Lots of goldish hues in this game.

I didn’t touch on this in my review of Deus Ex: Human Revolution, but I really didn’t like the structure of the boss fights. This shouldn’t come as a surprise as the boss fights were universally panned when the game was originally released. So much so that Square Enix actually revealed that they were outsourced, as if to shield Eidos Montreal or the otherwise stellar game from negative press. I didn’t care for them for one very specific reason – they didn’t coalesce with the way I role-played the game.

Yep, the bosses had Adam on his knees most of the time.

As I mentioned in my review, I played through the game attempting to go unseen. I also approached confrontations with the goal of non-lethally taking enemies out or bypassing them entirely. Neither of those play styles were options when it came to the bosses. Adam Jensen eventually came across these antagonists as the narrative unfolded, and he confronted them head on. The only resolution was to kill them very bluntly – guns blazing.

Since I role-played Adam in a different way, I was generally lacking in the hardware required to take the antagonists out. That made these fights difficult for me. The first fight was horrendously difficult as I had to get accustomed to a different play style. Meanwhile, Adam would die in a scant few hits from this initial boss. It was tough not to rage quit. I was more prepared with the later boss battles as I began always keeping a select few lethal weapons in my inventory. I didn’t find these as tough, but they weren’t easy.

For narrative purposes, these antagonists had to die. Adam talking them down or converting them to a different way of thinking would’ve stripped away the intensity and sense of threat posed by these baddies. After all, if Adam could talk everyone down, who are the ideologues leading his opposition? In that scenario, no one would believe that their point of view is the “correct” one. There wouldn’t be any honest opposition or nefarious individuals.

Oh, goodie.

How should this be remedied? I don’t know. This has reportedly been addressed with the Director’s Cut so I’m curious what their resolution was. In conversations with friends, I’ve forwarded the thought that Adam could’ve found a way to sneak up on these enemies. That solves one of my qualms but he, or someone else, still needs to take them out. If Batman has taught us one thing, it’s futile locking the Joker up. One way or the other, he’s going to escape. In the end, it boils down to me role-playing Adam Jensen in a way not consistent with the narrative. However, Eidos Montreal sent mixed signals. The gameplay is open-ended, but the narrative doesn’t completely gel with any play style. Deus Ex: Human Revolution is a game that touts multiple paths but perhaps there’s only one true way.

The Augmented Edition features alternate box art.

When it was released in 2011, Deus Ex: Human Revolution had a collector’s edition of sorts in the Augmented Edition. Available for the Xbox 360, PS3, and PC versions, the Augmented Edition contained a fancier game case boasting alternate box art, a slim art book, and a bonus DVD containing some extra features. It’s worth noting that I’m discussing the American version as some of the European versions contained DLC not present in our release. I’ve noticed the package is still available new on sites like Amazon, although for someone who has yet to play the game, I’d recommend the recently released Director’s Cut at this point.

A LIMB Clinic offering assistance to an augmented individual.

The bonus DVD is the most worthwhile part of the Augmented Edition in my mind. I say that because of the lengthy making-of documentary included on disc. It follows the studio from its founding (this was their first release) until nearly completing the game. This documentary must’ve been shot before the game’s finalization as it ends in 2010 – the game released in late 2011. Interviews varied from all aspects of the development team so many viewpoints were represented.  I was chagrinned that nothing was mentioned about Square Enix’s takeover of Eidos, but I imagine that’s an indication that development continued on hitch free. There’s an interesting tangent about demoing the game to Warren Spector at Gamescom 2010 towards the end which was cool.

Also included on the bonus DVD is the soundtrack in easily extractable MP3 form. I’ve enjoyed listening to the soundtrack thus far. While playing the game I considered it similar to Mass Effect’s. The ambient instrumental music is something I foresee myself writing to in the future. The twelve tracks don’t make up the entire soundtrack, so that’s less than desirable. A motion graphic novel is also present on the DVD as well as a few trailers and storyboards.

The art book was pitiful. I find it such a cheap tactic to tout an included art book, only to discover that its bindings make up more of the book than actual content. If I’m going to fall prey to consumerism, I’d at least like something worthwhile. The artwork on display is stellar, but the art book is tiny and, unless you’re the type to draw inspiration for hours from this type of bonus, it won’t hold your attention for fifteen minutes.

Although the art book is pitiful, I can’t say the same for the art or design itself.

