Your biggest "Fuck you" to the audience

Notshauna

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I don't know I kind of like the idea of Cerberus as an ally in Mass Effect 2, but probably not as they are shown in the game. I know that Cerberus performed numerous poorly planned or implemented experiments during Mass Effect 1, but I've always felt that Cerberus is far more hands off than the Alliance, and the adversarial members of Cerberus are working to a goal but The Illusive Man (TIM) never specifies how to get that done and simply funds them as long as they get results. Think of an incredibly unclear and rarely followed power hierarchy combined with all of the cloak and dagger secrecy common in spy flicks, I honestly believe in Mass Effect 2 you should of had no non-textual contact with TIM with Miranda being a liaison and you should also have conflicts with other Cerberus cells to give the feeling that Cerberus is really an insane spy agency that's gone rogue. Similarly I feel that in Mass Effect 3 Cerberus was very, directed, which I feel is too close to how the Alliance does things, making them feel like a evil version of the Alliance.
 

Mikeyfell

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Sutter Cane said:
Actually Shepard continuing to work for cerberus makes less sense than him leaving the group given that we know Cerberus is the type of group that seriously looks into the possibility of using thorian creepers as biological weapons, and has no issue with performing torturous experiments on people on multiple occasions, or in setting a thresher maw on a unit of alliance soldiers basically for shits and giggles. Not even renegade shepard is cold enough to support stuff like that.
If you played Paragon Shepard that's a totally valid option,
but some of us played a more pragmatic Shepard, and some of us played Shepard as a strait up asshole.

Frankly by the end of ME2 even my Paragon Shepard (Who was a Sole Survivor)Was like "The Alliance needs get up off their lazy ass and do something, maybe Cerberus is the better option"

The only reason you think fighting Cerberus is the only valid option is because of how Cerberus was presented in ME3.
and they only made them act that way so you would think fighting was the only way to go. the plot in ME3 is a circle jerk of contrivance.
They could have just as easily written Cerberus the same way they did in ME2, an organization unfettered by red tape or morality. instead of mustache twirling villains.



The Cerberus Railroading was pretty bad, but at the time it felt like a means to an end.
I mean you spend the whole first game with the alliance, you spend the whole second game with Cerberus.
I thought (And I'm sure at least a couple other people thought) that was setting up a choice for the third game of whether you side with Cerberus or the alliance to take down the reapers. That was not the case.
see above. Actively siding with Cerberus makes little to no sense given the type of group they are shown to be.
They saved your life and all of humanity while the alliance did nothing. maybe that means something to some people.
maybe that doesn't justify their past actions in your eyes, and that is a reasonable position to take. but that isn't the case for everyone. and Bioware should have at least tried to accommodate them given that those people poured as much time and passion into the first two games as you did.


My problem with this is that's just what they told you.
Bioware made up The Crucible, and them made up that there's no way to beat the reapers conventionally.
They introduced a new contrivance to justify the first one.

They killed Sovereign. they know for a fact that enough guns can kill a Reaper
So throwing all their resources into the Crucible doesn't actually make sense. (I mean it could have been presented as a valid option, do you throw all your resources into the Hail Mary option or throw all your resources into the 1% certainty that a big enough fleet can take down the reapers)
See I actually agree that the crucible is a complete ass pull at the start of ME3, but i feel it was an inevitable one. It took the combined council and alliance fleets to take down a single reaper at the end of the first mass effect game. If the third game had you take on an army of full on reapers in a straight up fight and win, that would have been a much bigger story issue that the crucible was.
No... it wouldn't have.
finding out the only way to destroy the reapers was by peeing on them would have been less of an issue than the Crucible was.

The way the crucible was introduced, every line of exposition surrounding it, the starkid, everything about the Crucible was a plot black-hole that sucked every bit of anything out of the story. And if you didn't feel that way I honestly envy you.




She talks about how bad of an idea it was in ME3, maybe it's hindsight. But I still don't remember her saying she voted in favor of war.
Not sure which person you're talking about here. If you're talking about raan, I was saying that she probably couldn't make up her mind. Tali does have a quote right after you encounter her again where shepard asks her why she went along with the war effort even if she was personally against it, and her reply is what I was referring to in my previous post
I forgot that line happened (It has been 2 years since I played the game)
but Raan going along with the war even though she's against it is still contrived and could have been avoided by replacing "Admiral Tali" which never should have happened with a new admiral who was in favor of war


See this just reslly doesn't bother me, especially since the missions that are focused around former companions for the most part flow organically from the plot anyway, and so shepard would likely be doing those same things whether said companion was alive or not.
This is the base level problem I was talking about.
The game was written from scratch in such a way that it didn't matter whether or not any given character was alive. That right there is the problem.
ME 3 could have been full of personal dramatic arcs that were intertwined with character dynamics, but it was full of "Point A to point B" objective based missions that could have been completed by an automatic button pushing machine.

