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#Bioware critical
gxldencity · 4 months
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I really hate how bioware at the beginning of this year was like "this year we'll have more updates on dragon age 4!" and the updates are "we laid off 50 ppl, most are veterans, including mary kirby who is responsible for the one character we are using to milk this franchise dry :) and we did not give them proper severance pay" and "here's a 49 second trailer telling u nothing but tune in 6 months (again) to find out whether this game is real or not! :)"
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anneapocalypse · 7 months
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For the record I feel like saying "Dreadwolf is going to suck because they laid off Mary Kirby" is like... really dramatically missing the point of what's going on here.
The next game has been in alpha for nearly a year now. Kirby's work on the game as a writer was probably mostly finished. Which does not make this better. If anything, it makes it worse.
The layoffs aren't terrible news because a game we're looking forward to might be worse because of them. They're terrible news because people who have devoted years of blood, sweat, and tears to making the game good (including the person who wrote one of the two characters on which they've been hanging the entire marketing campaign for said game thus far) have been axed now that the company has decided it can probably get by without them.
The quality of the game when it finally comes out is irrelevant here. If it's amazing, it won't make this any better, and if it's awful, it won't make it any worse. What matters is the people whose labor made it exist at all are profoundly undervalued, the industry as a whole is broken and frankly abusive, and I wish everyone in it some good labor organizing.
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theharlotofferelden · 7 months
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Gonna need to put Mary Kirby + other long time staff being fired into perspective because this isn't a recent development. Bioware has been plagued with issues for well over a decade, and it's not just because of EA.
When Gaider decided to move on from Dragon Age in 2014, everyone thought it was just because he wanted to move onto a different project. He ended up leaving the company completely in 2016 after working on Anthem for a bit, and it was later reported that staff on the project had issues with his writing. He didn't mention why he left Bioware until very recently in a long twitter thread detailing that, while Bioware is a company known for its storytelling and characters, upper management went from valuing its writers to quietly resenting them, and feeling as though the writing were "holding the company back."
When they started working with Frostbite they encountered so many technical problems with it because it was specifically designed for FPS games. They were literally designing the tools they needed to work on both Dragon Age Inquisition and Mass Effect Andromeda while they were working on those games. Darrah (or perhaps Laidlaw, I forget which) even acknowledged when he was interviewed by Jason Schreier for Blood, Sweat, and Pixels, that this is a big industry no-no. But Bioware was put in a hard spot to either work with Frostbite or use the Eclipse engine that DAO was designed on (which I'm assuming would've required developing the engine and toolkit further to bring the graphics up to industry standards). So they ended up working with Frostbite which resulted in a fuckton of issues both for Dragon Age Inquisition and Mass Effect Andromeda, because the teams behind both projects had to design their own tools.
With the added stress of the toolkit also came the toxic work environment, departments that were perpetually understaffed, directors leaving and new writers coming in with different visions for the project, time mismanagement where they spent too much time on "high concept" gameplay, not having a clear vision for the game, resentments between studios, inexperience with coordinating video calls across multiple studios, the resultant mandatory crunch, etc. All of this is mentioned in this article about Mass Effect Andromeda's production cycle and this article about Anthem's.
Casey Hudson and Gérard Lehiany left Bioware in 2014 right in the middle of production on Andromeda (Casey rejoined the company as general manager in 2017, but left again in 2020). David Gaider left in 2016 in the middle of production on Anthem, as did Aaryn Flynn who left before the game was shipped in 2019. Mike Laidlaw left in 2017 and left production of Dragon Age Dreadwolf in Mark Darrah's hands, who left in the middle of its production in 2020. Matt Goldman (creative director for Dreadwolf) left the following year. Mac Walters (production director on Dreadwolf) who's been with the company for over 19 years left in January of this year. Are you seeing the pattern here?
I don't doubt that EA has influence over Bioware considering the recent layoffs appear related to the announcement back in March that EA would lay off 6% of its workforce. But it's clear there's something deeper that's going on at Bioware, and it's really not good.
