I have to give the Mass Effect series credit for being the first series I played where the morality system isn’t choosing between “Be a Good Guy” or “Kick Puppies”. (Neverwinter Nights and other D&D-based games have been really bad about that, as is Knights of the Old Republic) In Mass effect you’re always the good guy, you might just be a bit of an asshole about it. (You might also kick some puppies.) For those unfamiliar, Mass Effect tracks your decisions as either “Paragon” or “Renegade”, where Paragon is “Compassionate and Heroic” and Renegade is “Apathetic and Ruthless”. These aren’t directly opposed, so you can have a high score in both, depending on your actions.
The red one has a star, so it must be better.
In Mass Effect 1, these scores determine how many points you can put into Charm/Intimidate, and the resulting value of your Charm/Intimidate skill is what gives you access to particular conversation options. Mass Effect 2 got rid of the Charm/Intimidate skills, in favor of an alternate approach.
The Great Mistake
Mass Effect 2 decided to use your Paragon/Renegade values directly to determine your effective charm/intimidate values. Because Mass Effect 2 is very non-linear, the values required aren’t static. Instead, they’re a percentage of the total number of paragon/renegade points available in the areas you’ve been to. The problem here is that while your scores aren’t mutually exclusive, most of your actions are. Unless you go very hard toward one or the other, you’re likely to find that you can’t pass either Paragon or Renegade checks near the end of the game. (A particularly difficult one is sorting out an argument between two party members, and it’s hard to have this happen any time other than near the very end of the game.)
Playing the game without being entirely dedicated toward either red or blue feels more natural to me, and ME2 punishes you for it. Importing a character from ME1 mitigates this somewhat, as you start with a moderately large bonus to your meters based (roughly) on what they were at the end of ME1. This helps a lot, but isn’t a perfect solution.
Building a Reputation
Mass Effect 3 throws a decent chunk of that out. There’s still no individual charm/intimidate skill, but instead a statistic called “reputation”. Paragon and Renegade are tracked on the same bar, and the total is your reputation. There are also completely unaligned “reputation” points that extend the bar, but preserve your paragon/renegade ratio. Your available choices depend on how much reputation you have. I feel like this is a much improved situation compared to ME2, because your ability to impress people depends, more than anything else, on how much you’ve done. Choosing the “nice” options doesn’t later lock you out of the “jerk” options. This is important, because some people are absolutely worth being a jerk to.
And what fun is it if you can’t indulge, sometimes?
First things first, this post will contain extremely minor spoilers for Mass Effect 2, and large spoilers for Mass Effect 1. ME1 came out 8 years ago, so I’m not exactly going to step lightly, this warning is all you get.
Yesterday I beat Mass Effect 1. If you know what you’re doing, it’s about 15-20 hours long, depending on how many elevators you take and how many sidequests you do. (If you want one of the squadmember achievements or the completionist achievement, expect to extend this to 30+.) I like it, but it’s really my least favorite of the three. One of the major reasons for this is the way powers work in Mass Effect 1: Each power has an independent cooldown ranging from 30 seconds to multiple minutes. Mass Effect 2 dramatically reduced the cooldown on individual powers, most of them are under 10 seconds, but all powers now have a shared cooldown. For power-spamming classes like Adepts or Engineers, this changes how they play dramatically. (It does decrease those classes alpha-striking potential, however.)
On the other hand, Saren is a better villain than anything in the later games, although Harbinger’s taunting certainly makes an impression in ME2. Even though he’s under control of the real big bad (Sovereign), he provides a face to what you’re searching for. He’s even a moderately difficult boss fight on Virmire, although I’ve never fought him in the citadel. (I have no idea what the Charm/Intimidate Threshold for skipping that encounter is. Since it’s at the end of the game, I’ve never been without at least one of them at 10.)
New Game++
So this brings me to Mass Effect 2. Normally, your choices in the game allow you to pick up select powers from your squad for your own, whether this really makes sense or not. (It doesn’t make much sense for a non-biotic to have Slam, for instance.) One of the bonuses on starting a new game is immediate access to one of these powers of your choice at the start of the game. It’s my personal opinion that some of them aren’t balanced for this, but it’s kind of a nice bonus for repeat playthroughs. Id’ completely forgotten about this, and now I have an engineer with Shredder Ammo, which does a large amount of bonus damage against targets with no armor/shields. Engineers specialize in stripping armor and shields, so I suspect this will go pretty well.
