The Creation Of Dragon Age: Inquisition
it's been a few months since the release of the game, but I fully admit that you have not played or have not received Dragon Age: Inquisition.
Before you read the article, recommend you to get this game.
To say that this article is spoiler – this is to say nothing. This analysis of the game as a whole from actions which affect the development of the plot, to the most minor details. Of course, playing Dragon Age: Inquisition: this game last year rightfully earned the award in the category Best single player game and has one of the most exciting, unusual and fantastic stories from those that we saw in the PC games.
First of all, I want to mention why I added a translation in hubs Development and Testing of games. In this article a lot of points which will help both developers and testers, to look slightly different on the plot of the game and cases. After all, BioWare really makes unique products.
again: do not read the article if you don't want to know the outcome of the plot.
Only a few developers can say that I fully understand the style of play. Maybe a couple of years ago, you could say that it's just a "single shooter", but now the title of "best single player shooter" deservedly went to the brainchild of MachineGames. You could call a Bethesda RPG, noting the interesting mix of research, narrative and controlled freedom. However, most likely you will understand what I mean, if I say the words "BioWare RPG". For 17 years, which led to the creation of Dragon Age: Inquisition last year, this canadian Studio has created the basis for a role-playing video games, than can not boast of any other Studio.
Characters-companions, the multiplicity of choice and verified the stories, the ability to import file-"saves" are an integral part of this structure. Philosophical and practical orientation of the player, flexible functionality allows BioWare to combine individuality and fiction. In my opinion, it differs from other BioWare RPG RPG from a technical point of view. You can also talk about the genre, and here that's pretty important: feeling. In the 90 years the company id Software has identified the thrill of shooters, which are – crazy catharsis. The company Bethesda pulled to change and travel after the lines "see that mountain? You can go there," and she turned them into the genre. BioWare has achieved something similar, but in this case, the developers push more on the emotional, not physical.
If you know what I mean when I say "BioWare RPG" — I think you have experienced these "feelings".
In the RPG, unlike other games, you are guided by both head and heart – in fact, I would say that this is the best possible definition of the RPG genre in a world where everywhere there is a system of character development. BioWare did a lot more than other big developers, in terms of studying the "heart" in this equation, and the result of these efforts, she received a huge number of loyal fans whose work at times is very inspiring. And, let's be honest, even angry responses sometimes give one the necessary push for development. Anyway, BioWare does not leave people indifferent.
For many years I was a fan of BioWare. I was wondering when other companies begin to copy their style, direction, accuracy, character development – but it never happened. Only Obsidian and InXile something can compete with the Studio in terms of flexibility in the development of different styles of RPG, but they affiliated with BioWare by one common link – Black Isle Studios. Since I had the opportunity to chat with the development team of Dragon Age: Inquisition, most of all, I wanted to see how BioWare manages to retain a distinctive style. I suspect that their characteristics are not associated with technical limitations, and more relevant to certain cultural values and priorities – that is where I will start.
writer says Dragon Age Cheryl Chi, talking about the creative process at BioWare. "When you say "remember player", you should try to put yourself in the shoes of players of different types," adds Patrick wicks, who was recently appointed the lead script writer of the Dragon Age series. "We need to not just think about the players of homosexual and women. You should consider such types as "advanced player", "player, which is important, as it will end the game, a player who is an important story." You must put yourself in the place of players with different mentality."
Former lead author David Geyder adds: "you Also need to remember about balance is that we want to tell, and that we can tell our fans. This should very responsibly. Some developers may sometimes not intentionally, to narrow the potential audience of their game. It happens when you don't feel part of the game when it comes to the feeling that "this game is not for you." We create products for a wider audience, and all we want to do is to attract people to our game". From a conversation with the team of creators of Dragon Age, it becomes clear that this view is shared by all team members. Looking at the situation from different perspectives – the very thing that connects the creative team and story presented in the game. BioWare involvement and social responsibility are essential components of a successful product.
"I always took the idea that somewhere there are our "fans", let's call them so, and they think we can't concentrate and engage in the development of any serious fantastic moments that have to be," says Geyder. "Let me explain: we, as a team, at some point, just sit down and say that the plot is not fully worked out. How will accept his player is a girl? Or a player gay? Or a male player traditional orientation? How people can interpret the plot? After all, we are responsible for it".