When veteran senior staff are leaving one by one along with other long time staff, and it's been reported that the studio has a toxic work environment with management issues that make crunch necessary, there is something deeply wrong with the company and how things are being run. This is a sinking ship, and in all likelihood everyone is betting on keeping the company afloat with the success of Dragon Age Dreadwolf and/or the next Mass Effects game.
I want to say something more about how broadly the mainstream AAA video games industry is abusive and how incredibly fucked up their practices of layoffs have been normalized, but this is already pretty long. What I will say is that I'm not claiming this means DA4 or the next ME game is going to tank. It sure as fuck doesn't look good for it, but despite my grievances with Dragon Age, I do want the game to be successful and for Bioware to keep doing what they're doing.
And honestly, whether those games do well or not is really besides the point. Something is wrong at Bioware, whether it's the company itself or the fact it's owned by EA, and it can't be solved with mass layoffs. This is a cultural problem within the company itself, and it's very unlikely to be addressed considering how MEA failing seems to have done little to change how things are being run right now.
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goldeneyesblind · 3 months
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will always have beef with Bioware of the mistreatment of Fenris and Anders and how instead of creating genuine conflict they decided to do trauma victim smack down
there is no need to pit two victims of trauma against each other especially when one of them was a slave (and that was mishandled so damn bad in extended lore) and the other was tortured since he was a child, insinuated to have been sexually abused, and then later presented as being a "terrorist" because he dare fight back against a genocide of mages by the government
Why did Cullen get the sob story of how hard it was to trust mages and got a "redemption" for his behavior but Fenris was not allowed that same growth of looking around and seeing that mage enslavement is just as horrifying as his own. Fenris and Anders never had to like each other but they could have still understood each other
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drthrvn · 10 months
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i've said it before and i'll say it again: DAI should be about the war between mages and templars exclusively. scrap Corypheus and all of the Fade-related mumbo jumbo, give me well-established socio-political conflict that's been developped for past 2 games. use Anders as a prominent yet controversial mage leader instead of painting him a villain, hated even by his friends. starting the game with the conclave and making the Inquisitor so easily solve the war was the biggest mistake the devs made with this game.
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chaosroid · 9 months
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Not to be dramatic, but becoming a Baldur's Gate fan after a decade of being a Dragon Age fan really feels like escaping an abusive relationship
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justcallmecappy · 11 months
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One of the criticisms I've seen DA players have in response to Anders' actions at the Kirkwall Chantry is some degree of, 'his actions forced innocent mages into a war they had no choice whether or not they wanted to be involved in'.
What a lot of these players seem to miss is this: The mages were already involved. They have been involved since childhood, when their magic manifested.
If you are born a mage in Southern Thedas, you are marked. The Templars will find you, or your neighbors who were conditioned by the Chantry to fear magic will turn you in, and you are brought to the Circle where you are at risk of Tranquility, or Annulment, and subjected to a Harrowing. Your children born to you in the Circle will be taken from you to be raised in a Chantry orphanage (like Wynne's child was). You are not allowed to get married, or start a family, or own land. You are not allowed to leave your Circle ever, unless conscripted to fight in the army (like in the Fifth Blight) or fulfilling some whim or need of those in power (like Malcolm Hawke being made to entertain nobles at a party). You might be thrown into the dungeon and left to starve to death, like the mage child Cole (and other mage apprentices of the White Spire) did. You are at risk of physical and sexual abuse, like the mages of the Gallows were.
Innocent mages were already involved. They were already being killed, they were already fighting for their lives for centuries since the inception of Circles, long before Anders' actions.
Also, in the case of the Gallows specifically, Knight-Commander Meredith had already called for the Annulment as early as the beginning/mid of Act 3. The mages' lives were already in danger, even before the Chantry was destroyed.
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Anders tried for six years to make people listen and show how magic is not meant to be feared and can be used for good -- by publishing a manifesto, by providing free magical healthcare in Darktown -- to bring people's attention to the plight of mages and change things for the better. It took the imminent threat of his people being slaughtered wholesale for him to resort to what is aptly titled 'The Last Straw'.
If players want to blame anyone for subjecting mages to a conflict they did not want, look no further than the Chantry and their system of exploitation and oppression over the mages. Put blame on the Chantry for forcing mages into lives they did not choose, and asserting methods of culling and control over them, simply for how they were born. It was the Chantry that gave them no choice whether or not they had a say in staying alive or dying.
