Mass Effect 3 SPOILER THREAD: LOTS OF SPECULATION FROM EVERYONE

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Generic said:
That'd be easier to believe if I knew exactly who wrote what. Does the Salarian-Turian/Krogan conflict count as the main plot? Because I thought that was all pretty well done. The plot of ME3 in general seems good aside from the ending.

But then again, I never considered ME2 to be as horrible as people like to say, so idk. What is your take of the ME3 plot aside from the ending?
Click to expand...

That is true. Walters as lead makes him the best candidate for the overarching story arc, especially the intro and the finality, both of which are the weakest points of the game in my opinion. Other stuff is good, and he may be responsible for the grand story arcs like the Turian/Krogan and Geth/Quarian stuff.

My problems with ME2 were similar to how I felt above: I actually really like all the individual stories in ME2. I think they characters are well written (for most part), and developed accordingly. ME2's main plot is something I liked in theory but was seriously undercooked and lacking exposition. It's also ripe with plot holes that make it seem unfinished, like Mordin's random seeker swarm sample and Legion's armour.

As for ME3, I liked basically everything except the ending. I've always considered the series sci-fi slosh so I can take the super weapon MacGuffin and run with it, even if I would prefer something else. I thought it handled the series running plot arcs wonderfully, and the individual character dialogue was exceptional. The plot was good, sci fi fun and well written enough for me to want to listen to characters and engage in conversation.

The only points I really didn't like was the intro, which felt too rushed (and that is a mechanical/design problem too), and the final ending, which like some others have stated was less of a problem with specifics that happened (I don't mind the relays exploding), but more of a problem with the lack of development, random new plot themes, and generally poor handling of the star child and it's baseless "synthetics will always kill organics" argument.
 
EatChildren said:
That is true. Walters as lead makes him the best candidate for the overarching story arc, especially the intro and the finality, both of which are the weakest points of the game in my opinion. Other stuff is good, and he may be responsible for the grand story arcs like the Turian/Krogan and Geth/Quarian stuff.

My problems with ME2 were similar to how I felt above: I actually really like all the individual stories in ME2. I think they characters are well written (for most part), and developed accordingly. ME2's main plot is something I liked in theory but was seriously undercooked and lacking exposition. It's also ripe with plot holes that make it seem unfinished, like Mordin's random seeker swarm sample and Legion's armour.

As for ME3, I liked basically everything except the ending. I've always considered the series sci-fi slosh so I can take the super weapon MacGuffin and run with it, even if I would prefer something else. I thought it handled the series running plot arcs wonderfully, and the individual character dialogue was exceptional. The plot was good, sci fi fun and well written enough for me to want to listen to characters and engage in conversation.

The only points I really didn't like was the intro, which felt too rushed (and that is a mechanical/design problem too), and the final ending, which like some others have stated was less of a problem with specifics that happened (I don't mind the relays exploding), but more of a problem with the lack of development, random new plot themes, and generally poor handling of the star child and it's baseless "synthetics will always kill organics" argument.
Click to expand...

Someone posted a rumor a while back that the two main writers wrote the endings by themselves, and that they received far less vetting than other areas of the game.

Rumor, though, so who knows?
 
SoulUnison said:
I like how the cities on the arms of the Citadel appear to be functioning as usual during the confrontation with the Illusive Man. And when the Crucible goes off only the inner ring really explicitly explodes.

So I like to imagine whatever environmental shielding, artificial gravity, life support, etc., and what have you all suddenly went out for millions of people and they just sort of...floated away and suffocated.
Click to expand...

Pretty sure the reapers murdered them all before moving the citadel
 
The reason a new ending (either "planned" or as a response to fans) won't work is because they already blew their emotional load with this one. People might be unhappy and say a new ending would be better, but to what end? So people can reload the last save before the end, see it through, and nod? That'd totally derail the experience and narrative for anyone who bought it and played through at launch, prepared to see it through right then.
 
I also just don't dig linking indoctrination with something so blatantly physical. I always thought it was a form of persuasion--a sort of insidious adjustment of reality by the reapers of their subjects. Not BOOM BITCH now you out of it!

I liked thinking shepard's pedo dreams were just war fatigue. The prothean vi was obviously referring to Kai leng and I have to smack everyone who disagrees, so the real question is making the timeline work given the visions/dreams, the harbinger stuff, and the vi.
 
Y2Kev said:
I also just don't dig linking indoctrination with something so blatantly physical. I always thought it was a form of persuasion--a sort of insidious adjustment of reality by the reapers of their subjects. Not BOOM BITCH now you out of it!

