The thing is within a couple of hours after that announcement; Marvel also announced a price drop, citing that their digital subscription package has been so financially successful that they would pass that savings on to their fans. If you read a lot of Marvel books, you will know this is something that really never came to pass. So what exactly was it that did happen? Seemingly none of their $3.99 books were lowered to $2.99, instead adding pages to keep it from happening. Some of the current $2.99 books increased in page number and became $3.99 books, and not only that MANY of their books suddenly became “twice-monthly” releases. So, not only were prices NOT lowered, now over half of their books shipped twice a month. I’m not sure if they were aware of this at the time, maybe someone needed to explain it to them, but this is the EXACT OPPOSITE of making books more affordable.

Comparing the low quality of cover stock between Marvel’s X-Men Legacy #2 and a Zenescope comic. Note how just holding the issues regularly at the bottom of the book, X-men Legacy almost folds right over, while Zenescope’s book only rolls slightly with gravity.

Ok, now we get to the heart of my rant. Last year, a few months after the launching of DC’s New 52, Marvel started to downgrade the quality of their books, and by that I mean paper quality. $2.99 books were obviously the first to be hit, starting with covers. Gone was the high gloss magazine cover stock, as it was replaced with a non-gloss cover stock that felt hardly sturdier than the pages it was charged with protecting. I first noticed this change with X-Men: Legacy #262.

The difference was immensely obvious. As time went on, to compete with DC’s new $4.99 print/digital combo issues for some titles, Marvel announced that all of their $3.99 books would come with a free digital download code for a digital copy of the comic a customer had just purchased. To absorb these costs Marvel now downgraded the quality of their $3.99 books in the same manner. I remember only a few years ago when a $3.99 price tag either meant an oversized book, or nice heavy card stock, which by this time Marvel had long done away with using on anything other than their 2 Stephen King titles. Now we are paying $4 for a 32 page comic that wasn’t even on nice magazine stock. It seemed that over the next few months the downgrades continued. $2.99 books had fewer pages then before, and soon the issue’s interior page quality seemed to go down too.

This month we have reached the Marvel NOW era, and I hate to say it, but once again we have been hit with a down grade. I picked up my copy of X-Men Legacy #2, and immediately felt like the thing was going to disintegrate, it was that bad. I had mentioned before that the interior pages had been downgraded as well, but what I hadn’t mentioned yet was that it honestly seemed like it was just a step, maybe 2, above newspaper material. It was incredibly thin, flimsy, and easily marred. You know, 3 things that every comic book collectors just loves (read with intense sarcasm). What I then noticed when I held this book yesterday was now the cover was made of the exact same paper stock as the interior pages. The nice cover, that’s actual function was to attempt to protect the fragile pages held within, was completely gone.

Here we compare Marvel’s X-men Legacy #2 with the recent Marvel freebie, Marvel’s Backlist Reading Chronology. While the freebie is thicker, it also has a much nicer card stock for the cover, preventing it from folding over like the X-men Legacy comic that runs for $2.99.

I was upset. Yes, I’ll admit, maybe more so then was rational. But this was the straw that broke the camel’s back for me. We as Marvel fans have had to put up with too many poor decisions made by the House of Ideas lately, effecting both our wallets and quality of comic books. I’ll save the rest of those decisions for an upcoming rant. So, to avoid the additional rant now brewing, I will say that we have already had to put up with pricing problems, all stemming from Marvel complaining about the cost of production for all of their books and dwindling readership numbers, so yeah, I’ve taken this as the final blow to our loyalty.

So to really set this BS home, I noted DC earlier because as they increased their amount of titles, and saw an increase in production costs, notice I told you that they did not deviate from their pricing structure, and NEVER downgraded the quality of their product. Furthermore, small independent publishers like Zenescope, who do not even remotely have the financial resources of Marvel, have MANY $2.99 titles each with very nice glossy sturdy magazine cover stock and high gloss magazine paper interiors. But you know who might surprise you to find still prints with a nice cover stock? Marvel, despite everything I’ve said, and they use it when they print countless thousands of pointless free insert books; not for their actual comics we pay for. The recently released, updated essential reading chronology from Marvel is a prime example of this. But why doll up these freebies with such a nice cover when others are wrapped in glorified recycled newspaper? If more than a single digit percent of all that had been printed were ACTUALLY used to their intention, I would have a heart attack from the surprise.

