Rock, Paper, Shotgun

I actually don’t think Dragon Age II was all that terrible. Or rather, I fully understand that elements of it were very, very bad (it had more caves than Ron Gilbert’s The Cave, for instance; and not on purpose), but others were incredibly fascinating. Party members lived their own lives, themes like racism and security-vs-freedom got the spotlight, and your choices really, really didn’t matter all that much. Was it a game whose budgetary and time constraints hung about its neck like a noose, leaving only gasping wisps of potential? Absolutely. But those limits also shaped it, so it was interesting to see a less powerful BioWare craft a narrative about, well, powerlessness. After discussing the baffling impracticality of sexism, Dragon Age lead writer David Gaider and I talked about the ups and downs of Dragon Age II and how they’ve ultimately guided Dragon Age III to a very different place.

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All this talk of sexism isn’t going away, nor should it. The gaming industry’s sick, and the symptoms are plain as day. Mystifyingly often, however, the immediate reaction to even the faintest hint of that suggestion is “No, nuh-uh! You just want to censor expression! Give me one good reason we actually need to change.”* Well, if you really want to move beyond “Because jeez, it’s basic human decency to treat someone else the way you’d like to be treated,” Dragon Age III lead writer David Gaider’s got a laundry list of practical reasons for you. 14 years at one of the most influential studios out there, after all, will do that to you. Especially when it’s one that’s certainly not innocent of mistakes and missteps of its own. Prior to Gaider’s GDC talk on the very same subject, I caught up with him to discuss why sexism (and any sort of “-ism,” really) is bad for everyone: you, me, the industry, and of course, women or anyone else directly affected.

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