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Which RPG-story would you like to rewrite?

RPG Story Writing Fun

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#21
Harry Easter

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@algorth

 

So, you would have turned the story more into an investigative mystery, than a fight for power and they would never leave Kyros' services? Good read, but wouldn't that make the outcome of the story very linear? Ist that the point?

 

 

@injurai

 

So it would be again less than more on the story part? I also wasn't very fond of the player as a descendant of heaven and hell. It kind of robbed the games of the idea, that humans CAN overcome the demons, just by pure will, but at a high cost. It fitted the depressing atmosphere of the games better.

 

 

Smaller post on this one:

 

 

Drakensang: The River of Time

 

This continuation of Drakensang did everything better. Better quests, livelier companions and it was way more lore-heavy than the first ... which was also it's problem in the end. If you didn't know anything about the world of Dere, you couldn't understand what the actual point of the big conspiracy was and the final fight felt really lacking. The story is otherwise a joyful adventureyarn so I would only rewrite the ending and the motivations of the bad guys. How?

 

Turn the conspirators into cultists: The continent Aventuria has one iconic bad guy: the nameless god. His servants try to destroy order and overthrow the authorities. The mage Coldstone helps the Baron of Nadoret to garther an army and overthrow the ruler of the palinate of Kosh and secretly worships the nameless god. He wants to turn the campaign into a crusade of the nameless and kill and sacrifice as many people as he can, while weakening the middlerealm, where the game takes place. In thwarting this plan, the players would really acomplished something and it would fit, since we also explore a ruin, which was destroyed by other servants of the nameless god. Coldstone would also have a plan b, which is:

 

Freeing the water dragon out of the temple of the river god: In a name called Drakensang, there should be a dragon to slay. Luckily it does, but the creature is more of an sidequest, as does the temple of the river god, which is build up as something at the beginning of the game, but then ... isn't. This is sad, because the atmosphere in this building is great and connecting this part of the game stronger with the mainquest, would pay of the build up better AND give us a better reason to fight a dragon, besides greed (we kill him fo the trophy and the treasure). In this case, the water dragon could his soul to the nameless god and his presence would curse the river for a long long time, so it has to be stopped (and a big dragon running amok can't be good for business).

 

So yeah, my thoughts on River of time. Smaller and better game, but you could have raised the stakes just a little bit more ;). I really think it could also helped the game to seel more units.


Edited by Harry Easter, 22 September 2017 - 05:30 AM.


#22
injurai

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@injurai

 

So it would be again less than more on the story part? I also wasn't very fond of the player as a descendant of heaven and hell. It kind of robbed the games of the idea, that humans CAN overcome the demons, just by pure will, but at a high cost. It fitted the depressing atmosphere of the games better.

 

Yup, and I'm in total agreement with you there. The star of D1/D2 was the atmosphere, the landscape, the personal conflict of humans caught between forces. It chose showing over telling. It's exposition didn't steal the air like it does in D3, instead it spurred you forward and paced you through the blighted countrysides. You had a few major touching stones each act, that all related to something that was actively going on. The hero was just that out of circumstance, not prophecy. The story made sense naturally, but then they introduced lore which they then had to justify and so much of their content was just them chasing their own tale. In D1/D2 I was fighting the definition of evil as it is known in the western world, in D3 I was being fed Blizzard's contrived marketing driven universe and they had to make sure I knew it.


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#23
majestic

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Yup, and I'm in total agreement with you there. The star of D1/D2 was the atmosphere, the landscape, the personal conflict of humans caught between forces. It chose showing over telling. It's exposition didn't steal the air like it does in D3, instead it spurred you forward and paced you through the blighted countrysides. You had a few major touching stones each act, that all related to something that was actively going on. The hero was just that out of circumstance, not prophecy. The story made sense naturally, but then they introduced lore which they then had to justify and so much of their content was just them chasing their own tale. In D1/D2 I was fighting the definition of evil as it is known in the western world, in D3 I was being fed Blizzard's contrived marketing driven universe and they had to make sure I knew it.

 

I think it's telling that D3 has an adventure mode that essentially allows the player to level through grinding alone, and it's even the better option if you want to progress on the ladder. *sigh*


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#24
algroth

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@algorth

 

So, you would have turned the story more into an investigative mystery, than a fight for power and they would never leave Kyros' services? Good read, but wouldn't that make the outcome of the story very linear? Ist that the point?

