#oneaday Day 786: On Endings

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I'm not going to discuss Mass Effect 3's ending here, largely because, as you all know, I have not played the game, nor will I be doing so. I have, however, been reading up on it and I understand that it is SUPER-MILD SPOILER rather bittersweet — or just plain bitter, if you prefer to look at it that way. /SUPER-MILD SPOILER

There's been a ton of coverage regarding fan outcry over the ending. For the most part, those complaining about the ending (and even, in some cases, petitioning BioWare to change it) have been held up as figures of ridicule, the exemplification of that overused and increasingly meaningless word "entitlement". Some professional industry commentators have even taken to insulting and verbally abusing people who believe that the ending is "wrong", with one notable example referring to anyone who had criticised either Mass Effect 3's controversial DLC strategy or its ending as "whiny fucking babies". (That netted an instant total loss of respect and an unfollow from me, incidentally, not that the person in question likely cared.)

Other outlets took a slightly more measured approach to criticising this group, noting that forcing BioWare to change its creative work according to public opinion rather than steadfastly sticking to the ending it chose to write would cause Mass Effect to cease being art and to simply be another product. (I would argue — and have done — that it's already there, but that's a whole other issue.) Meanwhile, articles like this one, that offer a well-considered message of support to disenfranchised fans, are rather more rare.

I'm not quite sure where I stand on the debate. From what I understand of the ending, the thing that people are most upset about is the fact that it appears to render most of the decisions made throughout the course of the entire three-game series completely irrelevant. Given that this "decision-making, choose-your-own-adventure then deal with the consequences" nature has been a key selling point for the entire Mass Effect series, I can see why people would be pissed off about it. And if this truly is the case (still haven't played it, remember) then I'd be inclined to come down on the side of supporting those who are upset at the ending.

On the flip side, I have nothing against a bittersweet ending. In fact, some of my favourite endings over the years have been bittersweet ones. (Spoilers ahead. Highlight the text to read it. Mobile users, copy and paste the white text into a note or something.) Take Conker's Bad Fur Day, for example, where despite kicking all kinds of ass throughout the course of the game, culminating in an epic battle spoofing Alien, Conker's girlfriend, whom he has simply been trying to make it home to for the whole game, is still dead. Or Final Fantasy XIII-2 (another game which saw a bit of fan upset regarding the ending, though not to the degree of spawning a petition) where Serah dies in Noel's arms, having suffered a vision just like all the Yeuls the duo had seen throughout the course of the game — a possibility which the game had set up and repeatedly reminded the player of throughout. Or To The Moon, where the old man dies and it's still massively upsetting despite the fact you've known for the whole game it's going to happen. Or how about Persona 3 (I haven't played FES yet so don't spoil it if I'm wrong here!) where it's rather strongly implied that the protagonist dies peacefully on the school rooftop surrounded by his friends. Or Persona 4, where after spending a year with people, building up close friendships, solving a series of horrible murders and eventually saving the world, you have to leave them all behind by getting on a train and not looking back. I even loved Fallout 3's original ending, where the player character dies a horrible, painful death in a radiation-filled room while saving everyone else. Or… you get the idea by now, surely.

I liked all of those endings. I thought they were effective and, in many cases, quite moving. I think the difference we're seeing with Mass Effect 3, however, is that the ending is being seen as rather at odds with the way the rest of the game — nay, series — has played out to date, and fans feel that they are being cheated out of the choice of ending that they want, deserve, whatever you want to call it. Of course, there is a very complicated flowchart in a ring binder somewhere in BioWare HQ that maps out all the possibile decisions players might have made over the course of the three Mass Effect games, and attempting to untangle that in order to produce an ending that would satisfy everyone would be absolutely impossible.

Without getting into spoiler territory here, though, I feel it would at least have been possible for there to be one or two alternative ways for the saga to end besides those which are already there — and which are, from what I've read, relatively similar in their execution, if not their consequences and eventual outcome. It seems very strange for BioWare to do this given that they've been so good at endings in the past — look at the variety of ways Dragon Age: Origins can conclude, for example, whereby the player is pushed towards the final battle of the game, making it seem like a linear run to the finish, but is then thrown a number of massive decision points that significantly affect exactly how the ending goes down. The outcome is the same in each case, but the means by which it is achieved is enormously different — and, more to the point, is dependent on player choice as well as how they have played their character up until that point, factors which Mass Effect fans feel that the trilogy's conclusion is not taking into account.

Basically, I can see both sides of the argument here, though both sides also have a lot to learn about respectful debate. Many in each camp are making valid points which then have all credibility removed when someone causes things to descend into name-calling and hair-pulling. A debate over something like this should be interesting and exciting, not leaving everyone involved and any onlookers feeling faintly disgusted and ashamed. A game provoking such discussion should be celebrated; instead, this whole episode is proving to be something of an ugly blot on gaming history.

