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Post by Deleted on Aug 9, 2017 23:57:33 GMT
That's a fair methodology. I rate the fictional elements of video games differently than those of books, film, etc. - because they serve vastly different purposes. Honestly, Mass Effect has always been riddled with plot holes, inconsistencies, wacky space magic, ridiculous technology, mcguffins, deus ex machinas, out of character moments, nonsensical character shifts, hurr durr dialogue, etc. I don't know why MEA should be held to different standards than MET. I'm just along for the ride. I don't look to games for literary masterworks, but for a space that allows me to co-create a narrative for the character I'm playing. The more RP space a game provides, the happier I'm going to be in that world. MEA gave me plenty of space and allows me to create a variety of different character narratives, punctuated with some major cinematic drama, so it's high quality for my needs. that is similar to how i feel on the subject. Gamings blessing and its curse is gameplay. Gameplay often overwrites story and is more important resource wise. So this means the pure fact of the matter is stories in game may never be as advanced as stories for Tv and novels. However game play can make games fun to where the flaws in the story might not be as important. Well - there's also the need to make space for player choice and allow branching with appropriate consequences. Other forms of fiction don't need to do that. In the case of BioWare games, where you're dealing with persistent world states (importing save files), it becomes even more complicated.
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Post by kino on Aug 10, 2017 0:07:38 GMT
that is similar to how i feel on the subject. Gamings blessing and its curse is gameplay. Gameplay often overwrites story and is more important resource wise. So this means the pure fact of the matter is stories in game may never be as advanced as stories for Tv and novels. However game play can make games fun to where the flaws in the story might not be as important. Well - there's also the need to make space for player choice and allow branching with appropriate consequences. Other forms of fiction don't need to do that. In the case of BioWare games, where you're dealing with persistent world states (importing save files), it becomes even more complicated. This is particularly true for BioWare games where player choice has been such an important feature of the game. Without player agency the draw of the BioWare name loses some of its draw.
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Post by colfoley on Aug 10, 2017 1:07:57 GMT
Well - there's also the need to make space for player choice and allow branching with appropriate consequences. Other forms of fiction don't need to do that. In the case of BioWare games, where you're dealing with persistent world states (importing save files), it becomes even more complicated. This is particularly true for BioWare games where player choice has been such an important feature of the game. Without player agency the draw of the BioWare name loses some of its draw. for me its the characters.
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Post by kino on Aug 10, 2017 2:04:04 GMT
This is particularly true for BioWare games where player choice has been such an important feature of the game. Without player agency the draw of the BioWare name loses some of its draw. for me its the characters. In a BioWare game I find it difficult to imagine one without the other. The characters give the story breadth, the story gives the characters depth. Hard to imagine separating them.
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Post by Guts on Aug 10, 2017 4:41:09 GMT
I'd be good if the antagonist had more dimensions to them. I don't want them to be the tortured/deceived type like Saren or TIM, but the Archon has as much depth as a James Bond villain...minus the furry cat and a laser beam. I thought they were going to do more with exaltation as a plot device when they showed some of the tortured notes from exalted Kett in the Kett Base, but that kind of petered out. I find James Bond Villains to be more interesting tbh.
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Post by griffith82 on Aug 10, 2017 5:27:33 GMT
I'd be good if the antagonist had more dimensions to them. I don't want them to be the tortured/deceived type like Saren or TIM, but the Archon has as much depth as a James Bond villain...minus the furry cat and a laser beam. I thought they were going to do more with exaltation as a plot device when they showed some of the tortured notes from exalted Kett in the Kett Base, but that kind of petered out. I find James Bond Villains to be more interesting tbh. I've seen every one but Spectre. Idk why I just haven't gotten to it. Some villains like the original Blowfeld(sp?) was very in depth partly due to the mystery. There are others that were not one dimensional but some like Alec Trevelan (again I'm sure I misspelled that) were one dimensional. However I was very partial to *ahem* Pussy.
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Post by Guts on Aug 10, 2017 6:06:41 GMT
I find James Bond Villains to be more interesting tbh. I've seen every one but Spectre. Idk why I just haven't gotten to it. Some villains like the original Blowfeld(sp?) was very in depth partly due to the mystery. There are others that were not one dimensional but some like Alec Trevelan (again I'm sure I misspelled that) were one dimensional. However I was very partial to *ahem* Pussy. Wonder if I should watch a James bong movie again, it's been quite a while since I saw one.
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Post by colfoley on Aug 10, 2017 7:50:20 GMT
I find James Bond Villains to be more interesting tbh. I've seen every one but Spectre. Idk why I just haven't gotten to it. Some villains like the original Blowfeld(sp?) was very in depth partly due to the mystery. There are others that were not one dimensional but some like Alec Trevelan (again I'm sure I misspelled that) were one dimensional. However I was very partial to *ahem* Pussy. 1. Its Trevelyan. 2. Alec Trevelyan is one of my favorite bond villains and was a huge reason I loved Goldfinger. Actually say what you will about it because maybe he is relatively one dimensional...haven't really thought about it...but it can indicate that one dimensonal villains aren't bad per se. I guess the point is ultimatley I thought the Archon was dimensonaless in some ways. 3. My favorite Bond Villain was Silva from Skyfall. And talk about something with layers. But, more importantly, was really a perfect villain for James Bond. Which, I think they tried to do in MEA...the Archon was after the same thing as Ryder which is a fairly straightforward way of creating tension...but then they did not go any farther then that.
