I discussed before how Bioware failed to live up to the expectations they fostered for Mass Effect 3. That failure has played a part in the controversy surrounding the game's finale, but it's by no means the only part of the problem. The largest contributor to the outcry, as you might expect , the ending itself. The ending, only the last fifteen minutes or so of the game, contains a large number of inconsistencies and other narrative problems [N.B. Spoilers abound in the link and the rest of this post], lovingly collected for your pleasure by the fans. These issues are so numerous that fans combined them with a mountain of circumstantial evidence from the rest of the game to conclude that maybe Commander Shepard was in fact dreaming while unconscious or "indoctrinated" by the Reapers.
To be honest, inconsistencies like these aren't exactly rare in video game narratives (or in narratives in general). Mass Effect 2 had a number of them all to itself, and the same could be said of many other games. With any narrative work, the audience suspends disbelief so that these things don't get in the way of their enjoyment; however, if a writer isn't careful, his narrative may end up breaking this suspension of disbelief, intentionally or not. When that happens, the audience often finds it very easy to pick apart the entire work, viewing things as problematic that they may not have noticed at all otherwise. In a nutshell, that's what lead to the massive Google document on the inconsistencies I linked above.
Many of the problems in Mass Effect 3's ending are minor and don't explicitly endanger the narrative. For example, while it's pretty odd that Admiral Anderson says he follows the Commander up to the Citadel (the setting for the game's last few scenes) when he's clearly ahead of Shepard on the path and seems to have gotten there before her according to some of the following dialogue, the throwaway line about rooms shifting is enough to allow the audience to wave it off. These minor issues, however, have some pretty big friends, all of which break from the narrative substantial ways. These larger inconsistencies ultimately create the impression that Mass Effect 3's ending was written for some sort of alternate reality Mass Effect series that had different emphases and themes. This Bizarro World Mass Effect (let's call it Massive Effect) would, in accordance with the ending of Mass Effect 3, have an emphasis on uniformity as the answer; a focus on the galaxy rather than the individuals within it; and have the tension between organic and synthetic life as its central conflict. By contrast, Mass Effect as we received featuresan underlying method of unifying the diverse to overcome a common enemy or threat; a focus on individuals and their lives, from family problems and love to matters of revenge and personal hatreds; and a central conflict in which "small" beings struggle against the impossible and win.
The differences between Massive Effect and Mass Effect are easily seen in their disparate approaches to the theme of diversity. In the "best" ending to Massive Effect,
we're given the opportunity to create a new form of life that
synthesizes organics and synthetics into a new hybrid form of life that
eliminates by necessity the conflict between the two of them. This synthesis option neatly ties up the organics/synthetics problem that the ending presents as paramount (which I'll discuss in more detail below), but it's a jarring break in Mass Effect's treatment of difference up until this point.
Throughout the series, Commander Shepard assembles a rag-tag team of humans and aliens of varying species to combat a threat that's greater than all of them. Their differing backgrounds, unique perspectives, and areas of expertise all prove valuable to the mission at hand. In both Mass Effect and Mass Effect 2, Shepard brings aliens aboard human-centric vessels that are initially hostile to alien life. Through victory, she then proves that the hostility is unwarranted. On the smaller scale, this idea of working together in spite of difference is displayed in the resolving of loyalty conflicts between squadmates in Mass Effect 2. Examples continue of the strength to be found in unity despite diversity in Mass Effect 3, with Shepard doing the same thing on a galactic scale, bringing together numerous diverse fleets and research crews for the final battle with the Reapers. The downloadable Prothean squadmate, Javik, even comments near the game's end that it is the acceptance of diversity within the galactic fleet that has made victory against the Reapers attainable, as opposed to the situation in his cycle, where every race, under the empire, was essentially Prothean in outlook and strategy.
Positioning synthesis as the best ending (by having it only available in a mostly complete playthrough or with lots of multiplayer to boost your "score" in single-player) puts it at an odd place with regard to this long-running theme of the series. Up until that point, the solution has always been for diverse individuals (or races) to work together despite their differences (and indeed, often to succeed because of those differences), not to abandon those differences in favor of making everyone the same. This break in the narrative doesn't in and of itself a narrative problem, but it certainly causes a thematic one, which leads to an overall decrease in narrative cohesion.
