Gaming certainly has a canon, and it would be silly to claim it doesn't, but
Mass Effect 3's ending poses some interesting questions about the way it works. How often do you think an album, a film, or a painting only makes it into the canon after an extensive re-working, even of only one element of the whole work? How often does it even make any difference whatsoever? Sure, I can think of examples where it has made a difference - Iggy Pop's remaster of
Raw Power,
Apocalypse Now Redux, perhaps
Blade Runner,
Anton Bruckner's symphonies - but if you stack any list you could conjure up against the mountains and mountains of expanded reissues and digital remasters that clutter the market every year, you'll realize that it's ultimately a tiny percentage. Yet gaming seems at odds with this idea of revisions being irrelevant - how can the canon account for DLC, for remakes of PS1 games for PS3 or Vita hardware, for games that effectively amount to shot-for-shot remakes of (relatively) ancient games with improved mechanics and graphics? And how can it account for the controversy surrounding ME3's original ending and the revised ending Bioware later released?
I got
Mass Effect 3 a fair while after its release and played it on PS3, so I automatically got the expanded ending. In fact, I knew basically nothing about the original ending or the controversy around it because, after enjoying
Mass Effect 2 so much, I went out of my way to avoid spoilers. And when I eventually saw the ending I chose, about 70 hours of gameplay after first entering the series, I thought my ending was basically perfect for the series, for the journey I went on, for the characters I'd met and the relationships I'd built with them. So, as far as final impressions go, I ended up with a vastly different experience to somebody that bought this on release day. Odd one to countenance with the game's legacy, isn't it?
In any case, I would place
Mass Effect 3 as being very, very, very slightly worse than its predecessor, but the margin really is tiny enough to be insignificant. The difference, perhaps, is merely in the thrill of meeting new characters and trying to figure them out - ME2 does this constantly throughout and chucks in loyalty missions for each person for extra credit, while ME3, by very nature of being a sequel to a game largely structured around starting and maintaining relationships, doesn't introduce many new people - and James Vega, the biggest newbie, is initially a disappointingly two-dimensional meathead. He reveals hidden depths later on, as so many characters in the Mass Effect universe do (not the blatant masturbatory fantasy Diana Allers, mind - what a disappointment she is next to the cavalcade of strong, compelling female characters the ME universe throws at you), but he still comes off as probably the weakest squad member in the series. On the upside, the new EDI adds a lot of much-appreciated character and humour to the same, Javik has a fascinating backstory, and as somebody who missed the first game entirely, it was nice to watch a relationship develop with the Wales and Swansea captain Ashley Williams.
A few of the characters have radically changed circumstances (Aria, who the fantastic Omega DLC revolves around) or personality (Jack) too, and that's a part of what
Mass Effect 3 does so well - ties up loose ends. As a PS3 owner with a laptop that struggles to run
Sid Meier's Civilization V, I never played through the first game, but
Mass Effect 2 was absolutely huge in scale on its own, and I genuinely wondered how they'd manage to fill me in on all the people I cared about without making the game an 80 hour long monstrosity. Yet it's surprisingly concise for a space opera (it took me about 5 hours less to complete this game than its predecessor, on a harder difficulty), and it addresses literally everything I could think of, and mostly in a satisfactory way, my only real complaint being that I'd have liked a little more of Kasumi. In fact, some of these resolutions - the crucial scene with Legion and Tali which ends in her briefly removing her mask in particular - are better than I could ever have imagined.
True, much of ME3 outside of these loose ends writes itself; the combat and the RPG elements haven't changed (nor could they, really, since the game allows you to import saves from its prequels and carry on with the same character), and the storyline simply builds to the same conclusion it was always going to, with Shepherd's final showdown with the Reapers taking centre stage. The most noticeable change is actually in the planet scanning, a minor gameplay element anyway; even the loyalty missions of ME2 are replaced nearly like-for-like with missions that allow you to build up 'war assets' - taking time out to do a favour for the Krogans means that they join you in your final fight, for instance. The number of these you build up dictates how good your ending can be, just as in ME2 the more loyalty missions you did dictated how many members of your team were allowed
to survive the climactic suicide mission. This is all fine, though - ME2 was a fantastic game, so why fix it if it ain't broke? It's the same story, the same universe, and largely the same characters, but when you're dealing with a story, universe, and cast as great as
Mass Effect's, that's more than enough to make it one of the best games around.
what the fuck is that? it's basically required lore, and Leviathan is a great mission.
Leviathan I disagree on. It's a great DLC that explains the origins of the Reapers but hardly 'required' imo. All you really need to know is that the Reapers harvest organic life and are post-biotic beings beyond our comprehension, that's all they really are to begin with.
If anything, while Citadal is just a fun standalone romp, I think the quality time the game adds with your old squad mates is something that was sorely missing from the release game, and therefore is more essential.
We got to play our shepherds, and see the end.
KaiLeng is a loathsome dweeb tho.