After the incredible reveal in KOTOR, I was really looking forward to the finale. I was extremely motivated to play after that fantastic twist. I wondered how the writers would deal with such a great shift in character and what other secrets would unfold.

I eagerly played through the last planet and found myself trapped on an unknown planet that resembled an island paradise. While this new place had some interesting conflicts, I found myself less engaged with the game than I was during previous levels. This stage was a means to the end, and I no longer cared about details such as the history of a new alien race. I was hungry for the real drama - I wanted to find my lost friend and beat Malak once and for all.

Malak was still a couple of levels away. I had to weave through a labyrinthine tomb and then fight wave after wave of enemies on his ship. I spent almost an hour fighting what seemed like endless streams of nameless enemies. I grew frustrated. I had been given a taste of fantastic narrative and suddenly I was stuck in some boring hack-and-slash. I don't mind fights at the end of a game, but these enemies had little narrative connection to the story; they were essentially bodies thrown at me to slow me down. Eventually, I took advantage of a chance to skip out on a fight and ran ahead to face Malak.

I confronted my friend and then reached the final boss fight. There were few surprises in the narrative and the final boss fight was dull and poorly paced. Malak would frequently run off to leech power, and I would heal myself quickly before hacking away at his HP again. It was tedious and dull, especially when I would have to wait for him to run over to me and attack me.

When the final boss fight was over, I was shown the "light side" cinematic ending. I was incredibly disappointed to watch a few lame 2D people cheering for me as I got a silly metal. After 30 hours and a ridiculous amount of fighting at the end, I won a war and got a few empty words. It was such a letdown after the big reveal that I thought there must be a better ending for the dark side. I looked it up on YouTube and found that the dark side ending definitely gave the player a greater sense of power. It was certainly not Mass Effect's ending, but this version was obviously superior to the light side version. I wondered if the game would have been more fun if I was on the dark side and spent 30 hours being mean to people.

As a fan of RPGs, I finish relatively few games. Many RPGs require such a time investment that it becomes impractical to finish a game when I grow frustrated. I don't regret finishing KOTOR at all, but I wish that it had given me more of a sense of accomplishment at the end. Mass Effect left me feeling as if I'd saved the universe and Okami nearly had my crying tears of joy. I was disappointed that a game that had such an awesome climax fell flat on its face at the end.  

After I finished Mass Effect, I was desperate to find a new game. I wanted an experience that would draw me in and take me on a fantastic journey. I knew it would be difficult to find a current game that I would love as much as Mass Effect, so I turned to the past. On the recommendation of a friend, I decided to set aside my frustrations with Star Wars: Knights of the Old Republic (KOTOR) on the 360 and get a fresh start trying it on my PC.

There was a remarkable improvement in performance and graphic quality on my PC. I was much happier playing the game when it didn't freeze up during battles, stutter during cutscenes, or muddle the textures. Suddenly the "dated" game didn't look so old. The game started to become more fun when I wasn't distracted by performance and graphics bugs.

Perhaps more important than the changes in processing and resolution were the changes in my perspective. After completing one BioWare game (Mass Effect), I had a better understanding of the types of puzzles I would encounter. I breezed through Taris in four hours instead of my previous ten hours. I finally understood that puzzles required a little thought; you had to pay attention to hints dropped casually in conversation. Clues were also left on datapads I collected unceremoniously from corpses nearby. Simple attention to the world helped me see how the answers were falling into my hands in an organic way.

I have easily surpassed the point where I stopped on the 360, and it was time well-spent. I finally feel as if I'm moving in a productive direction. Even if the battles and stat-management are more difficult than Mass Effect, I have a better understanding of BioWare-style games. I'm less likely to get stuck and I'm now free to enjoy the game. I'm looking forward to the rest of my adventure.  

Penny Arcade web comics have been famous with gamers for years for their humorous interpretations of popular games and culture. The writers' wit and charm extend beyond the comics to their news columns, where the writers often give very fair assessments of games. I have a good friend who is a huge Penny Arcade fan, and he was thrilled that the creators of the web comic decided to make a video game.

