Origins to me struggled with dullness. I think the closest game to origins tonally is probably Pillars of Eternity, the first one, in part because it’s the only Obsidian game since Alpha Protocol to largely avoid the ‘zany Le CraZy 🤪’ “humor” that marred every other game they released from them onward. But like Pillars, I think Origins is flawed. The combat is MMO lite with limited strategic depth and very bad effects and animations, much of the dialogue is wooden and dull and feels more suited to a WoW quest text box than an interactive cutscene, and the voiceless protagonist (which I also felt fatally wounded BG3) works in a sandbox like Skyrim but not really in a BioWare game. I also thought the art style always came across as very cheap, like a “art assets pack - dark fantasy edition” you could pick up off the Unreal Store or something (I don’t know if it works like that, but I believe it does). The overall story, despite some good moments around Loghain, the excellent Deep Roads segment, and a couple of the companions, is also pretty generic and predictable.
2 really improves on every aspect of 1. The 10 (well, 7) year framing is grand and ambitious, and the game has a good sense of time passing given they didn’t even have the budget for different weather in each year. The story within a story bookend of Varric’s interrogation isn’t obtrusive but adds some intrigue. The companions are too the man and woman, with the possible exception of Fenris, great and have great stories and perspectives on the world in a way no other set of RPG companions in a AAA game have ever had. One might have more affection for the Normandy crew, but they’re not as interesting or multifaceted.
Kirkwall is magnificent. It’s a shame that putting the longtime franchise art director in charge of Veilguard allegedly ruined the creative direction of that game (according to Jason Schreier) because if he’d stuck to art he would have done great work. Byzantine-Brutalist Fantasy, heavy on the concrete and stone, hugely referential of 1840s gothic revival - you can see the Houses of Parliament and a solid part of Mayfair in the building design. It’s unlike anything else. The dull haze of the Wounded Coast, the brilliant mossy green of the mountain around the Dalish camp, the work in color alone is stunning, and each location is graded beautifully, such that the Deep Roads feel deeper and more mysterious in 2 than they do in any other game. Given the limitations of the age, I think a lot of the object work was also great, notably the Lyrium idol which of course became central to the franchise’s overall plot (and I love that, that ruining the world and causing the deaths of millions is arguably Hawke’s ultimate legacy). Hawke’s mansion is one of the coziest houses in RPGs, the hall, the decoration of the bedroom. With the exception of the “iconic” act 3 armor, the gear is dull but not mostly ugly, down to earth but not as unstylish as in Origins where you really have to mod to get anything not horrific.
The music in 2 is extraordinary. Inon Zur has a reputation as a workmanlike composer who churns out passable genre themes, but in 2 he’s at his most creative, he brings in new instruments, he’s inspired by Eastern Orthodox music, by middle eastern instruments. The sound of Kirkwall isn’t quite European but it’s not “Asiatic” or “African” or “Mayan” in the cringe way fantasy games are when they go to another biome. Rogue Heart, Mage Pride, the Wounded Coast theme (which had a brief play in Origins at the edge of the mage like), all timers.
I think 2’s dialogue is very good. There are cringe lines, but far fewer than anything by Larian or Obsidian in the last decade. And even widely praised Disco Elysium has mountains of unintentionally cringe dialogue where it’s like yes it’s nice you’ve read Baudrillard and yes it’s nice you’re commenting on what’s happened to European green parties since 1991 but also this just isn’t compelling or good writing. Anders is a really good depiction of an extremist, especially when you’re arguing with him (especially in a romance). Sebastian is an almost George W Bush type of figure tempered by a Presbyterian Scottishness and played magnificently. The regional accents are great. The acting is some of BioWare’s best across the board. The Qunari aren’t “reactionary” of course, they’re closer to communists. Unlike Disco Elysium they’re not a simple analogue for a faction at the second international or whatever. They’re not Islamists. They’re not China. They’re zealous egalitarians, central planners, ruled by a matriarchy, hate and afraid of magic, vaguely Buddhist maybe, but with a strong early church influence. They’re ideologically idiosyncratic in a fantastic way.
