactly what happened...

 

And the ending was .. hard ... not that i think it was as bad as several people said it was just a hard decision.

Becoming Synthetic was absolutely not an option!

Controlling the reapers? I was unsure if that might even work so I didn't want to put my money an a bad bet.

Destroying all synthetic life just after bringing peace to the Geth and Quarians? Killing EDI...

 

Destruction was not an easy choice but the only one I was able to pick.

 

I did expect a more "and they lived happily ever after" ending.

But in my opinion it was a pretty brave decision from Bioware to "end" the franchise that way.

 

With 3 so different endings I cannot see a way to continue the story, as Humankind was a newcomer there is also not much to tell of the time before the citadell.

 

I still think ME3 is a good game but does not equal ME1 and ME2.

[Lee T]

I purposely avoided those spoilers when they were floating around the forums. All I knew at the time was that people who had read them, really hated the ending. I just assumed that Shepard and/or some squadmates died and the reaction was from people who were unwilling to accept anything except a happy ending. Man was I in for a surprise.

Same for me, I only read that it was grim and that Shep mostly died. I had no problem with that and still have no problem with that, so I expected to like it. And then I discovered that Shepard dying is the least of the ending's troubles.

[Diefenbaker]

I was really excited to play it, used up one of my holidays on a friday thinking 'wow this is going to be great!'. But, from the first time I played it until I finally finished it, there was this depressing feeling hanging over me with every mission I did. I understand it had to be that way as it made sense for the general tone of the story, but there was so much suffering and sorrow all over the place it just put a damper on my play sessions.

 

Another thing that stood out for me right away was the areas seemed really cramped and underwhelming spacially. BW does this thing in some games where you're wowed with graphics all around you until you stop and realise how small the zones are. The Citadel was tiny, it got smaller every time. I know they focus on story but a galaxy-wide RPG should feel a little bigger.

 

Don't get me wrong, I loved the game, I just like to use games like these as escapism. Maybe I should have paced it a bit better and played more games in between.

[prosthetic soul]

My First impression of the game was good.  My Last impression of the game was something bit more....unimaginably traumatic.

 

[Linkenski]

@Linkenski: I your defense, I didn't catch on to the full ramifications of ME2 either, until I had finished ME3 (I had an inkling but that was all). I doubt many people did.

And while the Lazarus project is a continuity disaster, at least the ME2 start made two things better: It picked off at a familiar place -> The Normandy and the first time I see Shep, I get the dialogue wheel and get control. You knew immediately where you were and what was going on. Sure, they blew the ship up 1 minute into the game but at least you didn't go "huh? where am I? How did I get here and who is that guy that Shepard knows but I don't? And why is Shepard babbling away and I can't do a dam thing about it?" That's why I think ME3 started actually worse than ME2. It immediately (and I mean really with the first scene) broke my connection with Shepard by throwing me in there. If that had not happened, I might have considered the whole tutorial to be way better than I did. Therefore, I think ME2's start, for all it's flaws was better than ME3.

I also think ME2 does a spectacle opening better, by immediately creating tension but only giving you basic control over your character (as in, you can only control Shepard's basic movement, no extensive tutorials. It's simple enough for anyone to figure out)

ME3 immediately wanted me to adjust to the new control scheme by making me climb things, use abilities, melee and full on shooting where I can actually die. I loved how ME2's tutorial happened after the introduction, you know, once I was already immersed.

DA:I made the same mistake as ME3, but because I had full dialogue control from the get go and the game often pauses the action for character introductions, the whole thing felt more welcoming than ME3's mess of an intro.

But ideally I think the ME2 formula to the intro is the best there ever was in a video game. I simply love it, writing and Lazarus pointlessness aside.

[Vazgen]

I also think ME2 does a spectacle opening better, by immediately creating tension but only giving you basic control over your character (as in, you can only control Shepard's basic movement, no extensive tutorials. It's simple enough for anyone to figure out)

ME3 immediately wanted me to adjust to the new control scheme by making me climb things, use abilities, melee and full on shooting where I can actually die. I loved how ME2's tutorial happened after the introduction, you know, once I was already immersed.

DA:I made the same mistake as ME3, but because I had full dialogue control from the get go and the game often pauses the action for character introductions, the whole thing felt more welcoming than ME3's mess of an intro.

But ideally I think the ME2 formula to the intro is the best there ever was in a video game. I simply love it, writing and Lazarus pointlessness aside.

So long as you can skip the intro on consequent playthroughs I agree. It's really annoying to go through all the Normandy destruction scene if you, say, didn't like how your character turned out in the game.

