Mass Effect New Mass Effect confirmed

[mediocrepoet]

ME2 was more grounded, showing the underside of the galaxy, because most of it was set in the Terminus Systems, but it didn't portray it as well as it should've. It's far too focused on making things seem *cool* (Aria), murder, sex and wannabe "dark" concepts.

I don't know. Human experiments, exploitation, the seductive Ardat-Yakshi space vampires , xenophobia, the Illusive man and Martin Sheen carrying his character. BioWare hit the ground running with a darker world with shades of grey characters before the GoT made it mainstream.

The GoT tv show is not what made dark and edgy stuff mainstream and "cool". It was a thing for years before ME2. It's weirdly selective memory you have going there.

Even if you're only looking at Bioware games, you had "This is the New Shit" well before ME2 was a thing.

 

[Camel]

No, no, just fucking no.

All the new tracks by that Requiem for a Dream guy (IIRC it was his work, and him much hyped before release as a replacement for Jack Wall) are bland half-assed unmemorable movie shit, ridiculous decline over even ME2 (which had a few memorable bangers on par with the best ME1 themes). Seriously the whole thing sounds phoned-in.

 

[Hellraiser]

Even if you're only looking at Bioware games, you had "This is the New Shit" well before ME2 was a thing.

There's just 4 months between DA:O and ME2 released though

Although IIRC DA:O was aping the dark and edgier stuff from whatever the then more recent fantasy stuff Bioware writers were reading was.

And in ME2's case they claimed IIRC that the first one was inspired more by the 80s SF movies and thus shinier, while ME2 was darker because it was more inspired by 90s works (also why the soundtrack is less synthy) or something along those lines.

 

[BosanskiSeljak]

Human experiments

That's in ME1. By Cerberus as well, as a secreative blackops group gone rogue which barely anyone knows about vs. The ME2 Cerberus featuring Redbull athletes and planes with the logo stamped all over them. Garrus' loyalty mission also touched on this topic (the underground of the Citadel) in a much more grounded & realistic way

exploitation

Vibrant capitalist Asari world and....what else? The people on Omega? Those exploited by the over the top gang leaders/Aria?

seductive Ardat-Yakshi space vampires

We saw one (and were told there's only 3 in existence, without any evidence or circling back giving teasers there are more). And the one we saw was some alt-too cool for school-cringe tumblerina in a short "loyalty mission".

xenophobia

This is ME1, to an even greater extent because of how the work revolves around humanity's place in the universe, not TIMs rantings.

the Illusive man and Martin Sheen carrying his character

A popular *cool* face to make the player think it's omg awesome. Martin Sheen did do an amazing job acting though.

Overall, all those "dark themes" were actually better presented, more intertwined in the world/story & touched on in a much more grounded manner in ME1. Those that weren't are just random one off *cool factor* to add to random, one off side missions.

 

[HumanMaleFighter]

No, no, just fucking no.

All the new tracks by that Requiem for a Dream guy (IIRC it was his work, and him much hyped before release as a replacement for Jack Wall) are bland half-assed unmemorable movie shit, ridiculous decline over even ME2 (which had a few memorable bangers on par with the best ME1 themes). Seriously the whole thing sounds phoned-in.

Some videos

Yo those are exactly what's wrong with the ME3 soundtrack!

Compare to these classics:





On the one hand, the generic orchestral/piano slop of ME2 and ME3. Your first one sounds like a good fit for a WWII epic, and your second one could go well with a 19th century period romance piece. It's bland, it's trite, it's shit.

On the other hand, ME1's soundtrack -- so unusual and unique that it doesn't even have a genre. (Seriously, are there even people who make more music like that Noveria track? Most "ambient" stuff like CryoChamber, Cyclic Law, etc., is too sparse -- and most non-ambient electronic music is too beat-focused.)

 

[BosanskiSeljak]

No, no, just fucking no.

