The mechanics of gameplay in video games can be defined as “one or more casually linked series of challenges in a simulated environment” (Rollings & Adams, 2003). The gameplay challenges in Mass Effect can mainly be divided between two categories: reflexive challenges and morality challenges. These two elements are kept fairly separate, but together they form a meaningful experience for the player.
The reflexive challenges in Mass Effect primarily consist of first person shooter (FPS) and reaction time tests. The FPS portions of the game form the action sequences, and bridge between story elements and morality challenges. As FPS games go, the controls are fairly standard, with the expected shoot and reload buttons. On-the-fly squad movement commands are relatively easy to issue and both the enemy and squad artificial intelligence seem to be fairly good, with only minor bugs. The challenges that are presented by these sections are both reasonable and rewarding, and serve as a good change of pace between storyline and dialogue sections.
The storyline sections of Mass Effect are mainly made up of morality challenges. The player is involved in a series of interactive dialogues, some short and some extensive. In these dialogues, the player has a choice of “good”, “evil”, or “neutral” responses (Figure 1).
Figure 1The choice of response guides the conversation and the direction of the story to some extent. These morality choices are at times very dramatic, for example at one point the player can choose between killing a team mate, or talking them into doing something against their will. Unfortunately the “good vs. evil” system that these morality challenges revolve around does not always reflect in a universal manner (Adams & Rollings, 2003). There are a lot of instances where the choices made in a particular dialogue do not seem to have any effect on relationships once the conversation is over. This lessens the impact of the challenges and makes some of them feel very hollow. As far as moving storyline goes, however, these parts of the game are still very well executed. Part of the reason that they are so effective is the simple, streamlined heads up display (HUD).
While the HUD for the dialogue portions of the game is very simple and consistent, this is not so much the case for the FPS portions of the game. While not in combat, the HUD is simple and doesn’t clutter the screen. The display is quite simple and doesn’t obstruct the action (Figure 2). However all of the normal data generally displayed in an FPS game has been condensed into the lower left hand portion of the screen. Small icons that indicate health packs, grenades and particular squad conditions can be very hard to read, especially in fast paced action sequences, and there is no explanation of what the symbols mean. It isn’t hard for someone unfamiliar with FPS games to pass through the majority of the game without understanding what is displayed on the HUD. This also begs the question as to whether or not it is necessary to have the information in the display at all (Fox, 2005).
Figure 2Another factor which detracts from the FPS HUD is the command wheel, accessed by pressing the right bumper (Figure 3). This pauses the game and allows the player to choose actions for each character to take, and select a target. While good in concept, this wheel can be very frustrating to use as the options are selected by thumbstick, which can be very inaccurate. Attempting to select one of up to 20 options during intense action sequences can be extremely frustrating. It also forces a break in the action that is not always welcome. However, while the display and menu systems can be frustrating at times, they are visually effective and fit well with the graphical color scheme.
Figure 3The visual design of Mass Effect is quite stunning. There is liberal use of blues and greens, typical to the Sci-Fi genre. These colors are combined with conservative use of reds, white and black for emphasis and contrast. This creates strong visuals that have high impact and drama, particularly in cut scenes (Figure 4). The armor and outfits of the characters are detailed, environments are shiny and most levels feel immense. Overall, the visual design is consistent and gives the audience a very good impression of the universe.
Figure 4The sound design is in keeping with this universe. Mass Effect uses plenty of dramatic orchestral tones, with the same instruments used during faster-paced songs that indicate action and danger. While the dialogue can seem sometimes awkward, the very professional voice acting means the writers tend get away with it. Sound effects such as recharging shields and gunshots are very realistic and add to the feel of the universe (Mass Effect Review). This adds to the overall experience and theme, which is capped off by the graphics of the game.
Graphically, the game is also fairly impressive. Powered by the Unreal engine (Mass Effect Review), the graphics and are very crisp and detailed (Figure 5). However there is a fair amount of “pop-in” of graphics, which is when a texture renders incrementally or after the rest of the scene (Walter, 2003). This tends to leave a lot of character models with flat or un-textured portions, sometimes for a significant period of time (Byrne, 2005). This is disappointing as it detracts from the impressive visual design. The regularity of the issue implies both inefficiency in modeling and texturing and a lack of understanding of hardware and engine capabilities. However once the textures do eventually load, they are quite impressive and redeem the game somewhat.
Figure 5Mass Effect is certainly not without its flaws. While some of the issues do tend to be present through a lot of the gameplay, the other elements of the game are so well executed that it makes it easy to forgive them. Because of the designer’s mastery of critical design elements primarily around the gameplay mechanics, sound, visuals and display, Mass Effect is still an enjoyable game to play. However it should be kept in mind when making games for in the current, highly competitive market that graphical glitches and annoying menus are often inexcusable by the consumer.
(Full list of references available upon request)
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