Penny Arcade Adventures: On the Rain-Slick Precipice of Darkness: Episode One was released in late May. While I have recently been enjoying Penny Arcade, I am still new to the comics and don't seem to connect with them as well as my friend. I appreciate the humor, but there have been a few comics that I find a little gratuitously violent or confusing. This influenced the way I saw the game, since the style of the game, from the art to the humor, was a near-perfect translation of the web comic. I appreciated most of the humor, but, like the comic, there were a few moments where I felt that it wasn't quite my taste.

My main issue with the game's style stemmed from what I felt was unnecessary vulgarity. Working in the video game industry, I am often the only woman around, and I'm no stranger to games and jokes tailored to a male audience. I'm not opposed to sexuality or innuendo in games, but having a common enemy in the game constantly making sexual motions, having sexual attacks, and peeing on me is not exactly my cup of tea. This was a slight annoyance to me, and I was willing to put up with it because of the game's other redeeming qualities. However, it's worth noting that the M-rating was put to good use at certain moments, such as when NPCs swore profusely after a shocking event happened. Instead of skirting around the issue with stilted dialogue, the NPCs reacted in a very natural way, which was quite refreshing.

From the comic-book art to the clever writing, I really enjoyed the other aspects of the game's style. The game did a wonderful job translating the 2-D art into 3-D. Cutscenes were in 2-D, but the game took place in a 3-D world. There was a fantastic attention to detail as well. The transitions between sub-areas of a level looked like shifts between comic book cells. My custom character was integrated into the 2-D cutscenes, which was a nice surprise. The level of detail extended to the writing, as every clickable object had clever and often varied captions. Instead of just "So-and-So's Mailbox," I found one mailbox labeled "It's another god%$#@ed mailbox!" This type of humor was fantastic, verbalizing the thoughts I'd often have from other tedious RPGs. This game rewards you for taking the time to look around the world with humor at every click.

I had initially seen this game on the 360, but I played through the demo myself on the PC. The controls seemed similar, but with the 360 you move around with an analog stick and with the PC it's more of a point-and-click adventure. Button-presses for special attacks seem to have all been moved to the spacebar. The PC controls felt natural to me. On dialogue screens, dialgue chioces were presented similar to the style of Mass Effect, where the feeling of the line was conveyed through the dialogue choice but the actual line said something different. Unlike Mass Effect, however, the choices and the actual statements were equally ridiculous and amusing. The combat system was simple but fairly efffiencient. Combat felt very similar to a Japanese RPG due to the turn-based system. However, it was not overly complicated.

This Penny Arcade episode is certainly a promising start. While there are certain stlyistic aspects that I don't enjoy, the developers had a very good understanding of the scope of an episodic game. The game doesn't attempt to be a AAA console title, but it is fantastically clever and entertaining. I hope to enjoy more of it in the future, when I can make some time to play the whole game through.  

In just over 35 hours, I completed Mass Effect. That might seem like a long time, but it was well worth it to me. I finished every sidequest I could, explored every planet in the galaxy, and played through the Bring Down the Sky expansion. I was very thorough, talking to all the NPCs and opening every storage locker or crate I could find. Now that it’s over, I’m satisfied but a little sad that the awesome ride had to come to an end.

I have already written extensively on Mass Effect, but with a game this vast, I find there is still more to discuss. I may have complained about some of my frustrations, but I have found a lot of value in this game. The story was absolutely fantastic, especially from Ilos to the end. Those last few hours were some of the best paced in the game, and when it was over, I felt a real rush. I got to make important choices up until the very end, and I felt that I was as much a part of the action as the characters in the brief cutscenes.

The story was facilitated only marginally by cutscenes. The main elements of the narrative were conveyed through the fantastic dialog. Mass Effect has been praised for its innovative dialog system. Choices are displayed around a circle, and the dialog shown represents the general idea of the line, but not what is actually said. It felt like what I selected was the thought and what my character said was a more tactful way of expressing that idea (at least for the paragon choices). This system allowed me to better identify with the character, as I felt that she was expressing my thoughts and feelings in the best way possible.

