220 réponses à ce sujet

[Dutch]

^^This. I'm sick of this idea that there should be massive deaths in entertainment to make it "riveting". Or this idea in fiction that, once a hero's mentor needs to be removed, the only solution is to kill him/her. Life doesn't work that way. People don't magically die when their "plots" are over. There are other ways to remove characters from the story (see Solas, or Blackwall if you ****** him off too much). There is plenty of emotional dept in this game, if you pay attention. If you're just looking for people dropping like flies and wanting nothing but misery and tears, then I suppose it may not be enough for you, however. It is for that reason that I fully support having setups like in ME2, where you can save everyone if you do everything just right, or where you can end up with your whole squad dead, if you so choose. Then I can work for my happy ending and you can gorge on death and misery. Then we're all satisfied.

 

Entertainment these days, play it safe. Look at DAI for example. This game had no emotional depth whatsoever, i dont know where you're coming from because i put 130 hours into this grindfest. I guess if it did have emotional depth then it was poorly done. Blackwall' "betrayal"(he didnt betray me) wasnt really shocking or emotional, it was more like "oh". Solas? I guess if you romanced him but i'd never do that. Maybe the DAI team should take some lessons from ME3, because frankly, i enjoyed it much more than DAI even with the original ending it had.

[Ogillardetta]

Entertainment these days, play it safe. Look at DAI for example. This game had no emotional depth whatsoever, i dont know where you're coming from because i put 130 hours into this grindfest. I guess if it did have emotional depth then it was poorly done. Blackwall' "betrayal"(he didnt betray me) wasnt really shocking or emotional, it was more like "oh". Solas? I guess if you romanced him but i'd never do that. Maybe the DAI team should take some lessons from ME3, because frankly, i enjoyed it much more than DAI even with the original ending it had.

Since you measure depth in death all that says is that there isn't much on screen death in DAI nothing more nothing less. Depth is still not = Death. One death can feel harder than 10 others because of how it goes down. No need to kill everyone and those who had romanced Alistair and made him a grey warden probably thinks that there was enough death in DAI.

[Jaron Oberyn]

You can have emotionality without death. Death is just an easier route to that end. This game had some very emotional moments IMO. 

[Dutch]

Since you measure depth in death all that says is that there isn't much on screen death in DAI nothing more nothing less. Depth is still not = Death. One death can feel harder than 10 others because of how it goes down. No need to kill everyone and those who had romanced Alistair and made him a grey warden probably thinks that there was enough death in DAI.

 

I am not advocating on killing everyone in DAI to make it more better. And i still believe that Dragon Age Inquisition still played it too safe and dandy.

[phaonica]

The only "emotionally deep" event from your list was the fade with Alistair/Loghain, and that's only if you played DA:O.

Even this event was emotional for the Player in a way that it wasn't necessarily for the Inquisitor, because the Inquisitor doesn't know Hawke, Alistair, Loghain, or Stroud personally and doesn't necessarily give a sh*t about any of them.

[AWTEW]

Though nobody died who I cared much for (it was Stroud vs. Hawke for me, easy choice), since I romanced Solas there was GREAT EMOTIONAL DEPTH because of that ending, oh my god.

  Dat ending...

As it stands, Dragon Age Inquisition is just badly written fan fiction.

Lol, the you havent't really read bad fanfiction then.

[KaiserShep]

  the you havent't really read bad fanfiction then.

 

Yeah, dA has some pretty colorful bits of fanfic there, and I have to say, it's as pretty as frenching a broodmother.

[Ogillardetta]

Yeah, dA has some pretty colorful bits of fanfic there, and I have to say, it's as pretty as frenching a broodmother.

Why not combine two colourful pretty things and make it even more awesome? 

Broodmother slowly petted the warden with one of her tentacles leaving a trail of taint goo on his cheek, he seductively licked some of it up from the corner of his mouth while waggling his eyebrows. She screeched loudly and the warden understood; it was time.

I'm sorry
 

[Laterali]

Death is usually used for emotional impact when the writers aren't good enough to create emotional impact without it. I felt plenty when I first saw Corypheus walking through the flames as haven fell. When the survivors broke into "Dawn Will Come" and started surrounding my Inquisitor, I was blown away, far more so than when ME3 decided to kill off Thane.

