Wasn't so bad once they sped it up via update. My heart goes out to people who thought they needed to mine all the planets to be able to buy everything.Mining in me2 was calming and relaxing.
Thugh my finger ached after awhile
I didn't like the Matriarch writings specifically, but damn was it nice driving to a plateau under a flaring blue foreign sun, stepping onto the warm dust, and hearing the atmospheric silence as you look around a long-empty post where a scientist once lived a very small life with big intention. They disappeared at an unknown time, but it's humbling to think about being out there. Being the astronaut who followed the signals on uncharted worlds, feeling small, going farther.
Only visiting civilized, lush, currently inhabitable spaces doesn't feel like a whole concept of space travel and science. Most of space is quiet and grand, with not a hint of life except for the fragments that have scattered there from safer homes.
I feel like I'm back - tentatively - on the ME4 hype train. Assuming they jump like, 1,000 years in the future and ignore all of ME3, that is. Just straight Batman Begins that bitch like it came from Schumacher's notebook.
Iisten to the ilos theme bruh. That shit does it for me everytime.
I expect a lot of Mass Effect-like uncharted worlds, unlocked throughout the galaxy map using some Inquisition-like economy system, with similar fetch/hunt quest structure to Inquisition, differentiated by scattering said objectives further apart to emphasise vehicle use, planetary hazards, and the conquering of terrain.
They should work on context and consequence better. XP, Loot and Gold by any name arent worthwhile rewards anymore.
Please keep DA: I fetch quests away from Mass Effect.
I'd rather have fetch quests than worlds filled with nothing.Please keep DA: I fetch quests away from Mass Effect.
They already were in Mass Effect 1.
Thanks but I think I harassed them enough when I heard Mako was out. And again when I heard the Kodiak and Mako were out for ME3.That so beautifully sums it up you need to go on the official forums and make sure the devs read this.
I wonder how they're going to do this more open-ended design thing, assuming it turns out like that.
I mean it's just not reasonable to expect several dozens of planets to be explorable at any-time, not be complete arse [ME1] but instead be filled with content, cities, actual quests [none of that fetch rubbish]
I don't know how much you can compare Dragon Age and Mass Effect... but how is the auto-dialogue in DA:I? Same as ME3? More or less of it? Maybe it can give an idea of what to expect in the next ME. I'm not expecting a return of ME1 where every replies of Shepard was a decision from the player, but something like ME2 would be good.
I hope it ends up closer to the ME games than DA:I in terms of the general setup and game systems.
Way too much fluff and padding which does almost nothing to add to the experience. I like the game (DA:I), but man can it be a chore to slog through at times. I never felt like that in ME ever; even in ME1.
Bioware has already gone on the record as saying that DA:I is the blueprint for all their future games.
Now, sure, they'll likely adjust stuff based on feedback and their metrics based on how people played, but I'm guessing the two games will feel similar in a lot of ways.
Bioware has already gone on the record as saying that DA:I is the blueprint for all their future games.
Now, sure, they'll likely adjust stuff based on feedback and their metrics based on how people played, but I'm guessing the two games will feel similar in a lot of ways.
I don't know how much you can compare Dragon Age and Mass Effect... but how is the auto-dialogue in DA:I? Same as ME3? More or less of it? Maybe it can give an idea of what to expect in the next ME. I'm not expecting a return of ME1 where every replies of Shepard was a decision from the player, but something like ME2 would be good.
Nah, the two games won't feel similar at all by virtue of Mass Effect being a shooter. They can't just copy/paste over stuff from DA and call it a day, the game would be a clsuterfuck.
What I can see Bioware doing is giving us the game Destiny should have been, minus the co-op stuff of course, though they could easily fuck up and give us an even worse version of current Destiny lol. As much as I would hate to see that since it would probably spell the end of one of my favourite franchises, the internet meltdowns would be glorious.
I haven't heard that and so far the DA games and ME games have been largely separate, if anything it was Mass Effect that bled slightly over into Dragon Age. But, they've largely kept their separate identities and I hope it stays that way.
