Games

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.

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.


60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Music

The Best Dance Tracks of 2017

Photo: Murielle Victorine Scherre (Courtesy of Big Beat Press)

From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

In June of 2016, prolific producer Diplo lambasted the world of DJ's in an interview with Billboard, stating that EDM was dying. Coincidentally enough, the article's contents went viral and made their way into Vice Media's electronic music and culture channel Thump, which closed its doors after four years this summer amid company-wide layoffs. Months earlier, electronic music giant SFX Entertainment filed bankruptcy and reemerged as Lifestyle, Inc., shunning the term "EDM".

So here we are at the end of 2017, and the internet is still a flurry with articles declaring that Electronic Dance Music is rotting from the inside out and DJ culture is dying on the vine, devoured by corporate greed. That might all well be the case, but electronic music isn't disappearing into the night without a fight as witnessed by the endless parade of emerging artists on the scene, the rise of North America's first Electro Parade in Montréal, and the inaugural Electronic Music Awards in Los Angeles this past September.

For every insipid, automaton disc jockey-producer, there are innovative minds like Anna Lunoe, Four Tet, and the Black Madonna, whose eclectic, infectious sets display impeccable taste, a wealth of knowledge, and boundless creativity. Over the past few years, many underground artists have been thrust into the mainstream spotlight and lost the je ne sais quoi that made them unique. Regardless, there will always be new musicians, producers, singers, and visionaries to replace them, those who bring something novel to the table or tip a hat to their predecessors in a way that steps beyond homage and exhilarates as it did decades before.

As electronic music continues to evolve and its endless sub-genres continue to expand, so do fickle tastes, and preferences become more and more subjective with a seemingly endless list of artists to sift through. With so much music to digest, its no wonder that many artists remain under the radar. This list hopes to remedy that injustice and celebrate tracks both indie and mainstream. From the "shamanic techno" of Parisian duo Pouvoir Magique to Stockholm Noir's brilliant string of darkly foreboding, electro-licked singles, here are ten selections that represent some of the more intriguing dance offerings of 2017.

10. Moullinex - “Work It Out (feat. Fritz Helder)”

Taken from Portuguese producer, DJ, and multi-instrumentalist Luis Clara Gomes' third album Hypersex, "Work It Out" like all of its surrounding companions is a self-proclaimed, "collective love letter to club culture, and a celebration of love, inclusion and difference." Dance music has always seemingly been a safe haven for "misfits" standing on the edge of the mainstream, and while EDM manufactured sheen might have taken the piss out of the scene, Hypersex still revels in that defiant, yet warm and inviting attitude.

Like a cheeky homage to Rick James and the late, great High Priest of Pop, Prince, this delectably filthy, sexually charged track with its nasty, funk-drenched bass line, couldn't have found a more flawless messenger than former Azari & III member Fritz Helder. As the radiant, gender-fluid artist sings, "you better work your shit out", this album highlight becomes an anthem for all those who refuse to bow down to BS. Without any accompanying visuals, the track is electro-funk perfection, but the video, with its ruby-red, penile glitter canon, kicks the whole thing up a notch.

9. Touch Sensitive - “Veronica”

The neon-streaked days of roller rinks and turtlenecks, leg warmers and popped polo collars have come and gone, but you wouldn't think so listening to Michael "Touch Sensitive" Di Francesco's dazzling debut Visions. The Sydney-based DJ/producer's long-awaited LP and its lead single "Lay Down", which shot to the top of the Hype Machine charts, are as retro-gazing as they are distinctly modern, with nods to everything from nu disco to slo-mo house.

Featuring a sample lifted from 90s DJ and producer Paul Johnson's "So Much (So Much Mix)," the New Jack-kissed "Veronica" owns the dance floor. While the conversational interplay between the sexed-up couple is anything but profound, there is no denying its charms, however laughably awkward. While not everything on Visions is as instantly arresting, it is a testament to Di Francesco's talents that everything old sounds so damn fresh again.

8. Gourmet - “Delicious”

Neither Gourmet's defiantly eccentric, nine-track debut Cashmere, nor its subsequent singles, "There You Go" or "Yellow" gave any indication that the South African purveyor of "spaghetti pop" would drop one of the year's sassiest club tracks, but there you have it. The Cape Town-based artist, part of oil-slick, independent label 1991's diminutive roster, flagrantly disregards expectation on his latest outing, channeling the Scissor Sisters at their most gloriously bitchy best, Ratchet-era Shamir, and the shimmering dance-pop of UK singer-producer Joe Flory, aka Amateur Best.

With an amusingly detached delivery that rivals Ben Stein's droning roll call in Ferris Bueller's Day Off , he sings "I just want to dance, and fuck, and fly, and try, and fail, and try again…hold up," against a squelchy bass line and stabbing synths. When the percussive noise of what sounds like a triangle dinner bell appears within the mix, one can't help but think that Gourmet is simply winking at his audience, as if to say, "dinner is served."

7. Pouvoir Magique - “Chalawan”

Like a psychoactive ayahuasca brew, the intoxicating "shamanic techno" of Parisian duo Pouvoir Magique's LP Disparition, is an exhilarating trip into unfamiliar territory. Formed in November of 2011, "Magic Power" is the musical project of Clément Vincent and Bertrand Cerruti, who over the years, have cleverly merged several millennia of songs from around the world with 21st-century beats and widescreen electro textures. Lest ye be worried, this is anything but Deep Forest.

In the spring of 2013, Pouvoir Magique co-founded the "Mawimbi" collective, a project designed to unite African musical heritage with contemporary soundscapes, and released two EPs. Within days of launching their label Musiques de Sphères, the duo's studio was burglarized and a hard drive with six years of painstakingly curated material had vanished. After tracking down demos they shared with friends before their final stages of completion, Clément and Bertrand reconstructed an album of 12 tracks.

Unfinished though they might be, each song is a marvelous thing to behold. Their stunning 2016 single "Eclipse," with its cinematic video, might have been one of the most immediate songs on the record, but it's the pulsing "Chalawan," with its guttural howls, fluttering flute-like passages, and driving, hypnotic beats that truly mesmerizes.

6. Purple Disco Machine - “Body Funk” & “Devil In Me” (TIE)

Whenever a bevy of guest artists appears on a debut record, it's often best to approach the project with caution. 85% of the time, the collaborative partners either overshadow the proceedings or detract from the vision of the musician whose name is emblazoned across the top of the LP. There are, however, pleasant exceptions to the rule and Tino Piontek's Soulmatic is one of the year's most delightfully cohesive offerings. The Dresden-born Deep Funk innovator, aka Purple Disco Machine, has risen to international status since 2009, releasing one spectacular track and remix after another. It should go without saying that this long-awaited collection, featuring everyone from Kool Keith to Faithless and Boris D'lugosch, is ripe with memorable highlights.

The saucy, soaring "Mistress" shines a spotlight on the stellar pipes of "UK soul hurricane" Hannah Williams. While it might be a crowning moment within the set, its the strutting discofied "Body Funk", and the album's first single, "Devil In Me", that linger long after the record has stopped spinning. The former track with its camptastic fusion of '80s Sylvester gone 1940s military march, and the latter anthem, a soulful stunner that samples the 1968 Stax hit "Private Number", and features the vocal talents of Duane Harden and Joe Killington, feels like an unearthed classic. Without a doubt, the German DJ's debut is one of the best dance records of the year.

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