My first exposure to Wolfenstein was in the early 90s when Wolfenstein 3D came out. I was just beginning to get interested seriously in computer hardware and building PCs. Of course the best reason to build your own computer was to play all the best games. I’m sure you can see where this is going. These first entries into what would become the FPS genre of gaming were where I spent so many hours. There was no way I could pass this up even though I didn’t pre-order it.
Ya know it may be 2014, but taking a guy out while he’s taking a piss. Yes, I am a grown adult, but this still made me laugh. It’s just so over the top that it seems right in Wolfenstein. Besides, these have got to be the laziest guards ever.
Now I’m sure I’ve mentioned this before, but I suck at being sneaky. Still though, this time I have managed to be as sneaky as a super sneaky thing. Only a little alarm but generally got through without having the whole of the camp coming after me. I tried to not move around real fast in this one and I did a bit of panning to show off how it looks on the PS4.
There is an easter egg in Wolfenstein that I’m eagerly looking forward to. I know where to go to get to it, but I’m not quite far enough in yet. Soon though I will be able to play the first level of Wolfenstein 3D. This one little easter egg alone makes buying the game worthwhile. I’ll make sure to get a video when I get in there though.
More soon, I promise.
Every now and then a indie game dev will come a long and put out a game that immediately draws my eyes to it. SuperGiant Games has done just that with their recent release. Transistor is such a beauty to behold that when I watched the trailer for it I just didn’t care how it played; I needed to see more of it. This is a game that has some wonderful graphics. It’s like you’re interacting with a painting.
Have a look at this little video I did to show this very thing off. It started raining and things got a little fuzzy like rain drops on a windscreen.
So the story has a very Noir crime detective feel to it. Like 1930s type old school detective noir books. Bad guys and bad things went down in the place you’re singing at. Your character Red doesn’t speak. Her voice was stolen by the bad guys when they invaded the place, but your sword does talk. The sword is holding the “soul” of a man who appears to be your greatest admirer. The narration has this third person feel since Red doesn’t speak. If you play this on the PS4, go into the settings and turn on the controller speaker. All of the narration then comes out at your hands like you’re holding the sword. It does so much to the immersion.
The gameplay isn’t anything new, hit bad things with your big sword called Transistor. Now you can just hit things with the abilities your garner and combine or you can go into a screen freeze and chain moves. When you come out of the freeze the moves action as you planned them. This is especially useful when fighting bigger bad guys. As you go through the game and the city, called Cloudbank, you gather other “souls” which give you abilities. These abilities can then be used as is, combined with other abilities to make something new, or they can be boosted with skills you earn. This makes for a lot of options when you’re playing and something isn’t working.
I have really enjoyed this game. It has some wonderful ideas about combat options, but above all that it is so amazing to look at. The artists at SuperGiant Games should be commended for the wonderful visuals they have provided. It’s indie developers like them that take something so simple and they give you something so interesting in return. I would put this game up on the same shelf as Flower and Journey. It is a game I recommend everyone play.
Yes, I know, I’ve been so majorly slack and crap that I have no excuse at all. I’m here now though and I have a shiny new PS4 to share with you all. Now, since I live in the UK I’ve only had this little beauty for just short of a month. Before you ask, no I did not go to a midnight launch. I pre-ordered it back in June when they announced it at E3. There was never any question about which console I was going to get this time around. I don’t normally buy at launch with consoles, but I’ve made a couple exceptions for Sony in the last year. I got a Vita at launch and now the PS4. It is not a decision that I regret at all.
In the couple of months that I’ve now had the machine there is one clear winner in all of the new innovations and changes that Sony has made; the controller. When Sony was releasing pictures of the PS3, the controller was redesigned and had a boomerang like shape and the arms were round and tapered. There was huge outrage at the change from the original style of the DualShock controller so they stuck with the staid design and we didn’t get the new one and I was unhappy. See, I used to have one of the old Sidewinder gamepad controllers and they had this boomerang shape with the tapered round arms. This controller was very comfortable to use. So with the PS4 controllers we got a melding of the two. The DualShock shape is there, but the arms are round and tapered giving them this wonderful shape to hold in the hands. I have managed to play 4-5 hours at a time without getting that hook-hand effect that happens with the old DualShock controller shape. This is a change that was a long time coming and I’m so happy that they finally had the guts to make this change.
