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EndrzGame

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EndrzGame

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EndrzGame

325

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#2  Edited By EndrzGame

That was a great read. Thanks for the link. =)

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EndrzGame

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#3  Edited By EndrzGame

Pre-purchased today. Very much looking forward to the beta later this month. Went to their website where I read and watched a bunch of stuff about the game and I just couldn't resist. Best thing? NO SUBSCRIPTION FEES!.

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EndrzGame

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EndrzGame

325

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#5  Edited By EndrzGame

The "analysis" that an ambiguous ending leaves more room for player speculation, while sounding very pretty, completely refutes the "artistic integrity" argument that is made in the same breath. Ambiguity is not art. It is the absence of art.

Art is defined as anything which conveys a message from the artist to the audience through some medium. Ambiguity is the lack of a message. It is a formless copout. The literary equivalent of the antichrist. Would you buy a blank, white canvas that someone told you was "a painting from Picasso's 'Ambiguous' Period"? No. Because that is stupid at best and incredibly lazy at worst. You can't have your cake and eat it too.Pick an argument and use your thinky thing to support that argument.

Also, it's unbelievable that all these gaming journalists keep on telling me how great the ending is, when I just don't see it.

It is a weak ending. It simply is. It doesn't stand up to logic, reason, it goes against the flow of the narrative...

Still they argue as if it is such a creative and intelligent ending... cut the crap, you so called journalists.

If you think Bioware should stick to it's ending and give their fans the finger, because you don't ever want fans to be able to influence the ending of any game (even though corporations, focus groups and the like already influence it), just stick to that.

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EndrzGame

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#6  Edited By EndrzGame

@HerbieBug said:

the developer has been getting it from all ends

eww. :D

If Bioware attempts to pander to the consumer by changing their endings they will have pissed away any shred of integrity they once had.

I'm sorry, but when the final words at the end are 'purchase DLC' then the integrity ship sailed long before they announced any change to the ending.

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EndrzGame

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#7  Edited By EndrzGame

@Olivaw said:

“Most screenwriters will tell you the hardest part of any movie, any story to tell, is just the end. It’s the thing that changes the most, it's the endings that are the most fought over among collaborators. They’re the things that are just the hardest to land.”

Which is super funny, since that Final Hours app basically says that it was just Casey Hudson and Mac Walters who wrote the ending, and they didn't let anyone else see it before it was too late to change it!

I know right? Maybe if they shopped the ending around to the other writers it could of been better. I really don't blame Bioware for this debacle as much as I blame EA. They take the lead writer from ME 1 and 2, (Drew Karpyshyn), and move him over to SWOTOR. The game leading up to the ending was pretty good, but it's obvious the ending was rushed and under developed cause what we got was seriously....wtf?

Glad their adding to it too it.

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EndrzGame

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#8  Edited By EndrzGame

This video is a little **SPOILERY**, but it's my favorite by far that's come out of this whole fiasco.

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EndrzGame

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#9  Edited By EndrzGame

I just wish I could of blew Kid Catalyst's mind like Arthur did to the bridge keeper.

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EndrzGame

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#10  Edited By EndrzGame

@Distrato said:

You know the thing that really upsets me the most out of all this controversy are video game journalist reaction to this whole debacle. Its honestly just straight up bull shit and everyone knows it. It shows just how truly broken and crooked the video game industry is. Oh but no one has the balls or integrity to say, "Hey you know what video games industry, we're totally fucked up." How is it right that Jessica Chobot can be a character in a video game. How is it right for a company to deliver a shitty ending only to say, "Hey guys get ready for a more conclusive story in future DLC!" I'm even upset that Jeff Gerstmann goes onto the Bombcast and ridicules the game for almost an hour but it still receives a high score. If Jeff really enjoyed the game overall then that's great, but it just seems like the veil has been removed and people are really getting a glimpse at just how deep the relationships between developers and video game journalist can go. You would never trust a news outlet that defends the makers of a product and shouts about how great a product is on their site, only to see a ad for that product on the same site. Yet we constantly let it slide with the video game websites we visit. Even if there was no shady business going on its honestly still pretty disgusting. Mass Effect 3 isn't just about a group of people crying because they didn't like an ending to a video game. Its about video game players in general being fed up with being treated like shit by major developers and being fed what might as well be PR letters from journalist.

Naturally, not every reviewer drinks deep from EA’s fountain, but it’s easy to see a defense mechanism in their response: namely, the fan backlash raises serious questions about the process of reviewing games. For reviewers to rate the game so highly, knowing that the primary interpretation of the ending can retroactively sour the entire experience (even the entire franchise, some claim), produces some issues. How can something “definitive” like a score mediate between the very good (most of the game) and the very bad (the ending)? How much weight can one place on something like an ending, especially in a story-driven game? How can a reviewer apply proper criticism without angering a fan base and publisher who both expect the review to conform to their not-always-aligned expectations?

The Mass Effect 3 debacle casts a critical light on game critics, and I don’t think they appreciate that kind of attention, hence their reaction. But it is important to deal with these issues in order for games journalism – and beyond that, games scholarship – to become credible and worthwhile.