Just as the ending to Massive Effect performs a weird about-face on diversity, it also abandons one of the greatest strengths and focus of the Mass Effect series: its characters. Over the course of three games, the Commander works with a menagerie of team mates, many of which become loyal friends and some of which are potential romantic interests. We learn about their histories, their peoples, their problems, and their dreams. We reunite them with lost family heirlooms, help them get revenge, save their families, represent them in court, and a number of other things that are entirely personal and only tangentially related to the greater cosmic threat of the Reapers. We do these things because the characters are well written, interesting, and the sorts of characters that really come alive in a narrative. Such characters are somewhat rare in fiction, but not in Mass Effect as a whole. Beyond your squadmates, there are bit-part characters that are just as memorable as the ones with all the screen time, from an annoying, sensationalist reporter to a battle-hardened (and totally awesome) quarian lieutenant.
Admittedly, the characters didn't come fully into the spotlight until Mass Effect 2 (which has a kind of Ocean's Eleven vibe), but even then, half the joy of the characters was meeting old favorites from the original Mass Effect. Because the audience has come to care so much about these characters, they could have (and I think, should have) been a centerpiece of the game's conclusion. There are any number of character-related plot-lines that are ultimately left unresolved in the ending to Massive Effect, ranging from whether Tali'Zorah vas Normandy gets to build her house on the quarian homeworld or whether Urdnot Wrex can truly manage to unite and control the bloodthristy krogan in light of the curing of their sterility plague.
Instead of rewarding our dedication to and love of these characters, Massive Effect presents us with an ending that has massive consequences for the galaxy at large, but the impact of which on our friends and favorites can only be speculated upon. Indeed, with the majority of the galactic fleet potentially stranded in Earth's solar system after the final battle, we can reasonably wonder if Tali'Zorah can even make it home to build her new house or if Wrex will ever make it back to his homeworld to lead his people to greatness. Your crew is (maybe?) stranded on some unknown garden world with apparently no way home, and with various species requiring differing types of food to survive, there's no telling who would be able to live and thrive on such a mystery world. At the end of Massive Effect, we've saved the galaxy, but we may have doomed our friends to painful (or at the very least, lonely) deaths. This again breaks from the strong character focus of Mass Effect as a whole, placing Massive Effect in Bizarro World as an alternate story that somehow got mangled with the one that had been so successful going back to 2007.
The last split between Massive Effect and Mass Effect that I want to address, that of their differing central conflicts, has been the subject of a lot of ridicule. The Catalyst in Massive Effect reveals
that the purpose of the Reapers is to protect organic life from being
wiped out by synthetic life, which is a somewhat circular argument,
since the Reapers are largely synthetic themselves. The break in the
narrative from Mass Effect comes in two parts here. Firstly, while the geth are painted as synthetics bent on destroying organics in the original Mass Effect, we
learn that they do so largely because of the influence of the Reapers
themselves. Additionally, through interaction with Legion (an advanced
geth that becomes a squad member) in Mass Effect 2, we learn that
the geth have a history of only attacking organics in self defense (as
they did in the Morning War with their quarian creators, after which
they let the quarians retreat without wiping them out). In Mass Effect 3,
we're even given the opportunity to reconcile the story's main
organic/synthetic conflict between the quarians and the geth, achieving
unity despite diversity (which I dealt with above as well). While the
example of the quarians and the geth does not by itself disprove the
Catalyst's assertion that synthetics will always wipe out organic life eventually,
the assertion is thematically at odds with the game's own narrative,
which suggests that organics and synthetics do not, in fact, have to be
at odds with one another.
Secondly, the games have never been primarily about the above conflict. The geth in Mass Effect were mostly unimportant servants of the actual threat, the Reapers themselves. From our first real interaction with a Reaper through our last one before Mass Effect 3,
the Reapers are painted as a cosmic, unknowable force of evil, "beyond
[our] comprehension." To them, the races of the galaxy are no more than
"dust struggling against cosmic winds." The central conflict of the
series has been between the Reapers and life throughout the galaxy: ants
struggling against giants. In both Mass Effect and Mass Effect 2,
Shepard and crew do seemingly impossible things in the fight against
the inevitable: first destroying a Reaper and then entering uncharted
space at the center of the galaxy to stop a second attempt by the
Reapers to harvest life less directly. The theme itself is carried
forward into Mass Effect 3, in that uniting the races against the
Reapers seems impossible, but Commander Shepard does so (and
spectacularly so in "perfect" playthroughs). This theme, and the
conflict that goes along with it, are largely abandoned in the ending in
favor of the secondary organics/synthetics conflict, which was resolved
to narrative satisfaction several missions prior to the game's ending
(with the geth/quarian conflict being its primary representation, it is
also the vehicle for its resolution in a narrative sense). This sudden
shift, from defeating the Reapers to resolving the apparently inherent
conflict between organic and synthetic life (which the narrative has
prior to this point shown to be a suspect assumption) takes the wind out
of the game's narrative sails.