Mass Effect 2 didn't ruin the Mass Effect Series. Mass Effect fans ruined the Mass Effect Series.
Actually it was Drew leaving and Casey Hudson being involved.
Fetch quests aren't that bad but the resource farming in DAI to craft basic things like potions felt insane to meI'd rather have fetch quests than worlds filled with nothing.
Mass Effect 2 didn't ruin the Mass Effect Series. Mass Effect fans ruined the Mass Effect Series.
Actually it was Drew leaving and Casey Hudson being involved.
Bioware has already gone on the record as saying that DA:I is the blueprint for all their future games.
Now, sure, they'll likely adjust stuff based on feedback and their metrics based on how people played, but I'm guessing the two games will feel similar in a lot of ways.
Mass Effect 2 didn't ruin the Mass Effect Series. Mass Effect fans ruined the Mass Effect Series.
Actually it was Drew leaving and Casey Hudson being involved.
Mass Effect 2 didn't ruin the Mass Effect Series. Mass Effect fans ruined the Mass Effect Series.
Actually it was Drew leaving and Casey Hudson being involved.
ME's problem wasn't the change in writers, it was the lack of planning. They tried to take a game with a by-and-large standalone plot, and turn it into a trilogy. Trilogies follow very specific structures, especially epic sci-fi/fantasy trilogies which tend to follow the Lord of the Ring's structure specifically (hopeful beginning, sudden turn to darkness, high-action conclusion). You can't just pull that out of a hat, it all needs to be planned out ahead of time if you want to stick the landing. Original writer or no original writer.
Casey Hudson is responsible for Mass Effect, the idea for the series came from his head. He may have to bear the brunt of the awful ending but he must also be credited with everything great about the series.
Mass Effect was always planned as a trilogy and had Mass Effect 3 succeeded with its ending and plot everything would have been fine. First, you have to remember that games are not like movies or books, you just can't write a script and say make that into a game. The plot/story must be developed and evolve alongside the gameplay. This is why COD games never have good plots no matter how many Hollywood screenwriters they bring in, because they develop the gameplay and levels first and then write a story to fit around it. This is also why some ambitious story based games fail, while I wouldn't say that Bioshock Infinite was some complete failure it's clear that the gameplay lagged behind the story it was trying to tell.
Now, I think it is clear that they did have big story ideas as to what each Mass Effect game would be about. Mass Effect 1 would set everything up and tease the Reapers; Mass Effect 2 would be the slow "Empire Strikes Back" story, a way for the player to acclimatize themselves once last time with the universe before the Reapers showed up; Mass Effect 3 would be the war story and the end of the Reapers. Also, according to Drew K. the Relays were always intended to be the solution/weapon to destroying the Reapers. However, besides that I don't think they knew early on many of the deeper mystery questions of the universe such as where the Reapers came from, purpose of the cycles, etc. That would all be developed later and evolve as the games progressed.
I don't think the particulars of the ending needed to be planned out ahead of time, afterall they wouldn't know before hand what decisions they would allow to players to make and be transferred over between games, but what should have been planned and adhered to were the themes of Mass Effect which the ending all but abandons. And, let's be honest to overbearing presence of EA no doubt heavily influenced the game we got, had ME3 just been given even four more months of cook time we'd have gotten a better game.
That's a great deal of what I'm talking about, though. The Reapers coming back was the clear endgame from the first one, but it's pretty clear they didn't actually set the "why" of it in stone until it was way too late. You don't have to figure out every minute detail ahead of time (that's a good way to get blindsided later on), but you really do have to have the central story laid out beforehand if you want it to feel coherent. I would argue that in that sense, video game storytelling isn't any different than any other medium.
As for the rest, planning out player choices and the implications thereof is clearly key (you don't have to have everything tie back into the main plot), and I'm not 100% sure what you're talking about vis a vis COD and Bioshock. The former's problem isn't really applicable (since RPGs are all about player choice, while COD campaigns are literally a series of setpieces), and Bioshock's issue was primarily one of ludonarrative dissonance. Having gameplay and story develop alongside each other is all well and good, but again, I'm not really seeing the connection; it started a 3rd person shooter RPG hybrid, and it ended that way.