The concept of social responsibilities of game developers at present, unfortunately, limited only to the political component. It should not be. The practical fact: the quality of the games is as important to the user, as the technical component. In this you can see looking at how the development team of Dragon Age reaches and surpasses its own standards: a series of Inqisition incredibly successful from the point of view of the elaboration of even the smallest nuances. The player can create your Inquisitor exactly what he wants, and his character will be one of the many other characters who will have a variety of worldviews, political beliefs and sexual preferences. This game, however, can be a problem for one type of players, which wicks calls "severstali" — those who value the time of completion of the game. Open world series Inquisition combined with the numerous quests. Need to "spice up" the game, and not regard them simply as "something to pass". We news editor PCG Phil Savage two months have convinced our editor Samuel to leave the hinterlands and to abandon the hunting claws of bears".
"To some extent we are flawed interest the completion of the action," says Mike Laidlaw, the creative Director of the Dragon Age series. "For the "severstali" it was important that you could destroy everything that was achieved. I look at it, and, you know, what do you think? What would it be for us a good lesson."
Discussing the issue of "prisoners of the Inner Lands," Laidlaw associates it with the problem which was before: playing an early RPG from BioWare, the players got bored because they had to choose every option of continuing dialogue to be able to progress. "The most interesting thing happened when we switched to the wheel of communication," he says. "We observed two types of reactions: some players were upset, they felt that the game was cut. But there were other players who are looking at the option to "explore", I thought: "Oh, cool, you can skip the talk!".
BioWare often shift part of the responsibility for the development of the game for the player, and in this case there is a question of proportions: from "the game gives the player too little clear instructions for plot development" to "the game dictates the player every step." It is important to think everything through. But the player should be able to destroy all your progress if it's for something you need. The work of the team is to find the right balance, not to cause the player to an ideal outcome. "Option "explore" can destroy the development of the plot," says Geyder, "so, basically, you need to stick to the story and however find times when this option would be appropriate".
For Inquisition the team Dragon Age has developed new mechanics for conversations in order to convey information that is typically "buried" in "research." The ability to display a wheel of communication in the open world allows the player to obtain further information, if he has such a desire, or to withdraw completely from the fellowship. All depends on the player, and if the story somehow changes this player. I think this is the flip side BioWare social responsibility: her desire to ask the player "run" that is meant to be a plot, creating new tools that allow you to do it.
This is revealed in Inquisition the introduction of a new set of emotional responses that appear after the key events: now the player can be not just happy, angry or sad – he can be courageous, confused, upset and so on. "We always want to give the player the opportunity to react to everything that happened in the game," says Geyder. "In order for the player realized what had happened, and that the game "understand" what happened".
"In past games we were forced to react or avoid displays of emotion," adds wicks. "Wheel of responses allows you to choose your reaction – anger, sadness, or if the player does not give this value, you can choose something like "I don't CARE. MOVING ON".
Geyder continues: "We ask of the player – do you have any emotions... feelings after something happened? And the player can switch your mood, choose any emotion: sadness, joy, anger and so on".
"Instead of saying something," adds wicks.
These answers do not greatly affect the plot out of the conversation, but that's not the point. The point is to give the player to feel the result of what happened, even if they can't change anything. This is a realistic way to incorporate emotions into the game, as well as a boundary between the situation where it is possible to change something, and a situation in which we can not change anything, just accept it. But of course, this face is much more subtle than, say, its implementation in the Mass Effect series.
It seems to me that the complaints and petitions that followed the initial pessimistic conclusion of Mass Effect are nothing but a failure of the players from performing his part of the bargain. Instead to recognize the right for BioWare to show that bad things happen to good people, many fans have stated that they have a right to a happy ending. I am interested in the team of developers of Dragon Age, if they believe that they had the opportunity to confront the players and defend the possibility of tragedy in this case? For example, are all the mages and elves, but they are exempt from all prejudices, which apply to them in the world of Thedas.
"I can't speak for other authors, but I personally received negative reviews at all, where I limited the selection of players based on the race of the player or his past," says wicks. "A more positive reaction I noticed when I gave to the players of any race and any experience access to the bonus content. Until we made a game where I wanted to show and give to feel that people feel discriminated against. We wanted to avoid creating situations where, for example, people may have something to do, and the elves there. This, of course, would be realistic, but I don't think that I want our players."
