1284 réponses à ce sujet

[Ludod77]

Merci Archon pour ton accueil, merci Berenice pour ton respect, merci Megamomo pour heu...bref merci

[brivdl1]

NowGamer a publié une interview de mike Laidlow sur DA2
il y a des spoils dedans,vous êtes donc avertis (enfin ceux qui vont sur le forum anglais n'en seront pas surpris)
http://www.nowgamer....oware-interview
 
en gros on y apprend que des choix fait dans DAO seront répercutés dans DA2 (genre on saura qui est roi des nains,de férelden,plus encore sur Morrigan ....)

[Eusebius80]

merci pour le lien



j'aime bien l'idée de bâtir avec ses compagnons une relation basée sur la rivalité, en plus de l'amitié et de l'amour. ça peut donner un peu de variété.

c'est le point le plus intéressant de l'interview amha.

[cabfe]

Un petit mot sur les combats :

"I think the end result is a combat system that, at the beginning is pretty forgiving, you can almost play it like a pure action game. But by the time you get further in, and we achieve this seamlessly, the player is now thinking like a general as they become more involved in combat."



En gros, on commence à jouer bourrin et progressivement on devient plus tactique.

La première impression risque d'être dure à encaisser.

[erindhill]

En gros, on tape tout ce qui bouge au début, ensuite il faut juste les prendre par pack, comme dans tous les Hn'S...

[sanguiyn]

au lieu de donner des interviews qu'ils balancent de la vidéo de gameplay pour pc, et vu la pauvreté du site da2 en artworks, quelqu'uns aussi parce que là c'est vraiment le minimum syndicale, pas besoin d'être spoiler sur un jeu si on s'est pas quoi il va ressembler un minimum.

[-Slothy-]

cabfe wrote...
En gros, on commence à jouer bourrin et progressivement on devient plus tactique.
La première impression risque d'être dure à encaisser.

En principe dans un RPG c'est plutôt l'inverse : on a tendance à être plus tactique au début car on est faible, puis ça bourrine à hauts niveaux. 

[cabfe]

D'où l'inquiétude grandissante : est-ce vraiment un RPG ?

Ca et le fait de ne montrer que les parties "intéressantes" de la vie de Hawke sur 10 ans... (dixit interview plus haut)
Ca risque d'être une succession de combats avec une histoire racontée par un nain au lieu de nous-même.

Ce qui fait un bon RPG, c'est pas une série de combats, c'est une histoire que l'on choisit, via des tas de dialogues et des choix parfois cornéliens. De quoi vous souvenez-vous d'Origins ? Des combats ou de vos choix et conséquences ?

Il est grand temps que Bioware nous montre autre chose du jeu, à 6 mois de la sortie.

[Osiris49]

cabfe wrote...
D'où l'inquiétude grandissante : est-ce vraiment un RPG ?

Depuis les premières info que nous avons eu, DA 2 n'en a jamais pris le chemin et ce sentiment n'a fait que se renforcer petit à petit au fur et à mesure que nous avions d'autres info. Mais bon, il faut attendre pour en être vraiment sûr.

Cela dit, je ne doute pas qu'il saura très bien répondre aux critères "d'exigence" marketing et commerciaux sur ce qu'est (ou doit être) un "RPG" à l'heure actuelle.

[Berenice]

D'un autre coté ils nous balancerons pas des trucs du genre : *Hahem*

1. Hawke pourra tuer sa soeur ou non.

2. Kirkwall sera détruit par un incendie criminel si Hawke ne fait pas si ou ça ...

3. Vos coéquipier serons une mage, un rescapé de guerre, votre enfant, un Alistair ( ) et blablabla





Enfin vous voyez le genre, moi je pense qu'ils nous donnent les infos insignifiante pour nous donnez des infos point à la ligne.