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Post by colfoley on Aug 10, 2017 7:56:53 GMT
Actually I was thinking about this a little earlier. With the idea of making Aksuul the main anatgonist for MEA I would have had him go after Meridian/ the Vaults like Ryder, and like Ryder wants to use them to RESTORE worlds, but also make them hostile to the MW species. But, he fears that Ryder and co would do the same thing if given the chance given his experiences with the Kett.
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Post by geralt on Aug 10, 2017 8:12:33 GMT
As a concept, quality is just a measure of how well a thing does what it's supposed to do; whether it meets requirements. Since we each come into this with different requirements, the evaluation would be subjective. not to mention i view the quality of a plot...as a technical study...by its change and internal consistency. Alot of people seem to be of the opinion 'Bioware should have done THIS instead...' and i even agree to a point with some of the criticisms in terms of personal weight...but the point is MEA is well written because it's logically consistent, effectively builds to a conclusion, and charged the setting...in a logical manner. That would just mean it follows a structure, not is "well written" otherwise Battlefield Earth would be "well written" using that logic! Again, trying to portray something as an absolute fact, when it's completely open to debate. I went into some great detail on the "well written" thread on how MEA is not so.
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Post by colfoley on Aug 10, 2017 8:18:20 GMT
not to mention i view the quality of a plot...as a technical study...by its change and internal consistency. Alot of people seem to be of the opinion 'Bioware should have done THIS instead...' and i even agree to a point with some of the criticisms in terms of personal weight...but the point is MEA is well written because it's logically consistent, effectively builds to a conclusion, and charged the setting...in a logical manner. That would just mean it follows a structure, not is "well written" otherwise Battlefield Earth would be "well written" using that logic! Again, trying to portray something as an absolute fact, when it's completely open to debate. I went into some great detail on the "well written" thread on how MEA is not so. I must have missed that post. And if it is a structure its a structure most video games don't seem to follow that well. Even the MET both parts of the individual games, and the series as a whole, really didn't do that well in this regard. That is the point I keep trying to drive home. Yes it may be simplest, yes to me, I really like what they did, but whatever we call it, imo Andromeda is better written structually, and in terms of personal preference, then the MET, any of the Dragon Age games, and a great many other video games.
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Post by jaegerbane on Aug 10, 2017 12:10:06 GMT
That's not what I was getting at, rather: Andromeda is, in no small part, about the struggle for survival on desolate worlds. I'd actually hazard to say that this is the central conflict of the game. It is the drive for survival that pushes the entire plot forward. Given that this is the central conflict of the game, it is unsatisfying that its solution is merely flipping a switch, not ingenuity and compromise. <snip> I'm afraid I don't have time to address each point but the summary of what you're posting here (whether you realise it or not) is that you're fundamentally opposed to using 'space magic'. MEA is indeed about surviving on (well, I'll say 'hostile' rather than 'desolate') worlds, but crucially, it was always going to be a mass effect game. ME is generally a soft sci-fi franchise. It has general aspects that tend to be common to all the games, and an expectation that comes with those aspects. What you're effectively asking for is a hard-sci-fi RPG spinoff of Planetbase. When you bring up examples like Rama, Martian and the pre-Final Five BSG it shows that you have no real expectation for an ME game. It's like arguing that Star Trek needed to be more like Blade Runner, it doesn't make any sense. The answer, there, is to stop watching Star Trek and watch Blade Runner. For instance, there is no realistic reason for combat to be in your game. Resources would be at such a premium that any fights would be restricted to handling individual scavengers. Your game would also need to be over centuries at least, as there would be no way to quickly prep a planet for colonisation if you ban all space magic. So straight away your game has nothing in common with ME. Ancient mysteries? Please, who has time for them when you're starving? When the main complaints for MEA tend to be that it's not enough like the OT, suggesting the answer is to remove everything that makes it ME, and make it into a hard-sci-fi survival simulator is realistically absurd. I mean, don't get me wrong, I quite like the basic idea of what you're suggesting. You're just not explaining why such a game needs to carry the ME label, as it realistically has nothing to do with it.
