Tag Archives: Mass Effect 3

Celebrating The Love Of Shepard And Garrus On N7 Day

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Greetings and to all the fellow fans of “Mass Effect” out there, Happy N7 Day! To those who don’t follow video games or space operas, N7 Day is the annual celebration that fans of this incredible franchise and story use to celebrate this amazing world that we love.

This series will always be near and dear to my heart in many ways. It didn’t just tell an incredible story that spanned the galaxy. It crafted wonderful, compelling characters that included beautiful, endearing romances. While the game gives you many romantic options to pursue, the one that will always resonate with me is Garrus and female Shepard. Their love helps make the galaxy worth saving.

In celebration of this year’s N7 Day, I’d like to commemorate it by highlighting my favorite romance between Earth’s greatest defender and her badass Turian sharpshooter. If you need convincing that their love is special, please see check out this video complication. I hope it convinces you as much as it did for me. Enjoy!

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Filed under Mass Effect, romance, video games

Why Intelligent Aliens May Destroy Us Even If They’re Peaceful (According To Mass Effect)

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What would happen if we went back in time and gave the Genghis Khan nuclear weapons?

What  would happen if we went back even further and gave machine guns to the Ancient Romans?

Let’s be even more subtle. What do you think would happen if you gave Aristotle a functioning smartphone with a complete catalog of Wikipedia? How much would that change the course of history? More importantly, how much damage would it potentially incur?

I consider myself an optimist. I generally place more faith in humanity than most people in this age of fake news and heavy cynicism. I have my reasons for doing so, but even my confidence in the human species has limits. I trust most people to do the right thing every time I drive my car on the highway. That doesn’t mean I’d trust a caveman from 10,000 BC to drive a fully-loaded tank.

I make this point because these are legitimate concerns consider when assessing how humanity deals with emerging technology. We can barely handle some of the technology we already have. How will we handle things like advanced artificial intelligence, gene hacking, or advanced robotics?

I’ve stated before that the human race is not ready for advanced artificial intelligence in its current state. I’ve also stated that the human race isn’t ready for contact with an advanced alien species, either. I believe we’re close. We may even be ready within my lifetime. However, if aliens landed tomorrow and brought an advanced artificial intelligence with them, I think our civilization and our species would be in trouble.

I also think the human race would be in danger even if those same aliens were peaceful. Even if they brought a super-intelligent AI that was as compassionate and caring as Mr. Rogers, our species would still face an existential crisis. To explain why, I’ll need to revisit one of my favorite video games of all time, “Mass Effect.”

The various themes of this game, and the lore behind it, offer many insights into very relevant questions. In addition to the timeless hilarity of bad dancing skills, the game crafts a rich history between alien races like the Quarians and the Geth. That history reflected the dangers of mishandling advanced artificial intelligence, an issue humanity will have to deal with in the coming decades.

There is, however, another rich history between alien races within “Mass Effect” that offers a similar lesson. This one has less to do with artificial intelligence and more to do with what happens when a species technology that it’s not ready to handle. That danger is well-documented in the game through a hardy race of beings called the Krogan.

Like the Quarian/Geth conflict, the conflict surrounding Krogan has some real-world parallels. However, I would argue that their story Krogan is more relevant because it serves as a warning for what could happen when an advanced species uplifts one that is less advanced.

In the mythos of “Mass Effect,” the Krogan were once a primitive, but hardy species that evolved on the harsh world of Tuchanka. They’re reptilian, high-functioning predators in nature. They’re basically a cross between a velociraptor, a crocodile, and a primate. They have a tough, war-like culture, which is necessary on a world that contained hulking Thresher Maws.

They were not a species most would expect to develop advanced technology. Then, the Salarians came along. Unlike the Korgan, this amphibious alien race isn’t nearly as hardy, but is much more adept at developing advanced technology. In most circumstances, they wouldn’t have given the Krogan a second thought. Unfortunately, they were in the middle of the Rachni War and they needed help.

You don’t need to know the full details of that war. The most critical detail, as it relates to advancing an unprepared species, is how this war came to define the Krogan. Neither the Salarians nor the other alien races in the game could defeat the Rachni. In a fit of desperation, they uplifted the Krogan by giving them weapons and advanced knowledge.

