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Mass Effect 3 Review

Shepard goes out with a very big bang

OUR SHEPARD LOOKS like hell. He’s got shadows under his eyes that’d frighten the seediest of back‑alley dwellers. Even when he smiles—for instance, while warmly embracing an old friend—there’s a palpable weariness to the gesture. This man, this hero we’ve piloted through countless near-apocalyptic trials and tribulations, is at the end of his rope. The Reapers have decided that all organic life is ripe for the picking, and Earth’s looking mighty juicy. Shepard’s got the weight of the entire universe on his shoulders, and little by little, every agonized step forward breaks his back a bit more.

After playing through Mass Effect 3, we look a lot like our Shepard, but for different reasons. We clearly haven’t slept, and basic hygiene has become so foreign a concept that we reply to the word “shower” with, “Yeah, it’s about 4:27 p.m.” Mass Effect 3, you see, is one of those experiences. By no means is it perfect, but it’s a tale so gripping as to have its own gravitational pull. It's Shepard’s darkest hour, and we had no intention of seeing the sun until its credits roll.

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Star Wars: The Old Republic Review

A fabulous single-player experience in a massively multiplayer online game

STAR WARS: The Old Republic (TOR) comes with a buffet of a story for an MMO, but you only get to fill your plate once. From decisions as significant as choosing your character’s class specialization to events as trivial as responding to key dialog options, everything you do has a lasting and permanent effect on your gameplay. We like the feast: BioWare’s masterful use of instanced environments creates more captivating gameplay for the solo quester than most any other MMO.

But this is BioWare’s first foray into the massively multiplayer world, and it shows. TOR is more a role-playing game you play alongside 999,999 friends than a true MMO. BioWare either poorly integrates or completely misses the mark on many of the elements that define an MMO. On the upside, the beautiful blend of voice acting and dialogue options in each of TOR’s many quests should earn the game a celebratory parade through the Yavin 4 throne room. And while the scripted quests (occasionally punctuated by John Williams’s familiar score) are immersive, they make the rest of the game’s environments seem stale by comparison. TOR’s non-instanced “generic” areas just aren’t very player-interactive. The Nar Shadda casino, a cold and lifeless location that cries out for mini-games and interactivity, is just one example. And don’t get us started on TOR’s cantina music.