On to the interface I think, which is very different. The most obvious change is that we no longer just have the single horizontal bar with all of our function icons.Instead we have two parallel horizontal bars. The top bar of icon are the functional icons like previously; so trophies, PSN Store, trophies, etc. Thee icons are all self explanatory so I won’t really go into them. what I will mention is the improvements in the Trophy section. Unlike on the PS3, the sync and display here is much faster and won’t lock up the whole damned machine as it slowly contacts tot Sony servers to update. I was very happy to see this had been improved as it always drove me up a wall. Also, if a game has trophies for DLC, these are separated too, which is kinda nice too. The bottom row are your installed games like the old game icon on the PS3. The big change here is that by pressing down on the D-pad you can go into the detail for the game that includes current DLC, fried events and your current trophies and news for the game. I find this info very useful as I’ve missed DLC before and I like knowing what my friends have been getting up to in the games I’ve been playing. This is a good social addition I think.
Speaking of social additions, we now have the Share button on the controller. This button will let you share video and screenshots to Twitter and Facebook. Now I’ve done a bit of sharing of screenshots and 1 video, neither are the full resolution of what you’re seeing on your screen. For the screenshots you can share them to Facebook or Twitter and the size is actually pretty good even if it has been shrunk, Videos can unfortunately only be uploaded to Facebook. Now the really big problem with this is that Facebook hides the HD better quality video though. Have a look at it here on the femme gamer FB page.
I ripped the HD video out of Facebook though and you can see it below. Still not as good as what I’m seeing on my TV, but it’s much better than the crap quality Facebook presents as default. I really would like to have more control over the quality and file size of what I share. Also, the ability to upload videos to YouTube or another such site would be most appreciated so e aren’t all hobbled with the crapness of Facebook.
Now that I’ve had the console for a couple months, I’m more than happy with my choice. It’s a great machine that has me moved flawlessly from my PS3 to the PS4. It was easy to get to grips with the interface, the game loads while installing is perfect. Sony has listened to all the gripes we had about the PS3 and they addressed them in the PS4. A couple of the most painful things on the PS3 was the syncing of trophies and exiting a game; they fixed it in the PS4. It is the small things with the new generation of the Playstation that has made me the happiest.
Oh, and it’s all very beautiful to look at.
Like so many franchises, Tomb Raider has gotten a reboot. I went into this high hopes for the story since it was written by Rhianna Pratchett. While I will never forgive her for Mirror’s Edge, she did write the Overlord games which were wonderful fun.
I was not disappointed.
Rhianna gave us a believable beginning to an iconic gaming woman. A story that builds on the genius that is a young Lara that isn’t so self assured. From the beginning we are presented with someone who is not only smart but also insecure. She knows she’s right, but she doesn’t have the years of experience behind her to be the confident Lara we’re all used to seeing. I like this a lot. It shows a humble, if smart, beginnings of the confident woman. As we travel through to very well crafted story, she becomes more sure of herself. By the half-way point we’re seeing that familiar Lara and by the end you know she’s gotten a taste for something that she’ll never turn away from again.
I will say one thing about the whole “threat of rape” thing that was spinning a few months back. Yes she is threatened in this way, but she’s threatened with horrible-ness through the whole game, including murder. So yea, she is threatened, but it’s nothing to write home about.
Gameplay is what you would expect. Plenty of running and shooting and climbing ever surface in sight. The controls are all very easy to use straight out of the box. There are some quicktime events, but they’re unobtrusive and not a pain in the ass to do. I’m notoriously terrible at aiming shots in games like this but he aim assist saved me. So even if you’re rubbish at aiming, like me, don’t worry. I used the fucking hell out of the bow & arrow too. That thing was so awesome to use as an alternative to guns. One of my only complaints is that here really just wasn’t the amount of puzzles that I’ve come to expect from a Tomb Raider game. There are puzzles that are integral to the game, but it just felt a little lacking for me. You could tell what your upcoming tools would be simply by having a look around at what you couldn’t climb. Sure it was a little predictable, but I can forgive it this one thing.