In the short-term, the Salarians achieved what they’d hoped. The Krogan helped defeat the Rachni. In the long-term, however, it created another inter-stellar war in the Krogan Rebellions. Apparently, giving a hardy, war-like species advanced weapons doesn’t make them less war-like. It just gives them better tools with which to fight wars. That may sound obvious, but keep in mind, the Salarians were desperate.

The details of this war end up playing a major role in both “Mass Effect” and “Mass Effect 3.” That’s because to stop the Krogan, the Salarians resorted to another act of desperation. They crafted a biological weapon known as the genophage, which significantly curtailed the Krogan’s rapid breeding rate.

The damage this did to the Krogan race cannot be understated. Through the entire trilogy of “Mass Effect,” characters like Wrex and Eve describe how this destroyed Krogan society. In “Mass Effect 3,” Eve talks about how the genophage created massive piles of stillborn Krogan babies. That kind of imagery can haunt even the most battle-hardened species.

In the end, both the Salarians and the Krogan paid a huge price for giving technology to a species that wasn’t ready for it. Depending on the decision you make in “Mass Effect 3,” the Krogan species is doomed to extinction because of how ill-prepared they were. This haunted more than a few Salarians as well, one of which played a significant role in a memorable side-story in “Mass Effect 2.”

Regardless of how the game plays out, there’s an underlying message at the heart of the Salarian/Krogan dynamic. When a species is uplifted by another so abruptly, it’s difficult to see the long-term ramifications. Even though the Salarians were in a dire situation, they ended up creating one that had the potential to be much worse.

That danger is actually more pressing because, unlike advanced artificial intelligence, the act of uplifting a species effectively skips over the cultural and societal evolution that’s necessary to handle new technology. The Krogan never got a chance to go through that process before getting that technology. As a result, they became an existential threat to themselves and others.

The human race still has a long way to go before it creates the kind of artificial intelligence that would constitute such a threat. Aliens on the level of Salarians could land tomorrow and there would be nothing we could do to prepare ourselves. Whatever knowledge or technology we gained could do more than just upend human society. It could irreparably damage our species, as a whole.

Some of that outcome would depend on the intentions of the advanced alien race. It could be the case that they’re not like the Salarians and aren’t looking to enlist humanity in a war. It could also be the case that they’re smart enough to not give primitive humans advanced weapons. That could mitigate the risk.

However, that still assumes humans won’t find a way to use advanced knowledge to make weapons. When Otto Hahn discovered nuclear fission in 1938, he didn’t have any idea that it would be used to make a bomb that would kill go onto kill over 100,000 people. Even if advanced aliens are really smart, how could they be sure that humanity won’t use advanced knowledge to create something more horrific?

Sure, they could try to stop us, but that could only make things worse. The genophage wasn’t the Salarians’ first recourse. They actually went to war with the Krogan. They suffered heavy losses and so did the Krogan. In the long run, uplifting a less advanced species was detrimental to both of them.

That doesn’t just put the famous Fermi Paradox into a new context. It demonstrates a real, tangible threat associated with advancing a species before it’s ready. I would argue that the human race is close to that point, but we’re still not there. We have issues managing the technology we’ve created. There’s no way we can handle advanced alien technology at the moment.

Mass Effect,” in addition to being one of the greatest video games of the past two decades, offers many lessons for the future of humanity. It shows that humans are capable of great things. We have what it takes to join an entire galaxy full of advanced alien life. For our sake, and that of other advanced aliens, we cannot and should not rush it.

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Filed under Aliens, futurism, human nature, Mass Effect, philosophy, psychology

When “Progress” Isn’t Really Progress

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After I graduated college, I got my first full-time job at a software company providing technical support. Out of respect for my former employer, I won’t name the company or the type of software it made. I’ll just say that, like all software, it sometimes malfunctioned and users got really upset.

For the most part, those seeking support were polite and reasonable. I enjoyed helping them. It made the job feel rewarding, despite the erratic hours and mediocre pay. However, there were certain customers who, for whatever reason, just weren’t satisfied complaining about the product. They basically went out of their way vent all their problems on whoever was unlucky enough to get their call.

