#I feel like a bioware dev now trying to account for everything

[nikkalick]

Veilguard Spoilers below the cut. About the Blight, the current state of Southern Thedas, and the Veil…I’ve never made a rant like this so bear with my ramblings, please

I’ve seen so many people say, “We should’ve been able to tear down the Veil” and I feel like I’m going insane every time I see that take like…

MAMA A BLIGHT IS BEHIND IT??!

You think what happened to Southern Thedas was bad this game? You have no idea what’s in store for you if you open up the fucking Veil and let that trickle of Blight become a flood.

Point of Order just to set the scene with how bad the literal Blight is

“They (the writers/devs/Bioware/EA) nuked Southern Thedas so they don’t have to deal with the lore the past content set up there going forward”

Maybe. But also the only other Blight we’ve seen in game was the Fifth Blight. By all accounts a statistical anomaly in how it acted when compared to Blights 1-4. I don’t wanna delve too deep into this because it is so not the point I’m trying to make with this post, but the Architect very much had a hand in waking up Blight numero 5 and very likely impacted it in a way that made it less volatile. Past Blights saw Darkspawn hitting big populations hard and fast. The 5th started slow, in the wilds, at Ostagar. Away from large amounts of people. It is mentioned in DA:O that this Blight “feels different”.

The Blight we see in Veilguard is more in line with the Blights that came before the 5th. Something something the Inquisitor writing “worse than we have seen in living memory” because the only living memory anyone has of a Blight was the one from 20 years ago. Which was bad, but not as bad as they usually are. Veilguard’s is bad the way Blights are meant to be (if not worse because, ya know, the Gods), and it was still ONLY A TRICKLE OF WHAT THE BLIGHT IS BEHIND THE VEIL. If the full force of the Blight escapes the prison/the Fade that’s it. Goodnight to everyone in this world both within and without all of Thedas.

Moving on.

“Solas can move the Blight into the new prison that was meant for the Gods and then tear down the Veil. That was his plan.”

Sorry, did we play the same game? We know what the Blight is now. It’s the last remnants of the Titans. Twisted, broken, angry, nightmarish. It’s all that’s left. All that’s left are the plagued dreams of ancient beings that are so devastated because of what Mythal, Solas, and the rest of the Evanuris did to them with the very dagger we now hold.

I want to take a moment to address that what I’m about to say is said as someone who’s been trapped in Solavellen hell for years. I love Solas and his character, and I believe that yes, he had a plan that would have both moved (or killed) the remaining Evanuris and the Blight to a new prison while simultaneously tearing down the Fade. But if you, like me, wanted to redeem this idiot despite everything, then pray tell how does Solas locking up the Blight offer him said redemption?

How does locking away the only thing that remains of the Titans into a prison and throwing away the key redeem him? The Evanuris fucked up when using the Titan’s, idk…life blood? To take form. Solas fucked up when he, upon Mythal’s behest, created a weapon that sundered the Titan’s (and the Dwarves as whole) from their magic, from their dreams, from their very being. And they did it because they thought they had a right to. They put themselves above the dwarves and as a result they caused the Blight. And then they hid the Blight away. Yes, they hid it away to keep people safe, and yes, locking it and the Evanuris away when they tried to use what was essentially a bio weapon to maintain their position of power was a call that kept people safe for a long time. But the Veil was a consequence of that call. And while the Blight was trapped in its prison, behind the Veil, it got angrier and angrier with every passing generation.

Removing the Veil and shoving it into yet another prison will not only piss it off even more, but it doesn’t allow for Solas to actually atone for the part he played in its creation and the part he played in destroying what the dwarves used to have. He has to uphold the current prison. He has to go to it to try to soothe it. To heal it as best he can. Locking it away elsewhere, and then trying to offer it salvation after the fact? It’s not gonna cut it.

He has to go to the Black City, he has to face what he did, and he has to put aside his favorable bias towards giving the Elves “back what they lost” (a world current day Elves don’t remember and have never known) to instead put the safety and wellbeing of every being in the current world at a higher priority. That’s part of his redemption arc by the way; learning to value the lives of the people that walk this new world he had a hand in creating. Because when he wakes up before the start of DA:I he doesn’t value anyone. Shit, when Felassan declines to help him destroy the Veil and suggests he learns to appreciate the world that has been in place for centuries, Solas kills him for it.