I think the Augmented Edition is a mixed bag. I like displaying the premium box and have or will get much use out of the bonuses included on the DVD. I don’t care for the art book as there just isn’t much to it. At this point, it’s a hard sell if you haven’t played the game. The Director’s Cut includes all of the DLC which will save you extra dough if you purchased the standard or Augmented Edition. But if you’re a super collector, it’s a decent addition to your collection for the right price.

Lots of goldish hues in this game.

2011’s Deus Ex: Human Revolution was the first product of Eidos Montreal. Charged with the task of revitalizing the long-dormant Deus Ex franchise, I consider it an overwhelming success. Taking place in 2027, the game is set amongst the backdrop of contentious debates regarding human augmentation. The gameplay is an amalgamation of first-person shooting, stealth, and role-playing style character progression that offers the player choice in approaching confrontations. Further complimenting player choice is the level design – funneling the player towards objectives while offering multiple paths. These elements, aided by the fantastic art design, combine for a laudable single-player experience.

On the eve of a hearing in Washington D.C. regarding regulation of human augmentations, Sarif Industries – a Detroit, MI based manufacturer of human augmentations – is the victim of sabotage. The lead scientists are abducted and the company’s security officer is left on the brink of death. He is resuscitated and implanted with many augmentations, becoming more than human. Upon his awakening, Adam Jensen thirsts for answers and, along with the company’s founder and CEO David Sarif, wants revenge.

Players could choose a confrontational path…

Adam’s quest takes him from his home in Detroit to Montreal and Shanghai. Along the way, he encounters every side of the human augmentation debate and the corporations and politicians who have major voices in shaping the future. Conspiracies and betrayals were prevalent in the two dozen hours it took me to complete the game. Every major player and corporation seemed to have ulterior motives, and I could identify with, or at least understand, the positions everyone took. If done correctly, players have the choice of four endings, each of which I could sympathize with partially. After viewing them all, I reflected on the concepts laid before me by the thinkers in this game’s world and on my part, I extracted those philosophies to other areas of human nature. In that aspect, I found the game to be very thought-provoking.

Or a stealthier alternative.

I wouldn’t describe the blend of gameplay styles to be provocative however, as they seem like a combination that is becoming ever more common these days. At the very least, the adaptation of RPG style skill trees is becoming increasingly prevalent in all styles of games. On a side note, that was sort of a trend in the seventh generation of home consoles, wasn’t it? In my mind, what makes this game stand out is the viability of either a lethal or non-lethal approach. I decided from the get-go to complete the game non-lethally and at the same time, attempted to do so without being seen and setting off an alarm. This involved reloading many saves and I wasn’t successful on the second objective, but I never felt like I couldn’t do it. In many games that offer this sort of option, it seems that the odds are stacked against the players who choose the stealthy route. I didn’t have that sentiment at any point.

Like most everything else about this game, the characters were interesting.

What assisted this viability was the open-ended design of the levels. They were linear in a sense as most usually led to a singular endpoint, but as I compulsively explored I stumbled upon many routes propelling me forward. I’d generally choose the one most suited to my stealthy motives. Outside of these mission-based levels were the cities of Detroit and Shanghai. Both were open-world hubs that offered numerous NPCs and side quests. The cities also showcased the dystopian future that Eidos Montreal envisioned for the game. The art design in general was highly influenced by other works of pop culture but I still found it fascinating and cohesive throughout the game’s entirety.

This concept art of Shanghai perfectly illustrates the actual cityscape in the game.

My exposure to the original games is slight – I played a fair amount of Deus Ex: The Conspiracy on the PS2, of which I remember liking it and not completing it, and although I haven’t played it, I know that Invisible War wasn’t as well received as the original. So while I may not be the definitive source on judging how well Eidos Montreal did in reviving the series, it’s hard to argue that Human Revolution isn’t fantastic. The game dealt with a serious topic in a mature way and was thought-provoking throughout, but the ending in particular summarized each viewpoint well. I also thought highly of the gameplay and level design; especially the ability to play through stealthily and not feel inadequate in any way. Of course, the overall art design was awesome too. All in all, Deus Ex: Human Revolution combined many elements to form a cohesive, worthwhile, adventure.

In the Mass Effect fiction, N7 denotes a Systems Alliance military member of the utmost caliber.

I had a difficult time tracking down a copy of the Mass Effect 3 collector’s edition because I didn’t preorder it. It’s readily available at online retailers, but it’s pretty pricey – seventy dollars used. Still, it’s a collector’s edition that packs a punch.

