#BioWare Edmonton

[sunlight-shunlight]

the "should the veil come down" poll is fascinating bc people have such strong opinions that it shouldn't, but like

it was, crumbling and in shambles and about to release the blight at any moment throughout all the games... forget the ethical issues of whether the spirits would be better off without it. it's precariously held up by pure luck of "the grey wardens have not yet killed the last two archdemons despite wanting to really badly" alone. something Would have to be done to it!

veilguard's "solution" is actually insane - hinging the entire thing on:

putting solas, already badly injured, into solitary confinement for [unknown immortal lifespan amount of years] and hoping that doesn't... kill him at any point...? obligatory reminder that it is considered a form of torture, and has terrible physical and mental health effects. it is not only very cruel, but also objectively bizarre to expect someone to just remain alive in there indefinitely without problems.

hoping solas can soothe the blight. by himself. with his notoriously charming personality, and how much the titans must love him for being involved in their plight. let's be real, this guy did not manage to even soothe the dalish when he met them the first time, and they're much more similar to him than "vengeful detached souls of entire land masses". better hope he doesn't piss them off more, or just get blighted in there, and then also die? or get turned into a new voice for the blight and start calling people into the black city to open it again?

hoping that everyone immediately stops having the trait of hubris. tevinter went and broke into the black city back when it was fully defended and the veil was at its strongest - now the entire veil is held up by One Elf? 3563 evil magisters are probably dousing themselves in blood to get there again. alternatively, they would just be trying to kill solas specifically as a remnant of arlathan/Evil Elven God™️/to prove they can do it. and he's significantly more killable than the other evanuris.

the funniest black comedy option is, of course, if rook triumphantly stabs solas and shoves him into the veil, and then... midway through the end credits, the veil collapses. bc as solas said many times, he is not actually a god, and if stabbed by The Lyrium Dagger That Kills Evanuris, after already sustaining some injuries that he didn't seem capable of healing, he probably would just bleed out offscreen.

[allthecanadianpolitics]

The first video game industry workers in Canada to unionize on Tuesday staged a rally in downtown Edmonton asking for fairer treatment from the company that laid them off. The workers for Irish company Keywords Studios, who are represented by the United Food and Commercial Workers Local 401, voted unanimously late last month(opens in a new tab) in favour of strike action. "What we have seen from that company is a real effort to try and get rid of the union, get rid of these workers and not respect their rights to unionize, get a first contract and look at improving the gaming industry and the working conditions that are there for all workers," Chris O'Halloran, the executive director of UFCW Local 401, told CTV News Edmonton at the rally outside the Epcor Tower, which houses BioWare's Edmonton office.

Continue Reading.

Tagging: @politicsofcanada @abpoli

[lizzybeeee]

Well, shit.

RIP Dragon Age.

[hushafoe]

So about that dragon age veilguard huh

[kissingwookiees]

not a single australian in the community council wants to be first to shed the skin of embargo huh?

[felassan]

Jason Schreier for Bloomberg reports: 'Inside the ‘Dragon Age’ Debacle That Gutted EA’s BioWare Studio'

The latest game in BioWare’s fantasy role-playing series went through ten years of development turmoil. The failure of Dragon Age: The Veilguard, released in October, led EA to gut BioWare

[note: article is below cut after these tweets]

Jason Schreier: "NEW: What went wrong with Dragon Age: The Veilguard? Why was the writing so tonally inconsistent? Why did it feel so shallow? Why were there so few choices? Really, after ten years of turbulence, it was a miracle that anything came out at all. This is the story [link]:" [source]

Jason Schreier: "The fatal flaw for Dragon Age: The Veilguard wasn't just that it pivoted from single-player to multiplayer and back again. It was that after the second pivot, the team was forced to keep going rather than hit the reset button and take the time to create a new plan." [source]

Jason Schreier re: this old tweet from Casey Hudson: "Fun fact: when I first reported at Kotaku in 2018 that Dragon Age 4 was rebooted to become a live-service game, BioWare studio head Casey Hudson wrote this on Twitter. But it was not entirely truthful. In reality, the game was being designed around cooperative multiplayer, replayable missions, etc" [source] Casey Hudson's old tweet from 2018: "Reading lots of feedback regarding Dragon Age, and I think you'll be relieved to see what the team is working on. Story & character focused. Too early to talk details, but when we talk about "live" it just means designing a game for continued storytelling after the main story."

Rest of post/article under cut due to length.

(bold in the text below is mine for emphasis)

"In early November, on the eve of the crucial holiday shopping season, staffers at the video-game studio BioWare were feeling optimistic. After an excruciating development cycle, they had finally released their latest game, Dragon Age: The Veilguard, and the early reception was largely positive. The role-playing game was topping sales charts on Steam, and solid, if not spectacular, reviews were rolling in. But in the weeks that followed, the early buzz cooled as players delved deeper into the fantasy world, and some BioWare employees grew anxious. For months, everyone at the subsidiary of the video-game publisher Electronic Arts Inc. had been under intense pressure. The studio’s previous two games, Mass Effect: Andromeda and Anthem, had flopped, and there were rumors that if Dragon Age underperformed, BioWare might become another of EA’s many casualties. Not long after Christmas, the bad news surfaced. EA announced in January that the new Dragon Age had only reached 1.5 million players, missing the company’s expectations by 50%. The holiday performance of another recently released title, EA Sports FC 2025, was also subpar, compounding the problem."

"As a result of the struggling titles, EA Chief Executive Officer Andrew Wilson explained, the company would be significantly lowering its sales forecast for the fiscal year ahead. EA’s share price promptly plunged 18%. “Dragon Age had a high-quality launch and was well-reviewed by critics and those who played,” Wilson later said on an earnings call. “However, it did not resonate with a broad enough audience in this highly competitive market.” Days after the sales revision, EA laid off a chunk of BioWare’s staff at the studio’s headquarters in Edmonton, Canada, and permanently transferred many of the remaining workers to other divisions. For the storied, 30-year-old game maker, it was a stunning fall that left many fans wondering how things had gone so haywire — and what might come next for the stricken studio. According to interviews with nearly two dozen people who worked on Dragon Age: The Veilguard, there were several reasons behind its failure, including marketing misfires, poor word of mouth and a 10-year gap since the previous title. Above all, sources point to the rebooting of the product from a single-player game to a multiplayer one — and then back again — a switcheroo that muddled development and inflated the title’s budget, they say, ultimately setting the stage for EA’s potentially unrealistic sales expectations. A spokesperson for EA declined to comment."

"The union between BioWare and EA started off with lofty aspirations. In 2007, EA executives announced they were acquiring BioWare and another gaming studio in a deal worth $860 million. The goal was to diversify their slate of games, which was heavy in sports titles, like Madden NFL, and light in the kind of adventure and role-playing games that BioWare was known for. Initially, it looked like a smart move thanks to a string of big hits. In 2014, BioWare released Dragon Age: Inquisition, the third installment in a popular action series dropping players in a semi-open world full of magic, elves and fire-spewing dragons. The fantasy title went on to win the much-coveted Game of the Year Award and sell 12 million copies, according to its executive producer Mark Darrah — a major validation of EA’s diversification strategy. Before long, Darrah and Mike Laidlaw, the creative director, began kicking around ideas for the next Dragon Age installment — code name: Joplin — aiming for a game that would be smaller in scope. But before much could get done, BioWare shifted the studio’s focus to more pressing titles coming down the pike. In 2017, BioWare released Mass Effect: Andromeda, the fourth installment in a big-budget action series set in space. Unlike its critically successful predecessors, the game received mediocre reviews and was widely mocked by fans. A few months after the disappointing release, the head of BioWare stepped down and was soon replaced by Microsoft Inc.’s Casey Hudson, an alumni of BioWare’s early, formative years."