 

I would have made act 2 more investigation-driven for sure, but I would have still kept the rough story so to speak: by the end of the game you have grown to be a master of several spires and a leader of considerable power, who *could* have opposed Kyros or remained in her wing (that is up to player choice). I would also have not made the story more linear necessarily, as in, each Tier would still have faction-determined content and the way you'd be forced to carry out your investigation could change a fair bit according to the faction you allied yourself with (for example, allying yourself with the Disfavoured could mean finding more cooperation and openness from them, maybe you could trick them into admitting guilt or learn of certain things they had to deal with from the Chorus that you might not have had you been in hostile terms with them instead - viceversa for the Chorus). Mostly I guess I would have made the choices and narrative branches less faction-dependent overall, not necessarily less linear.

 

I would also have made it so that there is enough evidence to make the case the player wants to make. As in, there is no *one* mystery to solve, there is not a specific violation that started it all which you have to uncover, you just have to make the call as to who did (or if both did) from the evidence you gather. Gathering some of that evidence could well be dependent on your choices and allegiances.


Edited by algroth, 23 September 2017 - 12:24 PM.

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#25
Hulk'O'Saurus

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Nice topic here.

 

I need to reread some of the stuff as it is quite interesting.

 

I'll go with Original Sin 2.

 

Where to begin, though...

 

Fane is a non playable character that makes an appearance throughout the story to make it more cohesive, albeit a little info-dumpy here and there. He is a powerful, ancient, undead Sourceror and a lone wolf. Him being an old expert of Source--the de facto discoverer, he is troubled by the disruptions in the Source and the Veil of late. Furthermore, he has sightings of Voidwoken, which also appear conscious. To him that is an utter mystery, since the Void should erase all consciousness. Thus he travels, under the guise of a mortal, to a gathering of Sourcerors organized by the Divine Order in search of some few who have understanding as arcane as his. This is where Act I begins. What he fails to foresee is that the Order is kidnapping Sourcerors to have their Source extracted and stored away. He also does not know that Dallis--his own daughter, is in charge, and that she has come to despise Source. It was her own father, after all, that opened up the door to the Veil and made so many power hungry but ordinary people go mad from abusing it. She believes that Source needs to be done with once and for all. So she is using an ancient artefact that is sucking and storing Source away, while weaponizing the Sourcerors with curses developed by Braccus to further her agenda. What she doesn't know is that the artefact is also thinning out the Veil between the realms as a side effect. What no body knows is that such a large concentration of Source as the one from the gathering of so many Sourcerors can serve as a map and a door for the Voidwoken. And so they manage to break the Veil for a moment, making a brief appearance in larger numbers. Dallis, in seeing the opportunity, is quick to spread the false rumour that the Voidwoken are demons drawn to Sourcerors and now begins to wage campaign against them, pursuing them in the open. The origin characters are on the run. Fane has come to understand that the Voidwoken act on behest of the King, an old friend of his from his past. Not only is his consciousness alive and well, he is actively seeking to return to the realm as a King from the Void and take his place back, which Fane once helped depose him of. Furthermore Fane learns of the dreaded Source Collars the Order is using to imprison Sourcerors. He wants no attention on his back, and so, again under the guise of a mortal, manipulates a feeble-minded, but gifted Sourceror healer--Wendigo, who has suffered greatly from the recent persecutions, to seek the King's influence. The King himself needs as many agents as he can get, but his grasp is still weak as the Veil is still not quite thinned out, thus he can't be very selective. Wendigo's supressed anger causes her to gain power quickly, and under Fane's shadowy machinations she lashes out, causing a lot of destruction in a way the King never intended and the Order cannot ignore. Dallis' attention becomes fixed on the now powerful Wendigo, seeing her as a strong future asset to the Order. Despite her volatility, the King never quite breaks the bond with Wendigo, because he knows that Dallis is in possession of all that stored Source, and that she will come for Wendigo. He must wait. Fane, now left in peace more or less, decides that he must repair the Veil. For that he will need all the Source he can get. His studies and experiments lead him to believe that there must be a large concentration of free Source and that the Order is connected with it somehow. He plots to have the origin characters captured by the Order together with Wendigo and disguise himself as a guard of the Order in order to infiltrate it. He is never quite sure he can trust anyone, because he has seen how Source makes people go hungry with power or mad. Although he himself is quite the wielder of it, he does not place the same confidence in pretty much anyone else. He comes to the conclusion he needs to do this on his own. Being the master of manipulation he has become through the long ages of his existence he sets a plan in motion and indeed manages to lead the origin characters and Wendigo into a trap set by the Order, thus, again taking all attention away from him, while he poses as a lowly guard on the ship bound to Fort Joy. What he doesn't know is that Dallis is on the same ship, together with her artefact. She is quick to go to Wendigo to have her Source sucked out. The King, upon seeing the opportunity, takes the risk and together with Wendigo causes a primal reaction to occur from within Wendigo, breaking her Source Collar and injuring almost everybody else on the ship in the process. He indeed manages to shatter the artefact and absorb a part from the source, but so do the origin characters, Dallis' puppet Sourcerors, Fane, Wendigo and the rest of the captured Sourcerors on board. Chaos ensues as everything breaks loose and Voidwoken come in. The ship constitutes the short Act II. 

