It’s called Mass Effect 3: Extended Cut, a free DLC pack that will expand on the game’s ending, hopefully bringing closure to the franchise-damaging issue.

Said EA: “Through additional cinematic sequences and epilogue scenes, the Mass Effect 3: Extended Cut will give fans seeking further clarity to the ending of Mass Effect 3 deeper insights into how their personal journey concludes. Coming this summer, the Mass Effect 3: Extended Cut will be available for download on the Xbox 360 videogame and entertainment system, PlayStation3 computer entertainment system and PC for no extra charge.”

“We are all incredibly proud of Mass Effect 3 and the work done by Casey Hudson and team,” Dr. Ray Muzyka, Co-Founder of BioWare and General Manager of EA’s BioWare Label added. “Since launch, we have had time to listen to the feedback from our most passionate fans and we are responding. With the Mass Effect 3: Extended Cut we think we have struck a good balance in delivering the answers players are looking for while maintaining the team’s artistic vision for the end of this story arc in the Mass Effect universe.”

Finally, here’s the man who’s apparently solely responsible for the game’s controversial ending: “We have reprioritized our post-launch development efforts to provide the fans who want more closure with even more context and clarity to the ending of the game, in a way that will feel more personalized for each player,” Casey Hudson, Executive Producer of the Mass Effect series said.

This whole problem stemmed from Bioware advertising Mass Effect 3 as having many, many endings, but when gamers played the game, they realized it didn’t matter how they played, or what class they chose, Mass Effect 3′s ending was the same. A massive failure on Bioware ‘s end, who’ve, in the past, made multiple endings for the popular WRPG.

Patrick Weekes’ Tells All

When the scandal became overwhelming, Mass Effect writer Patrick Weekes decided that he’d reveal what really happened behind the scenes, making known that he and others had nothing to do with how the game ended because they were essentially banned from even giving input, adding that what you experience in Mass Effect 3′s conclusion is completely Casey Hudson’s take on the franchise.

Here’s Weekes:

“I have nothing to do with the ending beyond a) having argued successfully a long time ago that we needed a chance to say goodbye to our squad, b) having argued successfully that Cortez shouldn’t automatically die in that shuttle crash, and c) having written Tali’s goodbye bit, as well as a couple of the holo-goodbyes for people I wrote (Mordin, Kasumi, Jack, etc).

No other writer did, either, except for our lead. This was entirely the work of our lead and Casey himself, sitting in a room and going through draft after draft.

And honestly, it kind of shows.

Every other mission in the game had to be held up to the rest of the writing team, and the writing team then picked it apart and made suggestions and pointed out the parts that made no sense. This mission? Casey and our lead deciding that they didn’t need to be peer-reviewed

And again, it shows.

If you’d asked me the themes of Mass Effect 3, I’d break them down as:

Galactic Alliances

Friends

Organics versus Synthetics

In my personal opinion, the first two got a perfunctory nod. We did get a goodbye to our friends, but it was in a scene that was divorced from the gameplay — a deliberate “nothing happens here” area with one turret thrown in for no reason I really understand, except possibly to obfuscate the “nothing happens here”-ness. The best missions in our game are the ones in which the gameplay and the narrative reinforce each other. The end of the Genophage campaign exemplifies that for me — every line of dialog is showing you both sides of the krogan, be they horrible brutes or proud warriors; the art shows both their bombed-out wasteland and the beautiful world they once had and could have again; the combat shows the terror of the Reapers as well as a blatant reminder of the rachni, which threatened the galaxy and had to be stopped by the krogan last time. Every line of code in that mission is on target with the overall message.

The endgame doesn’t have that. I wanted to see banshees attacking you, and then have asari gunships zoom in and blow them away. I wanted to see a wave of rachni ravagers come around a corner only to be met by a wall of krogan roaring a battle cry. Here’s the horror the Reapers inflicted upon each race, and here’s the army that you, Commander Shepard, made out of every race in the galaxy to fight them.

I personally thought that the Illusive Man conversation was about twice as long as it needed to be — something that I’ve been told in my peer reviews of my missions and made edits on, but again, this is a conversation no writer but the lead ever saw until it was already recorded. I did love Anderson’s goodbye.

For me, Anderson’s goodbye is where it ended. The stuff with the Catalyst just… You have to understand. Casey is really smart and really analytical. And the problem is that when he’s not checked, he will assume that other people are like him, and will really appreciate an almost completely unemotional intellectual ending. I didn’t hate it, but I didn’t love it.

