Razorsedge820 wrote...
Get past the scene where Jack offers you casual sex after that you can go all renegade on her you want. I found Shepard's renegade conversations with Jack building up the romance funny especially the "tower of ****" line.
Much as I think that is a good line, it is certainly a Renegade line; it's making light of why she's built this tower of **** in the first place. I understand it, and while it's good dialogue, I feel guilty over teasing her self-defense mechanism. The neutral responses with Jack have the right level of taunting to get her to bite and by equal measure the right amount of sympathy. I tend to flit a lot though, throw in the occasional Renegade or Paragon line just to see how it makes the scene sound different... I perfer it if my Sheps don't sound like douchebags or helpline telephonists. Things like the lines about hoping Jack will **** Shepard up, or him being technically undead so he's got no reason to be scared of her make it more
real to me; it's two people wrestling back and forth, unlike with Tali and Miranda who just need a couple of compliments to get them to roll over and open their legs. Ok, that sounds meaner than it's supposed to, and with Tali... ah, she wants Shepard, so it's not sleazy for her to want to be steered towards the bedroom... women can want sex too, after all this is the 21st century
You hopefully get what I'm trying to say, though; that with Jack there's some actual wooing going on, some real romance, not just something where the romantic groundwork is already in place (Tali) or something that jumps straight for a very intense, passionate physical thing (Miranda).
royceclemens wrote...
JohnnyDollar wrote...
On a side note:
I have a question for the guys: How many of you have played as FemShep and done all of her romances?
I have done all the romances. As for the males...
-I was completely blown away by Thane, as his philosophy comes into collision with his heart and he picks Shepard's cabin as the place for all of it to come to a head. You can almost hear his brain breaking. Bonus points for the conversation where Shepard wonders where they should go after the mission is over and Thane says "I would very much like to see... A desert." The heartbreak in his voice is nigh on palpable.
-Playing ME2, I thought to myself that Jack is the Faith, MIranda is the Cordelia and Tali is the Willow (It's the female archetype Holy Trinity). Those wondering who the Xander is should check out Garrus' romance. It was awkward and very endearing. If Garrus had cheeks, I'd pinch them.
-And then we come to Jacob, and now I fall into the unenviable position of trying to defend him. If anything, the Jacob romance is proof positive that they need women on the ME writing staff. Miranda and Jacob are the "pander" romances, which help instill that the person playing as Shepard is the specialest little boy or girl on the planet. Their job, in the romantric capacity, is to tell you everything you'd want to hear. The conundrum here being that if you're writing dialogue to appeal to a female gamer, then shouldn't it be WRITTEN by a female gamer?
I mean, take the show MAD MEN as an example, and the character of Don Draper. He smokes like a chimney, drinks like a fish and cheats like the fartknocker who kept looking at what you were filling out on your history tests in tenth grade. Yet female viewers tend to drool all over him. That wouldn't have anything to do with seven of the nine writers on that staff being WOMEN, would it?
But to be fair, writing two confident, attractive people hitting on each other is very difficult. Awkwardness (Tali, Garrus) and angst (Jack, Thane) are more endemic to the human condition than the sexual chess matches that Jacob and Miranda try to set up. I have the feeling that people who do find themselves in those positions don't write video games.
To be fairer still, even though Jacob's romance is bad, Miranda's romance is no better, and is guilty of many of the same crimes. It's a dead heat between "Perhaps I wouldn't mind if you admired my body." and "But the priiize." in the cringeworthy horse-race. In fact, I will go so far as to say that if Jacob were female, white and had two tectonic plates where his ass should be, "But the priiize." would not be laughed at at all. That may sound cynical... But it just so happens I AM cynical, so that works out great.
Same here - I've done them all except for the Kelly sideline. I do largely agree with the cheery Uncle Royce on his analysis of them, too. Garrus was a hard one for me to do... he's like my bro, dudes! He's been there on the frontline with me, and it seems a little obvious that there's more to his interest than just stress relief; he goes to a lot of effort, is shy, awkward... seeing the love scene before I actually played it made me realize that paying it no more than lip service is using poor ol' Garrus (he's not a tough guy like Wrex no matter how much like Batman he tries to be). So, just to make it fit, I took my hardest, meanest, reporter-punchingest Femme-Shep and played her as it suddenly dawned on her that Garrus had changed because of her. So she claws back some of her iciness by stopping Garrus from killing Sidonis, and it rolls from there. Considering how much of a **** Anastasia is, it's a little bit of sugar in her lemonjuice blood (I'd originally planned to do this romantic-redemption thing with Thane, but Anna has more balls than he does... she'd never respect him
).
Seidah romanced Jacob, and yeah, I've said it before, I don't think he's that awful. As a player-character, Seidah isn't beyond going for the jugular and playing someone for sex only. She's bull**** free. Royce is bang on though that his dialogue in the actual love scene is headdesk-worthy, but in a couple of the conversations prior to it (the one in particular where Jacob turns it around on Shep and asks her what she carries - Seidah went for loneliness, and I was rewarded with that line about how it's been two years for everyone else, and for her it's been a couple of weeks and it hurts (it gives the game's events some timeline and it makes Ash sound even more unreasonable - win/win
). Ok, the scene gets capsized by Shep leaning in and whispering something explicit in Jacob's ear, but it's only with Jacob you get it... with Miranda you get some crass horse**** about how she's spent two years looking at Shep naked... gag me with a spoon, to quote Moon Unit Zappa. Some of the dialogue works, but other parts... nonononono. The whole "the Priiiize" thing could work if Shep made some comment about it - "The Prize? Jacob, where do you get this ****? Trust me. You're here, I don't need a line. I just need you." - that's off the top of my head, but it'd deflect the line and stop him looking like too much of a fool.
My sweet little Japanese gal Aya ended up with Thane because he's as nice inside as she is. I can't comment too much on the romance because I really had to force it, because for all his interesting backstory and racial history, I really didn't find Thane charismatic. Part of me wanted to help this guy be a better father in the time he had left, but I had no interest in getting him in the sack. Just... too much baggage. The guy can relive his whole relationship with his wife at will. She's not really out of him, he's not really over her. And he's dying! Seriously, I think a lot of women would think twice. He needs a freind, sure, but to me... I dunno, a lover is the last thing he needs. For all his promise, Thane has the romance I'd rework the most. He needs to be more romantically accessable in my eyes. Maybe if he chased a little, and it didn't seem like my Shep was just trying to get him over his damage to get him in the sack...
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