Quote from Drifter;896815:
Listen, I was just trying to make a point that analogies, while nice and easy to make arguments sway to one side or the other, are completely pointless when trying to discuss a product like this. (It can be both an artistic creation AND a product marketed to masses) as a consumer you have a right to say whether or not the product was of quality that adheres to your standards, but to go so far as to say your right allows you to completely revise the product, then you are the one making outrageous claims.
In short, yes you can complain and ask for a refund, but a revision is just a bit much don't you think?
Besides, the only thing I really side with bioware on was not changing the endings. other than that, I completely hate how they ruined one of my favorite series.
(and they didn't really change the endings, they are still the same crap with some epilogue sprinkles to lessen the taste of utter crap that they were)
The point that I'm trying to make is that the wants of the consumer come before the wants of the artist, and Bioware knows it whether they like it or not. And my claim isn't outrageous in the slightest. If it really were all that outrageous, do you really think anyone would have seen the extended cuts?
And, I don't think you've seen the endings before the extended cuts if you don't think they changed the endings. Each of the endings was completely overhauled. Take the control ending, for example:
[SPOILER="Spoiler"]Before: Shepherd died, and the invasion of the reapers was stopped, and that was about it. After the cut: Shepherd literally becomes the reapers and sets out to be a positive force in the galaxy, actively working to rebuild both the mass effect relay system, as well as planets ravaged by the old reapers. In addition, Shepherd remains as an active force to guide and protect sentient life.[/SPOILER]
Nearly every bit of technical lacking that the endings had was removed, redone, or reworked so that the ending worked as a tasteful and satisfying conclusion to an epic trilogy, something the unedited ending (read: singular) failed in every way. The ending was so abysmally broken that it didn't even count as an ending from a literary standpoint. When your product is 60% story, 10% lore, and a mere 30% action, this is a major failing. A failing that one could liken to getting spam instead of the promised full course dragon cuisine.
Your ideal is cute, and I actually agree with you when the work of art isn't a product, but the cold fact is that Mass Effect's worth, and the worth of its potential as a continued series, can be measured out in nickels and dimes, and Bioware threatened itself by offending its consumers. They could have given all the fans a corporate shaft and left the ending as it was, but they knew that if they did that then the harvest they'd receive for any further Mass Effect titles, or any Mass Effect 3 DLC, would be greatly diminished.
The exchange that was made with the release of the extended cut DLC was very much a barter. As a collective, consumers said, "Bioware, I want a better ending than the one you gave us. Make one or I will no longer continue my patronage to you." Bioware bought back the respect of fans that it had lost with an exchange. To say that the consumer, as a general entity, doesn't have the right to ask for certain things defeats the entire purpose of an economy.
I'm going to make another analogy, at the risk of sounding completely pointless. Consider a president who wants to run for a second term, who holds a particular standpoint that is both controversial and a minority. He could, if he wanted, hold fast to his old policies, or write new ones to appease the masses who had spoken out demanding that he change or risk losing any subsequent runs he might make. In the end, he accepts the terms that the people put out for him, rewrites his old, unpopular policies, even though he rather fancied them himself, and adopts a new more popular policy, that holds mere hints of what it was before.
In fact, that's less an analogy, and more a generalization of something that happened quite often, and still does happen.
In short, there is a supply and demand that must be obeyed, both by consumers, and by producers. If the consumers have a demand that isn't met, and threaten to remove their supply, then the producer must choose either to provide for the demands of the consumer, or deprive himself of the consumer's supply. This two-way coincidence of wants is the driving force of any economic exchange, and is the highest-ordered power; it isn't restricted by artistic fancies.