And then, just to be a dick… what was SUPPOSED to happen was that, say you picked “Destroy the Reapers”. When you did that, the system was SUPPOSED to look at your score, and then you’d show a cutscene of Earth that was either:

a) Very high score: Earth obviously damaged, but woo victory

b) Medium score: Earth takes a bunch of damage from the Crucible activation. Like dropping a bomb on an already war-ravaged city. Uh, well, maybe not LIKE that as much as, uh, THAT.

c) Low score: Earth is a cinderblock, all life on it completely wiped out

I have NO IDEA why these different cutscenes aren’t in there. As far as I know, they were never cut. Maybe they were cut for budget reasons at the last minute. I don’t know. But holy crap, yeah, I can see how incredibly disappointing it’d be to hear of all the different ending possibilities and have it break down to “which color is stuff glowing?” Or maybe they ARE in, but they’re too subtle to really see obvious differences, and again, that’s… yeah.

Okay, that’s a lot to have written for something that’s gonna go away in an hour.

I still teared up at the ending myself, but really, I was tearing up for the quick flashbacks to old friends and the death of Anderson. I wasn’t tearing up over making a choice that, as it turned out, didn’t have enough cutscene differentiation on it.

And to be clear, I don’t even really wish Shepard had gotten a ride-off-into-sunset ending. I was honestly okay with Shepard sacrificing himself. I just expected it to be for something with more obvious differentiation, and a stronger tie to the core themes — all three of them.”

In recent days we’ve seen Amazon and Origin refund disgruntled gamers, and the ‘Take Mass Effect Back‘ movement collect more than $40,000 to raise awareness of the RPG’s ending. We’ll reach out to Hudson for a response on this damning write up by Weekes.

The post was first written on Penny Arcade where Weekes is a frequent visitor known as user Takyris, but it was deleted and several other posts with quotes from the original post have been edited to steer clear of the controversial comments, however a screencap of Weekes’ comments was captured and sent to Gameranx by an anonymous source.

Here’s the entire text, unadulterated, giving great insight into what took place in the final days of Mass Effect 3′s development:

I have nothing to do with the ending beyond a) having argued successfully a long time ago that we needed a chance to say goodbye to our squad, b) having argued successfully that Cortez shouldn’t automatically die in that shuttle crash, and c) having written Tali’s goodbye bit, as well as a couple of the holo-goodbyes for people I wrote (Mordin, Kasumi, Jack, etc).

No other writer did, either, except for our lead. This was entirely the work of our lead and Casey himself, sitting in a room and going through draft after draft.

And honestly, it kind of shows.

Every other mission in the game had to be held up to the rest of the writing team, and the writing team then picked it apart and made suggestions and pointed out the parts that made no sense. This mission? Casey and our lead deciding that they didn’t need to be peer-reviewe.d

And again, it shows.

If you’d asked me the themes of Mass Effect 3, I’d break them down as:

Galactic Alliances

Friends

Organics versus Synthetics

In my personal opinion, the first two got a perfunctory nod. We did get a goodbye to our friends, but it was in a scene that was divorced from the gameplay — a deliberate “nothing happens here” area with one turret thrown in for no reason I really understand, except possibly to obfuscate the “nothing happens here”-ness. The best missions in our game are the ones in which the gameplay and the narrative reinforce each other. The end of the Genophage campaign exemplifies that for me — every line of dialog is showing you both sides of the krogan, be they horrible brutes or proud warriors; the art shows both their bombed-out wasteland and the beautiful world they once had and could have again; the combat shows the terror of the Reapers as well as a blatant reminder of the rachni, which threatened the galaxy and had to be stopped by the krogan last time. Every line of code in that mission is on target with the overall message.

The endgame doesn’t have that. I wanted to see banshees attacking you, and then have asari gunships zoom in and blow them away. I wanted to see a wave of rachni ravagers come around a corner only to be met by a wall of krogan roaring a battle cry. Here’s the horror the Reapers inflicted upon each race, and here’s the army that you, Commander Shepard, made out of every race in the galaxy to fight them.

I personally thought that the Illusive Man conversation was about twice as long as it needed to be — something that I’ve been told in my peer reviews of my missions and made edits on, but again, this is a conversation no writer but the lead ever saw until it was already recorded. I did love Anderson’s goodbye.

For me, Anderson’s goodbye is where it ended. The stuff with the Catalyst just… You have to understand. Casey is really smart and really analytical. And the problem is that when he’s not checked, he will assume that other people are like him, and will really appreciate an almost completely unemotional intellectual ending. I didn’t hate it, but I didn’t love it.

