The Good, the Bad and the Ugly, the last film in the trilogy, after A Fistful of Dollars and For a Few Dollars More (1965), had a huge success worldwide, was both acclaimed and disdained by critics, some of which finally started to take Sergio Leone seriously. So was the rough devil-may-care look of his Man With No Name. Clint was in his mid-thirties when he had his breakthrough in A Fistful of Dollars (1964), taking the roles with Leone because no one in Hollywood would hire him, except in a television western series (how resembling is this to Rick Dalton’s story in Once Upon a Time…in Hollywood?). And in Sergio Leone’s The Dollar Trilogy, he became the ultimate antihero, with strengths, weaknesses and a lack of virtue, laconic, cool, coming from nowhere, going nowhere, without a past, without a future. He didn’t want to be the hero, he wanted to wrangle the hero, and not just any hero, but the American hero, the western cowboy. Clint Eastwood in The Good, the Bad and the Ugly (1966) subverted the conservative cowboy type and reinvented him as a righteously ambiguous drifter. The character, “The Good”, but not entirely good, nor entirely bad either, just a different type of scoundrel than the other two. The duster coat, olive green and long-waisted, rarely featured in westerns by then. The jeans, black, not the essential all-American blue jeans. The neckerchief, no pristine accessory, but gathering dust. The poncho, not like anything seen on an American horseman. The fringed buckskins and leather waistcoats, not anywhere in sight.   The hat, with a high crown and pulled down low, not the usual cowboy hat. Clint Eastwood in ”The Good, the Bad and the Ugly”, 1966 | Produzioni Europee Associate, MGM, United Artists

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However, the Mass Effect writer did mention that the Indoctrination Theory is still appreciated, and even encourages players to continue writing fan-fiction and creating mods out of this interpretation.  As a result, fans have created an entire theory where no matter what ending the player chooses, it's all a part of the Reapers' grander plan to bring Shepard onto their side.Īccording to Hepler in the interview, this was never the planned intention of the writers when introducing these concepts throughout the original trilogy and surrounding material. Some cherrypicked evidence from around the rest of the series is often picked up as well, to imply that every encounter Shepard has had with different Reapers and the Prothean beacon from the first game has slowly chipped away at their mind.  The theory itself suggests that the reasoning for the strange events at the end of Mass Effect 3 is because Shepard has been indoctrinated by the Reapers by the end of the series. RELATED: BioWare’s Mac Walters Reveals Cut Mass Effect 2 Characters In Hepler's own words about BioWare's intentions when writing the strange events that ended the series, 'We weren't that smart.' Often referred to as the Indoctrination Theory, the idea comes from the strange nature of the original Mass Effect trilogy's ending, with many fans building a new narrative around the surreal events.Īs much as fans enjoy the theory, Mass Effect writer Chris Hepler, who worked specifically on the ending to the series, has once again shot the idea down in an interview with The Gamer. One of the most prolific fan theories for Mass Effect has once again been discredited by BioWare, though the developer does seem to have an appreciation for how fans have developed the interpretation.

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