There´s also a cover of Tainted Love playing in a Vox bar. That was the first one that really hit me.
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Wait the American version of The Killing is not a horrible and boring show, that does nothing new or exciting?
Great if that got lost in translation.
That was a good read: I really needed the articulate opinion of another person, which wasn´t "OMG THEY RUINED TEH MASS EFFECT" (I imagine that all of these people play as a Male Shepard).
I belive the ending is brave, no matter what you choose, it´s the end for the Mass Effect universe as we know since the very mass effect relays have been destroyed. It´s a bitter sweet thing to see. I really thought a bout the potential post-Reaper consequences of my choices through the game, and it´s crazy to have all of that vanish. But this only speaks to how much this series have managed to engage me. No other games have done something like this, atleast not to me.
Sorry if that got a bit longwinded. I just needed of my chest.
First of all: This blog post WILL go into specifics about the ending of Dear Esther. If you have not played it: turn back, play it and get back here.
There has been alot of talk about the ending of Dear Esther and I as a perhaps more than moderately cultured individual, I thought that adding my two cents would be a good idea.
The most interesting point about the ending is not the typical "but what did it mean?" question, for me it´s the loss of control at the last moment.
Allthough the game is almost comepletely linear, you still have a choice of pace and course throughout. You can go where you will, when you will. You are however strongly encouraged to follow to path.
But at the last second this ability is taken away from you, and the character acts on his own in final fatal momentes of the game. Many do not like this, but I think this design choice is entierly justified.
Dear Esther is a game about accepting loss and letting go. The protaganist must come to terms with his own and others´ lack of control, in order to get off the island, and this enforced by taking control away from the player at the last moment.
I you were controlling the protagonist up to the very last moment would not necessarily ruin this point. But it would be harder to get to since most players would end wound up in decifering the meaning of specific story points instead of the overarching theme.
This is of course my own analysis, but I think it is a valid one.
Fantasy V.A.T.S. could be an idea, but I would rather that they did some proper design and improved (Or completely rebuilded) Oblivions combat system.
The problem is that TES is focused on melee or one shot weapons, compared to the semi or fully automatic weapons in Fallout, so firing multiple shots in a V.A.T.S. equvilent wpuld take ages.
Also I remember the bows and spells in Oblivion as being pretty darn accurate, so you would not win a lot by going into a V.A.T.S. lookalike.
So not the worst thing but a very odd fit for the established mechanics of the game.
It specificly says easy deathmatch, so the old style with npc clones and the good old compass might still be in the final version.
I found this mode a little offputting at first, but it is pretty fun when you get the hang of it.
The new character models are also pretty neat, and feel more realistik than the ones in Brotherhood, but that might just be me.