"Sometimes we do it" — interrupts Geyder. "For example, characters who are not human, can't marry Alistair".
"The starting point here I can see the choices you make at the end of part Origins," says wicks. "The bonus to become Queen to Alistair".
"There is a difference between limiting player choice and how the world reacts to your decisions," says Geyder. "Nevertheless, there are situations when the team Dragon Age restricts players to increase the tension".
"Can tell Cheryl," says wicks, "she killed a mother Hawk. It seemed something terrible but I will never launch a petition to save her".
"We do this out of necessity," says Chi.
"This is a fine line between what you give drama to the story, and the fact that kicking a player just because you can do it," adds Geyder. "I don't know if we always did everything successfully, but it's part of the plot – you have to be the bearer of bad news".
I am fascinated by the respect and attention that exists between developers BioWare and players. A shift took place in providing the love claims of the players in the transition from Dragon Age 2 to Dragon Age: Inquisition. This is another area of contention for fans of this game: the most ardent supporters of BioWare find this deeper meaning, while some users complain that the developer is trying to demonstrate the progressive views at their expense. In Dragon Age 2 companion Sebastian was available as a potential object of love for both characters-both women and men. In the part of the Inquisition from companions more specific sexual preferences, which are formed on the basis of their life experiences or views. In some players is more limited, but these limitations make the relations more important. I asked Mike Laidlaw about what has triggered such changes.
"I see the characters in Dragon Age 2 as bisexual," he says. "I think that there is a tendency to hide bisexuality, doing sexuality "invisible", and I don't really like. When we began to create the part of the Inquisition, I looked at the reviews for Dragon Age 2, and found that all "too good" is a bit unrealistic. I don't want to move away from the idea of bisexuality or pansexuality, but still can't create characters on the principle "all for all". It doesn't work".
"We had a desire to create characters that would be traditional, homosexual, and bisexual," continues Laidlaw. "We wanted to make sure that will create a different love story with a fresh plot and not just "I love you", "I love you too" kiss. In addition, we wanted to move away from a predictable scenario in which we used to create our games. Now the story of a life".
Over time, creating a RPG, BioWare moved away from "simulation" in the conventional sense. Developers began to create difficult social situations for the player, and in this they are so advanced that other developers and studios can't even come close to the BioWare level of detail in such situations. It is the pursuit of credibility goes against the expectations of some players (for example, in the case of guy on the forums requires other players to join in a love relationship with his character), but also affects the budget of the game. To create all the possible interactions with such detail takes time, money and desire to invest their own resources. It does when you create a BioWare RPG.
Every time a familiar and favorite character appears in new versions of the game, a Studio would demonstrate a willingness to invest in it. Often the delight of the player from some of the episode is postponed in expectation of something greater in the next version. Ultimately, the players are disappointed if they don't see all the familiar characters in new games. A series of Inquisition differs from previous versions of the game reduced the number of significant characters. The role of Varrick, Morrigan, Leliana, Hawke, Alistair and Logeyna, of course, very important, but many other important characters disappeared. This is not due to lack of time or lack of desire to please the fans. The fact that BioWare wants to develop the story and not just go with the flow.
"We think about it a lot," says Laidlaw. "Who would we back? Well, we have returned to a character, who would have been very significant and could make a difference in the emotional component of the game, in its texture. We do not want to return the character only that he was – that's not our way."
"If we brought back all the characters, it would have looked like a parade," says Geyder. "We have already created two games, one expansion and several DLC add-ons. We can't just return them. We already did something like that, and I don't think this has had a positive impact on our game. So now we work very carefully".
The risk of working with secondary characters depends on their past. For some characters, for example, Varrick, the risk is minimal. "This is a very popular character and it has potential to grow," says Chi. The Varrick was a very interesting line of conduct in Dragon Age 2 and Inquisition. With other characters is not so simple. I'm interested in, sorry for the developers that they have provided players with some of the characters?
"Daaaave?" he holds out his Chi. "Right, Yes," agrees Geyder. "Sometimes I want to write a letter to the past Dave and say: in the future, Dave will not like your decision".
He continues: "I don't always regret my actions, but sometimes there are thoughts such as "Oh, if done differently," particularly in situations where some of the coolest character can die. The hero becomes the "Schrodinger's character", and to include it in the next game becoming riskier".