After writing about the Mass Effect 3 multiplayer, I had a strong urge to go back and play Mass Effect 3 all the way through again. Really, what this meant is that I had a strong urge to play the entire Mass Effect trilogy again, because the second and third games make really awkward assumptions if you don’t import a save file. Because I said I hadn’t, I’m playing as a Soldier, but I think I’ll probably play 2 and 3 as an Engineer (which is the other class I’ve never played through any of the games). My only regret so far is that playing as a Soldier makes Wrex largely redundant, and he’s probably my favorite party member.
A Dirty Trick
I’ve heard it said that Mass Effect 1 is the best RPG in the series (even from people who don’t consider it the best game in the series), and while I don’t really agree, it’s certainly the most traditional. Your conversation options depend on the skill points you spend in Charm/Intimidate (and it’s also traditional enough that investing in both is a trap). Locked items and even how well you can shoot your weapon are also controlled by skill investments. You can equip a weapon that you have no skills for, but don’t expect to hit anything with it. None of this applies to the following games: Mass Effect 2 entirely limited weapons by class, and Mass Effect 3 went with a system where your class just determines how much weight you can carry (but all classes use all weapons equally well).
One of the other things is that Mass Effect 1 gives you the conversation wheel a lot more often than either of the following two games, creating the impression that is has more choices. Realistically, ME1 is playing a grand trick on its players, although you’re really only likely to notice it if you play the game more than once (or specifically replay a scene while giving different answers). In a lot of cases, multiple options on the wheel will lead to the exact same voiced line. It will almost always be a line generic enough to “fit” whatever summary the wheel presented, and the only difference is player interpretation.
Maybe Not so Dirty
Mass Effect 2 and 3 abandon this idea, in favor of just giving you the line, which generally makes conversations flow better. ME3 goes farther than ME2 in this sense, and also occasionally gives you a line based on your Paragon/Renegade scores. In the end of things, I’m not sure which is better. I personally prefer Mass Effect 2’s approach, where you only get a conversation branch for actual line differences. Appearances are important in games, and maybe some well-placed illusions are called for.
A while back, a friend posed a question to a group of us, asking what 15 games had most influenced us. Bel posted about it a while back, and I came up with my list around the same time. It’s now the first post of Blaugust. These are in roughly the order in which I encountered them, which means that they’re roughly arranged by date, but not quite. Trimming the list to 15 games is hard, and each of these led to other similar games in almost all cases.
Sonic 2 (1992)
This is the game I would credit with getting me into video games in general. My earliest memories of gaming are of me playing as Tails in this game. Tails is essentially invincible, but can be a valuable co-op partner if the person controlling him is good. Even if they’re not (and when this came out I certainly wasn’t), it’s not a real drawback. This being one of my first experiences is probably why I value co-op games so highly now.
Honorable Mention: Super Mario World
Overkill (1992)
I’ve talked about Overkill before, so I won’t expand here. This is the first game I “beat” on my own (Like a lot of games in the genre, Overkill starts again harder when you beat the last stage), and it established my love of scrolling shooters.
This is a bit of an odd case. I played Street Fighter 2 with friends before any of us knew what we were doing, or how to do a fireball motion or any of that, and found it fun. I learned what a Hadouken was too late to put any of it to practice in these matches or in the arcade, but memories of those experiences are why I found fighting games fun. I eventually enjoyed the more over-the-top games (BlazBlue, Marvel vs. Capcom) more than Street Fighter, but this one remains special.
Honorable Mention: Tekken 2
Illusion of Gaia (1994)
Illusion of Gaia (or Illusion of Time if you’re in Europe) was my first “Action-RPG” of sorts. This is the game that taught me that games could have actual stories beyond “rescue the princess” or “stop the bad guy”. This game in particular is somewhat difficult, so I didn’t actually beat it on a real SNES; I played it to completion on an emulator years later.
Mario Kart 64 (1997)
The joy of multiplayer, now with twice the players. Mario Kart 64 was my first 4-player game, and therefore the first game around which gatherings were specifically held. Prior to this, gaming was something my friends and I did while hanging out, this marked the start of hanging out specifically to play games.
Honorable Mention: Star Fox 64
Mega Man X4 / Mega Man 8 (1997)
These released in the same year, use almost the same sprite for the main character, and were played by me literally back to back, so they can share this slot. They also share terrible voice acting (but I didn’t know better back then) and relatively high difficulty (which is common to the series). This was the expansion of my earlier enjoyment of the Mario and Sonic games, but with an additional layer of complexity that wasn’t just “jump on enemies”. I went back and played a lot of the earlier games later, and they’re also great. The same can’t be said for what came after…
Pokemon Red/Blue (1998)
This might as well be My First JRPG, but it’s hiding some ridiculousness underneath. The simple nature of this game and ease of understanding the basics got me in, and trading with friends kept me in. As I got older, I grew to enjoy the complicated parts.