All the new tracks by that Requiem for a Dream guy (IIRC it was his work, and him much hyped before release as a replacement for Jack Wall) are bland half-assed unmemorable movie shit, ridiculous decline over even ME2 (which had a few memorable bangers on par with the best ME1 themes). Seriously the whole thing sounds phoned-in.

It sounds like movie music put into a video game, and I never vibe with thst. Either way there's no point in this discussion, because the best soundtrack is obviously:

https://youtu.be/NcrDWAuyqtc?si=zcfuwhpqKfDD6zGt

(I love how I can't use any formatting options on mobile, Third world poverty site)

 

[mediocrepoet]

Even if you're only looking at Bioware games, you had "This is the New Shit" well before ME2 was a thing.

There's just 4 months between DA:O and ME2 released though

Although IIRC DA:O was aping the dark and edgier stuff from whatever then more recent fantasy Bioware writers were reading.

And in ME2's case they claimed IIRC that the first one was inspired more by the 80s SF movies and thus shinier, while ME2 was darker because it was more inspired by 90s works (also why the soundtrack is less synthy) or something along those lines.

Fair enough about the dates of those specific games, but yes, my point was more about the reaction to how lame it was and that it felt tired and try hard by then because it was just trend chasing to try and attract an audience.

You can only chase a trend and have something feel derivative if there's already an existing pattern.

 

[Camel]

That's in ME1. By Cerberus as well, as a secreative blackops group gone rogue which barely anyone knows about vs. The ME2 Cerberus featuring Redbull athletes and planes with the logo stamped all over them. Garrus' loyalty mission also touched on this topic (the underground of the Citadel) in a much more grounded & realistic way

Jack was experimented upon by a "rogue" Cerberus cell according to TIM.

Vibrant capitalist Asari world and....what else? The people on Omega? Those exploited by the over the top gang leaders/Aria?

Mostly Omega. I'm afraid I'll have to buy the ME3 trilogy to refresh my memory thanks to you and to have an ammunition to argue with you about ME. I hate you.

We saw one (and were told there's only 3 in existence, without any evidence or circling back giving teasers there are more). And the one we saw was some alt-too cool for school-cringe tumblerina in a short "loyalty mission".

Morinth is edgy and she provides an unorthodox game over screen.

This is ME1, to an even greater extent because of how the work revolves around humanity's place in the universe, not TIMs rantings.

I hated human-centric plot of ME2. It's so much better to enjoy Babylon 5-like settings where the Mankind is only middle of the pack like in ME1. ME2-3 made the Mankind special/the most important and it grates on me.

A popular *cool* face to make the player think it's omg awesome. Martin Sheen did do an amazing job acting though.

BioWare chose voice actors wisely. Martin Sheen elevated his character greatly even with dumb remarks written by BioWare writers.

Overall, all those "dark themes" were actually better presented, more intertwined in the world/story & touched on in a much more grounded manner in ME1. Those that weren't are just random one off *cool factor* to add to random, one off side missions.

Really? Where? Don't bother with Noveria since L'Etoile wrote it and it's the best ME1 mission.

 

[Hellraiser]

mediocrepoet of course, old Bioware similar to Blizzard was just taking shit they liked and found interesting. But here I think also the long development time on DA:O is why they were late to the party. I mean it was vaporware since I guess NWN was done?

And that trailer with the Marlin Manson song certainly didn't help it in avoiding mockery, in hindsight one does wonder what the fuck were they thinking with that pick because the game wasn't close to being edgy so much that song would fit the tone. Maybe if it was really over the top and something silly on purpose. Ridiculous marketing fuck-up.

It sounds like movie music put into a video game, and I never vibe with thst.

Exactly, the guy got a contract from EA, did his part to get paid with least effort and fucked off. It's clear he didn't really care about the project, didn't care it's a different medium and had no idea what to do with it besides "please the customer". Phoned-in, period.

And it being movie music wouldn't be a problem if it was thematic movie music and not the "set the scene mood and don't get in the way" bullshit that plagues movie soundtracks for the last few decades.

 

[Camel]

Your first one sounds like a good fit for a WWII epic

Oh no, the song about the galaxy-spanning war is a good fit for a WWII epic.

and your second one could go well with a 19th century period romance piece.