[Dark Exa]

1. Hawke pourra tuer sa soeur ou non.

En fait cela peut être une possiblité, tout dépend des raisons ( Exemple : Fable Lost Chapter, du coté Evil, tuer sa propre soeur soeur pour plus de pouvoir )

Genre , si c'est un mage , sacrifier sa soeur pour le boss utlime ou alors ...

Genre , Vous avez trop bu et vous avez couché avec votre soeur et elle porte votre enfant , donc  fou de rage vous la decoupez en morceau... XD ( Un remake d'Oedipe à la sauce DA 2 )


Bref on verra bien

[brivdl1]

dans une réponse à l'un des post,l'un des dev a répondu que le rôle de Bethany pourrait être très important ou pas

çà veut donc dire qu'elle sera bien un membre de l'équipe selectionnable et son importance dépendra si on la prend dans notre équipe 1ère ou pas,d'autant que les persos recrutables auront leur vie propre et ne resteront pas bêtement à nous attendre dans un vague campement (qu'il n'y aura peut-être même pas)

moi cette avancée sur l'intelligence de nos compagnons qui pourront faire autre chose si on les prend pas dans l'équipe,pourront se romancer,se détester,se lier d'amitié ... ben tout çà,j'aime bien car çà rendra le jeu plus prenant quand à nos choix humains

[brivdl1]

nouvelle info officielle (puisque du aux réponses de David Gaider dans un topic)
il n'y aura pas de camps dans DA2 pour le regroupement des compagnons,si on ne les prend pas avec nous,ils reprennent leur vie normale et il y aura des compagnons "obligatoire" à certains moments du jeu (c'est ce que j'ai compris)
le "pas de campement" rapproche donc DA2 de Baldur's gate I et II sur ce point,vu qu'il fallait aller les chercher à certains endroits précis (taverne,chez eux,...)
j'aime bien l'info,çà donne plus une gestion de groupe

[Eusebius80]

ah oui c'est sympa ce dernier point, j'avais pas compris l'info comme ça



sinon le fait que ça soit bourrin au début et tactique vers la fin, si ça se confirme dans le jeu, je trouve ça bien, ça veut dire que le challenge est bien progressif. par contre les débats RPG vs A-RPG vs Hack'n'slash commencent à devenir un peu répétitifs, dans la mesure où ça reste de pures suppositions. pour le moment le seul truc qu'on peut juger c'est le game design (bon d'accord c'est moche mais c'est pas une raison^^)

[Osiris49]

Eusebius80 wrote...
par contre les débats RPG vs A-RPG vs Hack'n'slash commencent à devenir un peu répétitifs, dans la mesure où ça reste de pures suppositions.

Je le conçois mais c'est à mon avis là que réside le principal malaise de pas mal de joueurs avec un sentiment pour le moins partagé.

Eusebius80 wrote...
pour le moment le seul truc qu'on peut juger c'est le game design (bon d'accord c'est moche mais c'est pas une raison^^)

Non, ce n'est pas la seule chose sur laquelle nous puissions avoir un avis.
Des informations sur le déroulement de l'histoire, sur la scénarisation, sur le nouveau système de dialogue et sur certaines autres orientations pour ce DA 2 sont aussi connues.
Là où je suis d'accord, c'est qu'il est impossible de se faire un avis définitif sur l'ensemble du jeu avec tout ce que nous avons pu lire. J'ajouterai juste que ça inclu aussi le game design. Nous n'en avons pas vu suffisament pour pouvoir en juger comme étant représentatif de l'ensemble du jeu.

[erindhill]

Il y a quand même de sérieuses indications sur l'orientation de DA 2.

Quand les devs disent :

-Il sera bien plus orienté action

-DA 2 est fianlement un action-RPG (pour les devs Diablo est un action RPG)

etc.



Ils le disent pas pour rien.

[Archon360]

David Gaider est l'invité du quatriéme podcast Dragon Age 2, disponible sur le blog BioWare.
Vivement une transcription...