I liked thinking shepard's pedo dreams were just war fatigue. The prothean vi was obviously referring to Kai leng and I have to smack everyone who disagrees, so the real question is making the timeline work given the visions/dreams, the harbinger stuff, and the vi.
Click to expand...

You did have the two researchers on the dead Reaper in ME2 lose track of what their memories actually were.
 
Patryn said:
Someone posted a rumor a while back that the two main writers wrote the endings by themselves, and that they received far less vetting than other areas of the game.

Rumor, though, so who knows?
Click to expand...

I think it's safe to assume Mac Walters was responsible for this shit and continue to blame him until proved otherwise. He ruined ME2 too.

edit: shit I've posted in this thread too much lol
 
ElectricBlue187 said:
Really I thought I was a view of earth. If I was on the citadel and the reapers took control i think I would GTFO at the first opportunity, not going grocery shopping lol
Click to expand...

Yeah you'd think lol. I also noticed the same thing at the end of ME1 when the Citadel closed, the traffic was still moving.

It reminds me of the hours leading up to the Iraq War after Bush gave his ultimatum, news footage of Baghdad showed traffic moving along as usual, like nothing was going on.
 
Y2Kev said:
I also just don't dig linking indoctrination with something so blatantly physical. I always thought it was a form of persuasion--a sort of insidious adjustment of reality by the reapers of their subjects. Not BOOM BITCH now you out of it!

I liked thinking shepard's pedo dreams were just war fatigue. The prothean vi was obviously referring to Kai leng and I have to smack everyone who disagrees, so the real question is making the timeline work given the visions/dreams, the harbinger stuff, and the vi.
Click to expand...

Anyone else think those dreams would have been better executed as something akin to the prothean visions Shepard gets in ME1? I found the dreams pretty dull, just chasing that kid like any old pedo. I would rather have something that felt more intense/stressed than what we got, really a minor thing though.
 
ElectricBlue187 said:
Really I thought I was a view of earth. If I was on the citadel and the reapers took control i think I would GTFO at the first opportunity, not going grocery shopping lol
Click to expand...
It could just be laziness and reusing the assets for the citadel in normal operation but there is definitely traffic.
 
Rebel Leader said:
How did Mac ruined ME2?
Click to expand...

Oh no... head for the hills! Here comes the ME1 vs. ME2 fights!

doubleplusgood said:
Anyone else think those dreams would have been better executed as something akin to the prothean visions Shepard gets in ME1? I found the dreams pretty dull, just chasing that kid like any old pedo. I would rather have something that felt more intense/stressed than what we got, really a minor thing though.
Click to expand...

It would have made more thematic sense for the person in the dreams to be the Virmire victim. Already established as a sign of what Shepard can't save.

But Bioware thinks that people can't empathize with someone like that or an alien, so it has to be a kid. A human kid. It was the most blatant and shameless attempt at plugging at player's heartstrings.
 
Karak said:
The Citadel was closed though. Wasn't it. No escape.
Click to expand...

Seems like everyone died on the Citadel...

Sage ‏ @Honor16
@macwalterslives Question. Did everybody on the Citadel just die since the Reapers put it in orbit over Earth?
Mac Walters ‏ @macwalterslives
@Honor16 SPOILER SPOILER SPOILER (stop reading if u don't a SPOILER) : Some escaped before the arms were closed. But for many... Bad times.
 
Patryn said:
You did have the two researchers on the dead Reaper in ME2 lose track of what their memories actually were.
Click to expand...

I am sorta into this idea of reaper indoctrination vs. artificial brainwashing by TIM types. I have no basis for this.
 
The child exists because much like the entire rushed Earth introduction it was BioWare's shitty, awful attempt at emotionally engaging the player in Earth's destruction, because this random dead kid is supposed to move us as Mansell's melodramatic plays.

Shepard's PTS causes nightmares of said child, BioWare still forcing it down our throats. The slow movements is supposed to represent exactly what it is; a dream. You hear the voices of dead allies and friends during these sequences because, again, BioWare is trying desperately to make us feel.

During the rush to the Citadel beam thing Shepard's crew gets nuked by Harbinger's laser death beam. Harbinger didn't have a major role in the game because they couldn't script him in with the VO's schedule, or they didn't give a shit. Shepard wakes up with gun with unlimited ammo because at this point BioWare isn't making a game but instead a marginality interactive movie, deliberately restricting player movement and function as to not break the game, and to symbolise Shepard's weary near-death state. Slow mo is there just to make it dramatic epic emotional woo woo.

