405 respuestas en este tema

[Das Tentakel]

sjpelkessjpeler wrote...

Das Tentakel wrote...
(snip)
There's another thing too: immersion in the setting.
A cutscene can provide a POV 'from the other side', or perhaps from the past. It can point at events elsewhere in the wider universe that will have consequences for the player character. It can give a sense of scale, of a setting with depth in time as well as geographical width. Doing it right requires skill, though. They should not be too numerous, not too long and you never, ever break the flow of the gameplay just because you want to throw in a cutscene.
(snip)

That's what I totally agree on.
It's also a perfect medium for a game like DA2 the way the game was set up. Because of the timespan(?) with time interruptions lots of things that remained unadressed to could have been explained. In DA2 the feedback was in writing (before deeproads/after deep roads/last 3 years). It wouldn't even have to be done like "a movie" it could also be done with "pictures". Do not know if I expressed myself well here. (hate my lack of english vocabulary)

Well, DA2 did have artwork-cutscenes between the Acts. At the same time, they were symptoms of a fundamental flaw in the game, simply telling ‘off-screen’ key events like the arrival of the Qunari, or Hawke’s first year in the city in the service of an illegal outfit. They served as poor replacements for what should have been playable content. classic examples of offending against the maxim of 'Show, don't tell'..

The time gaps themselves were a bit too long in my opinion; a division into smaller subchapters – with shorter gaps – might have been better, giving a better sense of the flow of time. TV series or movies that play out over a limited number of years – for instance taking place during a lengthy armed conflict (example: season I of HBO’s Rome, civil war between Caesar and Pompey) do it that way.

Between those (mini) chapters though, I agree that cutscenes could have been a great tool. A dozen short cutscenes of 1-3 minutes could have provided a lot of storytelling, filling in gaps, creating context and a sense of scale. They could even have varied them, depending on how you played Hawke. Maybe even added a bit of interactivity.

Editado por Das Tentakel, 26 marzo 2012 - 12:54 .

[grumpyboobyhead]

Well I'd like to say that what I really valued the most were mostly the cut-scenes that the DLCs had in DA 2, specially the boss fights where each class had it's moment to shine.
I the special options on the dialogue wheel given for different classes really made it wonderful to the extent that I was curious enough to try other classes in the game.
Personally, I feel they should do more with mixing class and personality traits in order to get some more enjoyable gangster style or robin hood like moments for rogues and so on for other classes.

I just like to add that what made me enjoy DA:O so much was simply the fact that there was a lot of dialogue options but now that I've seen how DA 2 could improve on that, I say why not?

[Dracorequiem]

When I read the title of this thread, my mind immediately jumps to the scene where the blood mage Idunna was trying to control Hawke and I was able to break it because I was playing a diplomatic Hawke. On a humorous Hawke later on, I wasn't able to do so.

The idea that Hawke can have different actions based on what I've chosen is amazing. I know that kinda sounds like all interactive storytelling, but those kinds of scenes where only certain Hawkes can perform certain actions really drive home the point that what I am choosing really does determine the story.

This goes hand in hand with the class-specific assassinations that I love so much. Ripping an ogre apart with magic to kick off the story was pretty fantastic, and I felt the same satisfaction with the final boss in Legacy. It's exactly because those actions were only available to what I felt was me, specifically, that I felt such a huge amount of agency and immersion.

Excellent job on those type of scenes, and I would love to see even more of them. DA II is probably the game I have felt most in control of; there is an enormous difference between Hawkes, and these scenes help to illustrate that.

As an addendum I also love that Hawke has a family and the brotherly rivalry between male Hawke and Carver felt real in a way that even most books and movies can't convey, but that's a whole other thing and sort of off-topic. Now you can probably guess a lot of things about how I played my Hawke, and the fact that you can do that based on my description of the cinematics is wonderful.

[Dakota Strider]

You know where cinematics really look great? Movies. Would be great if that was the main place we found them.

But in a game, if a cinematic is created, then the writers are obliged to use it. It does not matter if that cinematic negates a choice that a player would have liked to make. It has been my experience, that the average cinematic moment in a game, kills at least one player choice, if not more.

Not that all cinematics do that. In DAO on the march to Denerim to combat the Blight, the cinematics were AWESOME, really touched my emotions. And when Riardan attempted to slay the Archdemon single-handedly, that was great.