"For example, now we are killing Alistair," says Geyder, — "today, he lives about 10%".
When we present a character in such a state, we call it "quantum". Sometimes "quantumof" we do not returned or returned with some restrictions. Very rarely we make the decision to rewrite history – for example, in the case of Leliunai that "died" in Origins, but still plays a major role Inquisition.
"I created it", says Laidlaw. "I thought Leliana would make the game a lot, and I decided to bring it back. Other authors for quite a long time I was made fun of for this reason".
"Poor Cheryl had to write those parts of the plot, which was, well, a lot of references to previous parts of the game," says Geyder.
Cheryl Chi suggested, "She could die, could get someone relationship, and then to die, she could become "stronger".
"The relationship Leliana and Morrigan is the relationship between the two "quantumof," says Geyder. "We have created antimatter".
However, there are some cases when a team purposely makes it difficult to know the possible intensity of the situation. A good example of such situations – the mission, "There lies the Abyss", where you decide what to donate: hawke or one of three Grey wardens from the previous games. The complexity of this choice, I asked Mike Laidlaw.
"In this game I wanted to make at least a few situations where I could say: "Wow, the new version is very different indeed from the previous one". From matching point of view, the presence of three characters who speak with a different character, which can be three persons, which can be male or female, belong to one of the three classes is a challenge, a difficult task, but it is very interesting. How often do you show character from the previous games? We personally before this case didn't do that".
The difficulty here was justified because it offers only BioWare. I asked Laidlaw if they would like to continue to move in this direction and add other famous Grey wardens, such as brother and sister Hawke – Carver and Bethany, Anders, and it would be just crazy, a private Guard-Commander of the player from Dragon Age: Origins.
"We thought about it," he says. "The guardian adds huge complexity. I think we did very cleverly, giving voice to characters who originally spoke. Many people really wanted to Guard, and I knew it. The problem is that this kind of personal attachment, and I'm not sure we could implement it so to please everyone. I feel a certain respect when they say: "No, your character is too special to realize it. If the character is not at all, the player will have much less negative emotions than if the character is implemented, but not the way you want the player."
So BioWare will interact with their most loyal fans: the part of Origins players had so many tools for character creation and character that now include this character in the next series very difficult.
The development team have a strong desire to develop and change the plot. It's only a plot twist, when the companion SOLAS turns out to be the lost ancient elven God is a deceiver Hairdryer ‘Harlem, Terrible Wolf. It's not the most important, and it will have a value only for those players who read the record Code for the three games, but "death" Flemet in this scene closes the question, which stretched from a series of Origins. Laidlaw calls this the "imitation of Marvel comics" and compares it with the appearance of Thanos at the end of the movie "the Avengers" — the authors a little lift the veil of secrecy of the future, but do not expect that all will understand.
"I see this as a move that brings a certain "spice," says Laidlaw. "This story replaces a story with a mystery Flemet, which many asked for sometime to decide. And we decided to show the solution of this mystery, however, immediately created a new mystery, as we don't want to finish the story."
"This move seems to say "expect more" to go the same way as in the movies say "Agent 007 will be back," he continues. "Also, if we ask the question: "Hey, are you interested?" In Dragon Age quite a lot of different parts, and we demonstrate that we are happy to help you out. In a sense, is how we build community."
Thus, SOLAS again starts the cycle. If you say that the BioWare style is the outstanding desire to spend a lot of time and effort to provide players with an interesting plot for a few games, it should be noted that the developers understand that the game needs to be some "point" by which newcomers – those who have not played games of this Studio since 2009 – would have the opportunity to join the community and feel equal. So BioWare attracts new fans.
Another fundamental part of the equation is that the BioWare team are fans of his work. "We want to demonstrate that we are not just having fun in the process of creating the game and writing the story, but also are in constant thought about "how we can implement your ideas, what else is missing". So Patrick created the SOLAS and all things related". It is noticeable in the entire game: from the frescos of SOLAS in Skyhold to statues of wolves that you can see almost everywhere.
The reason that such RPG, created by BioWare, no one else does, I think, is that no other Studio combines all of these elements impact upon the creation of each world is available to players, a sense of responsibility for players, communication systems and social problems, love, desire to create deep complex tasks. You cannot name one thing, such a lot of distinctive features, and they provide the same "feelings" that you do not experience from any other game.
