#Bioware: Stories and Secrets from 25 Years of Game Development spoilers

[felassan]

Dragon Age development insights and highlights from Bioware: Stories and Secrets from 25 Years of Game Development

Some really tasty factoids here.

Cut for length.

Dragon Age: Origins

The continent of Thedas was at one point going to be named Pelledia, a name initially floated by James Ohlen

“Qunari” was a temporary name that ended up unintentionally sticking, much like “Thedas”

Mary Kirby wrote the Landsmeet. To this day, nobody understands how it works, except possibly her. If she’s “really really drunk” she can explain how it works. There’s as many words in it as Sten’s entire conversations put together

Concept art for Thedosian art - as in in-world art - draws heavily on Renaissance-era portraiture, the Art Nouveau movement, religious styles and media like stained glass, and favorite pieces from the golden age of illustrations in the early 20th century

Andrastianism in-world (art-wise) is depicted in wildly different methods depending on who in-world made the art in question. “One religion, 3 different lenses”. There’s the Chantry take, the Orlesian take and the Fereldan take; each with its own different interpretations, different mediums and different stories

The stained glass images were drawn by Nick Thornborrow for DAI, to decorate religious spaces in that game “and beyond”

irl Viking art influenced Ferelden

Greek and Italian art influenced Orlais

The book also had other insights into and anecdotes from the development of DAO, but I’ve transcribed them recently as they’re essentially the stories DG has recently been relating on the awesome Summerfall Studios DAO playthrough Twitch streams. (On those streams he provides dev commentary while Liam Esler plays through DA. The ones with DG are currently once every two weeks. Check them out! Here’s a calendar where you can check when the next one is) Instead of repeating myself I’ll just provide the link to the first transcript. From there you can navigate to the subsequent parts. Note these streams are ongoing. At this point I will also point you to a related post which is cliff notes of the Dragon Age chapter in Jason Schreier’s book Blood Sweat and Pixels.

Dragon Age II

DAO had the longest development period in BioWare history. In contrast DA2 had the shortest

Initially DA2 was going to be an expansion to DAO. A few months in EA said “Yeah, expansions like these don’t sell very well, so let’s make it a sequel.” So it suddenly became DA2 and they had to make it even bigger, although they still only had 1.5 years of time in which to do this

Production of DA2 officially lasted only 9 months, and at the time the team was still supporting live content for DAO! They finished development that January after the design team crunched all the way through the holiday period that year. Then it went to cert 9 times

The limited time they had is why the story takes place mostly in and around 1 city, and over 7 years (so it was temporal, rather than over physical distance, because a more expansive world would have taken more irl time to make)

They had no time to review even the main plot. Mike Laidlaw pitched the idea of 3 stories taking place at different points in the PC’s life, tied together by Varric’s recollections of events. DG rolled with this and made 1 presentation on the idea. This presentation was then approved and off they went

As they were writing DG realized that there was going to be no oversight and that everything was going to be a ‘first draft’. “Because nobody had time.” He sat down with the writers and said “Look, here’s the conditions we’re working under. A lot of what we’re putting out is gonna be raw. We’re not going to get the editing we need. We’re not going to get the kind of iteration we need. So I’m going to trust you all to do your best work.”

Looking back, DG has mixed feelings on DA2. “A lot of corners were cut. The public perception was that it was smaller than DAO. That’s a sin on its own.”

Despite this he thinks DA2 has some of the best writing in the series, especially character-wise. The DA2 chars are his favorite

The pace with which production progressed may in some ways have helped. “When we do a lot of revision, we often file away [as in buff off] some of the good writing as well. Somehow DA2′s whirlwind process resulted in some really good writing”

The pace meant chars landed on the writers in various stages of completion. For example Isabela was fairly defined due to appearing in DAO. In contrast Varric at the start was just that single piece of widely-shown concept art

Varric was conceived as a storyteller not a fighter. His skills are talking and bullshitting. Hence the question became, so what does this guy do in combat? The direction was to make him as different as possible to Oghren, so not a warrior. He couldn’t be a dual-wielding rogue in order to differentiate him from Bela. But you can’t really picture this guy with a bow. “For a dwarf, it would probably be a crossbow. We didn’t have crossbows, or we only had crossbows for the darkspawn. And they were part of the models. We didn’t have a separate crossbow that was equip-able by the chars. They had to like, crop one off a darkspawn and remodel it. And that became Bianca” (quote: Mary Kirby)

“Dwarven mages are exceedingly rare.” [???]

If DAO was a classic fantasy painting, DA2 was a screenshot from a Kurosawa film or a northern Renaissance painting. (Here Matt Rhodes was commenting on art style)

John Epler: “In any one of our games, there’s a 95% chance that if you turn the camera away from what it’s looking at, you’ll see all kinds of janky stuff. The moment we know the camera is no longer facing someone, we no longer care what happens to them. We will teleport people around. We will jump people around. We will literally have someone walk off screen and then we will shift them 1000 meters down, because we’re fixing some bug.” John also talked about this camera stuff in a recent charity Twitch stream for Gamers For Groceries. There’s a writeup of that stream here

Designing Kirkwall pushed concept artists to the limits of visual storytelling, because it has a long history that they wanted to be present. It was once the hub of Tevinter’s slave empire, so it needed to look brutal and harsh, but it also then needed to feel reclaimed, evolved, and with elements of contemporary Free Marches culture

The initial plan was for DA titles to be distinguished by subtitles not numbers, so that each experience could stand on its own rather than feel like a sequel or continuation. (My note: New PCs in each entry make sense then when you consider this and other factoids we know like how DA is the story of the world not of any one PC). Later, DA2′s name was made DA2 in a bid to more clearly connect the game to its predecessor. For DAI they returned to the original naming convention. (My note: so I’d reckon they’d be continuing the subtitle naming convention for DA4)

DA2 was initially code-named “Nug Storm”, strictly internally

The Cancelled DA2 Expansion - Exalted March

This was a precursor to DAI

It was meant to bridge the gap between DA2 and DAI

It focused on the fallout from Kirkwall’s explosion, with Cory serving as the villain

Meredith’s red lyrium statue was basically going to infest Kirkwall and it would end up [with what would end up] the red templars taking over Kirkwall and essentially being Cory’s army

To stop him Hawke would have recruited various factions, including Bela’s Felicisima Armada and the Qunari at Estwatch, forcing Hawke to split loyalties and risk relationships in the process

It was meant to bring DA2′s story to an end and end in Varric’s death. DG was very happy with this because all of DA2 is Varric’s tale. The expansion was supposed to start at the moment Cassandra’s interrogation of him ended in the present. “And we finished off the story with Varric having this heroic death.” It tied things up and would have broken many fan hearts, something BioWare writers notoriously enjoy. But between a transition to the new Frostbite engine and the scope of DAI, the decision was made to cancel EM, work any hard-to-lose concepts into DAI, and in the process save Varric’s life. DG has talked about the Varric dying thing before

Concept art for EM explored new areas previously not depicted in the DA universe, with costumes that reflected next steps for familiar chars. Varric was going to war, what would he have worn? With Anders, if he survived DA2, the plan was to present a redeemed Warden

A char that vaguely resembled Sera in DAI was first concepted for EM. This fact was mentioned near this concept art (see the female elf) and this concept art of Bethany with the blond bob

The writers sketched out plans to end it with Hawke having the option to marry their LI. This included alternate ceremonies for party members like Bethany and Sebastian if the player opted not to wed. There was even a wedding dress made for Hawke. This asset made it into DAI (Sera and Cullen’s weddings in Trespasser). The dress can also be seen in DAI during an ambient NPC wedding after completing a chain of war table missions

The destruction of a Chantry was explored in concept art as it might have happened in EM. This idea ended up carrying over to the beginning of DAI. (My note: Lol, the idea that DA2 could have had 2 Chantries being destroyed in it 😆)

World of Thedas

Sheryl Chee and Mary Kirby started with “a disgusting little dish called fluffy mackerel pudding”. In the middle of DAO’s busy dev period one of them (they can’t remember who) found a recipe online for this, scanned in from a 70s cookbook. “I don’t understand why it was fluffy. Why would you want fluffy mackerel pudding?” MK says. “We loved it so much we included it in a DAO codex.”