How is it fair that we spend our hard earn money, and are given a far inferior product in comparison to something pointless that ends up being used as pet cage liner? My answer, Marvel execs have spent so long BEING execs, and they have long forgotten how to run a business.

This week all that changed as DC announced the cancellation of Hellblazer at issue #300, out this February.  As DC worded it, “John Constantine has escaped, cheated, narrowly avoided and even reversed death on multiple occasions. Now, in the conclusion of Death and Cigarettes, longtime writer Peter Milligan and artists Giuseppe Camuncoli and Stefano Landini will test whether he’s got one more second chance in him, giving him the bloody best sendoff he deserves”. However, it will be hard for many long time Hellblazer fans to accept the cancellation of Vertigo’s longest running comic series (which also happens to be the highest numbered comic series at DC right now). So the question becomes, why is DC cancelling Hellblazer? Sure, the sales don’t tend to match many mainstream DC titles, but they have been rather healthy and steady for years now, as have the sales of Hellblazer TPB’s and mini-series. The only reasonable answer? Because DC wants to place the focus on their newest title in the New 52, the just announced Constantine on-going series.

Launching in March 2013, Constantine will be written by upcoming Demon Knights writer and New York Times bestselling author of The Homeland Directive, Robert Vendittiand (The Surrogates). Accompanying Vendittiand on art is  Renato Guedes (Superman, Wolverine). The new series will be a DC title, fitting nicely in the New 52, and almost utterly disregard the long running Vertigo title. Still a new John Constantine series in the DCU could be rather fun. “Few characters in comics are as complex and entertaining as John Constantine, and I’m finding him to be every bit as enjoyable to write as he is to read,” says Venditti. “It’s my goal to have the new Constantine series be equal parts familiarity and surprise.  This will be the Constantine we all know and love, but facing new and unexpected challenges from both inside and out”. In all honesty, I personally find myself looking forward to the new Constantine on-going series…but not at the expense of Hellblazer. It is a pleasure to hear of a new Constantine comic book series, but a truly depressing thought that the 25th anniversary of the Hellblazer on-going will be celebrated by its cancellation.

“This transaction combines a world-class portfolio of content including Star Wars, one of the greatest family entertainment franchises of all time, with Disney’s unique and unparalleled creativity across multiple platforms, businesses, and markets to generate sustained growth and drive significant long-term value,” said Chief Executive Robert A. Iger.

Current Co-Chairman Kathleen Kennedy will become the new President, as well as the brand manager for all things Star Wars. In fact, her first order of business was to announce that Star Wars will be returning to the big screen. Not in the usual way either. Star Wars Episode VII (yes you read that correct) has been announced for a 2015 release. No word yet whether the story will be original, or will pull from the massive amount of source material in the Expanded Universe. George Lucas was quoted as saying “It’s now time for me to pass `Star Wars’ on to a new generation of filmmakers.”

So what exactly does this mean for the rest of this company’s dynasty, and how it relates to Disney? I assume, as it has been traditionally in the past with all of the Disney subsidiaries, that everything will remain pretty much the same. Lucasfilm already has had a presence at Disney resorts for over 2 decades now, from Star Wars to Indiana Jones. I think the biggest things we will see from this are future film projects for Star Wars, as well as the assumption that Star Wars comics could be returning to the Marvel banner once their contracts run out with current publisher, Dark Horse Comics. Dark Horse President Mike Richardson had this to say “Dark Horse and LucasFilm have a strong partnership which spans over 20 years, and has produced multiple characters and story lines which are now part of the Star Wars lore. Star Wars’ will be with us for the near future. Obviously, this deal changes the landscape, so we’ll all have to see what it means for the future.”

