![]() Andromeda regularly stumbles at this with the humour by having our characters present as seemingly unwilling to take a situation serious. As if characters most responsible for these lines, like Garrus and Wrex, are conscious of the actual stakes and actual threat the situation poses, not divorced from the morality or gravity, but genuinely trying to penetrate the seriousness with a joke or observation that allows us to laugh. ![]() Where the trilogy is loaded with punchlines and sarcasm, it's regularly presented with a prose and tone of somberness and macabre. ![]() I've used this example before, but Mass Effect: Andromeda's worst writing falls victim to this same problem in a way that the Mass Effect trilogy's writing does not. ![]() You can't have the character make fun of otherwise dangerous, life threatening situations without the audience being sent the message that they too should make mockery of the scenario. Even with writing structured around this premise, you cannot have the protagonist make condescending mockery of, say, antagonists or villains that in the context of this premise should be terrifying and frightening. And being a fish-out-of-water premise is not an excuse. When the protagonist treats the very premise as something of a joke, or an unbelievable set of events to make mockery of, the audience has no other choice than to feel the same way. It evokes an attitude of condescending apathy towards the game itself in all its form the setting, the characters, the premise, the motivators, the barriers, etc. The problem, reactionary or otherwise, with Forspoken's presentation is in the snark. ![]() The short version, and why in contrast Hi-Fi Rush works despite the comparison, is in the prose, intend, and delivery. Post-Cringe: Forspoken and the Self-Sabotage of the Smirking Protagonist​ ![]()
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