This led them to create more food for Thedas, full recipes included, like a Fereldan turnip and barley stew from MK and SC’s Starkhaven fish and egg pie. The fish pie became Sebastian’s favorite. “To me it made sense for it to be fish pie because a lot of the Free Marches are on the coast”, SC says, “It was something that was popular in medieval times, so I thought, let’s make a fish pie! I looked at medieval recipes and I concocted a fish pie which I fed to my partner, and he was like ‘This is not terrible’”

For WoT the whole studio was asked to contribute family recipes which might have a place in Thedas. SC adapted these to fit in one Thedosian culture or another, including a beloved banana bread that localization producer Melanie Fleming would regularly bake to keep the DA team motivated. “Melanie’s banana bread got us through Inquisition”

DAI

It says part of DAI takes place in or near the border with Nevarra [???]

This game was aimed to be bigger than DA2 and even DAO in every conceivable way

The first hour had to do a lot of heavy lifting, tying together the events of DAO and DA2 while introducing a new PC, new followers etc in the aftermath of the big attack. DG rewrote it 7 times then Lukas Kristjanson did 2 more passes

DG: “Our problem is always that our endings are so important, but we leave them to last, when we have no time. I kept pushing on DAI: ‘Can we work on the ending now? Can we work on the ending now? Can we do it early on?’ Because I knew exactly what it was going to be. But despite the fact that it kept getting scheduled, whenever the schedule started falling behind, it kept getting pushed back... so, of course, it got left til last again.”

“The reveal of the story’s real antagonist, Solas, a follower until the end, when he betrayed the player”. “Solas’ story remains a main thread in Inquisition’s long-awaited follow-up” [these aren’t DG quotes, just bits of general text]

Over the course of development they had 8 full-time writers and 4 editors working on it. Other writers joined later to help wrangle what ended up being close to 1 million words of dialogue and unspoken text. While many teams moved to a more open concept style of work for DAI, the writers remained tucked away in their own room, a choice DG says was necessary, given how much they talked. All the talking had a purpose ofc as if someone hit a bump or wall in their writing they would open the problem up to the room

As writing on a project like DAI progresses, the writers grow punchier and weirder things make it into the game. This is especially the case towards the end of a project (they get tired, burned out)

Banter and codexes require less ‘buy-in’ (DG has talked about this concept a few times on the Twitch streams) from other designers. DG liked to leave banter for last as a reward because it was fun. Banter begins as lists of topics for 2 followers to discuss. These may progress over time or be one off exchanges. One banter script can balloon to well over 10k words. “The banter was always huge because we were always like, laughing, and really at that point, our fields of fucks were rather barren, so we would just do whatever”

The bog unicorn happened pretty much by accident. It was designed by Matt Rhodes and was one of his fav things to design. They needed horse variations and he had already designed an undead variant which was a bog mummy [bog body]. irl these are preserved in a much different way to traditional mummies. When someone dies in a bog their skin turns black and raisin-like. The examples we know of tend to have bright red hair for whatever reason. It’s a very striking look and MR wanted to do a horse version of this as he thought it’d be neat. 5 mins before the review meeting for it he had a big ‘Aha!’ moment, quickly looked up a rusty old Viking sword, and photoshopped it through its skull like that was how it died. “And I was like, ‘I just made a unicorn. Alright, in it goes!’” It got approved. “So we built the thing. It fit. It told a little story”

With the irl Inquisition longsword, one of the objects they tested its cleaving ability on was a plush version of Leliana’s nug Schmooples

The concept art team explored a wide variety of visuals for the Inquisitor’s signature mark. It needed to look powerful and raw but couldn’t look like a horrific wound. In some cases, as cool as the idea looked on paper, they just weren’t technically feasible, especially as they had to be able to fit on any number of different bodies

Bug report: “Endlessly spawning mounts! At one point during development, Inquisitors could summon a new horse every time they whistled, allowing them to amass a near infinite number of eager steeds that faithfully followed them across Thedas. “You could go charging across levels and they’d all gallop behind you,” Jen Cheverie says, “It was beautiful.” Trotting into town became an epic horse siege as a tidal wave of mounts enveloped the streets. Jen called it her Army of Ponies”

The giants came from DA Week, an internal period when devs can pursue different individual creative projects that in some way benefit DA. They also had a board game from one of these that they were going to put in but they didn’t have time. It’s referenced though. It was dwarven chess

Josie’s outfit is made of gold silk and patterned velvet, with leather at her waist. She carries “an ornate ledger” and she has “an ornamented collar sitting around her neck, finished by a brilliant red ruby, like a drop of Antivan wine in a sunbeam”

Iron Bull’s armor is leather. His loose pantaloons and leather boots give him agility to charge

On DAI in particular, concept artists took special care to make sure costumes would be realistic, at least in a practical ‘this obeys the laws of physics and textiles’ sense. “While on Inquisition, we thought about cosplay from a concept art perspective. Given how incredible a lot of [cosplays] are, I now am not worried about them. In fact in some cases in the future I want to throw them curveballs like, ‘All right, you clever bastards. Let’s see if you can do this!’”

2 geese that nested on the office building and had chicks were named Ganders and Arishonk (it wasn’t known who was the mom or the dad). Other possible names were Carver Honke, Bethany Honke, Urdnot Pecks, Quackwall, Cassandra Pentagoose, the Iron Bill, Shepbird, Garroose, Admiral Quackett, Scout Honking, HChick-47 and Darth Malgoose

Bug report: “The surprising adventures of Ser Noodles!” DAI was the first time the series had a mount feature, meaning this had a lot of bugs. A lot of the teams’ favorite bugs were to do with the mounts. There was a period of time where the Inquisitor’s horse seemed to lose all bone and muscle in its legs. They had a week or so where all quadruped legs were broken. It was a bit noticeable in things like nugs and other small beasties but the horse was insanely obvious. “The first time we summoned the horse [for this] and started running around, the entire QA exploration room just exploded with laughter.” Its legs flapped around like cooked fettucine, leading testers to lovingly nickname it Ser Noodles. At galloping speeds the legs almost looked like helicopter blades, especially when footage was set to classic pieces such as Wagner’s Flight of the Valkyries

For DAI the artists were asked questions like “What would Morrigan wear to a formal ball? Can Cassandra pull off a jaunty hat?”

On DAI storyboarding became the norm. John Epler: “Cinematic design for the longest time was the Wild West. It was ‘here’s a bunch of content, now do it however you want’, which resulted in some successes and some failures.” Storyboarding gave designers a consistent visual blueprint based on ideas from designers, writers and concept artists

Quote from a storyboard by Nick Thornborrow (the Inquisitor going into the party at the end of basegame sequence): “Until Corypheus revealed himself they could not see the single hand behind the chaos. A magister and a darkspawn combined. The ultimate evil. So evil. Eviler than puppy-killers and egg farts combined.”