 

Act III will be in Fort Joy, taking place after everything I've written up so far and pretty much everybody fighting for survival against everybody and the Voidwoken, but with the added gimmick of powerful Sourcerors. And Act IV will be the Nameless Isle, where the last repository of Source is located--the one intended by the Gods for the Divine. At this point, the Gods are starved for Source and have got a lot of skin in the game. They are trying to manipulate the origin characters to act on their behalf and this constitutes one of the endings which will represent return to the Status Quo before the Source incident. The now powerful origin characters may choose to fight the Gods, which, they may come to see as nothing more than a bunch of Source-hungry individuals.

 

Astarte, mother of Source, reaches out to the origin characters, who, when defeating other Sourcerors gone powerful all of a sudden, become quite powerful themselves. Astarte begs the origin characters to purge all Source from the realm as she sees that it is put to an obnoxious use and that it is leading people to insanity, and in total contradiction to what she initially intended. That is another ending, representing balance and resonance with the Universe.

 

Having understood what is going on, Fane needs all the Source he can get to repair the Veil and that is his path, so yet another ending here, representing scientific progress and mathematical thought. Although the origin characters may choose to fight and kill him, and have his Source for themselves.

 

Wendigo is abandoned by the King, but has become very strong through all of this and just sort of unilaterally lashes out at pretty much everything. She can become an ally, and this is sort of kill all ending, representing anarchism and totalitarian individualistic freedom of the ego, avenged against those who seek to manipulate it.

 

The King has also become stronger and the Voidwoken are ever more present. His goal is to return to the realm of his old existence, but as a King from the Void, which is yet another ending, representing return to tradition, albeit stubbornly enforced at times. He reaches out to the origin characters with promises of power, glory, structure, belonging, ect., but they may well choose to fight him. 

 

There is also Dallis, who is now in control of a powerful puppet Sourceror brigade, who believes in Lucian's world, but also thinks that there can only be peace through conflict first. She wants all the Source under lock and key but has progressively become more and more totalitarian and hyper militaristic. So yet another ending, representing the belief that there is a thing like too much knowledge and that people are sometimes best left in the dark.

 

And finally--the screw all, origin characters become new Divines, stronger than the Gods and everybody else. They come to realize that all they've been taught about the Divines is nothing but a way to manipulate and turn them into instruments. They can well have all the Source for themselves and ascent to Godhood. Yet another ending, representing lack of trust in others and enforced control on fate by the individual.

 

No Braccus/Vredeman, no Malady, no Seekers, no Kraken, no Arhu, no Meistr, no Black Ring, no Lord Kemm, no Paladins, no Tomb of Lucian, no Tarquin, no Arx, no Lucian.     


Edited by Hulk'O'Saurus, 31 January 2018 - 08:59 AM.

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#26
GhostofAnakin

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Mass Effect 3.  Specifically, how they handled not only the ending, but the lead up to the ending.

 

What you did had practically no impact on how the ending battle played out.  Save the Destiny's Ascension from ME1?  Doesn't matter, because there's not some "bonus" for doing so.  If they'd incorporated where, maybe, if you saved it in ME1 the Destiny Ascension then does something heroic during the ME3 final space battle, it would feel like doing so made a difference.  That's just an example, but as a whole, the final battle seemed to not really show the impact of any of the decisions you made through the series.

