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Mass Effect
November 19, 2007 | 1:28 PM PST
AMN's Review Policy: Our reviews are written for you. Our goal is to write honest, to-the-point reviews that don't waste your time. This is why we've split our reviews into four sections: What the Game's About, What's Hot, What's Not and Final Word, so that you can easily find the information you want from our reviews.
What's the Game About
Mass Effect is the much hyped Sci-Fi RPG from the developers at Bioware. Bioware, known for their phenomenal work on Knights of the Old Republic, branches out with their own universe to play in rather than barrow lore from George Lucas again. You play as Shepard, a member of a military outfit that has carte blanche to do whatever they deem necessary to complete their mission. The writers have done a fine job of shaping difficult, thought-provoking scenarios with no obvious "right" answer. Cold and brutal action can be rationalized just as easily as compassion or diplomacy. Anything is justifiable if looked at from the right perspective, and it's up to players to define what kind of "hero" Shepard will be.
What's Hot
Bioware has woven a rich tapestry for Mass Effect, and the depth of this new universe is the game's greatest strength. The universe feels layered and "lived in," filled with a huge variety of creative races and cultures, most of which have intertwining histories. An entire codex is devoted to the intricate details of the Mass Effect universe and updated as players pick up the bits and pieces, and we highly recommend taking the time to listen to it. The core narrative is mature and complex, colored with shades of grey instead of the stark black-and-white, good-and-evil mentality that characterizes so many other RPGs.
The promise of Bioware's new dialogue system has always been the most exciting element of Mass Effect for us, simply because we've been stuck using the same basic branching dialogue-tress for God knows how long now. The new dialog scheme is certainly an improvement over the old method, but it doesn't quite live up to its potential. The original premise for the new scheme was that players would be able to react to in-game conversations emotionally by hitting a particular direction on the analog stick that would always be mapped to the same general reaction. That original idea has been streamlined such that general directions on the stick still provide the same kind of answer in every conversation, but those options have been limited to fit around the 'paragon' and 'renegade' attributes – the new, morally vague version of KOTOR's light/dark mechanic.
So basically, the new system is still a branching dialog tree, it's just presented in a different manner. The fact that the options now offer general descriptions instead of laying out the exact response word-for-word is a thankful change, and it makes each exchange fresh and interesting. What really makes the dialog in Mass Effect special is the way it's presented, with shifting cinematic camera angles that take full advantage of the expressive character models to bolster the emotion. All told, it's not quite the jump we were hoping for, but the dialog system is a strong enough step forward that we found ourselves seeking out characters to speak with. Experiencing the conversations in Mass Effect will make it difficult for anyone to go back to traditional dialogue trees. Take heed, Fallout 3.
Bioware's other major innovation with Mass Effect is the fusion of third-person shooting with RPG combat mechanics. It's an interesting amalgamation, because while the combat looks and plays like a shooter, the actual effects of the player's actions are based on RPG statistics. Putting the reticule over an enemy doesn't guarantee a hit, because the game still has to roll the dice behind the scenes. It doesn't feel bad, it just feels different, more interactive than traditional turn-based combat and far more engaging than the button-mashing in Oblivion, but not quite as visceral or responsive as a shooter ought to. It could potentially leave die-hard fans of either genre feeling frustrated, but we got used to the feel of the combat pretty quickly and found it to be quite satisfying.
It's no secret that Mass Effect is gorgeous, and boasts the most impressive use of the Unreal Engine 3 to date. The character models, particularly their faces, are unbelievably detailed and the environments are generally fairly large and equally beautiful. The art direction draws on the classic science-fiction of the 70s and 80s, but there's also plenty of creativity to be found in the designs of the unique alien races. In one word, the presentation is cinematic, and its cinematic at all times, from the over-the-shoulder camera techniques borrowed from Gears of War that appear during combat to the professional cuts back and forth between characters during dialog sequences. The game also features an amazing musical score that is perfectly suited toward the game's neo-retro science-fiction vibe, and the voice acting is some of the best we've ever heard.