A general note on concept art:

In the early stages of any project, before the concept artists are aware of any writing, they like to just draw what they think cool story moments could be. It’s not unusual for the team to then be inspired by these and fold them into the game as the project progresses

– From Bioware: Stories and Secrets from 25 Years of Game Development

#dragon age 4 #the dread wolf rises #dragon age #bioware #video games #the da4 tags are due to a few references to da4 #cassandra pentaghast #my lady paladin #lul #feels #solas #mass effect #garrus vakarian #best boy #morrigan #queen of my heart #fenris #the Fenaissance #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #Bioware: Stories and Secrets from 25 Years of Game Development #spoilers #spoiler #mj best of

[felassan]

Tali’Zorah vas Normandy in Bioware: Stories and Secrets from 25 Years of Game Development

#bioware #mass effect #video games #Bioware: Stories and Secrets from 25 Years of Game Development #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #spoiler #spoilers #long post #longpost #i love her your honor #mj best of

[felassan]

Select concept art from the ‘making of DAI’ chapter in Bioware: Stories and Secrets from 25 Years of Game Development

Top: Is that a representation of Solas and his line “My people had a saying long ago:  The healer has the bloodiest hands”? It was presented in the book along with the previously-seen image of Solas from the presentation BioWare did that was about the purpose of Trespasser

Second: This looks like Leliana, Cassandra and Vivienne celebrating the Inquisition’s victory at Skyhold. Is the elf on the left holding the ring behind the curtain (she has no vallaslin), supposed to be a sad post-game Lavellan after Solas leaves?

Third: Female elf Inquisitor [?] leading people away from exploding Skyhold [?]. I like her awesome mohawk

Fourth: Different concept looks for the anchor

#dragon age #bioware #solas #cassandra pentaghast #morrigan #my lady paladin #queen of my heart #video games #long post #longpost #spoilers #spoiler #Bioware: Stories and Secrets from 25 Years of Game Development #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #mj best of

[felassan]

“The Future of BioWare - Back To Space”

“A look at the next Mass Effect.”

On the heels of a long-awaited remaster of the Mass Effect trilogy, BioWare now prepares its epic return to space. A veteran team is hard at work envisioning the next big Mass Effect game. Expect amazing new worlds to explore with memorable characters buoyed by the series’ signature choices and consequences.

“There’s an incredible universe of history to draw from, and many more stories for us to tell,” project director Mike Gamble says. “We’re focusing on creating something truly for the fans.”

I think these 3 pieces of art are new to us (correct me if I’m wrong). They were presented in the book along with the mudskipper image that came out with the blog post about the remaster and the next Mass Effect. They didn’t have individual captions, there was just this paragraph transcribed above. (All previously-seen concept art for the next Mass Effect is collected here. Edit: See Edit/Update on that post for a note) What can we glean from these guys? 🔍👀

– From Bioware: Stories and Secrets from 25 Years of Game Development

#bioware #Mass Effect #video games #Bioware: Stories and Secrets from 25 Years of Game Development #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #spoilers #spoiler #A universe of history to draw from could just be in the context of having so much cool material there to explore #but I wonder if maybe it's something set in the past? #anyways I'm pleased to see them refer to the core things that make Mass Effect Mass Effect #worlds to explore memorable chars choice and consequence stories #We're focusing on creating something truly for fans - [thumbs up emoji] #do I need a tag for the next ME game yet?? #next mass effect

[felassan]

Select concept art from the ‘making of DA2’ chapter in Bioware: Stories and Secrets from 25 Years of Game Development.  That chapter had a section on the cancelled Exalted March expansion.

Top: A representation of Hawke marrying their LI at the end of the cancelled Exalted March expansion, as detailed here?

Second from bottom: Hey there Morrigan, looking v badass

Bottom: omggg BioWare please give me this elf lady, or an elf lady like her, to romance in DA4 🙏

#dragon age #bioware #morrigan #video games #spoilers #spoiler #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #Bioware: Stories and Secrets from 25 Years of Game Development #long post #longpost

[felassan]

Mass Effect development insights and highlights from Bioware: Stories and Secrets from 25 Years of Game Development

This is the Mass Effect version of this post.

[In case you can’t read it the subtitle in the bottom left logo above is “Guardians of the Citadel”]

Note: Drug use is mentioned.

Cut for length.

Mass Effect 1

ME began its life in a vision document in fall 2003

Codenamed “SFX”

Conceived of by Casey Hudson and a core team from KotOR. Its genesis was the intention to create an epic sci-fi RPG in an original setting that BioWare owned (so they could have full creative control), and in a setting that was conceived of first and foremost as a video game

Initially players could control any squadmate, but they wanted it to be about Shep and for players to be focused on Shep being a battlefield commander, rather than on switching bodies

By the start of 2004 its story was shaping up. Initially humans landed on Mars in 2250 and discovered evidence of an ancient alien race and a powerful substance, Black Sand, which rapidly advanced tech to the point that FTL travel was possible. (My note: obviously now the Prothean artifacts on Mars & associated mass effect force tech enabled this in the final canon, but I wonder if aspects of the ‘Black Sand’ naming-type & powerful substance stuff was rolled into red sand from final canon) Humans were suddenly capable of travel to multiple star systems and made contact with a multitude of other species. At the start of the first game, these species together with humans had a fragile peace, with focus placed on the political center of the galaxy, a hub known as Star City, later renamed the Citadel

Multiplayer was a vision for the series as far back as 2003. The plan was for ME1, an Xbox exclusive at launch, to take advantage of the platform’s online components. Early designs saw players meeting in one of the central hubs to interact and trade items in their otherwise SP adventures

By 2006 it had the name ME and the story was more specific, with the theme of conflict between organic and synthetic lifeforms. The story’s scope now stretched across 3 games and included scope for full co-op MP

They tried to do MP in every game, discussing it from the get-go, but it always just fell by the wayside. “When you’re trying to build something that is a new IP, on a new platform, with a new engine, you’ve got to really focus on the core elements of the game.” 

The conversation system prototype was made in Jade Empire, and some of ME’s earliest writing was done in an old JE build. At first there was no conversation wheel. Paragon was “Friendly” and Renegade “Hostile”. In the prototype Shep was a silent unnamed Spectre. Many conversations in the prototype about the player’s choice in smuggling a weapon through Noveria made it into the game

In said prototype a merchant referred to themselves as “this one”, though the word hanar never appeared. The PC in it also had the option to end a conversation with “I should go”. In the prototype also, Harkin was voiced by Mark Meer

An early version of the Mako got used as the krogan truck in ME2

Early concepts of the Citadel were drawn in pencil by CH. A piece of concept art of its final design was painted based on a photo of a sculpture near Aswan, Egypt

As with any new IP naming it was a struggle. They put out a call to all staff for ideas, did polls, made a name generator that combined words that they liked in random ways and made pretend logos of ones they liked in Photoshop to see if they could make themselves love the name or find visual potential in it. (Some of these names are in the pic at the top of this post.) CH liked “Unearthed” as it was a reference to Prothean ruins dug up on Mars and humanity’s ascendance going away from Earth. They knew the game would have a central space station featuring prominently so some of the ideas were based on that - “The Citadel”, “The Optigon”, “The Oculon”. “Element” was another one they had in mind due to the rare substance in the game 

CH: “I was a big fan of John Harris’ book Mass, which had epic-scaled sci-fi ideas, so that was a word that came up often. Many of the names came from the idea that the IP featured a fifth fundamental physical force (in addition to the known four of gravitational, electromagnetic, strong nuclear and weak nuclear) so the word ‘effect’ came up pretty often.” Ultimately none of the ideas really felt right. One Monday morning they were going over the names and Greg Zeschuk said he had an idea on the weekend: “Mass Effect!” CH: “I said, ‘I don’t hate it’, which in the naming process is a high compliment. And it stuck!”