The move is a smart one on Disney’s part, not only are they acquiring all of the rights to THE merchandising juggernaut that is Star Wars, but they now will own all of LucasFilm’s technologies, meaning Skywalker Sound and Industrial Light and Magic. These 2 subsidiaries of LucasFilm are the preeminent sound and effects houses in the film industry and have already worked with Disney on Iron Man 1 & 2, as well as Avengers. Now Disney will have this company in house, and available for all film projects, which is a major move, and will significantly reduce the cost on future film projects. An interesting side note bit of trivia, Disney’s Pixar Animation Studio originally started in 1979 as a subsidiary of LucasFilm, as a part of their computer division, before being sold to Steve Jobs and Apple in 1986.

As my bio suggests I am obsessed with Star Wars, which far and away is my first true geek love. So, how I feel about this personally? I honestly don’t know. It’s been about an hour now, and its all calming down and settling. My first reaction was complete shock.  LucasFilm seemed like something that would remain with the Lucas family forever. Almost like a holdout of the old studio system. This is funny because it started out as the anti-studio answer to studios. George’s vision was a one stop shop for film and TV production, with everything being done in house. He had talked about his children’s future roles in the company after he would retire and so on and so forth. So yeah, to hear he sold EVERYTHING was very surprising. On the other hand, I am a HUGE Disney geek as well, and understand what goes on when Disney acquires a property, and I knew there was no reason to freak out. However, it was Kathleen Kennedy’s announcement regarding Episode VII that threw me for a loop, and started to make me worry. Even as a die hard, I don’t really want new movies. There is too much of an unknown variable there. Will they come up with a fresh and original idea? Or will they try and adapt something from the copious amounts of source material that exists within the expanded universe. Either idea proposes an issue for me. For one, something new and fresh has the potential to affect the landscape Expanded Universe continuity, which has already “taken a hit” due to Dave Filoni’s idea to retconn the Mandalorian’s for the Clone Wars animated series on the Cartoon Network. This also seems like the most likely idea since the chance of any of the original cast reprising their roles even in so much as a cameo appearance is INCREDIBLY unlikely. Which is where my issue would lie in regards to adapting source material. All we can do for now is wait and see.

This past weekend at London’s Kapow Comic Convention, Dan Didio responded to a fan’s question during a DC comics’ panel. The question was in regards to a comment made in this interview Dan had in the Advocate (see page 2 of the interview). Dan had originally stated, in response to a question about gay teenage characters in DC’s Teen Titans:

One of the things we’re very focused on doing for these types of stories is rather than [change an existing] character, we want to make sure that this is the basis of who that character is right from the start. So if we’re going to introduce a gay character in Teen Titans, we want to make it a new character and make sure that is an intrical part of who he is, or who she is, right from the start so we can really learn and grow with her or him.

Now you must keep in mind this was before the New 52 began, and Dan lived up to just this as Scott Lobdell created the out, gay character, Bunker. Yet the question was raised at Kapow, by said fan at the panel, as to why DC would be willing to change races, costumes, ages, etc, but not be willing to alter a characters sexual orientation. Dan’s response was that they had recently changed DC’s policy on this and intended to INTRODUCE a previously established, straight character to the New 52, that would now be “one of our most prominent gay characters” (I am paraphrasing from Rich Johnston’s reporting of the panel, as he was physically in the room for the announcement, unlike 99.9% of the news media reporting on this).

