Article: 'The Industry Is Divided On How To Write Video Game Romance', by Kenneth Shepard

Baldur’s Gate 3 is the latest big game to follow an inclusive (but divisive) trend in video game courtship

Some excerpts:

"In 2011, BioWare’s Dragon Age II portrayed its four main romantic conquests as bisexual, allowing them to be pursued by either the male or female version of main character Hawke. At the time, I was a young, mostly-but-not-completely out gay high school student, and I spent hours each week on the BioWare forums, hoping for some information about which men I’d be able to pursue as I ventured through the fantasy city of Kirkwall. When the game finally came out, much to my delight, there were no restrictions. I wasn’t forced into one choice like I was with the roguish elf Zevran in Dragon Age: Origins, or excluded completely like the first two Mass Effect games. The approach was met with predictable pushback from bigots, and Lead Writer David Gaider responded to criticisms that the game neglected the “main demographic” of the “straight male” in what became a core text about who deserves to be depicted in video game romances. He wrote: “The romances in the game are not for ‘the straight male gamer’. They’re for everyone. We have a lot of fans, many of whom are neither straight nor male, and they deserve no less attention. We have good numbers, after all, on the number of people who actually used similar sorts of content in DAO and thus don’t need to resort to anecdotal evidence to support our idea that their numbers are not insignificant... and that’s ignoring the idea that they don’t have just as much right to play the kind of game they wish as anyone else. The ‘rights’ of anyone with regards to a game are murky at best, but anyone who takes that stance must apply it equally to both the minority as well as the majority. The majority has no inherent ‘right’ to get more options than anyone else.” The idea that romances could be “for everyone” stuck with me, and with the video game industry. Dragon Age II was an early example of what has become colloquially known as “playersexual” experiences, in which every romanceable character is pursuable regardless of your character’s gender. Everyone got an equal piece of the pie. Queer people weren’t relegated to table scraps while straight people got to have a feast. But it turns out, giving everyone all the same options brings its own baggage, and in the years since Dragon Age II, developers are still struggling to find the best approach. The mother of invention According to Gaider, while Dragon Age II’s love stories have become a model for inclusive romance design, they originally took this form due to the sequel’s breakneck development timeline. “We were working on far fewer resources compared to Dragon Age: Origins,” Gaider told Kotaku. “The whole game was gonna be done within a year and a half. So when it came up to how are we gonna do the romances, it was really a matter of economy. We’re gonna have four romances. If we decide to make them sort of a spread of sexualities that are immutable, then there’s no choice for the player. They have one character available to them, and we didn’t like that idea.” Resource division and lack of choice remains a cloud that hangs over even the biggest games that feature romance."

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"When every romanceable character is pursuable regardless of who the player is, it creates a perception that these characters’ identities are defined by the protagonist’s presence. Gaider likens this to treating characters like a “toy” just meant to be romanced. This is part of how the “playersexual” moniker came to be, as it implies that characters weren’t bisexual or pansexual, but adhered to whatever main character they came across in any given playthrough. Dragon Age II has a specific plot beat that added to this: If the player chose to play a male version of Hawke, Anders would be forthcoming about his past relationship with another man, but that conversation doesn’t come up when playing as a woman. Gaider explained this was meant to distinguish how Anders related to male and female versions of the same character, with the BioWare team believing he might keep a past relationship with a man “close to his chest” if he were interested in a woman. In retrospect, he says he understands how it could be read as something only real in one version of the story. “Unfortunately, we just didn’t have enough time to get enough feedback and iterate on those situations,” he said. “We would hit a particular interaction, we would make a judgment call either as a group or the writer on their own, and that was it. There was no time for anything more than one gut-check, which is probably not the way to go.” Room to explore While Dragon Age II was written to accommodate any pairing because of the economic realities of its development, it’s become a recurring blueprint for several romance-driven games."

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"As Dragon Age II has been pivotal in discussions around the playersexual design philosophy, its successor Dragon Age: Inquisition has been hugely influential on relationship systems featuring more defined identities. Gaider said the decision to tweak the approach came from a desire to decenter the protagonist in each of these character’s lives. “We didn’t like how [playersexual] made the characters feel like they existed in service of the player; like they were there in the game to be a toy. [...] We felt like that wasn’t why those characters existed. That wasn’t the kind of game we were making. These characters were characters first, and they had their own stories, and the player could interact with them, but it wasn’t always about the player.” The result of this shift is characters like Dorian Pavus, a mage from the land of the Tevinter Emperium, who is a gay man. His backstory involves nearly being put through a magical version of conversion therapy, an abusive and baseless real-world practice reliant on mental and often religious conditioning. Dorian’s parents planned to use dark magic to make him straight and take part in an arranged marriage, prompting him to run from his family. His story touches on real-life experiences of queer people, and fills in Dragon Age’s world in the process. “Dorian’s story could not be told if he was in a game where playersexuality was the rule of the day,” Gaider said. “When I say that it opens up different types of stories, Dorian is the best example, because his story is about being homosexual and that doesn’t work in any other context. So that was very special. [...] it meant a lot to me as a gay man that I had this opportunity.” Defining Dorian as a gay man is intrinsic to his story, but sometimes the effects of this approach aren’t as grandiose. Cassandra, the first party member you get in Inquisition, is a straight woman, and if you flirt with her as a female protagonist, she takes you aside and tells you…well, straight up. Whether that’s a fun wrinkle to your story or feels like the game is gating content is in the eye of the beholder. “For players who just wanted to romance whoever they wanted, they would do something like encounter Cassandra as a female character and get turned down and be like, ‘that’s not the game I wanted,’” Gaider said. “But then you had other people who were like, ‘that was really cool that Cassandra has her own identity, and it has nothing to do with who the player is.’ I think that makes for more realistic characters, and a more coherent world, and allowed us to create characters that were more self-realized.” The middle ground between opting for playersexual romances and representing the queer experience is making sure those bisexual and pansexual identities exist whether the player is there or not. Baldur’s Gate 3’s party is a solid example of this. Characters like Gale, Wyll, Astarion, and Shadowheart have established relationships and flirt with others of different genders, regardless of whether the player romances them. This ensures their identity doesn’t come off like a switch to be flipped depending on which protagonist shows up at the beginning of the game. Gaider points out that part of circumventing the weaknesses of the playersexual approach is adding “a metric ton of content” as Baldur’s Gate 3 did. Overcoming those hurdles is “possible, just very expensive.” Howard-Arias cited Dorian from Inquisition as an example of a story that could not be told in a playersexual game"