I really enjoyed the addition of so many sidequests. The main path of the game could probably be beaten in ten to fifteen hours, but I chose to play the extra twenty or so to really explore and immerse myself in the Mass Effect universe. I loved the feeling of stumbling across an uncharted resource or coming to the rescue of some helpless people. Some of the sidequests included really tough decisions, which enriched the game and gave me a sense of responsibility. I liked having the freedom to control of the ship and choose the sidequests that I wanted to pursue. The introductions to the quests were vague so I was often surprised by what I found. Even though some of the areas were very similar in structure (likely due to limited art resources) the diversity in the quests was still there and kept it interesting.

Aside from the flaws that I have already discussed, Mass Effect had only a couple other drawbacks: a lack of tutorials and a poor inventory system. I had no idea that I could jump with the mako until halfway through the game, and I never figured out that I could zoom in on enemies in the mako until after I beat it. If I didn’t have a friend to talk me through the beginning of the game, I doubt that I would’ve become as skilled in combat.

Also, the inventory system was cumbersome for someone like me who likes to collect all the items from the game. Given the number of sidequests, I continued collecting hundreds of weapons, armor, and upgrades. I was continually struggling to keep my inventory down so I wouldn’t have to leave anything behind (or convert it to omni-gel). The limit of 150 items was way too low. Due to the abundance of items in the field, I never had to buy anything at the stores. (I did buy the spectre weapons on the Normandy at the end of the game, but some of the later weapons that I found were comparable.) Hours from the end of the game, I maxed out the money. This meant that I had to spend a ridiculous amount of time re-equipping my team to make sure I wouldn’t destroy something that I needed. It took a long time to scroll through items, and I wished the inventory could be sorted.

While Mass Effect did have a few flaws, it was still a fantastic RPG experience. I highly recommend it to people who love immersing themselves in a rich sci-fi world with engaging characters and plenty of content to keep them busy. It is probably the best game experience I’ve had since Okami, and possibly one of the best games I’ve ever played in terms of the emotional impact. I really identified with my character because I was the one who was molding her into the person that I would like to be.  

There are few moments in a game where I get so frustrated that I just want to quit. Most of the time, I’ll get annoyed with a flaw in the design, but I try to stick to my guns and get through it. In Mass Effect, there were a few moments where I got so frustrated that I would swear profusely. However, I knew that I would avoid the game if I had a seemingly insurmountable obstacle waiting for me, so I stubbornly persevered.

The first major source of frustration that I ran into were battles with alien creatures called thresher maws. Like overgrown sand worms, these creatures would appear with no warning from random places in the ground and attack. One of the main sources of frustration in these battles stemmed from the fact that thresher maws appeared while exploring in the mako. Due to the unwieldy controls of the mako and its offensive weapons, this became quite the issue. Not only did the thresher maws appear in random places, but they would kill you instantly if you happened to be on top of it when it shot up through the ground. Then, the thresher maws would shoot toxins that went straight through the mako’s shields. They were tough creatures that gave me only a few seconds to shoot in one tiny area.

I found that there was little strategy involved in fighting a thresher maw. I fought two and ran from another two because I felt that it is simply not worth the effort. The vague strategy I developed consisted of continually moving and shooting as much as possible in the general direction of the maw. If you’re careful, you can also try to jump over the toxins. This will keep your mako in good repair. The main issue here is just trying to survive long enough to outlast the thresher maw.

The second source of frustration was fighting rocket drones on Earth’s moon. There were three stations to explore in this particular sidequest, and each station’s defenses were stronger than the last. In the final station, there were geth rocket drones. The rockets would destroy my shields and kill me instantly. I grew incredibly frustrated because there got to be five to ten geth enemies stuck in a little hallway, and I couldn’t shoot at them unless I was exposed. Once exposed, I would get shot with a rocket and die. I started adapting my strategy, using techniques such as running back and forth in front of the enemies while shooting, throwing bombs, and sending my companions in to get shot in my place. (I could revive my companions, but if I died, it was game over). Eventually, my strategies paid off and I got past the rocket drones.