And if DA players would still say that the mages could have tried for a more "peaceful route" to alleviate their circumstances (despite seeing how Anders' manifesto, his Darktown clinic, and years of trying to negotiate with Elthina failed and Meredith was calling for Annulment anyway): very rarely do the oppressed win change by pandering to the morals of their oppressors.
Innocent mages were already suffering and being murdered in droves, for centuries. Innocent mages were already involved in this struggle, whether they wanted to be or not. And Anders' actions at the Chantry was like a rallying cry: If we're going to die anyway, then I'd rather die trying to take them down than giving them what they want.
(Also, I have not yet gone into detail on what actually started the mage-templar war, which was the Seekers hiding the cure for Tranquility, and Lord Seeker Lambert's decision to dissolve the Nevarran accord and take the Templars hunting for the free mages across the countryside because he decided dead mages were better than free mages -- because that's a whole separate post.)
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sillyliterature · 1 year
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Knowing what we know of the real Cole, a character introduced in DAI, Bioware had the gall to blatantly villainize Anders by inflating the number of casualties of the Kirkwall Chantry explosion, by giving his signature outfit to random outlaws in the Hinterlands and to Imshael, a demon no less (and by a bunch of other things like failing to give the player the option to make the cure for tranquility known, the main reason for the mage rebellion, not the Kirkwall Chantry explosion (and failing to make Cassandra accountable as the avatar for the Seekers order in the Inquisition;) by not including a single mage to speak positively about being finally free from the Circle or about Anders (we did however get a Loghain's apologist, but not for Anders, no sir🙄)
Anders could have ended up like the real Cole. If he didn't it was pure and utter luck that the templars didn't completely forget him when he was in solitary confinement for a whole year but he could have died of starvation... How many other mages died forgotten in dungeons of Circles throughout Thedas? And you're telling me bombing one Chantry was an overaction - the institution that's the templars' puppet master and condones these abuses on mages?
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transandersrights · 1 year
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Bioware's dislike of the mage rebellion
I really enjoyed Absolution, but it continues to immensely frustrate me that people writing for Bioware refuse to write pro-rebellion mages. Qwydion is a "rebel mage" - whose introductory line about the topic is that she isn't actually a rebel. She's a mercenary who pretends to care about the rebellion because people pay more for a cause. It annoyed me, but also got me thinking:
Since Anders, there have been no (afaik) pro-rebellion mages in major roles in Dragon Age media - and very few pro-rebellion characters have ever been portrayed in a favourable light.
Major mage characters since the start of the mage rebellion (I'm counting from the end of DA2), excluding comics/short stories/Tevinter Nights:
Rhys (Asunder). He starts as a Libertarian who defects to the Aequitarians because of disagreements with a pro-rebellion mage. He votes in favour of mages leaving the Circles, but he's not exactly happy about it.
Felassan (Masked Empire). Not particularly concerned with the rebellion. Definitely has other priorities - the Circle can't really touch him.
Valya (Last Flight). The whole premise behind her existence in the novel (I haven't finished it yet) is that she doesn't want to fight in the rebellion. She would rather die as a Warden than take her chances as a rebel.
Vivienne (Inquisition). We know how this one goes. Pro-Circle, fervently anti-rebellion.
Solas (Inquisition). Not pro-Circle, but he's more apostate than rebel and more *gestures at his whole deal* than apostate.
Dorian (Inquisition). Tevinter, with little to no stakes in the rebellion. Will specifically voice his doubts about whether a full alliance with the mage rebellion is actually a good idea.
Mage Inquisitor (Inquisition). Can absolutely hold anti-Circle and pro-rebellion views. Only a Trevelyan mage Inquisitor can have been a rebel, though.
Qwydion (Absolution). As discussed above, more of a mercenary than a rebel and her only comment on the matter is stating that she isn't one.
Saphira (Absolution). Again, a Tevinter mage with no real stake in the rebellion. Was seemingly in Ferelden during Inquisition, but makes no comment on the rebellion.
