Terra Nil

Most builder games have you break down nature to add technology. Nature is viewed as chaotic and random, whereas technology is clean, orderly, and proper. Civilization and SimCity are the grandfathers of that particular mindset, and truthfully, it is often the foundation of most urban engineer educations. Yet, it’s 2021 and this planet is having a hell of a time supporting us. We are going to be gone long before it. So perhaps our hubris that we somehow mastered the complexity of millions of years of evolution and balance is a tad off…

Ok, weird rant aside, there’s an interesting game making some social rounds on rebuilding greenery. We’ve seen a few of these in the past, though mostly relegated to terraforming Mars in some fashion. (And then, only terraforming so that it can be torn down and technology can take its place.) The game in question is Terra Nil, which is a rather small demo you can find on Steam.

Small in the sense of less than a gig in size, and effectively just the tutorial without the ability to save. You get to see the large brush concepts here, and a “full” playthrough is about 20 minutes. As much as it’s a game, there are metrics and bars and whatnot, it also feels more like building a zen garden.

There are no people in the demo, and all the technology in use has as a sole purpose to improve the expansion of nature. I used a solar dish to burn a field, to make ash, in order to grow a giant lush forest. I’ve dug trenches to increase the sprawl of water and then turned them into marshes.

The rules of the game are pretty simple, and the tutorial is more like “here’s things, figure it out” than actually helpful. But games are more than a set of buttons. The best of them put you in the conductor’s seat for a private journey that feels self directed. A movie where you can’t really see the edges of the set. There’s a spark here of that, some potential. Who knows what we’ll get in the end.

Mario Party

There are few games that can break up siblings like Mario Party. Back in the day we had an N64, and we’d huddle around the TV with my dad and play whatever multiplayer game was available. Wave Race, Mario Kart, GoldenEye, and Perfect Dark all got tons of playtime. They each were digestible pieces of excitement. My dad really loved the racing ones, I’d like to think it was more because they were truly 3D and he could follow.

But Mario Party – that thing I’m sure has caused more divorces than the set up of IKEA furniture.

The game concept is simple. You roll a die, move around a gameboard, collect coins and stars, then at the end of each round play a simple mini game to collect more coins. Social boardgames are exactly that. There are highs and lows, and some crazy trashtalking. Heck, sometimes you just get impressed at some folks ability. The games generally last for an hour, which is just the right amount of time.

Where Mario Party moves the needle is in the competitive and almost backstabbing efforts players can take. The mini-games are either 1v1v1v1, 2v2, or 3v1. You’re never really in a team for more than a minute or so. And they are always competitive – like you can knock another player off the map. In the older games you’d often team up with another player, and then one would betray the other because, you know, there can only be one.

The board also allows players to steal coins and stars from other players. Coins are easy enough to get, and they are a method to acquire items or stars (10 per). The player with the most stars wins, if people are tied, then the amount of coins determines. The original Mario Party has so many catch-up mechanics, and gave out stars like candy that you could easily see 3 or 4 stars move between players per turn. I can’t count how many times I thought I had an insurmountable lead on the last turn, only to end up losing because my stars were poached. Local multiplayer + going from lead to 3rd place = outrage and laughter.

My daughter got Mario Party for the Switch, so we gave it a shot just the two of us. It’d been quite a while since my last go, so I wasn’t quite sure what to expect. We opted for the Bobomb board, and 10 turns on normal.

Countdown completes and you’re in the middle, say goodbye to half your coins!

It’s interesting to see all the new bits they added to the board, so that dice control is more than just rolling the biggest number possible (it still is for a LOT mind you). Being able to add more die to your pool is pretty cool too! The size of the board feels good, and tons of branching paths. I recall this being a challenge in the original, where you could easily end up continually on the wrong end of the board (hence the catch up stuff). The mini-game variety is good, with a lot of close calls. The 3v1 games are still the highlight to me, because the odds are just not in anyone’s favour. I do have a general dislike for the rumble games…

The game still has catch up mechanics, my daughter was given a +5 die roll item in the last 3 turns and she used it to go from last to first. I lost a star to an NPC. The final score had me with 3 stars winning the game. That’s a whole lot less than the 8-12 stars from previous games. It does mean there’s less “stealing” wins here, and puts a whole lot more importance on each turn being successful. There wasn’t a point where there was more than a 1 star difference between any player… and I don’t recall that being the case before.

The winning part wasn’t the cool bit. It was really the reactions we both had for each mini-game. Some were mundane enough, others were both of us at the end of our chairs, or standing up with the tongue out. The classic hot potato game is a highlight of craziness. We both had smiles for an hour and had a blast getting all the way through.