"Like much of the industry, EA executives were growing increasingly enamored of so-called live-service games, such as Destiny and Overwatch, in which players continue to engage with and spend money on a title for months or even years after its initial release. With EA aiming to make a splash in the fast-growing category, BioWare poured resources into Anthem, a live-service shooter game that checked all the right boxes. One day in October 2017, Laidlaw summoned his colleagues into a conference room and pulled out a few pricey bottles of whisky. The next Dragon Age sequel, he told the room, would also be pivoting to an online, live-service game — a decision from above that he disagreed with. He was resigning from the studio. The assembled staff stayed late through the night, drinking and reminiscing about the franchise they loved. “I wish that pivot had never occurred,” Darrah would later recount on YouTube. “EA said, ‘Make this a live service.’ We said, ‘We don’t know how to do that. We should basically start the project over.’” Former art director Matt Goldman replaced Laidlaw as creative director, and with a tiny team began pushing ahead on a new multiplayer version of Dragon Age — code name: Morrison — while everyone else helped to finish Anthem, which was struggling to coalesce. Goldman pushed for a “pulpy,” more lighthearted tone than previous entries, which suited an online game but was a drastic departure from the dark, dynamic stories that fans loved in the fantasy series."

"In February 2019, BioWare released Anthem. Reviews were scathing, calling the game tedious and convoluted. Fans were similarly displeased. On social media, players demanded to know why a studio renowned for beloved stories and characters had made an online shooter with a scattershot narrative. In the wake of BioWare’s second consecutive flop, the multiplayer version of Dragon Age continued to take shape. While the previous games in the franchise had featured tactical combat, this one would be all action. Instead of quests that players would only experience once, it would be full of missions that could be replayed repeatedly with friends and strangers. Important characters couldn’t die because they had to persist for multiple players across never-ending gameplay. As the game evolved over the next two years, the failure of Anthem hovered over the studio. Were they making the same mistakes? Some BioWare employees scoffed that they were simply building “Anthem with dragons.” Throughout 2020, the pandemic disrupted the game’s already fraught development. In December, Hudson, the head of the studio, and Darrah, the head of the franchise, resigned. Shortly thereafter, Gary McKay, BioWare’s new studio head, revealed yet another shift in strategy. Moving forward, the next Dragon Age would no longer be multiplayer."

"“We were thinking, ‘Does this make sense, does this play into our strengths, or is this going to be another challenge we have to face?’” McKay later told Bloomberg News. “No, we need to get back to what we’re really great at.” In theory, the reversion back to Dragon Age’s tried-and-true, single-player format should have been welcome news inside BioWare. But there was a catch. Typically, this kind of pivot would be coupled with a reset and a period of pre-production allowing the designers to formulate a new vision for the game. Instead, the team was asked to change the game’s fundamental structure and recast the entire story on the fly, according to people familiar with the new marching orders. They were given a year and a half to finish and told to aim for as wide a market as possible. This strict deadline became a recurring problem. The development team would make decisions believing that they had less than a year to release the game, which severely limited the stories they could tell and the world they could build. Then the title would inevitably be delayed a few months, at which point they’d be stuck with those old decisions with no chance to stop and reevaluate what was working. At the end of 2022, amid continually dizzying leadership changes, the studio started distributing an “alpha” build of Dragon Age to get feedback internally and from outside playtesters. According to people familiar with the process, the reactions were concerning. The game’s biggest problem, early players agreed, was a lack of satisfying choices and consequences. Previous BioWare titles had presented players with gut-wrenching decisions. Which allies to save? Which factions to spare? Which enemies to slay? Such dilemmas made fans feel like they were shaping the narrative — historically, a big draw for many BioWare games."

"But Dragon Age’s multiplayer roots limited such choices, according to people familiar with the development. BioWare delayed the game’s release again while the team shoehorned in a few major decisions, such as which of two cities to save from a dragon attack. But because most of the parameters were already well established, the designers struggled to pair the newly retrofitted choices for players with meaningful consequences downstream. In 2023, to help finish Dragon Age, BioWare brought in a second, internal team, which was working on the next Mass Effect game. For decades there’d been tension between the two well-established camps, known for their starkly divergent ways of doing things. BioWare developers like to joke that the Dragon Age crew was like a pirate ship, meandering and sometimes traveling off course but eventually reaching the port. In contrast, the Mass Effect group was called the USS Enterprise, after the Star Trek ship, because commands were issued straight down from the top and executed zealously. As the Mass Effect directors took control, they scoffed that the Dragon Age squad had been doing a shoddy job and began excluding their leaders from pivotal meetings, according to people familiar with the internal friction. Over time, the Mass Effect team went on to overhaul parts of the game and design a number of additional scenes, including a rich, emotional finale that players loved. But even changes that appeared to improve the game stoked the simmering rancor inside BioWare, infuriating Dragon Age leaders who had been told they didn’t have the budget for such big, ambitious swings."

"“It always seemed that, when the Mass Effect team made its demands in meetings with EA regarding the resources it needed, it got its way,” said David Gaider, a former lead writer on the Dragon Age franchise who left before development of the new game started. “But Dragon Age always had to fight against headwinds.” Early testers and Mass Effect leads complained about the game’s snarky tone — a style of video-game storytelling, once ascendant, that was quickly falling out of fashion in pop culture but had been part of Goldman’s vision for the multiplayer game. Worried that Dragon Age could face the same outcome as Forspoken — a recent title that had been hammered over its impertinent banter — BioWare leaders ordered a belated rewrite of the game’s dialogue to make it sound more serious. (In the end, the resulting tonal inconsistencies would only add to the game’s poor reception with fans.) A mass layoff at BioWare and a mandate to work overtime depleted morale while a voice actors strike limited the writers’ ability to revise the dialogue and create new scenes. An initial trailer made the next Dragon Age seem more like Fortnite than a dark fantasy role-playing game, triggering concerns that EA didn’t know how to market the game. When Dragon Age: The Veilguard finally premiered on Halloween 2024 after many internal delays, some staff members thought there was a lot to like, including the game’s new combat system. But players were less impressed, and sales sputtered."

"“The reactions of the fan base are mixed, to put it gently,” said Caitie, a popular Dragon Age YouTuber. “Some, like myself, adore it for various reasons. Others feel utterly betrayed by certain design choices.” Following the layoffs and staff reassignments at BioWare earlier in the year, a small team of a few dozen employees is now working on the next Mass Effect. After three high-profile failures in a row, questions linger about EA’s commitment to the studio. In May, the company relabeled its Edmonton headquarters from a BioWare office to a hub for all EA staff in the area. Historically, BioWare has never been the most important studio at EA, which generates more than $7 billion in annual revenue largely from its sports games and shooters. Depending on the timing of its launches, BioWare typically accounts for just 5% of EA’s annual bookings, according to estimates by Colin Sebastian, an analyst with Robert W. Baird & Co. Even so, there may be strategic reasons for EA to keep supporting BioWare. Single-player role-playing games are expensive to make but can lead to huge windfalls when successful, as demonstrated by recent hits like Cyberpunk 2077, Elden Ring and Baldur’s Gate 3. In order to grow, EA needs more than just sports franchises, said TD Cowen analyst Doug Creutz. Trying to fix its fantasy-focused studio may be easier than starting something new. “That said, if they shuttered the doors tomorrow I wouldn’t be totally surprised,” Creutz added. “It has been over a decade since they produced a hit.”"

Article by Jason Schreier. [source]

[rebelrevolutionary]

THEY LITERALLY LAID OFF MARY KIRBY......... WHAT THE FUCK BIOWARE??????

[askagamedev]

Why did SWTOR get shuffled to a different developer if it was apparently Bioware's most steady source of income for the better part of the last decade?

SWTOR wasn't really treated as a true "Bioware" project for the longest time.

First, a little history. The original Bioware studio in Edmonton was the one responsible for the "modern" Bioware titles - Neverwinter, Jade Empire, Dragon Age, and Mass Effect. SWTOR was primarily built by a separate studio in Austin with a separate org chart. The only thing that really tied SWTOR's early development to Bioware was the name on the studio and the general style of game it was. The contributions of Bioware Edmonton to SWTOR were primarily limited to the original staff sent to start the Austin studio and the on-rails space shooter mode in SWTOR. During this era, Bioware and SWTOR were basically associated in name only. There was minimal marketing or promotion for SWTOR from Bioware as a brand.

A few years later, EA corporate started an initiative called "One Bioware" which essentially brought Edmonton, Austin, and the newly formed Montreal studios under the same studio leadership to work on "Bioware" projects. SWTOR is still a "legacy" project - it's getting long in the tooth, it isn't growing, and the technology is old. It wasn't the hot new thing to promote, and the team building it felt the neglect from above. SWTOR actually had a Rennaisance period, with Knights of the Fallen Empire bringing in a huge number of additional subscribers and player growth, but that was mostly ignored by Bioware at large. Dragon Age Inquisition got all the fanfare, then a bunch of people were pulled from SWTOR to support Andromeda and Anthem.