CH on Shep’s Prothean vision from the beacon: “It was hard to imagine how we would do this. CG was - and is - really expensive. Instead I wanted to try doing it through photography and video editing. So I went to a local grocery store and bought a few packages of the weirdest looking meat that I could find. Then I set up a little photoshoot in my basement, complete with some electronics parts and some red wine for juicyness.” He used these props to create a video sequence where the photos were rapidly cycled and blurred, along with production paintings, to create the scary vision an organic/machine experiment on the Protheans. These mashups were also used as inspiration for concept artists and level designers who were working on these themes

Tali used to be called Talsi

On the licensing side they often joke that they’re licensing N7 not “Mass Effect” due to N7′s popularity

There was a confidential internal guide to the IP in 2007 to help devs along and summarize/synthesize the vision etc. Some excerpts from it are shown in the book and this is the first time the public have ever seen them

Early versions of Asari had hair

Asari were designed as a nod to classic TV sci-fi (with human actors wearing obvious makeup and prosthetics to play aliens)

The turian design guideline was “we want them to be birds of prey”. They also wanted a range of alien types, some close to human like Asari, while others were to be a lot further away, like turians

BioWare patented the conversation wheel, which was a first for them. CH had been frustrated with reviews of Jade Empire that said that the actioncentric game was too wordy [with its list dialogue]. “I’m like, story is words. [...] What is it about our games that is making people feel like they’re wordy?” Then he thought “In a game you kind of need to feel like you’re continuing to play it. Maybe you should continue feeling like you’re playing it actively into the dialogue.” “[The wheel] kind of gave a new experience with dialogue when you did start to react based on emotion, and that’s ultimately what we’re trying to bring out in our games”

The original krogan concept was based on a bat “with a really wide squidgy face. We just used its face on top of this weird body and it kinda worked”

Geth musculature was based on fiber-optic cables, with flexible plates of armor attached

The vision for the IP was 80s sci-fi inspired space opera

The concept art of Saren lifting Shep by the throat inspired a similar scene in-game. The staging wasn’t planned til designers saw that art

A squadmate with Shepard on the way to meet Ash in an old storyboard was called Carter. Early name of Kaidan or Jenkins?

Bono from U2 was kinda instrumental in bringing us ME lol

Finding the right cover art for ME1 was notably tricky

Matt Rhodes got his start drawing helmets for ME1, including one which would become Shep’s “second face”. He estimates he drew between 250-270 different ones

Some of the sounds in-game were people smashing watermelons with sledgehammers and sticking fists into various goos

The audio team had fun trying to slip the iconic main theme into unexpected places throughout the MET. “We were very aware of how powerful that track was for the fans and it was tempting to overuse it for any moment we wanted to make really emotional”.

The theme was creatively repurposed in ME3: slowed down and reworked as the ambient sound for the SR-2. “If you listen to it for a really long time, just stand in the Normandy and listen, you’ll actually hear the notes change slowly. It doesn’t sound like music, it sounds like a background ambiance, but it’s there.” (My note: Well no wonder the Normandy feels so much like home?? 😭 sneaky..)

Bug report: “Mako Tornado”. There wasn’t enough friction between the tires and the ground, causing testers to lose control of the vehicle and send it spinning into the air like a tornado. “As it turns, the front end comes up, and then it starts spinning and spinning and spinning and spinning faster and faster and faster until it just flies up in the sky” (My note: Sounds like a regular day in the Mako to me)

Cerberus originally had a bigger role in this game. It was cut but they had a whole explorable outpost. “I called it Misery,” says Mac Walters, “It was this planet with a little outpost that said ‘Welcome to Misery’”. Everything on the outpost was shit - dirty worn stuff, no windows, no kitchen, the vehicle bay was open to the elements etc

The Reaper sound is literal garbage. Some audio designers went on a recording trip to a national park. One of them got fixated on a garbage can, “a metal bear-proof receptacle with a heavy lid that creaked horribly when opened”. “It was like, ominous, spooky, tonal and almost musical. I decided to throw a mic into the garbage and record it moving. I didn’t know what it was going to be until later”

They were making lots of noises to record like throwing logs and rocks around. An old couple peered at them through the window of their camper van in the woods and must have called the cops because then the cops showed up, pulled them over and told them to stop. The cops towed their car (the driver’s plates were Cali plates and expired), drove them to Edmonton outskirts and then the audio producer Shauna got a call and had to go pick them up “like three little boys”. “We got a stern talking to”. Once back they were playing around with the garbage sound, editing it etc. Casey heard it and proclaimed “That’s the sound of the Reapers”

Preston Watamaniuk: “There are things I could have done to Mass 1 to make it an infinitely better game with better UIs” and some simple cuts and changes. “But when you’re living with it, it’s very hard to see those things”

BioWare Labs

As social media and smartphone games exploded, BioWare dedicated a small team dedicated to exploring opportunities here - BioWare Labs

Mass Effect: Galaxy used a unique graphic art style and static visual presentation common in visual novels. It has the distinction of being the only iOS game BW have made during their first 25 years

Scrapped ideas were a 3rd person space shooter called Mass Effect: Corsair and 2 DA titles - a strategy game and a top-down dungeon crawler starring young Wynne. (My note: Maybe the corsairs stuff was rolled into Jacob’s backstory in 2, the Alliance Corsairs)

Corsair was a very short-lived project that never got its feet under it. It was a spin-off on Nintendo DS featuring a behind-the-ship perspective and branching dialogue. At one point it had MP. The idea behind it was basically “ME: Freelancer” - fly your ship around, do missions, get credits. It had a limited branching story but was a gameplay-centered experience intended to fill the gap between ME1 and 2. That gap ended up being filled by Galaxy

Galaxy and Corsair’s smaller screen allowed concept artists to use bold colors and a simplistic character design style to help those games stand out from Shep’s story

Nick Thornborrow did some art for Corsair but was worried his art style didn’t fit ME. He moved to DA where he feels his art style fits better

Lots of BioWare VAs and even a lead writer and the VO director are drawn from Edmonton’s local community theater scene, which is vibrant. Think this is how Mark Meer got involved

Mass Effect 2

Player choices carrying over was a first for BW

Dirty Dozen-inspired plot

Its plot is a web of conditionals (see Suicide Mission)

Was more of a shooter than anything BW had made since Shattered Steel

There was 2 camps on the team, those who wanted to push combat and systems forward and redefine the ME experience and those who wanted to make a true sequel, with the same gameplay and systems but a new story. Karin Weekes: “I think it ended up being a good push-pull. It felt like a pretty healthy creative conflict”

“ME2 was a game you could hold up to someone who argues that games aren’t a serious medium and go ‘Oh yeah, then why is Martin Sheen in this?’” Sheen was their first pick for TIM