But the ones that bother me....would be like when Anders blew up the cathredral in Kirkwall. My player was suspicious of his intentions, when he started to get all secretive and started lying. Would have done far more to stop him from doing that. But I believe that cinematic moment of the cathredral blowing up, had already been created, and so there was no way that the writers would be allowed to give the player a choice to avert that act of terrorism.

Other examples would be looking at the ME3 game....where cinematic movies within the game, was more frequent than player choices. It was almost like they made the movie first, and then decided to make a game around it.

I hope Bioware games....especially the DA series, moves away using cinematic moments with such frequency. Several within the game, at key moments add to the overall game. Filling the game with them, enforces the feeling that the player is on a one-way railroad track, and have lost all control of the outcome.

[rapscallioness]

I haven't read all pages so, I'm sure I'm repeating some things...

But, lessee, in DA2 I loved the facial animations. You guys worked the heck out of those eyebrows. It worked. My Hawke's facial expression matched the mood/tone of whatever she was saying. Nice.

Obviously, I would like to have the environment actually shift and change in accordance with the storyline. I don't like static environments. Where no matter what---the setting remains the same. There are no marks of anything that happened.

Also, please bring back the mini close ups of NPC's when you randomly click and try to talk to them. I like being able to see character's faces when I talk to them. Like in DA:O. Although the dialogue was exhausted..le sigh...

In both DA2 and ME3...I try to talk to them, but I can barely see them. I can barely see their lips move. If at all. That bothers me. Please, fix that, BW.

[rapscallioness]

Oh, btw, BW: I'm doing a replay of DA2 and got to the "All That Remains" quest.

Here's the thing--one, there was a point where Hawke is calmly just nodding her head at the...demented B*stard! while he's going on about his insanity. That did kinda pull me out because the overall situation was so emotional/important/devastating--for me.

It was strange to me to see Hawke so "calm" at that one point. I feel there should have been at least a concerned look on Hawke's face at all times through that situation. The context.

Also, most importantly, for situations like that, give me the kill. A cinematic kill. Hawke should have that murder knife moment w/this B*stard! like w/ the ogre, etc.

Not a thrown knife at some random skeleton to end it. Hawke should have been bearing down on the filth that was that..."man". And preferably...cut his throat.

You didn't give me, nor my Hawke, the kill. Maybe one of the most personal and important kills of the game.

So, yeah

[Burnouts3s3]

I think in terms of scripted events, the player needs to be involved and needs to be able to make a choice. I understand that for climaxes, certain things are out of your control (The Archdemon for example), but we need to feel that sense we can prevent something or at least overcome it.

But all in all, give us real choices that effect Thedas.

[JMSLionheart]

I want something like this (I improved the Sacred Ashes trailer, and here I leave the link):



Everyone who agrees, give +1 of approval

[Uccio]

Cinematics is meh, if I want to see a movie I will rent one, not watch computer made. There was this interactive movie which gave you a option to choose what the character did next. Wasn´t impressed since the result was still the same no matter what you did. Kind of like DA2. DAO was enough.

Editado por Ukki, 21 junio 2012 - 12:59 .

[EricHVela]

I cannot recall any moment where I felt that the cutscene deviated from the paths I chose. I'm doing some new run throughs so I might have more on that later.

For now, I recall that the pre-rendered cutscenes in DA1 were handled far better than DA2. I felt like I was pulled out of the game to watch a video in DA2 and far less in DA1. (The same happened in ME2 versus ME1.)

The trick seems to be making the cut-scenes look like the game's engine instead of a HD video of DreamWorks quality. I don't like the "jump" from game engine to video and back. It's disjointed. The quality of the pre-rendered cutscenes in DA2 seemed to outclass the game engine's abilities (same with ME2). It seemed intrusive to me -- kept pulling me out of the game to watch a video and became really annoying when the scene quickly switched back and forth between real-time game ending cutscenes and pre-rendered cut scenes.

I cannot stress enough how there needs to be smooth transition between them. Don't break the illusion. Our belief is suspended enough as it is. Don't focus our attention to the difference in detail after we've become used to the game engine's style of doing things.

(Sadly, there's no way to get around the whole stereovision gameplay and 2D pre-rendered scenes issue without creating stereovision pre-rendered scenes, but even that causes problems when players change the various 3D-stereovision settings since pre-rendered 3D scenes would not change with them.)

[schalafi]

ReggarBlane wrote...

I cannot recall any moment where I felt that the cutscene deviated from the paths I chose. I'm doing some new run throughs so I might have more on that later.

