Impresario wrote...
Another example about what's wrong w/ the writing (as others have noted) is the Isabela romance (the only one I've tried).
In a game that gets it right like "Deadly Premonition," York and Emily's relationship develops in such a quirky natural way (and achieving that in a surreal environment is no little feat). When York occasionally visits Emily's house for dinner and teaches her about cooking it's extremely funny and endearing. The banter between the two has a certain twisted Hepburn & Grant repartee--much closer to Morrigan's witticisms than what Isabela offers.
But Isabela, yikes, it as if her romance dialogue was taken straight from some cartoonish script that goes bawdy, brash, pirate covering up a good heart. It's "Pretty Woman" ultra light. Sure that's a common theme in various mediums but the big difference is that when the romance works it's because the writers have a sense of their character's identity. The romance isn't just a device created as an option w/ throwaway dialogue that fits the character's expected template.
I didn't romance Isabella, I romanced Merrill. She wasn't all that interesting of a romance. You talk a few times...flirting whenever you can. Do her missions. Have sex and invite her to move in. And then she's moved in. She stands at the stairwell and doesn nothing. She doesn't talk, the house doesn't change by her addition to it. Nothing.
You click on her and she says she thinks Sandal's watching her. Nothing romantic about that.
And there's one moment in the game where you love interest comes to confort you. I get the feeling that it would have been a good place for more dialogue. You barely talk to these people.
And I dig the redesign on the elves. I like them a lot.





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