A perfect example is the Bioware 25th anniversary book, 300+ pages of history about all the games and such that Bioware built over their run. Ten pages of the 300+ were dedicated to SWTOR, despite SWTOR having been live for 9 years by that point and SWTOR being the financial engine keeping the entire org afloat. It's strongly emblematic of how it made the dev team feel and how much Bioware as an organization cared about the game.

After 2020, EA was looking to decrease costs. Broadsword had already proven themselves by taking on some of EA's other legacy MMO projects (Dark Age of Camelot, Ultima Online) and doing well with them. Broadsword made the offer to take on SWTOR, along with hiring as many of the SWTOR dev team as they could take. Many of the veteran team members, weary of the treatment at Bioware, decided to take it. It's hard to blame them - Bioware as an organization never really seemed to understand or appreciate the SWTOR contributions beyond the revenue it generated. Bioware didn't give much acknowledgement to the game or the team, internal or external.

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[hattedhedgehog]

Keeping it a secret for so long has been torturous, but now that the game reveals are happening I can finally say that for the past few years I’ve been part of the player council for the upcoming DRAGON AGE: THE VEILGUARD!

(The only photo proof I'm able to show is of me appreciating the Arishok's huge...tracts of land at Bioware Edmonton)

At this time all I can tell you is that my role was to provide feedback to the development team to help improve the game, something which has been very special to be able to do. Now that things are in motion, I’m excited to see what gets revealed with each official announcement…

[demilypyro]

New Mass Effect teaser is out.

You get a SICK Jacket now!

Anyway in August Bioware laid off 50 employees who were working on Dragon Age Dreadwolf. They are now protesting because they received far less severance pay than is legally required. 13 QA testers were also laid off back in September, an unusual choice since a game still in development would actively *need* testers. These former employees are today picketing in hopes of getting their jobs back.

[acealistair]

Dragon Age: The Veilguard GameInformer Article Transcribed

I saw some people lamenting that they had no way to read the GameInformer article, and while MVP dalishious posted screenshots of the article here, I figured that might be a little difficult to read, plus people with screen readers can't read it of course. So I've gone ahead and transcribed it! Full thing below the cut!

As a note, I transcribed it without correcting any typos, capitalization errors, etc. that the article itself had (as much as it pained me, omg the author capitalizes so many things that shouldn't be and vice versa). There may be some typos on my part as I did this as quickly as I could, so apologies in advance for any you might encounter.

I have also created a plot-spoiler-free version of the article for those who would like to learn more about the mechanics of the game without learning more plot info than they want!

Throughout my research and preparation for a trip to BioWare’s Edmonton, Canada, office for this cover story, I kept returning to the idea that its next game, Dragon Age: The Veilguard (formerly subtitled Dreadwolf) is releasing at a critical moment for the storied developer. The previous installment, Dragon Age: Inquisition, hit PlayStation, Xbox, and PC a decade ago. It was the win BioWare needed, following the 2012 release of Mass Effect 3 with its highly controversial and (for many) disappointing ending. Inquisition launched two years later, in 2014, to rave reviews and, eventually, various Gameo the Year awards, almost as if a reminder of what the studio was capable of.

Now, in 2024, coincidentally, the next Dragon Age finds itself in a similar position. BioWare attempted a soft reboot of Mass Effect with Andromeda in 2017, largely seen as a letdown among the community, and saw its first live-service multiplayer attempt in 2019’s Anthem flounder in the tricky waters of the genre; it aimed for a No Man’s Sky-like turnaround with Anthem Next, but that rework was canceled in 2021. Like its predecessor, BioWare’s next Dragon Age installment is not only a new release in a beloved franchise, but is another launch with the pressure of BioWare’s prior misses; a game fans hope will remind them the old BioWare is still alive today.

“Having been in this industry for 25 years, you see hits and misses, and it’s all about building off of those hits and learning from those misses,” BioWare general manager Gary McKay, who’s been with the studio since January 2020, tells me.

As McKay gives me a tour of the office, I can’t help but notice how much Anthem is scattered around it. More than Mass Effect, more than Dragon Age, there’s a lot of Anthem - posters, real-life replicas of its various Javelins, wallpaper, and more. Recent BioWare news stories tell of leads and longtime studio veterans laid off and others departing voluntarily. Veilguard’s development practically began with the COVID-19 pandemic in 2020. When I ask McKay about the tumultuousness of BioWare and how he, as the studio manager, makes the team feel safe in the product it’s developing, he says it’s about centering on the creative vision. “[When] we have that relentless pursuit for quality, and we have passion and people in the right roles, a lot of the other stuff you’re talking about just fades into the background.”

That’s a sentiment echoed throughout the team I speak to: Focus on what makes a BioWare game great and let Veilguard speak for itself. Though I had no expectations going in - it’s been 10 years since the last Drag Age, after all, and BioWare has been cagey about showing this game publicly - my expectations have been surpassed. This return to Thedas, the singular continent of the franchise, feels like both a warm welcome for returning fans and an impressive entry point for first-time players.

New Age, New Name

At the start of each interview, I address a dragon-sized elephant in the room with the game’s leads. What was Dragon Age: Dreadwolf is now Dragon Age: The Veilguard. Why?

“These games are reflections of the teams that make them, and as part of that, it means we learn a lot about what the heart and soul of the game really is as we’re developing it,” Veilguard game director Corinne Busche tells me. “We quickly learned and realized that the absolute beating heart of this game is these authentic, diverse companions. And when we took a step back, as we always do, we always check our decisions and make sure they still represent the game we’re trying to build.”

Dreadwolf no longer did that, but each member of BioWare I speak to tells me The Veilguard does. And while I was initially abrasive to the change - lore aside, Dreadwolf is simply a cool name - I warmed up to The Veilguard.

Solas, a Loki-esque trickster member of the Elven pantheon of gods known as the Dread Wolf, created the Veil long ago while attempting to free the elves from their slave-like status in Thedas. This Veil is a barrier between the magical Fade and Thedas, banishing Elven gods and removing Elven immortality from the world. But players didn’t know that in Inquisition, where he is introduced as a mage ally and companion. However, at the end of Inquisition’s Trespasser DLC, which sets the stage for Veilguard, we learn in a shocking twist that Solas wants to destroy the Veil and restore Elves to their former glory. However, doing so would bring chaos to Thedas, and those who call it home, the people who eventually become The Veilguard, want to stop him.

“There’s an analogy I like to use, which is, ‘If you want to carve an elephant out of marble, you just take a piece of marble and remove everything that doesn’t look like an elephant,’” Veilguard creative director John Epler says. “As we were building this game, it became really clear that it was less that we were trying to make The Veilguard and more like The Veilguard was taking shape as we built the game. Solas is still a central figure in it. He’s still a significant character. But really, the focus shifts to the team.

“[We] realized Dreadwolf suggests a title focused on a specific individual, whereas The Veilguard, much like Inquisition, focuses more on the team.”

Creating Your Rook

Veilguard’s character creator is staggeringly rich, with a dizzying number of customizable options. Busche tells me that inclusivity is at the heart of it, noting that she believes everyone can create someone who represents them on-screen.

There are four races to choose from when customizing Rook, the new playable lead - Elves, Qunari, Humans, and Dwarves - and hundreds of options to customize your character beyond that. You can select pronouns separately from gender and adjust physical characteristics like height, shoulder width, chest size, glute and bulge size, hip width, how bloodshot your eyes are, how crooked your nose is, and so much more. There must be hundreds of sliders to customize these body proportions and features like skin hue, tone, melanin, and just about anything else you might adjust on a character. Oh, and there’s nudity in Veilguard, too, which I learn firsthand while customizing my Rook.

“The technology has finally caught up to our ambition,” Dragon Age series art director Matt Rhodes tells me as we decide on my warrior-class Qunari’s backstory, which affects faction allegiance, in-game dialogue, and reputation standing - we choose the pirate-themed Lords of Fortune.

Notably, instead of a warrior class, we could have chosen mage or rogue. All three classes have unique specializations, bespoke skill trees, and special armors, too. And though our Rook is aligned with the Lords of Fortune faction, there are others to choose from including the Grey Wardens, Shadow Dragons, The Mourn Watch, and more. There is some flexibility in playstyle thanks to specializations, but your class largely determines the kind of actions you can perform in combat.