L'idée que les compagnons aient une vie perso quand ils ne sont pas dans l'équipe est intéressante.
On pourra certainement voir les impacts de nos "relations" avec eux lors des sauts dans le temps.
J'espére juste qu'ils ne seront pas tous à Kirkwall par exemple, sinon c'est juste la taille du camp qui aura changé.
Devoir voyager pour aller les retrouver, yep c'est mieux.

[Berenice]

Woaw ... Quelle mésaventure j'ai vécu aujourd'hui

J'ai lu ce matin la nouvelle du campement, sans la comprendre .. Et se soir en jouant à KOTOR une lumière s'est soudainement allumer dans ma tête et j'ai compris l'affaire....

Bref.

Concernant mon opinion : Je préfère qu'ils n'aient pas une grosse vie sans moi J'aime avoir le monopole donc j'espère juste que mon ami (appellons le X) alors j'espère juste que X ne se fera pas une femme, un nouveau travail, trois enfants, de nouvelles connections au gouvernement et un ennemi juré pendant mon absence...

[Andariel696]

N'oublions pas que la trame de DA2 se déroule sur une période de plusieurs années.

imagine toi laisser tes compagnons 10 ans dans un campement, tu t'attends bien à les voir tous virer scouts...

[brivdl1]

Le mage humain de DAO aurait un lien de parenté avec Hawke
je met le lien du topic où David Gaider le dit
http://social.biowar...1/index/4962962
 
enfin il serait bien aise d'avoir des nouvelles sur nos futurs compagnons,à part Varric et Bethany pour au moins le début,on a vraiment que dalle et je parle même pas des romances possibles
or nous sommes pratiquement à 4 mois de la sortie officielle du jeu
çà commence à peser ce manque d'infos
même le gameplay pc n'a pas encore était montré

[Naaba]

Voilà la transcription, reste plus qu'à la traduire^^

Dragon Age II
Official Podcast
Episode 4 Transcription

Victor Wachter (VW) - Community Manager for Dragon Age
David Gaider (DG) - Senior Writer for Dragon Age

VW:
Hello, and welcome to the official podcast for Dragon Age II, by BioWare. My name is Victor Wachter, and I'm the Community Manager for the Dragon Age franchise, and I'm here with David Gaider, Senior Writer for Dragon Age II at BioWare. How's it going, David?

DG: It's great.

VW: So as Senior Writer, can you tell me a little bit about what you do at BioWare, and specifically, related to Dragon Age II?

DG:
Okay. Well I'm in charge of the story team, the writing team, and we're in charge of putting together the narrative overview for the game. We will create the quests, we will write the dialogue, we will guide our quests through to completion, we will write the followers...basically the creative side of writing. We're not the designers for the whole game--that's someone else--but we do have a big part of it.

VW: So specifically the story and the flow of the narrative.

DG:
Yeah. Yeah. Like I said, we will design the quests as well. Part of the story, of course, is how the player interacts with the story, and  that's usually through quests, but it's also figuring out what kind of characters you're going to encounter in an area. Right from the ambient storekeep on the corner, right up to the followers, who are basically
the biggest investment we have as far as time in writing goes.

VW:
Gotcha. Awesome. So Dragon Age: Origins, it introduced a fairly complex culture and society, specifically in Ferelden, with the interplay between the humans and Elves, Dwarven politics, the structure of the Chantry and the Templars, and the Circle of Magi. Can you talk a little bit about some of the similarities and differences we'll see in the Free Marches versus what we learned in Ferelden?