I really liked the music and sounds of the game. They conveyed mood and drama very well. I didn’t find annoying, repetitive or boring. There’s not a lot I can say about the music than that.
Visually the game is stunning. You have this deserted island full of mystery and wonder surrounded by this impossible storm. The world around you is rendered in a very believable way and really has been thought out and deigned nicely. It felt like a lost island filled with a mythical ancient story just waiting to be discovered. Also, video games have had hair issues for a long long time, but this has made some great improvements. On the PC version you get to use the TressFX engine which is a special engine for just rendering the hair. Just wish it had been in the console versions too.
Ya know really did like he prequel a lot. My only gripes are the lack of more complex puzzles and it really felt kinda short. Even with doing a lot of exploring and completing about 90% of the game extras outside the main storyline; I only got about 16 hour of play from it. I know that’s pretty much normal these days, it still feels like it’s too short. This isn’t uncommon for me though, I don’t want the goodness to end.
Go get the game. It’s definitely worth it
I originally bought Borderlands 2 for The Hubby as he was a great fan of the first game. This time though he managed to rope me into playing it through with him using the co-op. So we played through it together even though he’d already finished it and maxed his character and all that jazz. I very fast found myself becoming addicted to this game. We easily clocked up a good 20 hours of play that first weekend.
Many games have multiplayer, but usually it’s over the internet only. Not a lot of games have same machine on screen co-op and I’m always so happy to find ones that do so that me and The Hubby can play together. Although I have no idea how people with normal sized TVs do this. Ours is 50 inch and it’s barely big enough. TV size may be a post for another time. So, the fact that there was a co-op on same screen/system in the game made me happy. It was there in the first game too, but for some reason the first game just didn’t grab me like this one did.
So we’ve finished it now and we’re currently on our second run through on the harder setting and it’s proving to be quite the challenge. On normal mode with 2 players, the game already scales things to be harder since there is more than one player. This is actually rather impressive. I watched The Hubby play it on solo and compared it with what we’d seen in normal and harder modes; there’s definitely a difference. The first thing is the amount of bad guys for you to kill, but also their toughness is subtly more hard to kill if you’ve got 2 players compared to one. In the Vault Hunter hard mode there are very obvious differences. The Badasses really are badasses and make you earn the XP you’re getting from them. The un-armoured Maniacs who run at you are suddenly Armoured Maniacs and a bit more of a challenge.
It’s brilliant. Seriously, Gearbox are fucking brilliant. The co-op is absolutely masterful.
I don’t know if I can explain the intelligence that the developers have coded into the co-op and the difficulty differences. They didn’t just decide to throw more bad guys at you just because there is 2+ people playing or to just crank up the hardness of those you gotta kill. No, they gave it some thought and it really makes the game that much more fun to play.
Intelligent difficulty instead of fucking hard for the sake of being fucking hard.
This intelligent design carries through all that they’ve done with the game. The button mapping (at least on the PS3) is smart and easy to use and remember. The inventory/mission/maps/etc screens are simple and easy to use. Something that made me extra happy is that they made it easy to compare weapons. Nothing annoys me more than not being able to easily see if the big gun I jsut picked up is better than what I’m using. With an easy interface, everything falls into place wonderfully for Borderlands 2.
The above would be nothing though without all the other bits and bobs that make a game great, like the sound and video.
Gearbox have taken that extra step with the graphics that leads you so much further from the photo realistic-ness of so many games out there. Yes it’s cell shaded and beautiful, but it’s also very stylised. This stylised approach really helps with world immersion and looks rather fabulous to boot. I really cannot fault the visual style and approach.