At my office, we called these people “rubber wall users” because they weren’t just an impenetrable wall of whining. Any time you tried to throw something at them to fix their issue, it just bounced right back at you. While we tried to be professional, there was an unwritten rule that even my supervisor understood. You say whatever you have to say to get that person off the phone and on with their miserable lives.

I’m sharing that story because it’s a fitting metaphor for a phenomenon we’re seeing more and more of these days. I see it in movies, TV shows, video games, and even novels, which especially concerns me. It involves pressuring artists, producers, and developers to be more inclusive and diverse with their media. Then, when it finally happens, that’s labeled “progress.”

With respect to the sincerity of those efforts, as well as the memories of some of the angry customers I dealt with, I disagree.

I’ve talked about progress on this blog before, mostly within the context of just how much the human race has made over the past century. You won’t find many people who celebrate that progress as much as I do. By nearly every measure, we’re far more prosperous, tolerant, and well-behaved than we’ve ever been.

That said, there are certain kinds of progress that shouldn’t count as progress. They’re only progress in the same way that getting an unruly customer off the phone with some moniker of professionalism counted as progress at my old job. It’s not motivated by a sincere acceptance of diverse opinions. It’s just a way to stop the whining.

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For the past couple years, I’ve found myself wondering just how much of this false progress is being mislabeled. I’ve been seeing it in multiple mediums. Comic books, a medium for which I regularly express my love on this blog, is just one of them.

While I’ve avoided talking about such controversies, I have noticed the same trend that others have vocally criticized in other mediums. Major publishers, including Marvel, have been pushing for more diversity in their books, but their efforts haven’t always been well-received and the resulting “progress” isn’t necessarily cause for celebration.

Beyond the diversity push, Marvel even made an effort to de-sexualize their characters. While that’s only possible to some extent for overtly sexual characters like Emma Frost or DC’s Starfire, some of those efforts have had a noticeable effect on characters like Carol Danvers and Black Cat. It’s now much rarer to see female characters flaunt their sexuality.

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For some, that counts as progress. Specifically, for those who believe depictions of sexy female characters promotes misogyny and sexism, it counts as a victory. If it upsets the fans and robs an inherently visual medium of a unique form of beauty, then so be it. That’s the price of “progress.” If I could say that with more sarcasm, I would.

Again, I disagree. In fact, I would go so far as to say those efforts by Marvel backfired and not just because it cost their editor-in-chief his job. Marvel, like all media companies, is a business. Businesses need to please their customers. When certain customers are especially vocal, they have to listen to some extent, just as I had to listen to those customers.

It’s debatable how much those at Marvel actually bought into the “progress” that certain critics were asking for. I don’t doubt that some creators were sincere in their desire to improve diversity and expand the appeal of their comics. However, I also don’t doubt that a part of that effort was just to temper some of the whining by people who know how to be extra loud in the era of social media.

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While the impact on Marvel comics concerns me greatly, I noticed a much bigger effort late last year from an industry that has been prone to much louder criticisms. Specifically, it happened in one of my favorite video game franchises of all time, “Mass Effect.” Unlike what happened with Marvel, I’m not sure this beloved series will survive.

Prior to 2014, “Mass Effect” was the cream of the crop of video game franchises. It had a little of everything. There was action, drama, romance, exploration, insight, and yes, even a little sexiness. Characters like Miranda Lawson, Liara T’soni, Samara, EDI, and even the female protagonist, Shepard, had undeniable sex appeal.

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Then, in between the release of “Mass Effect 3” and the 2017 sequel, “Mass Effect: Andromeda,” a scandal broke out in the video game industry that involved everything from sexism to harassment to just how visible a character’s butt could be in a video game. I wish I were exaggerating, but it really happened and I don’t think the industry has fully recovered.

In the midst of that scandal, the demand for “progress” soared more than it did for most other mediums. Suddenly, the act of making a video game character too sexy was seen as contributing to a toxic culture of misogyny, sexism, and violence against women and minorities. It’s not like sex appeal had nothing to do with Lara Croft becoming so successful. Again, if I could say those words with more sarcasm, I would.