The idea for TIM came from a mash-up of concepts CH had collected over the years. The name “Illusive” originally came from his pitch for naming DAO’s Eclipse engine, a word inspired by Obi-Wan’s line “It’s not about the mission, Master. It’s something... elsewhere. Elusive”. “I thought, what if we called our next engine 'Elusive', but used an ‘I’, and then it’s like ‘Illusion’. [...] I still really like the word with an ‘I’ and what it conjures”

When ME1 DLC was in production, CH had been watching a lot of CNN, specifically Anderson Cooper. “How is one guy travelling to all these places and never looking tired and always being able to speak with clarity?” CH says it seemed almost superhuman. “What if there was someone who is the absolute maximum of the things you would aspire to be, but also the worst of humanity?” Cooper, though not evil, became an inspiration for TIM down to the gray hair and piercing blue eyes

Inspiration for TIM’s behind-the-scenes role pulling political strings came from Jack Bauer’s brother Graem in 24. Graem “can call up the president and tell him what to do and hang up, because he’s so connected and so influential”. Sheen had played a president and his performance brought gravitas and wisdom to the role. He had quit smoking, but the character smokes. He didn’t want to fake it, but he also didn’t want to smoke, “so he actually asked for a cigarette” to hold so he could stop his words to take drags with natural cadence

Writing was still pushing to write and revise lines hours before VO started. A series of problems like injury and some writers leaving for other opportunities left it so that Karin, Lukas Kristjanson and editor Cookie Everman hand to land the story safely, with PW helping where they could. Lukas: “We took over the writing bug and task list, and I can’t stress enough how much [Karin and Cookie] did to get ME2 out the door. There’s no part of that thing we didn’t touch”. Karin: “That was the most dramatic 2 weeks of my life”

Initial fan reaction when they started promo-ing ME2 was very negative because people didn’t want to know about new chars like Jack and Mordin. “[fans were like] ‘Get them out of here. We want our characters from the first game’. But then when they played them, those became some of the most popular chars [of the series]”

Concept art of Thane has an idea annotation saying “Face can shapeshift?”

At one point when designing Thane concept artists sent multiple variations of him to the team asking them to vote on which was the most attractive

Most of the Normandy crew was written by lead level designer Dusty Everman. Lukas gave him advice in the evenings between bugs

BioWare Montreal made ME2 and 3 cinematics

CC for Shep was based on tools used by char designers to create in-game chars. Under the hood similar tools existed to create aliens

Aliens were much easier to animate than humans. When something is human it’s very difficult to make it look realistic and you can see all the mistakes and everything

Over the holiday period in 2007 CH worked out a diagram on a single piece of paper that would define the entire scope and structure of the game. The diagram is included in the book

Bug report: “I shot a krogan so hard that his textures fell off”. At one point shotgun blast damage was applied to each of the pellets fired, and shot enemies ended up with just the default checkerboard Unreal texture on them after their textures got blown off

Blasto was meant to be 1 step above an Easter egg but his fan popularity prompted them to bring him back in ME3

They rewrote chunks of Jack 2 days before she went to VO. She was the only one they could change because all the other NPCs were recorded. They redesigned her mission by juggling locked NPC lines and changing Shep’s reactions by rewriting text paraphrases to change the context of the already-recorded VO

Lukas snuck obscure nods ito ME2′s distress calls. In the general distress call for the Hugo Gernsback, there’s BW’s initial’s and Edmonton’s phone number backwards. In a fault in a beacon protocol there’s the initials and backward phone number from Tommy Tutone’s “Jenny”. In 2 other general distress calls there’s initials and numbers from Glenn Miller Orchestra’s “Pennsylvania 6-5000″ and initials and numbers from Geddy Lee and Rush’s “2112″ respectively 

Mass Effect 3

“The end of an era marks the beginning of another”

ME3 “marked the end of Shep’s story”

Saying bye to Shep was as difficult for devs as it was for players

JHale’s final VO session included Anderson’s death and romanced Garrus’ goodbye. “We were in the session and we both just started crying”, Caroline says. “I couldn’t come on the line to give her notes because I was crying, and she was crying. And so there was just this minute-long pause of like, nothing, nothing, nothing - just silence through the airwaves. And then I came on and just told her that I was crying and she said ‘I’m crying!’” They talked about these anecdotes also here on the N7 Day reunion panel

The Microsoft Kinect voice support required devs to teach Kinect hundreds of commands in a variety of accents across multiple languages. The result was useful but made for some awkward moments. Numerous players accidentally said “geth” or “quarian” while making a particular decision and accidentally killed Tali

MP chars were voiced by cops and military people

The helmet on one of the MP chars was originally designed for cancelled project Revolver

The payload device at the end needed to attach to the Citadel while essentially serving as a giant trigger. “It ended up becoming quite the engineering feet just to visualize how this thing would move and connect to the Citadel”

Concept artists explored creating an anti-team, where Kai Leng was almost an anti-Shepard essentially, with an elite squad to counteract your team. This idea never went beyond concept phase

ME3 Special Edition was released on Nintendo Wii U exclusively. This exclusive version of the game includes Genesis 2 (a sequel to the original Genesis comic) and unique gameplay features that took advantage of the touchscreen GamePad. For years Sonic Chronicles: Dark Brotherhood had had the honor of being BW’s only game made for a Nintendo console

FemShep regrettably didn’t feature in major ME marketing til ME3. Later releases like DAI, MEA and Anthem have taken increasing care not to gender their protagonists in cover art

To capture combat sounds they took a trip to CFB Wainwright, a military base southeast of Edmonton. They got a big tour of it and were allowed to record anything they could find. The tour ended with them getting to drive and shoot tanks (real shells). The force of doing that sent waves through Joel Green, he felt his whole chest compress when it went off; the perfect sound for the Black Widow! After the trip the soldiers let him keep the shell he fired and it’s been passed on like a torch to various devs since

Kakliosaurs began life as a joke in the writers’ room after John Dombrow placed a Grunt figure on a t-rex toy he had on his desk. Lore was brainstormed to justify the mash-up before someone asked, “Why don’t we put this in the game?” They loved it so much Karin had custom coffee mugs made

Bug report: For a while Tali’s final romance scene would fire when she was supposed to be dead

“Balancing combat: how designers in ME3 entered an ‘arms race’” - the solution to players feeling OP vs players feeling frustrated by really strong enemies is to find a good middle ground, but for designers Corey Gaspur and Brenon Holmes, it was war. Brenon designed enemies, Corey designed guns. Corey “was obsessed with bigger, heavier guns. We had this sort of informal competition where he’d make this crazy overturned gun that would just murder all the enemies, and then I tuned some stuff up to compensate”

Brenon had to invent new ways to “stop Corey” and this led to the Phantoms. Corey had in turn designed consumable rockets that could wipe out entire waves of enemies. He must’ve figured this would make short work of Brenon’s space ninjas, but Brenon had other plans: “I had just added the ability for her to cut rockets [when Corey was playing MP and he was watching]. She cut the rocket in half... Corey just turns and looks at me and is like: ‘Really dude? I just shot a rocket at this Phantom and she’s fine? Not even damaged? Zero damage?’” 