[Iakus]

I also think ME2 does a spectacle opening better, by immediately creating tension but only giving you basic control over your character (as in, you can only control Shepard's basic movement, no extensive tutorials. It's simple enough for anyone to figure out)

ME3 immediately wanted me to adjust to the new control scheme by making me climb things, use abilities, melee and full on shooting where I can actually die. I loved how ME2's tutorial happened after the introduction, you know, once I was already immersed.

DA:I made the same mistake as ME3, but because I had full dialogue control from the get go and the game often pauses the action for character introductions, the whole thing felt more welcoming than ME3's mess of an intro.

But ideally I think the ME2 formula to the intro is the best there ever was in a video game. I simply love it, writing and Lazarus pointlessness aside.

 

Sure ME2's opening was cool, if you can get past the utter silliness of what's actually taking place (the killing off of the main protagonist in the opening minutes of the game, followed by a resurrection without explanation two years later)

[Geralt of Relays]

Sure ME2's opening was cool, if you can get past the utter silliness of what's actually taking place (the killing off of the main protagonist in the opening minutes of the game, followed by a resurrection without explanation two years later)

 

Totally agree with that, but in the mechanical and technical departments it was done very well. It eases any newbies into the setting without too much to overload them, it's just move around not having to worry about combat. Those playing on from ME1 are brought back into the fold nice & neat, but as you and other folk have said from a plot, lore & believability standpoint it's laughable at best. (Not to mention exposing Joker to open space for over 20 seconds with no apparent side effects.)

[Kelwing]

ME3 demo, upon playing it became obvious that the kid was more than he seemed.

[StarcloudSWG]

My first impression, reading through all the dialog in Vancouver before the game finally started the tutorial section, was "Wow, they really just phoned this crap in, didn't they?"

 

The dialog was.. and is.. execrable. Cliched, and about as deep as a puddle in an uneven sidewalk. The blatant, ham-fisted attempt at emotional manipulation with a child who just vanishes when you're not looking was a clear signal that something was deeply wrong with the narrative.

 

Then there was the long sequence after Mars when you're on your way to the Citadel. That damned dream which I discovered can't be aborted in any way but can be shortcutted out of if you turn around and run off the map a few times... followed by the virtual tour of the Normandy which I guess was necessary for new players, all that was very frustrating. Despite my half-expecting it because this IS a Bioware game, and an extended 'you have no control over what your character does' section in the beginning and long-ass tutorial missions are standard operating procedure for Bioware stories. I didn't feel the story really got started until *after* Palaven. 

 

That said, there were things I liked. Jumping over cover (finally), combat rolls, butt-slides over cover, new melee animations, and the general 'wow' factor of the graphics. Oh, and the big one; choosing your own weapons, in whatever combination you liked.

[Vazgen]

Wait a minute, what's this about shortcutting dream sequences? I know only of the final dream, where you can just stand in your place and not chase the kid. The dream will end without player intervention. But I have no idea how to shortcut previous sequences.

[Orikon]

I loved the game up until Sanctuary. At that point,the story just started to look weak and rushed,which ended with one of my greatest gaming disappointments ever (Priority:Earth).
And since I played with all the dlc aside from Omega,I didn't lack side-quests,I loved the Citadel and the Catalyst wasn't that big of a deal to me because of Leviathan/EC (yeah,I was one of the lucky people who got to play Leviathan/EC on their first playthrough).

 

After Sanctuary I was all like "Wait,what? That's it? I'm at the the point of no return? Dafuq?"

 

But P:E....honestly my first thought when I landed on Earth was: Ok,what the hell is going on here? What,did I make the wrong choices,is my EMS not high enough? Where the hell is everybody,why am I alone out here?" and had a WTF face for the rest of the mission.

 

My very first choice was Refusal,thinking how (since my EMS was really high) I could beat the Reapers conventionally or how I would be given some other option besides the three. Boy was I wrong. Reloaded and chose Destroy (naturally).

[Orikon]

Wait a minute, what's this about shortcutting dream sequences? I know only of the final dream, where you can just stand in your place and not chase the kid. The dream will end without player intervention. But I have no idea how to shortcut previous sequences.

 

Wait,really? Does Shepard just magically teleport next to the kid then or does the dream just end?

[Vazgen]

Wait,really? Does Shepard just magically teleport next to the kid then or does the dream just end?

The first. Basically, you stand there for some time and the cutscene of a burning kid triggers

[SlottsMachine]

"God dammit where is Michael Beattie!" 