Like most other collector’s editions worth their salt, or money as it were, Mass Effect 3 comes in a flashy tin case. On either side are images of the stock male and female Shepherd. Fleshing out more of the game’s art is the miniature art book the collector’s edition comes with. I’m usually opposed to these miniature art books (especially in Skyrim’s wake) but Mass Effect 3’s is okay thanks to its detailed descriptions. Then again, it’s actually excerpted from a larger (page count and size) art book that’s available for sale.

There’s also a short comic book starring the queen of Omega, Aria T’Loak. It’s interesting and accounts for her time between Mass Effect 2 and 3, but it seems more like an advertisement for the related graphic novel, sort of like the art book being a “taste” of the full-size art book. Also related to the art is a lithograph of the Normandy. It’s really just a postcard without the necessary information, but it’s a cool picture of Normandy nonetheless. Another inclusion is a code to download a digital version of the soundtrack. I’d really like to give it a listen, but I wasn’t able to redeem it because I accidently have more than one EA account. To redeem it, I need to know what my EA account is that I signed into Mass Effect 3 with, and I don’t know what it is.

There’s a ton of digital content included too; namely, the From Ashes downloadable mission, character, and so on. It’d be great if used copies had unredeemed codes for this, but they probably don’t so it’s not much of a bonus for most. The rest of the digital content isn’t worth the extra money, and like From Ashes, they’re probably not available in used copies. Still, there are plenty of weapons, extra outfits, and other digital gear.

At twenty dollars over the standard edition, I think the extra content is worth it. Especially considering that From Ashes alone costs ten dollars itself. Oh! The collector’s edition also comes with an N7 patch, so yeah… There’s no dearth of content in the collector’s edition. Plus, Mass Effect 3 is a pretty darned good game.

The game is "better with Kinect" although I didn't play it with one.

Mass Effect 3, what a game! BioWare and Electronic Arts have closed out the trilogy amid much controversy. The increased amount of related downloadable content and the botched ending have irked many people. Still, the proof is in the pudding and Mass Effect 3 retains the high pedigree associated with the previous two games.

As was the case with Mass Effect 2, Mass Effect 3 plays more fluidly than its predecessor. Commander Shepherd has a newfound agility that allows him to weave around a battlefield much better than he’s ever been able to. Still there are some annoyances that make Shepherd’s movement feel very rigid. Turning while running was a process I had to become accustomed to and getting into cover was oftentimes finicky. For instance, when I’d run into a wall at an angle, Shepherd wouldn’t get into cover; to get into cover, I’d have to hit it head on. These are a few minor annoyances but overall, Shepherd’s agility is net gain in my book. As far as other elements of the gameplay getting improved, any enhancements were either very subtle or not worth mentioning. The game plays better than ever.

Whether it's Cerberus troops or Reaper abominations, enemies are bigger and badder than they've ever been.

I’ve played as a soldier in each of the Mass Effect games and compared to the other classes, it’s a relatively boring one. Thankfully, the big addition to the series – multiplayer – allowed me to play as the other classes and experience their specialties easily. It’s a much lower barrier of entry then just creating a new character for the single player.

In the multiplayer, teams of four battle through about ten waves of enemies. Most of the time, survival is the only focus although every few waves, teams are tasked with uploading important data, guarding an important terminal, or taking out specific enemies in a timely fashion. I thought the multiplayer was okay, but feeling like I had to do it dragged down my feelings of it.

Mass Effect 3 integrates the multiplayer into the single player and represents the conflicts as actual battles that the good guys are fighting. Each multiplayer arena resides in a galaxy and each galaxy has a readiness rating. Each galaxy begins at 50% and for me, it was necessary to get the average up to about 70% to get the “perfect” ending. And since I was getting it that high, I figured I might as well get the overall number up to 100% to get the achievement for doing so. This was additional time to me because it forced me to halt my single player game and focus on the multiplayer for about ten hours, instead of enjoying it after “the main attraction” concluded.

The Illusive Man still figures into the plot heavily.

“The main attraction” in my book is the story and with this I was fulfilled. It was inevitable that the trilogy would end with this, the third game, but as the first few hours of Mass Effect 3 make clear, there was still much work ahead of Shepherd. Constructing a force large enough to deal with the Reapers required Shepherd to put to rest events that have affected the galaxy for hundreds of years. Dealing with the genophage and the Quarian/Geth problem are two of the subplots that stick out largest in my mind.