You didn't have to save Samara's Kid because you cared about Samara, you had to save her because she might turn into a banshee.





I don't think that I really have an argument against that, other than that the concept of breaking down things into numbers to represent the abstract concept of "war readiness" just never bothered me personally, but i can totally see how that could rub people the wrong way.

I also disagree with your comments about people being written out of character. Sure Jack is different than she was in ME2 but it seemed clear to me that this was primarily a result of being able to finally start to put her past behind her, and how she's finally starting to forge her own identity instead of letting her past tragedies do it for her. Also i'm just completely clueless as to where you're coming from with your Garrus comments. He still seems like the same guy from ME 2 to me. I mean in either case it's not like the bullshit they pulled in Saints Row The Third where they took a likable and interesting character from the previous game in Shaundi and turned her into generic angry woman #1276 while also completely changing her character design for no discernible reason.
I noticed Garrus spouting off a whole bunch of one liners when you tried to talk to him on the ship.
"I want to paint walls with reaper blood" is one I remember.

He was set up in the first two games.
he was a cop who got sick of red tape so he wanted to play outside the law for once
then he was a vigilante who lost his whole team because of a betrayal so he wanted revenge
and in the third game he's king bad ass so he wants to stand around talking like a tool.

You get some conversations with him where he's completely on your side no matter what
if you tell him you sabotaged the genophage cure he's like "That's okay"
and you can tell him you gutshot Ashley and left her to die and he's like "That's okay"
he was boring, and he sounded bored. even in his citadel bottle shooting scene. (Could have been the actor)

If you romanced him he basically turned into a character from a bad romance novel (I've never even read a romance novel)
where the underlining theme of all his scenes become "Shepard, I'd be lost without you!"
Which is a complete departure from his awkward shyness from the second game.

All the characters seemed deeper in the first 2 games.

I could go so in depth in any of the characters in ME3. and post a wall of text that's 10 pages long.
I've never been more insulted than Mass Effect 3. and I don't think I will ever be again, because it broke me and I will never love anything as much as the Mass Effect series. It broke me with bad writing, and disrespect for my choices, limiting my ability to roll play. destroying the characters I have grown attached to. the controls.
Just everything. and that's the only way I can describe it. if I stop and think about anything that happened in ME3 I my head just aches from sheer incompetence that must have gone into the design or writing of the game
 

New Frontiersman

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Hochmeister said:
Pretty much every single patch to Europa Universalis 4 has been a giant middle finger to everyone playing the game.
Hm? How so? I'm somewhat interested in the game, but I haven't really played it all that much I don't keep up with how the patches change it, so I'm curious how they mess things up.
 

Souplex

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Chemical Alia said:
I'm still not over the last ten minutes of the last episode of L O S T.
I actually liked the ending. Yes it was dumb, but...
We got to see Jack die.
From the first moment I saw him that's all I wanted.
 

TheNewGuy

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Parasitic_Chick said:
The ENTIRE 7th season of Doctor Who. Never have I been so appalled by a tv show then when I watched that pathetic excuse of a season. I still think Russel T. Davies and Matt Smith should go and die a slow horrible death.
Wishing death on a person because you didn't like the direction the show went when they were on it? That's pretty extreme isn't it?
 

white_wolf

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AC3 ending, BWs handling of the complaints over their endings siting them as whiners and trying to make it seem like the customers were morons, Xbones debacle over their release for the console with their entire demur of you will take our xbox and you will like it approch, Lost ending, the new BSG original earth ending
 

Relish in Chaos

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Panty & Stocking with Garterbelt. It?s a fairly amusing ?Fuck you?, though.

The Fullmetal Alchemist anime?s ending, movie included. I still felt like I?d been robbed of the closure that was better provided in the manga, not to mention an off-screen death from one of the most beloved characters in the series. I mean, in general, I didn?t like the 2003 anime, but it just went from bad to worse with the movie.

Metroid: Other M. I haven?t played it, but I?ve seen some of the choice scenes people hate, and yeah?I haven?t met anyone who likes what the fuck they did to Samus Aran in that game.

