The one thing that can sum up BioWare’s Dragon Age: Inquisition, the worthy and exciting follow-up to BioWare’s sometimes-disappointing Dragon Age 2? “Shut up and take our money.”*
In 2013, being a girl in a game had less to do with being female than ever. It had to do with a keen ability to scramble up a rock face with snow pouring down, or rapid displays of grammar confusion, or time paradoxes, or zombie apocalypses.
“Constants and variables.”
If I tell you that playing SWTOR single player was an intellectual or artistic choice, I’m probably lying to you– but I will say that I did it to some degree to see if you could.
To talk about it more might spoil the whole thing– and it’d imply that B:TS is a game whose plot can be so condensed. It’s hard to even define a genre for the game: it is, by turns, survival horror, third-person shooter, tactical stealth, and interactive drama.
Yeah, it’s violent, yes, it’s about not very nice people doing not very nice things. But we all knew that when we picked up GTA V.
A friend of mine texted me the night this came out and said, “I’m really worried about the dog,” and to some degree I wasn’t. I knew what was going to happen to the dog, and you will too– because it’s that kind of a game.
And it raises a broader question: how do we keep story while retaining the fun of playing a game?
This is how I imagine the planning session for Assassin’s Creed: Black Flag went: Ubisoft brings in some branding guru, who says to them, “Hey, guys, you know what you need? A pirate game.”
You will have genuine moments where you’re just running. Where to? It doesn’t matter. Away.