And what about the narrative's general treatment of mage characters, particularly mage rebels? Well, it's not good. People have already discussed at length that Anders is almost universally demonised in post-DA2 Dragon Age media that mentions him, but he's not the only one.
The most fervent mage rebels in Asunder are Adrian and Fiona - the former is generally discredited as a scary radical who alienates people with her actions, and the latter is portrayed largely as foolish/weak in Inquisition (I disagree, but the narrative of Inquisition has little time for it). The mage rebellion in Inquisition is seen as a terrible, dangerous group destroying the region just as much as the Templars and for just as bad a reason.
More recent Dragon Age entries are also more generally anti-blood magic - no blood mage companions in Inquisition, no specialisation, characters who will speak against it frequently (most notably Hawke), and a blood mage villain in Absolution. Not to mention that Absolution also inadvertently reinforces the "necessity" of Harrowings by showing that Rezaren failed his.
And that isn't even the end of it!! There's a general narrative arc in Dragon Age which serves to validate the Chantry view of mages - the Blight was (seemingly) caused by Tevinter mages. The elven gods were just powerful mages - and they were slavers just like in Tevinter (making our only two examples of mage-dominated societies also slave-based). Mage companions deceive or betray you, their actions responsible/anticipated to be responsible for hundreds of deaths in a way that isn't the case for other former companions. The mage who found the cure for tranquility accidentally killed everyone in the city. From the Chantry boom onwards, 3/5 of our biggest in-game antagonists/bosses have been mages. If we're counting Absolution, that brings us up to 4/6.
This means that the general message of recent Dragon Age isn't just a disdain for the rebellion and its participants, but also a general lean towards saying that the rebellion should never have happened in the first place - because the Templars are right. Mages are Bad.
This probably isn't much of a revelation for a lot of people, but it stands completely in contrast with how I (and a lot of people) understand mage-related conflicts in Dragon Age. How Bioware have managed to set up a compelling narrative showing oppression+attempts to deconstruct it and then decided that no one should resist it (and if they do, they're never good people) is just.......what.
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dragonageconfessions · 2 months
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CONFESSION:
Ignoring anything else about Dreadwolf, I am hoping that we do not get 50 shades of bald in the hairstyle options. Looking at you on that one Inquisition. We didn't need so many options that were basically/borderline bald! I really don't want to see that again
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arisatominakos · 7 months
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bioware laying off 20+ senior members, constantly delaying release dates for the past two years, refusing to provide any real in-game footage or trailers at gaming events, a leak showcased more than the company has in 7 years of development like idk how to tell yall this but
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baejax-the-great · 10 months
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Any time DA4 stuff shows up on my dash, this is what comes to mind
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v-arbellanaris · 1 year
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PLEASE share about the Cullen Cult Arc
sighs. this is my second time writing this post ;~; literally why does the autosave option exist if tumblr doesnt actually bother to autosave anything, i dont fucking get it.
this is going to be much briefer than the original post i wrote because im still REELING over how tumblr just ate the entire fucking post. its fucking gone. and idk if i have the energy or mental capacity rn to rewrite the whole thing. basically, this arc - which is the arc i developed for him in vee verse - is the arc i think cullen should've had in dai.
firstly, i'm not retconning anything he said or did in dao or da2. this is because those things serve a narrative purpose. cullen is a good templar - that's the entire crux of the problem. he exists in these two games as a narrative tool; he represents the views of the chantry. as such, anything you do with his character arc cannot be divorced from the reality of the mage/templar conflicts, and the glaring issues of the chantry and must, actually, address and involve those things, because cullen is a product of his surroundings. i'm not saying this to minimise or give him excuses for anything he's said or done, but that is made true for him by his very positioning in the narrative as being the chantry's voice. for most of my playthroughs, which lean pro-mage, cullen is an antagonistic force - he has to say and do horrific things, and it would be stupid for me to retcon the horrible things he did.
secondly, my main issue comes from his writing in dai - probably to no one's surprise. i am not unopposed to having a redemption arc for him in dai - this is villain-fucking the blog, sorry not sorry - but the problem is that he does not have one. to have a redemption arc, the following two things needs to happen:
the realisation/acknowledgement/knowledge/whatever that he caused harm to people with his actions/inactions
addressing the False Belief that he has embraced that has previously justified his harmful actions/inactions in order to accept the Truth (this is just basic character narrative construction).