I agree that the larger mysteries should have been known from the start, that's how a proper twist works. If you look at say the Dragon Age series for comparison it's clear that they do actually know and planned the larger mysteries concerning the Old Gods and all the other lore. As for the COD and Bioshock example what I'm getting at is that good game stories must be developed alongside the gameplay to be any good, else wise you get ludonarrative dissonance or just bad story. I'm too lazy to look right now but BioWare, specifically the Mass Effect team around #2, talked about the BioWare writing process. But, essentially every writer is paired with the gameplay designer in charge of each quest. So, if you're writing Garrus' loyalty mission you're right there with the person designing the gameplay for that section from the start. Thus, both aspects of story and gameplay can evolve and come together as a perfect fit.
EDIT:
This isn't the article I was looking for but this one by Daivd Gaider, lead writer for the DA series, details extensively the BioWare writing process and I think gives a much fuller picture of the entire ordeal:
http://dgaider.tumblr.com/post/36331574543/on-narrative-design-part-1
I agree that the larger mysteries should have been known from the start, that's how a proper twist works. If you look at say the Dragon Age series for comparison it's clear that they do actually know and planned the larger mysteries concerning the Old Gods and all the other lore. As for the COD and Bioshock example what I'm getting at is that good game stories must be developed alongside the gameplay to be any good, else wise you get ludonarrative dissonance or just bad story. I'm too lazy to look right now but BioWare, specifically the Mass Effect team around #2, talked about the BioWare writing process. But, essentially every writer is paired with the gameplay designer in charge of each quest. So, if you're writing Garrus' loyalty mission you're right there with the person designing the gameplay for that section from the start. Thus, both aspects of story and gameplay can evolve and come together as a perfect fit.
EDIT:
This isn't the article I was looking for but this one by Daivd Gaider, lead writer for the DA series, details extensively the BioWare writing process and I think gives a much fuller picture of the entire ordeal:
http://dgaider.tumblr.com/post/36331574543/on-narrative-design-part-1
All this, on a foundation built capably upon the solid game mechanics of a true, hardcore RPG nonlinear quests with multiple solutions, branching dialogue choices with points of no return, several roles to play (warrior, bard, thief), a mountain of different stats, skills, perks, and ultimate character customization details (including 4 layers of clothing and armor in 16 equippable slots), as well as alchemy and crafting professions, the need to sleep and eat to stay healthy even food that goes bad if it sits in your inventory for too long!
Were not trying to create the biggest game ever; we want to concentrate on quality rather than quantity. Instead of 200 generic dungeons, wed like to focus on just a few, crafting each one as something unique, memorable, and special. Our world is large, but again, the focus is on creating a natural, organic space, not one so overpopulated (find out more about this in our blog, here). The same philosophy applies to quests. We dont want to inundate players with an insane amount of quests, but rather ensure that those we have are rich in detail, with multiple solutions (including non-violent approaches, where appropriate) suiting different play styles and making an impact on the world.
But as for the other part of Daemul's post.... michaelscottno.gif. Even if it's what Destiny was "supposed" to be, that's absolutely not what I (and I'd imagine most hard core ME fans) want Mass Effect to become..
That quote from Kingdom Comes is the opposite of what I would like in a new ME, and slightly horrifies me.
It's another example of people thinking that the systems we use to role play are the role playing, which is just not true. It's the same fallacy RPG Codex fans fall into all the time, bless them.
Good systems are important, but they should be there to enable role playing - not *be* the roleplaying. That's what ME2 did so fantastically well - it's one of the best examples I can think of where stripping stuff out led to better roleplaying, better writing, better characters and overall a better game.
But it was basically a TPS with light RPG elements. How cool would it be to have missions that can be tackled in multiple ways, including non-violent ones? Of have meaningful side-quests that actually feel unique? Those are the things I want from that quote.