DG:
Well I think what you saw in Ferelden is pretty much what you will see in the Free Marches, it's just we'll go into more depth, I guess. If you could think of Dragon Age: Origins as an introduction to the world, now we're assuming you know about these things and we proceed from there. But the differences you encounter depend on the schism in question. For the Dwarves, for instance, we're dealing a lot more with the surface Dwarves in the Free Marches. We're not going into any underground Dwarven thaig. We still have an Elven Alienage, we still have a clan of Dalish Elves, it's the clan that moved north from Ferelden that the player could have been part of in Dragon Age: Origins. They fled across the sea, and so it's that clan. And then the Templars and the Circle of Magi, that takes a big role in this game. Kirkwall itself is a center of Templar power, so it has basically an army of Templars and a huge Circle of Magi, where, basically mages will come from all across the Free Marches and eastern Thedas. So it's much larger than you would expect to find in a city of that size. It takes a very large role in what goes on in Kirkwall; the Templars have a lot of power, so obviously this is a big deal for anybody who goes to Kirkwall, especially if you happen to be a mage.

VW:
Oh, nice, nice. And how's the storytelling going to work? The narrative takes place over the course of ten years, so how are we going to progress through that decade?

DG:
Well basically what we will do is we will jump in and out of the player's life. Normally in the course of a game, you're in every step of the player's path, right? You're following them and you move and no matter where they go or who they talk to you're always there. With the--"framing narrative" we call it--that allows us to cut out, basically, the boring parts, if you will, and sort of jump into particular points of the player's life where something very important
happened.

So
if you were to make a comparison, if we were to look at Origins, we could jump out to the framing narrative--let's say Origins was being told by another character--they could say "well at one point I remember the Warden went and talked to the Dalish Elves, and they had a problem with werewolves," and we could sort of zoom into that portion. Now, the difference there would be that when the player went and did that adventure with the Dalish Elves in Origins, it was sort of one quest. Whereas here, what we do instead, we were jumping into not just a single quest, we're jumping into a period of time in the player's life where they are going around and they are doing quests. There might be an overarching plot to that time period, but it's not a single quest. They are exploring, they are encountering a lot of the same areas but maybe that have changed or the circumstances have changed, or you'll encounter plots where you're picking up a thread a few years later, relationships with the characters have developed over the course of time. It allows us to make things happen over a bit longer period. A little bit more natural, but it also us to show the player reactions to things they've done earlier instead of having to wait until the end of the game to show it. Rather than waiting for the epilogue to hear about the reaction to something that happened 30 hours ago in the game, you can see it a bit sooner.

VW:
I see. It sounds like these specific time periods are sort of analogous, not quite the same as traveling to the city of Redcliffe, where there's a bundle of quests there. You've defeated the undead that night, but there's a whole other bundle of quests within any given city, whether it's Redcliffe or the Brecilian Forest or Denerim.

DG:
In a time period, you're going to have large quests, like, say, the Redcliffe quests. And you're going to have a number of smaller quests, like--our sidequests come from the larger right down to the lighter quests, like "go and get 10 of these," right? I mean, there are some of those, and it depends on what the player wants to do. There's stuff that's a sort of critical path, which is sort of directly related to whatever is most important at that time period. The time period is introduced with some context, right? This is your situation, this is what has been happening, this is the effect of what you did previously, and then it's...go. You are going around, you are getting quests. A lot
of them are ones you're going to be familiar with; our followers have a lot more quests that are directly related to them now. So yeah, there's lots to do, it's not just a single thing.

VW:
As the Dragon Age--specifically "the Dragon Age," not necessarily the franchise, but the fictional concept of the Dragon Age...refers to an era in the history of the world of Thedas--as we go through multiple games, and even, I guess, multiple installments of other media, is there an overarching theme that will play itself out over multiple games?

DG:
Well, we have certain, I would say "slow-burning", plots that are building up to something. I think lots of people even who just played Origins can get a sense of that, perhaps. But as the story goes in the world, at the beginning of the Dragon Age, that's when dragons reappeared, and the feeling was that it was a portent for massive change
in the coming Age. And I think that is really essentially what the theme is. For those people who played [Witch Hunt] recently, it's something that got brought up in that story, that there is change coming, and we don't mean that in a sort of tongue-in-cheek way. We mean it in a very literal sense. One of the whole reasons that we were
excited about creating our own IP is that it opens up the possibility of us doing something that we weren't able to previously. When you're working in someone else's intellectual property, you have to sort of keep it intact, because it's theirs, right? You can't go and sort of kick down the sandcastle, but as far as we're concerned, what's the
point of building a sandcastle unless you get to kick it down?