Ultimately, that's what you would expect if a narrative had an ending so different in theme and structure from everything before it. Mass Effect and my hypothetical Massive Effect are two different narratives with different themes and strengths, and they should have never been blended together into one story. The ending of Mass Effect 3, as a result, breaks the narrative of Mass Effect as a whole, and unfortunately, the schism is so great that the "clarification" that Bioware has suggested we will receive in Extended Cut DLC has very little chance of actually repairing any of the damage. But hey, Mass Effect was always a series about doing the impossible...maybe there's at least a glimmer of hope yet.
We'll see when the DLC is released later this summer.
Showing posts with label Mass Effect. Show all posts
Showing posts with label Mass Effect. Show all posts
Monday, April 30, 2012
Thursday, April 5, 2012
Mass Effect: A Review in Retrospect
As a longtime fan of Bioware games, I played and enjoyed Dragon Age: Origins, their spiritual successor to the Baldur’s Gate series on the Playstation 3; however, I didn’t have the opportunity to experience their other “next-generation” franchise, Mass Effect, due to my lack of an Xbox 360 or a competent gaming PC. That changed in 2011, when Bioware released a Playstation 3 port of Mass Effect 2. I devoured the game and waited anxiously for the release of Mass Effect 3, which was to follow later that year (and the release of which was later delayed until just one month ago, March of 2012).
I completed Mass Effect 3 a few days after launch, and was soon a frequent visitor to the Mass Effect 3 forums on the Bioware Social Network. As disappointed in the ending as I personally was, I also soon learned that my experience of Mass Effect 3 was ultimately incomplete. I had still never played the original Mass Effect. My Playstation 3 copy of Mass Effect 2 introduced me to some of the original game’s content, and indeed, allowed me to make some of that game’s key decisions, even if I had to make those decisions in what amounted to a vacuum of no narrative context. But this vacuum colored my perceptions. A character I assumed was expendable turned out to be one of the series’ most beloved. Other favorites I had never met because a fifteen minute “interactive comic” couldn’t dream of covering them all.
But all was not lost. During the early weeks of the backlash against Mass Effect 3, Amazon offered a deal: downloadable versions of Mass Effect and Mass Effect 2 for the low bundle price of $11.99. With several hundred dollars of life support funneled into my aging desktop, the old girl seemed ready. Still hopeful that Bioware’s recent missteps could become learning experiences and not prophecies of impending doom, I couldn’t pass up the chance to experience Mass Effect from the ground up as Bioware no doubt intended. I’ve now completed the first stage of my re-entry into the Mass Effect universe, and it’s certainly been thought provoking so far.
The above preamble seeks that this review is around five years too late to be relevant in the traditional sense. But Mass Effect, as you might expect, serves as a wonderful place to begin for any examination of the series as a whole, and turning a critical eye to Mass Effect and Mass Effect 2 can aid in understanding the level of fan investment necessary to allow the perhaps unprecedented nature of the backlash against Mass Effect 3. Beyond that, starting at the beginning is the only way to truly appreciate the ways in which Bioware strengthened as a developer as the series progressed, but also those areas in which they fumbled.
Since this review is a retrospective, I’m not going to spend any time providing a synopsis of the story or setting the stage for someone new to the game. Five years after the game’s release, I imagine Mass Effect has become familiar enough to gamers by and large that I don’t need to tell you much about how awesome Commander Shepard is. I will offer one small disclaimer: I have nearly always played the Mass Effect games with a female Commander Shepard and so may occasionally use feminine pronouns when referring to the series protagonist (when I use them at all). This habit of mine isn’t meant to suggest that female Shepard is better than a male Shepard (except, of course, for the fact that “FemShep” rocks “BroShep” every day of the week, and twice on Sunday). Those things having been said, we can move on to the nuts and bolts of this review: my thoughts on Mass Effect’s gameplay, systems, and narrative.