Article based on information from habrahabr.ru
Before you read the article, recommend you to get this game.
To say that this article is spoiler – this is to say nothing. This analysis of the game as a whole from actions which affect the development of the plot, to the most minor details. Of course, playing Dragon Age: Inquisition: this game last year rightfully earned the award in the category Best single player game and has one of the most exciting, unusual and fantastic stories from those that we saw in the PC games.
First of all, I want to mention why I added a translation in hubs Development and Testing of games. In this article a lot of points which will help both developers and testers, to look slightly different on the plot of the game and cases. After all, BioWare really makes unique products.
again: do not read the article if you don't want to know the outcome of the plot.
Only a few developers can say that I fully understand the style of play. Maybe a couple of years ago, you could say that it's just a "single shooter", but now the title of "best single player shooter" deservedly went to the brainchild of MachineGames. You could call a Bethesda RPG, noting the interesting mix of research, narrative and controlled freedom. However, most likely you will understand what I mean, if I say the words "BioWare RPG". For 17 years, which led to the creation of Dragon Age: Inquisition last year, this canadian Studio has created the basis for a role-playing video games, than can not boast of any other Studio.
Characters-companions, the multiplicity of choice and verified the stories, the ability to import file-"saves" are an integral part of this structure. Philosophical and practical orientation of the player, flexible functionality allows BioWare to combine individuality and fiction. In my opinion, it differs from other BioWare RPG RPG from a technical point of view. You can also talk about the genre, and here that's pretty important: feeling. In the 90 years the company id Software has identified the thrill of shooters, which are – crazy catharsis. The company Bethesda pulled to change and travel after the lines "see that mountain? You can go there," and she turned them into the genre. BioWare has achieved something similar, but in this case, the developers push more on the emotional, not physical.
If you know what I mean when I say "BioWare RPG" — I think you have experienced these "feelings".
In the RPG, unlike other games, you are guided by both head and heart – in fact, I would say that this is the best possible definition of the RPG genre in a world where everywhere there is a system of character development. BioWare did a lot more than other big developers, in terms of studying the "heart" in this equation, and the result of these efforts, she received a huge number of loyal fans whose work at times is very inspiring. And, let's be honest, even angry responses sometimes give one the necessary push for development. Anyway, BioWare does not leave people indifferent.
For many years I was a fan of BioWare. I was wondering when other companies begin to copy their style, direction, accuracy, character development – but it never happened. Only Obsidian and InXile something can compete with the Studio in terms of flexibility in the development of different styles of RPG, but they affiliated with BioWare by one common link – Black Isle Studios. Since I had the opportunity to chat with the development team of Dragon Age: Inquisition, most of all, I wanted to see how BioWare manages to retain a distinctive style. I suspect that their characteristics are not associated with technical limitations, and more relevant to certain cultural values and priorities – that is where I will start.
We should always remember about the player
writer says Dragon Age Cheryl Chi, talking about the creative process at BioWare. "When you say "remember player", you should try to put yourself in the shoes of players of different types," adds Patrick wicks, who was recently appointed the lead script writer of the Dragon Age series. "We need to not just think about the players of homosexual and women. You should consider such types as "advanced player", "player, which is important, as it will end the game, a player who is an important story." You must put yourself in the place of players with different mentality."
Former lead author David Geyder adds: "you Also need to remember about balance is that we want to tell, and that we can tell our fans. This should very responsibly. Some developers may sometimes not intentionally, to narrow the potential audience of their game. It happens when you don't feel part of the game when it comes to the feeling that "this game is not for you." We create products for a wider audience, and all we want to do is to attract people to our game". From a conversation with the team of creators of Dragon Age, it becomes clear that this view is shared by all team members. Looking at the situation from different perspectives – the very thing that connects the creative team and story presented in the game. BioWare involvement and social responsibility are essential components of a successful product.
"I always took the idea that somewhere there are our "fans", let's call them so, and they think we can't concentrate and engage in the development of any serious fantastic moments that have to be," says Geyder. "Let me explain: we, as a team, at some point, just sit down and say that the plot is not fully worked out. How will accept his player is a girl? Or a player gay? Or a male player traditional orientation? How people can interpret the plot? After all, we are responsible for it".