I can see some fun games nights ahead. I keep getting impressed by the social aspect that Nintendo somehow keeps bottled up. Guess that’s why Mario Kart 8 has sold something like 35m copies – there’s just something about playing with other people and it not being about headshots that is missing in gaming. I’m oddly enthusiastic about a new Mario Golf!

Get the Nintendo Lawyers

Super short one, just pure amazement at the brass set here.

I get that mobile app stores are chocked full of scams and reskins of other games. It’s marginally better than the cess-pool that is Steam. Any search for an easy dollar I guess.

Check this one out:

I’ve spent well over 100 hours playing Hades. It won numerous Games of the Year awards. It is built on the SuperGiant art DNA. There’s artistic license and influence, then what is effectively a cut and paste. It’s 2021… there’s no way that something like this isn’t going to get bad press. The only other game I can see from this developer is a FarmVille clone (there have be 10s of thousands now) that uses Disney princesses as avatars – heck even the Disney castle is in their material. Hence the brass set comment above.

The lawyers are certainly looking at this, but it’s a weird time here where you kind of would be interested to see what the Nintendo or Disney lawyers would do here.

Age. It’s a Fact.

Age is an interesting thing. It’s inevitable, but manifests differently for us all.

My grand father was an active man until he passed this fall. Active in the sense of 2 hour daily walks, planting gardens, trimming trees… things that people half his age didn’t do. My father was an all-star athlete is his youth, but that didn’t stick around as he got older, and larger. It’s a weird topic to have with your dad. When my youngest was born, I do recall casually saying it would be nice for them to be able to grow up with him as I did with my grandfather. Since then, he’s pulled a near 180 in terms of overall health and activity.

My father-in-law was also an athlete and his career path was as a tinsmith, and to some degree, a handy man. He hunts, and loves to be outdoors. His self-worth is based on what he can do with his hands. Well, years of that has had a cost, and his back just can’t take it anymore. He’s had surgery. He still thinks he’s 40 years old, acts accordingly, and then his body more or less shuts down for a while. He doesn’t live alone, so that has an impact on the people around him. He’s just not able to accept that he can do less and still have a full life.

My birthday is coming up, and I’m certainly in what folks call middle age. I don’t feel old. There are some things I can’t do today that I was able to do when I was 20. Most of those things just don’t interest me anymore, so it sort of works out I guess. The things that I do enjoy, I can still do well. I don’t feel like I’ve lost a step in any particular field, if anything I feel that things are easier because of experience. Don’t get me wrong, I am finding it painful not being able to play hockey due to the pandemic… as much for the physical aspect as the social. I’m quite antsy for that to come back!

As I’m watching my elders get older, and my kids grow up, I’m coming to terms with the concept of age. As much as I’m my dad’s son, I’m my kids’ father. The expectations are different for each role, yet I’m fortunate enough that my dad has been really good with that evolution. Sure, there’s some deference to him in a few areas, but it’s still adult level conversations and respect. I’m not indebted to him raising me, which I always find a fascinating space for some of my friends.

I’m coming to terms that at some point, I will be less than I was in areas where I take pride. I’m less worried about it on the physical side… or perhaps because it’s physical and we can see it everywhere, it isn’t so much a surprise. Yes, quality of life, but that’s a different topic than just not being able to lift a couch. The stuff that really gets me is the hidden part. My wife’s side has a fair amount of dementia. Seeing a fully able person lose their mind is a terrifying prospect! I’m overly fortunate that this is not something on my side of the family, so less of a concern I guess. And yet… my mind is what makes me, me. So I can’t mow the lawn, big deal. If I can’t read, or remember what happened yesterday, there isn’t someone else that can do that for me. It’s the most isolating of all things.

This is a really off topic post, but my thoughts of late are really focusing on my centre self, my purpose, goals, and fears. Changing jobs often triggers this reaction in me, because it’s such a LARGE impact. This blog gives me the ability to put words to ideas, to digest concepts, and to move forward. It’s an interesting concept…publicly writing personal thoughts. A sort of side appreciation to it all I suppose. A cathartic act. A much needed one at that.

Crazy Days

Last week I officially had a new boss (she was here for about a month to learn the org). Last Thursday we got a new puppy (mini golden doodle). This Monday my old boss came back into my position and I took over a different group. This Monday I had an interview for a promotion, which I’ve spent nearly 2 months preparing for. And yesterday, I received a vaccine shot.

So in terms of stress factors, I have work, a new dependency, financial items, and health all as triggers. I’m only missing relationship challenges to pile on for a perfect storm.