Still, I can think of other, very memorable moments that may not have had a major impact on the universe as a whole, but affected me greatly. Whether it was losing close allies or making gut decisions on the fly, Mass Effect 3 had some memorable moments. Plus, seeing people I spared in the previous games reappear and discovering how past decisions reverberated was neat too. All the while, these decisions played into Shepherd’s war assets. In combination with the aforementioned readiness levels obtained through multiplayer, the war assets dictated what endings would be available. It’s weird to have every decision I’ve ever made to be distilled into a quick number, but it’s great for comparison to other players!

When everything is said and done, Shepherd once and for all deals with the Reapers. There’s been so much fuss over the ending that forming an opinion is a tough task when there’s so many others floating around on the internet. I had multiple options available to deal with the Reapers, and they were pretty diverse. While I got the “perfect” ending, everything didn’t turn out perfectly. I believe a lot of anger has been directed at the vague resolution of what key characters do after the events of the game, and that’s fair. I also think it’s fair that if players have spent over one hundred hours in this universe, they have enough to go on to form their opinions of what everyone did. Still, recent revelations over the “true ending” downloadable content give me a sourer outlook of the ending.

Situations get awfully hairy when fighting Reapers.

Overall, I’m pleased as punch with Mass Effect 3. It’s the best playing game in the series and thanks to the multiplayer I have a better understanding of every character class. Leveling up characters in it is pretty fun to boot, as long as I’m not “forced” to do it; most importantly though, I’m pleased with the conclusion of the trilogy. The bevy of events throughout the game was entertaining and I know that if I slightly changed my decisions, they could’ve ended up entirely different. Ultimately though, Commander Shepherd did what he set out to do from day one: deal with the Reapers.

Wayne Holden ain't no Lou Ferrigno.

The collector’s edition of Lost Planet: Extreme Condition is pretty lame. Luckily it’s easy to find and inexpensive.

It comes with a paltry artbook, snug inside the nice SteelBook game case alongside the manual. The art booklet contains renderings of characters in various stages of completion, plus some background information, but it isn’t very large.

Another bonus to the collector’s edition is the media CD it comes with. Besides containing the soundtrack, it has various media such as videos and wallpapers for a PC. The soundtrack was composed by Jamie Christopherson, an unknown name to me although he has been making the rounds in the video game industry for a while now. That said, the soundtrack wasn’t my cup of tea – it chimed in at the right moments during the game, but the orchestral arrangement sounded generic to me outside of the game.

Lastly the collector’s edition comes with a code for an exclusive downloadable multiplayer map that probably isn’t in any used copies of the game. Plus, the map is available for free on the Xbox Live Marketplace. Plus plus, it doesn’t seem like there’s a large multiplayer community anymore so that bonus is so whatevs.

This all comes inside an awfully nice SteelBook case too. It’s easily my favorite aspect of the collector’s edition. I really like the heft and solidness of the case when it’s chock full of its multiple discs and booklets. I wouldn’t recommend purchasing it… if it wasn’t so cheap and readily available. Still, Lost Planet: Extreme Condition is just okay.

One of Capcom's first releases on the current generation of consoles.

Following Wayne Holden as he attempts to remember his past and avenge his father’s death, Lost Planet: Extreme Condition features a deep science fiction background, impressive enemies, outlandish character designs, and some okay action. Developed by Capcom, spearheaded by Keiji Inafune (Mega Man, Dead Rising), and produced by Jun Takeuchi (Resident Evil, Onimusha), Lost Planet is a third-person shooter originally released for the Xbox 360 on January 12, 2007. It was later ported to the PlayStation 3 and PC.

Lost Planet: Extreme Condition takes place on the frigid world of E.D.N. III. The planet is inhospitable, not only because of the unforgiving weather, but also due to a prevalent species of insects. The akrid are aggressive insects that come in many forms, most towering over the invading humans. The human race stumbled upon the frozen, insect-infected wasteland of E.D.N. III in their search for a planet to relocate to before completely destroying Earth. However, a climate change and the removal of the akrid must precede a mass exodus of Earth.

Attempts at solving these problems have been occurring over the past fifty years and solutions are in sight. The corporation NEVEC has been at the front of pioneering solutions to these problems although the rebellious snow pirates have acted as roadblocks.

If Wayne ran out of Thermal Energy (T-ENG) he would die, but he could absorb it from fallen akrid.

As Wayne and his father hunt down a massive akrid, they get ambushed by NEVEC who kills Wayne’s father and leaves him for dead. Later rescued by a small gang of snow pirates, Wayne learns of NEVEC’s honorable plans of saving the human race through dastardly means and decides to put a stop to them. Along the way drama ensues amongst the ridiculously outfitted cast of characters.