Now let’s analyze this. Yes, a once straight character will be turned gay, which is somewhat disappointing on DC’s behalf, but is hardly the first time this was done in comics. Marvel’s Northstar was the first openly gay superhero in comics (perhaps even character in general in American comics). He was not necessarily gay from the get go, but was made so by his creator, John Byrne, in many subtle hints. However, it was Scott Lobdell who finally outed Northstar in Alpha Flight #106 in 1992, after the policies that restricted Byrne from blatantly stating as such had been removed. Unsurprisingly, this was part of a HIV/AIDS awareness storyline, which comic companies and modern media in general have often gone to, disappointingly, with gay characters (I say disappointingly, because it is unfortunate that this is the number one idea associated with homosexuality in media). Never-the-less, the character has grown into a very strong part of the Marvel Universe and positively depicted a gay male. Another example of the retconning of sexuality can be seen in Marvel’s X-factor series with Shatterstar and Rictor (who are in fact, bisexual). Created by Fabian Nicieza and Rob Liefeld in New Mutants vol.1 #99 (1991), Shatterstar was revealed as gay in Peter David’s X-factor vol.2 #45 (2009). Liefeld was not appreciative of this fact, and said as much in several interviews, but the character has never-the-less been portrayed quite well in Peter’s hands since, despite being written as straight for 18 years. Rictor had an even longer career of being written straight, as he was created by Louise Simonson and Walt Simonson back in X-Factor vol.1 #17 (1987), and changed to bisexual in the same X-factor issue as Shatterstar’s outing, an entire 22 years later. All three of these examples prove this can be done tactfully and work beautifully for those looking for more homosexual or bisexual characters. Furthermore, this can be done to add to a character, bringing them into a spotlight they had not previously had, without entirely upsetting long time fans.

The problem becomes that I truly believe DC is not making this decision for good story telling reasons, such as Peter David’s choice, or because of a need, as with John Byrne and Scott Lobdell’s choice. Instead, this feels very much like it is a DC editorial decision in response to outcry from the gay community (much as many decisions were made last year because of “outcry” from female fans hoping for more gender equality) and the upcoming Marvel announcement about the intended gay marriage of Northstar and his boyfriend, Kyle (who we first met in Uncanny X-men a few years back), in Astonish X-men #51 (which will also be an interracial marriage, as well as a gay marriage). However, both of these reasons seem foolish for DC to react to. DC comics has a good history with gay characters, having their own gay protagonist in an on-going series, in the form of Kate Kane (Batwoman), even. They have introduced a fair number of gay characters, which I don’t feel needs to be belittled through quantifying them, and shouldn’t feel a requirement to introduce more as if to meet quotas. This is something that should be done as it fits the story, otherwise it becomes more of a tedious task that would almost come off as a more insulting form of affirmative action. When Warren Ellis introduced the gay couple of Midnighter and Apollo (thinly veiled nods to Batman and Superman) it was done perfectly, fitting the story and not being forced because of some unexplained notion of requirement. In fact, because of these two characters, DC technically has the first gay comic marriage in Authority vol. 1 #29 (in 2002, from their subsidiary, Wildstorm Comics), before Archie or the upcoming Astonishing X-men. Just as the recent introduction of Bunker, by Scott Lobdell in Teen Titans, and Batwoman, by Greg Rucka in 52, these characters enter the universe smoothly and become strong characters with minute opposition because they were written well and fit in their stories. If DC’s future attempt to introduce a previously established character into the New 52 feels at all forced or awkward in his or her stories, this will undoubtedly cause a backlash that will hurt the company and character far more than gain them the hard reach for PR they’re attempting to gain.

Now going back to why Superman won’t be the character? Didio wants to INTRODUCE (as I emphasized earlier) a previously established character into the new 52. While Superman, and many other names being thrown out there foolishly, are previously established characters, they have all already been introduced into the New 52. This character would have to be someone who has not already seen their entrance into the new universe, such as Captain Comet, Stephanie Brown (Batgirl), or the Elongated Man. Now before anyone goes off on those examples, THEY ARE JUST EXAMPLES, I AM NOT MAKING PREDICTIONS. Personally, I would hope that DC refrains from this action, and simply introduces new gay, lesbian, transgendered, or bisexual characters when they are appropriate to the story. While I do love Rictor and Shatterstar, amongst many other characters retconned from their original sexuality, I do not feel that is the best course of action unless absolutely fitting of the stories being told. Remember, this is comics, the first priority should be telling a good story, not making a political statement or grabbing for the highest sales numbers. I appreciate that a few new readers might be brought into the medium by such actions, but you’ll turn away a greater number if it is not handled appropriately. As always, Speak Geeky To Me will keep you updated as news actually develops related to this.