A new boss comes with the requirement to build a new critical relationship and reset of my mandate. Every new boss wants to make an impact and they have their own approach to get there. We’re in the execution phase of a ‘can’t fail’ project that impacts a few hundred thousand people, so there are some limits to flexibility in change.

A new puppy, as anyone who has had a dog can attest, like brining a dependency into the house. The good news is that she’s already had some basic training and has a calm demeanour, and she sleeps like 15 hours a day. But there’s the nipping and good habits that need to be instilled, so work in that sense.

A job change in a brand new team is easier than to a sister team, because there are no expectations. This lateral move means I need to modify my existing relationships and then build a different one since my old boss is now my peer. To complicate matters further, we have different methods to achieve the same goal, so there’s some challenges in consistent messaging. Nothing that can’t be managed – if it was the only thing.

The interview for promotion is one I’ve been training for a while now, nearly 2 years. The last 2 months have been the larger process of triage, testing, and then interview. I have no doubts about the capability to perform, but I am recognizing that any promotion is less about the ability to execute than the ability to dance. It’s a rather obtuse dance that only becomes clear once you’ve taken a stab at it – yet its also the most fair approach to avoid nepotism/favouritism. I think I did a solid job, but now it’s about waiting a few weeks to get the final results. And then, the real choice of what I want to do once if I get it. That choice will impact me for the next 3-5 years.

And then there’s the vaccine. I live in Canada, where the rollout has had a few hiccups but seems to be going rather well now. I’m not essential, I can work remotely with ease, I am young and without conditions… so all of this put me near the back of the line. No stress from that factor, but a whole lot of social anxiety that as a country we can hit the proper immunization numbers to find some normalcy. It’s been an adventure to talk to all sorts of folks on this, either hesitant for the unknown side effects (understandable!) or downright anti-vax (where Darwinism isn’t fast enough). I try to be inclusive and pragmatic, there’s a reason people think the way they do and sometimes discussing it you can find common ground. In some cases however, their personal stress levels and need to find a scapegoat have pushed them into a spot of no return. It sounds weird, but it’s quite similar to an addict. They need to want help. It’s not fun.

So yeah, let’s just say that it’s coming at all sides, all at the same time. I’m more than fortunate in multiple ways, but it would be foolish to think that I am coping well. So some work to do to get back into a good mindspace by the end of month.

ME 3 Thoughts

I finished up the campaign the other night and, as with most games, I have a couple thoughts I need to write out.

First off, ME32 has aged really well. It’s 9 years old, but would still be a decent new release today. There are many games that are a zeitgeist, where the only fit in their time period. ME3 is lucky in a sense that it was a refinement of as-new model of action and RPG mergers. And honestly, it looks better than Andromeda.

It would be hard to ignore the social impacts of ME3, where the gamers tried to take ownership of creative direction of a game, and the developer conceded. Without access to the ‘non extended cut’ version of ME3, it’s hard today to have a real apples to apples conversation about the changes. Instead we have to remember through wiki entries, where the original launch had quite stringent requirements on what options were presented to players, and then what the consequences where of those options. Not decided on actual choices in the game, but frankly by the number of planet scans you had performed. Curing the Genophage still has no actual impact on any gameplay, or ending. Saving Miranda in ME2 doesn’t change the fact that her father still does the experiments in ME3. The illusion of choice rears its head in fierce fashion in ME3.

Tangent Time!

  1. Asimov’s Foundation series is celebrated because of the ideas it brought to the table without the need for violence. It celebrated diplomacy and scientific prowess to solve galactic issues, and generally looked down upon the military complex (pre-quels aside). The series ends with the creation of Galaxia (a planet where all organisms are interlinked) and the merger of AI and organics (Olivaw). The concept here is that the resolution of differences is only accomplished by merger rather than annihilation or assimilation. That sociopolitical concept is still a challenge today, what with diversity feeling like a 4 letter word. Yet the concept has been essential in sci-fi for nearly 70 years.
  2. Final Fantasy has a habit of a last minute bait and switch on the villain, where 95% of the time you think the ultimate baddie is say, Kuja, but in reality it’s the essence of death, Necron, who was the bad guy. No setup, they just pop up and that’s the bad guy.

Back on Track

ME3 tries to take this concept and expand upon it, where you are provided the choices of Destroy (all synthetics die, but will certainly be re-created and cause a war), Control (which is arguably Dune 2.0), or Merge (synthetic and organic merge of sorts). The challenge with this line is that none of the options are earned, doubly so if you have not played the Leviathan missions.

ME1 is about the Reaper threat to destroy the galaxy. The reasons are not provided aside from it being a cycle. When the game ends, you haven’t stopped the threat, simply delayed it.

