His Review with Ian Abbott

Welcome aboard Commander Shepard. We’ve not known each other very long. Around 35 hours. I’ve not travelled with you on your previous missions; I don’t know the crew, the intergalactic politics or who’s really got the fate of the world in their hands. But I’m here and I’m willing to try to help you in the final part of your multi million selling Sci-Fi games franchise.

My mission was to accrue and convince several races of non-human species to unite and pour their collective armed forces into destroying the Reapers (a highly advanced machine race of synthetic origin). With a parallel obligation of destroying Cerberus (a human survivalist paramilitary group) and the Illusive Man who has wild fantasies of trying to control the Reapers. To gain the trust and support of my potential allied forces, I have to tour galaxies, complete missions, acquire war assets and generally lay my ass on the line and prove my worth to their leaders.

At the beginning, I was given an option to play the game in one of three ways: action (conversations have automatic replies and a normal combat difficulty), story (conversations have manual replies and a minimal combat difficulty) or rpg (conversations have manual replies and a normal combat difficulty). I thought this invitation by Bioware to plot a bespoke course through the game was very generous and something I’d like to see more in games (imagine playing Doom as an rpg). I chose to play as an action man because I had not played the previous two iterations of Mass Effect and had no depth of association with the characters, narrative or environment and wanted to see some space action.

As I began to play the game, an important question began to form - how accessible are video games and other cultural franchises to newcomers? Is it important to try and appeal to new audiences or do companies try and create something for those who already own, have invested in and embrace the franchise? I recently played The Darkness II, without having played the original. In the introduction, it gave a short 3 or 4 minute cut scene overview of the previous game and it let me know how and why the main character has arrived at the start of game two. This very warm and considerate entrance to the game left me feeling immediately informed and ready for action. However with Mass Effect 3 I was provided with very little context or history, felt completely isolated and plunged straight into the land of Shepard and his surroundings. I was also unprepared for the amount of cut scenes and story dialogue that interspersed my choice of action. There was a total of 82 minutes - as long as most Hollywood blockbusters - to sit through and not consistent with the action game choice that I’d made.

The missions, to gain the trust of my future space buddies, were peppered with good, honest combative action with a host of suitably challenging enemy skirmishes. The constant variety of AI who would often work in packs to try and pin me into corners and make life difficult for me posed a pleasing threat. Some operated at long range, some up close, some were nimble, others powerful, some you could melee with and some were absolutely relentless in their pursuit of me. It forced me to think about my arsenal and choose my weapons carefully. If I was a shotgun killer who liked getting up close and leaving a hole in an alien head or a camping sniper who likes to pick off from afar, I was satisfied. The range of weapons or space technology of offer wasn’t particularly varied and didn’t show much design imagination for a futuristic sci-fi encounter, but dished out enough damage.

However, and this is a rather large however, the cover system was terrible. I just didn’t seem to stick to the wall. Sometimes it wouldn’t let me peep out and blind fire and others I’d be burped out at 90 degrees leaving me severely exposed. I often popped up from behind a wall, like one of those whack attack games from the 90s arcades, waiting to be picked off the many adversaries. The action was needlessly fraught because the cover was inconsistent, unpredictable and removed a lot of the enjoyment and satisfaction from these particular encounters.

So let us be saved by Clint Mansell who helped score Mass Effect 3. That would be the Clint Mansell who scored Moon, Requiem for a Dream, The Fountain and Black Swan. The entire composition and audio design team including Sam Hulick, Christopher Lennertz, Cris Velasco and Sasha Dikicyan helped me create a strong emotional bond to the game and repaired the separation I felt with the constant cut scenes and back story references that were wasted on me.

As a soundtrack it stands alone as a fine, fine piece of work that is eminently listenable away from the screen, but when it was attached to the visuals, it sang from the heavens. They delivered emotional comfort but also ruinous demoralisation with only a piano and their fingers. Tracks and cues that were embedded within scenes of species annihilation, human and alien inter breeding or playable action sequences of galactic destruction were pitched so effectively. I began to believe in the time and space that I inhabited and the audio design transported me into their world.