“Rook ascends because of competency, not because of a magical McGuffin,” BioWare core lead and Mass effect executive producer Michael Gamble tells me in contrast to Inquisition’s destiny-has-chosen-you-characterization.

“Rook is here because they choose to be, and that speaks to the kind of character that we’ve built.” Busche adds, “Someone needs to stop this, and Rook says, ‘I guess that’s me.’”

Beyond the on-paper greatness of this character creator, its customizability speaks to something repeated throughout my BioWare visit: Veilguard is a single-player, story-driven RPG. Or in other words, the type of game that made BioWare as storied as it is. McKay tells me the team explored a multiplayer concept early in development before scratching it to get back to BioWare basics. The final game will feature zero multiplayer and no microtransactions.

Happy to hear that, I pick our first and last name, then one of four voices, with a pitch shifter for each, too, and we’re off to Minrathous.

Exploring Tevinter For The First Time

Throughout the Dragon Age series, parts of Thedas are discussed by characters and referenced by lore material but left to the imagination of players as they can’t visit them. Veilguard immediately eschews this, setting its opening prologue mission in Minrathous, the capital of the  Tevinter Empire. Frankly, I’m blown away by how good it looks. It’s my first time seeing Veilguard in action and my first look at a Dragon Age game in nearly a decade. Time has treated this series well, and so has technology.

Epler, who’s coming up on 17 years at BioWare, acknowledges that the franchise has always been at the will of its engine. Dragon Age: Origins and II’s Eclipse Engine worked well for the time, but today, they show their age. Inquisition was BioWare’s first go at Ea’s proprietary Frostbite engine - mind you, an engine designed for first-person shooters and decidedly not multi-character RPGs - and the team struggled there, too. Epler and Busche agree Veilguard is the first RPG where BioWare feels fully in command of Frostbite and, more generally, its vision for this world.

We begin inside a bar. Rook and Varric are looking for Neve Gallus, a detective mage somewhere in Minrathous. The first thing players will do once Veilguard begins is select a dialogue option, something the team says speaks to their vision of a story-forward, choice-driven adventure. After a quick bar brawl cutscene that demonstrates Rook’s capabilities, there’s another dialogue choice, and different symbols here indicate the type of tone you can roll with. There’s a friendly, snarky, and rough-and-tough direct choice, and I later learn of a more romantically inclined “emotional” response. These are the replies that will build relationships with characters, romantic and platonic alike, but you’re welcome to ignore this option. However, your companions can romance each other, so giving someone the cold shoulder might nudge them into the warm embrace of another. We learn Neve is in Dumat Plaza and head into the heart of Minrathous.

Rhodes explains BioWare’s philosophy for designing this city harkens back to a quick dialogue from Inquisition’s Dorian Pavus. Upon entering Halamshiral’s Winter Palace, the largest venue in Dragon Age history at that point, Dorian notes that it’s cute, adorable even, alluding to his Tevinter heritage. If Dorian thinks the largest venue in Dragon Age history is cute and adorable, what must the place he’s from be like? “It’s like this,” Rhodes says as we enter Minrathous proper in-game.

Minrathous is huge, painted in magical insignia that looks like cyberpunk-inspired neon city signs and brimming with detail. Knowing it’s a city run by mages and built entirely upon magic, Rhodes says the team let its imagination run wild. The result is the most stunning and unique city in the series. Down a wide, winding pathway, there’s a pub with a dozen NPCs - Busche says BioWare used Veilguard’s character creator to make each in-world NPC except for specific characters like recruitable companions - and a smart use of verticality, scaling, and wayfinding to push us toward the main attraction: Solas, attempting to tear down the Veil.

All hell is breaking loose. Pride Demons are rampaging through the city. Considering Pride Demons were bosses in prior games, seeing them roaming freely in the prologue of Veilguard speaks to the stakes of this opener. Something I appreciate throughout our short journey through Minrathous to its center below is the cinematography at play. As a Qunari, my character stands tall, and Rhodes says the camera adjusts to ensure larger characters loom over those below. On the flip side, the camera adjusts for dwarves to demonstrate their smaller stature compared to those around them.

This, coupled with movie-liked movement through the city as BioWare showcases the chaos happening at the hands of Solas’ Veil-break ritual, creates a cinematic start that excited me, and I’m not even hands-on with the game.

Eventually, we reach Neve, who has angered some murderous blood mages, and rescue her from danger. Or rather, help… barely. Neve is quite capable, and her well-acted dialogue highlights that. Together, Varric, returning character Lace Harding, who is helping us stop Solas and is now a companion, Rook, and Neve defeat some demons. They then take on some Venatori Cultists seizing this chaotic opportunity to take over the city and other enemies before making it to Solas’ hideout. As we traverse deeper and deeper into this hideout, more of Solas’ murals appear on the walls, and things get more Elven. Rhodes says this is because you’re symbolically going back in time, as Minrathous is a city built by mages on the bones of what was originally the home of Elves.

At the heart of his hideout, we discover Solas’ personal Eluvian. This magical mirror-like structure allows the gang to teleport (and mechanically fast-travel) to Arlathan Forest, where Solas is secretly performing the ritual (while its effects pour out into Minrathous).

Here, we encounter a dozen or so demons, which BioWare has fully redesigned on the original premise of these monstrous creatures. Rhodes says they’re creatures of feeling and live and die off the emotions around them. As such, they are just a floating nervous system, push into this world from the Fade, rapidly assembled into bodies out of whatever scraps they find.

I won’t spoil the sequence of events here, but we stop Solas’ ritual and seemingly save the world… for now. Rook passes out moments later and wakes up in a dream-like landscape to the voice of none  other than Solas. He explains a few drops of Rook’s blood interacted with the ritual, connecting them to the Fade forever. He also says he was attempting to move the Elgar’nan and Ghilan’nain, part of the Evanuris or Elven gods of ancient times, to a new prison because the one he had previously constructed was failing. Unfortunately, Solas is trapped in the Fade by our doing, and these gods are now free. It’s up to Rook to stop them; thus, the stage for our adventure is set.

The Veilguard Who’s Who

While we learned a lot about returning character but first-time companion Lace Harding, ice mage private detective Neve Gallus, and veil jumper Bellara Lutara, BioWare shared some additional details about other companions Rook will meet later in the game. Davrin is a charming Grey Warden who is also an excellent monster hunter; Emmrich is a member of Nevarra’s Mourn Watch and a necromancer with a skeleton assistant named Manfred; Lucanis is a pragmatic assassin whose bloodline descends from the criminal House of Crows organization; And Taash is a dragon hunter allied with the piratic Lords of Fortune. All seven of these characters adorn this Game Informer issue, with Bellara up front and center in the spotlight.

The Lighthouse

After their encounter with Solas, Rook wakes up with Harding and Neve in the lair of the Dread Wolf himself, a special magical realm in the Fade called the Lighthouse. It’s a towering structure centered amongst various floating islands. Epler says, much like Skyhold in Inquisition, the Lighthouse is where your team bonds, grows, and prepares for its adventures throughout the campaign. It also becomes more functional and homier as you do. Already, though, it’s a beautifully distraught headquarters for the Veilguard, although they aren’t quite referring to themselves as that just yet.

Because it was Solas’ home base of operations, it’s gaudy, with his fresco murals adorning various walls, greenery hanging from above, and hues of purple and touches of gold everywhere. Since it’s in the Fade, a realm of dreams that responds to your world state and emotion, the Lighthouse reflects the chaos and disrepair of the Thedas you were in moments ago. I see a clock symbol over a dialogue icon in the distance, which signals an optional dialogue option. We head there, talk to Neve, select a response to try our hand at flirting, and then head to the dining hall.

A plate, a fork and knife, and a drinking chalice are at the end of a massive table. Rhodes says this is both a funny (and sad) look at Solas’ isolated existence and an example of the detail BioWare’s art team has put into Veilguard. “It’s a case of letting you see the story,” he says. “It’s like when you go to a friend's house and see their bedroom for the first time; you get to learn more about them.” From the dining hall, we gather the not-quite-Veilguard in the library, which Busche says in the central area of the Lighthouse and where your party will often regroup and prepare for what’s next. The team decides it must reach the ritual site back in Arlathan Forest, and Busche says I’m missing unique dialogue options here because I’m Qunari; an Elf would have more to say about the Fade due to their connection to it. The same goes for my backstory earlier in Minrathous. If I had picked the Shadow Dragons background, Neve would have recognized me immediately, with unique dialogue.