GAMEPLAY
Mass Effect’s gameplay can safely be divided into three parts: combat, commuting, and conversation (alliteration intentional because I wanted a reason to write “alliteration.”). The last of these has a huge part to play in the game’s narrative delivery, and so I’ll discuss it in more detail below. The former two represent something of a departure from Bioware’s more traditional combat and navigation systems, and their first humble steps off the edge of the map did indeed introduce them to a monster or two.
Combat in Mass Effect is hardly revolutionary, and indeed, it probably shouldn’t be, since the game was attempting to marry two generally separate types of gameplay: third-person action shooting with traditional “role-playing,” (which for decades have had tedious menu-based combat or occasionally “point-and-click” varieties of the same). Bioware made a conscious decision to stick to a relatively simple combat system, presumably intending that the real meat of the game was in its narrative strength. Given their inexperience with involved, action-oriented combat systems, this may have been a choice made out of necessity, but it was probably a wise one.
What little Mass Effect’s combat attempts to do, it does poorly. Hit detection is somewhat awkward: you may occasionally think you’ve missed an enemy only to see him drop dead or hit him square in the eyes only to find his health bar unshaken. Enemies can sometimes see and hit you perfectly before you’re able to detect them (most especially in the game’s vehicle combat). On top of this, the game’s controls are designed in such a way as to add another enemy to your fire fight. The act of taking cover is tied to movement keys and it is often difficult to determine whether a given movement will cause Commander Shepard to shift along the wall, or jump of cover into enemy fire as if she had a death wish. The Commander’s death wish is most apparent when trying to peak around cover, as the game offers no visual cues to the player as to whether the Commander is actually doing so. You may occasionally nudge to one side or the other, thinking you’re not close enough to actually fire only to realize that you’re quite close enough to get fired at. The game’s difficulty is also fairly steep, requiring a careful and thoughtful approach to many firefights, even on lower difficulty levels. This would normally be welcome (especially as it’s something of the standard for Bioware games prior to Mass Effect—although perhaps less so for those after it), but the frustrating controls sometimes shift the focus of conquering a difficult battle from your tactical expertise to how well the controls decided to work for you at that moment.
Similar pitfalls plague the game’s “commuting” sections, in which you pilot a planetary surface rover that clearly took a page or two from the book of some of the early Mars rovers. Your vehicle—the Mako—handles like a refrigerator on wheels (I can’t for the life of me remember where I first heard that, but it’s applicable here) and also seems to regularly defy the laws of physics if you happen to hit a piece of terrain at the wrong angle. You also get the pleasure of using the Mako’s onboard weaponry in a combat system even less polished than that of the third-person shooting segments. The best way to complete one of the game’s vehicle sections involves a lot of quick-saving, as a poor performance in one vehicle firefight can leave you ill-equipped to handle the next, mainly because the vehicle’s shields regenerate incredibly slowly.
This is quite a shame, really, as exploring alien worlds (and even on at least one opportunity, a place not quite so alien: Earth’s moon) is something that’s easy to get lost in and does a lot to enhance the epic feel of the game’s narrative. Some of that appeal is lost, though, when you realize your last save prior to a failure was ten minutes ago and you have to replay the entire section, one frustrating and immersion-breaking firefight after another.
So far, I haven’t had a lot of nice things to say about Mass Effect. Truth be told, I won’t have many nice things to say for the next section, either. But I promise, I do have good things to say—we just have to get there first. Mass Effect was good enough that I feel compelled to end on a high note, and that means we have to tackle the next section before we can get to the game’s strongest traits.
SYSTEMS
Like its archaic-by-today’s-standards combat, the game’s systems, from character progression to inventory really show their age five years down the road. Character progression is in many ways standard: each time you gain enough experience to “go up a level,” you earn a few points to distribute amongst a number of different skills, ranging from general toughness and weapon expertise to hacking skills and how you want to develop your social graces. For Mass Effect, though, the system isn’t implemented with a lot of finesse. Each skill has ten or so levels, and each character has ten or so separate skills. At each level, you typically gain two points to spend on any of these skills. At face value, the system is designed in such a way as to make you decide which skills to develop at the cost of others. For a first-time player, however, it isn’t directly apparent how valuable each skill will be in the game at large, and furthermore, it can be somewhat easy to end up with characters that are too focused on the “non-combat” skills to allow them to feel successful at the game’s sometimes frustrating combat. While the leveling system isn’t non-functional, it may have benefited from separate “combat” and “non-combat” skill trees (like, say, another of Bioware’s titles, Dragon Age: Origins) to reduce the potential for player traps.