At every turn, questions are rising over everyone’s true intentions and their mysterious pasts. As such, each and every cutscenes relays not only developments about NEVEC and their plans concerning the climate and the akrid, but also each character’s misgivings about someone else, to the point where the internal strife among the snow pirates resembled a soap opera. The drama also gets amplified by mysterious characters outside of the group who aid and hinder the snow pirates.

Besides the ongoing drama, I had another beef with the characters: their ridiculous outfits. For example one of Wayne’s accomplices, Rick, wore a set of glasses that were opaque and protruded from his face about six inches. Presumably they were some sort of technology but they looked dumb, like he was a Cyclops (X-Men) reject. His goofy haircut was in no way appealing either. The other half dozen or so characters weren’t as bad, but they still wore cluttered outfits. I will say the enemy designs of the akrid were cool, but then again, video games have featured gross looking insects from day one.

I wonder where I should shoot?

Killing the akrid, NEVEC troops, and snow pirates was done with some impressive weaponry. I usually think singling out the weapon selection of a first-person/third-person shooter as a positive aspect is unnecessary in most cases, but I really like Lost Planet’s weapons. There was a plentiful variety and my friend and I always enjoyed trying out a new weapon, but what I liked most about the weapons was their feel. I liked the feedback I got from shooting things, the overpowered shotgun especially.

A second positive aspect regarding the weaponry was the dozen or so mechs. Being that E.D.N. III is a risky place to live, mechs have become all but necessary on the planet. Most of them are in a bipedal form although multiple can transform into speedier forms. Weapons are similarly plentiful for the mechs and they’re able to be installed on nearly every one.

The mechs, as well as the controls in general, were clunky. Wayne moved around awfully slowly and panning the camera around was a chore; so much so that the bumpers on the controller were used to swing the camera around ninety degrees. This was beneficial, but speeding up the camera would’ve meant they wouldn’t have had to even offer a remedy. The stages were too long in most cases too. Averaging about a half hour, they consisted of a slow, boring slog through a usually expansive stage, battling many, many enemies until a confrontation with a usually enormous boss. The game only took my friend and me three or four hours to complete, but I don’t think that’s factoring in the oodles of cutscenes.

Akrid could be enormous.

Lost Planet: Extreme Condition is a mediocre third-person shooter. The story unfolded through many good looking cutscenes, but was eventually bogged down by the drama. The gameplay was solid, although a little too clunky for me to fully enjoy, and the weaponry was fantastic, but completing stages was a real slog. Lost Planet: Extreme Condition was an enjoyable game but not entirely recommendable.

If you'd rather not pop a disc in to rock out, the AC/DC tracks can be imported into the three main Rock Band games.

With a pal by my side and a set of plastic instruments surrounding us, we were ready to ROCK! You see, days before I bought AC/DC Live: Rock Band Track Pack, a Wal-Mart exclusive addition to the Rock Band series of games. Being in a mood to ROCK! we decided to play through it in one sitting, plus there was an achievement for doing so…

I’m not the biggest fan of AC/DC, but I enjoy a ton of their songs and can respect what they’ve been doing since the seventies. Since they’ve been making music for so long, they have many popular songs and most are present in the game.

The eighteen songs included are taken from a 1991 concert AC/DC put on and as such, are all live tracks. Live tracks usually aren’t my thing, but these were alright. I knew of the majority of the songs and after scanning through a list of the band’s singles (prior to 1991) the only omission I saw was “Rock and Roll Ain’t Noise Pollution”.

Playing through the entire set list took us a good while and I was perplexed by two things. Firstly, there wasn’t an option for the concert to seamlessly play out. Instead, with the completion of each song, we were kicked back out to results screen and then the song selection screen to choose the next song in the concert. Secondly, during load screens, Rock Band games include facts about bands, songs, etc. Playing through the game, my friend and I only ever came across AC/DC facts twice. This was a missed opportunity to enhance player’s knowledge on the renowned band.

Still, it was a fun multiplayer experience. The game was originally a Wal-Mart exclusive, although it’s easy to find elsewhere. However, because it was a Wal-Mart exclusive, and the stores around me have always had too many copies, I was able to find a copy on clearance. Like I said though, copies are readily available everywhere and cheap, like, five dollars or less. AC/DC might not be everyone’s taste, but it’s worth checking out if you’re in a mood to ROCK!

The contents of the collector's edition of The Elder Scrolls V: Skyrim.

