Mass Effect 3 has that third act issue that plagues just about any serial work, in which the high stakes of the conclusion dominates, or entirely suppresses any of the quieter moments. I don’t mind this in single pieces, after all, a story has to come to a close. But a series seems to suffer from this when the individual segments are interlinked by a single story. Mass Effect 2 has this laid back, space faring adventure arc, where side stories more or less carry the bulk of the game. It follows the same structure as Star Trek, focusing more on characters and less on an encompassing, high stakes fight for the people of the galaxy.
Throughout my adventures on the Normandy SR2 I could spend time with the crew, go about quelling arguments and attending to personal matters. With Mass Effect 3, it’s all about how quickly we can save the galaxy. There’s this enormous pressure put on you — by the environments, characters, and plot — to fight off the apocalypse. My issue here is that the entire third chapter of this brilliant series focuses on the needs of everyone else, and not so much on your crew and their personalities. It’s all about urgency, about this universal genocide. I particularly enjoyed Citadel over the other DLCs because of how it reunites you with simpler times, where saving the galaxy came second, and loyalty to crew members came first.
The story that carries this short romp through the Citadel is inane, but it’s executed with confidence, and over-dramatized characters to complement it. In short, a clone of Shepard’s is out to steal his identity and replace him, with hopes to establish humanity’s dominance over the galaxy in cooperation with pro-human terrorist group, Cerberus. A new character, Brooks, is a Cerberus officer who plays a role parallel to that of Miranda Lawson’s in Mass Effect 2. She starts off as a nervous and clumsy Alliance officer — an ally, who sets up a lot of jokes with her behaviour but eventually reveals herself as the obnoxious, soap opera mistress she really is. It is as crazy as it sounds, but the game makes up for it with an emphasis on camaraderie and humour. Just about every chunk of dialogue involves some joking around and poking fun at some of the designers’ decisions, such as Shepard’s robotic speech in saying “I should go” to exit conversations.
Gameplay in this bit is largely the same as other DLCs, simply adding variations to enemies and gun modifications to suit your fancy. The story takes you through corridors as the series always does, but the environments are fleshed out with lurid architecture and interesting NPCs. The spaces range from the austere to the affluent, containing areas to free roam at your leisure once you complete the story. Silversun Strip is the nucleus of this side of the Citadel, taking notes from the hazy, beaming art style of Bladerunner. Neon lights flood your vision with every turn, people chatting about their enthusiasm for the next Elcor adaptation of Shakespeare. There’s this gaudy casino where you’ll find sleazy lawyers and patronizing rich folk, rapt with silly mini-games to boot. It doesn’t end there, there’s an arcade with even more mini-games, and a combat simulator which plays like a single-player mode for what’s offered in the game’s multiplayer; the basic mode in which you’re to defeat all enemies in the arena.
The best part of this adventure lies at the tail end of things, where you get some closure with your crew before you head back to saving the galaxy (again). Like the core story, you get emails from the crew members asking you to join them in various activities, which really play into short cutscenes that discuss their deeper personalities or explore what they do for recreation. You adopt this fancy apartment, throw a party — a last, intimate, hurrah with your team. It’s not just with the characters from this game, you get to spend time with old friends from the dog days of prior escapades. People like Samara and even Wrex. While I’ve been spoiled by games like The Last of Us, the stiff animation doesn’t do much to degrade the quality of the dialogue; the characters are still a joy to watch play off one another, from aggression and embarrassment to remorse and sentimentality. Everyone jokes around, get’s drunk, butt heads and show their true colours, one last time. Of course, they pay the price the next morning.
I was pretty nonplussed with the ending for this trilogy. There were a lot of lofty themes on technological progression, ontology, and divine intervention — which is fine and all but I also wanted to see what became of the story told between my avatar and my crew. I wanted to know how everyone was dealing with the threat of genocide by synthetics, and even more, I wanted to know how everyone was just plain doing. I got that. That’s what this DLC was: pure fan service. It was written knowing that the people playing must’ve finished the actual campaign, completing this sendoff with an evening among friends. In the final cutscene Tali’Zorah, who I romanced in my playthrough, draws the penultimate line of the trilogy by claiming that “We’ve had a good ride.” And after that last get together with the crew, I couldn’t agree more.