But here’s another rather large however…the connection achieved with the soundtrack was immediately shattered with the speech and lip-syncing. In a game that relies on dialogue to progress the narrative and bring the player into the world (especially one which integrates Kinect voice activated controls), when the characters couldn’t form or finish their words off properly (they looked like they were chewing tennis balls) all sense of immersion was broken.

Bolted on to the game was another identikit online multiplayer experience (the first time that ME had ventured into this territory). Wave after wave of enemies attacking me and up to 3 others for 10 minutes at a time in locations drawn from the single player campaign using the same old weapons. For a game that is famed for its narrative and choices, the addition of a seemingly meaningless multiplayer didn’t really add value to the world. It was only after mass frustration and research that I realised I had to complete quite a few hours of online campaigning which would enable me to reach 100% galactic readiness, which in turn would have a serious bearing on the ending of the game. At no point was this hinted at or explained to me and I was given no help to achieve this objective.

After investing my time to go on this journey as Shepard, playing as a renegade and bearing the deep red incisions in my face as badges of pride I thought there would be some differentiation between my route and how Tracey played the game (a complete space angel and a shining example of paragon existence). The outcome of each mission was almost identical. Sure I wiped out a couple of species, whereas Tracey just put a few noses out of joint, but it felt like there should have been a wider consequence gap between the actions of a renegade and a paragon – why have an option if it doesn’t make a difference? And so, as I disembark the Normandy on my first and the last Mass Effect venture, as a newcomer I’m left feeling totally unsatisfied having had a detached experience. Bioware ask for a level of emotion and time, but the constant attempts at trying to pull me into the narrative but having so many instances where my rhythm was disturbed and interrupted left me feeling nothing, and that’s the worst feeling ever.

Her Review with Tracey McGarrigan

Silhouetted against a wintery, starry vista, as Buzz Aldrin’s character the StarGazer, explained about the billions of stars waiting to be discovered out the in universe and how each star could potentially host life, I slowly put the controller down and went and sat in my dark, quiet hallway. Staring into the shadowy patterns of the carpet, I let out a big sigh; it was really over.

It’s taken more than two weeks for Mass Effect 3 – my Mass Effect 3 – to sink into those little pockets of my brain where I gently wrap up memories in cerebral, fleshy blankets to be treasured and kept pristine. The final scenes in my game were at every second what I believed should/would happen and played out perfectly. Though I feel more than satisfied with my final outcome, I find myself in the void I call “The Bioware Blues” – that feeling I sometimes get of not wanting to play anything for a while after a game I’ve heavily invested time and emotion into ultimately comes to its end.

Unlike Ian, I’ve played through every game in the series, usually privately, at very early hours in the morning when the most of the world around me is hushed, dreaming away. The different pulse and atmosphere in those street lamp lit hours seemed to balance out the first and final steps I took as a red-haired, green eyed female with a strange trout-pout, (which was an unintentional accident in my design) that over time, I grew fond of. Similarly, over the years the crew I slowly recruited either through hardship and bullets or some powerful yet empathetic speeches also garnered special places in my heart. I’ve fought well for their respect. Together, we have had some scrapes but have always come through. This being the third and supposedly final title in Commander Shepard’s series, there were many moments of reflection, be it from old stalwarts Garrus, Liara or Tali sharing their memories with members of my in-game crew or from within me as I sat in the dark as Clint Mansell’s goosebump inducing, movingly melancholy score filled the house as the credits rolled.

I play mainly to experience the story. Learning that despite being considered one of the more inferior species in the universe, the task of uniting the galaxy in order to save all organic life on Earth and beyond, from a formidable and seemingly unstoppable foe – the Reapers – fell to me, a human (a female at that) was a simultaneously daunting and thrilling prospect. Commander of the good ship Normandy with a few hot weapons, some mix and match armour and a persuasive voice, I’m the galaxy’s best hope. As the chance of succeeding in the mammoth task ahead diminished with each mission, my crew became increasingly valuable and dear to me. I’ve been drawn in, indoctrinated by Bioware with its cinematic trailers, fighting, negotiating, romancing, shooting and dancing badly from the start. It’s been an emotional ride.