ME2 has little to do with that specific threat, but the proxies around it. It’s a borderline McGuffin, with a weird twist at the end for a human/reaper hybrid. But that’s not the story. The real story is the rebirth of Sheppard and the building of a team to explore the galaxy’s various internal threats. You fight political battles way more than Collector/Reaper battles. Heck, try naming the bad guy here?

ME3 merges these storylines into a concept of unifying the galaxy in order to fight the repears head-on. There are no compromises possible, that was made clear in the first two games and most of this one. There are no alternatives, it’s entirely focused on using the Crucible (which you don’t know what it does until you use it) and the Catalyst (which you don’t know what it is until the final mission). Up until the last minute, the only option you can think of is destroying the Reapers.

Then you learn that no matter what choice you have made, at any point in the entire game, none of them have any bearing on the larger choice. Instead, it’s a point system that determines what choices are present, and the scale of those choices (either Earth survives or doesn’t). It’s a curve ball, with no ability to prepare for the choice, limited understanding of the impacts (Control in particular), and up until the extended cut, no real understanding of why these choices exist in the first place.

There are hundreds of published sci-fi stories every year. Few of them are good, less so great. It’s really hard! Without a clear plan, and lots of effort creating the necessary breadcrumbs, it’s almost impossible to craft a complex story with a satisfying ending. I mean, look at GoT Season 8.

Even after all these years, the ending of ME3 still doesn’t work.

Paragon/Renegade

Just quickly here, the Paragon/Renegade improvements of ME2 are mostly removed here. There’s really only 1 meaningful choice here (genophage) and the rest is a tough wash. There’s only a few trigger commands available, and they are either giving a handshake or shooting someone who is about to shoot you. It’s a weird reversion to the ME1 model. Of note, the final decision you have to make is based on having explored every single Investigate conversation option across the entire game with the Illusive Man.

The Good

Enough with the bad. There’s a lot of good here.

The inventory is a great improvement on ME2, where you have tons of options and customizations. While there are simple stat upgrades, some changes are substantial (like shooting through shields). It’s powerful without feeling like its tedious.

The powers are also much improved, with faster cooldowns, more choice for a given power (e.g. recharge or damage). There are multiple enemies where fighting with powers is tons more effective than any weapon attack would be. This is a clear precursor to Anthem, and it feels really good. I will say that Liara’s Singularity power (with tons of recharge boosts) is crazy OP.

The fights themselves are generally improved, though a few too many ‘wave’ based fights. The cover mechanics work really well, and the enemy AI is generally decent. Guns have the right feel, the aim is solid, and the physics add weight to everything.

The companions are more integrated into the overall story, rather than being simple DPS items. Well maybe not James, who’s as useful as lips on an elbow. Javik in particular provides some much needed context in many quests, which further solidifies that he was pulled out of the game on purpose. It’s great to see them are more than window dressing.

The majority of quests (N7 aside) are well written and structured. The final Krogan mission with Mordin is the highlight. The DLC quest chains are a real highlight, with multiple steps and great scenery. Leviathan is foundational to the overall story, Omega is a real rollercoaster with a well-written bad girl, and Shore Leave is pretty much Ocean’s Eleven in game form. Fine, in the grand scheme they are meaningless, but on their own, they act as a sort of quality anthology.

I’d be remiss to not mention the audio. The bass reverb sounds of the reapers works to add some awesome atmosphere. The Hans Zimmer influence here is evident, with strong use of contrasting sounds. It’s an interesting mix where a video game has clearly influenced visual media in such a large form.

Residual

It’s impressive what Mass Effect was able to do. The series is a true landmark, where the sequels attempted to build on the prior ones. You can trace a lot of games and media to what was delivered here, and the Legendary edition is without question the best way to experience it all. Fine, the last 10 minutes did not deliver on the promise, but it would have been a miracle if it had. (Dark is the only thing that comes to mind that has ever succeeded in this.)

I really enjoyed my playthrough.

Off Topic – NHL Playoffs

Maybe not off topic if we met on a regular basis – I am a huge hockey fan, player, and coach.

It’s been a hell of an adjustment period for all professional sports during the pandemic, and the NHL had been relatively successful with their approach. This concatenated season, with different divisions, has made for a really interesting regular season. Normally I would only see the Oilers twice a year, but I watched nearly a dozen games this year due to the schedule. Digress aside, the playoffs are abound, and few sports are anywhere close to the NHL in terms of show. (The NBA should be able to compete, but the fundamentals in that league prevent team parity.)