Now I really can’t say how much I like the music choice for the game. The title song is by The Heavy and is a song titled Short Change Hero. This song sets the scene well as the unlikely hero for the game and has this funk blues thing going on. The composers did a good job of integrating little riffs from the title song throughout the gameplay. You’ll end up humming this song hours after you’ve stopped playing. Of course the downside of this is that while you’re in the middle of your work day humming the song, you’ll end up really craving the game. I speak of this from experience as I’ve bought the album with the title song on it and now it keeps getting stuck in my brain.
So for the story we’re looking at the repercussions of the vault being opened in the first game. Your primary nemesis is Handsome Jack, but like any bad guy he’s a bit of a nasty character. Generally I’d say the story is a “World Domination” scheme, but getting there is so much fun and very not run of the mill. You can expect Killing, great characters and plenty of car driving action. I don’t want to give any of the story away. Even though I didn’t play the first Borderlands game I had no problem getting stuck into the story of this instalment.
Seriously, if at this point you think I have anything but a massive addiction and obsession with Borderlands 2, then you’ve not been paying attention. The game is fun, has a great sense of humour. It looks fabulous with a very well done cell-shaded art style. The gameplay is easy even if, like me, you’re a bit shit at FPS games on consoles. The game is very well put together and Gearbox should be very proud of what they’ve done here.
Considering that I’m such a lazy gamer, I’ve been infected with the sudden need to dance, and party, and just be lively. After meeting the Ubisoft Reflections guys in Newcastle, I got a shot at Just Dance 3 for Xbox 360 and it was a barrel of laughs! Still unsure of whether I should venture out and grab Just Dance 4, I took a trip to the Metro-centre where the same guys were helping GAME celebrate it’s release. I had a blast there too, and quickly decided to rush out and buy the latest instalment of Just Dance.
Like any music game, the songs available are important to the player. Previous Just Dance games failed to disappoint with songs such as Funky Town, Barbra Streisand and Party Rock Anthem. The new game also has a great range of songs, making playing JD a great addition to any party. I’ll name a few I can think of:
Las Ketchup – Asjere (The Ketchup Song)
One Direction – What Makes You Beautiful
Flo Rida – Good Feeling
Maroon 5 – Moves Like Jagger
Rick Astley – Never Gonna Give you up
So there’s a few of the songs available and it keeps to the tone that was set by the previous titles. There are a few songs that I wish weren’t there, but that’s all down to personal preference. I don’t quite understand Skrillex for example, but I’ll still give it a go.
Dance Move Precision
Like all dance games, they ask you to complete a few moves and they grade you with an overall star rating and a mini grade for how you pull off each move. Whereas Dance Central make their grading of moves a little more visible (around the dancers feet and glowing limbs if you do it wrong) JD places it above your character and next to your dance-card.
You do get better scores for better precision, naturally. However, when the game has you twirling, ducking, weaving, and more it’s very hard to see what you’re meant to be doing, and you start to ignore your grades.
Just Sweat Mode
Just Sweat is the JD equivalent of a dance workout. There are multiple classes in which to choose from, sorted by the style of music they use, and add in a few extra short routines specifically for the workout such as stretching. There are a few workout length choices too, ranging from 10 mins to 45 mins, and I’m sure I saw a 1 hr workout in there somewhere. Nevertheless, I tried them all out in a bid to get fit for Halloween…
They are pretty good I must say. I started at 10 mins but it didn’t seem like long enough for me. I was only just working up this sweat that the mode had so promised me, but was soon to regret choosing a 45 minute cheerleader workout. My shoulders are still sore now, probably has more to do with the fact I’m rather unfit. The routine was great, it lets you know when they are cool down sections and intense sections, and tells you the calories you’ve burned at the end. My only issue with the calorie count is that, unlike DC where they ask you for weight, this game does not, so it makes me wonder how it’s calculating this…?
I can’t really think of the downsides of this game, but if I had to share what I thought was bad…
– I couldn’t play this on the Wii because every time I do, I seems to whack myself with the Wii-mote. It’s hardly a complaint but when you do hit yourself it really hurts.