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"When you’re on the outside looking in, it’s tempting to assume developers are intentionally snubbing certain groups of people. The Mass Effect series pushed the envelope for sex and romance in its time, but it was deeply dismissive of queer men, and BioWare’s explanations of Commander Shepard supposedly being a “predefined” character weren’t satisfactory considering the series’ emphasis on choice. Breaking down choices to numbers isn’t telling the whole story, but it does ultimately leave some people feeling burned. “[Some players reacted to limited romance] like it was unfair that I didn’t get more options, as if in-game romances were a matter of social justice,” Gaider said. “Like, in terms of how fairly you allotted them to players, like candy being divided. It’s such an awkward conversation to have because it’s so removed from the realm of game development. But still, game developers do need to stop and have that conversation.”"

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"Even the word “playersexual” sounds like it’s an identity, which can be problematic. Gaider points out this is especially touchy for bisexual and pansexual people, who often face erasure in the real world, so labeling characters as something other than what they actually are sours the discussion before it even starts. Hunter echoed the sentiment, saying having characters “flip flop” felt like a betrayal. “The difference between a bisexual character versus a playersexual character really is a matter of context,” Gaider says. “By calling a character ‘playersexual,’ you’re sort of erasing the fact that they are bisexual, but, the part where having a term for that becomes useful is when you start to investigate, like, why is this character bisexual?” So these two distinct approaches aim to be inclusive, but both can carry a perception of unfairness to either queer identity or queer experience. The sentiment from everyone I spoke to was that both approaches are legitimate; they just have their own pitfalls that anyone making a game should be aware of. Sometimes you just have to accept when one game is aspiring to something different than another. Gaider says the key to making either approach work is to stop trying to please everyone. “Say something with your writing, with your game, with your romances. Because if you don’t say anything, if your goal is to make it inoffensive, then it’s gonna land like a wet fart. It’s not gonna have any substance to it,” he said. “So say something and just be aware of how it can be interpreted and stand by it. That’s all you can do as a creator.”"

[source and full article link. the full article also discusses and covers other games]

I finally had some time to complete a painting for myself! Here’s yet another fantasy lady, as per usual 🌱

Our take on Liadrin for our Warcraft AU.

Also new watermark!

(it’s dragonborn time…)

I’ve been itching to make a dragonborn for ages but I’m not 100% sure what I’ll use her for or if I’ll tweak her look a bit in the future but I was too excited not to post some lazy shots of her.

❤Silvamy ver. knights(„ಡωಡ„)🤍

my dnd characters

- the antichrist, but she's a line cook (yeah she fucks. don't worry about the recent uptick in arson-related crimes)

- *image of a woman covered in swamp muck and kicking a dead alligator* WANTED FOR 500 PLATINUM. YES PLATINUM

- halfling dropkicks a human child for fun and more importantly, profit

- 20yo going thru a eldritch horror flavored identity crisis with a live studio audience in their head

Diversity win, this dictator is a lesbian

Some of my sketches of Diana's new armor design.

the inherent eroticism of using your dead pined-for one's sword.......

Dragon Age: Absolution | Official Trailer | Netflix

New Dragon Age: Absolution trailer! [source]

"Welcome to Miriam’s story.

Based on BioWare’s video game franchise “Dragon Age”, Dragon Age: Absolution explores mature subjects concerning freedom, power, and corruption set against the backdrop of adult animation.

Only on Netflix, December 9.

ABOUT DRAGON AGE: ABSOLUTION

With great power at stake, a group of mages, fighters, and thieves goes head to head against a sinister force possessing a dangerous artifact. This animated fantasy series is created by Mairghread Scott, writer of “Justice League Dark: Apokolips War”.

Set in the world of BioWare’s award-winning video game franchise, and built in close collaboration with BioWare’s creative team - including head writers, and lead creative directors.

Fear. Guilt. Pain. Can Miriam push aside her feelings to complete her mission - or will the trauma looming over her past finally catch up with her?

Nothing is absolute.

PS: if you’ve read this far, see you on Dragon Age Day. Or maybe sooner.

Cast: Kimberly Brooks, Matt Mercer, Ashly Burch, Sumalee Montano, Phil LaMarr, Keston John, Josh Keaton, Zehra Fazal, and more."

[source]

hell yeah plate armour

Aabria being worried that she was gonna cause the apocalypse but lets be real the entire cast is slowly racking up points and gaining on her lol

what do you mean i have a problem

..... i'll finish all of these (i have not finished even one of these)

Irina the Just

A paladin lady shrouded in mystery

Baldur's Gate 3 OC Compendium

[WIP] Profiles: Elamrael | Therius | Jevan | Dexon | Aava | Lenore | Vosran | Kota'mur | Bersulen