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Post by RoboticWater on Aug 10, 2017 17:41:51 GMT
That's not what I was getting at, rather: Andromeda is, in no small part, about the struggle for survival on desolate worlds. I'd actually hazard to say that this is the central conflict of the game. It is the drive for survival that pushes the entire plot forward. Given that this is the central conflict of the game, it is unsatisfying that its solution is merely flipping a switch, not ingenuity and compromise. <snip> I'm afraid I don't have time to address each point but the summary of what you're posting here (whether you realise it or not) is that you're fundamentally opposed to using 'space magic'. MEA is indeed about surviving on (well, I'll say 'hostile' rather than 'desolate') worlds, but crucially, it was always going to be a mass effect game. ME is generally a soft sci-fi franchise. It has general aspects that tend to be common to all the games, and an expectation that comes with those aspects. What you're effectively asking for is a hard-sci-fi RPG spinoff of Planetbase. When you bring up examples like Rama, Martian and the pre-Final Five BSG it shows that you have no real expectation for an ME game. It's like arguing that Star Trek needed to be more like Blade Runner, it doesn't make any sense. The answer, there, is to stop watching Star Trek and watch Blade Runner. I'm not asking for the game to switch genres, I'm asking for it to bend or not bother. If the genre conventions of your game negate the central conflict of your game, you need to change one of those things to fit the other, and ideally, you wouldn't streamline the conflict to conform with the genre, but expand upon the genre to adequately express the conflict. I didn't say "make it completely realistic," I asked for the struggle to be realistic, i.e. not structured around a cartoonish villain and not solved by the flip of a switch. Hell, the game could've kept the vaults as a space magic solutions, but made the conflict less about some mustache-twirling dude and more the potential conflicts about using the technology. And this doesn't necessitate the game becoming a politics sim (though an aspect of that might be welcome in an RPG); you can still have your pulpy action and adventure, but structure the story beats around some more complex issues. This is an RPG, a genre specifically equipped to explore the intricacies of a world. It's a shame to waste it on contrivances. To bring up The Witcher once more: it's a game built around am apocalypse scenario with cheesy, grimdark villains (which rightfully deserve some criticism), but it holds up because of the more complex dynamics cropping up around that conflict. And I suppose I'll admit it: maybe Andromeda's problem isn't that the main narrative needed to be so much better (though it certainly could have been), but that its supplementary material just wasn't good enough hold it all together. And once again, you're still thinking within the framework of the existing Andromeda. This game didn't need to be about survival either. It may well be that Mass Effect isn't really the kind of universe that could adequately portray that sort of survival conflict, and in that case, it really shouldn't bother. There are other stories it could have told with better stakes and more fidelity. Yeah, I didn't really want a sequel to the Mass Effect trilogy, but even if I did, I don't think a perfect retread of all its faults is really good way of going about it. I would think that you might want to capture what's best about the franchise, and the franchise is at its best when it stages pulpy sci-fi action against social (soft-science) conflict.
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Post by jaegerbane on Aug 10, 2017 18:06:12 GMT
And once again, you're still thinking within the framework of the existing Andromeda. This game didn't need to be about survival either. It may well be that Mass Effect isn't really the kind of universe that could adequately portray that sort of survival conflict, and in that case, it really shouldn't bother. There are other stories it could have told with better stakes and more fidelity. I'm not so much thinking in terms of the framework of an 'existing Andromeda', I'm simply thinking in a framework of Mass Effect. Logically, if your issue was the resorting to space magic to fix situations, then there's only a limited number of solutions. Either you expect that the planets be settled 'the hard way' (or a 'less easy way', whatever that means in this context) and therefore the game must run across centuries - as without any major sci-fi plot boost, that's how long it will take to actually make them habitable... in which case, you're demanding a time frame that doesn't fit a mass effect game. Or, you reject the entire concept of settling planets entirely, at which stage the point I made about you pushing a point that wasn't anything to do with the conversation comes back into play. You can't insist that both occur. You also can't argue that your vision has anything to do with ME when you're making an argument about forcing everyone to rely on their wits rather than Deus Ex Machina because we've literally had three games of this very approach to define the franchise. I really can't be bothered with listening to reams upon reams about the 1001 science fiction franchise you think MEA should have been like because it's irrelevant, as Bioware have no interesting making Mass Effect: Watney's Story - the conversation becomes redundant the second it strays outside of what a ME game realistically will be about. The problem is, it's a franchise about space magic. Arguing that it shouldn't be (for whatever billions of reasons) is an utterly pointless conversation, and one that I'm fed up of retreading, so I'll leave it there.
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Post by colfoley on Aug 10, 2017 18:56:17 GMT
The problem for me is that it just seems the critics had a very different gaming experience then i did.
Even if you are talking about just the environmental problems each one had to involve multiple complex solutions in order to make work. Which since a lot of people don't like to be challenged mathematically they did patch in a work around but each vault still had you solve complex puzzles, fight bad guys, and then run from a death cloud. If that's simple i don't think i want to play your complex.
The technology also had issues, i believe it was brought up a couple of times the.potential pitfalls of using the rem tech were...but then with SAM, it actually became a central part of the narrative how bad SAM was.
And yes we can all agree that the MAIN villain was a bit cartoonish. But he was only b one small problem AND he also wasn't solved by a simple button press.
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Post by alanc9 on Aug 11, 2017 1:19:28 GMT
[I'm not asking for the game to switch genres, I'm asking for it to bend or not bother. If the genre conventions of your game negate the central conflict of your game, you need to change one of those things to fit the other, and ideally, you wouldn't streamline the conflict to conform with the genre, but expand upon the genre to adequately express the conflict. This is very confused. The central conflict of the game is "how do we use the space magic to solve our colonization problem?" There's no problem except that you wanted a different game, and apparently a different series and maybe even a different developer.
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