I have enjoyed most of the gameplay so far in Mass Effect. However, the few design flaws can lead to a lot of frustration for a player less experienced with shooting games like me. I have found the difficulty to be well-balanced for the most part, and most enemies provided a reasonable challenge. I’ll continue playing Mass Effect, but I hope that I don’t run into too many thresher maws or rockets drones. If I do, I’ll probably just run.  

Please do not read on if you intend to play Mass Effect. I will do my best not to reveal unnecessary information, but it is impossible to discuss the impact of a certain portion of the game without giving away a few details. Click here to skip to the previous post.


I wish I could say that I followed my own advice and did not hear about a certain part of Mass Effect before I played it, but, in the course of searching for help a couple of times, I accidentally saw a hint of what was to come. I had heard that I would lose a companion at one point, and I would have to make a tough choice. This information haunted me as I chose my team members for each mission. I kept thinking, “Will this be the mission where I lose someone?” Unable to take the stress, I consulted a friend who had finished the game. He kindly told me that the game would strongly imply when that point would come, and I had no need to worry.

I didn’t worry until I got to a part of the game where my team was suddenly split up. I had to choose one of two companions to leave behind. I thought, “Will this be the tough decision?” I saved compulsively as I moved ahead. By the end of that mission, it turned out that I did have to make a choice to rescue the separated team member or to rescue another. I was very upset, because I had imagined this moment over and over again. I had thought that my party member choices would allow me to leave behind a companion that I never used or someone that I didn’t care about. Unfortunately, the choice happened to be between the two companions I always took along with me. I was torn, as I had spent some time talking to each and learning about their backstories, making them seem like real friends. After all, these characters had been through nearly 20 hours of gameplay with me, and I felt that I could depend on their help.

I agonized over the choice. There was no option to save both. It was simply one or the other. I was sending one of them to their death, and they each wanted me to sacrifice the other. While I considered both equal in terms of friendship, there had to be some deciding factor for me. Soon, it came down to two factors: fighting style preference and the romantic sub-plot. I had begun to enjoy one of the team members’ fighting styles more than the other’s style. This is because my Shepherd’s style complimented the one companion’s well, making my life easier. The other team member had combat skills similar to mine, so it created an overlap that wasn’t quite as helpful. Second, I had begun to pursue the romance subplot with one of the characters. As a writer, I was really curious to see how it would play out (and perhaps my girly desire for a juicy romance got the best of me). These factors may seem trivial, but I had to find some way to choose and these factors tipped the scale for me.

I felt that I had made the best choice for me, but, when I turned off my 360 that night, I felt terrible. I wandered out of my room in a daze, confessing to my roommates that I was torn up about losing a virtual friend that I been through 20 hours of missions with me. I realized how silly it sounded, but I was genuinely sad. I went online, talking to other friends and searching in forums to see if I really did have to make the choice between those same two characters or if I could’ve changed it. While everyone had to make the choice between the same two characters, it was easier for some due to their personal preferences for certain characters. Some of their choices involved romantic interests like me, but others were simply because one character bothered them.

The fact that I let a good friend and member of my team die has stayed with me and I don’t think I’ll forget that moment soon. It was a fantastic moment in game narrative. I hate to think about setting out to make a game that makes people cry, but this type of choice really can have a profound effect on a person. Tough choices seem to be the heart of creating real emotion in games, since you can affect a person’s conscience and make them realize that hard decisions have to be made in situations where the fate of the universe is at stake.  

It’s easy to complain about a game. When something goes wrong, I can often pinpoint the problem and propose a solution. However, when something goes right, it’s often harder to explain why. If someone asked me why I like chocolate milkshakes, for example, I would have a very hard time explaining it. Fortunately, with a game like Mass Effect, it’s a little bit easier to find the positives. I may have complained about achievement difficulties and the mako, but this game is becoming my new addiction.

It’s no secret that RPGs are my favorite genre. I have some trusted favorites from the past, but it seems that few RPGs can compare these days. Then I found Mass Effect. This game has been able to pull me in and immerse me in a new universe. The HD graphics look fantastic, from the environments such as presidium in the citadel to the futuristic clothes. I love being immersed in these fantastic environments, even if texture popping prevents me from seeing all the great details immediately. The outfits are a lot of fun, especially since the characters’ appearance changes with new armor. Most of the time, my female Commander Shepherd looked pretty cool in her armor. I once had a good laugh when I realized that the best armor for my krogan companion was a pink and white getup very similar to Ashley’s from the beginning of the game.