For now, I recall that the pre-rendered cutscenes in DA1 were handled far better than DA2. I felt like I was pulled out of the game to watch a video in DA2 and far less in DA1. (The same happened in ME2 versus ME1.)

The trick seems to be making the cut-scenes look like the game's engine instead of a HD video of DreamWorks quality. I don't like the "jump" from game engine to video and back. It's disjointed. The quality of the pre-rendered cutscenes in DA2 seemed to outclass the game engine's abilities (same with ME2). It seemed intrusive to me -- kept pulling me out of the game to watch a video and became really annoying when the scene quickly switched back and forth between real-time game ending cutscenes and pre-rendered cut scenes.


I cannot stress enough how there needs to be smooth transition between them. Don't break the illusion. Our belief is suspended enough as it is. Don't focus our attention to the difference in detail after we've become used to the game engine's style of doing things.

(Sadly, there's no way to get around the whole stereovision gameplay and 2D pre-rendered scenes issue without creating stereovision pre-rendered scenes, but even that causes problems when players change the various 3D-stereovision settings since pre-rendered 3D scenes would not change with them.)

 

Editado por schalafi, 27 junio 2012 - 03:30 .

[PizzaThe Hutt]

I didn't like it when sometimes I chose a dialogue option for my Hawke and she says something completly different from what I was expecting and it didn't really come off as something my SnarkyHawke would say. Or if I had a mage Hawke no one would really seem to care that they were a mage besides Meredith, Cullen, or a handful of mages... I was rather surprised the Qunari didn't attack my Mage hawke more often given the fact that they more or less dislike mages. I did like that touch when I had to duel the Arishok but he seemed reluctant to do so given Hawke was a woman. Though I try to avoid killing the Arishok these days since I feel a bitter taste in my mouth whenever I do so...

[DreamerM]

I like that John, Mr. Epler, specified he was asking about cinematics, not writing. Yes, Hawke had a bad habit of saying something BESIDES what he/she meant to say (meaning, what the player intended when they selected that dialog option).

I thought Dragon Age 2's cinematics were at their best when they were trying to horrify us. Stuff like the blood mage elf stabbing his wife and calling his thralls were chilling.

The most glaring place where I thought the cinematics failed to convey the neccessary emotion was the death of Hawke's sibling in the Deep Roads.

The death of Hawke's sibling: simply put, I don't think the sibling simply saying "take care of mother" Hawke making a sad face and the whole scene fading to black was in any way adequete to convey the emotion of having to mercy-kill the last sibling you have. Plus it's not like Bioware to flinch from showing us the gruesome/heartwrenching consequences of our actions. Actually seeing the death blow...plus perhaps a small funeral scene...or at the very least Hawke closing his/her sibling's eyes... would have helped convey the loss. As sad as it was, it should have been a gut punch, whether you loved your sibling or rivaled the heck out of them.

It was sad, but it should have been devastating.

P.S Earlier in this thread I saw John Epler remark that the reason why the scene where Bartrand aquires the idol was so contrived was because of the animation available. The answer to that one is easy: HIRE MORE ANIMATORS.

I've been saying forever that given the amazing performances Bioware's directors rarely fail to get out of their voice cast, the animation should be at least as expressive. hearing Alistair bare his soul...while his arms just did that flopping motion over and over again...a flopping motion I also saw on Liara...Morrigan...Sten...that peasant in town...that templar over there... that tranquil shopkeeper... Here's hoping for more expressive animations during conversation scenes.

Editado por DreamerM, 07 julio 2012 - 12:46 .

[TEWR]

I figure, why not post some more in response to Mr. Epler's query? Probably said some of it before, but surely reiterating it all isn't a bad thing?

JohnEpler wrote...

1) Moments where you felt like control was taken away from you by the cinematics. Were there moments where you felt 'hey, that's not something my Hawke would ever do!' that were not writing related. I realize this can be a bit odd of a concept to grasp, so let me reiterate - times where, while the lines and intent of the writing wasn't necessarily a problem, but in the context of the scene your character did something or had a particular expression that just took you out of the moment?

Hmmm..... I doubt I can really separate the two personally, because generally when autodialogue occurs I have a problem with it. Just as much, I have a problem with the expressions along with it or actions performed.

But.... hmmm... okay, here's a non-dialogue example. While I don't personally mind Hawke kicking in a door in Legacy, I wasn't a fan of it either, because it seemed unnecessary and seemed like it was done only to be there.