Shepard teleports up into the Citadel and confronts both TIM and Anderson. Anderson and Shepard feel TIM's power of indoctrination, because it has been firmly established TIM is enhanced with these abilities to control his troops. TIM succumbs to the Reaper control and commits suicide because Shepard is pro, releasing the indoctrination grip on Anderson and herself.

Nothing happens with the Crucible, so Hackett radios in to inform Shepard. Shepard passes out from her wounds and is raised via a floating platform to where the Crucible and Citadel meet. There she meets an advanced AI represented visually as the reoccurring child from her escape from Earth and nightmares, because BioWare thinks we give a shit and have some emotional connection to this character, giving greater weight to the game's climax. Here we are given a half arsed nonsensical explanation for the Reapers existence, are unable to debate or argue with space Casper, and are then given a choice between A, B or C, none of which seem to make any sense.

Shepard chooses one and pre-rendered cinematics follow, all nearly identical though coloured in green, blue or red flavour depending on your choice.

Credits roll. The end.

And that's how the Mass Effect trilogy ends.
 
Y2Kev said:
I also just don't dig linking indoctrination with something so blatantly physical. I always thought it was a form of persuasion--a sort of insidious adjustment of reality by the reapers of their subjects. Not BOOM BITCH now you out of it!

I liked thinking shepard's pedo dreams were just war fatigue. The prothean vi was obviously referring to Kai leng and I have to smack everyone who disagrees, so the real question is making the timeline work given the visions/dreams, the harbinger stuff, and the vi.
Click to expand...

Yeah the indoctrination theories are fun and all but during the game it seems pretty cut and dried. You dream about the kid because shit that sucks that he died like that and Bioware feels they need to personalize such epic death and destruction lest it start to numb the player so what better way than to have nightmares about a kid you saw die. You get "controlled" by TIM at the end and shoot Anderson and it's a lot like indoctrination - but not exactly the same - because TIM is using modified reaper tech to do a modified reaper thing.

I do suspect that Bioware may have left some of the little hints in there Inception-style (James' talking about the hum etc), but mainly as easter eggs and coy little winks to see who's paying attention. They just don't strike me as having the chops, or nerve, to plot something out like that.


Of course I never would have thought Bioware would have the nerve to make a giant universe about creating connections, the benefits of tolerance and making choices only to *force* you to end the series by essentially destroying the galaxy in several pretty serious ways so who knows. :P
 
Lifejumper said:
Seems like everyone died on the Citadel...

Sage ‏ @Honor16
@macwalterslives Question. Did everybody on the Citadel just die since the Reapers put it in orbit over Earth?
Mac Walters ‏ @macwalterslives
@Honor16 SPOILER SPOILER SPOILER (stop reading if u don't a SPOILER) : Some escaped before the arms were closed. But for many... Bad times.
Click to expand...

Ya right. So...what gives here.
 
I think there's a fascinating article somewhere out there on the percentage of journalists/high profile gaming figures who like the endings vs. the percentage of players who like the endings and what it means for the two groups.
 
EatChildren said:
That is true. Walters as lead makes him the best candidate for the overarching story arc, especially the intro and the finality, both of which are the weakest points of the game in my opinion. Other stuff is good, and he may be responsible for the grand story arcs like the Turian/Krogan and Geth/Quarian stuff.

My problems with ME2 were similar to how I felt above: I actually really like all the individual stories in ME2. I think they characters are well written (for most part), and developed accordingly. ME2's main plot is something I liked in theory but was seriously undercooked and lacking exposition. It's also ripe with plot holes that make it seem unfinished, like Mordin's random seeker swarm sample and Legion's armour.

As for ME3, I liked basically everything except the ending. I've always considered the series sci-fi slosh so I can take the super weapon MacGuffin and run with it, even if I would prefer something else. I thought it handled the series running plot arcs wonderfully, and the individual character dialogue was exceptional. The plot was good, sci fi fun and well written enough for me to want to listen to characters and engage in conversation.

The only points I really didn't like was the intro, which felt too rushed (and that is a mechanical/design problem too), and the final ending, which like some others have stated was less of a problem with specifics that happened (I don't mind the relays exploding), but more of a problem with the lack of development, random new plot themes, and generally poor handling of the star child and it's baseless "synthetics will always kill organics" argument.
Click to expand...