With our next move decided, we head to Solas’ Eluvian to return to Arlathan Forest and the ritual site. However, it’s not fully functional without Solas, and while it returns us to Arlathan Forest, it’s not exactly where we want to go. A few moments later, we’re back in the Arlathan Forest, and just before a demon-infested suit of mechanized armor known as a Sentinel can attack, two new NPCs appear to save us: Strife and Irelin. Harding recognizes them, something Dragon Age comic readers might know about. They’re experts in ancient elven magic and part of the new Veil Jumpers faction. The ensuing cutscene, where we learn Strife and Irelin need help finding someone named Bellara Lutara, is long, with multiple dialogue options. That’s something I’m noticing with Veilguard, too - there’s a heavy emphasis on storytelling and dialogue, and it feels deep and meaty, like a good fantasy novel. BioWare doesn’t shy away from minutes-long cutscenes.

Busche says that’s intentional, too. “For Rook, [this story’s about] what does it meant to be a leader,” she says. “You’re defining their leadership style with your choices.” Knowing that Rook is the leader of the Veilguard, I’m excited to see how far this goes. From the sound of it, my team will react to my chosen leadership style in how my relationships play out. That’s demonstrated within the game’s dialogue and a special relationship meter on each companion’s character screen.

Redefining Combat Once More

Bellara is deep within Arlathan Forest, and following the prolgoue’s events, something is up here. Three rings of massive rocks fly through the air, protecting what appears to be a central fortress. Demon Sentinels plague the surrounding lands, and after loading up a new save, we’re in control of a human mage.

Following the trend of prior Dragon Age games, Veilguard has completed the series’ shift from tactical strategy to real-time action, but fret not: a tactical pause-and-play mechanic returns to satiate fans who remember the series’ origins (pun intended). Though I got a taste of combat in the prologue, Veilguard’s drastic departure from all that came before it is even more apparent here.

Busche says player complete every swing in real-time, with special care taken to animation swing-through and canceling. There's a dash, a parry, the ability to charge moves, and a completely revamped healing system that allows you to use potions at your discretion by hitting right on the d-pad. You can combo attacks and even “bookmark” combos with a quick dash, which means you can pause a combo’s status with a dash to safety and continue the rest of the combo afterward. It looks even cooler than it sounds.

Like any good action game, there is a handful of abilities to customize your kit. And, if you want to maintain that real-time action feel, you can use them on the fly, so long as you take cooldowns into effect. But Veilguard’s pause-and-play gameplay mechanic, similar to Inquisition’s without the floating camera view, lets you bring things to halt for a healthy but optional dose of strategy.

In this screen, which essentially pauses the camera and pulls up a flashy combat wheel that highlights you and your companions’ skills, you can choose abilities, queue them up, and strategize with synergies and combos, all while targeting specific enemies. Do what you need to here, let go of the combat wheel, and watch your selections play out. Busche says she uses the combat wheel to dole out her companions’ attacks and abilities while sticking to the real-time action for her player-controlled Rook. On the other hand, Epler says he almost exclusively uses the combat wheel to dish out every ability and combo.

Busche says each character will play the same, in that you execute light and heavy attacks with hte same buttons, use abilities with the same buttons, and interact with the combo wheel in the same way, regardless of which class you select. But a sword-and-shield warrior, like we used in the prolgoue, can hip-fire or aim their shield to throw it like Captain America, whereas our human mage uses that same button to throw out magical ranged attacks. The warrior can parry incoming attacks, which can stagger enemies. The rogue gets a larger parry window. Our mage, however, can’t parry at all. Instead, they throw up a shield that blocks incoming attacks automatically so long as you have the mana to sustain it.

“What I see from Veilguard is a game that finally bridges the gap,” former Dragon Age executive producer Mark Darrah, who left BioWare in 2021 before joining the Veilguard team last year as a consultant, tells me. “Uncharitably, previous Dragon Age games got to the realm of ‘combat wasn’t too bad.’ In this game, the combat’s actually fun, but it does keep that thread that’s always been there. You have the focus on Rook, on your character, but still have that control and character coming into the combat experience from the other people in the party.”

“This is really the best Dragon Age game that I’ve ever played,” he adds, noting his bias. “This is the one where we get back to our roots of character-driven storytelling, have really fun combat, and aren’t making compromises.”

Watching Busche take down sentinels and legions of darkspawn on-screen, I can already sense Veilguard’s combat will likely end up my favorite in the series, although admittedly, as a fan of action games, I’m an easy sell here. It’s flashy, quick, and thanks to different types of health bars, like a greenish-blue one that represents barrier and is taken down most effectively with ranged attacks, a decent amount of strategy, even if you don’t use the pause-and-play combo wheel. Like the rest of the game, too, it’s gorgeous, with sprinkles, droplets, and splashes of magic in each attack our mage unleashes. Though I’m seeing the game run on a powerful PC, which is sure to be the best showcase of Veilguard, Epler tells me the game looks amazing on consoles - he’s been playing it on PlayStation 5 and enjoying it in both its fidelity and performance modes, but I’ll have to take his word for it.

Pressing Start

The start or pause screen is as important to a good RPG as the game outside the menus. Veilguard’s contains your map, journal, character sheets, skill tree, and a library for lore information. You can cross-compare equipment and equip new gear here for Rook and your companions, build weapon loadouts for quick change-ups mid-combat, and customize you and your party’s abilities and builds via an easy-to-understand skill tree. You won’t find minutiae here, “just real numbers,” Busche says. That means a new unlocked trait might increase damage by 25 percent against armor, but that’s as in-depth as the numbers get. Passive abilities unlock jump attacks and guarantee critical hit opportunities, while abilities add moves like a Wall of Fire to your arsenal (if you’re a mage). As you spec out this skill tree, which is 100 percent bespoke to each class, you’ll work closer to unlocking a specialization, of which there are three for each class, complete with a unique ultimate ability. Busche says BioWare’s philosophy here is “about changing the way you play, not statistical minutiae.”

Companion Customization

You can advance your bonds by helping companions on their own personal quests and by including them in your party for main quests. Every Relationship Level you rank up, shown on their character sheet, nets you a skill point to spend on them. Busche says the choices you make, what you say to companions, how you help them, and more all matter to their development as characters and party members. And with seven companions, there’s plenty to customize, from bespoke gear to abilities and more. Though each companion has access to five abilities, you can only take three into combat, so it’s important to strategize different combos and synergies within your party. Rhodes says beyond  this kind of customizable characterization, each companion has issues, problems, and personal quests to complete. “Bellara has her own story arc that runs parallel to and informs the story path you’re on,” Rhodes says.

In Entropy’s Grasp

As we progress through the forest and the current “In Entropy’s Grasp” mission, we finally find Bellara. She’s a veil jumper, the first companion you meet and recruit in-game (unlike Neve, who automatically joins), and the centerpiece of this issue’s cover image. Because our mage’s background is Veil Jumper, we get some unique dialogue. Bellara explains we’re all trapped in a Veil Bubble, and there’s no way out once you pass through it. Despite the dire situation, Bellara is bubbly, witty, and charming.

“When designing companions, they’re the load-bearing pillars for everything,” Rhodes says. “They’re the face of their faction, and in this case [with Bellara], their entire area of the world. She’s your window into Arlathan Forest.” Rhodes describes her as a sweetheart and nerd for ancient elven artifacts. As such ,she’s dressed more like an academic than a combat expert, although her special arm gauntlet is useful both for tinkering with her environment and taking down enemies.

Unlike Neve, who uses ice magic like our Rook and can slow down time with a special ability, Bellara specializes in electricity, and she can also use magic to heal you, something Busche says Dragon Age fans have been desperate to have in a game. Busche says if you don’t direct Neve and Bellara, they’re fully independent and will attack on their own. But synergizing your team will add to the fun and strategy of combat. Bellara’s electric magic is effective against Sentinels, which is great because we currently only have access to ice. However, without Bellara, we could also equip a rune that converts my ice magic, for a brief duration, into electricity to counter the Sentinels.