Oh no, the love song could go well with, you know, romance.

 

[Raghar]

Do you remember times when developers designed new IP for every game?

For every game? I don't. But I can believe you do, since you have brain damage.

Arcanum. ToEE. VtM:Bloodlines.
Three games three new IP.

I doubt I'd have to mention name of the company.

Silverfish mentioned Bioware's accomplishments already. Bioware kinda shot itself into the feet by doing too many Mass Effect sequels.

 

[Hellraiser]

Bioware kinda shot itself into the feet by doing too many Mass Effect sequels.

Nah, they shot themselves in the foot by not planning out the trilogy better in advance.

Well that and getting gobbled up by EA. Maybe they should have tried to downscale than chase the AAA rabbit to the point where they needed to sell the company.

 

[Silverfish]

Nah, they shot themselves in the foot by not planning out the trilogy better in advance.

It's easy being the Monday morning quarterback, but with the benefit of hindsight, planning a trilogy around the reapers was a mistake from the outset. The far more interesting and conveniently evergreen premise was the Spectres.

 

[HumanMaleFighter]

Your first one sounds like a good fit for a WWII epic

Oh no, the song about the galaxy-spanning war is a good fit for a WWII epic.

and your second one could go well with a 19th century period romance piece.

Oh no, the love song could go well with, you know, romance.

The trouble is that it's so absolutely generic that it seems phoned-in and low-effort. You get the impression that the composer of those pieces didn't even bother to play the previous games in the series. The orchestral/pianoslop soundtrack doesn't fit the game or the setting.

ME1 had a very avant-garde soundtrack. ME2 and ME3 are, in comparison, completely and utterly backwards-looking.

In fact, you could say that ME1's soundtrack was more than a little bit experimental. Tracks like "Noveria" and "Liara's World" don't fit neatly into any clearly delineated genre of music. But you could tell Suno.ai "give me an ultra-hackneyed piano love song" and get half of the ME3 soundtrack. Again, it's really trite, it doesn't fit, and it's trash.

 

[tritosine2k]

ME1 soundtrack is remarkably like
E.R.P. – Event Related Potential
And he did it earlier

 

[HumanMaleFighter]

ME1 soundtrack is remarkably like
E.R.P. – Event Related Potential
And he did it earlier

It's not that similar. That E.R.P. album is, at most points, beat-focused in a way that's completely typical of EDM.

The ME1 soundtrack, at its best, is something very different: A form of melodic and structured ambient electronic music. Here you go, bro:

 

[Hellraiser]

The far more interesting and conveniently evergreen premise was the Spectres.

After taking down Saren and Sovereign, saving the Citadel and gaining the everlasting favor of the council (preferably by replacing it entirely) there's really nothing they could do with Spectres without going down further the Reaper rabbit hole that would seem as interesting as a follow-up. What's the best they could do, have the council nag you as you chase some crime lords and terrorists across the terminus systems? It would just be Bring Down the Sky over and over again (IIRC). Best thing you could maybe do with the Spectre concept is have some conflict between two backwaters over some incident and a spectre sent as a neutral party uncover some devious intrigue, but those stakes would still feel like nothing compared to hunting down Saren.

This is actually one of the reasons ME2 seems so weak, and that's despite trying to tie in the overall arc of the trilogy. The missing colonists plot hook is weak, you learn fuck all about the reapers until almost the very end and the end boss' design sours the whole thing. That you spend most of the game on a massive detour related to assembling a team is the other problem, so it all feels like filler when you know the Reapers are out there(tm) and the stakes seem very low until the very fucking end (maybe).

 

[Hellraiser]

ME1 soundtrack is remarkably like
E.R.P. – Event Related Potential
And he did it earlier

It's not that similar. That E.R.P. album is, at most points, beat-focused in a way that's completely typical of EDM.