I am a Montreal Canadiens fan. Go Habs Go! I’m old enough, and bilingual, that the option really wasn’t present to be a Leafs fan (who we are raised to hate). It’s been a bumpy ride for most of those years, the continual underdogs and what not. The late 90s, early 00’s were just crushing with one of the worst managers in all sports (aside perhaps Millbury). It’s a tough market, as the Habs have a fervent following, practically a religion, with very high expectations. Everyone has something to say, and when I’m in Montreal, it’s easy to strike up a conversation with anyone about the team.

This year started off very strong, then the coach lost the confidence of the room. A new coach was put in, and it’s been a rough ride since. On paper, there’s depth without a clear set of superstars like Crosby or McDavid. In practice, there’s a half dozen players who show up consistently, and are effectively the heart of the team.

Tangent Time!

I have a passing interest in most sports, I’ve played nearly all of them at some point. I don’t have the experience necessary to understand the particulars as they happen but can make the links afterwards. Watching someone like Romo accurately predict outcomes based on defensive line ups (NFL) is fascinating. It’s explained because, you know, that was his actual job as a quarterback to be able to digest quickly and react. There are plenty of other QBs that have provided color commentary, but few with the level of quality/detail as Romo.

Given my lack of experience in the sport, I’m not quick enough to see all the intricacies, especially in highly active sports (basketball, tennis, soccer, etc..) There are so few pauses in the game, it’s so reactive, that anticipation and instincts dominate for successful athletes.

I do not have this challenge with hockey. I may be amazed by a new play, or some crazy good luck bounce, but a solid 80% of the time the play works out exactly like I anticipate it to.

Back to the game!

In the playoffs though, against the Leafs no less, the team just isn’t present. I’ve been watching the games and I’m continually confused as to what system is being applied. I know how a 1-3-1 umbrella attack should work, but what I’m seeing is not at all close to it. I’d be understanding if these were kids, but these are professionals making millions… so something here isn’t lining up.

As with all systems, they are based on foundational concepts, then have variations in design based on other factors. Some teams play a box, some a diamond. Some go for a F1/F2 system. Some teams have tried a slingshot to break through a trap-focused team. These systems work with any NHL player. The modifications come when you consider line chemistry and skill sets. If you have someone who’s great at stickhandling, you have more options in a corner exit. Two right-handed defence mean you can only attack from one side. A goalie with poor stick control will have the puck thrown on their backhand.

All that to go back to the game and watching a team incapable of making 2 consecutive passes, of missing clear opportunities that should rarely be missed. The worst part is that I know they are good players, because their instincts of where players should be are correct, it’s the system that is applied is making sure the players are not there. If you don’t have stickhandlers, then you need to run a cycle offence. Montreal has 2 stickhandlers and never cycles.

To top it off, the systems played are high risk systems, meaning that if the puck possession changes, the other team has a dramatic advantage in a counter attack. Like if in the NFL every pass was for 20+yrds. You’re going to get intercepted. And sure enough, the Leafs are provided crazy opportunities in this regard.

The end results appears to be like watching a bunch of men play teens, with a near complete domination in all aspects of the game (‘cept in nets, Price is nearly without flaw). It’s so crazy frustrating to watch that I’ve had to change my expectations as that of a learning opportunity. Each of these skaters is learning (or re-learning) the lessons that unity and passion are what’s required to win at high levels. It’s some silver lining to see the really young skaters take some chances and build their confidence. They are making mistakes, no question, but they are not making them multiple times.

All that said, I do have to say that the Leafs are playing their systems to great effect. Their defence isn’t all that good, but their offence is stunning to watch. When someone like Jason Spezza (37 years!) is continually pick pocketing players who are nearly 20 years younger, that says something about passion to play. I still feel dirty cheering on the Leafs, but I can recognize a solid hockey team when I see one.

Linear vs Open RPGs

Still in the ME vein of things, given that it’s the series I’m waist deep in. A reminder that the games came out in 2007, 2010, 2012 and then 2017. Why do those dates matter?

  • 2007 had Bioshock and The Witcher
  • 2010 had Dragon Age and Fallout New Vegas
  • 2012 had XCOM, Dragon’s Dogma (Skyrim was 2011)
  • 2017 had Divinity 2, Breath of the Wild, and Horizon

Story

Those are potential markers for what the gaming landscape was at the time. ME1 didn’t have much competition, starting a new genre at the time. Also explains why the game was linear, and the options were really lower quality than the main line. Bioshock was a better game in nearly all aspects.

ME2 is different. Dragon Age and FO:NV were open games. ME2 could not take a linear approach in the larger context, it lined up better with Dragon Age in the sense of solid side quests and regular priority quests for major beats. ME2 worked because is was way less buggy than New Vegas, and mechanically a whole lot tighter than Dragon Age.