VW:
How do you write an ongoing world, given the situation that the canon and the world state and the sandcastle could have been kicked over, across multiple games and stories? So you've got one now--actually, I guess in a sense multiples, given the DLC and Awakening--given the fact that the world state can change across multiple games and stories?

DG:
Well, it's a lot to keep track of, but the thing we want to do is sort categorize it, right? You have the very big things, and you can only have so many big things, so many balls in the air at once, right? So the big things are going to affect a lot of stuff, and all you have to do is keep that in mind when you're creating the story. There are so many
decisions that the player makes, and so many things the player can affect, that we can't possibly take all of them into account in every story, right? So you pick and choose. "What is going to take effect here?" If we're in a different, say, a different land, as we are in Kirkwall, does everything that happens in Ferelden get picked up and get mentioned, or have an effect? No, but we can pick and choose. Say, if you encounter the Dalish elves, we look at what sorts of decisions did you make in Origins that could have affected the Dalish elves, and how will we bring those into play?

A lot of times, when we as writers, when we're going through and making the story...to continue that example, we're doing the quest that involves the Dalish elves, that area, and we're writing the story. As we're writing, we're like "well, okay, this is what we originally had; what if the player did this? Okay, well let's take that into account and
develop a slightly different path." It could be it just gets mentioned, it could be something larger, that a character is there or isn't there.


The only part where you have to be careful when it comes to world states is if you're thinking of, say, bringing something into play that could be there or not there, and not being there means the player is going to miss out on this huge bunch of content and there's nothing to replace it, then that brings in the question of resources, right? I mean, in an ideal world, you'd have this giant plot that the player only got to play if they did this one particular thing, well, it varies, right? You have to take into account "well how many players are actually going to account for that?" You do want some of that variance, because I think it's cool. I think if I'm playing a game, and I made this decision, and then in a follow-up that decision got taken into account, and I saw that and I realized "hey, I wonder what would happen if I hadn't done that," and you go back, maybe, and try a different save where that didn't happen, and you see something else, that's always very cool to have that acknowledged and that's sort of the idea, that we're allowing you to import the decisions you made from Origins--not the main character, but the decisions you imported--and that creates a world that is sort of unique to you.

VW:
And all that comes from the player. How about the community? Does community-generated content, like fan fiction and fan art, does that ever influence the design of the ongoing story?

DG:
To a limited amount, I guess. I mean, fan fiction...I support the existence of fan fiction, and I think they're very enthusiastic...I don't know that I could ever read much of it, personally. It's like they're touching my characters, you know? But it's very cool and I think it's less the stuff that they write or draw directly inspires us as does their enthusiasm. I think it's very easy for us to get enthusiastic about things that the fans are enthusiastic about.

VW: Does it at least cue you in to things that they're at least interested in pursuing in the future?

DG:
I think, on one hand, it's always a little weird to see just how interested fans are. Like they can get a little obsessive, and it's cool and it's weird. You'll see them and it's like "wow, I can't believe they're that freaked about it." But in a way it's also very interesting. We see people imagining scenarios for characters that we would never
have dreamed of. We don't get exposed to a lot of it, but you see enough of it that it's like "wow, that's really interesting." A lot of that influences us sort of in the back of our mind rather than up front. It's not like we would ever look at a story someone made and say "hey, we should do that." No, we wouldn't do that. But if there's been talk about 0Alistair in a particular situation, or would it be cool if we did this with Sten, okay...it's like having a conversation with us. This is a conversation that people who love these characters, love the story, are having with the creators, and there is a bit of back and forth. It does influence us, no matter how hard we could try not to be influenced, you know what I mean?

VW: Right.