and dai fails to do both of these because the writing team in inquisition is physically incapable of admitting the chantry is wrong and has done wrong and will continue to do wrong. they are physically incapable of looking at fucked up power dynamics and clear cases of oppression and not going "but what if the oppressed people. wanted to be oppressed. NEEDED to be oppressed, even."
which leaves his character arc - whether you want to consider it redemptive or not - confusing. he's trying to shake a lyrium addiction? sure, okay. but why is he addicted to lyrium? why is being addicted to regular ol' lyrium bad? it's not blue lyrium that killed meredith, it's not blue lyrium that corypheus and samson are using.
you get confusing things like cullen's entire character arc being centered around lyrium addiction... but no one seems to give a shit if the inquisitor takes lyrium and becomes a templar, except cullen. you get confusing things like cullen's entire character arc being centered around recovering from lyrium addiction and the templar route in dai and you get to the scene where all the templars get their lyrium draughts. the ceremony and chanting and celebration around getting the lyrium, when barris takes his draught, which is frankly revolting. but it highlights the inconsistency - lyrium, this scene tells us, is good. because the templars are good, and they use it for good. yet cullen's entire arc is about overcoming his lyrium addiction, but don't worry!!!! templars are still good and lyrium is still good. its fucking INCOHERENT!!!!!!
he is addicted to lyrium because that is how the chantry maintains absolute control over its templars. it is a mind-altering substance that causes paranoia, which the chantry specifically takes advantage of and feeds with their all mages are inherently dangerous rhetoric, which is a false rhetoric, as i've pointed out before. but instead of acknowledging any of that, dai's writing goes "lyrium is Bad because [mumble mumble] and its So Important that he doesn't take it so that [mumble mumble]".
because the story is physically incapable of uttering anything even vaguely critical of the chantry.
so, this covers my main issue with his writing in dai. i would ideally try to fix it - without retconning anything he did in dao or in da2. this is what the cullen cult recovery arc is referring to.
i'm not going to go into it in too much detail but the templar order - inclusive of the seekers - fits a lot of the parameters of a cult. specifically, the BITE model, but also this checklist, and a whole bunch of other parameters i found when researching into cults for this specific reason. (which. makes sense. seeing how the orlesian chantry is was also technically a religious cult that becomes the main religion of the lands by actively slaughtering all the other sects)
but what's particularly interesting about it specifically is that, in-world, no one else seems to think it's a cult. for all of cullen's views, he is not the extreme end in da2 - alrik is. meredith is. what's particularly disturbing to me about cullen's point of view is that because he's a product of his environment, because he's a narrative tool representing the chantry's views, cullen's opinions and actions are actually a normality test. people in thedas don't find cullen's views repulsive because most average joes in thedas agree with him. i think it's easy to forget cullen isn't the outlier in-universe - we are.
but, canonically speaking, this is what happens: cullen, like most good antagonists getting a redemption set up, misses his chance to Embrace Change at the end of da2. he sides with meredith too late for it to matter or make a difference - mages (who you learn on the templar route, he's not exactly eager to kill) who he's supposed to protect are already dead. but what happens in kirkwall shakes him to his core and he looks to leave the order entirely - a good step.
the problem is that he leaves the order to join the inquisition. the inquisition, which is headed by the left and right hands of the divine. the right hand of the divine is a seeker herself. the inquisition is spearheaded and justified by the divine, who he has been trained for most his adult life to be subservient to. the divine who formed the inquisition to replace the templar order and hired him to essentially train and recreate the order.
worse, still. no one thinks he did anything wrong. kinloch was not his fault, it was the fault of greagoir and the older templars who were simply not vigilant enough, meredith told him. how he acted to keep order in the circle and the city after the viscount was executed is admirable, cassandra tells him. he was only following orders, leliana admits grudgingly, he stood up for what was right when meredith went too far. no one thinks he did anything wrong, because he is a good templar. because all the atrocities he committed were not committed against people - they were committed against mages, who are not people, not like you and me.