Superman vs. The Elite is DC Comics’ newest direct to DVD animated film. The upcoming PG-13 rated Superman movie is scripted by the very comic writer whose story it is being adapted from, Joe Kelly. Superman vs. The Elite is based off his original 2001 comic, “What’s So Funny About Truth, Justice, and the American Way?” which appeared in Action Comics #775. Now while this comic has been considered quite the important story to many modern Superman fans and sequential art commentators, I still am stunned to see this hit animation. As the people at Time Warner describe it:

In Superman vs. The Elite, Superman’s effectiveness as a super hero comes into question when a new group of super powerful crusaders, known as “The Elite,” appear on the scene. As super heroes, the Elite know no bounds, and are more than willing to kill, even on a massive scale, to stop villainy — putting them on a collision course with the ever-ethical, yet preferably non-lethal Man of Steel.

However, to me, this is just another story of Superman dealing with a modern anti-hero team and showing why his methods are better. Basically The Authority vs Superman, which was well played out in the Wildstorm Universe. Now there is no problem with that, as its a good story and Joe Kelly did a great job with this. But is this a Superman story I would think to throw on DVD and promote? Certainly not. However, is it a Superman story that fits in with the new era of DC comics, where everything is dark and gritty like Christopher Nolan just made a movie about it? I suppose it is. Yet despite this much more adult themed tone for the new Superman film, the animation still looks very child like and they’re setting up a social network advertising campaign that may as well be aimed at children.

Right now, over on Facebook, you can help ‘reveal the Elite’ by going to http://www.theeliterevealed.com/ and playing daily puzzle games to unlock new content relating to the upcoming DVD release. The DVD is set to hit stores June 12th, so you can be assured that DC has put together enough games and little snips of DVD extra content to keep you entertained until then. But does any of this really fit the original comic? The new animation definitely doesn’t look like the original, gritty appearance of the Elite back in 2001. Also, while the Elite saw a brief revival in 2004 (with a second printing of Action Comics #775 coming out July 8th, 2004), with a 12-issue limited series entitled Justice League: Elite (and having next to nothing to do with the Elite other than their attitude), that was some time ago. So what has convinced DC to finally put together an animated film of such a random one-shot? I couldn’t dare to guess, but maybe you can.

The film is directed by Michael Chang (Batman: Brave and the Bold) with Bruce Timm (Batman: The Animated Series), as par for course with DC animated films, on as executive producer. George Newbern will be reprising his Justice League cartoon series role as Superman, while Pauley Perrette (NCIS) provides the voice of Lois Lane. Robin Downes will be voicing Manchester Black, leader of The Elite, and sounds like he is faking actual accent. David Kaufman (Justice League: Doom) also reprises his Justice League TV series role as Jimmy Olsen.

Whether or not this will be an amazing piece from DC animation or a total flop is still up in the air. However, my hopes aren’t high for this comic-to-film adaption of something that was better left in the comic pages. While Joe Kelly has a good history of bringing his ideas to the television screen in animated format, this might have been an idea better left on the cutting room floor. However, if you would like to enjoy Superman’s tale with the Elite, it has since been reprinted in Justice League: Elite Volume 1 and Superman: The Greatest Stories Ever Told Volume 1. I would honestly bet you all might enjoy the story a lot more there.

Superman Vs The Elite comes out DVD and Blu-Ray June 12th, 2012. Check out the trailer below.

Nicole Austin, better known as Coco Austin, is an actress and “glamour model”. She is now the third member of Ghost Recon’s Team Ghost. Coco is the co-star, with her husband Ice-T, of the show Ice Loves Coco. Not only has she acted in multiple movies and worked for Playboy, now I guess she’s moved on to bigger and better things…video games.