As we progress through Arlathan Forest, we encounter more and more darkspawn. Bellara mentions the darkspawn have never been this far before because the underground Deep Roads, where they usually escape from, aren’t nearby. However, with blighted Elven gods roaming the world, and thanks to Blight’s radiation-like spread, it’s a much bigger threat in Veilguard than in any Dragon Age before it.

I continue to soak in the visuals of Veilguard with Arlathan Forest’s elven ruins, dense greenery, and disgusting Blight tentacles and pustules; it’s perhaps the most impressive aspect of my time seeing the game, although everything else is making a strong impression, too. I am frustrated about having to watch the game rather than play it, to be honest. I’m in love with the art style, which is more high fantasy than anything in the series thus far and almost reminiscent of the whimsy of Fable, a welcome reprieve from the recent gritty Game of Thrones trend in fantasy games. Rhodes says that’s the result of the game’s newfound dose of magic.

“The use of magic has been an evolution as the series has gone on,” he says. “It’s something we’ve been planning for a while because Solas has been planning all this for a while. In the past, you could hint at cooler magical things in the corner because you couldn’t actually go there, but now we actually can, and it’s fun to showcase that.”

Busche, Epler, and Rhodes warn me that Arlathan Forest’s whimsy will starkly contrast to other areas. They promise some grim locations and even grimmer story moments because, without that contrast, everything falls flat. Busche likens it to a “thread of optimism” pulled through otherworldly chaos ravaging Thedas. For now, the spunky and effervescent Bellara is that thread.

As we progress deeper into the forest, Bellara spots a floating fortress and thinks the artifact needed to destroy the Veil Bubble is in there. To reach it, though, wem ust remove the floating rock rings, and Bellara’s unique ability, Tinker, can do just that by interacting with a piece of ancient elven technology nearby. Busche says Rook can acquire abilities like Tinker later to complete such tasks in instances where Bellara, for example, isn’t in the party.

Bellara must activate three of these in Arlathan Forest to reach the floating castle, and each one we activate brings forth a slew of sentinels, demons, and darkspawn to defeat. Busche does so with ease, showcasing high-level gameplay by adding three stacks of arcane build-up to create an Arcane Bomb on an enemy, which does devastating damage after being hit by a heavy attack. Now, she begins charging a heavy attack on her magical staff, then switches to magical daggers in a second loadout accessed with a quick tap of down on the d-pad to unleash some quick attacks, then back to the staff to charge it some more and unleash a heavy attack.

After a few more combat encounters, including one against a sentinel that’s “Frenzied,” which means it hits harder, moves faster, and has more health, we finally reach the center of the temple. Within is a particular artifact known as the Nadas Dirthalen, which Bellara says means “the inevitability of knowledge.” Before we can advance with it, a darkspawn Ogre boss attacks. It hits hard, has plenty of unblockable, red-coded attacks, and a massive shield we must take down first. However, it’s weak to fire, and our new fire staff is perfect for the situation.

After taking down this boss in a climactic arena fight, Bellara uses a special crystal to power the artifact and remove it from a pedestal, destroying the Veil Bubble. Then, the Nadas Dirthalen comes alive as an Archive Spirit, but because the crystal used to power it breaks, we learn little about this spirit before it disappears. Fortunately, Bellara thinks she can fix it - fixing broken stuff is kind of her thing, Epler says - so the group heads back to the Veil Jumper camp and, as interested as I am in learning what happens next, the demo ends. It’s clear that even after a few hours with the game’s opening, I’ve seen a nigh negligible amount of game; frustrating but equally as exciting.

Don’t Call It An Open World

Veilguard is not an open world, even if some of its explorable areas might fee like one. Gamble describes Veilguard’s Thedas as a hub-and-spoke design where “the needs of the story are served by the level design.” A version of Inquisition’s Crossroads, a network of teleporting Eluvians, returns, and it’s how players will traverse across northern Thedas. Instead of a connected open world, players will travel from Eluvian to Eluvian to different stretches of this part of the continent. This allows BioWare to go from places like Minrathous to tropical beaches to Arlathan Forest to grim and gothic areas and elsewhere. Some of these areas are larger and full of secrets and treasures. Others are smaller and more focused on linear storytelling. Arlathan Forest is an example of this, but there are still optional paths and offshoots to explore for loot, healing potion refreshes, and other things. There’s a minimap in each location, though linear levels like “In Entropy’s Grasp” won’t have the fog of war that disappears as you explore like some of Veilguard’s bigger locations. Regardless, BioWare says Veilguard has the largest number of diverse biomes in series history.

Dragon’s Delight

With a 10-hour day at BioWare behind me after hours of demo gameplay and interviews with the leads, I’m acutely aware of my favorite part of video games: the surprises. I dabbled with Origins and II and put nearly 50 hours into Inquisition, but any familiarity with the series the latter gave me had long since subsided over the past decade. I wanted to be excited about the next Dragon Age as I viewed each teaser and trailer, but other than seeing the words “Dragon Age,” I felt little. Without gameplay, without a proper look at the actual game we’ll all be playing this fall, I struggled to remember why Inquisition sucked me in 10 years ago.

This trip reminded me.

Dragon Age, much like the Thedas of Veilguard, lives in the uncertainty: The turbulence of BioWare’s recent release history and the lessons learned from it, the drastic changes to each Dragon Age’s combat, the mystery of its narrative, and the implications of its lore. It’s all a part of the wider Dragon Age story and why this studio keeps returning to this world. It’s been a fertile franchise for experimentation. While Veilguard is attempting to branch out in unique ways, it feels less like new soil and more like the harvest BioWare has been trying to cultivate since 2009, and I’m surprised by that.

I’m additionally surprised, in retrospect, how numb I’ve been to the game before this. I’m surprised by BioWare’s command over EA’s notoriously difficult Frostbite engine to create its prettiest game yet. I’m surprised by this series’ 15-year transition from tactical strategy to action-forward combat. I’m surprised by how much narrative thought the team has poured into these characters, even for BioWare. Perhaps having no expectations will do that to you. But most of all, with proper acknowledgement that I reserve additional judgment until I actually play the game, I’m surprised that Veilguard might just be the RPG I’m looking forward to most this year.

[iww-gnv]

All of Keywords Studios’ unionized QA workers were laid off from the studio in late September after Dragon Age: Dreadwolf developer BioWare declined to continue its contract in August. The QA workers, who were contracted to assist with playtesting and quality assurance at BioWare Edmonton, won their union vote in June 2022. All 16 eligible voters said “yes” to joining United Food and Commercial Workers Canada Union, Local No. 401. It was a historic vote, making the group the first games industry union in Canada. Keywords Studios workers were in bargaining with the company when they were laid off following the news of 50 job cuts at BioWare itself.

[thetevinterspy]

When I was little, people said I had too many opinions. Some thought I’d grow up to be a lawyer, but instead, I became someone who’s just outspoken on the internet. And now, it’s your problem, because here I am, sharing my unsolicited thoughts in blog form.

Today, news broke—though not directly from her—that Dragon Age: Veilguard game director Corrine Busche is leaving BioWare. The official announcement came later, but by the time I saw it, the story had already been circulating for a while. I found myself wondering about the timing since Edmonton’s in a different time zone, but eventually, the news was confirmed. It got me thinking—about the Dragon Age team, BioWare as a whole, and the strange dynamics of the gaming industry.

From the outside, it all seems incredibly stressful. The fan ecosystem surrounding these games is, to put it mildly, unique. Developers are treated almost like celebrities by certain parts of the fandom, but they don’t actually have the status or protection that comes with being a public figure. Meanwhile, EA and BioWare often seem to adopt a say-nothing approach, rarely stepping in to defend developers when things get heated or personal.

From an outside perspective—especially coming from a business and PR background—the payoff for game developers doesn’t seem to justify the stress and anxiety they endure. I’m sure there are countless reasons why unions aren’t common in the industry, but what I see is creative developers increasingly unable—or unwilling—to interact with fans due to our own bad behavior as a community and lack of protection and defense by those above them. Studios, in my opinion, need to do far more to protect their teams from crunch, burnout, and the toxicity of “fans” that has become all too common in this space.