Had I tried to open it normally and the door wouldn't budge and then I picked a "Break it down/Bust it in" option, then I'd be okay with it.

John Epler wrote...
2) Things you wanted to see more of. We've gotten some good feedback from you guys about the 5 different killing blows at the end of Legacy, and we'd definitely like to do more of that (though they may not always be quite as unique as those five, the idea that each weapon-type gets its own little flair is something we believe adds to the experience). But stuff like that.

I'd like to see those killing blows revert to not being presented as cutscenes/cinematics. At least, for moments where it would probably feel like a bad mix. I don't know why, but it just doesn't feel right when Hawke went from battle to cutscene kill on the Ogre, wherein the scene sort of cut away badly into another (IMO).

I suppose for Corypheus and Prosper, their kill style moments felt better because the scene naturally progressed into some level of follow-up. Had it just been Archer Hawke killing Corypheus and then reverting back to gameplay, that would've been odd. But Archer Hawke's kill moment led to Corypheus' possession of Larius/Janeka.

So it felt more natural.

But even so, I wasn't a fan of the Ogre kill being a cutscene only thing. I guess what really got to me was the lack of killing animations in gameplay, which may have made that one instance seem more off as a result. Though I would've simply appreciated it as a gameplay one.

Then there's the High Dragon one, which I don't feel really served much of a purpose other then to be there as a cinematic style. I would've preferred that as just a gameplay animation, due in part to how fast it seemed to progress in cutscene style IIRC. It seemed to go way too fast, whereas in DAO it would slow down so you could see the badassery in action.

I dunno. It's kinda hard to explain. Maybe if you chip away at this section of my post with a jackhammer, some acid, and some explosives you might understand a bit more what I'm trying to say. To be honest, I feel kinda selective about which ones I liked.

The Archdemon's genuine killing animation and the Mother's (for a Mage, anyway. The rest were pretty bad in execution) I liked, probably because A) I got a Dragon animation for the former, kinda adding on to how I weakened it for the kill and because they didn't seem to have many problems in overall design regarding it. Perhaps because they were the final bosses? I can't say really.

There's a certain level of badassery I get when my Warden jump kills an Ogre in gameplay, rather then as a cutscene. And when I do the same to the Broodmother as well.

But something about the cinematic way of killing them sort of... takes away from that badassery, y'know? I suppose it adds to how I'm just watching a character kill someone, rather then feeling like my character is doing that.

And aren't RPGs about making the character yours, rather then watching someone else's?

John Epler wrote...
3) Moments where you noticed a lack of/opportunities for ambient storytelling. What's ambient storytelling? Glad you ask! It's those times where stuff happens around you while you're walking around, and it helps tell the story. Clear as mud. More specifically, it's those little touches like when you see guards patrolling on a wall, or a smith in a forge moving from his anvil and back again. This is something we'd like to push more in the future, and examples where you guys thought to yourself 'hey, why is X not happening?' would be useful. This last point is a tricky one - engine limitations exist. But still. That's our problem, not yours.

I'm gonna list moments from both games where there's a lack of stuff happening and what I think should happen:

1) Wade not working on his forge, and as an extension not looking the part of a blacksmith. I'd expect a blacksmith to look more.... dirty I guess? It's heavy work.

2) Lack of people at merchant vendors. Take for instance FFXII -- my go to reference for many aspects of game design. In it, you had merchant stores where people were examining the wares. If I had a screenie to post of it, I would. But suffice to say, you'd have a few people examining swords. Wade's store -- and hell, every store in both games -- suffered from a lack of people. Wade's store was empty and as a result felt empty.

3) More often then not in DAII, I'd attack a gang and the Guardsmen would just waltz on by as if nothing was happening. Never mind how I couldn't even get the quests to clean up the city's gangs from the guardsmen themselves.

4) Musicians could do a lot to set up an area's feel. It'd be nice to traverse a city's streets and see musicans playing the area's music. IMO.

5) Vomit and fighting. To elaborate, the Hanged Man would feel more..... down to earth I guess you could say if I saw people getting into bar brawls and puking in corners of the bar.

6) Butchers' shops and other vendor types. Why is it that all of the shops we see in-game are armorers and traders, but we never see any stores that sell food? I'd personally like to see food become an item we can use, but barring that I'd simply like to see butchers, fishmongers, and grocers. Skyrim and Alice: Madness Returns had these.

7) Dockworkers actually working on the docks. Look at Balfonheim Port in FFXII for further information.