It saddens me that Ubisoft has really stooped to the level of basic big boobed bimbos to be their “female figure” for their advertisements. They have now created some monstrous GI Jane to do their bidding and get into the heads of the masses…that want their heads in her. Once I set eyes on Ditzy McTitties, I physically felt my heart hurt. I believe her exact quote was, “I’m the beauty and the brains on Team Ghost”. This is coming from the woman who believes that she would want to wear heels while in the hospital and, to help her sister give birth, she would “yank that thing out” with tools like “clampers or something”. Granted, I’m sure not everything that comes out of her mouth is word vomit, but I’m just so disappointed that Ghost Recon: Future Soldier would want someone like that on their team!

Another issue with the video I have is her stupid-awful outfits. Sparkly camouflage fishnet tights connected to this camouflage onesie, with some ugly tannish green high heels. I actually have no idea what she’s wearing. And that’s only the first outfit! The other is also some sort of skimpy, halter top, thong bottom camouflage swim suit thing…with LOTS of giant fake side boob. But, now that I think about it, that is exactly what I wear when I play games! It looks like we have something in common. (Except my itty bitty titties are at least real, kiddies!)

Anyway, maybe I’ve made fun of her too much, but I hope I’ve gotten my point across. There are other ways to make your money, and many other ways that they could have portrayed female gamers. There is a definite difference between Gamer Girls and Girl Gamers. And in this case, I believe it’s a cut and dry case of a Gamer Girl in today’s media. (To see my own depiction of the difference between the two types of gamers that just happen to have tits, click here)  Showing skin is perfectly fine, and I know I’m one to do so, as well. But there is a point where it’s too much, and where it’s just not appropriate. Sparkly camouflage fishnet? I don’t think they have a place in any man or woman’s fantasies where that works. Actually, I don’t think they have a place anywhere where that works. They’re kind of a fashion that couldn’t even be fashionable on Duck Dynasty.

Anyway, here’s the video for all to see! Enjoy…I think?

This weekend I got to test out Marvel’s new AR app on an early release copy of Avengers Vs X-men #1. Unfortunately the app is currently only out on apple products (with android products getting a release of the app very shortly), so I had to track down an iPad. Let me hilariously point out, that it was much easier for me to get my hands on AvX #1 than it was for me to get someone to let me borrow their iPad. However, once I got the hardware I needed, downloading and running the new Marvel AR app was simple.

Instantly upon turning the Marvel AR app towards the cover of AvX#1 you see the logos start to fade and action take over your comic book, as viewed through your mobile device. The cover basically gives you a beautiful trailer for the series as well as an unexpected and very cool new way to view comic books, unlike anything I’ve ever seen before. This Augmented Reality technology is just brilliant.

Starting into the issue, our first interior AR scene on a rather lovely double page spread, is actually a chance for editor Axel Alonso to walk on to your comic and explain Marvel AR. It’s a little amusing seeing a small human walking around inside your comic, much as you could imagine the first time watching TV would’ve blown the mind of someone as they wondered how they fit such tiny men in that box.

Unfortunately some of the double page spreads are a little hard to scan with the AR reader, as you may need to make sure your comic is perfectly flat and spread out…meaning you need to press against the binding a bit sadly (mint comic collectors are gonna hate this). But with our second spread we see another cool usage of the technology when the art reverts from its final printed form, to the original pencils. The AR animation then shows us as the pencils get inked and colored. A very nice touch that makes me appreciate John Romita Jr.’s art a little more. Throughout the issue this becomes a common use of the AR app, and we even get to see changes made between original pencils and inks, such as the fact that JR Jr had originally drawn Hawkeye with his older, face covering, costume and had to alter it to the new Avengers movie style. Little pieces like that just make the experience all the more rewarding. Another keen addition the AR brings in AvX #1 is a small intro from Brian Michael Bendis which, though not necessarily informative, was fun to hear. At this point, however, you quickly realize that the AR app is right now really just contributing the equivalent of DVD extras; you don’t really need to watch or hear any of this stuff, but if you have the time it’s mildly amusing. Furthermore, like DVD extras, you’re going to want to read and enjoy the comic on its own first. Of course, a fair amount of these extras are currently more amusing because they’re applying such new technology to the comic book medium. Given a few years of AR related extras in my comic books and I could easily see myself saying “it’s not worth getting out the iDevice/Droid for this issue”. Another awesome pop-up from the AR app was character profiles that make me feel like some kind of future spy analyzing a target, and getting their bios and stats.

