PopMatters is moving to WordPress. We will publish a few essays daily while we develop the new site. We hope the beta will be up sometime late next week.

You’re Not as Important as You Think: Choice and Consequence in Dragon Age

Dragon Age: Origins constantly reminds us that our choices have consequences and that makes us feel important, but that feeling is taken away when we see the long term effects of our decisions.

So finally, Dragon Age: Origins offers an open ended, branching narrative without a karma system. This is something that gamers have long asked for from BioWare, a company known for making games that focus on choice and consequence. We know our actions have consequences because we see those consequences play out in the plot and character development. This combination of a branching narrative and plot related consequence is so effective at making our decisions feel significant that at times it seems like every little choice that we make will have a dire impact on the world. But what’s most remarkable about Dragon Age is how it can create this feeling of importance in us, and then take it all away when we actually get to see the long term effects of our actions.

There’s no explicit morality attached to our choices, and the story reinforces this ambiguity by putting us in situations that seemingly have no easy solution. A child is possessed by a demon. Do we kill the child or sacrifice his mother to kill the demon? This moral ambiguity makes any consequence more meaningful to the player since we’re not doing what the game thinks is best, but what we think is best. We’re not influenced by outside forces when making a decision, it seems.

But there are outside forces influencing us. There’s still a karma system of sorts in the game but one that is hidden by character development. Characters in your party have their own opinions on things and are not shy about telling you what they think. Some characters are more altruistic than others and encourage you to help people when given the opportunity. If you do, their affection for you will grow, but then the less altruistic members of your party will respect you less. “Good” acts make the “good” characters like you, “bad” acts make the “bad” characters like you. The karma system in Dragon Age is implemented as a form of social interaction, more specifically as a form of party politics.

The more that a character likes us, trusts us, the more we’ll learn about his or her past. Each choice rewards us with character development instead of arbitrary karma points, so even though we’re still influenced by this system, it feels natural since we’re being influenced by characters instead of a game mechanic. And we’re rewarded equally whether we act good or bad, the only difference being what party member opens up to us. Because of this context, we’re free to ignore the typical good/bad dichotomy that games like this usually set before us. If we don’t like a party member we can purposefully do the opposite of what they like just to make them angry. Notions of right and wrong are replaced with more personal concerns. Do I want Morrigan (the bad girl) to approve of me, or Leliana (the good girl), or Zevran (the bad boy), or Alistair (the good boy)?

All this politicking makes us feel important. Whether we’re choosing to kill a little boy or kiss the bad witch, the game teaches us that every choice has a consequence. Some choices will impact the world, some a single person; some consequences will work in our favor, some against us, but every little choice that we make matters.

After making any choice, we get to watch it play out it in three ways. First, we hear the instant reaction from our party members. Second, we watch as the plot slowly reveals the long-term effects. Third, once we beat the game, there’s a comprehensive epilogue that describes the far-reaching consequences of every major (and even some minor) decision that we made. And this epilogue quickly undermines our feelings of importance with the harsh reality of the status quo.

Throughout the game, we’re trying to unite disparate forces against the evil darkspawn. Elves were once enslaved by humans, so there are obvious trust issues there, dwarves are natural isolationists, mages are in danger of being wiped out and the main antagonist is trying to drum up a civil war. It’s our goal to unite these groups against the greater evil, and if you beat the game, then you’ve obviously succeeded in that goal. But the epilogue shows us how such bonds can never last. Old animosities return, what seemed like a good decision at the time is used as an excuse to sever ties, and our attempt to unite the land is eventually undone by the same social stigmas we fought so hard against. It’s not all bad however, some sub-plots have a happy ending, but overall, we’re left with a feeling of bittersweet success. Sure, we brought the land together for a while, but in the end, nothing has really changed. We’re not as powerful or important as we were made to think.

This emphasis on a bittersweet ending sets Dragon Age apart from the many other “choice” games. While in the midst of our adventure we feel like a hero, but afterwards, we see how unimportant we are in the greater historical picture. But rather than make the player angry, rather than make us think that the entire game was a waste of time, our successes still retain their importance because we were still able to defeat the darkspawn. No matter what happens after that, we accomplished our goal. So we’re not angry when reading the epilogue, just saddened. It’s a fitting end to a game that often seemed to give us no good option.