 

Hearing Cole helping the injured, and then him saying, " I want to stay." was amazing. Watching Cassandra squirm when my Inquisitor found out she likes romance novels made me laugh so hard it hurt. Seeing Iron Bull's love for his Chargers, and him accepting that he gave up everything to save them was powerful. Bringing Cole into the Fade, and his reaction, made me feel bad that I brought him there. I actually was angry at Blackwall when I found out he was lying to me the entire time.

 

There's tons of instances where I felt emotion while playing the game. Feeling emotion is a highly subjective thing. Just because you didn't feel any emotion or depth, doesn't mean there isn't any. In fact, If death is the only way for you to feel anything, you might need to work on your emoting a bit.

[KaiserShep]

Why not combine two colourful pretty things and make it even more awesome? 

Broodmother slowly petted the warden with one of her tentacles leaving a trail of taint goo on his cheek, he seductively licked some of it up from the corner of his mouth while waggling his eyebrows. She screeched loudly and the warden understood; it was time.

I'm sorry
 

 

The Warden looked deep into her milky, bloodshot eyes and finally knew what true love meant.

[Ogillardetta]

The Warden looked deep into her milky, bloodshot eyes and finally knew what true love meant.

He slowly began to undress, her sunken eyes followed his every move. she screeched as to say "come here you"

[AWTEW]

The Warden looked deep into her milky, bloodshot eyes and finally knew what true love meant.

lmao

Broodmother for LI in DA4

[KaiserShep]

I'm not opposed to having death here and there, but it's one of those things that has to be treated well or it's just going to be a cheap grab at the feels.

 

Take, for instance, Chancellor Roderick. This character is probably overlooked because he's an NPC we don't see a lot of except for his antagonistic confrontation with the PC, Cassandra and just about everyone else Inquisition, but I loved the scene when he came around at the end, and by a stroke of luck (or providence) that he should be the only one left who knew about the path of the summer pilgrimage, and his death was actually meaningful, because he turned out to be the key to the salvation of the people of Haven, as well as the Inquisitor. He's not a hugely important character, but the circumstances of his death meshed nicely with the story's theme on faith. But also, it gave a nice contrast to the uplift of the journey to Skyhold, which stands as the best moment in the series for me.

[errantknight]

I just recently played and finished Assassin's Creed IV. {SPOILERS FOR AC4} To keep it short, i felt that Edward Kenway and him losing almost all his friends whether it being Blackbeard or Mary Reed gave a sort of emotional depth to the game that was fairly repetitive in gameplay and its other tired mechanics. Why do i use AC4 as in example? Well because i just played it and it made me feel more close and attached to the side characters in that game than in Dragon Age: Inquisition simply because you feel loss. Loss that Edwards friends die and that stark reminder seeing them in a sort of flashback all sitting at a table drinking at the end of the game.

Dragon Age Inquisiton lacks this and therefore makes everything feel safe and dandy. There is no weight, no risk, you already won by the time you reach the Temple of Mythal. It makes the game forgettable without a meaningful death(s). How can a tired out franchise like Assassin's Creed do it better than the supposed "masters of writing" at Bioware?

 

Apart from the people who did mass effect(did beautiful death scenes), it seems bioware are too scared to kill off your companions. It makes this game feel unimportant and not memorable because of it, you need things that punch you in the gut, deaths that break your heart. Life or death situations. Dragon Age Inquisiton sorely needed it and properly done scenes. 

 

It's sad that Assassin's Creed IV made me ponder more about its ending than Dragon Age Inquisition. I really dont know what to say Bioware, you are slinking more and more into a dark hole with your egregious and safe writing. 

I think people had enough loss and death to last them awhile in DA2 so they went a different direction here. That was a game that was pretty much all about you in a backdrop of big stuff. This game is all about the world, not you. I know what you're saying. There were some tragic deaths in DA:O, too, but I think it was an interesting choice to take the focus off the PC and put it on the state of Thedas.

[HeroxMatt]

I agree with the comments here that suggest death equals emotional depth. 