Of course there are some problems with the technology. The AR video is a little shakey, even if you’re not. This means the edges get a little pixilated, and those weak of stomach might feel like they’re watching the Blair Witch Project or Cloverfield. Also, the quality is a little low and sometimes the video moves a bit faster than I would like. This is especially a problem when it comes to showing pencils for the pages and you’re able to realize that what we see in the finished, print copy of the comic is not what was originally drawn. I’d love it if you could pause the app and analyze the original pencils to see what could’ve been. Finally, the big problem with this is that it works fine with a tablet, like the iPad, but until the droid version of the app goes live I’m not too sure how enjoyable this will be with a small, phone sized screen. Even with the larger screen of my Droid Razr Maxx, or screens on the Droid X/X2, I think the size could really affect ones ability to enjoy the AR experience. Smaller screened mobile devices, such as the iPhone and Droid, might be downright less enjoyable to use the AR app on than simply waiting for Marvel to upload the video to youtube. Perhaps they’ll make a zoom option in future updates to solve this problem.

Overall the Marvel AR app is a lot of fun and well worth the quick and free download if you have an apple or android based mobile device. It may not truly change the way you read comics, but it’s a fun and new experience that brings a little more entertainment to the $4 you are throwing down for a single comic book from the company. Download the Marvel AR app on apple mobiles today, and android mobiles later this week. Also, don’t forget to pick up Avengers Vs X-men #1, on sale this week!

UPDATE: For those of you curious bout our opinion on the Android or Mobile phone versions of the app, click here.

WARNING: Plot spoilers inside. This article most definitely discusses the ending of Mass Effect 3.

For a few weeks now, Mass Effect 3 has whipped up a firestorm in gaming communities online. It all started with disaffection over the ending of Mass Effect 3, one loudly declared nonsensical and unsatisfactory by many angry gamers. A great many gamers accuse the ending of not giving closure to what has been an epic, unbroken story across three full games of character development, relationship-building, and galaxy saving, all let down by shoddy writing in it’s final moment of glory. Do not believe them. The ending is exactly as it should be.

The true meaning of the ending sequence of Mass Effect 3 was entirely missed by many gamers, it seems. The reasons why people missed it, and how they might actually interpret it after some careful thought, are perfectly illustrated in two excellent Mass Effect 3 articles on Forbes.com of all places. First, let’s look at how Mass Effect 3′s ending should be interpreted.

Paul Tassi’s article starts by suggesting a possible explanation of the ending, invoking the Shepard Indoctrination Theory. This theory posits that Mass Effect 3′s ending sequence is actually a battle inside Shepard’s mind between Shepard and the Reapers who are trying to corrupt Shepard’s willpower in order to indoctrinate him, just as was done to Saren from Mass Effect 1 and The Illusive Man from Mass Effect 2. The theory posits that the final battle is really about resisting Reaper indoctrination, and that only one of the three choices presented to the player is the right one, the other two simply being the fallacies used to indoctrinate Saren and The Illusive Man. Tassi credits BioWare with being master storytellers for creating such an intricate ending to their story, one most people miss at first glance because they interpret the sequence too literally. The logic of this theory is sound, and I will leave the longer explanation to the excellent video linked in Tassi’s article, also embedded below.