 

The ending itself has been covered ad nauseum, so no point rehashing what was wrong with it.  As for what I'd do differently about it, for one, get rid of the idiotic star child, and two, as above, whatever the ending, make it dependent on what you did for the past 3 games, not just minor "red, green, blue" options.


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#27
Harry Easter

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@Hulk O'Saurus

 

I think the story of D:OS2 is good as it is (act 3 just needs more content), but I like this idea so far :). So you would turn Fane in a one-man-army?

 

 

@GhostofAnakin

 

The funny thing is, we had an ending, then suddenly the Starchild appears. Even if the build-up was clunky, at least with Shepard and Anderson dying the emotional build-up would have been enough and nobody would have grumbled (at least not as loud).


Edited by Harry Easter, 31 January 2018 - 04:35 AM.

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#28
Amentep

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It irritated me that when the Destiny Ascension is first seen, a comment is made about how big its main gun was and they spend the rest of the series studiously not having it fired in action. Has no one at Bioware heard of Chekov's gun?  Because they literally introduced a gun in the first act that they never fired.

 

Frankly, if I was rewriting Mass Effect, I'd throw out the entirety of the third game and start over.


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#29
Chilloutman

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@Hulk O'Saurus
 
I think the story of D:OS2 is good as it is (act 3 just needs more content), but I like this idea so far :). So you would turn Fane in a one-man-army?


I never played it for my reasons, but what I have seen from story - its horrible abomination :(

#30
FlintlockJazz

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Mass Effect 3.  Specifically, how they handled not only the ending, but the lead up to the ending.

 

What you did had practically no impact on how the ending battle played out.  Save the Destiny's Ascension from ME1?  Doesn't matter, because there's not some "bonus" for doing so.  If they'd incorporated where, maybe, if you saved it in ME1 the Destiny Ascension then does something heroic during the ME3 final space battle, it would feel like doing so made a difference.  That's just an example, but as a whole, the final battle seemed to not really show the impact of any of the decisions you made through the series.

 

The ending itself has been covered ad nauseum, so no point rehashing what was wrong with it.  As for what I'd do differently about it, for one, get rid of the idiotic star child, and two, as above, whatever the ending, make it dependent on what you did for the past 3 games, not just minor "red, green, blue" options.

Agree, people go on about the ending but to be blunt the entire main plotline was just ****e to be honest.  Personally, I think the two major problems are:

 

1. I may be controversial with the first one, that they made the Reapers pretty much invincible except to this one special ray gun

2. They yet again stuck to the "no one believes Shepard and so are taken unawares!"  Not only did this get tiresome, but it made the entire galaxy stupid and in need of reaping

 

Now, for those who are interested (all 1 or 2 of you), I will go into the reasons why, while those who are not can shoo away to the next post.

 

1.  In ME1 the reapers have this plan: they encourage organic life to use the relays and set up shop on the Citadel, then when they come through they immediately nom the citadel (destroying the current major governments that lead from there and get all the information on the state of the galaxy) and shut down all the relays, preventing travel between worlds, isolating them right when they need to unite to fight off the reapers.  Effectively preventing the galaxy from being able to unite against them.  This, to me, implied that a united galaxy could be a threat to them: that while each reaper is immensely powerful they are not invincible and knew it, and wanted to minimise the risk to themselves (each one is a nation after all, a loss of even one must be a catastrophe for them, virtual genocide).  A galaxy working together could at least hold them off long enough to work out new methods and technologies to deal with them, for instance the Thanix cannon was I thought going to be Chekov's gun to show that the Citadel races were developing weapons around dealing with them secretly, which I will go into more in point 2.  Sure, it could just have been to make it easier for them, after all even immortal beings would want to make things easier for themselves, but then that leads to why Sovereign was so desperate to get to the Citadel?  We know now that the reapers were able to leave Dark Space without it, and that he actually jumped the gun effectively by alerting the galaxy to their existence, if they were so powerful why not just wait for his homeboys to show up first anyway?  I mean, they could have had a backup relay (and why wouldn't they if they couldn't get out otherwise?).   Getting the races to work together would then have been more meaningful and more 'galactic' than just saving earth.