The concept of social responsibilities of game developers at present, unfortunately, limited only to the political component. It should not be. The practical fact: the quality of the games is as important to the user, as the technical component. In this you can see looking at how the development team of Dragon Age reaches and surpasses its own standards: a series of Inqisition incredibly successful from the point of view of the elaboration of even the smallest nuances. The player can create your Inquisitor exactly what he wants, and his character will be one of the many other characters who will have a variety of worldviews, political beliefs and sexual preferences. This game, however, can be a problem for one type of players, which wicks calls "severstali" — those who value the time of completion of the game. Open world series Inquisition combined with the numerous quests. Need to "spice up" the game, and not regard them simply as "something to pass". We news editor PCG Phil Savage two months have convinced our editor Samuel to leave the hinterlands and to abandon the hunting claws of bears".
"To some extent we are flawed interest the completion of the action," says Mike Laidlaw, the creative Director of the Dragon Age series. "For the "severstali" it was important that you could destroy everything that was achieved. I look at it, and, you know, what do you think? What would it be for us a good lesson."
Discussing the issue of "prisoners of the Inner Lands," Laidlaw associates it with the problem which was before: playing an early RPG from BioWare, the players got bored because they had to choose every option of continuing dialogue to be able to progress. "The most interesting thing happened when we switched to the wheel of communication," he says. "We observed two types of reactions: some players were upset, they felt that the game was cut. But there were other players who are looking at the option to "explore", I thought: "Oh, cool, you can skip the talk!".
BioWare often shift part of the responsibility for the development of the game for the player, and in this case there is a question of proportions: from "the game gives the player too little clear instructions for plot development" to "the game dictates the player every step." It is important to think everything through. But the player should be able to destroy all your progress if it's for something you need. The work of the team is to find the right balance, not to cause the player to an ideal outcome. "Option "explore" can destroy the development of the plot," says Geyder, "so, basically, you need to stick to the story and however find times when this option would be appropriate".
For Inquisition the team Dragon Age has developed new mechanics for conversations in order to convey information that is typically "buried" in "research." The ability to display a wheel of communication in the open world allows the player to obtain further information, if he has such a desire, or to withdraw completely from the fellowship. All depends on the player, and if the story somehow changes this player. I think this is the flip side BioWare social responsibility: her desire to ask the player "run" that is meant to be a plot, creating new tools that allow you to do it.
We always want to give the player the opportunity to react to everything that happened in the game
This is revealed in Inquisition the introduction of a new set of emotional responses that appear after the key events: now the player can be not just happy, angry or sad – he can be courageous, confused, upset and so on. "We always want to give the player the opportunity to react to everything that happened in the game," says Geyder. "In order for the player realized what had happened, and that the game "understand" what happened".
"In past games we were forced to react or avoid displays of emotion," adds wicks. "Wheel of responses allows you to choose your reaction – anger, sadness, or if the player does not give this value, you can choose something like "I don't CARE. MOVING ON".
Geyder continues: "We ask of the player – do you have any emotions... feelings after something happened? And the player can switch your mood, choose any emotion: sadness, joy, anger and so on".
"Instead of saying something," adds wicks.
These answers do not greatly affect the plot out of the conversation, but that's not the point. The point is to give the player to feel the result of what happened, even if they can't change anything. This is a realistic way to incorporate emotions into the game, as well as a boundary between the situation where it is possible to change something, and a situation in which we can not change anything, just accept it. But of course, this face is much more subtle than, say, its implementation in the Mass Effect series.
It seems to me that the complaints and petitions that followed the initial pessimistic conclusion of Mass Effect are nothing but a failure of the players from performing his part of the bargain. Instead to recognize the right for BioWare to show that bad things happen to good people, many fans have stated that they have a right to a happy ending. I am interested in the team of developers of Dragon Age, if they believe that they had the opportunity to confront the players and defend the possibility of tragedy in this case? For example, are all the mages and elves, but they are exempt from all prejudices, which apply to them in the world of Thedas.
"I can't speak for other authors, but I personally received negative reviews at all, where I limited the selection of players based on the race of the player or his past," says wicks. "A more positive reaction I noticed when I gave to the players of any race and any experience access to the bonus content. Until we made a game where I wanted to show and give to feel that people feel discriminated against. We wanted to avoid creating situations where, for example, people may have something to do, and the elves there. This, of course, would be realistic, but I don't think that I want our players."