This is firstly due in no small part to the magnificently talented Jennifer Hale who puts in her best vocal performance to date. I thought Ian’s Shepard didn’t quite have the same poignant power or breathy anguish as brought to the role by Hale. I haven’t and won’t question why I originally chose to play as a female character – I don’t wish for strong female lead roles in games, simply compelling, attractive and magnetic lead characters. Only by not being typically female with her male gait and heavy weapons or ways of articulating, did my Shepard command the respect she needed to succeed in bringing everyone together whilst also finding her flirtatious and subtly vulnerable side. Secondly, I played with the Kinect command system on and it makes for one of the most engaging and fluid combat experiences I have EVER had. At key moments, rushing in against fearsome opponents, rather than breaking the momentum by bringing up sub menus to change weapons or assign abilities to the squad, I simply shouted out a word here or there and it was done. Garrus attack, grenade, Liara cover me, medi-kit, rifle, singularity; just one word coupled with a cursor in the general direction where I wanted the action to happen made me and my team almost unstoppable. Fixing me right at the heart of the fray, using the Kinect meant I had a greater sense of how the battle was going, more in control, reacting fast to each encounter and feeling connected to my team. Add to this the improved customisation and upgrading of weapons and armour which allowed me to find my comfort zone and play to my strengths and I found myself once again addicted and attached.

A carefully crafted experience, (each title follows directly on from the last) where a player can form genuine bonds to the complex, heavily researched, inventive worlds and characters in it, is an ambitious pursuit but one that I thought, Bioware managed to sustain until the bitter end. Often I was in decision-making agony where saving the life of one potential crew member may result in the death of another. There was no backing out; the game wouldn’t progress without this choice being made. Morals didn’t enter into it, neither did my own personal desires or beliefs; it was entirely situational, rational almost and like it or not I had to state my preference. I wouldn’t say I was sad with my course of action though it did leave me questioning the relationships I had fostered and made me aware of the finality of my actions. I was responsible. But, as I watched Ian unflinchingly murder characters I had become “friends” with or annihilate entire species that in my game I had fought hard to protect, I finally understood that this blurring of playing a role that I can influence and control and the consequential repercussions, so cherished by fans of the game (me included), though exciting, immersive and personal, is actually nothing of the sort. ME3 offer a pre-determined experience, interacting with a story through a different body being led through a particular set of circumstances. To state the blummin’ obvious, it’s a game! I knew that despite all my efforts to make the right decision under pressure that even if every last life form in the galaxy were to support me and take up the fight against the insurmountable odds, ultimately, me and my crew probably weren’t all going to make it. In a tender moment between my Commander and Garrus, the question of “Have we done enough, can we ever be ready for a battle like this?” is raised, to which he replies “Every fight we’ve ever seen could have been our last.”

There could only ever be one conclusion…

More than its predecessors, Mass Effect 3 shows little beauty in the locations but still has an authenticity with endless grey metallic bases, often hidden in rugged and craggy landscapes pitted with the remains of weapons and fallen soldiers. Even the Citadel seems to have lost its dewy glow, replaced with endless walls of glass and refugee camps whilst the story highlights the unglamorous, energy sapping, adversity of war in space. I don’t think this game is designed to be ‘enjoyed’ in the positive sense of the word, rather Bioware is holding a mirror up to remind us that though life is fragile it’s worth fighting for, that hope is powerful but fate is cruel and that even if we appear to have done everything right in our preparation, there are some things that we simply have no control over. Following similar, unsatisfactory reactions like Ian’s regarding the lack of diversity in the final outcome (which is also partly influenced by the multiplayer game and although good fun, was largely ignored by me), billions of column inches across the internet have been dedicated to an outpouring of grief and rage. From in depth conspiracy theories (which in itself is surely testament to the success of any sci-fi franchise) to organised protests, where fans have petitioned Bioware to create different endings (one protest group went as far as raising over $1000, sending the developers metaphorical cupcakes decorated in different colours though stating that no matter which was chosen, the flavour would always be vanilla), the fabled ‘perfect ending’ remains elusive for so many.