– Playing certain songs by yourself allows you to realise how lonely you are. Barry White’s song is a 4 player dance group and you can look really silly doing it alone. The same with Asjere, Time of my Life and Time Warp. Forever Alone 😛
– Justin Bieber (but that’s down to preference)
– With bigger dance groups you need more space otherwise it becomes difficult. The Wii doesn’t have so much of a problem, but the Kinect needs to see everyone and they all need to be in the right place otherwise it goes a bit nuts.
– Not enough DLC songs but I suppose the developers need a little more time to add them.
– There’s also the problems that accompany most motion gaming, such as calibration of the sensor, which can become a little irritating but it’s not a major issue.
In conclusion I’d say that Just Dance 4 is a great party game and is a lot more fun when with friends, as you can have a laugh at each other whilst doing the silly routines they have planned out for you. It’s still good as a 1-player game but it feels a little more like a chore after a few songs. Plus, after a while a few of the songs you’ve never heard before start to grow on you. Just need some more songs to dance to and I’ll be happy.
*note that I do not review the multiplayer element of ME3, as I’ve barely played it, hopefully someone else can cover it – I did find it mildly enjoyable, however!
*also note that whilst this review is as spoilerfree as is humanely possible, links to videos and the like will not be! The key reason of this review is to convince the 6 remaining people in the world who havent played any of the series – especially women – to play it!
Now, let me be clear.. up until recently it was not entirely certain where that comma in the title would be placed… because it was only very recently that Mass Effect 3 (and by association the entire trilogy) was truly finished. Also because prior to the “little” addition of the Extended Ending brought about due to fan outcry it could be classed as “late” as in dead.. dead to me and dead to many of its fans. The addition of the extended ending (in my opinion) saves the series and makes replaying it viable. It is frankly baffling that they thought the original ending was satisfactory in any way. However, I get ahead of myself, lets talk about the games first, and then after we’ll talk a little about the debacle that was the conclusion to the series.
Mass Effect was launched in 2007 exclusively on the Xbox, though it was later – thankfully – also released on the PC, and the subsequent sequels on PS3, PC, and Xbox. It has to be said that PS3 players have got a bit of a raw deal with Mass Effect. No first game, 2nd game delayed by a year, third game’s extended cut released nearly 2 weeks after everyone else got it. The game was a departure from Bioware’s staple of RPG style gaming, aiming as it were to introduce shooter elements, along with squad management and resource/weapon modifications. It was also a brave new move for the gamestudio, as here was a completely new setting featuring original characters in a wholly new created sci-fi story world.I picked up the first game cheaply in 2009 on the Xbox (not my preferred gaming platform) and after initially grumpily grumping about the controls quickly warmed to it, though I largely ignored the whole weapon upgrading and squad special power management thing. I was hooked on the whole RPG element of the game, especially due to the option of playing as a female protagonist in a world where the gender of the lead character was completely irrelevant = equality, feminist fans 😀
There is something just so cool about wandering the corridors of a military starship that you are the Executive Officer of and seeing the crew salute you as they encounter you.
The story was an interesting one; in some ways it reminded me of Halo, in that it almost felt like you were being plunged into an already started storyline, and you have to pad out your knowledge of the world you’re exploring.. well.. by exploring it. 2183: The Human race struggles to find its place in a vast galaxy governed by a stern and suspicious multi-cultural Alien council at the apparent onset of war with an invading ancient force known as “Reapers”. Characters are well defined, superbly animated with lots of emotive behavior complimented by superb voice acting. Later on in the game there are some pivotal choices to be made that cause genuine pause when the player is confronted with them.
The repercussions of those decisions are felt not just within the game itself, but ultimately in the sequels too; hence the importance really of playing all three. It is because of these decisions shaping branching personalized elements of the plot, that so endears the games and their characters to its fanbase – making some events so desperately affecting later on. This level or attachment to game characters was something very new to me I have to admit.
Mass Effect 1 ends on a cliffhanger of sorts, but most satisfactorily so, in a way that meant that even if it never got a sequel, it had a definite feeling of self-contained closure.
ME1 Gameplay summary:
RPG, lots of shooty, lots of pickingup/buying resource management, lots of squad power management, some puzzles (mostly doors)
The sequel was released in 2010 (which I bought on day one this time!) and introduced a few changes to the game dynamic. Many of the micromanagement elements of the squad and special power/weapons were simplified; good for me, but perhaps less so for others.