This friendly rivalry helped elevate ME3′s gameplay. Corey had a knack for making a gun feel so good to fire it had his fellow designers scrambling to keep up. It was his version of balancing. Before Corey sadly passed away he mentored Boldwin Li in all things weapon design and the arms race continued

Corey designed the Arc Pistol. It was causing problems for enemies because it was too powerful. It seemed hell bent on staying that way, Boldwin would tune down all its stats and it was still doing 3x the damage it should have been doing. “I was like ‘What the hell?’, and then I looked closer. It secretly fired 3 bullets for every pull of the trigger! Corey, you sneaky jerk”

The day it launched there were midnight launch parties across North America including one near the BW building. Numerous devs sat at long tables greeting fans and signing autographs as the fans picked up preorders. When midnight struck the line was long enough that it took several hours for some fans to get their game. One particular fan is remembered: “It was 3am. Some guy drove up from Calgary with his friends. He was like one of the last people in line. I think he was sort of tired-drunk. He threw himself across the tables, pulled up his shirt and shouted ‘Guys, sign my abs!’ And like I did, because he waited so long. It felt impolite not to. So I hope he enjoyed his copy of ME3″

For designing Protheans concept artists had free reign to design something that read as ancient

Before the concept art team had the story of the game to work toward, they explored wild ideas of their own including an image of the crew stealing back the Normandy to go after the Reapers

Jen Cheverie was testing scenes and was initially excited to be testing Mordin scenes, til she saw she was testing the Renegade version of his death. “This is even before like all of the audio and everything was in, so you didn’t even have the sad music. I remember sitting at my desk and my hands just went to my face when I saw that the gun Shep pulls on Mordin is the gun he gives Shep in ME2. I burst into tears and was crying for the rest of the day. People are waving to me as they walk by and I’m like, ‘It’s ok, I’m just killing my best friend’” 

There’s a segment called “Shepard’s story ends”. Casey on the ending: “There’s a whole bunch of things that come together to make it incredibly tense and emotional for players. I think the biggest one was the sense of finality, that whatever it was that happened in that very last moment... was it.” 

Wrapping up the story was a massive feat. In a way all of ME3 is an ending. Its final moments were the players’ last with a char they’d been with all the way from Eden Prime

“And while the critical reception of the game was extremely positive, many fans were unsatisfied with the ending, which became one of the most controversial in the history of games.” CH: “We were, on one hand, at the end of a marathon trying to finish the game and the series. But as devs we also knew that there would be more. We knew that we would continue to tell the story. In retrospect, we didn’t fully appreciate the tremendous sense of finality that it would have for people”. He envisioned an ending that posed new questions, something in the tradition of high sci-fi that left players dreaming about what that particular galaxy’s future could hold. “Frankly, there’s a lot more that we could have and should have done to honor the work players put in, to give them a stronger sense of reward and closure”

AAA games are massive undertakings with a million moving parts. Somehow they come together but even the best-planned projects don’t turn out quite like devs hope. From start to end video game production is a series of compromises. It’s rare if not impossible for devs to ship a game they’re entirely happy with. “I think that people imagine that when you finish a game, it’s exactly the way you wanted it to be. But whether people end up loving or hating the final result, we work hard to finish it the best we can, knowing that there’s a lot we would have wanted to do better. I think that’s true of any creative work”

As the dust settled after the initial reaction to the ending and later its epilogue, meant to show the wide-reaching ripple effects of Shep’s final choice, “players emerged mostly asking for one thing”. CH: “Now, most of what we hear, after both ME3 and MEA, is ‘Hey, just go make more Mass Effect’. And that to me is the most important thing. Knowing that players want to return to the ME universe is what inspires us to press on and imagine what comes next”

Mass Effect: Andromeda

By creating a new ME in a new galaxy the team was challenged to put their own visual stamp on the game while keeping it true to the franchise

Being the first ME game on a new gen of consoles meant for more detail

“Massive transport ships called arks populated with salarians, turians, humans, asari and quarians” made the risky jump to the Cluster

MEA was the first time BW had truly codeveloped across 3 studios: Edmonton, Montreal and Austin. The bulk of the work especially early on was done in Montreal, which was composed of a handful of Edmonton expats and heaps of experienced devs who joined from elsewhere specifically to bring a new ME experience to life. Series vets in Edmonton then came on to contribute writing, cinematics, design and QA, along with leadership from creative director Mac Walters and the core Production team. Austin writers and level designers also joined the fray

“It took a new team to take ME beyond the Milky Way”

Mac: “A lot of people in Montreal joined BW as fans of the franchise, so they just had this passion, and it felt like it was more like the days of Jade Empire, where a smaller younger team gets to do something for the first time. Even though it wasn’t necessarily a new IP for me, it felt fresh and new because of that. The team was just super excited to be working on it”

Early plans had the player exploring hundreds of worlds, procedurally generated, allowing for a nearly infinite variety of experiences. But as development wore on, it became clear that the game narrative required more specific, hand-touched level design on each world to keep the story focused and the experience engaging. “The plan was to give players numerous uncharted worlds to explore. Designers worked hard to come up with procedural elements that would make such planets special. Eventually the team made the difficult decision to abandon procedural planets in favor of more memorable hand-touched alien worlds, each with a specific story to tell”

One challenge was defining what ME meant without Shep. Care was given to include many of the MET’s key species. “Ryder recruited turian, asari, krogan and salarian followers”. Like Shep Ryder represents humanity’s hope for a peaceful coexistence among aliens who had long operated without human contact

Beginning with MEA the team decided that with few exceptions vehicles in ME have 6 wheels. Early Nomad concepts were bulkier. Later ones focused on its ability to move over its ability to protect itself from hostile fire, underlining the themes of exploration

German concept designer and auto-motive futurist Daniel Simon was contracted to create the Nomad and Tempest. The Tempest’s final design took inspo from the Concorde 

Concepts for angaran fighter ships have the following notes: “Two doors swing open, wings rotate down to function as landing struts, the landing struts split open. It has a spinning turbine engine 

Despite being set a galaxy away and some 600 years after Mordin’s death, there was a time when he had a cameo. It wasn’t cut due to running out of time however, it was cut due to drug references. John Dombrow explains: “One day I had to write a small quest for Kadara. I thought it’d be amusing if these 2 guys living way out on the fringes in a shack were growing plants for uh, medicinal purposes, and needed Ryder’s help with it. It occurred to me, wouldn’t it be amusing if Ryder had the option of actually trying ‘the medicine’ to see what would happen? And I thought, what if it turned into some hallucination that somehow involved SAM - like maybe SAM would sing? But why? How could I motivate that? Then it hit me. Who else in the ME game sings unexpectedly? MORDIN. As a nod to him I wrote SAM singing Modern Major-General. It got even better when our cine designer John Ebenger wanted to take it even further. Bless him, he came in on a Saturday to do a special hallucination showing Mordin himself. It was great. Til the fateful day we were told MEA had already been submitted to the ratings board. That’s when you declare things like drug references in your game. Mordin fell under that category which meant it was a no-go. We were too late”

Ryder’s white AI armor contrasts Shep’s iconic dark armor (intentional design)

Concept art for Ryder involved experiments with cloth (cloaks, ponchos, capes - “Pull here to release cloak”) and asymmetrical design elements

For alien design, there’s a few exceptions but humanoid figures are the ME standard and this persisted into MEA

Kett and angara concepts explored striking lines and textures 

– From Bioware: Stories and Secrets from 25 Years of Game Development

#mass effect #mass effect: andromeda #bioware #video games #jade empire #Bioware: Stories and Secrets from 25 Years of Game Development #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #spoilers #spoiler #lul #dragon age #garrus vakarian #best boy #feels #anthem #long post #longpost #drugs for ts #drugs mention #drugs cw

[felassan]

Select concept art from the ‘making of DAO’ chapter in Bioware: Stories and Secrets from 25 Years of Game Development - Part 3

Top left: Pride Demon it seems like

Top right: alternate Pride Demon concept?