Would I like to see a different ending like so many other fans of the series want? HELL NO! As “The Bioware Blues” set in, I too wondered if I were truly ready to let go, to admit the finality of the series but to demand another ending would be to wallow in the blues, rather than to reflect on the positive and good aspects of this compelling space opera. What would having two completely different endings achieve other than more people completing several run-throughs of the game to see the differences? I doubt the celebrated level of immersion would be the same on a shorter run through similar to that experienced by Ian. Maybe ME3 came too close to the bone for many gamers and left them feeling uncomfortable that despite making close alliances and tough decisions all their actions led to the same conclusion? Whenever I was faced with an option, the hint of alternative possibilities evoked a pleasure/pain sensation but it was this authenticity that provided the joy. I feel this would be completely removed if I explored or knew what the alternative outcomes would be so was satisfied with my ending which was just that, the end. A beautiful metaphor for life if ever there was one. Are some people so conditioned and spoilt when interacting with a game – a luxury form of entertainment – that they feel compelled to demand alternatives from the creators of their experience?Mass Effect has always been more about humanity now than any future Reaper threat. Consider how humans are regarded. Earthlings stand no chance of winning the Council’s species of the year award yet the aliens that we predominately interact with are human in design. They all stand upright on two legs, have two eyes, a nose and a mouth in an vertical order that would please Mr. Potato Head, they have arms and hands with opposable thumbs so they can shoot and press buttons on the ship, knees that bend so they can run and duck… The lesser species (the elephantine, slow talking Elcors or the preaching, jellyfish-like Hanar) don’t feature as strong allies at all. Projecting the human idea of strength or intelligence via the physicality of other characters made me feel confident that I could enlist these species to my cause – they are after all, a bit like me. Yet again, Bioware is in control of my experience. It’s also a necessary element as the characters in my squad must be able to run, shoot, cover, interact and perform how I want without translation difficulties or incompatible systems. Therefore, I remain surprised that there isn’t the same, agreed celebration to a shared ending and a creative, collaborative product that I consider to be expressively human in its nature. In denying Shepard the final Hollywood fairy tale happy-ever-after win, the ending was inevitable and tearful but was the right outcome and I believe this to be true no matter how the game is played. Do the cupcake protesters really want to witness Shepard staggering away, bloodied and bruised but triumphant having tidily beaten every last Reaper, bounding off to some greetings from postcard tropical island to have Turian babies or perhaps waking up, thinking it was all a vision/dream? There are an infinite number of endings that could have taken place and it’s impossible for them all to have been included.

This is and always has been Bioware’s story to tell, not mine, and they told it with skill. To interact and feel emotion, real-genuine-human-goosebump-inducing-or-angrily-charged emotion was so worth the undertaking. “The Bioware Blues” will eventually wear off and maybe the cupcake protesters will find solace elsewhere. Yes, the idea of different flavoured cupcakes might be tempting but personally I’d rather have vanilla cake than no cake at all. I’m Commander Tracey and this is my favourite cake on the Citadel.

Mass Effect 3 is out now for Xbox 360 with Kinect, Playstation 3 and PC

UPDATE> This weekend, Bioware officially announced on their forums that this summer, they will release free Mass Effect 3: Extended Cut DLC to help answer some questions and give closure to this chapter of the Mass Effect story. With additional cinematics and epilogue scenes, Bioware remain "Committed and are proud of the artistic choices we made in the main game. We are aware that there are some fans who would like more closure to Mass Effect 3. The goal of the DLC is not to provide a new ending to the game, rather to offer fans additional context and answers to the end of Commander Shepard's story."