cullen hops from one cult to the next. the inquisition is the exact same thing he's always done and known, just repackaged - quite literally, considering the inquisition's symbol. but canonically, he thinks it's something different. he wants it to be different.
it's not, though.
so, the thought process behind my thoughts for him boils down to this: how does he get the language to describe exactly why this is wrong? how does he get the language to describe why it matters, why it's important, that he hurt real people? how does he get past the Lie that he believes - that he has to be a good templar, to stop anything like kinloch from happening again, since kinloch happened because they weren't vigilant enough, because they were too sympathetic to mages?
his arc shouldn't have just been about overcoming lyrium addiction. his arc should have been a story about recovering from being part of a hate group, a story about recovering from part of a cult.
there's several ways to go about it, i think. and if you want to specifically know how i'm going to do it, you guys should encourage me to write vee verse 😌
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laurelsofhighever · 1 year
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Unpopular opinion time: I really don’t care for the Titans as a concept. Or rather, I don’t like the way they fit into the worldbuilding of Thedas. It’s a symptom of this ongoing problem BioWare has where everything has to have some grand, shocking twist and an intricate backstory that connects with the intricate backstory of everything else. It’s like a slow power creep to the lore that honestly reminds me most of Supernatural in how desperate it is to outdo itself.
The Dalish Creators aren’t apocryphal characters used to impart moral lessons or explain natural phenomena – they were real, and they weren’t really gods, just super powerful mages who enslaved a bunch of people and used them to build statues!
The Fade isn’t just another, natural layer of existence that only a few can tap into – it was created by Some Guy who decided to fight the Actually Real Elvhen Gods and then had a nap about it for several thousand years!
Lyrium isn’t just a toxic mineral that causes neurological degradation but also happens to enhance magical ability – it’s actually the crystalised blood of an ancient race of giant beings that were hunted to extinction by the Actually Real Elvhen Gods!
The dwarves don’t have Stone Sense because of their specific cultural identity and because their society that’s based underground needs to know how to navigate without the sun – they were literally created by an ancient race of giant beings who decided to make them to the same vague shape as other bipedal mammals for some reason!
(these aren’t the only examples, they do it with everything from character backstories to religious schisms)
It’s like they don’t trust the player to suspend their disbelief in a fantasy world where magic and dragons are real, and the ironic thing is that by dissecting everything instead of just letting these story elements just be, it makes everything about Thedas feel smaller, and less like an intricate, organic world.
In DAO, we’re introduced to many gods – Avvar, Elvhen, Andrastian, as well as the dwarven concept of “the Stone” – and they exist in the role that gods fill in the real world: cultural artifacts that create a shared sense of identity. It makes sense for there to be similarities between the Elvhen Creators and the Avvar pantheon, given the amount of interaction between the two groups before they became isolated by persecution. Similarly, it makes sense that dwarves would have an entirely different theology structured around the material that literally encases them their whole lives and marks them as distinct from the surface-dwelling races. to reduce these belief systems to single, quantifiable truths makes as much sense as trying to claim the Real Zeus was [specific guy] from [specific time period]. It also does such disrespect to the individuals who make up these cultures, and who would have, through history, changed it simply by being part of it.
With the Titans specifically, they weren’t needed. We already had a concept of dwarves that worked well as a framework for the stories being told in the games: insular, rigid caste system, hub of the lyrium trade, collective PTSD from a millennia of fighting darkspawn. It’s cultural background radiation that adds motive and flavour for character actions, and that’s all it needs to be.
We don’t need to know precisely how Stone Sense works, just that it does. We don’t need to know where dwarves – or elves, or qunari, or humans – really come from, it’s enough for the story that they exist within a collective cultural identity. We don’t need to know what lyrium is, we just need to know that bad things happen when characters play with it.
It's fantasy. A wizard did it. The wizard shouldn’t feel the need to pull back his own curtain and then also rip the casing off the mechanism, just to prove how clever he is.
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illusivesoul · 8 months
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Bioware tries to make Shepard's death and resurrection a significant and impactful event in the narrative of the trilogy challenge (Gone Wrong) (Only managed to do "I got better" jokes)
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palipunk · 1 year
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Found out abt alistair’s VA
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