But you know who I think holds the biggest responsibility to do better? Games “journalists” and creators who leap at any chance to rage-bait for clicks and views, amplifying hateful rhetoric without concern for the consequences. And the studios themselves, who then sit by and do nothing while their developers endure harassment. Someone at EA should be going through video after video, tweet after tweet, cataloging the hate, death threats, racism, and misogyny that Dragon Age developers, creators, and fans have faced—and responding with lawsuits where necessary. Ignoring it only emboldens the worst corners of the internet.

If BioWare wants to avoid this with Mass Effect, they need to overhaul their social media and PR strategies well before the game launches. Otherwise, we’ll see the same toxic cycle repeat itself. Until then, it falls on creators and prominent fans to push back against harmful “journalism” and hateful campaigns—to protect not only the IP we love but also the people who make it possible.

Now, I have no idea if any of this played a role in why Corrine left, but I do know that I couldn’t have endured what she likely faced over the last two or three years. She’s far from the only developer on the Dragon Age team to be on the receiving end of relentless criticism and harassment, much of it fueled by so-called “journalistic” hit pieces that embolden fans to run their mouths. It’s disgusting behavior.

And this issue isn’t limited to BioWare. The entire gaming industry needs more respected, responsible news outlets—and studios need to take far stronger action to combat threats and harassment. Ignoring the problem isn’t a solution, and it’s long past time for real change.

To Corinne and any other devs that have left BioWare since Veilguard: I see you. We see you. Thank you. Take care of yourselves. 💜

[painted-bees]

Thinking a little more on the whole "when did Margie and Raf realize they were In A Relationship?" question, and while they'd both struggle to find a definitive moment, I think there was one particular situation that arose to kinda...lock things in for them.

Sometime prior to autumn 2009, Margie was headhunted by Bioware[Edmonton] thanks to the recommendation of an old Orbital Media colleague who was trying to establish/salvage Bioware's beleaguered handheld dev team. Following a promising phone interview, she was asked to make a 30 second demo track as part of the hiring process, and met expectations well enough that she was offered a job as an in-house musician and sound designer. Which also meant that she'd have to move to Edmonton. She had been keeping Raf up to date with this whole thing, mostly because she was too excited to keep it to herself. Raf was hugely supportive and excited -for- her. 'Cus like...he plays games. He even plays Bioware games, so, yanno...very cool. But he had also assumed this was gonna be more of a freelance contract kind of thing. And so, hearing her mention that the company would cover the costs of relocating her to Edmonton comes as a weird surprise. And suddenly, he's having a real hard time being excited for her. He keeps it to himself, 'cus he'd be an asshole not to. He's been really adamant with himself, and with anyone who asks, that he and Margie are just really good, comfortable friends/roommates. But even by this point, he's kinda known and been unwilling to admit to himself that the only reason he hasn't openly recognized their relationship for what it actually is--is because the non-committal ambiguousness provides him a clean way out if he starts feeling cagey/uncomfy about anything. It was an exit door that he liked keeping open incase he needed it. But Margie had seen it differently. To her, it was a door she figured she was gonna have to leave through eventually. Because Raf would inevitably find a more serious partner to settle down with, or he'd be whisked off by some other important venture that she couldn't be a part of. She figured he was leaving that door open because his current situation was a temporary transitional stage in his life that he simply allowed her to be a part of. And so, she's not really torn-up about the prospect of leaving, especially under the circumstances. It presented an easier, more exciting transition than she might have had to face if Raf had 'outgrown' her first.

So, Margie's excited about the new job offer, and Raf's sitting there feeling like he played himself--while being wholly unable/unwilling to tell her "Hey, uh...this sucks, actually, I really don't want you to go." Because that'd require him to admit that he's been lying to himself--which sucks. But more than that, it'd require him to admit that he's been lying to her--only employing honesty as a tool of convenience to dissuade her from going and getting something really good for herself. He can't, he won't. The sudden off-key in his tone, though, doesn't go unnoticed by her, and Margie is perfectly candid about the whole "we'll visit each other, I'll stay in touch--I'm not gonna disappear on you lmao" Except that's not really...how Raf operates. Distance + time does not make this man's paranoid lil' heart grow fonder. There's never been a relationship-friend, family, or otherwise-with enough staying power for Raf to maintain it once they're no longer within physical proximity. Even if he wants to 'keep in touch', it quickly falls off. He's just known...too many people, and been too many places...his brain doesn't have the bandwidth to maintain close relationships when there's a distance. And, after a long enough pause in communication, his paranoid anxieties lift the barrier of entry higher and higher until it's almost insurmountable. People become strangers again. Always. In the end, Bioware did not get to develop any more handheld titles, and the handheld division in Edmonton is dissolved before Margie was even offered a job start date to plan her big move around. And so the whole thing falls apart before it even had the chance to get started lmao. At which point, Raf finally allows himself to be honest and say "thank god, I was fuckin' dreading an empty apartment again." Treats her to a consolatory dinner, and gets to tell her as much as he is able to figure out for himself--that he doesn't really know what he wants, actually--but that things aren't as casual and clean-cut as he thought it was. He still can't bring himself to be like "yes, romantic committed relationship, that's us, that's what we are" but he does at least take measures to establish that he'd really like to take off his shoes, place them on the rack next to hers, and close the door behind him.

[mass-effect-galaxy]

Corrine Busche Officially OUT at BioWare, Edmonton studio to SHUT DOWN

sic transit gloria mundi...

[felassan]

Some Bluesky posts by David Gaider:

David Gaider: "So prepare yourself for another series of threads (easy to ignore that way, if you're not so inclined) where I discuss the journey - from leaving BioWare and then Beamdog, to doing what seemed impossible and starting the studio, to now!" [x]

DG: "The Road to Summerfall - Part 2 I guess the best place to start is with leaving BioWare. Right off the bat, I'll say I enjoyed working there - a lot. Until I didn't. I started in 1999 with BG2 and ended in 2016, 2 years after shipping DAI and after spending a year on the game which became Anthem." [x]

Rest of post is under a cut due to length.

"Things at Bio felt like they were at their height when the Doctors (Ray & Greg, the founders) were still there. We made RPG's, full stop. We made them well. Sure, there were some shitty parts... some which I didn't realize HOW shitty they were until after I left, but I'd never worked anywhere else." [x] "To me, things like the bone-numbing crunch and the mis-management were simply how things were done. I was insulated from a lot of it, too, I think. On the DA team, I had my writers (and we were a crack unit) and I had managers who supported and empowered me. Or indulged me. I'm not sure which, tbh." [x] "It's funny that Mike Laidlaw becoming Creative Director was one of the best working experiences I had there, as initially it was one of the Shitty Things. You see, when Brent Knowles left in 2009, I felt like I was ready to replace him. This was kinda MY project, after all, and who else was there?" [x]

"Well, it turned out this coincided with the Jade Empire 2 team being shut down, and their staff was being shuffled to the other teams. Mike had already been tapped to replace Brent... Mike, a writer. Who I'd helped train. There wasn't even a conversation. When I complained, the reaction? Surprise." [x] "It was the first indication that Bio's upper management just didn't think of me in That Way. That Lead Writer was as far as I was ever getting in that company, and there was a way of Doing Things which involved buddy politics that... I guess I just never quite keyed into. I was bitter, I admit it." [x] "But, like I said, this turned out well. Mike WAS the right pick, damn it. He had charisma and drive, and he even won me over. We worked together well, and I think DA benefited for it. I think I'd still be at Bio, or have stayed a lot longer, but then I made my first big mistake: leaving Dragon Age." [x]

"See, we'd finished DAI in 2014 and I was beginning to feel the burn out coming on. DAI had been a grueling project, and I really felt like there was only so long I could keep writing stories about demons and elves and mages before it started to become rote for me and thus a detriment to the project." [x] "Plus, for the first time I had in Trick Weekes someone with the experience and willingness they could replace me. So I told Mike I thought it was time I moved onto something else... and he sadly let me go. So, for a time, the question became which of the other two BioWare teams I'd move onto." [x] "Both needed a Lead Writer. Mass Effect Andromeda was just gearing up, and while I liked everyone out in Montreal I didn't really want to move. So I joined the new project that the former Mass Effect team in Edmonton was cooking up - the one that became Anthem but, at the time, was code-named Dylan." [x]