The ME1 soundtrack, at its best, is something very different: A form of melodic and structured ambient electronic music. Here you go, bro:

Just listen to Vangelis' (blade runner soundtrack in particular, also you can look for John Carpenter's synth soundtracks from the 80s, those were the main inspiration for Jack Wall I think) or some more ambitious synthwave (not the vocal 80s synthpop nostalgia bait one, the ones trying to emulate the mentions 80s synth movie themes etc.) or space synth.

 

[Iucounu]

On the other hand, ME1's soundtrack -- so unusual and unique that it doesn't even have a genre. (Seriously, are there even people who make more music like that Noveria track? Most "ambient" stuff like CryoChamber, Cyclic Law, etc., is too sparse -- and most non-ambient electronic music is too beat-focused.)

Maybe some 70s Tangerine Dream? If you can accept vocals Gary Numan and Rupert Hine used similar synth sounds in the late 70s to early 80s .

 

[tritosine2k]

If you stripped ERP tracks of percussion (can't have that in game) it would be 1:1 esp. because swirly aharmonic lead. This stuff:

 

[Iucounu]

ME1 had a very avant-garde soundtrack.

I think ME1's music sounds retro, with 1970s-style analog synths, but am no expert.

ME2 and ME3 are, in comparison, completely and utterly backwards-looking.

ME2 is different from ME1 but just as good:





This is more ambience sounds than music:

 

[BosanskiSeljak]

The majority of ME2 isn't ambience or tracks for ambience. The few parts of the game that do it, like exploring the Normandy (a very short, DLC mission) is basically the best atmosphere in the entire game lol

 

[Hellraiser]

ME2 musical highpoints for me are (occasionally timestamped):











Main problem was the really good parts were hidden deep behind intro sections (now I'm wondering if maybe they were segmented and you can rip the specific segments from the game files, kind of like with ME1....), ME 1 had shorter more looping tracks like these two:

https://www.youtube.com/watch?v=uHkBFymRiOs

A very vangelis blade runner sounding one, probably the most.

https://www.youtube.com/watch?v=ye31ZhLDFUw

 

[Assisted Living Godzilla]

Do you remember times when developers designed new IP for every game?

For every game? I don't. But I can believe you do, since you have brain damage.

Arcanum. ToEE. VtM:Bloodlines.
Three games three new IP.

I doubt I'd have to mention name of the company.

Silverfish mentioned Bioware's accomplishments already. Bioware kinda shot itself into the feet by doing too many Mass Effect sequels.

Doing licensed Vampire: The Masquerade and Dungeons & Dragons games is not designing a new IP for a new game idea. Every Spider-Man and Star Wars game some different studio makes isn’t them creating a new IP for a new game.

From the first Mass Effect game to Andromeda BioWare has only made four (five if could count the iOS game most everyone probably either forgot or didn’t know about) Mass Effect games in a decade. That’s not exactly a lot.

Now should BioWare have put up more of a variety of series? Yeah. Could they have? Sure. But it seems BioWare was too fucking stupid to do this when you hear about the development of some of their cancelled games. Like that open world modern day Jade Empire sequel they couldn’t crack for some reason despite it just sounding like they were trying to make a kung fu version of something like The Incredible Hulk: Ultimate Destruction with dialogue options. Like you exist in a world where Hulk: Ultimate Destruction is a thing, you’re not trying to create this open world game in a vacuum where nobody has ever done what it sounds like you’re trying to do. BioWare just sounds like they’re shit at managing development, which is probably why they essentially only do Mass Effect and Dragon Age, and why so many of their games don’t ship with the main big idea features they sell games on during development. Mass Effect, Jada Empire, and Dragon Age: Inquisition all lost big things they were building up during development that seemed to be the backbones of the games originally.

 

[Assisted Living Godzilla]

Mass Effect 1 does not have an avant-garde soundtrack. It’s an electronic soundtrack meant to sound like ‘80s (and ‘90s) sci-fi movies with electronic soundtracks that came out in 2007. The game even came out while the whole synthwave thing was gearing up...which is why it was so weird that Mass Effect moved away from synth as synth was getting more popular.