All that said, he can’t fully put things right. He can’t reconnect the Blight with the dormant remains of the Titans. Because, as the game tells us, we’d then be faced with a bunch of Titans the size of mountains rampaging, rightfully so, because of the wrongs that were committed against them. But Solas can put in the work to find a way to ease its agony. And maybe, if given the time and the patience, one day the Veil could come down because the Blight will have had the opportunity and been given the help it needed to actually heal from the trauma that created it. And maybe taking the time to do that will have, in some small way, allowed him to make up for the shitty hand he played in destroying the Dwarves. A race he (finally) sees as his equal. Because that’s a big part of his fucking redemption arc.

[felassan]

Snippets. 🐺💜 DA:TV spoilers under cut.

When the Community Council played the game, in the working version they played, it sounds like when the 'no dying' mode was turned on, when the player's health gets low the screen turns red (but you don't then die, of course) [source]

Caitie of Ghildirthalen shared that everyone that she talked to from the Community Council really liked the gameplay. "They were all into it, none of us had any complaints about how they were doing the gameplay, we all thought it was solid" [source]

The Lighthouse isn't literally an actual lighthouse by the sea. It's in the Crossroads. It's "like a bubble in the Crossroads, kind of like what Morrigan brings you to" in DA:I. "It's its own little bubble, it's not actually the Crossroads, it's like its own little bubble of reality." "It's not really in the Fade, but it kinda is, but it's kinda not". "It's so cool, I loved it so much [...] it's very comfy". It used to belong to Solas and "as you walk around there, you will see, like, stuff, that kinda shows what Solas has been up to for the past couple years" [source]

"They say in the [Game Informer cover] article that [The Lighthouse] like looks gaudy, and stuff, and like it does, in like an ancient elven way, but it's not like going to grandma's house which has that 2005 Tuscan kitchen feel." It sounds like there are a lot of frescos made by Solas in there. "It's kind of like, sad, too, 'cause it's a little bit like, ancient elven bachelor pad that he's been too busy to really keep up with it". "I think it's the coolest hub [in a DA game] by far" [source]

After the gameplay reveal video, Solas essentially gets trapped in the new prison he was trying to build for Ghil and Elgar'nan. "I don't think they explain it well in the [GI cover] article what happens, like, lore-wise, like how this connection between Solas and Rook one, works, and then two, like, how it's done. [...] From that [Community Council participation and talking to devs], I have a better understanding of this link, and I do think the explanation given [in-game] is good, and is satisfying to me. They're just not explaining it well in the article, I do think they give a better reason in the game"[source]

Caitie shared that she doesn't know why marketing for the game keeps saying/trying to say that Rook isn't a Chosen One as a talking point. "Maybe [Rook] wasn't chosen, [they] just happened to be there, but now there is a connection there, like [they] can't just leave, [they] have that strange Solas connection that nobody else has". "In this game Rook was just at the wrong place at the wrong time, or right place right time, depending on how you look at it, and it could have been anyone in that scene, that's kind've what they're trying to say" [source]

Photomode is something the devs expressed to Community Council that they want to include in the game [source]

User: "many of us would love to see cosplay kits again of the new companions. Just thought to throw that out into the ether" Trick: "Agreed! Definitely bring that up to official BioWare accounts. I think it's a great idea." [source]

John: "at this point my brain is about 70% DATV and 30% everything else" [source]

User: "I keep looking at that horn [Taash's blue one], thinking: 1. What -is- it made of?" Karin Weekes-West: "If only we knew!" [source] User: "If this turns out to be some high-value gemstone or crafting mat, I can't promise I'll be able to suppress certain... larcenous urges." Karin: "How very Lords of Fortune of you! :D <3 It really is SO PRETTY, isn’t it? Our art team is so good. :)" [source]

User: "I need to know if Rook gets their own room CAN WE DECORATE" Carly: ":^)" [source]

User: "anyway they [Neve and Harding] are both in this concept art. next to each other even. this has to mean they are both alive after the prologue. right? right???" Carly: ":^)" [source]

Kala: "the overall UI is very nice" [source]

Kala: "I remember the sliders [in CC] having pretty good range tbh, so probably pretty tall and pretty short" [source]

Kala: "I can't wait to learn who the VAs for Rook are! I know one and I know people will be really excited for this person to join the Dragon Age family 🤫" [source]