My main motivation for playing most RPGs is an epic story. I love watching a complicated plot unravel slowly and sinking my teeth into some rewarding side quests. Mass Effect is clearly focused on the story. I really wanted to explore the cities and talk to everyone, because I felt I could learn a little something from each NPC. The main worlds felt alive and interesting. I’m not sure how the story will play out, but at this point the missions feel very well paced and have great story arcs.

While I have not been very good at shooting games in the past, Mass Effect requires a lot of shooting. I like to think that I’m getting better at it, but the game is structured so that it is accessible for people like me that aren’t as familiar shooters. I could’ve chosen to be a biotic (giving me talents that can do damage without aiming) or could I rely more on my AI-controlled companions. I found that the game was never too difficult for me on normal mode.

I’ve really enjoyed Mass Effect so far. Despite my frustrations with the mako, the fantastic story and effective gameplay are keeping me addicted. I’m looking forward to playing it again soon and getting lost in Mass Effect’s universe.  

I had heard that the Game Devevloper's Conference (GDC) was one of the biggest game conferences, but the idea of going was a vague idea for me when I went to the D.I.C.E. Summit last year. However, by the end of the year, I was convinced that I needed to go. Aside from my general interest in learning about specialized career topics, GDC became something more for me when a group project from school (The Misadventures of P.B. Winterbottom) was selected for the IGF student showcase at GDC.

Even if your game is nominated for an award at GDC, that doesn’t mean that the whole team can get in for free. Before I knew that my game was selected, I had applied to be a volunteer (a Conference Associate or CA). I wanted to go to GDC whether or not my game got in, and I was quite surprised when I found out that we did make it. Regardless, I had no idea that volunteering would be such a fantastic experience.

As a GDC CA, I was given an all-access pass to the conference. This meant that, when I was not on duty, I had access to any session, tutorial or workshop. The CA program is incredibly well-organized, and each of us got to request three time slots to have off (to attend a specific session). I had the opportunity to go to a full-day tutorial on game writing (Learn Better Game Writing in a Day), which was quite helpful as an aspiring game writer.

The game industry is small enough right now to have a sense of community. While there were thousands of attendees at the conference, I kept running into people that I knew. Guest speakers, contacts from internships, and friends of friends somehow seemed to find me if I couldn’t find them. Also, many of the speakers were very approachable. I met Mac Walters, one of the senior writers on Mass Effect, after he spoke in a session. He is a real inspiration for me, and I appreciated the opportunity to meet him in person and ask for his advice.

Aside from the community of developers attending and speaking at GDC, I found a fantastic community in my fellow CAs. Everyone had a genuine passion for games, so it was very easy to make new friends. It was a lot of fun to be part of a group of such hardworking, dedicated people. I found some great people to spend time with and I was never lonely.

GDC was a fantastic experience. When people back at school asked me how it was, my eyes would glaze over and all I could say was “awesome.” It was very inspiring for me to meet the people I admire and to see so many gamers together in one place. I came back more motivated than I’ve ever been. I highly recommend this conference for students. It’s a fantastic way to learn more about the people and the companies that create the best games on the market. GDC also provides opportunities to learn about specialized topics in the video game field. I found it to be very rewarding and I hope to go back again next year.  

I’ve been playing a lot of Mass Effect lately, and I love it. I look forward to playing each moment, except areas that require use of the Mako, a futuristic planetary-exploration vehicle. The game encourages the player to use this vehicle first on a planet called Feros. There is no tutorial for this vehicle, so the player must learn the controls through experimentation. This would be an acceptable design choice if the road didn’t quickly turn into a narrow skyway. I’ve talked to several people, who, like me, found the controls to be counterintuitive and proceeded to fall off the skyway to their death multiple times.