The advancement system works well enough, though. The same can’t be said for the game’s inventory system. As you explore the galaxy, you’ll undoubtedly find any number of guns and grenades and suits of armor and weapon upgrade parts and specialized types of ammunition and so on. Mass Effect borrows a lot from role-playing games that came before it in this regard, and expansive inventory systems can offer a lot of ways to customize your characters. But if they aren’t accompanied by a well-designed management system, their vastness can quickly overwhelm the player. Such is the case with Mass Effect. You accumulate so many items that you quickly have far more than you could ever reasonably have a use for, leaving you to either convert the extras into “omni-gel” (an all-purpose tool for hacking and other tasks) or to sell them. As a result, you’ll spend untold amounts of time selecting one item and then selecting “convert,” and doing it over and over and over and over. For some reason, there’s no ability to select all or convert large swaths of items at once (although there is an option to take every item in a container with a single choice). Don’t be coy and think you can just let the junk accumulate, either, as the game limits your inventory to 150 items, and you at least want to be able to get the upgrades out of all the junk. As a result, far too much of your playtime is spent getting rid of junk, which detracts greatly from the overall experience.
Where Mass Effect’s combat and travel display Bioware’s inexperience with action-oriented gameplay, the game’s advancement and inventory systems shine an uncomfortable light on their ill-advised adherence to archaic design of the role-playing genre (though they did attempt to move forward in both of these regards in the sequels). Despite these negative aspects of the game, it still demonstrates a lot of strength in what has always been one of Bioware’s greatest strengths as a developer: the portrayal of narrative.
NARRATIVE
I’m not going to bore you too much with the specific details of Mass Effect’s narrative. By now, it’s probably relatively common knowledge that Commander Shepard discovers and fights against the enigmatic and unimaginably powerful Reapers, sentient machines bent on wiping out all life in the galaxy. For most of Mass Effect, you don’t actually know that’s what you’re up to, though: the game’s purpose in the trilogy (and, indeed, Mass Effect was always imagined as a trilogy, at least in broad strokes) is to reveal the ultimate antagonist of the series. The core of the narrative is executed with the care that many have come to expect from Bioware. The plot follows a fairly standard arc, but it is well-crafted and is seated upon a rich, detailed universe that brims with all the passion of artists hard at work.
Mass Effect lays the groundwork for what would become defining elements of the series: well-written characters, a well-crafted (if somewhat standard) story, tasteful juxtaposition of dark and light elements in the story, and perhaps most importantly, the “dialogue wheel,” and the Paragon/Renegade “morality” system (though morality is honestly a bit of a misnomer here, as Paragon and Renegade choices are far more about attitude than they are about whether Commander Shepard is good or evil). All of these combine to create a narrative experience truly unlike any other in video game history. Even Bioware’s struggle at times to reach the bar set by Mass Effect (and the series as a whole). This begins and ends, ultimately, with the characters that breathe life into the world, both your squad mates and Commander Shepard herself.
Because the series was conceived of as a trilogy, the writers were given much more liberty to introduce characters with their future development in mind. Many of the characters seem naïve or shallow at first, but as the game progresses they grow, and begin to question previous assumptions or use Shepard’s example to justify a new path in life. As the series as a whole progresses, the characters grow in endearing, interesting, and wonderful ways that only retrospect can truly make clear. If you aren’t torn about which of Ashley or Kaiden to sacrifice during a mission on Virmire, don’t find the optimism of Tali’Zorah adorable, or enjoy watching Garrus come to realize he can’t stand to deal with the bureaucracy and red tape of “by the book” law enforcement, you may not have been talking to the characters enough. Seriously, talk to them. Bioware put far more effort into the characters and their dialogue and their stories than they seem to have with the game’s other aspects, and that may be just because they always intended the characters to be the focus over those other things.
That focus is most clear perhaps in the character of Commander Shepard herself. Through the dialogue wheel, you decide how you interact with these characters—whether you care about them or not, whether you’ll fall in love with them, or whether you’ll shoot them for disagreeing with you. Your decisions matter, and they give you a different experience, and indeed, a different main character, each time you play Mass Effect. The overall thrust of the story may remain the same, but the difference is in the details—quite literally so. All the while, you’re developing Commander Shepard, via the “attitude” system in the same way that the other character s change as the game goes on. That Bioware was able to competently weave a compelling narrative while at the same time giving the player the ability to invest in that narrative through personal choice and some degree of narrative control is a testament to the strength of team that wrote Mass Effect.