[omegastation]

Hi, I've asked questions before, just trying to clarify some things, because I'm not entirely sure I understand what's going on right now. So people have mentioned that they're disappointed with how BioWare/EA have handled representation/diversity in the marketing. I just wanted to know in which way? Is it specifically trailers? Is it specifically romances? Just curious. Keep up the great work, hope this doesn't come off as confrontational/I explained my question okay. Cheers :)

Oh hello. Thanks. You're Very Polite Anon, always a pleasure tbh :)

I think it's important to mention that the disappointment right now is months in the making, it's not just one trailer that made people that annoyed, you know? And I won't be talking about those "First" videos because I haven't seen them at all since they have too many spoilers. I also hope what I’m saying here is accurate and I didn’t forget things. Anyone is welcome to correct me. 

At the core of it it started when we were told Sara and Scott would have equal representation in the trailers. They started posting videos where we didn't see much of Sara and when we did see her, she wasn't fighting or interacting with others like Scott was. Everyone was kinda keeping in mind the whole balanced thing they had promised. I think we expected a sequence like Sara - Scott - Sara - Scott - ... and in reality it wasn't like that? And the length of the vid and what was shown in it wasn't always equal. So it's hard to quantify. A lot of us were on the fence. More videos followed, this time with a lot more Sara. I think at this point they were truly trying to rectify it? But then a lot of Scott, and for this final official trailer that everyone is going to see, it was Scott as well.

Now at this point it's important to mention that some of us expressed disappointment, but fandom being what it is, it was very much turned into extremes where two points of view were prominent: "you should hate Bioware for this, they never learn and why do you support such a fucked up company?" OR "Bioware did everything right, what a bunch of whiny ungrateful fucks you all are, can't you just enjoy it???? gosh people being so negative!!!"Honestly did NOT help the conversation. And there were also some back and forth about who is truly responsible, EA or Bioware. Both are responsible, anyway, because both had a say in the marketing, and there is such a thing as promising people things and then being accountable for it. It’s especially important considering that the marketing failed before with FShep, and people remember that. In the end after we had all those conversations, they said they would give us a sisRyder version of the trailer. Logic tells me it was planned but it was also pointed out to me that it could be damage control if it takes a bit of time to get there. I have no idea at all, but I’m REALLY happy we’re getting this trailer. 

So that's the first issue. The second issue is LGBT representation. My issue with that is that the devs aren't shying away from talking about it on Twitter, hyping it all up about all sorts of romances, but the marketing doesn't follow. It winks at the romances and the banging they hyped for so long, but it's very much between Scott and women (we know asari don’t have a concept of gender, but I think the general public see them as women, so it works for them to have Scott/Peebee - I’m meh about this because we know the difference but I don’t know how else to explain it, it’s probably worth a longer discussion). The marketing presents us a very heteronormative vision of Mass Effect Andromeda. At this point it doesn't matter what is said elsewhere, this is the version that will be seen by future customers. And it's not about specific romances, it's just that diversity and representation aren't just nice concepts we talk about from time to time. It's entirely real and everywhere irl. It includes all sorts of gender identity, sexual preferences and types of romances. So why acknowledge that online but not show it in trailers? I think the answer to that question is truly what makes me sad. And the industry as a whole is doing it, it's not just Bioware. That’s probably why I think we should talk about it regardless of our personal feelings about this company. I love Bioware and I'm rooting for them but I'm also damn tired of seeing the same type of people or relationships in trailers, even when the game isn't like that and has more options.I also don't like the fatalistic idea that ‘it's just what it is’ and it’s ‘what sells’. We don’t know if showing diversity will limit sales, you need numbers to back that up! And we should always ask companies to do better anyway. How else will we see a change? 

I hope that clarifies some things, because I make a serious distinction between my complaints about the marketing and what is actually in Mass Effect Andromeda, that I can ONLY judge after playing it. I can't judge what is in the game before!And talking about Scott getting more screen time in trailers DOES NOT mean I hate Scott. I am actually the biggest broRyder defender? I've talked about anti-broRyder people before and I said that they should cut it out, because everyone is different and everyone has a different reason to play broRyder or sisRyder. I'll play broRyder and I don't need to apologize for that. I also find broRyder/Cora THE CUTEST. So yeah, this isn't about judging the game, the characters, the romances. And of course, it's not about me not being excited because I am. I have links where I talked about some stuff in details: fandom and marketing discourse, how I feel about bioware vs ea and who is responsible and ignore me if you need to because your enjoyment is what’s important in all this.