"That was a mistake. You see, the thing you need to know about BioWare is that for a long time it was basically two teams under one roof: the Dragon Age team and the Mass Effect team. Run differently, very different cultures, may as well have been two separate studios. And they didn't get along." [x] "The company was aware of the friction and attempts to fix it had been ongoing for years, mainly by shuffling staff between the teams more often. Yet this didn't really solve things, and I had no idea until I got to the Dylan team. The team didn't want me there. At all." [x] "Worse, until this point Dylan had been concepted as kind of a "beer & cigarettes" hard sci-fi setting (a la Aliens), and I'd been given instructions to turn it into something more science fantasy (a la Star Wars). Yet I don't think anyone told the team this. So they thought this change was MY doing." [x]

"I kept getting feedback about how it was "too Dragon Age" and how everything I wrote or planned was "too Dragon Age"... the implication being that *anything* like Dragon Age was bad. And yet this was a team where I was required to accept and act on all feedback, so I ended up iterating CONSTANTLY." [x] "I won't go into detail about the problems except to say it became clear this was a team that didn't want to make an RPG. Were very anti-RPG, in fact. Yet they wanted me to wave my magic writing wand and create a BioWare quality story without giving me any of the tools I'd need to actually do that." [x] "I saw the writing on the wall. This wasn't going to work. So I called up my boss and said that I'd stick it out and try my best, but only if there was SOMETHING waiting on the other side, where I could have more say as Creative Director. I wanted to move up. I was turned down flat, no hesitation." [x]

"That... said a lot. Even more when I was told that, while I could leave the company if I wanted to, I wouldn't have any success outside of BioWare. But in blunter words. So I quit." [x] "Was it easy? Hell no. I thought I'd end up buried under a cornerstone at Bio, honestly. I LIKE security. Sure, I'd dreamed of maybe starting my own studio, but that was a scary idea and I'd never pursued it. I had no idea where I was going to go or what I was going to do, but I wanted OUT." [x] "Which led to me at home after my last day, literally having a nervous breakdown, wondering what kind of idiot gives up a "good job". How was a writer, of all things, with no real interest in business supposed to start his own studio? It felt apocalyptic. Within a year, however, I was on my way." [x]

[original thread, following thread]

Follow-up Q&A Bluesky posts:

User: "Were David Gaider still at Bioware, I am certain you would have showed us exactly how Mythal was transferred to Morrigan. You would have paid off on all those years of growth since DAO" David Gaider: "You can be certain I would have *wanted* to, for sure. Whether I'd have been able to is something not even I can be certain of. During my time at BioWare, I had to settle for less-than-ideal results lots of times - that's just how it goes, when it comes to making games." [x]

User: "jesus fuck that is a revolting way to treat any employee" DG: "The thing that got to me most was the apparent assumption that I needed "success". That this was the most important thing to me, to work on projects that sold millions of copies. I like that, sure, who wouldn't? But he obviously didn't know me at all." [x]

User: "Could you elaborate on the anti-RPG sentiment? Was it like the team didn't want narrative choices or game mechanics that affected dialogue? Did they even want dialogue choices?" DG: "There has always been an element within Bio that quietly resented the idea we could never quite get away from being a studio that "just" made RPG's and that our writing was more celebrated than our action. So, yes: more action, less story, less cinematics, and less dialogue all around." [x]

User: "I mean, that's the team (Ship of Theseus!) that made ME2, right? ME2, which was like ME1 if you added more loyalty quests, more romance options, and made the good ending more dependent on doing the loyalty quests?" DG: "When I say an "element within BioWare", I don't mean the entire team... we're talking about a group of devs, many of which worked on ME2 yes, who gained traction because their views likely aligned with what EA also wanted. Speculation on my part, largely, because I wasn't on that team until Dylan." [x]

User: "Gods that is some really shitty corporate culture to say 'You'll ammount to nothing outside of Bioware!'." DG: "From some perspectives, I haven't. I make indie games that sell thousands of copies, and from a triple-A perspective that's... basically nothing. But I'm happy, I enjoy what I'm doing, and I feel creatively fulfilled. Not everyone thinks those things equate with success, though." [x]

User: "Hold up. Jade Empire was gonna get a sequel? How did that not happen?" DG: "The team worked on it for quite a while. First it was Jade Empire 2, and then they rebooted it as a different game altogether which was kind of "modern Jade Empire but minus anything Asian"... and then they cancelled it. Happens a lot to projects as they spin up." [x]

User: "What do you think began the conflict between the Dragon Age and Mass Effect team?" DG: "I honestly have no idea. Competition for resources, I suppose? One team's plans were always being cut short because the other team suddenly needed all their team members for an upcoming release." [x] User: "That makes sense. I can't imagine how it must feel to have your project side lined or reduced because of another team. Do you think the ME team were more entitled because they perceived their franchise as having a bigger cultural impact?" DG: "I never got that sense, though I was never in the meetings where these things were hashed out. They tended to always get what they needed, however, because EA always expected that each ME game had way more *potential* for huge sales than DA did." [x]

User: "Wow.... this makes so much awful, shifty sense. It has seemed to me, from the outside, that there has been a preference for ME over DA. The launch of DATV and the residual layoffs seemed more of a hit job from inside than just a troll problem." DG: "While I was at BioWare, EA *always* preferred Mass Effect, straight up Their Marketing team liked it more. It was modern. It had action. They never quite knew what to do with DA, and whenever DA outperformed ME, ME got the excuses. If you ask me, it was always just shy of the axe since DA Origins." [x] User: "Can I ask a follow-up question ? Is them not knowing what to do with DA the reason why every DA game was different ? While I love all the games I've always wondered where that originated from" DG: "Maybe in part? I'd say the biggest reason was that, while I was there, the BioWare teams were bad at overreaction. They'd take the feedback/criticism to heart - both our own and the fans' - and generally fixed that but also overcorrected. And then there was EA's influence on top of that, yes." [x]

User: "Is that why DA games never got a remaster/remake?" DG: "There's a lot more that goes into such a question, I'd say, though I honestly have no idea. I can't imagine it helped." [x] User: "Do you feel EA will perhaps sell off DA to another developer like Larian (Baulders Gate) or Playground (Fable)? Considering the reception of Inquisition and Veilguard?" DG: "I suppose anything is possible, but to me it seems unlikely if EA thinks there's any chance they might just sit on the IP until they can reboot it later on." [x]

User: "I've always gotten that vibe from the games department, yet I also saw Dragon Age getting a LOT more attention than Mass Effect when it came to the peripheral material like books, comics, lore books, etc. Do you know why?" DG: "I don’t think that was ever true? ME was so much easier with logo branding, and the N7 hoodie was ACE. 😅" [x]

User: "Was there ever any pressure put on the DA team to move away from RPGs?" DG: "Not initially. Initially Ray & Greg said they were fine with having two different styles of RPGs. After they left, there was pressure to emulate ME more and more because, again, it was the “future”." [x]

User: "May I ask for timeframe? Did you work on Joplin at all, or did you move before it even entered planning stage?" DG: "Joplin wasn’t really being worked on while I was still there. The DA team was finishing the last of the DAI DLCs." [x]

User: "i don't think it was just EA, was it? i recall several instances of ray muzyka praising mass effect in interviews or open letters but i don't recall once him doing it for dragon age." DG: "I can’t say. Ray was a big fantasy fan, so I doubt it." [x]

DG: "In terms of the remasters, I suspect the major difference between the two wasn’t favouritism but rather the engine. All three ME games were made in Unreal." [x]

User: "If you stayed, would you be able to persuade BioWare/EA to push DA4 on the success of DAI or would it be cancelled/delayed like Veilguard did?" DG: "I was a sub-lead, not even a senior lead. I would have had as much influence as I did when I was there, which is to say very little." [x]

User: "Anytime I see ex-BioWare people talk about Anthem, I can’t help but wonder if that game should have been axed early on - it never felt much like a BioWare game, even in the marketing. Or would you say that the game itself could have been fine, but it was the management of the IP that was the issue?" DG: "The initial version I worked on still had some RPG in it, but you could see where the winds were blowing. I think the team leads just convinced themselves it was good and would all work out somehow. Through “BioWare magic”, I guess." [x]

User: "Every time I hear about this or see it, it always sounds like the ME team were just a-holes. No great way but to say it bluntly. Nothing to be done." DG: "I wouldn’t say that. Most of them were lovely. We were always competing for very finite resources, however." [x]

[original thread, following thread]