Legend of Dragoon (2000)
This game made me aware that JRPGs as a genre were a thing I was interested in. Legend of Dragoon grabbed me in a way Final Fantasy 7 did not*, and it became my life for a period of time in 2001. The story is a bit cliché, and the translation is terribad (they couldn’t keep things consistent). But the combat system requiring timed button presses is fun (others have described it as “tedious”) and it has beautiful backgrounds and animations for the PS1 era.
*I died to the guard scorpion because I didn’t know “Attack while the tail’s up” was a mistranslation and it’s the same ATB tutorial boss the series used since FF4. I was 10; I hadn’t played any of the SNES games yet.
Super Smash Bros. Melee (2001)
AKA the most fun I had with a multiplayer game since Mario Kart. Despite what some people say, this is a fighting game at its core, so a lot of the same principles of spacing and timing apply. At the same time, the simple nature of inputs and the chaotic nature of combat allow for people without much knowledge of the game to play and have fun. The skill ceiling is rather high, so it’s possible to see experienced players completely destroy beginners, but it can stay fun as long as the skill gap isn’t too wide.
Final Fantasy 5 (1992)
My favorite Final Fantasy, which is surprising when people learn I played this after 4 and 6, and it was the fan-translated version on an emulator. I’ve also talked about this one before. (As a reminder, you have exactly one month to finish/join the Fiesta.) My love of systems was established by this game, and it hasn’t worn off. Pieces of it still shine through in later Final Fantasy games, most notably in Tactics, X-2, and 14.
Shining Soul 2 (2004)
This is probably the game in the list that other people are least likely to have played. Shining Soul is a dungeon crawler of sorts for the Game Boy Advance, featuring a variety of characters and a very simple story. I picked this up because I liked the dragon, but I ended up playing more of the wolf. I’m fairly certain this was the start of my trend of playing non-humans in things that allow it, in addition to the start of me actually enjoying dungeon crawlers.
Honorable Mention: Diablo 2
World of Warcraft (2004)
I didn’t play WoW until 2007, right when Burning Crusade came out. By sheer virtue of the number of players it had at its peak, World of Warcraft was the first MMO for many people, and I count myself among that crowd. It’s thanks to WoW that I met a bunch of the people I now associate with, including Belghast and Kodra. It’s had ups, it’s had downs, but what I think of as an MMO is shaped almost entirely by World of Warcraft, from my preferred roles to what kinds of classes I like.
Mass Effect (2008)
Mostly what Mass Effect did was teach (or re-teach) that I didn’t dislike shooters. I played a bunch of Goldeneye when that was relevant, and a fair bit of Halo 2 in high school, but after that everything seemed to be Call of Duty and competitive multiplayer, and I wasn’t a big fan. Mass Effect brought me back in a number of ways, mostly thanks to RPG mechanics and abilities. Mass Effect 3 did even more, thanks to the greatly expanded abilities on show in the multiplayer.
Bastion (2011)
Bastion is a marvel of sound design. It’s also pretty and plays well, but those are honestly secondary to the music and the narration. This opened me up to the difference sound can make in a game. Without the work of Darren Korb and Logan Cunningham, Bastion would be a good, but not terribly special top-down action game, and it would draw unfavorable comparisons to things like Diablo or Sacred 2. The music and voice are what distinguish it. (My personal favorite track is Spike in a Rail.)
The Elder Scrolls V: Skyrim (2011)
I played Oblivion when it came out and didn’t like it very much. I tried it again in 2008 and liked it more, but not enough to “finish” it. Skyrim engaged me in a way that Oblivion did not, and the streamlining of certain things (like attributes) made the experience much more enjoyable for me. Oblivion (and GTA) made me think I didn’t like Open World games, and Skyrim taught me otherwise.
Honorable Mention: Saint’s Row 3
Final Words
Now that I’m here at the end, this is kind of a ridiculous post. Expect most of my Blaugust posts to be about a 5th of this. Thanks to MobyGames for the vast majority of the screenshots.
Edit:
Forgot to mention this when it went up, but for more posts about… everything, check out the Blaugust Initiative.