ME3 went the buffet route, with a journal chocked full of things to do and map markers to cover it all. It’s not Ubisoft’s map-icon-palooza but it’s the least directed of all the storylines. The result of this is that may of the quests are not bound into the larger story, which is much different than ME2. It’s further ironic as the quests in ME3 actually keep track of choices in ME2, but the results of these quests don’t matter other than a magical number. While there’s plenty to do (and it’s often great quality), it doesn’t tell a cohesive story.

ME: Andromeda… that doubled down on the buffet and open world. It’s really hard to draw a straight line through that game and see where the story goes. The other games listed all have this similar issue, where there’s just so much to do that it’s hard to see why it even matters. Divinity 2 has the joy of interconnected quests, though lacks a larger narrative pressure. BotW pretty much ignores the quest for the sake of exploration. Horizon actually has only a few core quests (which are inconsistent), then a hundred+ icons to fill out. In my personal take of ME:A, I struggled to see the purpose of the game. There are what appears to be meaningful quests, yet they don’t go anywhere (the AI quest is a highlight of this).

Action

I think this bears mention in that the mechanics affect the storytelling mechanic. If the story is directed, and somewhat linear, then the action itself is often reflective. Bioshock is focused, one room at a time. ME1 is the same, where it’s mostly narrow corridors. ME2 is also quite narrow, with a few side rooms for extra loot.

ME3 is where things start to change. Now you’re regularly facing waves of enemies in larger battle arenas. There are multiple paths everywhere and most zones are outside. While this looks amazing (truly), it compounds the lack of story focus. Progress is a blob, where you survive a way rather than reaching an objective. Sure, you get some war points to help a weird progress bar (who is counting, the Reapers?!) but there’s no story element that binds it.

ME: Andromeda just looks like it gave up. You’re flying everywhere, battles are almost entirely in extremely large environments, making it impractical to have close combat fights. The crappy planet quests of ME1 in the exact same small rooms at least had you move from one room to another. ME:Andromeda has no bounds, no real checkpoints. You just get a popup (or holster weapons automatically) when battle is over. I have to assume that BioWare took the ME3 criticism to heart and just avoided all the hard parts (coherent story) and opted for diving on the good stuff (combat).

I have to point out that ME:Andromeda is fundamentally the same as Anthem, in terms of combat mechanics. Given that game had no story and focused on exploration… well that worked.

What Is Mass Effect ?

My personal thought is that Mass Effect is KOTOR without lightsabers. Aliens, super powers, planets, ships, epic journey… that’s Star Wars. KOTOR is good because of the story, the combat isn’t exactly stellar. Mass Effect 1 was an interesting attempt to create a new complex story in a sci-fi setting, with generally poor combat (the queuing of 4 abilities is straight outta D&D). It resonates because at the time, the choices in the dialogue were novel and appeared impactful.

Mass Effect 2 tightened up the combat and added more meat to the story. It’s only a handful of mandatory quests, and a plethora of loyalty missions. It works even more because the story choices are more varied. The trigger events is a great touch, and allows for a nuanced playthrough. The final suicide mission is still a standout 11 years later. The world grew here.

Mass Effect 3 has a challenge when it comes to the impacts of decisions. Rather than the story being impacted you have a number in a menu that goes up – a menu that is only accessible in one place in the game. The quests are really quite good, full of great beats. The punchlines just don’t land. Which I can see why this would have been so hard, there were dozens of loose ends at the end of ME2 that players expected to close. The world ends here.

Story, choice, impact. The combat is the context. That’s Mass Effect to me.

Future Mass Effect

I doubt that ME4 could ever reproduce the game of the moment that ME2/3 had. Legendary really does a bang up job of showcasing yesteryear’s design choices and how they do or do not compare to today. ME works with a fundamental sense of exploration, of new, of today’s problems in a different setting. Why have a sci-fi setting if not for this reason?

It could try to follow God of War’s more linear approach, but that would require a crazy narrowing of focus which I don’t think BioWare knows how to do. It could try something closer to Baldur’s Gate 3 (which interestingly is not them) where it’s an open and complex work. I don’t think it has the capacity to tell complex intertwined stories like it once did. And it would be nice for them to tell a story that wasn’t based on some ancient race and a galactic threat.

It clearly doesn’t have the ability to deliver mechanically complex games. Sorry, let me rephrase that as the distinction is important. The management team at BioWare is not able to manage their project schedules to ensure the developers have sufficient time to apply the necessary polish.

I have truly no idea what type of game Mass Effect 4 would be.