"Sometimes we do it" — interrupts Geyder. "For example, characters who are not human, can't marry Alistair".
"The starting point here I can see the choices you make at the end of part Origins," says wicks. "The bonus to become Queen to Alistair".
"There is a difference between limiting player choice and how the world reacts to your decisions," says Geyder. "Nevertheless, there are situations when the team Dragon Age restricts players to increase the tension".
"Can tell Cheryl," says wicks, "she killed a mother Hawk. It seemed something terrible but I will never launch a petition to save her".
"We do this out of necessity," says Chi.
"This is a fine line between what you give drama to the story, and the fact that kicking a player just because you can do it," adds Geyder. "I don't know if we always did everything successfully, but it's part of the plot – you have to be the bearer of bad news".
I am fascinated by the respect and attention that exists between developers BioWare and players. A shift took place in providing the love claims of the players in the transition from Dragon Age 2 to Dragon Age: Inquisition. This is another area of contention for fans of this game: the most ardent supporters of BioWare find this deeper meaning, while some users complain that the developer is trying to demonstrate the progressive views at their expense. In Dragon Age 2 companion Sebastian was available as a potential object of love for both characters-both women and men. In the part of the Inquisition from companions more specific sexual preferences, which are formed on the basis of their life experiences or views. In some players is more limited, but these limitations make the relations more important. I asked Mike Laidlaw about what has triggered such changes.
"I see the characters in Dragon Age 2 as bisexual," he says. "I think that there is a tendency to hide bisexuality, doing sexuality "invisible", and I don't really like. When we began to create the part of the Inquisition, I looked at the reviews for Dragon Age 2, and found that all "too good" is a bit unrealistic. I don't want to move away from the idea of bisexuality or pansexuality, but still can't create characters on the principle "all for all". It doesn't work".
"We had a desire to create characters that would be traditional, homosexual, and bisexual," continues Laidlaw. "We wanted to make sure that will create a different love story with a fresh plot and not just "I love you", "I love you too" kiss. In addition, we wanted to move away from a predictable scenario in which we used to create our games. Now the story of a life".
Over time, creating a RPG, BioWare moved away from "simulation" in the conventional sense. Developers began to create difficult social situations for the player, and in this they are so advanced that other developers and studios can't even come close to the BioWare level of detail in such situations. It is the pursuit of credibility goes against the expectations of some players (for example, in the case of guy on the forums requires other players to join in a love relationship with his character), but also affects the budget of the game. To create all the possible interactions with such detail takes time, money and desire to invest their own resources. It does when you create a BioWare RPG.
Every time a familiar and favorite character appears in new versions of the game, a Studio would demonstrate a willingness to invest in it. Often the delight of the player from some of the episode is postponed in expectation of something greater in the next version. Ultimately, the players are disappointed if they don't see all the familiar characters in new games. A series of Inquisition differs from previous versions of the game reduced the number of significant characters. The role of Varrick, Morrigan, Leliana, Hawke, Alistair and Logeyna, of course, very important, but many other important characters disappeared. This is not due to lack of time or lack of desire to please the fans. The fact that BioWare wants to develop the story and not just go with the flow.
"We think about it a lot," says Laidlaw. "Who would we back? Well, we have returned to a character, who would have been very significant and could make a difference in the emotional component of the game, in its texture. We do not want to return the character only that he was – that's not our way."
"If we brought back all the characters, it would have looked like a parade," says Geyder. "We have already created two games, one expansion and several DLC add-ons. We can't just return them. We already did something like that, and I don't think this has had a positive impact on our game. So now we work very carefully".
The risk of working with secondary characters depends on their past. For some characters, for example, Varrick, the risk is minimal. "This is a very popular character and it has potential to grow," says Chi. The Varrick was a very interesting line of conduct in Dragon Age 2 and Inquisition. With other characters is not so simple. I'm interested in, sorry for the developers that they have provided players with some of the characters?
"Daaaave?" he holds out his Chi. "Right, Yes," agrees Geyder. "Sometimes I want to write a letter to the past Dave and say: in the future, Dave will not like your decision".
He continues: "I don't always regret my actions, but sometimes there are thoughts such as "Oh, if done differently," particularly in situations where some of the coolest character can die. The hero becomes the "Schrodinger's character", and to include it in the next game becoming riskier".
"For example, now we are killing Alistair," says Geyder, — "today, he lives about 10%".