Third: another Pride Demon concept? not sure but it looks cool as hell

Fourth: This one reaaally reminds me of what David Gaider said the Archdemons used to look like in the early days before all the dragon stuff was added to the lore -

An original Archdemon concept drawing had them as a lot more demonic as opposed to draconic, with blank all-black faces, a giant ornate crown, smoke, tentacles and a Cthulhu-esque feel. Things change a lot during the concept phase however. At the time, DG wasn’t sure if he liked the changing of the ‘demon’ into a ‘dragon’, but over time he digs it - it sorta implies some things about the nature of dragons in the world that they later decided “yes, that is probably the case”. They then worked that more into the lore so that dragons weren’t just there to be huge lizards. Given the difficulty the team had modelling things like tentacles and snakes, the original Archdemon concept would probably have been iterated on and would’ve had to become something else eventually anyway. [source]

Dark face, the giant ornate crown, demonic, tentacles, Cthulhu-esque. This is rather interesting because ummm doesn’t it bear a resemblance to the statue from the ruins in the Dalish Origin which Tamlen says is supposed to be a representation of Falon’Din...? Included this at the bottom for reference.

[Part 1, Part 2]

#dragon age #bioware #video games #spoilers #spoiler #Bioware: Stories and Secrets from 25 Years of Game Development #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #posting these up bc Pride demons are relevant to our interests!! #also part 3 is the final part of the 'select DAO concept art' posts #so its part 3 of 3 #there's loads of other pics in these chapters and the book in general though!

[felassan]

“The Future of BioWare - Tevinter Bound”

“A sneak peak at the follow-up to Inquisition.”

As BioWare entered its twenty-fifth year, the Dragon Age team was hard at work on Morrison, the code name of the long-awaited follow-up to Dragon Age: Inquisition. The game, helmed by executive producer Mark Darrah, will take players to Tevinter as the events of Inquisition and Trespasser threaten to forever change Thedas.

The rest is cut for length.

Caption on this piece of concept art from the recent Behind the Scenes trailer:

The Evil Gods have Thedas in their sights and only heroes can stop them. The shadows of the past stir, and new heroes must rise to fight them.

My note: “The Evil Gods”? The Evanuris? The Forgotten Ones? The Old Gods? Also, “new heroes” to me reinforces the message on the update that was made recently to the official dragonage.com website which says ''The world needs a new hero. Will you answer the call?'' - new hero, not the Inquisitor.

Caption on this piece:

From their Necropolis, the Mourn Watch guard Thedas from occult threats.

My note: Speculation about this concept art was mixed between Necropolis/Mortalitasi and Tevinter (I think the Tevinter stuff came from the shape of the skeleton’s headpiece compared to what an Archon was wearing in some art?). This caption seems to cement that it is indeed Mortalitasi, specifically the Mourn Watch, who crop up in Tevinter Nights (Down Among The Dead Men). From this can we conclude that Skellington is a necromancer from that sub-faction?

Caption on this piece:

Where there’s treasure, there’s adventurers braving death to get it. The Lords of Fortune are always on the hunt for treasures - wherever it might be.

My note: So these people, or some of them anyway, are Lords of Fortune? If so it could potentially be nixing the idea that the woman in the foreground is Isabela. Lords of Fortune would be wearing such trinkets as she is. I think we can expect the Lords of Fortune to be playing a significant role going forwards.

Caption on this piece:

The glittering hubs of Thedas are beacons of civilization and bulwarks against the night.

My note: It’s about time we get to visit a properly-realized and well-done hub settlement in Dragon Age.

Caption on this piece:

The Antivan Crows have perfected theatrical assassinations. The Antivan Crows are celebrated for their mastery of stylish slaying.

My note: More focus on the Crows.

Caption on the now-infamous The Dread Wolf Rises teaser mural:

One of Nick Thornborrow’s beautiful paintings showing an old friend with a shadowy threat!

Caption on the t-shirt images at the top of this post:

One perk of the job is a steady supply of themed t-shirts!

My note: Still being secretive with the game’s title I see! 😆

There also seems to be one as-yet unseen piece of concept art, as I don’t remember it being in the Behind the Scenes video? Correct me if I’m wrong. This is the third image at the top of this post. The caption on it is:

The Deep Roads teem with evils both new and old, known and unknowable.

My note: Blight, Titans?

There’s also a bit of further info here due to the different versions/crops of the pictures.

-- From Bioware: Stories and Secrets from 25 Years of Game Development

#dragon age 4 #the dread wolf rises #dragon age #BioWare #Solas #video games #Bioware: Stories and Secrets from 25 Years of Game Development #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #spoilers #spoiler #tevinter nights #tevinter nights spoiler #tevinter nights spoilers

[felassan]

Some more thoughts:

[hamster running in wheel gif]

In the turtle-monster scene, is that environment a salt plain or the edge/riverbed of a mostly-dried up riverbed? Could that be the Anderfels?

Lots of contrast of gold and black in the new mural (Golden City/Black City dichotomy)

In the mural, the positioning of the 'Evil God’ Centipede monster figure above Meredith with the red lyrium idol (or rather, her sword Certainty which she made from it) and of the other ominous figure above Corypheus with the orb is... interesting. And kinda ominous. Is it implying that each entity was behind or somehow the cause of the actions of Meredith and Corypheus, respectively? They loom over them like puppetmasters.. Manipulating them or events around them from behind the scenes, or whispering away to them or something while they were none-the-wiser? It feels a bit like a build up to a ‘look behind the curtain at the cause of those events’-type deal. The callbacks to Meredith and Corypheus are there for a reason

The figures being upsidedown is also a Thing. It’s like they’re a mirror image or watching from a different plane/world. Speaking of ‘the manipulators from behind the curtain’, if they were doing this stuff from the Fade they’ve literally been.. behind a Veil

The gold outlines, highlights and halo on the figures also reminds me of ancient elvhen stuff, which is often gold in color (the armor and so on). I guess this is another factor in my feeling that the two figures are or are connected to the Evanuris

Some more on the mural’s composition: Fen’Harel’s head and the outline of him breaking into the Black City is a perfect triangle, like an arrow fired at a target, then piercing on entry. This really reminds me of the Slow Arrow fable -

The god Fen'Harel was asked by a village to kill a great beast. He came to the beast at dawn, and saw its strength, and knew it would slay him if he fought it. So instead, he shot an arrow up into the sky. The villagers asked Fen'Harel how he would save them, and he said to them, “When did I say that I would save you?” And he left, and the great beast came into the village that night and killed the warriors, and the women, and the elders. It came to the children and opened its great maw, but then the arrow that Fen'Harel had loosed fell from the sky into the great beast's mouth, and killed it. The children of the village wept for their parents and elders, but still they made an offering to Fen'Harel of thanks, for he had done what the villagers had asked. He had killed the beast, with his cunning, and a slow arrow that the beast never noticed.

which !!  I wonder if there’s any allusions in it to Solas’ plotline going forward.