CONCLUSION
The game’s narrative strengths make it worth playing at least once for anyone looking to take the leap into Mass Effect’s grand universe. While the gameplay definitely shows its age, if you’re patient with it, you’ll find your future journeys in the world much richer for sticking through with the original game (as I’m finding right now while re-playing Mass Effect 2 on PC). After that initial playthrough, though, it might be worth it to pick up the Mass Effect: Genesis downloadable content for Mass Effect 2, which lets you make several of the first game’s key decisions without having to slog through its archaic gameplay.
Mass Effect is available for both PC and Xbox 360, generally for $20 or less.
I completed Mass Effect 3 a few days after launch, and was soon a frequent visitor to the Mass Effect 3 forums on the Bioware Social Network. As disappointed in the ending as I personally was, I also soon learned that my experience of Mass Effect 3 was ultimately incomplete. I had still never played the original Mass Effect. My Playstation 3 copy of Mass Effect 2 introduced me to some of the original game’s content, and indeed, allowed me to make some of that game’s key decisions, even if I had to make those decisions in what amounted to a vacuum of no narrative context. But this vacuum colored my perceptions. A character I assumed was expendable turned out to be one of the series’ most beloved. Other favorites I had never met because a fifteen minute “interactive comic” couldn’t dream of covering them all.
But all was not lost. During the early weeks of the backlash against Mass Effect 3, Amazon offered a deal: downloadable versions of Mass Effect and Mass Effect 2 for the low bundle price of $11.99. With several hundred dollars of life support funneled into my aging desktop, the old girl seemed ready. Still hopeful that Bioware’s recent missteps could become learning experiences and not prophecies of impending doom, I couldn’t pass up the chance to experience Mass Effect from the ground up as Bioware no doubt intended. I’ve now completed the first stage of my re-entry into the Mass Effect universe, and it’s certainly been thought provoking so far.
The above preamble seeks that this review is around five years too late to be relevant in the traditional sense. But Mass Effect, as you might expect, serves as a wonderful place to begin for any examination of the series as a whole, and turning a critical eye to Mass Effect and Mass Effect 2 can aid in understanding the level of fan investment necessary to allow the perhaps unprecedented nature of the backlash against Mass Effect 3. Beyond that, starting at the beginning is the only way to truly appreciate the ways in which Bioware strengthened as a developer as the series progressed, but also those areas in which they fumbled.
Since this review is a retrospective, I’m not going to spend any time providing a synopsis of the story or setting the stage for someone new to the game. Five years after the game’s release, I imagine Mass Effect has become familiar enough to gamers by and large that I don’t need to tell you much about how awesome Commander Shepard is. I will offer one small disclaimer: I have nearly always played the Mass Effect games with a female Commander Shepard and so may occasionally use feminine pronouns when referring to the series protagonist (when I use them at all). This habit of mine isn’t meant to suggest that female Shepard is better than a male Shepard (except, of course, for the fact that “FemShep” rocks “BroShep” every day of the week, and twice on Sunday). Those things having been said, we can move on to the nuts and bolts of this review: my thoughts on Mass Effect’s gameplay, systems, and narrative.
GAMEPLAY
Mass Effect’s gameplay can safely be divided into three parts: combat, commuting, and conversation (alliteration intentional because I wanted a reason to write “alliteration.”). The last of these has a huge part to play in the game’s narrative delivery, and so I’ll discuss it in more detail below. The former two represent something of a departure from Bioware’s more traditional combat and navigation systems, and their first humble steps off the edge of the map did indeed introduce them to a monster or two.
Combat in Mass Effect is hardly revolutionary, and indeed, it probably shouldn’t be, since the game was attempting to marry two generally separate types of gameplay: third-person action shooting with traditional “role-playing,” (which for decades have had tedious menu-based combat or occasionally “point-and-click” varieties of the same). Bioware made a conscious decision to stick to a relatively simple combat system, presumably intending that the real meat of the game was in its narrative strength. Given their inexperience with involved, action-oriented combat systems, this may have been a choice made out of necessity, but it was probably a wise one.