Story DLC Woes

The really great part about Legendary is that you get all the DLC right off the bat. This has no real meaning for ME1. ME2 brings a lot to the table

  • Kasumi is a new companion with an interesting loyalty mission
  • Lair of the Shadow Broker, which adds some lore bits to the story
  • Overlord, another story-based DLC with a tad less punch
  • Arrival, which has you solo in some stealth sections (and is therefore not fun)

All of these came out after ME2 launched, and aside from Kasumi, can be played post-suicide mission. This helps because ME2 doesn’t really end, similar to The Two Towers. It’s all open on the threat to come in ME3. It allows them to be a sort of intermission between ME2 and ME3.

ME3 has 3 main DLC.

  • From Ashes is the day 1 DLC with the Prothean companion
  • Omega has you team up with Aria to take back Omega over a long series of quests to prep for the final battle
  • Leviathan adds a crazy amount of lore to the game, like the Silmarillion did to LotR.

I’ll quickly pick on From Ashes for a minute. This DLC was clearly carved out of the main game – the companion you get is integrated with speech into nearly every quest, and is of the sole race you’ve been trying to find for 2 games. It was insulting at launch not to have this included and the reason I didn’t buy any ME3 DLC.

Omega is weird one that adds a lot of side content and some war points to the final battle. It looks truly amazing, and I could always use more Aria. It’s also one of the only missions in all of ME3 where the Renegade path is actually preferred. It doesn’t add to the the larger story and is entirely optional. You’re not missing out if you don’t play it (but you really should.)

Leviathan I had skipped on principle. I had heard some good things, but given that it was primarily focused on lore, why go after that after you’ve closed the final chapter? The quest itself is a mouse chase of sorts, with some interesting set pieces for combat (the water planet in particular clearly inspired Star Wars ep: 9). Spoilers I guess? Leviathan are the predecessors to everything. They created the Catalyst, who then created the Reapers in their image. Each cycle creates a new reaper, and there are thousands of them. Cycles aren’t exactly 10 years long in ME, more in the thousands. It’s so foundational to the understanding of the world around you, yet you get it after you complete the game. Legendary gives it to you at the start, where it clearly should have been from the start.

Don’t tell me that’s not an awesome sight!

Post-Credit Story

For a long time, games had a finite end. If you wanted more, you got an expansion pack that added a new chapter (e.g. Diablo 2: Lord of Destruction). Adding things to the middle of the story just didn’t happen, though mostly due to coding issues. It’s always easier to add to the outside of a construct than the middle – really just like renovations. It’s often easier to build a new house than renovate an existing one.

There are certainly plenty of games that have a mode post-credits. Bethesda and Rockstar excel at this. These games more easily integrate story DLC, if that story doesn’t directly impact the main game storyline. You can add a new mission with a new boss, as long as it doesn’t reference the main one. XCOM2 has a lot of this, yet the quality here is a challenge due to the difficulty scaling of combat.

And yet, the games that have a finite end, where the credits roll and you’re done, those have serious problems with DLC. Final Fantasy 13-2 addressed this by launching the DLC along with the game (see From Ashes as to why this wasn’t well received), so that it would integrate well. Final Fantasy 15 had story DLC (episodes) 6 months after launch, which added lore for each companion. FF15 sold nearly 9m copies, so the market for DLC was there. The episodes were launched, but some re-org in SQUENIX stopped all future DLC… though let’s be frank here, if the DLC met objectives there would have been more.

ME3 suffers from this challenge, where the player base is substantial, yet the story is clearly at an end. Launching DLC after the game is complete, no matter how interesting, doesn’t make sense. Folks have spent 20-40 hours getting through a rollercoaster of events, 100+ if you consider all the trilogy. There’s a sense of closure, and not much interest in opening up that door once again. At least in the larger population sense.

Game Trend

It’s interesting to see the larger game trends that Mass Effect created or expanded upon. It’s hard to explain how important ME was to gaming in the west – we didn’t really have anything remotely close to an action RPG at the time. Play ME3 and then Outriders… you’re going to see extremely similar models.

You’re also going to see how story DLC is handled, or not I suppose. Games with a finite end rarely go through the efforts of any story DLC. Heck, even games that don’t have a finite end don’t want to mess with the gold (e.g. God of War) as they know it’s never going to hit 100%, and probably not even hit 20%. If they ever want to add a new game to the series, then you have to go in with different player bases and can’t rely on the prior DLC content to have been experienced.

Mass Effect Andromeda didn’t have any (nor any sales of ‘season passes’ common for EA), which is a fairly decent bookmark to this topic.