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Mass Effect: Andromeda” was developed in the eye of that storm. EA and Bioware couldn’t use the same approach they did with previous “Mass Effect” games. They had to be very careful with how they designed their characters, especially their female characters. One misplaced curve is all it would take to reignite a controversy that nobody wanted to deal with, given all the negative press the gaming industry had incurred.

As a result, the female characters in “Mass Effect: Andromeda” didn’t just dial down the sex appeal. In some cases, there was a concerted effort to make their female characters less attractive. This is best shown in the female model used for Sara Ryder, the main female protagonist. To say it didn’t translate to the game would be like saying drinking a gallon of bleach might make you a little queasy.

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Ryder wasn’t the only female character to have her looks tempered. Pretty much every female character, from the supporting cast to background characters, was designed with minimal sex appeal in mind. That’s not to say the game didn’t have some sexier moments, but compared to what other games attempted before that, it was pretty watered down.

That was just one of many problems that “Mass Effect: Andromeda” faced when it launched in March 2017. Now, games launching with bugs and glitches is nothing new. It’s standard practice for a game to get patched after launch. However, the extent of those bugs in “Mass Effect: Andromeda,” combined with unattractive characters, did not help the game’s reception.

I say that as someone who played the game and still loved it, for the most part. Since I love “Mass Effect” games so much, I found plenty of reasons to love “Mass Effect: Andromeda.” However, I found myself having to overlook more flaws than usual. I also found it hard to really admire the visual aspects of the game. Like comics, undermining that part of the experience can be pretty detrimental.

There were a lot of criticism levied against “Mass Effect: Andromeda.” Some are legitimate. Some are painfully valid. More than any other game, though, it was developed with the intent to promote a more diverse and inclusive product that appealed everyone and offended no one. As the sales and reception seem to indicate, though, even female gamers don’t like looking at unattractive characters.

As a result, nobody really hailed “Mass Effect: Andromeda” as progress. However, nobody staged a mass online protest claiming the game made its female characters too sexy and promoted toxic behaviors among its users. Some might count that as progress too. I am not one of them.

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In a sense, “Mass Effect: Andromeda” is a case study in a product where efforts towards progress just masked a desire to avoid outrage. Just avoiding outrage does not count as progress in any capacity. It just counts as a company trying to shield itself from bad publicity that might damaged its brand. Say what you will about corporate greed, but brand still matters to them, often more than money.

I don’t blame Bioware or EA at all for going that route, but simply avoiding outrage set the bar pretty low and it might have doomed “Mass Effect: Andromeda” before it ever had a chance. At the moment, the “Mass Effect” franchise is on indefinite hold because the response to “Mass Effect: Andromeda” was not what the developer had hoped.

Beyond the tragedy of damaging a beloved franchise, “Mass Effect: Andromeda” reflects a dangerous and potentially regressive sentiment in the industry. Rather than focus on pushing the envelope and doing something bold, artists and developers are more concerned with avoiding outrage. The actual quality of the final product can only ever be secondary, at most.

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There are a great many challenges facing the video game industry, as anyone who followed the news surrounding “Star Wars: Battlefront II” can attest. However, the precedent set by “Mass Effect: Andromeda” may very well be the most damaging.

Most agree that video games, like any other media, should work to appeal to a broad audience. However, as Marvel found out, forcing certain kinds of “progress” can have some pretty detrimental effects in the long run. It alienates consumers, frustrates developers, and limits the incentives to innovate and try new things.

At the end of the day, making female superheroes less sexy in comics and making characters in “Mass Effect” less attractive did nothing to reduce sexism, promote gender equality, or foster a more inclusive culture. All it really did was go out of its way to stop exceedingly vocal critics from whining.

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Bioware and EA didn’t suddenly become more enlightened about video games, female characters, and the impact of mass media. They simply took the path of least resistance, doing what would generate the least amount of outrage, at least in terms of sexist accusations. That’s not progress. That’s just frustration and, like my old job, very little good comes from it.

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Filed under gender issues, sex in media, sexuality, video games