Seth in Street Fighter IV. One of the worst character designs I?ve ever seen in a fighting game (some weird mish-mash of Street Fighter III?s Gill and Watchmen?s Dr. Manhattan), a cheap AI, and the gimmick of using copied techniques from other characters apparently inspired by a ?Sheng Long? rumour back in the days. It's a shame, because he's the only final boss in the series that's conceptually shit.

generals3 said:
Scooby Doo cartoon, everytime i hoped the ghost/monster would be real, but nooooo...
It was, in one of the What's New, Scooby-Doo episodes. I think it was the one with that coral monster.
 

Sigma Castell

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I think the death of the Viper is supposed to be about the futility of seeking revenge and how blood feuds between families ruin lives generations later
 

Dominic Bounds

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For me, it'd have to be Bioshock Infinite: Burial At Sea Episode 2. All of it.

In the first few minutes of the game, Elizabeth gets killed by a threat she should have seen coming, comes back to life, but - thanks to a quirk of multidimensional physics that haven't been mentioned at all before - loses the powers she spent the entire main game acquiring without the player getting even the slightest hint of what it'd be like to possess them. For good measure, that sense of solemn, otherworldly confidence she showed at the end of Infinite, the pinnacle of her character development? Gone. Back to "scared girl" mode, with a dash of "suicidal depression."

Then they go after every other character: Atlas somehow ends up getting lumped in with all the other Fontaine thugs trapped in the sunken department store, rendering the whole disguise pointless and making Fontaine look like an idiot; Songbird is rewritten as some Androcles Lion true companion of Elizabeth; Daisy Fitzroy is reduced to a pawn of the Luteces for reasons that make me roll my eyes; and on top of interfering in a way that doesn't really fit their characterization, the Luteces decide to level down into mortals. Why? Because Robert wants to have kids. That's it. He's never shown an interest in starting a family, and he was more than happy enough to threaten Rosalind with ending their relationship if she didn't try to rescue Elizabeth. But somehow that's the reason. What the hell? Did someone get the Luteces mixed up with the Lannisters? Oh, and this little bit's explained in a single audio diary, making this the very last we hear of the once-entertaining Lutece twins. Grrr.

And then Elizabeth gets killed off. For no good reason. To save a character we know almost nothing about and never see again. But it's also to ensure that Jack goes through Bioshock 1 and saves the Little Sisters... even though Jack is fully capable of killing the Little Sisters, as my current playthrough of Bioshock 1 conclusively proves.

Last, but certainly not least, Columbia is still around. After all the talk about how Comstock and Columbia had to be erased from the multiverse by sacrificing Booker, we find that it's still around - and around in a lot of different universes by the looks of things. It's still planning to "Drown In Flames The Mountains Of Man," likely still planning to travel to other dimensions and continue destroying once they're finished in their home universe, and definitely still having Anna kidnapped and turned into Elizabeth for this very purpose.

Booker and Elizabeth died for nothing.

I know that's probably not what the designers intended, but given that Elizabeth doesn't seem especially surprised that Columbia's still there, that's just the conclusion I find myself drawn to - not helped by the fact that baby Anna and alive!Booker are never seen again. And I'm sorry if I missed something in the game that explains everything, but the whole DLC just feels horrendously lazy, exploitative, and mean-spirited. Suffice to say, the only way I can live with the series from now on is to take advantage of the fact that as a DLC not actually produced by EA games, it's non-essential, and thus shunt the goddawful thing out of my memories and out of my headcanon.
 

ISearchForTraps

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Commander_PonyShep said:
For me, it's the fight between Twilight and Tirek in MLP's S4 finale. It reduces Twilight's friends to complete states of uselessness and powerlessness on the level of Goku's friends, while making Twilight an overpowered monstrosity on the level of Goku himself.

Hell, as I keep beating into everyone's heads, the fight might as well extend to all of Season Five up until its own finale, and end with Twilight's friends brutally murdered, all of ponykind going extinct, and Equestria blown up, all because of the genocidal Tirek. After all, if you're going to rip-off certain aspects of DBZ, why not go all the way?
It's not like that doesn't happen in all the Season finales and openers where the stakes are high.

Season 2 Opener: Everyone gets brainwashed by Discord and it's Twilight alone who can fix them, because she can.
Season 2 Finale: Everyone is useless and they have a pointless fight against Changelings. Twilight then gets shoved aside so Shining Armor and Cadence can save the day.
Season 3 Opener: Twilight and Spike do all the legwork to get the Crystal Heart, then Cadence swoops in (with Shining Armor's help), grabs the Crystal Heart and nukes King Sombra
Season 3 Finale: Twilight screws up her friends lives and fixes them all by herself, because they can't fix their own destinies.