People always mention the plot holes, and I don't want to turn this into yet another ME2 bitch fest, but I think lots of things can be answered, if weakly. How did Mordin get a seeker sample? Cerberus provided one, it's not unreasonable that the colonists managed to shoot down one of them firing into the random swarm or something. And I'm pretty sure legion explained that he just recovered sheps armor from bits and pieces left behind in the normandy crash.

But yeah, it seems that you don't believe that the plot is so bad that this ending would be real either. If the ending is real, it isn't just a minor continuity error or misstep. It isn't even a large one. It is gargantuan. It goes so thoroughly and completely against one of the most significant developments of the last two games that I simply cannot believe it possible that even the worst writer would not catch this contradiction. It's not just that I think bioware is too good to do that. It's something I'd only expect of the worst storytellers in any medium. This is Uwe boll and Jason Friedberg and Aaron Seltzer level of quality. Surely, even the harshest detractors wouldn't expect it out of bioware.
 
EatChildren said:
The child exists because much like the entire rushed Earth introduction it was BioWare's shitty, awful attempt at emotionally engaging the player in Earth's destruction, because this random dead kid is supposed to move us as Mansell's melodramatic plays.

Shepard's PTS causes nightmares of said child, BioWare still forcing it down our throats. The slow movements is supposed to represent exactly what it is; a dream. You hear the voices of dead allies and friends during these sequences because, again, BioWare is trying desperately to make us feel.

During the rush to the Citadel beam thing Shepard's crew gets nuked by Harbinger's laser death beam. Harbinger didn't have a major role in the game because they couldn't script him in with the VO's schedule, or they didn't give a shit. Shepard wakes up with gun with unlimited ammo because at this point BioWare isn't making a game but instead a marginality interactive movie, deliberately restricting player movement and function as to not break the game, and to symbolise Shepard's weary near-death state. Slow mo is there just to make it dramatic epic emotional woo woo.

Shepard teleports up into the Citadel and confronts both TIM and Anderson. Anderson and Shepard feel TIM's power of indoctrination, because it has been firmly established TIM is enhanced with these abilities to control his troops. TIM succumbs to the Reaper control and commits suicide because Shepard is pro, releasing the indoctrination grip on Anderson and herself.

Nothing happens with the Crucible, so Hackett radios in to inform Shepard. Shepard passes out from her wounds and is raised via a floating platform to where the Crucible and Citadel meet. There she meets an advanced AI represented visually as the reoccurring child from her escape from Earth and nightmares, because BioWare thinks we give a shit and have some emotional connection to this character, giving greater weight to the game's climax. Here we are given a half arsed nonsensical explanation for the Reapers existence, are unable to debate or argue with space Casper, and are then given a choice between A, B or C, none of which seem to make any sense.

Shepard chooses one and pre-rendered cinematics follow, all nearly identical though coloured in green, blue or red flavour depending on your choice.

Credits roll. The end.

And that's how the Mass Effect trilogy ends.
Click to expand...

<3 <3

Yup. There's still a bunch of sane people left in the thread.
 
Patryn said:
Oh no... head for the hills! Here comes the ME1 vs. ME2 fights!



It would have made more thematic sense for the person in the dreams to be the Virmire victim. Already established as a sign of what Shepard can't save.

But Bioware thinks that people can't empathize with someone like that or an alien, so it has to be a kid. A human kid. It was the most blatant and shameless attempt at plugging at player's heartstrings.
Click to expand...

The thing is I lost all sympathy I could have potentially had for the kid when he decided to run off an not go with Commander Shepard. I think if my world was getting blown up, my parents dead and I'm just a kid I'd go with the guy wearing a military uniform. I have a feeling I'd have a better chance of survival with him than in a vent.
 
I'm kind of surprised the anti-indoctrination group isn't throwing out its strongest argument:

Mass Effect Deception.

That turd got by Bioware quality control.
 
Dietz shit that book out in a three-month cycle for $$$, probably. Not that different from a lot of other such tie-in novels, but yeah.

Zeitgeister said:
but where would we get that data? In a reliable manner, I mean.
Click to expand...
Metacritic? Lol.
 
EatChildren said:
The child exists because much like the entire rushed Earth introduction it was BioWare's shitty, awful attempt at emotionally engaging the player in Earth's destruction, because this random dead kid is supposed to move us as Mansell's melodramatic plays.

Shepard's PTS causes nightmares of said child, BioWare still forcing it down our throats. The slow movements is supposed to represent exactly what it is; a dream. You hear the voices of dead allies and friends during these sequences because, again, BioWare is trying desperately to make us feel.