The gameplay is a mixed bag. I love 2’s combat and think returning to aspects of its rock-paper-scissors dynamic is one of the only good creative decisions Veilguard made. Chaining together combos, freezing, smashing, disorienting, it’s one of the best pure tab-targeting implementations ever. It might be the best RTwP combat of all time. The ability to chain together IFTT statements in the AI page for companions is also great, you can program relatively complex behaviors yourself.
You’re right about Friendship/Rivalry. I do think the whole game sets up mages/templars well - the Qunari are part of that, too, it’s central to their ongoing war with the northern humans; the game is pretty nuanced. The other Dragon Ages overwhelmingly sympathize with mages, 2 has tons of examples of psycho rapist murderer mages abusing their power and treating the muggle population awfully. 2 has a certain briskness, David Gaider has said most of the game was written and edited in one pass, essentially, no real review, you’d write a line of dialogue and production was so fast that nobody was really looking at it. I think that gives it a confidence that’s so rare in AAA games outside of Rockstar where they think they are (and are) above the critics. Made in a year, thoroughly compelling, and one of very few games made about politics by committed progressives that limits its preachiness to some extent and has a real ideological depth. We’ll never see anything else like it, although if and when AI generation gets good enough I’ll generate another 250 hours.
2rafa
6hr ago
Most wealthy GOP donors didn’t want Trump. I think it had something to do with vulgarity but more to do with the fact that Trump was in an important business for a long time in a major market (commercial and to some extent residential real estate, casinos, hotels, TV, in and around NYC for 50+ years) and so encountered many rich people in many walks of life before becoming president. Many very rich people I know in NYC, which has by far the largest number of them in the country, had either met him or knew someone who had or had heard some kind of first/secondhand stories of him, and nobody liked doing business with him and he screwed over a lot of people.
Do markets love Trump? Traders love Trump because of volatility. Volatility is good for business because uncertainty widens spreads in every asset class. That is why trading floors on the sell side especially shrank so much after 2009 and have done so well since Covid, and especially over the last year and a half. As for other participants I don’t think Trump is responsible for the asset price boom of the last few years concentrated around tech and AI, which has been driven by a combination of earnings and hype but which also follows the general post-COVID boom that largely happened under Biden.
My guess is that if you look at actual Trump voting among rich people (in finance or generally), the demographics largely follow the overall pro-Trump vote in all classes.
2rafa
6hr ago
You reidentifying with your ancestral homeland (since I don’t think nukes have done much good for Britain) somehow reminds me of the fact that, perhaps moreso than anyone else (even the English! Even the Indians!) Pakistani elites really do have a deep, abiding contempt for their own domestic poor. I think the only time I encountered more was during a long conversation with an elderly Jamaican academic.
2rafa
21hr ago
What is the point of having 60% enriched if not for weapons? I’m not arguing they don’t need them, or they shouldn’t be allowed to have them, or anything else, I’m just saying that they obviously want to retain the ability to create them very quickly if necessary at the least, and that counts as ‘wanting nuclear weapons’. Kent is saying they don’t want them, which is very different from admitting they do but justifying it. The unspoken ‘or else’ part of Obama’s Iran Deal (which I don’t think Trump should have broken) was implicitly an admission that the enrichment was ultimately for military purposes.
Interesting. I enjoy New Vegas but think it overrelies on zaniness and a certain kind of 1990s Mad Magazine humor, maybe almost Jim Goadesque, that has had its day and had had it long before that game was written. Knights 2 is good but so compromised by the development cycle, lack of voiced protagonist etc that it’s hard to evaluate. I like it as the most cogent criticism of Star Wars that is still, officially, Star Wars, but beyond that it’s more of a showcase that games Can Say Things than a great game, in my opinion. Maybe I just hate turn based games, which I do.
I like the dialogue wheel, or rather I like what the dialogue wheel enabled, which is a fully voiced protagonist. Here is the hidden subtext of the unvoiced protagonist - you too often play yourself. Commander Shepard, Hawke, Geralt, V, they have to sound like someone else for you to be ripped out of the isekai thing. If Mask of the Betrayer had had a voiced protagonist with a good backstory it would probably be one of the best RPGs of all time but of course it couldn’t - it was too tied to the ‘choose your own adventure’ format pioneered in the 70s that I find deeply uncompelling. Give me a woman, a man, a story, an identity. The Witcher and Cyberpunk lack a wheel, but I don’t think it makes those games better.
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