[Serillen]

For me my first impression of the game was how the running animation for femshep was absolutely horrible and that it had gotten progressively worse with each game in the series.

[StarcloudSWG]

Wait a minute, what's this about shortcutting dream sequences? I know only of the final dream, where you can just stand in your place and not chase the kid. The dream will end without player intervention. But I have no idea how to shortcut previous sequences.

 

For the first one, run backwards from the way you were facing when you finally got control. It will teleport you back to that position. Then do it again, and again, and the end of the dream will play.

 

For the second one, running backwards is longer than you need to do. Turn right then run forwards. Twice more. The end of the dream will play.

[Maniccc]

My first impressions....  Well, I remember thinking that the walk animations were still so horrible.  Then I thought how bad the writing was, up through the part where the chamber you're in gets blown apart by the shockwave.  Then when you're running around outside along the buildings, I thought the background artwork and animations (the city-scape, the invading Reapers) looked great.  I thought the kid in the airduct was lame, and then he gets blown up in the shuttle.  I was like, so what?  Talk about forced.

[StarcloudSWG]

I noticed that with the kid: you hear him in the ducts. The sound effect guy paid attention and used the sound effect of someone crawling in ductwork.

 

Then the kid says something no kid would ever really say.

 

Then Shepard looks away, the sound effect of a Reaper roar plays hollowly as if it's heard through the ductwork, Shepard looks again.. and the kid has vanished. No sound of someone scrambling away in the ductwork. The sound effect guy had paid attention to that detail before, but now it's absent? That's a deliberate decision.

 

Note that no one on the shuttle tries to help the kid up, or even notice him. That's an inhuman sort of thing... if the kid were really there.

 

From this, I came to the conclusion that the *real* kid is dead and buried in the pile of rubble behind Shepard. What Shepard's seeing is a hallucination, possibly caused by a Reaper.

[LisuPL]

"Low resolution textures... *uck!"

[Memnon]

I purposely avoided those spoilers when they were floating around the forums. All I knew at the time was that people who had read them, really hated the ending. I just assumed that Shepard and/or some squadmates died and the reaction was from people who were unwilling to accept anything except a happy ending. Man was I in for a surprise. 

 

I did exactly this as well - I was finishing up my "perfect" playthrough of ME2 when ME3 was released, so I started to hear some negative buzz about the endings before I started the game. I thought ... okay, hero's sacrifice, I can handle that as long as they don't put a Fallout 3 style cheesy ending. I would have taken the FO3 ending ...

[Hans Olo]

I will admit...I was pumped...I was VERY pumped. I pre-ordered the collectors edition and had it delivered on March 6th!

 

Then I got to the intro - Who is this guy (james) what the hell! Why are there only two dialog choices with everything? 

 

-snip-

 

- *credits...ARE YOU SERIOUS? THAT IS IT? I JUST KILLED THE GALAXY!!!

 

*Pop up message - Wow...wow bioware....THIS is how you end your trilogy...the final words are 'downloadable content'...this...sucks...balls....f*ck it...i'm going to bed. I don't want to play anymore of this game.

 

Pretty much word for word, that and the make-overs and continued unnecessary sexualization I have mentioned.

[Linkenski]

I noticed that with the kid: you hear him in the ducts. The sound effect guy paid attention and used the sound effect of someone crawling in ductwork.

Then the kid says something no kid would ever really say.

Then Shepard looks away, the sound effect of a Reaper roar plays hollowly as if it's heard through the ductwork, Shepard looks again.. and the kid has vanished. No sound of someone scrambling away in the ductwork. The sound effect guy had paid attention to that detail before, but now it's absent? That's a deliberate decision.

Note that no one on the shuttle tries to help the kid up, or even notice him. That's an inhuman sort of thing... if the kid were really there.

From this, I came to the conclusion that the *real* kid is dead and buried in the pile of rubble behind Shepard. What Shepard's seeing is a hallucination, possibly caused by a Reaper.

I'm always astounded by how bad a lot of writers are when it comes to writing children. The Vent Kid has what I call the 'Omniscent child' syndrome, in that he doesn't feel like he's real and his words are just used to inject fear or awe in the viewer.

"you can't help me" is not something any kid would ever say if they were threatened and scared. The only reason he says it is because it's super pathos and manipulative narrative.

[goishen]

It was supposed to be symbolic of the galaxy's unwillingness to help Shepard.  Because the galaxy had not helped Shepard, Shepard could not help the galaxy.  Plus, I think that it was a construct that Shepard had in his/her own mind.  Ultimately culminating in the "starchild".

 

*shrug*  Just my opinion.