What's Not
Bioware has a reputation for a lot of things, but a painstaking level of polish has never been on of them. Mass Effect has shipped with a handful of irritating bugs, most of which take place during combat. Characters occasionally clip through the scenery in the middle of battle, and this sometimes results in the character being helplessly stuck in the geometry while enemies take pot-shots. Worst of all, the Xbox 360 did crash a few times while playing Mass Effect. Technical troubles also mar the visual presentation, particularly texture pop-in and framerate drops. They're never bad enough to negatively impact gameplay, but they do take away from the experience.
The lack of polish extends beyond technical problems and into elements of the design. The inventory is needlessly obtuse, and players will be spending a ridiculous amount of time bouncing back and forth between menus, sorting through their equipment, and redistributing items. There's no way to auto-equip party members with the best equipment available, so players will have to go through each character's slots and redistribute weapons, armor, grenades, and the litany of upgrades that go with each every time the come across a few new items.
Some of the game balance is also questionable. Competent as we found the AI to be, the player is very much the star of the show in combat, and responsible for most of the damage dealt to enemies. Those players that choose a medic or support role like the engineer and sentinel are at a disadvantage since the allied AI aren't quite capable of picking up all the offensive slack. The role and worth of currency in the game is oddly balanced as well. The game continually throws money at players for just about everything they do, but none of the equipment for sale throughout the game is significantly better than the items players will find for free by exploring the environments. Few quests actually demand that the player spend money to progress, so there's really nothing worth spending all of the cash earned along the way.
Mass Effect is not the wide-open, free-form epic that many fans were hoping for. When players first access the galaxy map they'll probably feel like they have a gargantuan world at their finger-tips, but reality quickly sets in when they realize that their space-craft is only capable of making a b-line from one location to the next, with little to no room for off-track exploration. Planets are only accessible once clues as to their existence have been found and their locations are marked on the galaxy map, and even then, they aren't necessarily explorable. Furthermore, the areas that are explorable are in most cases fairly small, confined, and linear. The main quest will probably take most gamers between 15 and 20 hours to complete, with side-quests only adding another 10 or so hours to the total.
Final Word
Bioware hasn't broken their streak of fantastic games, even if they have broken a few promises. Mass Effect is an amazing game, one that will be remembered for a long time to come. It is neither a perfect game, nor a genre-redefining game but it does make several important steps forward - not only for western RPGs, but for cinematic game design in general. Those that go into the experience without any preconceived notions of what the game will be are the ones who will get the most out of the title.
What's the Game About
Mass Effect is the much hyped Sci-Fi RPG from the developers at Bioware. Bioware, known for their phenomenal work on Knights of the Old Republic, branches out with their own universe to play in rather than barrow lore from George Lucas again. You play as Shepard, a member of a military outfit that has carte blanche to do whatever they deem necessary to complete their mission. The writers have done a fine job of shaping difficult, thought-provoking scenarios with no obvious "right" answer. Cold and brutal action can be rationalized just as easily as compassion or diplomacy. Anything is justifiable if looked at from the right perspective, and it's up to players to define what kind of "hero" Shepard will be.
What's Hot
Bioware has woven a rich tapestry for Mass Effect, and the depth of this new universe is the game's greatest strength. The universe feels layered and "lived in," filled with a huge variety of creative races and cultures, most of which have intertwining histories. An entire codex is devoted to the intricate details of the Mass Effect universe and updated as players pick up the bits and pieces, and we highly recommend taking the time to listen to it. The core narrative is mature and complex, colored with shades of grey instead of the stark black-and-white, good-and-evil mentality that characterizes so many other RPGs.
The promise of Bioware's new dialogue system has always been the most exciting element of Mass Effect for us, simply because we've been stuck using the same basic branching dialogue-tress for God knows how long now. The new dialog scheme is certainly an improvement over the old method, but it doesn't quite live up to its potential. The original premise for the new scheme was that players would be able to react to in-game conversations emotionally by hitting a particular direction on the analog stick that would always be mapped to the same general reaction. That original idea has been streamlined such that general directions on the stick still provide the same kind of answer in every conversation, but those options have been limited to fit around the 'paragon' and 'renegade' attributes – the new, morally vague version of KOTOR's light/dark mechanic.