During the rush to the Citadel beam thing Shepard's crew gets nuked by Harbinger's laser death beam. Harbinger didn't have a major role in the game because they couldn't script him in with the VO's schedule, or they didn't give a shit. Shepard wakes up with gun with unlimited ammo because at this point BioWare isn't making a game but instead a marginality interactive movie, deliberately restricting player movement and function as to not break the game, and to symbolise Shepard's weary near-death state. Slow mo is there just to make it dramatic epic emotional woo woo.

Shepard teleports up into the Citadel and confronts both TIM and Anderson. Anderson and Shepard feel TIM's power of indoctrination, because it has been firmly established TIM is enhanced with these abilities to control his troops. TIM succumbs to the Reaper control and commits suicide because Shepard is pro, releasing the indoctrination grip on Anderson and herself.

Nothing happens with the Crucible, so Hackett radios in to inform Shepard. Shepard passes out from her wounds and is raised via a floating platform to where the Crucible and Citadel meet. There she meets an advanced AI represented visually as the reoccurring child from her escape from Earth and nightmares, because BioWare thinks we give a shit and have some emotional connection to this character, giving greater weight to the game's climax. Here we are given a half arsed nonsensical explanation for the Reapers existence, are unable to debate or argue with space Casper, and are then given a choice between A, B or C, none of which seem to make any sense.

Shepard chooses one and pre-rendered cinematics follow, all nearly identical though coloured in green, blue or red flavour depending on your choice.

Credits roll. The end.

And that's how the Mass Effect trilogy ends.
Click to expand...

Thank you.
 
Patryn said:
I'm kind of surprised the anti-indoctrination group isn't throwing out its strongest argument:

Mass Effect Deception.

That turd got by Bioware quality control.
Click to expand...

But doesn't that also support that if the fans complaint long enough and loudly enough Bioware will be shamed into rectifying?
 
EatChildren said:
The child exists because much like the entire rushed Earth introduction it was BioWare's shitty, awful attempt at emotionally engaging the player in Earth's destruction, because this random dead kid is supposed to move us as Mansell's melodramatic plays.

Shepard's PTS causes nightmares of said child, BioWare still forcing it down our throats. The slow movements is supposed to represent exactly what it is; a dream. You hear the voices of dead allies and friends during these sequences because, again, BioWare is trying desperately to make us feel.

During the rush to the Citadel beam thing Shepard's crew gets nuked by Harbinger's laser death beam. Harbinger didn't have a major role in the game because they couldn't script him in with the VO's schedule, or they didn't give a shit. Shepard wakes up with gun with unlimited ammo because at this point BioWare isn't making a game but instead a marginality interactive movie, deliberately restricting player movement and function as to not break the game, and to symbolise Shepard's weary near-death state. Slow mo is there just to make it dramatic epic emotional woo woo.

Shepard teleports up into the Citadel and confronts both TIM and Anderson. Anderson and Shepard feel TIM's power of indoctrination, because it has been firmly established TIM is enhanced with these abilities to control his troops. TIM succumbs to the Reaper control and commits suicide because Shepard is pro, releasing the indoctrination grip on Anderson and herself.

Nothing happens with the Crucible, so Hackett radios in to inform Shepard. Shepard passes out from her wounds and is raised via a floating platform to where the Crucible and Citadel meet. There she meets an advanced AI represented visually as the reoccurring child from her escape from Earth and nightmares, because BioWare thinks we give a shit and have some emotional connection to this character, giving greater weight to the game's climax. Here we are given a half arsed nonsensical explanation for the Reapers existence, are unable to debate or argue with space Casper, and are then given a choice between A, B or C, none of which seem to make any sense.

Shepard chooses one and pre-rendered cinematics follow, all nearly identical though coloured in green, blue or red flavour depending on your choice.

Credits roll. The end.

And that's how the Mass Effect trilogy ends.
Click to expand...
no indoctrination is detected
 
EatChildren said:
The child exists because much like the entire rushed Earth introduction it was BioWare's shitty, awful attempt at emotionally engaging the player in Earth's destruction, because this random dead kid is supposed to move us as Mansell's melodramatic plays.

Shepard's PTS causes nightmares of said child, BioWare still forcing it down our throats. The slow movements is supposed to represent exactly what it is; a dream. You hear the voices of dead allies and friends during these sequences because, again, BioWare is trying desperately to make us feel.