What little Mass Effect’s combat attempts to do, it does poorly. Hit detection is somewhat awkward: you may occasionally think you’ve missed an enemy only to see him drop dead or hit him square in the eyes only to find his health bar unshaken. Enemies can sometimes see and hit you perfectly before you’re able to detect them (most especially in the game’s vehicle combat). On top of this, the game’s controls are designed in such a way as to add another enemy to your fire fight. The act of taking cover is tied to movement keys and it is often difficult to determine whether a given movement will cause Commander Shepard to shift along the wall, or jump of cover into enemy fire as if she had a death wish. The Commander’s death wish is most apparent when trying to peak around cover, as the game offers no visual cues to the player as to whether the Commander is actually doing so. You may occasionally nudge to one side or the other, thinking you’re not close enough to actually fire only to realize that you’re quite close enough to get fired at. The game’s difficulty is also fairly steep, requiring a careful and thoughtful approach to many firefights, even on lower difficulty levels. This would normally be welcome (especially as it’s something of the standard for Bioware games prior to Mass Effect—although perhaps less so for those after it), but the frustrating controls sometimes shift the focus of conquering a difficult battle from your tactical expertise to how well the controls decided to work for you at that moment.
Similar pitfalls plague the game’s “commuting” sections, in which you pilot a planetary surface rover that clearly took a page or two from the book of some of the early Mars rovers. Your vehicle—the Mako—handles like a refrigerator on wheels (I can’t for the life of me remember where I first heard that, but it’s applicable here) and also seems to regularly defy the laws of physics if you happen to hit a piece of terrain at the wrong angle. You also get the pleasure of using the Mako’s onboard weaponry in a combat system even less polished than that of the third-person shooting segments. The best way to complete one of the game’s vehicle sections involves a lot of quick-saving, as a poor performance in one vehicle firefight can leave you ill-equipped to handle the next, mainly because the vehicle’s shields regenerate incredibly slowly.
This is quite a shame, really, as exploring alien worlds (and even on at least one opportunity, a place not quite so alien: Earth’s moon) is something that’s easy to get lost in and does a lot to enhance the epic feel of the game’s narrative. Some of that appeal is lost, though, when you realize your last save prior to a failure was ten minutes ago and you have to replay the entire section, one frustrating and immersion-breaking firefight after another.
So far, I haven’t had a lot of nice things to say about Mass Effect. Truth be told, I won’t have many nice things to say for the next section, either. But I promise, I do have good things to say—we just have to get there first. Mass Effect was good enough that I feel compelled to end on a high note, and that means we have to tackle the next section before we can get to the game’s strongest traits.
SYSTEMS
Like its archaic-by-today’s-standards combat, the game’s systems, from character progression to inventory really show their age five years down the road. Character progression is in many ways standard: each time you gain enough experience to “go up a level,” you earn a few points to distribute amongst a number of different skills, ranging from general toughness and weapon expertise to hacking skills and how you want to develop your social graces. For Mass Effect, though, the system isn’t implemented with a lot of finesse. Each skill has ten or so levels, and each character has ten or so separate skills. At each level, you typically gain two points to spend on any of these skills. At face value, the system is designed in such a way as to make you decide which skills to develop at the cost of others. For a first-time player, however, it isn’t directly apparent how valuable each skill will be in the game at large, and furthermore, it can be somewhat easy to end up with characters that are too focused on the “non-combat” skills to allow them to feel successful at the game’s sometimes frustrating combat. While the leveling system isn’t non-functional, it may have benefited from separate “combat” and “non-combat” skill trees (like, say, another of Bioware’s titles, Dragon Age: Origins) to reduce the potential for player traps.
The advancement system works well enough, though. The same can’t be said for the game’s inventory system. As you explore the galaxy, you’ll undoubtedly find any number of guns and grenades and suits of armor and weapon upgrade parts and specialized types of ammunition and so on. Mass Effect borrows a lot from role-playing games that came before it in this regard, and expansive inventory systems can offer a lot of ways to customize your characters. But if they aren’t accompanied by a well-designed management system, their vastness can quickly overwhelm the player. Such is the case with Mass Effect. You accumulate so many items that you quickly have far more than you could ever reasonably have a use for, leaving you to either convert the extras into “omni-gel” (an all-purpose tool for hacking and other tasks) or to sell them. As a result, you’ll spend untold amounts of time selecting one item and then selecting “convert,” and doing it over and over and over and over. For some reason, there’s no ability to select all or convert large swaths of items at once (although there is an option to take every item in a container with a single choice). Don’t be coy and think you can just let the junk accumulate, either, as the game limits your inventory to 150 items, and you at least want to be able to get the upgrades out of all the junk. As a result, far too much of your playtime is spent getting rid of junk, which detracts greatly from the overall experience.