DG:
If we see that people are excited, and they are doing interesting things with the character, I think that's inspirational. That's us looking at it going "huh, wow, people reacted really well to, say, Alistair. They really loved certain aspects of him." And you can see, as well, the parts they didn't love. But that is also useful, for us as
creators to see maybe what angers them. I'm sure that they would be interested to know that what angers them or disappoints them or makes them upset isn't necessarily a deterrence to us as creators. Not because we want to make them upset--well actually, you know what? Let me take that back. We do want to make them upset. Emotional engagement is what we're looking at here. That's what we're looking for. If we wrote
something, and we meant for it to cause anguish, and they respond to that and say "ah, I hated that plot, it caused me so much anguish", well, I'd say that's a win for us because the worst thing that could be, from our perspective, the worst reaction we could get from a fan is that they don't mention it at all. We get blah-blasé "yeah, that plot,
it was okay I guess." We don't want that. I'd rather them be angry about it. Yes, you don't want their entire reaction to be "oh, I felt like I was stabbed in the gut," as vaguely pleasing as that would be to me as a creator. I'm not sure that's the entire reaction I'm going for.

VW:
Well I guess it symbolizes the fact that it's not that the story was executed incorrectly; in fact it could have been executed correctly because you wanted to elicit that response.

DG:
Right, yeah, you just want to hit a number of notes, right? We want to go for lows as well as highs, but you don't want to forget that you need them both.

VW:
Right, right. Going further in the story...Dragon Age is growing into a pretty broad cross-media franchise, with the novels, with the comic  books, the upcoming anime movie...is there any priority of integrating any of the lore from each of these media into the game continuity?

DG:
I'd say it's probably more the reverse. We try to make sure that the lore from the game is integrated into the media. In terms of "would we ever incorporate stuff from their stories into the game?", I think we could probably do that on a smaller scale, but to an extent you have to recognize that the audience for them is pretty separate.

Take
the books into question: if I was to, say, bring a character from the 0novels into the game, I have to recognize that while that's a shout out to the people who read the books, that's a relatively small audience, and thus if I used those characters I have to introduce them to the majority of people, as if they had no idea who that person was. So for the people who are actually looking for that shout out, I'd be telling them things they already knew. They already were introduced to that character. And if I brought that character in without introducing them, all those people who didn't read the books would be like "what the hell was that? I have no idea." So you can use them to a limited extent, but you gotta be careful with it, right? I think it's fun to have that kind of synergy to look at, say, the comics, or the movie, or the novels are doing, although I guess the novels are a bit of a gimme, since I wrote them, right? So we'd have to worry about them being integrated.

But having other people playing in your sandbox is, on a certain level it's alarming: "oh my God there's somebody in my sandbox!" But on another level, it's very interesting when they start doing things you weren't expecting. And once you get over that initial "oh, okay, yeah, you know that's kind of neat. I like that take on it"...as long as they understand what it is we were going for, then I think that there's not a problem.

VW:
Okay. Cool. So, now going back into specifics, speaking about Hawke and this specific story, when you design companions for Hawke, are there specific storytelling goals you have for each of them, and can you talk a little bit about that?

DG: Well I can't go into specifics about the companions themselves...

VW: Right, understood.

DG:
...but yeah, the idea is that when we sit down and we start looking at what kind of game we're going to make, we're thinking, at least from the writer's perspective: "what sort of themes are we going to have in a game? What kind of conflicts? And you try to get companions that are going to tie into those conflicts personally. If we, say, had a conflict between the Dalish and the city of Kirkwall, well having a Dalish companion might be a good idea then, because they personalize that conflict. In a lot of ways, your companions are ciphers for the story that is told.

