fandomsecrets | [ SECRET POST #1991 ]

⌈ Secret Post #1991 ⌋

Warning: Some secrets are NOT worksafe and may contain SPOILERS.

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[ ----- SPOILERY SECRETS AHEAD ----- ]

15. [SPOILERS for Legend of Korra]

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16. [SPOILERS for Cabin in the Woods]

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17.[SPOILERS for Mass Effect 3]

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18. [SPOILERS for Game of Thrones]

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19. [SPOILERS for ASOIAF]

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[ ----- TRIGGERY SECRETS AHEAD ----- ]

20. [TRIGGER WARNING for rape]

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21. [TRIGGER WARNING for stalking/harassment]

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22. [TRIGGER WARNING for mentions of suicide/self-harm]
[SPOILERS for Mad Men]

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Notes:

Secrets Left to Post: 00 pages, 000 secrets from Secret Submission Post #284.
Secrets Not Posted: [ 0 - broken links ], [ 0 - not!secrets ], [ 1 2 - not!fandom ], [ 0 - too big ], [ 0 - repeat ], [ 1 - unreadable ].
Current Secret Submissions Post: here.
Suggestions, comments, and concerns should go here.

Flat | Top-Level Comments Only

In my opinion, the ending is two scoops of badness on top of a black hole of suck. The whole game takes itself and dark apocalyptic science fiction far too seriously, without the writing and directorial chops to pull it off. The most of high-drama scenes that do succeed work by virtue of:

1: having little or no character dialogue
2: Clint Mansell is a thematic soundtrack god.

Mass Effect 3 is rather like Revenge of the Sith, the high budget, high production values work of a team that has something to say and a willingness to leave no cliche untapped to say it. Both are works with weak plotlines and character development barely held together by superlative musical and artistic design decisions. And the closing scenes of both are so over-the-top in their delivery that they become mockery.

(Mansell I'll argue is analogous to John Williams' work for Star Wars, another film that would have made absolutely no sense were it not for a cinematic intervention by the editors, sound production, and orchestra.)

[ SECRET POST #1991 ]

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