And then, just to be a dick… what was SUPPOSED to happen was that, say you picked “Destroy the Reapers”. When you did that, the system was SUPPOSED to look at your score, and then you’d show a cutscene of Earth that was either:

a) Very high score: Earth obviously damaged, but woo victory

b) Medium score: Earth takes a bunch of damage from the Crucible activation. Like dropping a bomb on an already war-ravaged city. Uh, well, maybe not LIKE that as much as, uh, THAT.

c) Low score: Earth is a cinderblock, all life on it completely wiped out

I have NO IDEA why these different cutscenes aren’t in there. As far as I know, they were never cut. Maybe they were cut for budget reasons at the last minute. I don’t know. But holy crap, yeah, I can see how incredibly disappointing it’d be to hear of all the different ending possibilities and have it break down to “which color is stuff glowing?” Or maybe they ARE in, but they’re too subtle to really see obvious differences, and again, that’s… yeah.

Okay, that’s a lot to have written for something that’s gonna go away in an hour.

I still teared up at the ending myself, but really, I was tearing up for the quick flashbacks to old friends and the death of Anderson. I wasn’t tearing up over making a choice that, as it turned out, didn’t have enough cutscene differentiation on it.

And to be clear, I don’t even really wish Shepard had gotten a ride-off-into-sunset ending. I was honestly okay with Shepard sacrificing himself. I just expected it to be for something with more obvious differentiation, and a stronger tie to the core themes — all three of them.”

Thanks, Josh.

Dubbed “Take Mass Effect Back“, the petition is setup to bring positive attention to the situation.

“We would like to dispel the perception that we are angry or entitled,” the group said. “We simply wish to express our hope that there could be a different direction for a series we have all grown to love.” All the money donated goes directly to Child’s Play, which provides video games for the patients at Children’s Hospitals worldwide.

Here are the changes asked by the petition to be made in Mass Effect 3′s ending:

– A more complete explanation of the story events
– An explanation of the outcome of the decisions made, especially with regard to the planets, races, and companions detailed throughout the series
– A heroic ending which provides a better sense of accomplishment

The donation duration will come to a close on April 11th.

Bioware’s Casey Hudson did respond, sticking firm to his stance on the situation at hand, all while hinting appeasement in the same response. We shall see.

“I didn’t want the game to be forgettable, and even right down to the sort of polarizing reaction that the ends have had with people–debating what the endings mean and what’s going to happen next, and what situation are the characters left in,” Hudson told Digital Trends in an interview.

“That to me is part of what’s exciting about this story. There has always been a little bit of mystery there and a little bit of interpretation, and it’s a story that people can talk about after the fact.”

As you may know, fans of Mass Effect 3 have started a surprisingly strong campaign to force Bioware to change the game’s story, yet Hudson is unmoved. However he hinted at upcoming DLC that would in some way appease disgruntled fans.

“It’s very important to us and we will always listen to feedback, interpret it and try and do the right thing by our fans. That’s why if you look at Mass Effect 2 we knew that people wanted to spend more time with a character like Liara, and so we created an ongoing storyline with her as part of the comics and then built it into the DLC stuff, and we’re always listening to fans.

We have some really great multiplayer content and some really great single-player content coming over the air, and their feedback will become part of how we design that.”

So a Mass Effect 2 MMO is not only a dream, but one that could soon become a reality, then. As Bioware’s teased us, saying a MMO in the Mass Effect universe would “make sense”.

That’s what series boss Casey Hudson said in the latest issue of GameInformer magazine, (thanks vg247) adding, “Mass Effect has that quality to it”.

“We’ve been trying to think of a way that makes sense for people to experience Mass Effect with their friends. We haven’t yet come up with a way to do that, so we don’t have anything to announce at this time. But, obviously, multiplayer is something we want to do more of in the future as a company,” Hudson told the mag.

“A lot of people say that they want to see an MMO – that kind of makes sense for this universe.

Part of what you’re trying to do is save the universe so you can live in it. That’s part of the promise for any great IP. It has to be a world worth saving. Mass Effect has that quality to it.”

Hudson added: “If you get rid of the Reapers and win that, wouldn’t it be amazing to just live on the Citadel or just take a ship to Omega? That makes sense.”

Hudson’s comments come as he recently said there’d be no multiplayer in Mass Effect 3, but deeper RPG elements would be employed.