 

2.  When I saw the Council denying the reapers again I hoped it was just a bluff on their behalf.  A bluff or a clue that they had been indoctrinated by the citadel and that the individual nations were just leaving the citadel to it while they secretly prepared.  But no.  Typical Bioware dumped story and logic in favour of set pieces yet again.  "Oh but we gotsa have the player be the underdog because it's cool!"  It was tiresome to go through it again in ME2, and made the galaxy stupid and in need of reaping.  Had they gone with the nations preparing secretly (and not wanting the Cerberus-affiliated Shepard to know) then it would have helped make more sense as to why they would be able to take on the reapers AND give the previous two games more relevance since Shepard uncovering it all then had given them time to prepare.  But no.  Not Bioware.

 

3.  An extra though occurs to me: if they were going to kill and resurrect Shepard then they could have at least gone into it somewhat.  Had the question of your humanity been gone into, whether you even were the real Shepard or if they had died at the start of ME2, then it could have been a bit more high brow.  Actually, scrap that, this is Bioware, they would not have been able to do it justice.  I mean, they don't even get what a transhuman is right in the game (seriously, there is a conversation with EDI about it and they get it COMPLETELY WRONG, and yes you are a transhuman in the game in fact most of the humans in the game are varying degrees of transhuman but of course they had to go with the human-centric angle).


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#31
FlintlockJazz

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It irritated me that when the Destiny Ascension is first seen, a comment is made about how big its main gun was and they spend the rest of the series studiously not having it fired in action. Has no one at Bioware heard of Chekov's gun?  Because they literally introduced a gun in the first act that they never fired.

 

Frankly, if I was rewriting Mass Effect, I'd throw out the entirety of the third game and start over.

Actually yeah, linking in with my previous post, they should have had it revealed they had secretly upgraded it with thanix cannon tech, making it powerful enough to turn the tide of a particular battle or something by blowing up reaper ships.



#32
Pidesco

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Dragon Age: Origins

 

Its plot is a big ball of suck and hopeless genericness.

 

I would do an obvious change to the game's beginning that would turn everything on its head and would make DA:O have at least one positive aspect. I'd have the idiot king win that first battle instead of getting killed. The win would come through sheer luck and some help from Loghain. Being the completely unlikeable but well meaning idiot that the king is he would take it as a sign of being awesome and would continue espousing ridiculous policies and strategies, while ignoring his advisors, and dismissing the Blight.

 

You'd have to go underground to surreptitiously gather forces to fight the Blight, while the King prances around the whole time all jackassy and full of himself.

 

At the end of the game you would be able to choose between siding the Grey Wardens or siding with Loghain. Siding with the good guys would mean ending up under the king cleaning up his messes for all time. It would be the worse ending in terms of outcome for the people of Ferelden because of the idiot king being in control. Siding with the bad guys would get you the throne or at least real power. You would be able to use that power to make life much better for the people of Ferelden.

 

This would help DA:O suck less. You would still have to contend with crappy, repetitive combat, though.


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#33
Hulk'O'Saurus

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@Hulk O'Saurus

 

I think the story of D:OS2 is good as it is (act 3 just needs more content), but I like this idea so far :). So you would turn Fane in a one-man-army?

 

 

There, I've edited my post and made it a bit more coherent. You might wanna give it another read. 

 

OS2 suffers from bringing in too many story lines, being non-canon to the first OS, not to mention the rest of the Divinity series, and altogether stretching itself too thin on too wide a toast. Some of the characters: like Braccus, like Malady and Lucian, like Dallis, serve as nothing more than a snotty handkerchiefs used in a moment of an apparent plot hole. It speaks nothing of their motivations, beliefs, progression arcs, not to mention that they were somebody else entirely in a previous game of the same series. Best left without. Or...what? Super duper inter-dimensional spell? Naah. 

 

Furthermore, the Void was something different in the first game. There was Astarte, too, whose absence in OS2 is a bummer, imho. She is the established and de facto mother of all Source. Who, if anybody else, should be involved in a crisis of Source?

 

Fane is pathetically wimpy. He is established from the beginning as an ancient undead who has untold arcane knowledge. He acts like the perfect lone wolf up until the moment he asks you to join your party. He sucked the Source dry out of the adventurer who woke him up, but we don't see any of that in the game. Yet he is an integral part to the plot and lore, and so I think he needs to be a sort of a Gandalf figure, somebody who is very wise, very powerful and having an urgent agenda to fulfil.