8) At a military fortress, seeing people actually practicing their skills would be great. Redcliffe Castle and pre-battle Ostagar had this, but Vigil's Keep was notably lacking.

9) Weather effects.

10) Citizens commenting on stuff we''ve done in-game. If I save Noble A, then maybe some stories should float around the town about how Noble A almost got killed, but some Dashing-yet-Douchebag Hero saved him, provided Noble A would have some importance later on -- meaning the consequence to saving him would appear later on in-game and be appropriately handled, and thus would be wrapped up nicely with no need for import issues.

11) MOAR ANIMULZ. Squirrels, chickens, insects, dogs, cats, horses, deer, wolves, etc. Even if I can't ride a horse, just seeing one would go a long way.

12) Masons actually working with stone. Vigil's Keep had the soundfiles to make it sound like work is being done, but due to a lack of animations and a lack of NPCs present, it felt still and lifeless. I would've gotten more satisfaction out of building a fortress from basically scratch if I actually saw people working on it. Hell, having Voldrik direct people would've also helped, where he's saying "No put that over there you sodding imbecile!" and "That's good right there!" and "Lorian! Go help Devan/Tal/John over there" and the like.

Even if it was on randomized repeat, those lines would do a lot.

I recommend reading more here

Editado por The Ethereal Writer Redux, 07 julio 2012 - 02:12 .

[Fast Jimmy]

Wow, that was an excellent, well-written response, TEWR.

Talking about Hawke's sibling dying made me think of a suggestion for a cinematic approach.

All too often, we see a heart wrenching death scene where the actor/character watches someone die, they make a horrible face, then... fade to black. In my experience with death recently, the hardest part isn't the moment where you make the painful face, but rather the moment where you have to stand up and keep going in the world.

Having a scene where the sibling died in the Deep Roads, but where Hawke then would stand up, with a mix of sadness and determination to make it back out of the DR alive to get back to his mother. That would be a harder, more gripping scene.

The fade to black pulls the player out of the scene, waiting for the magic teleportation, where coming into the light makes all the feelings immediately disappear. If we see Hawke stand up and has to dust himself off, literally and figuratively, we know that just walking away won't make the pain of the death to away.

Just a thought.

[TEWR]

Fast Jimmy wrote...

Wow, that was an excellent, well-written response, TEWR.

Thank you.

Fast Jimmy wrote...
Talking about Hawke's sibling dying made me think of a suggestion for a cinematic approach.

All too often, we see a heart wrenching death scene where the actor/character watches someone die, they make a horrible face, then... fade to black. In my experience with death recently, the hardest part isn't the moment where you make the painful face, but rather the moment where you have to stand up and keep going in the world.

Having a scene where the sibling died in the Deep Roads, but where Hawke then would stand up, with a mix of sadness and determination to make it back out of the DR alive to get back to his mother. That would be a harder, more gripping scene.

The fade to black pulls the player out of the scene, waiting for the magic teleportation, where coming into the light makes all the feelings immediately disappear. If we see Hawke stand up and has to dust himself off, literally and figuratively, we know that just walking away won't make the pain of the death to away.

Just a thought.

I agree completely. To go even further, Leandra's death didn't feel as powerful to me for a few reasons that I can remember off the top of my head:

1) She's flopping around in battle constantly, which after a while made me laugh more then be angry at Quentin for profaning the dead like that. Having her stay in the chair as Quentin turned it around probably would've been better. Or just have her flop towards Quentin as she stands up, to which he then guides her back to the chair and begins "EVIL Speech of how we will stay together!"

2) Afterwards, Hawke goes on in the world as if nothing has happened. I mean, telling Gamlen and Aveline's after conversation in the Barracks is nice and all because that was necessary, but once all that's done Hawke doesn't seem like it's really affected him too much. Honestly, I'd think that afterwards he should've really had some dialogue that kinda.... reflected on that quest and how hard it is for him to go on afterwards, but he's trying.

3) I didn't really get to know Leandra that well in the base game, so my connection to her as my character's mother wasn't very strong.

4) When Meredith says "What about your mother? Did a Mage not kill her?" I can't accuse her and her Templars of being the root of all that, which would've told me that my Hawke is still pissed at the Templars for letting it go that far.

But number 3 and 4 have more to do with story then cinematics/cutscenes, so anyway....

[Fast Jimmy]

Agreed. Comical zombie mom was less horror moment and more silliness. Not that the shuffling was neccessarily un-zombie-like, but it was still less threatening or creepy than... like watching a drunk toddler I guess?