I'll bring up Mass Effect. Mordin Solus says at one point that it's difficult for him to imagine saving the universe because it's an abstract concept. So he tries to think of this one person that he's saving, and that makes it very personal to him, you know what I mean? So these conflicts that we have going on in Dragon Age, the player can
recognize them on a thematic level. You interact with certain characters, but you only interact with those characters to a limited extent inside one quest, maybe a little bit over the course of the game. The followers are characters that the player interacts with frequently. So if the player begins to care about his followers, he will care about
what they care about. If he's interested in developing a relationship with them...the approval system, I think, was actually pretty good for that, that the player saw what they approved of and what they didn't approve of, then he suddenly [???] his followers who care about different things, he suddenly has to balance the approval between them. He has to think about what they think about, and if they are invested in the conflict, even if the player
himself isn't invested in the conflict, he's invested in the followers. So for us these are additional tools to get the player invested, because you can never count on what the player's going to care about. We don't know. The best we can do as storytellers is to throw out a lot of hooks. We have these different things we throw out, and we can never be certain that the player is going to--let's say the family--we can never be certain the player is going to care about his family. But it's there, and the player might care about it, so if we do things with the family, we add to the possibility that the player will care about what's going on in the story, and all we needs is for one of those hooks to work out, for the player to buy into one of those hooks, and if they do, then they're invested in the story, and then that's what's important. Then they will care about what's going on.

VW:
Since you mentioned Hawke's family, is there anything else you can tell us about the family, that might sort of fill in some gaps as we get ready to play the game?

DG:
I think we've probably revealed enough about the family. We can talk a little bit about them. Your family, on your mother's side, originally comes from the city of Kirkwall. Your mother's family has a noble background, the Amells. It's a last name that should be familiar to anyone that played the mage origin in Origins. The human mage origin,
anyway. Probably distant relatives. But yes, the mother came from Kirkwall, the father is Fereldan and he was an apostate mage who obviously was on the lam, and because he was an apostate, if the player as Hawke is a mage, you're also an apostate. Your sister Bethany is a mage, and an apostate. So the issue of what the Circle is doing, what the Templars are doing, is obviously going to be of very relevant concern to the family. Maybe not right at the beginning; right at the beginning you're fleeing from Lothering, but obviously things can change.

VW: Well that's cool. Is there anything else that you'd like the community to know about the story and about Dragon Age II?

DG:
I'm on our forums a lot, and I see what the community talks about, and it's very interesting to see some of their concerns. They're obviously very passionate about the game, and it can sometimes be a little frustrating to deal with, but the understanding is that even when people are complaining, it's coming from a place of...they love the game, right? They want to see the game do well. They want to see what they cared about the game reflected in DA2. And it's very easy to focus on small elements. Like one element comes up and every time they see it
they zero in on just that and it's like the entire game lives or dies on that one thing. And if I was going to tell the community anything, if I was going to sit someone down and talk to them one-on-one, I would say "look, if your concern was, say, that this was entirely an action game and it wasn't like Origins, I could tell them that if it was an action game, we wouldn't have blown our word budget as completely as we did."
And there is a lot of story here. We have followers that have as much dialogue between them as we had in Origins, we have a lot of banter, I mentioned the follower quests earlier. We tried doing things a little bit differently, such as having more follower quests, so you're interacting with the followers' lives more directly. We have just as
much interpersonal dialogue with them, done in a slightly different way, but it will be very familiar to the players who played Origins. So if story was important to you, it's there, and we think it'll be something that they'll love, and of course as we get closer to release they will see more and more of that. It's very easy at this early stage to sort of
become concerned with the tidbits that you see that pop up and they think "oh my God, what is that?"

I remember back before Origins came out it was much the same way. There's still lots of time; they don't need to make their decision right now, as much as it might feel to some of them that they might absolutely have to. We see their concerns, we read about them, and to many of the concerns that they bring up, we still talk about them, and we see which ones are things that we can address, so hopefully when the game does come out, they will see exactly what we have in store for them, and it's something that somebody who loved Origins will recognize and love.

VW:
Okay, cool. Well that's all the questions I have for you today. Thank you for joining me; I hope to have you back on, to ask some more questions and get a little deeper into some more specifics about the story as they unfold over time.

