The result is a Mass Effect story that’s integrated with the game universe - while also having something of a different feel from the game, novel, and cut-scene video content that’s out there. Particular care was taken in the handling of Commander Shepard’s character as with the KOTOR comics and Revan, the story accommodates the reader’s past decisions as a player. Mac and Bioware were working along with us the entire time, making sure everything we came up with meshed.
Here, I had more discretion in my role, putting lines in the character’s mouths and determining how to bring the plot to the printed page. The process for this issue was fairly new for me while I had scripted Indiana Jones and the Kingdom of the Crystal Skull based on the movie story, all the dialogue came from the film, so I was limited to deciding which scenes to depict and how. Mac and the Bioware team provided lots of background on the Mass Effect universe, as well as visuals and information from the unreleased game, for use by myself and artist Omar Francia, who had previously worked on Star Wars: Legacy. Mac Walters, the lead designer at Bioware, provided the plot for the story in “Redemption,” making it a true part of the Mass Effect universe, bridging the first game with its late January 2010 sequel.
So I didn’t have to be convinced - and with KOTOR wrapping up and space in my schedule before other planned projects ramped up, I was able to dive in pretty quickly. I was well aware of Mass Effect, the hit video game by Bioware, the same folks that designed the first KOTOR video game I liked its military SF look and feel. In the spring of 2009, my editor on Star Wars: Knights of the Old Republic at Dark Horse, Dave Marshall, approached me with the opportunity to bring the Mass Effect video game universe to comics for the first time.
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