Anyway, I agree that most of the problems with Leandra stem from her not feeling like family (unlike Bethany and Carver, in the right situations) but more like a nagging wife in the conversations we wind up having. Which are, again, story-based, not cinematic.

[DreamerM]

Fast Jimmy wrote...

Agreed. Comical zombie mom was less horror moment and more silliness. Not that the shuffling was neccessarily un-zombie-like, but it was still less threatening or creepy than... like watching a drunk toddler I guess?
 

This. Zombie mom was another thing that should have been much more horrifying then it was. Zombie Leandra just kind of stood there, swaying like she was drunk or woozy or something.

Personally, I think the most horrifying thing would have been, since she's made up of the parts of many different women, each part doesn't work with the others, resulting in movement like a marrionette or a broken doll, where fingers keep spazzing and crawling like spiders, legs keep twisting forwards and backwards regardless of tendon or joints, torso and neck spinning around and limbs that have forgotten how limbs are supposed to move....

That, done properly, would have been the most terrifying thing this side of the best Silent Hill monsters.

[force192]

I know that this isn't really related to the questions but I have a question for someone on the cinematic team at BioWare. Do you guys use Motion caption? like what Naughty Dog does with their Uncharted games?

[GavrielKay]

I think cinematics with our PC should be extremely limited. Like in DA:O when our character was introduced but didn't do anything. Every time the game does something for my character, I lose a bit of immersion. Cutting to action happening away from the PC in order to provide some relevant information - like the scenes with Loghain and Howe in DA:O - are nice. They add some depth and flesh out the story.

Truly though, DA2 had more the feel of an interactive movie than an RPG. Every time it skipped 3 years or jumped ahead to what Varric was saying... it made it clear that the story wasn't being told by me. The action was over, and my part in it was like an actor recreating the scene.

Think about it:
DA2 had "acts" like a movie. You were occasionally surprised by what "your" character said or did. The whole plot was laid out and we basically just stepped in now and then to press a few buttons.

Maybe this is the new direction that BioWare has in mind for the DA franchise... I don't know. But if you are soliciting opinions, then mine is that the more control we have over our character and the less is set in stone by cinematics or railroaded plot the better.

[DreamerM]

force192 wrote...

I know that this isn't really related to the questions but I have a question for someone on the cinematic team at BioWare. Do you guys use Motion caption? like what Naughty Dog does with their Uncharted games?

I am definitely not a member of the team, but since I have eyes and I've played the game, I am going to say with pretty absolute certainty that the answer to that question is NO.

I'm not saying Bioware doesn't use motion capture: they absolutely do. It's conspicuously obvious in Mass Effect when a Krogan opens a door by swinging his arms in the exact same way a human would.

But what Naughty Dog does is create compelling, character specific animations by hiring actors to both voice and ACT the characters of Drake, Elena, and everyone else. They even record their facial reactions as reference for the facial animators, who then re-create the expression. The result is characters who's personalities don't end with their dialog: the very way Drake climbs up a sand dune will communicate facts about his personality. A gesture like Elena picking up a camera will tell you exactly how she's feeling at that moment. UNCHARTED's characters are far from the best written in games today, but they are easily amoung the most emotive.

I've never seen anything in any Bioware game I'd call a "character specific animation." Everybody moves like everybody else moves, regardless of body type, gender, size, personality or incumberment. As for facial animations? On a good day, someone will grimace. Or someone else will smile. And there's a lot of head nodding and blinking. That's about it.

I loved DA:O, but I discovered looking AWAY from the characters during their dialog scenes actually HELPED me connect with the characters better. The voice acting was so good that I'd rather imagine the face that was saying it rather then actually look at the flapping gums and dead staring eyes onscreen.

I know I'm probably one of the only people on earth who gives a crap about this, and it's just because I love animation more then I love breathing sometimes, blah de blah de blah. But Bioware's cast is usually SO WELL WRITTEN and deserves so much better....

Editado por DreamerM, 05 agosto 2012 - 08:26 .

[Lotion Soronarr]

Fast Jimmy wrote...

Agreed. Comical zombie mom was less horror moment and more silliness. Not that the shuffling was neccessarily un-zombie-like, but it was still less threatening or creepy than... like watching a drunk toddler I guess?

The best thing to do with her would be no not have her talk.
Let her just be dead.
Teh idea to loose a mother wihout being abel to say goodbye, without any last words - it's more horryfing and emotional than cheesy goodbye speeches.