As you might have guessed while reading yesterday’s post, I’ve finished Dragon Age 2. I had a decent time with it. I genuinely enjoyed the storytelling within it, working my way through the tragedies that befell the Hawke family, and it felt fun to shift Hawke’s personality a bit as more and more stuff happened to them. I went from an aggressive, confident Hawke in Act One to a somewhat aggressive but mostly confident and diplomatic Hawk in Act Two and then an aggressive and quick to strike Hawke in Act 3, all reflecting what had been going on in their life over the total of seven years that the game covers. After all, Hawke learned the lesson that sometimes you need to strike first and ask questions never when someone rouses your suspicions. It’s not like you can see your mother turned into some unholy abomination and perversion of the magic you value so much in your own life without learning that maybe some people just don’t need to be alive anymore. The only time I really felt like the game failed me–or at least fell short of allowing me to take the actions I wanted to as part of roleplaying my character–was at the start of Act 3 when Meredith implies that Hawke’s mother’s death was Hawke’s fault. If I could have pointed out that she was explicitly charged with handling rogue mages or just, you know, struck her down for suggesting Hawke was at fault for what happened to Hawke’s mother, I’d have been much happier. Other than that, I felt like the game did a pretty good job of letting me direct my Hawke freely while still steering the game toward the tragic. I mean, I was definitely leaning into it most of the time, so take my satisfaction with a grain of salt, but I still think the game did a pretty good job of allowing for player choice within a much more contained narrative than we’ve seen in in Dragon Age: Origins or Dragon Age: Inquisition.
Continue readingMonth: October 2024
Dragon Age 2: Legacy Doesn’t Pass The Test Of Time
I realized over the weekend that I was about to start the final mission in Dragon Age 2 and immediately stopped what I was doing so I could do the final narrative DLC first. It was a close call, that, but it wouldn’t have been too bad since I am still compulsively quick saving every few minutes, so I could have easily gone back to do the DLC if I’d accidentally pushed past the point of no return in the main game. All of which feels like an appropriately hurried start to Dragon Age 2: Legacy since it’s a bit of an odd duck of a DLC. Not only was it the hardest thing I’ve done in Dragon Age 2, but it felt somehow both much more direct (mechanically) than most of Dragon Age 2 and much less direct (informationally) than the rest of the game. I know I’m not as clear on all the details since my sleep-deprived brain has been letting go of some of the short-term memory stuff that isn’t super important, but it really feels strange that the entire premise of this DLC was that my character’s father was press-ganged into maintaining a bunch of magical barriers for the Grey Wardens and that now she was needed by a couple factions because of her blood-relation to the guy who made the barriers. The primary faction was a group of darkspawn-tainted people who all wanted my character’s blood in order to disable those barriers so the guy trapped within them could be set free and my character chased them down into the prison such that she got trapped as well, all of which meant that this guy, Corypheus (the main villain of Dragon Age: Inquisition), had to get let free so I could leave as well. There’s no relevance to any other plot, no attachment to the broader world, nothing but some guys attacked me, Hawke, the Champion of Kirkwall, so I had to go on a little vacation to hunt them down and murder them, thereby unleashing an ancient horror on the world that was so great that it spawned an entire video game.
Continue readingIntroducing New Tension Into The Magical Millennium
After months of slowly building (which is the unfortunate reality of running a game for a group that meets every other week), I finally introduced the first piece of narrative tension in my D&D campaign, The Magical Millennium. I built some tables, set up some ideas, hinted at what is to come, rolled some dice, and stayed true to the design sentiment that my players and I agreed on for this campaign. Now, finally, after months of slice-of-life roleplaying with some intermittent bits of modern-fantasy and danger being packed in around that, I’ve finally introduced the first bit of high fantasy tension. What began as a simple job to help (and protect, if need be) an herbalist pick herbs in the area north of the city–close but not too close to the massive barrier that sealed off the hellmouth that threatened to plunge this area into death and chaos back at the start of the titular Magical Millennium–turned into a quick hike back to safety when the barrier cracked and a moment of intense danger when something came blasting out of that barrier to land in front of the party. Casual herb collection and a nice hike through the woods as the group failed to address the inter-party tension was all but forgotten as the booming crack of the barrier flooded the area with infernal energy and the woman they were helping directed them all to follow her down a faster path back to the parking lot. Once they reached safety, after ploughing their way through a Hook Horror (half-dead from being blasted out of hell but more than capable of killing any of them but the barbarian in a single turn), they were debriefed by the emergency response groups, sent home, and eventually collected back up for the planned lock-in that had added “make sure the young adventurers don’t do anything stupid” to its program for the evening. All in all, it was a great session and while I think I could have run it better if I’d been better rested, I’m happy with how it turned out.
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