#oneaday, Day 153: Hopeless Romantic

I watched the finale of The Office for the first time in ages tonight. That's the original UK version of The Office, for the curious, meaning that the finale was the second part of the series' Christmas special. I am totally going to spoil the shit out of that episode, so if you're one of the very few people who haven't seen it before and care, you might want to skip this post.

The chemistry between Tim and Dawn is the centrepiece of The Office's narrative. Everyone remembers David Brent and his stupid Comic Relief dance, but it's really a story about two people trying desperately to find one another and always seeming to have something in the way.

The tension between Tim and Dawn is built up throughout the course of the show's two seasons marvellously. The pair of them hang out together a lot, they joke around, they share a mutual love of making office douchebag Gareth's life a misery and it's abundantly clear that both of them are completely smitten with one another. And yet neither of them are able to say the words to make it happen. Dawn because she has a fiancé (yes, that is the correct spelling for the male partner, I checked and everything) who is woefully inappropriate for her. Tim because despite his sweet nature, he lacks in self-confidence thanks to his life situation.

In fact, that's not quite accurate. Throughout the course of the main series, Tim does ask Dawn out twice and she flat out says no. The most heartbreaking of these moments is at the end of the second season where Tim, in the middle of a "talking head" shot, speaking to the "documentary crew" who are supposedly filming the show, tears off his microphone, goes to tell Dawn how he really feels and gets knocked back. The audience don't hear this exchange, we just see it through a window, partially obscured by a blind. It's a genuinely heartbreaking moment to witness.

Throughout the series, Dawn in particular makes a point of touching Tim, whether it's a light brush on the arm, or holding his face tenderly while she gives him a kiss "for Comic Relief". Whatever she says out loud, her actions say something different, much louder.

So when she returns from Florida in the Christmas special, some years after the original two seasons, it's clear that Tim still has feelings for her and wishes things had gone differently. Yet throughout the course of the two finale episodes, it becomes clear that Tim has no idea how to go about dealing with this situation, particularly as the fiancé is still on the scene and never far away from Dawn during their time together.

In what appears to be their final moment together, I really feel for Tim. He is talking to Dawn, clearly struggling for what to say. He does a big and obviously fake cough at one point, and stares after her as she leaves, looking around the office, obviously completely crushed inside but not wanting to show it at all.

And then a little while later, the real ending happens. Dawn, riding in the back seat of a taxi, her fiancé asleep in the front, opens her "Secret Santa" present, which it transpires is an incredibly thoughtful gift from Tim. It moves her to tears.

We cut back to Tim, who is still at the office's Christmas party, obviously trying to have a good time and not really succeeding, when Dawn reappears unexpectedly, grabs him and kisses him. It's such a beautiful moment and a wonderful feeling of "resolution" for the series. A genuinely happy ending.

In the meantime, while all this is happening, we've also seen the comically tragic figure of David Brent growing as a person more in the space of half an hour than he managed in three years thanks to a special someone. By the end of the whole thing, we have felt sympathy for someone who initially seemed to be odious and annoying; and we have felt hope for his redemption.

In short, the whole thing is a fine example of how to do a finale perfectly. Wrap up every little loose end and make it very clear that "This. Is. The. End." And that doesn't have to mean a main character dying, or the world ending, or anything like that. A simple resolution of the threads that have been running throughout the series is all that's needed for a satisfying conclusion.

I love this ending for several reasons. Firstly, I just love a happy ending. Secondly, I feel for Tim, and Dawn for that matter. I've experienced the situation they've been in and know how difficult it can be, and how wonderful those few tiny little gestures can feel. To see two people who obviously deserve to be together finally get together is utterly heartwarming and never fails to bring a smile to my face. And it ends there – we don't need to see "what happens next", whether it works out, any of that – that's the end of their story.

In case you hadn't noticed, I am a sucker for a happy ending. Particularly a romantic happy ending.

There's some games that have done this sort of thing well, too. The Persona series is particularly good at it thanks to the Social Link system that runs through the last two entries in the series. Each Social Link is a complete story in and of itself, with the player's character being someone who is there for someone else during a period of change, growth or hardship. With the games centred on teenage life in Japan, sometimes this is as simple as a character growing up and learning something about themselves. At other times, it is about a burgeoning romance. At others still, it is about someone accepting a fate which is coming for them, like a terminal illness. But by far the most satisfying thing about those games was not necessarily reaching the end (though the endings to both are awesome) but reaching the resolution of these little mini-stories throughout. Seeing other people brought to a state of happiness by the actions (or simple presence) of another is a good feeling, and Persona, like The Office, plays on that pleasant feeling beautifully.

Did I seriously just compare Persona to The Office? That's late-night writing for you. Oh well. There you have it!