When we present a character in such a state, we call it "quantum". Sometimes "quantumof" we do not returned or returned with some restrictions. Very rarely we make the decision to rewrite history – for example, in the case of Leliunai that "died" in Origins, but still plays a major role Inquisition.
"I created it", says Laidlaw. "I thought Leliana would make the game a lot, and I decided to bring it back. Other authors for quite a long time I was made fun of for this reason".
"Poor Cheryl had to write those parts of the plot, which was, well, a lot of references to previous parts of the game," says Geyder.
Cheryl Chi suggested, "She could die, could get someone relationship, and then to die, she could become "stronger".
"The relationship Leliana and Morrigan is the relationship between the two "quantumof," says Geyder. "We have created antimatter".
However, there are some cases when a team purposely makes it difficult to know the possible intensity of the situation. A good example of such situations – the mission, "There lies the Abyss", where you decide what to donate: hawke or one of three Grey wardens from the previous games. The complexity of this choice, I asked Mike Laidlaw.
"In this game I wanted to make at least a few situations where I could say: "Wow, the new version is very different indeed from the previous one". From matching point of view, the presence of three characters who speak with a different character, which can be three persons, which can be male or female, belong to one of the three classes is a challenge, a difficult task, but it is very interesting. How often do you show character from the previous games? We personally before this case didn't do that".
The difficulty here was justified because it offers only BioWare. I asked Laidlaw if they would like to continue to move in this direction and add other famous Grey wardens, such as brother and sister Hawke – Carver and Bethany, Anders, and it would be just crazy, a private Guard-Commander of the player from Dragon Age: Origins.
the Guardian adds huge complexity of
"We thought about it," he says. "The guardian adds huge complexity. I think we did very cleverly, giving voice to characters who originally spoke. Many people really wanted to Guard, and I knew it. The problem is that this kind of personal attachment, and I'm not sure we could implement it so to please everyone. I feel a certain respect when they say: "No, your character is too special to realize it. If the character is not at all, the player will have much less negative emotions than if the character is implemented, but not the way you want the player."
So BioWare will interact with their most loyal fans: the part of Origins players had so many tools for character creation and character that now include this character in the next series very difficult.
The development team have a strong desire to develop and change the plot. It's only a plot twist, when the companion SOLAS turns out to be the lost ancient elven God is a deceiver Hairdryer ‘Harlem, Terrible Wolf. It's not the most important, and it will have a value only for those players who read the record Code for the three games, but "death" Flemet in this scene closes the question, which stretched from a series of Origins. Laidlaw calls this the "imitation of Marvel comics" and compares it with the appearance of Thanos at the end of the movie "the Avengers" — the authors a little lift the veil of secrecy of the future, but do not expect that all will understand.
"I see this as a move that brings a certain "spice," says Laidlaw. "This story replaces a story with a mystery Flemet, which many asked for sometime to decide. And we decided to show the solution of this mystery, however, immediately created a new mystery, as we don't want to finish the story."
"This move seems to say "expect more" to go the same way as in the movies say "Agent 007 will be back," he continues. "Also, if we ask the question: "Hey, are you interested?" In Dragon Age quite a lot of different parts, and we demonstrate that we are happy to help you out. In a sense, is how we build community."
Thus, SOLAS again starts the cycle. If you say that the BioWare style is the outstanding desire to spend a lot of time and effort to provide players with an interesting plot for a few games, it should be noted that the developers understand that the game needs to be some "point" by which newcomers – those who have not played games of this Studio since 2009 – would have the opportunity to join the community and feel equal. So BioWare attracts new fans.
Another fundamental part of the equation is that the BioWare team are fans of his work. "We want to demonstrate that we are not just having fun in the process of creating the game and writing the story, but also are in constant thought about "how we can implement your ideas, what else is missing". So Patrick created the SOLAS and all things related". It is noticeable in the entire game: from the frescos of SOLAS in Skyhold to statues of wolves that you can see almost everywhere.
The reason that such RPG, created by BioWare, no one else does, I think, is that no other Studio combines all of these elements impact upon the creation of each world is available to players, a sense of responsibility for players, communication systems and social problems, love, desire to create deep complex tasks. You cannot name one thing, such a lot of distinctive features, and they provide the same "feelings" that you do not experience from any other game.
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