So basically, the new system is still a branching dialog tree, it's just presented in a different manner. The fact that the options now offer general descriptions instead of laying out the exact response word-for-word is a thankful change, and it makes each exchange fresh and interesting. What really makes the dialog in Mass Effect special is the way it's presented, with shifting cinematic camera angles that take full advantage of the expressive character models to bolster the emotion. All told, it's not quite the jump we were hoping for, but the dialog system is a strong enough step forward that we found ourselves seeking out characters to speak with. Experiencing the conversations in Mass Effect will make it difficult for anyone to go back to traditional dialogue trees. Take heed, Fallout 3.
Bioware's other major innovation with Mass Effect is the fusion of third-person shooting with RPG combat mechanics. It's an interesting amalgamation, because while the combat looks and plays like a shooter, the actual effects of the player's actions are based on RPG statistics. Putting the reticule over an enemy doesn't guarantee a hit, because the game still has to roll the dice behind the scenes. It doesn't feel bad, it just feels different, more interactive than traditional turn-based combat and far more engaging than the button-mashing in Oblivion, but not quite as visceral or responsive as a shooter ought to. It could potentially leave die-hard fans of either genre feeling frustrated, but we got used to the feel of the combat pretty quickly and found it to be quite satisfying.
It's no secret that Mass Effect is gorgeous, and boasts the most impressive use of the Unreal Engine 3 to date. The character models, particularly their faces, are unbelievably detailed and the environments are generally fairly large and equally beautiful. The art direction draws on the classic science-fiction of the 70s and 80s, but there's also plenty of creativity to be found in the designs of the unique alien races. In one word, the presentation is cinematic, and its cinematic at all times, from the over-the-shoulder camera techniques borrowed from Gears of War that appear during combat to the professional cuts back and forth between characters during dialog sequences. The game also features an amazing musical score that is perfectly suited toward the game's neo-retro science-fiction vibe, and the voice acting is some of the best we've ever heard.
What's Not
Bioware has a reputation for a lot of things, but a painstaking level of polish has never been on of them. Mass Effect has shipped with a handful of irritating bugs, most of which take place during combat. Characters occasionally clip through the scenery in the middle of battle, and this sometimes results in the character being helplessly stuck in the geometry while enemies take pot-shots. Worst of all, the Xbox 360 did crash a few times while playing Mass Effect. Technical troubles also mar the visual presentation, particularly texture pop-in and framerate drops. They're never bad enough to negatively impact gameplay, but they do take away from the experience.
The lack of polish extends beyond technical problems and into elements of the design. The inventory is needlessly obtuse, and players will be spending a ridiculous amount of time bouncing back and forth between menus, sorting through their equipment, and redistributing items. There's no way to auto-equip party members with the best equipment available, so players will have to go through each character's slots and redistribute weapons, armor, grenades, and the litany of upgrades that go with each every time the come across a few new items.
Some of the game balance is also questionable. Competent as we found the AI to be, the player is very much the star of the show in combat, and responsible for most of the damage dealt to enemies. Those players that choose a medic or support role like the engineer and sentinel are at a disadvantage since the allied AI aren't quite capable of picking up all the offensive slack. The role and worth of currency in the game is oddly balanced as well. The game continually throws money at players for just about everything they do, but none of the equipment for sale throughout the game is significantly better than the items players will find for free by exploring the environments. Few quests actually demand that the player spend money to progress, so there's really nothing worth spending all of the cash earned along the way.
Mass Effect is not the wide-open, free-form epic that many fans were hoping for. When players first access the galaxy map they'll probably feel like they have a gargantuan world at their finger-tips, but reality quickly sets in when they realize that their space-craft is only capable of making a b-line from one location to the next, with little to no room for off-track exploration. Planets are only accessible once clues as to their existence have been found and their locations are marked on the galaxy map, and even then, they aren't necessarily explorable. Furthermore, the areas that are explorable are in most cases fairly small, confined, and linear. The main quest will probably take most gamers between 15 and 20 hours to complete, with side-quests only adding another 10 or so hours to the total.
Final Word
Bioware hasn't broken their streak of fantastic games, even if they have broken a few promises. Mass Effect is an amazing game, one that will be remembered for a long time to come. It is neither a perfect game, nor a genre-redefining game but it does make several important steps forward - not only for western RPGs, but for cinematic game design in general. Those that go into the experience without any preconceived notions of what the game will be are the ones who will get the most out of the title.
February 8, 2010