During the rush to the Citadel beam thing Shepard's crew gets nuked by Harbinger's laser death beam. Harbinger didn't have a major role in the game because they couldn't script him in with the VO's schedule, or they didn't give a shit. Shepard wakes up with gun with unlimited ammo because at this point BioWare isn't making a game but instead a marginality interactive movie, deliberately restricting player movement and function as to not break the game, and to symbolise Shepard's weary near-death state. Slow mo is there just to make it dramatic epic emotional woo woo.

Shepard teleports up into the Citadel and confronts both TIM and Anderson. Anderson and Shepard feel TIM's power of indoctrination, because it has been firmly established TIM is enhanced with these abilities to control his troops. TIM succumbs to the Reaper control and commits suicide because Shepard is pro, releasing the indoctrination grip on Anderson and herself.

Nothing happens with the Crucible, so Hackett radios in to inform Shepard. Shepard passes out from her wounds and is raised via a floating platform to where the Crucible and Citadel meet. There she meets an advanced AI represented visually as the reoccurring child from her escape from Earth and nightmares, because BioWare thinks we give a shit and have some emotional connection to this character, giving greater weight to the game's climax. Here we are given a half arsed nonsensical explanation for the Reapers existence, are unable to debate or argue with space Casper, and are then given a choice between A, B or C, none of which seem to make any sense.

Shepard chooses one and pre-rendered cinematics follow, all nearly identical though coloured in green, blue or red flavour depending on your choice.

Credits roll. The end.

And that's how the Mass Effect trilogy ends.
Click to expand...

Yep, definitely acceptance phase. I really don't give a shit now.

An indoctrination twist would be cool, but whatever.
 
Lifejumper said:
Seems like everyone died on the Citadel...

Sage &#8207; @Honor16
@macwalterslives Question. Did everybody on the Citadel just die since the Reapers put it in orbit over Earth?
Mac Walters &#8207; @macwalterslives
@Honor16 SPOILER SPOILER SPOILER (stop reading if u don't a SPOILER) : Some escaped before the arms were closed. But for many... Bad times.
Click to expand...

Dude can't even write a spoiler warning. And stuff the civilians, they should be asking him why the reapers didn't shut down the relays.

Patryn said:
I'm kind of surprised the anti-indoctrination group isn't throwing out its strongest argument:

Mass Effect Deception.

That turd got by Bioware quality control.
Click to expand...

Or the comics, which are just as awful.
 
EatChildren said:
The child exists because much like the entire rushed Earth introduction it was BioWare's shitty, awful attempt at emotionally engaging the player in Earth's destruction, because this random dead kid is supposed to move us as Mansell's melodramatic plays.

Shepard's PTS causes nightmares of said child, BioWare still forcing it down our throats. The slow movements is supposed to represent exactly what it is; a dream. You hear the voices of dead allies and friends during these sequences because, again, BioWare is trying desperately to make us feel.

During the rush to the Citadel beam thing Shepard's crew gets nuked by Harbinger's laser death beam. Harbinger didn't have a major role in the game because they couldn't script him in with the VO's schedule, or they didn't give a shit. Shepard wakes up with gun with unlimited ammo because at this point BioWare isn't making a game but instead a marginality interactive movie, deliberately restricting player movement and function as to not break the game, and to symbolise Shepard's weary near-death state. Slow mo is there just to make it dramatic epic emotional woo woo.

Shepard teleports up into the Citadel and confronts both TIM and Anderson. Anderson and Shepard feel TIM's power of indoctrination, because it has been firmly established TIM is enhanced with these abilities to control his troops. TIM succumbs to the Reaper control and commits suicide because Shepard is pro, releasing the indoctrination grip on Anderson and herself.

Nothing happens with the Crucible, so Hackett radios in to inform Shepard. Shepard passes out from her wounds and is raised via a floating platform to where the Crucible and Citadel meet. There she meets an advanced AI represented visually as the reoccurring child from her escape from Earth and nightmares, because BioWare thinks we give a shit and have some emotional connection to this character, giving greater weight to the game's climax. Here we are given a half arsed nonsensical explanation for the Reapers existence, are unable to debate or argue with space Casper, and are then given a choice between A, B or C, none of which seem to make any sense.

Shepard chooses one and pre-rendered cinematics follow, all nearly identical though coloured in green, blue or red flavour depending on your choice.

Credits roll. The end.

And that's how the Mass Effect trilogy ends.
Click to expand...

*claps*
 
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