This post was inspired by two things I saw recently: The connection between these two items is not obvious, but it is interesting. The lemon problem WeFunder, for the uninitiated, is a crowdfunding platform for (primarily) technology companies. It allows community-oriented startups to sell a small % of ownership to their users and supporters.
The gaming industry is designed to fail in this economy. The objectives of “maximize return” and “make something fun” rarely overlap. Best they can do is trick people into habitual play and hope they can’t distinguish between an occasional dopamine drip and fun.
Games with narratives, no financial gimmicks, and good old-fashioned fun mechanics (subjective) will always get my attention. Fuck EA, Activision, ubisoft, Bethesda. Got too big. Priorities got twisted. I pity the designers and creators with passion there.
The saddest one to fall was definitely BioWare. Larian stands on the shoulders of a giant but that giant is currently a shell of its former self.
For all it’s flaws, Mass Effect Andromeda was beautiful (if you ignore character models and focus on scenery). It’s story was weak, but the gameplay compelling. It’s actually disappointing it was so badly received, because in many ways it was quite a good game. There was a feel of BioWare returning to the style of the original Mass Effect, but we’ll probably see less of that considering how badly it was received.
How exactly is a game with by your own admission weak character and story writing a return to form? BioWare’s killer advantage for a long time was their excellent character and story development.
The environments. ME2 and ME3 felt like everything was in a long hallway, just very much funneling you down a path you didn’t have a lot of exploration choices in. Mass Effect had grand and large environments to explore in the Mako, and MEA was the first entry in the series since that had large open areas for exploration on planets. Whatever you feel about weak story, the environments were beautiful and well designed.
The Mako sections in ME1 weren’t really “open world”, they were just bigger hallways in many cases. IMO none of the core Mass Effect games was particularly open world, since they were based on missions. They were all more of a “hub and spoke” design, where you travelled from one hub to another and then those hubs would have local missions you could go on.
At the end of the day, all of the ME games have pretty environments, but the pretty environments aren’t the thing that keeps me coming back to the series over a decade after its launch, the writing is.
And their writing has, very unfortunately, really fallen off. Just compare Saren as a villain to, say Corypheus, or whoever that completely forgettable dude was in Anthem. Even in Andromeda, all the characters felt kinda one-note or like ME characters with the serial numbers filled off.
Saren was such a fantastic villain. I originally played the Mass Effect games out of order, so I already knew what was supposed to happen with him when I played ME1, and yet I found myself trying to convince him to shake off the indoctrination anyway. It just felt so compelling to believe that he might be redeemable, or at least that I as Shepherd would want that for him. Sovereign and Harbinger were also fantastic villains in their own right.
And then the heroes, oh my god the heroes. It’s tragic that the BioWare that could write Liara, Wrex, Mordin, and Tali is dead.
Even though it was developed by a different team, they did capture the general charm IMO. The story and characters aren’t terrible, some of it I really loved. Like Inquisition and Anthem, it was primarily let down by a lot of management and studio culture issues which have been made very public.
In my view, Dreadwolf is their opportunity to show if they’ve managed to overcome those callenges or has sucumbed to them forever. I am made hopeful by what appears to have been a well-scoped and managed project in the Mass Effect Legendary Edition.