DG:
Yeah, I think once we start revealing a little bit more, say, about the followers and maybe some of the plot specifically, without getting into spoilers, let's hope, I think that would be very cool to come back and maybe talk a little bit about what players can expect from the followers. Cause I know the followers in particular are very important to the community. It's the most humanizing part of the story, I think. Until they know who the followers are, who they'll be spending all this time with, it can seem a bit remote, and cold. Like there is no story there until they start to see some of it, right? It's easy to think that it isn't there if they don't see it, but once they start to see it I'm hoping that they will start to embrace it as much as they did Origins.

VW:
Yeah, definitely. When I think of Origins, I think about--Origins to me is--half the experience is seeing how they react to what I do and it really does humanize us. That's what I enjoyed about Origins so much.

DG:
Yeah, yeah. I would agree. So until they start seeing a little bit more of that aspect of it, it can seem like there's nothing there but there's definitely a lot there.

VW:
Well cool. That's good to hear and like I said, I'm looking forward to talking to you a little bit more in-depth. I've learned a little bit about the companions, but I definitely can't wait to talk to you more specifically about each one.

DG: Heh, great. Looking forward to it.

VW: Alright, thanks again for being here, and I will talk to you next time.

DG: Alright. Bye.

VW: Thanks David.

DG: No worries.

VW:
Thank you for listening to the BioWare Dragon Age 2 podcast. Be sure to visit dragonage.bioware.com, where you can keep up on the latest Dragon Age 2 news, sign up for the Dragon Age 2 newsletter, and follow us on
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Modifié par Naaba, 08 octobre 2010 - 10:43 .

[Berenice]

C'est terriblement long comme info Bérénice adore. Mais bon juste comme ça j'ai commencer à lire en vitesse et au début il parle surtout de son rôle au sein de Bioware, qu'il écrit les quête la narration et blablabla ....



Et bon j'ai pas dit que je voulais laisser les copains malins dans un campement juste qu'il ne soient pas indépendant de moi ...

[brivdl1]

imagine,tu es en romance avec un perso,tu t'absentes 2 ans,et au retour c'est un de tes autres compagnons qui as pris ta place

terrible ...

les baffes vont se perdre

[cabfe]

Il indique ne pas pouvoir parler des compagnons, mais on sent que ça lui pique la langue (surtout vu le temps qu'il a dû passer dessus).
En tout cas, selon lui, tant qu'on ne sait pas qui on verra dans le jeu (et les histoires associées à ces persos) le jeu peut sembler vide. C'est le cas...

Future bonne surprise, ce DA2 ?

Modifié par cabfe, 08 octobre 2010 - 01:27 .

[Naaba]

Je sais pas trop... Que ce soit la preview de PC Gamer, l'interview de Laidlaw et maintenant le podcast de Gaider, je trouve que ça tourne grave en rond... Au lieu de chercher à apaiser les inquiétudes d'un certain nombre de personnes, ils communiquent en boucle sur des éléments que nous connaissons déjà plus ou moins...
Là j'avoue que je ne pige pas trop... La seule véritable info de ces dernières semaines, c'est une vidéo de gameplay qui a "fuité"... Donc bon, je ne suis pas un spécialiste en com', mais bon... hem
D'ailleurs, Bioware a signalé qu'ils ont ralenti les attaques des armes à deux mains depuis^^


Sinon, pour ce qui est d'une gestion du groupe à la BG, si je comprends bien la citation qui suit, ce n'est pas tout à fait ce à quoi on doit s'attendre :

David Gaider wrote...

Ortaya Alevli wrote...
If there's no camp, might this mean we'll play it Baldur's Gate style? because I love Baldur's Gate style.

Before anyone thinks that this means you have to run around the city to "collect" your party, no-- when the party picker comes up (like in DAO)anyone you select shows up immediately. The party picker is only selectable in certain spots, however.

Modifié par Naaba, 08 octobre 2010 - 01:59 .