Where Mass Effect’s combat and travel display Bioware’s inexperience with action-oriented gameplay, the game’s advancement and inventory systems shine an uncomfortable light on their ill-advised adherence to archaic design of the role-playing genre (though they did attempt to move forward in both of these regards in the sequels). Despite these negative aspects of the game, it still demonstrates a lot of strength in what has always been one of Bioware’s greatest strengths as a developer: the portrayal of narrative.
NARRATIVE
I’m not going to bore you too much with the specific details of Mass Effect’s narrative. By now, it’s probably relatively common knowledge that Commander Shepard discovers and fights against the enigmatic and unimaginably powerful Reapers, sentient machines bent on wiping out all life in the galaxy. For most of Mass Effect, you don’t actually know that’s what you’re up to, though: the game’s purpose in the trilogy (and, indeed, Mass Effect was always imagined as a trilogy, at least in broad strokes) is to reveal the ultimate antagonist of the series. The core of the narrative is executed with the care that many have come to expect from Bioware. The plot follows a fairly standard arc, but it is well-crafted and is seated upon a rich, detailed universe that brims with all the passion of artists hard at work.
Mass Effect lays the groundwork for what would become defining elements of the series: well-written characters, a well-crafted (if somewhat standard) story, tasteful juxtaposition of dark and light elements in the story, and perhaps most importantly, the “dialogue wheel,” and the Paragon/Renegade “morality” system (though morality is honestly a bit of a misnomer here, as Paragon and Renegade choices are far more about attitude than they are about whether Commander Shepard is good or evil). All of these combine to create a narrative experience truly unlike any other in video game history. Even Bioware’s struggle at times to reach the bar set by Mass Effect (and the series as a whole). This begins and ends, ultimately, with the characters that breathe life into the world, both your squad mates and Commander Shepard herself.
Because the series was conceived of as a trilogy, the writers were given much more liberty to introduce characters with their future development in mind. Many of the characters seem naïve or shallow at first, but as the game progresses they grow, and begin to question previous assumptions or use Shepard’s example to justify a new path in life. As the series as a whole progresses, the characters grow in endearing, interesting, and wonderful ways that only retrospect can truly make clear. If you aren’t torn about which of Ashley or Kaiden to sacrifice during a mission on Virmire, don’t find the optimism of Tali’Zorah adorable, or enjoy watching Garrus come to realize he can’t stand to deal with the bureaucracy and red tape of “by the book” law enforcement, you may not have been talking to the characters enough. Seriously, talk to them. Bioware put far more effort into the characters and their dialogue and their stories than they seem to have with the game’s other aspects, and that may be just because they always intended the characters to be the focus over those other things.
That focus is most clear perhaps in the character of Commander Shepard herself. Through the dialogue wheel, you decide how you interact with these characters—whether you care about them or not, whether you’ll fall in love with them, or whether you’ll shoot them for disagreeing with you. Your decisions matter, and they give you a different experience, and indeed, a different main character, each time you play Mass Effect. The overall thrust of the story may remain the same, but the difference is in the details—quite literally so. All the while, you’re developing Commander Shepard, via the “attitude” system in the same way that the other character s change as the game goes on. That Bioware was able to competently weave a compelling narrative while at the same time giving the player the ability to invest in that narrative through personal choice and some degree of narrative control is a testament to the strength of team that wrote Mass Effect.
CONCLUSION
The game’s narrative strengths make it worth playing at least once for anyone looking to take the leap into Mass Effect’s grand universe. While the gameplay definitely shows its age, if you’re patient with it, you’ll find your future journeys in the world much richer for sticking through with the original game (as I’m finding right now while re-playing Mass Effect 2 on PC). After that initial playthrough, though, it might be worth it to pick up the Mass Effect: Genesis downloadable content for Mass Effect 2, which lets you make several of the first game’s key decisions without having to slog through its archaic gameplay.
Mass Effect is available for both PC and Xbox 360, generally for $20 or less.
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