All through development of this game, we heard it over and over. DA:O would be defined by how it stripped away the usual trappings of good and evil in video games. Taking inspiration from the ultimate in morally grey fantasy, A Song of Ice and Fire, this game was supposed to be all about complex situations where there's no right answer to moral questions.
Is it just me, or is the game not delivering this at all?
I've finished all four main quests in the middle section of the game, and I've been left very disatisfied by the fact that there's a very obviously right answer to all of these "complex moral decisions."
Redcliffe - The decision between Isolde or Connor would have been exactly what was promised, but the inclusion of a happy third option where nobody suffers takes all the bite out of the dilemna. Even an dark character would never roleplay to off either an arless or a future arl who could instead be eating out of their hand. Plus, it costs you a world of support from Alistair to choose either of these.
Option A: Isolde dies, Option B: Connor dies, Option C: Nobody dies, and there isn't even any penalty for choosing it ... not a complex moral dilemna.
In my opinion, the third option shouldn't have been there. That would have been a moral dilemna. Does the child deserve to be spared, at the cost of his mother's life? Or is he too far gone?
Broken Circle - This one is laughable. Do you want to kill a bunch of innocent mages, or not? If one doesn't kill the mages, you lose nothing and you were right and Cullen was wrong about them. If you don't, you lose their alliance and Wynne won't stay with your party. Plus, you just feel like a douche.
Option A: A bunch of innocent people live and one templar is annoyed. Option B: A bunch of innocent people die, and you lose the support of the most morally concious character in the game ... not a complex moral dilemna.
In my opinion, this choice should have been either
A) You need to kill a lot of innocent, likeable templars to save the mages, or
Brecilian Forest - Once again, this one has a flawless concept. Do you kill the werewolves to save the ailing elves, or do you spare the werewolves at the cost of the eleven lives? But once again, there's that pesky little third option. You break the curse, the werewolves live, the elves live, everyone goes home happy. Well, except Zathrien and Witherfang, but she was happy to die, and he had it coming.
Option A: Elves die, Option B: Werewolves die, Option C: No one dies except the aforementioned, who have a pleasant and semi-heroic end each ... not a complex moral dilemna.
In my opinion, this choice should have come down to the lives of the werewolves, ultimately mostly victims unless you believe that evil truly is passed down, or the sick elves, definitely victims, but a much smaller death toll, lacking in the whole "genocide" thing.
Orzammar - Two choices here, neither that impressed me. Now, the decision between Behlen and Harrowman wasn't as bad as it could have been. My character, who is a naive, trusting little thing who tries to avoid conflict and always wants to do the right thing, had a genuinely hard time choosing who to support -- she ultimately went with Behlen simply because she happened to have talked to his second first and that biased her. Of course, I've heard if you've played the dwarf origins, that choice is exceedingly obvious, too, and it started becoming clear once I declared for Behlen that he was a complete jerk and Harrowman was nearly a saint. I'm not even sure those papers weren't forged ...
I really don't know enough about either of them to make a call on this, but my supposition is that this is as obvious as the others. Behlen is a bad dude, Harrowman is a teddy bear. Obviously, the way to solve this one would be to make neither teddy bears.
RE: The anvil and Branka, this one was SLIGHTLY less unbalanced than the others, but still, it wasn't very hard for me to turn around and put an arrow in Branka. The story established that Caradin was a sinner, but a repenting one wracked with guilt who wished to atone. Branka, on the other hand, was a madwoman, completely unsympathetic, who cheerfully gave her family away to be twisted into darkspawn just so she could get through those traps. The only thing that made this choice even slightly better than the others was the fact that the golems WOULD be very useful in the defense of Orzammar and the surface both.
Option A: kill the repenting sinner who wants to make right, gain the anvil for the defense of the city, Option B: kill the twisted madwoman, destroy the evil artifact, lose the firepower of the golems. There's at least some consequence to this one -- maybe, I don't know if the dwarves get golems if you side with Branka -- but still, complex moral decisions? It wouldn't take anyone who's taken an Ethics class more than five minutes to decide who's in the right, here.
In my opinion, this one could have been solved by making Branka sympathetic, desperate, harried, rather than borderline detestable. Orzammar isn't as bad as the others -- at least there's no dumb third compromise option, and you do lose something tangible and obvious for making the right choice, but it's still nowhere near a complex moral dilemna.
We've heard over and over that this game will strip the concepts of good and evil from interactive storytelling, but it seems to me it's only stripped the little bar telling you how good or evil you are. A step in the right direction, maybe, but a small one. Maybe it gets better from here on ... maybe it doesn't. I'm curious, but I'm not holding my breath at this point.
Now, I can understand the appeal of wanting there to be a possible compromise, but doesn't it dilude the themes of the game? As a fan of George Martin's writing, myself, I'm personally in love with REAL moral ambiguity, a story where no matter what angle you look at the question, there's no right or wrong way to answer it, like the questions that I've suggested could have been asked rather than the ones that have been.
In the end, this isn't a criticism of the game so much as a question for Bioware with a big, long thesis statement leading up to it. I'd love to hear David Gaider's thoughts on this, especially, as tl;dr as possible, because I consider you a writer with a lot of potential for greatness. The question is, or rather, are ...
1) Was this a concious choice, eliminating the ambiguity from these scenarios?
2) If so, what was the mentality behind it? Making it more palatable to players is my best bet ...
3) As you've said that Dragon Age was intended to BE morally ambiguous, do you consider these "compromises" or weak questions something that you'll be working towards eliminating in the future, if you try this again? A neccessary evil? Or was this what you meant all along by moral ambiguity?
Or you know, just any thoughts at all. As a writer myself, I am legimiately curious and eager to hear a reply





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