 

The reason for any lack of emotional depth is not because of a lack of deaths. 

 

ask yourself this. If a important side character had a meaningful death scene, would Dragon Age Inquisition be better or worse for it?

 

Also i used death as an example.

 

It would depend entirely on how it was written. 

 

The scenes that I felt had emotional depth were:

 

Morrigan/Kieran/Flemeth in the Fade. This was really well written and presented and all without a single death.

 

Scene between Dorian and his father, despite the cliche nature of the story. Again, no death.

 

And Iron Bull's reaction to whichever fate you chose for him in his personal side quest. Also, that scene has death in it.

 

In addition, I'd like to suggest that Emotional responses are entirely subjective to the gamer. 

[SomberXIII]

Why not? Games are to happy nowadays.

Have you play The Walking Dead by Telltale?

[Shimmer_Gloom]

Why not combine two colourful pretty things and make it even more awesome?

Broodmother slowly petted the warden with one of her tentacles leaving a trail of taint goo on his cheek, he seductively licked some of it up from the corner of his mouth while waggling his eyebrows. She screeched loudly and the warden understood; it was time.

I'm sorry

It had to be done.

[WhoopinYourA55Mate]

Idk about you but I cried as baby when I had to kill mabari...I mean damn I want one not kill one....BW why!?WHY?

[KaiserShep]

Have you play The Walking Dead by Telltale?

Or The Last of Us, or Alien Isolation.

[Rahavan]

^^This. I'm sick of this idea that there should be massive deaths in entertainment to make it "riveting". Or this idea in fiction that, once a hero's mentor needs to be removed, the only solution is to kill him/her. Life doesn't work that way. People don't magically die when their "plots" are over. There are other ways to remove characters from the story (see Solas, or Blackwall if you ****** him off too much). There is plenty of emotional dept in this game, if you pay attention. If you're just looking for people dropping like flies and wanting nothing but misery and tears, then I suppose it may not be enough for you, however. It is for that reason that I fully support having setups like in ME2, where you can save everyone if you do everything just right, or where you can end up with your whole squad dead, if you so choose. Then I can work for my happy ending and you can gorge on death and misery. Then we're all satisfied.

 

I completely agree, death is so overused as a drama device. Wana know the last time I felt sad about a death in ANY game? Mordin and that kid who died at the beginning of me3. Now I'm rarely surprised by any plot twists, especially dying, so it just makes it worse. Also if you ****** cole off enough his scene is really sad (he makes you forget him). Was the writing this time around subpar, yes, but I think it has more to do with bioware not presenting us a symbol for all the people suffering at the bad guys hands. 

[Eterna]

Bioware will not innovate or create real emotional conflict in its games anymore because they learned their fanbase can't deal with loss or emotional distress, they just want a merry ride of sunshine and rainbows. 

 

There is never any danger of losing anyone you care about, choices are dull and feel ultimately pointless, the story is so generic and safe it is nauseating. The entire thing is just bleh, you can tell it was written to simply appease, it takes zero risks and the entire experience suffers for it. 

[In Exile]

Death is incredibly cheap when it comes to emotional depth. It's hard to do right. The only death Bioware has done properly was the sacrifice made by Mordin in ME3. Otherwise you have deaths ranging from the idiotic to the comical, none of which add any depth. Death as pathos for the protagonist doesn't work well in an RPG (see e.g. DA2).

[Rawgrim]

Forced death scenes are kind of lame. I do like it more the way they did it in ME2, though. If you screwed up there, people died for it. I hadn't done any ship upgrades before I did the suicide mission on ME2, once. 4 of my companions were dead before I even arrived at the final mission.

[abisha]

ME2 was the right way, if you fail people die, gives reason and drama it needed.

what i found disturbing is Lilliana she was death at the sacred ashes, yet she is alive and wel.

[Rawgrim]

ME2 was the right way, if you fail people die, gives reason and drama it needed.

what i found disturbing is Lilliana she was death at the sacred ashes, yet she is alive and wel.

 

Anders was dead in DA:A too. The timeline got screwed a bit too, so he actually dies in Awakening after he runs into Hawke in DA2.