Another feature that was dropped: the “Mako” sections from the first game, essentially an awkwardly controlled vehicle used to explore and travel between areas. I for one missed this, as I thought it added a larger open exploratory element to the game. Though ME2 had a much more linear plot direction. The game has an incredibly dramatic start that re-introduces you comfortably to your familiar setting and characters from the first game before violently taking them away from you (and vice versa).
What follows is essentially a “magnificent seven” style building of a new squad/crew that may or may not feature characters from the first game. One interesting plot device element is the removal of your love interest (if you developed one) from the first game, leaving you to either develop something new with someone new or remain faithful to your original love interest, in the hope of reuniting later.
This second iteration of the series introduces many new characters and elements, now all very well established in the narrative’s universe, with even better performances from the leads. Martin Sheen puts in a fantastic performance as the shadowy puppet master “The Illusive Man”.
The second game also introduces much heavier repercussions to decisions and/or lack of development of resource finding. The latter being quite an unnecessary nuisance I thought, but again, I was never one for the whole resource management/finding/buying stuff… I would go on to quite painfully regret this at the conclusion of my first run of the game!
Some of the characters introduced new in the 2nd game are somewhat two dimensional, others prove to be very interesting. Jack, the fierce biotic jailbird being one and Miranda the seemingly cold, perfected human being another. Characters met in the first game returning get much better fleshed out, BessyMate Garrus, I’m looking at you 😀
Some new elements introduced this time around prove to be a little annoying, I was often very concerned that Miranda seemed to be talking out of her improbable arse a lot of the time, as in literally, simply due to the amount of camera-time aforementioned derriere got.
ME2 proves to be quite the successful sequel, with a gripping conclusion that has multiple branches (including one where you – the lead character – die!) albeit giving a portent of what was to come with a sort of colour coded finale. Another welcome new introduction are the “loyalty” missions that you do or don’t, these determine how close a relationship you develop with your crew members, which may or may not affect the conclusion of the game, and its final chapter.
One thing I will confess is that I found the shooty element of the 2nd game quite fatiguing… so much so that 2/3rds into the game I took a several month break from playing it, as I was genuinely tired of some of the relentless sections in the lead up to the final “suicide run”.
ME2 Gameplay summary:
Lots of RPG, too much shooty, less weapon/resource pickup, but mining/planet searching element added and tied heavily to ship upgrades, more puzzley bits.
…which brings me to 2012 and this finale of the series which introduced a “Story Mode” to a joyous me. Story mode removes the reliance on shooty bit proficiency in order to progress the story, and features much more story development *during* those sections, as opposed to the previous game’s “talkalot,shootstuff, talkmore,findstuff,shootstuff,talkalot” apparent structure. What Story mode effectively offers the player is a heavily dialog involved version of events that means you don’t have to be so good at shooter style games in order to get through the game, a real welcome option for players like myself. The other two options available hopefully fulfil other player’s desire for full-on action with little dialog, or a “normal” mix of the two.
Mass Effect 3 starts ominously, darkly, pulling no punches, and featuring a sequence of events before even the title appears that had me having to be consoled by one’s otherhalf, as I was a blubbing mess! Once the preamble of the story is set in motion, the game falls back into fairly comfortable shoes treading the path defined in the previous game – exploring, team building, plot development. The linearity of the plot is tightened further than the previous game, but still allows for going off the beaten path.. though this is problematic due to the overall plot-spine being so strong – you feel that sidemission “fetch” quests and the like are stupidly unimportant in the grand scheme of the things, so I felt that there should be a talk option along the lines of “What?! Are you mad? There’s a war on! Find your own damn <object> !” – however, at least this time around they have the conceit that doing these wee tasks contributes a small part towards the greater war effort by adding to your “Effective Military Strength” or “War Assets”
It is ME3’s action setpieces where some truly awesome plot development occurs and how these events play out is often highly influenced by decisions in the previous games. There are some parts of this final chapter that present some squeamishly difficult choices to make, and it is a testament to the quality of the writing and story that they are so difficult to make at times. At one point such a dramatic moment occurred that I could not bear the thought of continuing with that decision/event made canon, that I went back a whole series of saves to try and “correct” it – only to learn that the game was effectively giving me – to throw a Star Trek reference in – a “Kobyashi Maru” – a no-win scenario… how ever I played it, there was going to be some form of terrible repercussion.