Now, let’s talk about why people missed the significance of the ending and are accusing BioWare of messing it up. The explanation starts easy: it’s popular to hate on game companies these days. DRM has ruined great games for many gamers and tarnished many game companies’ reputations (looking at you, Ubisoft). DLC is everywhere, much of it maligned as ways of making more money off of what “used to be included in games”, i.e. map packs, skins, weapons, etc (hi, Call of Duty). It’s easy to understand people’s cynicism and expectation that nothing is “done right” anymore, and everything is simply about the bottom line for the greedy corporations. In this line of thinking it’s entirely reasonable that BioWare, most assuredly in decline like every other “once-good” game company, would fudge the ending of their epic space opera so they can “correct” it later with ‘REAL ENDING DLC’, all yours for only $9.99.

This line of reasoning also accuses the Shepard Indoctrination Theory of being the easy way out, as Dave Thier expertly opines. Disappointed by what he sees as a “and then he woke up” ending, Thier predicts that BioWare will claim the theory as their own, ‘falsely’ stating it was their plan all along and that it perfectly explains their ending. They couldn’t possibly have actually written such a complicated story on purpose. Not BioWare, who have zero experience in good storytelling (tongue in cheek, folks).

Thier expects more story, either for free or paid, because he doesn’t see the story as properly concluded, citing the choices at the end of Mass Effect 3 as necessitating further clarification of the consequences of these choices. To follow along with this reasoning is to expose oneself as being coddled by the ‘choices’ BioWare have offered us over the last three games. We’re used to making consequential choices in the Mass Effect universe. More importantly, we have seen, and are expecting to see the consequences of our choices. The whole gimmick of choice carry-over between the Mass Effect games relies on this desire. So when the story is suddenly taken out of our control, it feels wrong. But, this is the prerogative of the storyteller.

BioWare never stopped telling a story just because they offered us choices. Although we were allowed to make differences in people’s lives, and determine the fates of other beings in Mass Effect 1, the story was never about anything else than stopping Saren and the Reapers from wiping out the council as the first step in harvesting all life in the galaxy. Although we determined the fate of beloved (or hated) crew members in Mass Effect 2 and whether to hand over Reaper tech to Cerberus, the story was never about anything else than stopping the construction of a Reaper inside our galaxy. And so, when you arrive at the end of Mass Effect 3, think of this bigger story, and remember that the final choice you are given is not another indulgence of ‘player choice’ in order to justify calling this an interactive game experience. It is the conclusion of a story spanning three games that has tried to teach the importance of one thing: Hope.

Mass Effect 3′s ending makes perfect sense because it stays true to the entire Mass Effect story. Hope is a key concept in each of the games, with Shepard defying the odds and achieving the impossible. Stop a giant living machine ship from wiping out the galactic leadership? Check. Die and then come back? Check. Survive a suicide mission? Check. What would keep anyone going through all this? Hope. Shepard is the embodiment of our hopes for ourselves, hope that we can overcame unknown challenges and make a better future.

The very last choice you make is about staying true to this one value. You can either select the false choices Saren and The Illusive Man made and end up being indoctrinated and controlled by the Reapers, or you can choose to resist them (destroy them) and make a choice where humanity survives to face the challenges of the future. That is a profound ending, true to what Mass Effect has always been about, and one that inspires people to think the future can be better. It may not be the most original story to tell, but it is a good one.

In the end, you will have to decide what the ending means for yourself. Your choice will depend on just how cynical you are, and how you view your time spent in the Mass Effect universe. Every character you met, every relationship you explored, every little story you uncovered, was lovingly crafted for you to enjoy while you explore a larger story that gives this whole fictional universe a purpose. It would be a shame to view Mass Effect 3′s ending as a betrayal because it didn’t recognize or conclude every single action the player made along the way. It told it’s story, and it told it well, letting you create a hundred smaller stories along the way. With this accomplishment, BioWare have never stayed truer to themselves.

If you would like to know more about We Can Be Heroes, visit www.WeCanBeHeroes.org.  For more information on the campaign’s partner charities, you can visit their websites at www.savethechildren.org (Save the Children), www.rescue.org (International Rescue Committee), and www.mercycorps.org (Mercy Corps).[/private]