I’ve written three articles covering collector’s editions of video games so far and they’ve all been similar. Namely, they all came in metal DVD cases; of course they contained other bonuses too but nothing spectacular in my opinion. Well, when it came to releasing a collector’s edition of The Elder Scrolls V: Skyrim, Bethesda Softworks decided to do it big.

The collector’s edition of Skyrim is hard to miss in a store thanks to the massive box it comes in. Because it houses a foot tall statue of the dragon Alduin, it takes up a lot of space, which is also why it’s been marked down from its original retail price of $150 to $100, so stores can get rid of them. That’s still a lot of money and the game itself is FANTASTIC and definitely worth playing, but maybe you don’t need all the extras the collector’s edition comes with.

Alduin is really solid, like, made of rock hard plastic, and he has many protrusions, so he’s hard to grasp and handle. Luckily he comes with a stand resembling a word wall from the game, although the stand is hollow and feels cheap, the opposite of Alduin. Regardless, that’s not disappointing because it does its job of displaying Alduin well. If you’re unashamed in your love of dragons it’s a wonderful display piece, if you’ve got the space.

Another bonus included in the collector’s edition is a massive art book, definitely the biggest and best I’ve ever received with a game. It’s not miniature like the ones I’ve received with other games; no sir, it’s a full size book. It contains nearly two hundred pages of concept art, computer-generated art, and descriptions of almost anything you can think of that’s in the game. It’s a seriously nice art book.

Lastly, the collector’s edition features a documentary DVD distilling many facets of the game. It never delves very deep into any particular subject, but, like the art book, covers so many features of the game. I wished I watched it before playing through the game or at least before beating it, but listening to the developers discuss various features of making Skyrim was still interesting.

The collector’s edition of The Elder Scrolls V: Skyrim sells for around $100 now and personally, I think the premium over the standard edition is worth it, if you’re into displaying massive statues of dragons. The statue of Alduin is badass, the art book is ridiculous compared to the ones that usually get bundled with collector’s edition of video games, and the documentary DVD provides some deeper insight into the game. Too bad the game doesn’t come in a nice SteelBook though.

In From Ashes, Commander Shepherd and crew get a more vivid look at the Protheans.

From Ashes is the first major piece of downloadable content for Mass Effect 3. It was included in the collector’s editions of the game and is available on each platform’s respective digital store. In it, Commander Shepherd receives word that Cerberus, the pro-human ne’er-do-wells, has unearthed Prothean artifacts on Eden Prime. Whatever they’ve found is said to be important and could aid Shepherd in his quest to defeat the Reapers. What he finds is much more important than simple artifacts though, it’s a living Prothean frozen in time.

Mandatorily joining Shepherd is Liara T’Soni, the resident Prothean expert. With her intellect and Shepherd’s insight into the Protheans (thanks to the visions he received in the first game on non-other than Eden Prime), they’re able to piece together how to release the Prothean from his contraption and keep him alive. As the crew searches the dig site, they discover evidence of Cerberus troops attacking civilians, a puzzling move that reveals ulterior motives for the dastardly group and ties into their work in Mass Effect 3 proper.

When the Prothean is revitalized he joins Shepherd to take the fight to the Reapers personally, after all, Javik is extremely distraught upon learning of the events of the past 50,000 years. Back on the Normandy, Javik answers many questions one might have about the Protheans, such as Liara, but what I got a kick out of the most was hearing other people’s reactions to him. When using him as a squad mate, people would occasionally reference his presence and the conversations that ensued were interesting.

As far as combat goes, I used him quite a bit after he joined up, but he’s fallen by the wayside now that I’ve found my “go to” teammates. He uses biotic powers like slam and pull so he’s still of use to my biotic-less soldier Shepherd. Javik also brings along a new assault rifle, one of Prothean origin. It operates differently from just about every other weapon in that it doesn’t require ammo. It had a meter that depleted when used, but if I used the gun properly and didn’t exhaust its charge, it’d fully recharge. Plus it fired a neon laser beam that melted enemies and that’s pretty cool.

When it comes to knowledge about the Protheans, no one can top Liara T'Soni. Well, except for a Prothean.

I’d recommend From Ashes. It doesn’t add to Mass Effect 3’s plot in any substantial way but playing through it will provide players a deeper understanding of the Protheans. The ancient civilization was influential in shaping the universe and they’re often mentioned, but details on them have always been a little murky. Beyond gaining a deeper understanding of Mass Effect’s lore, gaining a new squad mate is a great perk and personally I really like the new assault rifle.