For me, this is why Mass Effect 3 is the strongest of the trilogy, as by now you are familiar with the characters, the environment and the illusion of your choices creating a unique and personal story to you creates a player/game involvement that I have never before encountered. I found it very difficult to objectively review this game, as to me it seemed to transcend the definition of “game” into something beyond the kind of emotional investment that a really good movie might engender in its audience. You might say that the Mass Effect Trilogy as a whole was a synthesis of the medium of cinema and videogames. Ha!
ME3 gameplay summary:
Player tailored, but as it pertained to me: Lots RPG, perfect level of shooty, zero *required* resource /squad management, minimal puzzles. 90% plot/character interaction driven.
One of the game series’s other controversial (at least if you happen to be FOX news) features was the Love Interest. In the first game it was possible to romance one of 3 characters, this was expanded in the 2nd and 3rd game, allowing for faithfulness to the first game’s LI or not. The first two games featured the option of lesbian relationships which were nice enough, though likely mainly for male titillation, as it would not be until ME3 that gay male relationships would be an option. I’ve watched how these unfold via youtube (does this count as watching porn?!) and think they are lovely, though the option of recently bereaved shuttle pilot Steve as a potential Male-Shepard conquest annoys me! I’m amused at some player’s love triangles they have created themselves throughout the course of the games. The actual lovemaking scenes themselves are (I think) very tastefully done and, certainly in the case of the third game (I can’t speak for ME2 – Monogamous Kate Shepard, see), add to the emotional gravitas of the story.
It was therefore a tragedy to me (and a large number of ME fans) that the last 10 minutes of the trilogy finale seemed to throw a leftfield turn of direction with a seemingly abrupt nonsensical ending filled with more questions than answers, which was very much the opposite of what was promised by Bioware in the very high profile marketing campaign leading up to the release of the game.
I think even Bioware underestimated how invested in the story their fanbase was and how actually emotionally hurt they were by the game abrupt ending. This feeling of loss spawned some great things though, with enterprising players dealing with the very real feeling of grief they were experiencing by advancing the story through art and storytelling; there are some absolutely stunning fanmade works out there, I’ll put some links at the end of this article.
Now, there’s no doubt that either through a bizarre overinflated sense of “artistic integrity” Bioware decided to create a very ambiguous set of endings that leave story threads blowing in the wind,or they rushed the game out in the end to meet deadlines.
I for one believe it to be the latter, as there were many other little inconsistent failures in quality assurance in this final chapter at launch. Throughout the trilogy one of the most important and awesome features is the ability to import your save from the previous game, continuing your “universe” based on your choices previously in the series, as well as your own custom appearance. The import worked in ME3, but not the appearance part; forcing you to redefine your appearance as best as you could. This was not fixed until well after a month following the game’s release, by which time the majority of players had finished the game and were probably suffering PME3TSD. There were also other glitches that affected gameplay and player story immersion. Getting stuck on bits of scenery, terrible terrible character animation clipping and an increase of “uncanny valley” factor in NPC performances with some very notable exceptions (love interest characters in particular are so emotive in their face animations it hurts! – though aforementioned bugs caused my love interest to disappear mid-snog at one point!) If there was one thing that was definitely a mistake on Bioware’s part it was that the last words you essentially see at the end of the game are “PURCHASE DLC” – it was like after wooing you with 100’s of hours time invested in an involving story… ABRUPT ENDING! Hahahah! Buy more DLC!
On the subject of DLC; ME1 had a few bits and bobs of DLC, nothing particularly earth shattering (so to speak). ME2 had some very notable packs; most especially “Lair of the Shadowbroker” and “Arrival”, but ME3 caused controversy by having day one, on the disk DLC that arguably should have been core content in the first place.
