Articles tagged bioware, dragon age, dragon age ii

Machine Gods: Religion in Games

Religion occasionally gets some lip service when games attempt to flesh out a world, but the deeper issues that guide people to their faith -- the quest for meaning in the universe -- is rarely explored in games. Game worlds operate in systems of miracles, but churches, heroes, and gods within them are treated in a purely utilitarian manner.

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How Could He?: Exploring Social Issues Through ‘Dragon Age II’

No one is implying that the LGBT community turn into blood magicians and that the religious march out to cage and murder them, but this conflict still echoes the tensions felt in the lives of real people.

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“The Shadow to the Substance”: Romanticism in ‘Dragon Age’

No matter how grave or self-destructive the world of Dragon Age becomes, the poet figure is the ideal guide and prophet to Thedas.

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Other Princesses, Other Castles: The Problem with Playing Romantically in Video Games

The insensibly repetitious nature of romance present in both video game plots and in their mechanics leads to all too familiar storytelling.

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22 Aug 2011 // 9:00 PM

Dragon Age II: Legacy

For a story pitched as casting a shadow on the Hawke family line, the actual revelation doesn't really tarnish anyone's reputation.

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The Most Loving Suicide Mission Ever

The climactic suicide mission in Mass Effect 2 is a love letter to the game’s characters, even as it kills them off.

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Choice, Apathy, and Evil in ‘Dragon Age II’

Dragon Age II, unlike Origins, forces you into the position of a tyrant.

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Collaborative Conflict in ‘Mass Effect’

Gaming is a process of collaborative storytelling, and as I tried to write conflict into the story of Mass Effect, I ran into conflict with my writing partner, Bioware.

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“That Even Death May Die”: Going Back to the Black Isle with ‘Planescape: Torment’, Part 1

The idea of nothingness as a final reward neatly drives home for the player the grimness of Planescape: Torment's reality.

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Watching As Gameplay: ‘L.A. Noire’ Merely a Visual Novel?

Watching becomes a rather central and active occupation in most games and very often requires more time than “doing something”.

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Moving Pixels Podcast: A Look at Inclusivity in Video Games

This week the Moving Pixels podcast interfaces with writers from The Border House, Gay Gamer, and The Vorpal Bunny Ranch to discuss inclusivity in video games.

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‘Dragon Age: Origins’ and A Few Notes on Class

In games, we always play as middle class. We just occasionally start out in peasant drag.

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I Want to Play the Victim in ‘Dragon Age II’

Dragon Age II is all about prejudice, but the player is never truly victimized or oppressed.

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Filling in the Gaps: Gray Areas in ‘Knights of the Old Republic’

The Star Wars universe gets a shot of complexity from Bioware's celebrated RPG.

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Moving Pixels Podcast: Everyone Is the Champion of Kirkwall

Despite its more limited geographical scope, Kirkwall is a game world well suited to an expanded discusssion.

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‘Dragon Age Legends’ Provokes Cynicism but That’s Okay

A look at games based on microtransactions and whether or not they're really all that evil after all.

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Take Your Damn Rivalry Points Like a Man: The Non-Dialectic of ‘Dragon Age II’

This whole outcry stands as a testament to why gamers need to get over notions of "fairness" -- especially when "fairness" isn't really fair.

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Everyone Is Terrible: The Politics of Orzammar in ‘Dragon Age’

The decision of who will be king is probably one of the more complex quests that the Grey Warden undertakes, and here's why.

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The Sisterhood of the Traveling Pantsless Rogue: ‘Dragon Age II’‘s Isabela

If there's one thing I never expected a game to do, it would be to teach self respect.

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‘Dragon Age II’: Making the Case for “Quality” Games

The game makes the most of its often glaring limitations to deliver on some of the strongest character-driven storytelling that we've seen out of a Bioware title.

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//Mixed media

Because Blood Is Drama: Considering Carnage in Video Games and Other Media

// Moving Pixels

"It's easy to dismiss blood and violence as salacious without considering why it is there, what its context is, and what it might communicate.

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