Homogeneity vs Harmony
Mass effect conveys the outward appearance/common accidents of difference atop a substantial "hell of the same"[i]. The galactic future it depicts is an accretion of apparent heterogeneity over [the very existence of which presumes as a subalternating metaphysical term] an ontological plane of [purely quantitative] equivalence (an essential sameness), which enables the integration of difference to a bourgeois vision of man (as a democratic animal, with with causal agency over his destiny, a rules-based order and all the baubles of contemporary neoliberalism).
Races in ME compete to be subsumed into galactic culture, domesticated into its modes of thinking and being, in order to "secure cultural and political representation", to achieve social "parity"[ii]. Aliens and even technology are accidentally distinct from their 21st century counterparts, trivially modified in the most unremarkable physical capacities, with divergent cultures depicted as unevolved and barbaric and keyboards [albeit holographic] still in use. Mass Effect depicts a relation of identity to difference that makes the latter a function of the former, forcing the outside to pass by way of the inside, fixing a stable relation to alterity (for the sake of deriving some productive capacity or use from all parties), designed to retain the distinction between poles (because alterity must be kept distinct to provide a source of ontological surplus).
The immanent eschaton of the Galactic Alliance (that exhibits shocking resemblance to neoliberal civilization), with Shephard as its champion, subsumes even the Reapers in a limitless cycle of reproduction by the close of the trilogy. Player agency throughout is limited by internal two-party structural variation that merely measure the posturing of the hegemon to the difference it would absorb (renegade-paragon; merely indexes of player's exceptionalism vs internationalism[iii]). It casts its gaze to the far reaches of space only to find the leering human countenance of the 21st century latent there.
Kingdom Hearts, in line with the Japanese spirit[iv], manages to sift fucking Disney franchises for the "mystic breathing of the absolute", manages to plumb the most immanent, commoditized creations to uncover polyvalent being underneath, something beyond individual realities which cannot be wholly included in them, manifested in every particular object… It is occupied with ontological difference as a metaphysical concept that grounds or enables the very function of discreet identities and worlds; “kingdom hearts” as the ontological fundament of different essences and totalities, discreet univocal ways of being. In setting out to localize individual universes within a comprehensive spectrum of being-as-difference, as internally diversified, a self-same one-all still "whole, full of light, the heart of all worlds", KH cannot but convey what mass effect neglects: that real [ontological] diversity requires, not an underlying essential sameness that equalizes difference, but instead pure difference itself at the heart of all things that disrupts the internal consistency of any discreet mode of being. No stable relation to difference, much less one useful to any finite mode, can be fixed.
References
[i] BCH.D.35 (https://www.amazon.ca/Disappearance-Rituals-Topology-Present/dp/1509542760)
[ii] Voorhees ME Neoliberalism 257 (https://www.academia.edu/1038860/Neoliberal_Multiculturalism_in_Mass_Effect_The_Government_of_Difference_in_Digital_Role_Playing_Games?auto=download)
[iii] Ibid 269
[iv] https://greendragoncvr.com/video-game-philosophy-east-west