 

Dallis, out of all, is one of the weakest antagonistic forces I've seen in a while. Quite bland.

 

What I've done is just reduce the characters that need elaboration on, compress the plot, and allow for more endings. There isn't the need for large acts, as well. Four times the size of Fort Joy is more than enough. 


Edited by Hulk'O'Saurus, 31 January 2018 - 02:35 PM.

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#34
Mr. Magniloquent

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There are so many things I'm in agreement with in this thread. It's always nice to be in good company. I'll try and focus on things that haven't been written about.

 

NWN 2 OC - Eliminate everything. Instead have something akin to Ammon Jerro's story, where the player walks around the plans and is put in positions to compromise themselves in pursuit of the original Blade of Gith.



#35
GhostofAnakin

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@GhostofAnakin

 

The funny thing is, we had an ending, then suddenly the Starchild appears. Even if the build-up was clunky, at least with Shepard and Anderson dying the emotional build-up would have been enough and nobody would have grumbled (at least not as loud).

 

In a way, sure.  I still think the ending should have reflected what you did, even in that case.  If you made a bunch of "bad" decisions or chose certain decisions where sacrifice was the key note, then that ending with Anderson fits.  But there should have been also "happy" endings if you made certain decisions that actually should have lead to more success (ie. having a powerful warship like the Destiny Ascension means more chance of survival since more Reapers had to deal with it rather than being available to wipe out your ground forces, etc.).

 

The starchild was just the icing on the cake for stupidity though.



#36
HoonDing

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have Cloud killed instead of aerith


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#37
marelooke

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Mass Effect 3.  Specifically, how they handled not only the ending, but the lead up to the ending.
 
What you did had practically no impact on how the ending battle played out.  Save the Destiny's Ascension from ME1?  Doesn't matter, because there's not some "bonus" for doing so.  If they'd incorporated where, maybe, if you saved it in ME1 the Destiny Ascension then does something heroic during the ME3 final space battle, it would feel like doing so made a difference.  That's just an example, but as a whole, the final battle seemed to not really show the impact of any of the decisions you made through the series.
 
The ending itself has been covered ad nauseum, so no point rehashing what was wrong with it.  As for what I'd do differently about it, for one, get rid of the idiotic star child, and two, as above, whatever the ending, make it dependent on what you did for the past 3 games, not just minor "red, green, blue" options.

 
Since you are taking care of the ending, I'll take the rest of the game's "story". I'll just try to make it "better" instead of fixing it, since the latter would require scrapping the entire storyline starting with ME2 (which ultimately was a mostly pointless filler game that ended up leaving the last game with lack of time to properly expand on everything it should/could have).
 

  •  actually visit Palaven and learn more about the Turian. Pretty sure most people would have liked to see more of the Turian homeworld than just a moon...
  • I'd flesh out the Asari plot mission more and probably the Asari in general, show some more of their planet, go a bit deeper into their belief system and the "shocking revelation" that their goddess was a Prothean and what that would mean for their culture.
  • I'd get rid of Javik. I'm not sure why they needed to drag in a Prothean to begin with. To expand on their culture? Could have deepened out Liara a bit more there (instead of turning her into that information broker, role better suited to Miranda, or TIM if you really need to have one). To provide more background on the Asari/Prothean thing? Then why is he a DLC character? To satisfy curiosity as to what they looked like? What about Quarians then? That'd at least have made sense since the Quarian-Geth war was recent (any old Asari would know what a Quarian looks like, as mentioned by Liara's mom in ME2). Some mysteries are better left and I think the Prothean one was one of those.
  • fix the mess that was the entire Quarian-Geth thing. Clearly more was planned there instead of the two-dimensional pile of clich├ęs we got, what with all the hubbub about the Horizon sun in ME2. Maybe the original idea was that they'd just wipe (out) the Geth somehow and they back-pedalled on that (especially after introducing Legion) but I think I'd find that preferable over the current sutuation.
  • get rid of the TIM indoctrination plot, keep them as xenophobes helping Shepard from a purely human POV by providing information (see information broker point above), but never entirely trustworthy (since they don't give a damn about those filthy aliens) so you'd always have to be careful with the information you get from them. Could lead to some interesting situations I'd imagine.
  • show some more of Tuchanka, while this mission was pretty great those ruins really got me intrigued about Krogan culture before they turned their planet into a wasteland
  • get rid of the EDI body thing, seriously

Honestly the EDI/Geth stuff feels like they just hopped onto the "What is life?"-question bandwagon. Sorry folks, but SOMA, among others, did it way better.