Please Donate to Help Save PopMatters

PopMatters have been informed by our current technology and hosting provider that we have less than a month, until November 6, to move PopMatters off their service or we will be shut down. We are moving to WordPress and a new host, but we really need your help to save the site.





The 13 Greatest Horror Directors of All Time

In honor of Halloween, here are 13 fascinating fright mavens who've made scary movies that much more meaningful.


British Jazz and Soul Artists Interpret the Classics on '​Blue Note Re:imagined'

Blue Note Re:imagined provides an entrance for new audiences to hear what's going on in British jazz today as well as to go back to the past and enjoy old glories.


Bill Murray and Rashida Jones Add Another Shot to 'On the Rocks'

Sofia Coppola's domestic malaise comedy On the Rocks doesn't drown in its sorrows -- it simply pours another round, to which we raise our glass.


​Patrick Cowley Remade Funk and Disco on 'Some Funkettes'

Patrick Cowley's Some Funkettes sports instrumental renditions from between 1975-1977 of songs previously made popular by Donna Summer, Herbie Hancock, the Temptations, and others.


The Top 10 Definitive Breakup Albums

When you feel bombarded with overpriced consumerism disguised as love, here are ten albums that look at love's hangover.


Dustin Laurenzi's Natural Language Digs Deep Into the Jazz Quartet Format with 'A Time and a Place'

Restless tenor saxophonist Dustin Laurenzi runs his four-piece combo through some thrilling jazz excursions on a fascinating new album, A Time and a Place.


How 'Watchmen' and 'The Boys' Deconstruct American Fascism

Superhero media has a history of critiquing the dark side of power, hero worship, and vigilantism, but none have done so as radically as Watchmen and The Boys.


Floodlights' 'From a View' Is Classicist Antipodal Indie Guitar Pop

Aussie indie rockers, Floodlights' debut From a View is a very cleanly, crisply-produced and mixed collection of shambolic, do-it-yourself indie guitar music.


CF Watkins Embraces a Cool, Sophisticated Twang on 'Babygirl'

CF Watkins has pulled off the unique trick of creating an album that is imbued with the warmth of the American South as well as the urban sophistication of New York.


Helena Deland Suggests Imagination Is More Rewarding Than Reality on 'Something New'

Canadian singer-songwriter Helena Deland's first full-length release Someone New reveals her considerable creative talents.


While the Sun Shines: An Interview with Composer Joe Wong

Joe Wong, the composer behind Netflix's Russian Doll and Master of None, articulates personal grief and grappling with artistic fulfillment into a sweeping debut album.


Peter Frampton Asks "Do You Feel Like I Do?" in Rock-Solid Book on Storied Career

British rocker Peter Frampton grew up fast before reaching meteoric heights with Frampton Comes Alive! Now the 70-year-old Grammy-winning artist facing a degenerative muscle condition looks back on his life in his new memoir and this revealing interview.


Bishakh Som's 'Spellbound' Is an Innovative Take on the Graphic Memoir

Bishakh's Som's graphic memoir, Spellbound, serves as a reminder that trans memoirs need not hinge on transition narratives, or at least not on the ones we are used to seeing.


Gamblers' Michael McManus Discusses Religion, Addiction, and the Importance of Writing Open-Ended Songs

Seductively approachable, Gamblers' sunny sound masks the tragedy and despair that populate the band's debut album.


Peter Guralnick's 'Looking to Get Lost' Is an Ode to the Pleasures of Writing About Music

Peter Guralnick's homage to writing about music, 'Looking to Get Lost', shows how good music writing gets the music into the readers' head.


In Praise of the Artifice in George Cukor's 'Sylvia Scarlett'

George Cukor's gender-bending Sylvia Scarlett proposes a heroine who learns nothing from her cross-gendered ordeal.


The Cure: Ranking the Albums From 13 to 1

Just about every Cure album is worth picking up, and even those ranked lowest boast worthwhile moments. Here are their albums, spanning 29 years, presented from worst to best.


The 20 Best Episodes of 'Star Trek: The Original Series'

This is a timeless list of 20 thrilling Star Trek episodes that delight, excite, and entertain, all the while exploring the deepest aspects of the human condition and questioning our place in the universe.

Collapse Expand Reviews

Collapse Expand Features

PM Picks
Collapse Expand Pm Picks

© 1999-2020 PopMatters.com. All rights reserved.
PopMatters is wholly independent, women-owned and operated.