Given the quality of the story DLC for ME3 and the overall apathy for the content, I would like to think this is the best outcome forward. If it’s important, put it in the main game. If not, then wait for a sequel.

ME2 : The Illusion of Choice

I completed the final suicide mission in ME2 the other night, and as with all other times, everyone survived. The largest playthrough difference here is that my Renegade score was nearly at par with my Paragon. In the aggregate I was a middle of the road player, yet in the absolute sense, everyone survived and I had Samara, which is objectively the same result as a pure Paragon run. This made me think more about the choices I had made in the game, and how they did or did not impact the end result.

This is arguably different than ME1, where the decision points are typically tied to major events and results in of themselves. ME2’s Paragon/Renegade approach is in the method by which you achieve a result, it’s a lot different.

I do want to state early on that I am fan of the ME2 approach.

Design

As children, most of us were exposed to “choose your own adventure” books. It felt like you were creating your own story. The truth is that someone else built some blocks and put a stream of logic decisions to connect them. Designing anything is exactly this process, games included.

Putting a consequential choice in a game means that you need to build at least 2 outcomes, either A or B. And then you need to keep track of that decision for the rest of the game. If you chose to let Kaidan die in ME1, Ash is there instead for ME2 and ME3. Context around that choice has impacts as well, and it is entirely common to have one decision impact a future one. The early Fallout RPGs had actions in one setting impact those in another, and even had to account for the non-linear quest design. Adding impactful choices can become extremely complex and if done incorrectly breaks immersion.

Divinity 2 does a superb job in this, yet also limits the impacts. The impacts of the choices only affect the act in which the choice takes place. You can kill a quest giver in one quest, blocking other quests. The influence of those choices are felt all along the game, in that your reputation may open other doors.

Long story short, the design approach of choice can become unmanageable.

Flavour

An alternative approach is to add choice in the approach of an outcome, rather than the outcome itself. Saren at the end of ME1 will die, no matter what choice you take. Either you talk him out (saving some battle time), or you go guns blazing. Or perhaps the larger goal is to reach the end of a building, and you can either go through the window, the main floor, or the elevator. In the larger picture, the major beats are all there, but perhaps you reach them in a different order.

Now, I realize that ME3 took a lot of flack on this because the final culmination of all these choices were mostly ignored, or perhaps the view that the choices were not reflective of the types of choices presented earlier. I’ll get to that when I complete ME3 and refresh the idea.

For ME2 however, there is plenty of flavor on each and every quest, which allows for some customization of the story, without impacting the major items. The Samara/Morinth choice doesn’t change any story beats, it changes the skin of the squadmate.

Compare it to something like Hades, where there is dialogue and events which can add flavor to future events. The devs have some interesting bits on how they keep track of all these events, allowing for continual new items to show up in the story. None are actual choices in the measured sense, but more related to recognition of experienced events – checkboxes of sorts. The devs were clear that this added a significant amount of complexity to their design, and yet, they are the items that add the most amount of charm to the game.

Game Metrics

The meaningful points of change in the game are not explicitly related to an in-game choice, or more accurately they are reflective of a lack of choice. Success on the suicide mission is entirely predicated on the amount of optional content you’ve completed. The 3 ship upgrades are required to complete the non-interactive entry to the final mission. Miss some, people die.

The final sets of mission success is based on you having completed the loyalty missions for given characters. You need to send a tech expert in the vents. If you have not completed the loyalty quests, anyone you send will die. If you have, and send a non-tech person, they die. There are 4 such “choices” in this final quest. Since these are end-of-game choices, they impact the story but not the final part of the game. Further, these choices are reflected as influence in ME3, less about changing the larger outcomes. In this sense, its more like Divinity 2.

The Illusion

The best choice is the one that’s predetermined, or the false choice. Best in the objective sense, where it can be anticipated, measured, controlled, and managed. The element of chaos is persistent, and when you purposefully inject that chaos, you create work for everyone. There’s the reality of choice paralysis. How many types of toothpaste do we really need? – which is a sort of false choice since it’s all the same company with a slightly different flavor, hoping you buy multiple.

Really think about it. How many truly impactful decisions do you make in a day? In a year? Bioshock Infinite was an entire game on this principle. Every choice was an illusion in the larger arc.

ME2 presents the player with a multitude of events that have the illusion of choice. Reinforced even because when you take that choice, an magical number goes up. If you were to stop playing before the last mission, you would be 99% the same as every other player. It does a tremendous job in the final act to present impactful choices, but those impacts are only felt in cutscenes rather than impacting future choices.

I posit that this presentation of final choice in ME2, and what is a minor cliffhanger, set up ME3 for very high expectations. More on how that worked once I complete the ME3 playthrough.