Edited by marelooke, 01 February 2018 - 01:54 AM.

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#38
Harry Easter

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@Chilloutman

 

Naaah, it's pretty good! You just have to take your time, because they try to deepen every aspect of it. But it can be a bit slow.

 

 

@HulkO'Saurus

 

Haha, I disagree on most of it, but I can see where you're coming from :D. I think Dallis is one of the better antagonist in the series and they spread enough crumps to fit everything together. The NPC's are part of the bigger story, which is a tale about power and corruption and intentions. Some characters may not have an arc, but they fit the theme.

 

As for retcons: I can't think of bigger ones, except the elves, but even that you can explain. The lore of the Divinity-Universe was always kind of vague and people in it tend to lie or tell it with their own cultural biases, so it worked out for me, especially since they used other stables of the series (parallell-worlds, talking objects and animals, everybody can do the magic, etc). But still no bad points, though :).

 

 

@HoonDing

Maybe just a joke, but I actually like this idea. Cloud could have turned into Sepiroth, which would turn the motivation of the group upside down :grin: .


Edited by Harry Easter, 01 February 2018 - 02:40 AM.


#39
Harry Easter

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Since you are taking care of the ending, I'll take the rest of the game's "story". I'll just try to make it "better" instead of fixing it, since the latter would require scrapping the entire storyline starting with ME2 [...].
 

[...]

 

Then let me do it, since I have a few ideas :D! Mostly rewriting a few characters.

 

Mass Effect:

 

1) Shut the Reapers up: The Reapers worked best, when they were this silent force of nature, who  just destroyed everything in their way, so this should be a no-brainer. They are basically god /titans in this universe, so they don't communicating with us. This makes them way scarier in my book.

 

2) Make Reaper-cults a thing: There was this one scene, where the geth prayed to the Reapers. I thought it was a strong image and it could have be a good device to unite all the antagonists of the series. They want to be assimilated and "perfected" by their machine gods, so they sabotage the citadel to make the victory for the Reapers easier and fastening the ascension od the other races.

 

3) Turn Liaras mother in the main-antagonist of part 1: Saren never worked for me. He basically was just a hired though, more of a doer than a planer. Liaras mother as a patriarch made much more sense for me. She had the ressources, the experience and she was a religious leader, so it would also fit with my thoughts on section 2. There's also more of a emotional connection to her and genetic perfection is part of the doctrine of her race, so I'm suprised nobody ever used this and turned them into the antagonists right from the beginning. Saren could have been her right hand, a role way more fitting for him.

 

4) Let Miranda take over Ceberus: Miranda is the perfect foil to Shepard. While we play a hypercompetent hard worker, she was created to be perfect. She's smart, ruthless, knows a bit about biotics and SHOULD be a charismatic leader. She also has no problems making her hands dirty and with a perfection-complex she should have a good reason for merging with the Reapers. She could kill TIM at the end of ME2 and get in contact with the other Reapercults (see 2), so everybody would be as perfect as she (she also would be quite crazy, of course). 

 

5) Don't let Shepard die at the beginning of part 2: Let them die at the end and then get cloned two years later by the Reaper. It would have used the two year gap of 2 better and gave us more conflict potential, because Shepard wasn't there when the Reaper invaded earth and brought the citadell down to their knees. It would also make Shepards situation more ambigous, since we don't know if it wasn't to convenient, that Shepard just escaped from the cludges of the Reaper ... I also like the idea of fighting a whole army of Super Shepards, who command the Husks :D. 


Edited by Harry Easter, 02 February 2018 - 10:15 AM.

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#40
Chilloutman

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Naaah, it's pretty good! You just have to take your time, because they try to deepen every aspect of it. But it can be a bit slow.




really? from what I seen it seems so much more ... cartoonish (and I don't mean aestetics) while old ones feels more... i don't know, gothic?





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