Mass Effect 2 is a strange game. As the previous entries made clear, some of the writing is smart, witty, and interesting, and other parts of it are appallingly clumsy, idiotic, and tone-deaf. It’s not that the quality follows a broad gradient, it’s that the quality is incredibly modal. If you’re in a bad scene, then everything is generally bad: Characters can’t maintain a consistent personality or motivation, the player dialog becomes railroading and doesn’t line up with the prompts on the dialog wheel, established rules are discarded carelessly, and important details go unexplained. Then you get to the next scene and suddenly the characters behave sensibly, your dialog wheel is useful, the universe stops contradicting itself, and your actions are given proper context and justification.
It’s like having slices of Michael Bay’s Transformers interspersed with scenes from Gattaca, or Moon. It’s maddening.
We’re going to look over the main plot of Mass Effect 2, but instead of viewing facts in isolation as a first-time player would be forced to do, we’re going to examine them in light of things that are revealed later. We’re also going to examine the plot missions in order, instead of doing them with a half-dozen recruitment and loyalty missions between them.
Also, we’re probably going to re-tread a couple of things I said about the opening of Mass Effect 2 in previous entries, because I really want the through-line of the plot all in one place. Sorry about that. I’ve been editing this as I published it, but I can’t go back and re-arrange stuff that’s already published. (Well, I could, but it would be chaos.) Hopefully this isn’t too annoying or distracting.
Continue reading 〉〉 “Mass Effect Retrospective 22: Under New Management”
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