Perhaps the archer is Irelin or Strife? She and Strife have so far appeared together in TN and the new short, and presumably dress similarly being part of the same clan. The silhouette cast over Strife’s back in the new short’s accompanying art is presumably Irelin, and if the ‘horns’ are a helm or a headpiece, I could see why an elf might wear it, as its design resembles halla horns which are obviously part of Dalish culture and connected to one of the Creators. The front of the helm, from what we can see of it at least, also reminds me of Mythal’s ‘face’ as depicted in this statue

Relating to the above, some crack theory, ok I’ll admit it is my pet crack theory even - if the archer is an elf (gold triangle bow, which is gear used by some elves like Strife as seen in the new art), and if the wavy lines on the triangle on Strife’s back are intentionally meant to resemble the symbol of the Executors.. given the possible halla horn helm, and the link between halla and Ghilan’nain, I’m gonna go ahead and score another point for the “Ghilan’nain is connected to the Executors” theory (two), lol

There’s 2 versions of the part of the mural where Fen’Harel breaches the Black City. Compare this with this (the bit that’s in the rectangle in the top right). Hope it makes sense what difference I’m trying to point out here. It’s like the second one has 2 cities, one behind the one in the foreground

Solas’ design will almost certainly change again between now and release, it happens. Morrigan in The Fires Above looks quite different to how she ended up looking in DAI, for instance

I’ve just clocked that not only is this the same locale, the darkspawn thing is standing right next to the same ‘spooky tree’

Looks like birds in the background on the rooftops in the “Person Drinking Wine” scene. Crow allusion? Later on, Dagger Person’s dagger has a winged design. Same person?

Varric says “tyrants” and it pans over Meredith. He says “would-be gods” and it pans over Corypheus. Self explanatory. He’s covering the past and then turns to the future - he says “someone bent on breaking the world” and it pans over the two Evanuris figures. Ominous indeed, and a looming threat to us/Thedas? People talk sometimes about a ‘Solas as a secondary threat, something far worse is coming’, and about ‘he’s got to do what he’s doing because Thedas is running out of time til [Thing] and he thinks what he’s doing is the only way to stop it’. Maybe these two are it. “The Evil Gods” indeed.

I love the new font

How many painting and art styles does Solas have in his repertoire 

I like the gold leaf effect and the gold/yellow color scheme. It’s nice after the Warden basically being blue, Hawke having red and the Inquisitor having green

#dragon age 4 #the dread wolf rises #dragon age #bioware #video games #solas #felassan #Best Elf #tevinter nights spoilers #tevinter nights spoiler #spoilers #spoiler #tevinter nights #strife #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #Bioware: Stories and Secrets from 25 Years of Game Development #mj meta #long post #longpost #morrigan #queen of my heart

[felassan]

Image 1: Baldur’s Gate II concept art

Images 2 & 3: Jade Empire concept art

Image 4: Mass Effect concept art

Image 5: Dragon Age: Inquisition concept art

Images from the online preview pages of Bioware: Stories and Secrets from 25 Years of Game Development.

#bioware #dragon age #mass effect #jade empire #video games #long post #longpost #spoilers #spoiler #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #Bioware: Stories and Secrets from 25 Years of Game Development

[felassan]

A Reddit user who has the book was able to denoise, upscale and correct the new Mass Effect concept art [source]

#bioware #mass effect #video games #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #Bioware: Stories and Secrets from 25 Years of Game Development #spoilers #spoiler #next mass effect

[felassan]

Select concept art from the ‘making of DAO’ chapter in Bioware: Stories and Secrets from 25 Years of Game Development - Part 1

Top 2: Flemeth? They look familiar so they may not be new sry, in which case disregard

Third: Mage... Duncan?

Fourth: Wynne? There’s another one of her but I’m pretty sure I’ve seen that one before

Fifth: Cailan?

Sixth: Anora?

Seventh and Eighth: general costumes

Ninth: Morrigan with pants

Bottom: Sten

[Part 2, Part 3]

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[felassan]

“Mark Darrah’s Mysterious Red Book”

Dragon Age Executive Producer Mark Darrah tweeted a photo in 2016 of a mysterious red book with a flaming rook on the cover. Twitter went wild with speculation.

The book was an internal guide for developer and publisher eyes only that summarized the vision for Dragon Age: Inquisition’s follow-up, a project code-named Joplin. The Joplin project has since been revised to such an extent that its code name changed to Morrison, but the red book still contains plenty of ideas likely to appear in the next Dragon Age.

While most pages remain highly classified, here are a few Mark said we can publish. 

Text segment accompanying the Qunari image:

The Qunari are followers of a religious text of principles known as the Qun. Though Qunari can be of any race, most are part of a race of large humanoids with horns. 

For ages, the Qunari have proven a formidable opponent to the rest of Thedas, almost conquering the continent until a united force of every Chantry nation pushed them back into a tense stalemate. Recent events have reignited the Qunari offensive, however, and their forces are in open conflict with the Tevinter Imperium, while their spies and agents are active in every nation.

Text segment accompanying the Creatures page:

Animals, monsters and misplaced magical experiments: creatures sit apart from the conflicts and machinations flowing across the continent. Creatures range from the lowly nug up to the ultimate apex predator, the dragon. The next Dragon Age will feature our widest and most varied set of creatures to date. While often quite simple in implementation, creatures provide variety through differentiated animation and appearance.

– From Bioware: Stories and Secrets from 25 Years of Game Development

--------------------

My main takeaways here are that there are still a lot of elements and ideas from Joplin that are likely to be rolled into and to appear in DA4-Morrison, and that their aim is that DA4 will contain their widest and most varied set of creatures to date. I’m looking forwards to see what the Creature Design team have working on. 😄

One thing to note is that the Qunari art in the right-hand half of the top image is the tarot card art for the Katari in DAMP.

#dragon age 4 #the dread wolf rises #dragon age #bioware #video games #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #Bioware: Stories and Secrets from 25 Years of Game Development #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #spoilers #spoiler #long post #longpost #finally the mystery of mark's red book is solved lol #dragon age: dreadwolf

[felassan]

The other thing to note is that in some of the previously-seen (from the Behind the Scenes video) DA4 concept art pieces included in the “Tevinter Bound [a sneak peak at the follow-up to DAI] chapter of “The Future of BioWare”, they have wider ‘crops’ and a bit more of them included in the book, compared to what we can see in the BtS vid. Here they are for reference (compare with the originals here). It’s particularly apparent in the last one - here’s the original for the sake of comparison:

A lot more of this monster can be seen in the version from the book.

– From Bioware: Stories and Secrets from 25 Years of Game Development

#dragon age 4 #the dread wolf rises #dragon age #bioware #video games #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #Bioware: Stories and Secrets from 25 Years of Game Development #spoilers #spoiler

[felassan]

I’m obsessed with this picture the most it’s peak bisexual energy

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[felassan]

Select concept art from the ‘making of DAO’ chapter in Bioware: Stories and Secrets from 25 Years of Game Development - Part 2

Top: They use this one as the Cheery Baron in The Last Court

Second: female Qunari

Third: City Elves

4 - 6: Qunari concepts

7 - 8: These look familiar. from World of Thedas?

9: werewolf, concept from the early days of Nature of the Beast? that quest used to be werewolves-only (by this I mean werewolves were the focus, it wasn’t werewolves and elves). At that time there was a separate quest for the elfy stuff. The two later got rolled into one which is what we got in the game.

[Part 1, Part 3]

#dragon age #bioware #video games #spoilers #spoiler #Bioware: Stories and Secrets from 25 Years of Game Development #Bioware: Stories and Secrets from 25 Years of Game Development spoilers #Bioware: Stories and Secrets from 25 Years of Game Development spoiler #long post #longpost