The movement of the vehicle is controlled by the left thumb stick; the camera and reticle for the gun turret are controlled by the right thumb stick. Steering is relative to the camera, so the Mako will move in the direction relative to what the player sees. I found this to be counterintuitive, and I would frequently move in the wrong direction during combat and take extensive damage.

There were also flaws in the design of the reticle movement, especially when zooming in. When rapidly rotating the camera view, the gun turret can’t keep up with the reticle, especially if the turret is firing. Also, the reticle can be aimed higher and lower than the actual turret range. If the reticle is focused on an area out of the turret’s range, the turret will fire somewhere within its range but not where the reticule is aimed.

There are a few simple solutions to these frustrating flaws. First, the game should point the player to an easier mission for a better introduction to the Mako. Mass Effect allows players to choose between several missions at that point, and there is no reason why the Feros skyway should be a training ground. A planet such as Novaria is more suitable to players new to the Mako. This change could be easily made by changing the dialog in the conversation that encouraged players to go to Feros first.

Second, a formal tutorial or a change in the control structure would be beneficial. If the control structure was received well during testing, then a tutorial that briefly explained movement, aiming and camera rotation would help those who found the player-centered motion counterintuitive. If players seemed to be struggling with movement, then the controls could be shifted so movement is relative to the vehicle itself. This is would be similar to vehicles in real life and automotive games, which would make it familiar for many players.

Finally, I would limit the motion of the reticule, at least in the zoomed-in mode. If the players need to look around at their environments, the game allows players to exit the vehicle at any time. It simply does not make sense to allow players to aim for targets they cannot hit.

If those few changes were made, areas with the Mako would be more fun. Players could concentrate on the gameplay instead of fighting the controls. Hopefully, players of Mass Effect sequels will be able to avoid the frustrations many have felt due to the current design flaws.  

With the increasing online component of many games, it comes as no surprise that achievements and points have become a measure of gamer status. Instead of just beating a game, you can now prove how much effort you invested in optional aspects of the game, such as sidequests or special types of kills. You can instantly compare the achievements you unlocked to the achievements of your friends.

I haven’t been able to sink my teeth into an Xbox 360 game since my brief fling with Eternal Sonata. I grew tired of the disproportionate percentage of time spent in repetitive battles so my 360 began gathering dust. Fortunately, a friend gave me Mass Effect. I began playing it at his house and was blown away by the first hour. Unsure of the ability to transfer saves off my memory card, I didn’t play more until I was back home.

When I got home, I was excited to learn that I could transfer my save and soon jumped back into Mass Effect. I was excited about the idea of getting achievements, as my gamerscore was quite low and I wanted to prove that I was a real gamer. Five hours into Mass Effect, I became a spectre. This achievement is essential to the progression of the game and I had read online that it would unlock an Xbox achievement. When my achievement pop-up didn’t appear, I was a little concerned but decided to wait in case it was tied into a later event. One hour later, no achievement had appeared. After some research online, I discovered that I was a good distance past the spectre achievement and I had somehow missed it.

I called Xbox help and explained how I had transferred the save from a different profile on a memory card. Unfortunately, the two representatives I talked to did not mention the most important detail: you can’t unlock achievements from a save that was not created on your profile. I was torn. Was it worth re-playing five hours of a game I would likely spend 25-30 hours playing? I was very thorough the first time and hated to lose my progress. However, this was likely one of the only games I would be motivated to finish on the 360, and it would be sad to lose those points.

Part of me was frustrated with myself for caring so much about Xbox achievements. After all, weren’t they just a device to feed my ego and spur competition? People have played games for years and still do without worrying about being rewarded outside the game. Have measures of success become more than just a motivational tool? Have rewards for the game become more important than the game itself?

After careful deliberation, I decided to play Mass Effect again from the beginning. Even if achievements didn’t exist for older games, the achievements are available for Mass Effect and I wanted to show off the effort I put into the game. While I should focus on enjoying the game for what it is, it’s still nice to have a little ego boost by periodically earning a few points. The best part about playing those five hours again was that I didn’t mind diving into such a beautiful and well-crafted story after just playing it. Mass Effect is so compelling that it is worth playing again.