Season 4 got better, and besides ANYONE besides Twilight was useless in the finale until the big reveal of the box's contents. So it's nothing new to the show.
 

RealRT

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Fallout 3's ending
"And this is where you die"
"Wait! I've got a wasteland to explore"
"Well sucks to be you then, because you have to die"
"Why? Can't I send the radiation proof ghoul or supermutant companion there?"
"Nope."
"Why?"
"BECAUSE I FUCKING SAID SO. You can only send in this chick and then you'll die anyway"
"What the fuck?"
"Oh, and if you want to continue exploring the post apocalyptic wasteland, you can get the new ending... for 9.99!"
"Fuck you"
Alt+F4.

Now I like Fallout 3, but that was fucking cheap.

Also, Mass Effect 3's original ending.
 

MCerberus

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I'd like to point out that UT3 was such a letdown that Epic eventually apologized for it.


And then there's C&C. The series ended. When, despite it being a direct contradiction to what he was about, all his actions previous, and the entire tone of the series, THE MAIN ANTAGONIST TURNED INTO SPACE JESUS

Anyone remember the point in Toonami's existence where TOM got a face, and they started being nothing but Naruto?

Finally, let's go with one from history. People got mail-in death threat mad when Sherlock Holmes was killed off. It got so bad, he was retconned alive.
 

alxtronic

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Grenge Di Origin said:
Aang's spirit showing up with zero explanation to just energybend Korra's bending back,
conveniently having Korra learning absolutely nothing from her experiences in Book 1, reflected by her complete and utter lack of humility and sense of consequence in Book 2.
Korra's struggle with airbending in the first book could've also been an intriguing discussion of her personality and why she had this specific mental block. Instead, it's just set up as a reason for Korra to grow frustrated with Tenzin. Then she suddenly learns how to airbend at just the right time to save the day, for no reason at all. And there's no explanation for why it suddenly came to her! It just did, she can do it now, and fuck you if you want to know why.

Don't even get me started about season 2. The entire catalyst for the catastrophes that happen, Korra getting sweet-talked by the Hitler-esque caricature of a bad guy that every viewer saw through the second he started speaking (So why didn't any of the characters on the show?), made absolutely no sense except as a silly plot contrivance.
 

IamLEAM1983

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Aug 22, 2011
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MysticSlayer said:
The DmC: Devil May Cry mop hair. You can't really get a more obvious "fuck you" than that. If it hadn't been for the controversy surrounding the new Dante and the way Ninja Theory responded, it might have been a humorous reference to the older games. But given the context surrounding the scene, I really can't help but feel that Ninja tried, and failed, to get a rather childish last laugh.
That's one take on it... I personally interpreted it as a pretty clumsy bit of foreshadowing, seeing as he ends the game with his hair pretty much entirely bleached white. It'd be the game suggesting that if DmC ever gets its own sequels, New Dante would let his hair grow 'cause the look suddenly fits, ergo No More Disappointed Classic DMC Look Fans.

Considering, I wasn't too mad with that particular gag, but it really did strike me as clumsy. Where I saw foreshadowing, it's not right or properly directed if others were allowed to see the devs poking fun at them.

On the whole, though, DmC was pretty digestible to me. It was fairly juvenile, but going from Gothic Camp to Kiddie Aggrotech just feels like Ninja Theory swapped that juvenile aspect around. It's less in the characters themselves, and more present in their reactions and motivations. There's a leap between Old Dante and New Dante, yeah, but not that much of a huge change that I'd be able to qualitatively say that one is better than another as a character.

Then again, I never played the old DMC games for the story or characters. I played 'em for the punishingly hard combo engine. Carpal Tunnel Syndrome, how I adore thee.
 

katsabas

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Each and every choice I made in Mass Effect 2 came back to either help me or haunt me in the next one. Everyone except the big one, deciding whether to keep or destroy the Collector Base. It just bothered me so much. Everything about paragons was explained in a single phrase:

I will not let fear compromise who I am

This has sort of a become a creed to me since I agreed not only with what Shepard said but with his whole approach. I knew that I would be fighting Cerberus when ME 3 comes out cause I pissed off The Illusive Man but wouldn't you know it, if you decide to keep the base, you still fight them. It renders the entire one-phrase summary of the character and his biggest moment pointless, since the consequences are the same.