Maniacal Microtransactions

I was once a strong proponent of downloadable content (or DLC). I loved the very concept. The lifespan of my favorite games could be extended, giving me more reason to play a beloved title. New ideas could be injected into a finished product. Fresh concepts could be brought to a game already solidified and stamped on a disc.

Increasingly I find myself disillusioned and disappointed with what the reality of this idea has become. I find myself struggling to find things to spark my excitement in a digital marketplace strewn with blatant examples of publishers using DLC in all the wrong ways. Even when it’s used in the right ways, which is rare enough these days, it still brings some troubling trends to light.

Perhaps it would help to begin by demonstrating what lies at the root of the problem: cost. DLC could have been a fantastic way to extend a gaming experience in a meaningful way beyond what was possible on the disc, and indeed you do occasionally see it used for this purpose. More often than not however, it seems to be little more than a way to increase the cost of the game without actually having to mark up the price tag in stores.

As one example, consider the fighting game BlazBlue: Continuum Shift. It is but one example of a game simply riddled with DLC that overcharges and under-delivers, complete with a side dish of greed and deceit.

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Mass Effect 2: The Arrival DLC Review

Fans of Mass Effect 2 have so far been spoiled by the downloadable content Bioware has seen fit to send our way. They haven’t been the lengthiest adventures, but they provided quality doses of Mass Effect action at reasonable prices while adding something to the overall lore. 

Kasumi’s Stolen Memory told the surprisingly poignant personal story of a young lady who proceeded to become a useful and unique party member after the mission’s completion. Overlord was a side story, true, but it was a good one, with an emotional finale that made the journey worth it. Lair of the Shadow Broker contained exciting action scenes, important plot revelations, and vital character development for Liara. Shadow Broker actually stands as one of my favorite pieces of DLC I’ve yet played. 

All of these extra missions I would recommend without hesitation to anyone who enjoys Mass Effect. It is admittedly a strange value proposition when analyzed closely, as $7 for a tiny fraction of the content contained in the full $60 game does seem a bit strange on the surface, but that’s missing the point. These are episodes, installments, bite-sized morsels, call them what you will. They provide a small fix of entertainment at a fraction of the price and extend the life of a fun game beyond what was provided on the disc. As long as I come out on the other end of my microtransaction with a smile on my face, I have no problem with it.

Considering Mass Effect’s rather good track record with this type of content, it’s disappointing to report that Shepard’s final mission under the Mass Effect 2 banner is a letdown.

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Best of the Decade: Mass Effect 2

Mass Effect 2

Platforms: Xbox 360, Windows

Release Date: January 26, 2010

Publisher: Electronic Arts

Developer: Bioware

Mass Effect was a terrifically ambitious experiment. Mixing RPG elements with other genres of gameplay has become commonplace, but with this epic title, Bioware approached the gameplay from the other direction, choosing to mix an action game into an RPG. The end result was imperfect, but fascinating on a number of levels. 

It wasn’t until early this year when the potential for the series truly became apparent. Mass Effect introduced many of the concepts its sequel would polish into a fine sheen, but Mass Effect 2 sold me on why this series could be one of the most important and influential the industry has seen. 

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Uncharted 2: Loading Times and the Gaming Experience

It’s amazing how distracting a simple loading screen can be. It’s a little thing, but that seemingly unimportant static screen can rip your immersed brain right out of an amazing experience and back into the real world. It may only be for a brief moment, but it can be more than enough to break the flow of the story, to pull you out of the game, or to stifle your sense of immersion.

I’ve always found it amazing that more developers don’t try to get rid of the annoying little things. I remember back to the days when I first played games on the original PlayStation. I was so amazed by the technology of the whole “games coming off of CDs” thing that I thought loading screens were cool. They were a sign of advanced technology. No more outdated cartridges for me!

Well, those days are long gone. Times have changed, and fast. Loading screens are no longer interesting artifacts of technological progress. They are now signs that a developer couldn’t find a way to overcome the technological challenge of getting rid of them.

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Mass Effect: Gaming's Star Trek?

Just about every medium that tells a story seems to eventually develop universes - collections of lore and history originally attached to particular stories, but that stay relevant long after those initial tales are completed. The allure of the universe is stronger than any individual story told within it, so people come back time and time again, demanding new stories told within its confines.

Television gives us some of the most numerous and obvious examples. Star Trek, for instance, is a terrific analogue for what Mass Effect could be. Its universe has sustained multiple television series, books, movies, games, and more. While the original show that started it all still remains popular, clearly there is more draw here than just Kirk and his crew.

Another obvious example, this time from the world of film, is Star Wars. There should be no need to explain the importance of this one. It is one of the most influential story universes of all time. It strongly centers around the original movies which made it famous, but has produced countless examples of other forms of entertainment only related by the universe they share.

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