So it seemed that Bioware were so taken off guard by the subsequent huge outcry (most of which was valid, though there were a few that really were hurt and wanted a genuine 100% happy ending) that they relented and announced a forthcoming “Extended Cut” version of the ending would be released for free. This unprecedented announcement was treated with hope by many of us and disdain by others. I would hazard a guess that the disdain mostly came from those who played the game as shooters first and foremost with little emotional investment in the story. Around this time talk of the fan-based “Indoctrination Theory” was at its most intense and whilst I admit to being disappointed that in the final analysis it was rendered nullified by the EC, I think that what we got restored my love of the series and made the thought of replaying it genuinely viable. Whereas without the EC it felt as no choice in the entire series ultimately mattered, so why bother to replay?
With the EC DLC in place the 3 original endings that were 95% similar in content have been replaced with a possible 5 key iterations with subtle further variations within each based on player’s choices throughout the entire series, as well as some small other additions to the story in the run up to the finale, including a beautiful if improbably set farewell to your love interest. Also, very importantly each of the choices becomes an actually viable choice with “lots of speculation” as to its repercussions beyond what is now fully expanded in the new endings – a previous choice that was largely written-off as “BAD” seems to now have captured fan’s attention for its possibilities beyond what the game actually shows.
So, I can now say unreservedly say that the Mass Effect trilogy is to me, the finest, most involving, emotional gaming experience I have ever had, and that description is a disservice to it. As I’ve already mentioned I feel it transcends interactive media as we know it, it is more than game, more than a film. The combination of solid writing, a good sci-fi story, stellar performances, cinematic sound and music design elevates it to a level beyond anything I’ve seen before, as long as you get “into” the story and those characters, which both my partner and I did through the associated audiobooks, and comics.
Oh, the music… ME1 and 2 had some fantastic music, memorable themes, but by the third game the ante had been upped to such an epic level, the involvement of cinematic composer Clint Mansell working with the existing composers raised the bar highest of all. Even now, listening to the soundtrack as I write this, I feel myself welling up when certain tracks play. When it comes time to vote for Game of the Year, I might find myself umming and aaahing about ME3 the game, but the music+sound will wholeheartedly get my vote. This is the year that a Reaper’s “HwAAAAAAAAAAAM!” may match R2-D2’s warbles for zeitgeist familiarity! That was something I wrote about in my own blog, in that Mass Effect may have become a new generation’s Star Wars, but I feared it might have been similarly struck down by its original ending as Star Wars was by a director with CGI OCD!
Before the EC DLC, the idea of playing pay DLC set during the story arc leading up to the end was unthinkable “Whats the point?” being a common reaction amongst players, but now it seems like a much more viable option. Rumour of elements from a forthcoming DLC being stealthily delivered as part of the EC DLC only fuels interest.
And thats the important difference, we are now left wanting more, as opposed to sitting in baffled, hurt silence needing more, in terms of an explanation. Mass Effect was never meant to be a bleak 70’s style sci-fi with an atonal soundtrack and a huge “?” final frame. Bittersweet, emotional – yes. Twin Peaks or LOST – no. Its also worth noting that even with the EC, several of fans’ complaints still won’t have been addressed; and by that I mean collected War Assets – only the key biggest ones feature in the end game, when likely some will want to see them all, but these are minor complaints given what they have fixed.
I now outwardly firmly place myself in the “battleworn, sad, but content” camp now its over.. but secretly I’m a very upset geeky fangirl that I wont be witness to any new adventures of Commander Shepard (I will miss Jennifer Hale’s voice performance in particular), and not be around to raise any little blue children with Dr. Liara T’Soni :*(
Fan-made content of note:
Koobismo – maker of the fantastic alternative timeline ending comic: Marauder Shields – his Audiobook version is a thing of awesomeness.
Neehs – maker of animations and stills that fulfilled many a player’s emotional needs post-game! Linked picture is still my wallpaper across all my devices! His Alternative-ending video was a truer bittersweet end before the EC was released!