In summary: it's simply saying “you said there would be equal representation and you talk a lot about diversity with characters and relationships, can your marketing reflect it? Walk the talk please”

[felassan]

DA4 Lead Producer Scylla Costa’s BIG Festival talk, “Challenges of Dragon Age production during the pandemic”, can currently be rewatched on YouTube here starting roughly at timestamp 8:57:02 after a lil presenter blurb/intro. It’s 1 hour long. When it was streamed live, there was an English translation ‘voiceover’. There isn’t in this vid, however I want to post the link for Portuguese speakers, and also it’s neat for everyone to be able to see all the slides he presented with for themselves in context.

I don’t know if an English-language version will get put up so I’m sharing the notes I took during the talk below, in case anyone’s interested and because I might as well since I wrote them. The rest of this post is under a cut due to length.

Edit: Found a place to re-watch the English version of the talk

(Quick note: I didn’t note down everything, mostly things that caught my interest, so this isn’t exhaustive, and when I was watching I was real tired, so pls bear that in mind and don’t take these notes as bullet-proof 100% accurate gospel or direct quotes. If you watched it and think I’ve written down something wrong/misunderstood, let me know and I’ll fix. Also if you’re a Portuguese speaker and I’ve gotten something incorrect or missed something important etc, again just let me know.) **

** Edit: I’ve now gone through my notes while watching the talk again. I’ve filled in some of the gaps (although they still don’t cover everything said) and so forth, and now I’m no longer worried about there being possible errors in this post.

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For some context, this slide contained the breakdown of the talk’s structure. Bear in mind there are other slides present in the talk than the ones I’ve posted here, I didn’t include caps of all of them, just ones which were of note to me.

In the talk, chief Producer Scylla goes over challenges of DA4 production during the pandemic. He discusses the adaptations - necessary skills and learning from remote work - and he ponders on the future of teamwork.

After the launch of ME3 he became a producer, all his MMO and other experience helped a lot. He was on DAI for 3 years and MEA for 9 months, then Anthem. Today, on DA4, Scylla and another Lead Producer were the heads of the whole project, and there is his boss is the Executive Producer Christian Dailey. 

^ the usual AAA game development cycle (brief introduction)

AAA games are games that are launched for several platforms simultaneously. 

In BioWare’s case, the pre-production phase of the game development cycle can have from 5 - 30 people, and up to almost 60 people when they’re just about to go through the gate to production. 

In the pre-production phase, they go through the game’s concepts and prototypes and start developing systems. They seek the game’s concept and focus, and its key features. They do lots of market research. In the case of BioWare, all their games are strong in narrative, so they have lots of tools related to game narratives and supporting the development of a narrative (cinematic design, dialogue system etc) that get focused on in this phase. Other parts of the team such as writers and cinematic design need these systems to do their own roles. 

In BioWare’s case, the pre-production phase through to launch can take 4 - 6 years, but it does depend on the size of the team during development.

With regards to Dragon Age 4, they were coming close to the time when they would shift from pre-production to the production stage when the pandemic hit.

During the production phase is when the development of content and features takes place, with the systems mostly already existing from the pre-production phase. A few new systems may be developed in this phase. In the production phase is when things start escalating, and the team really starts growing, to like 2- or 3-fold the prior pre-production phase size. 

(DA4 is currently in the production phase.)

In the alpha phase, features have to be fully implemented and systems all have to be running / working. All the game features should already be in the game by now. They test from pre-production onwards, but this phase is when they run heavy technical tests with lots of players trying to play at the same time. In the beta phase, the idea is that you should now have full content and that now you’re balancing it and running more and lots of different tests with players before launch. There are final tweaks and then the final launch, when in the weeks prior to launch, all the different business units and areas e.g. marketing team, technology team, publishing team, get together once a day and all of the game’s issues are reported and brought to the table to be prioritized. Then they decide the next steps re: these issues (this is known as ‘the war room’).

After the launch there are usually patches like day zero patches and other patches, this being standard industry practise. The last stage is the new content stage where there are DLCs and a game with more content.

On March 12th 2020, the team gathered to review the DA4 story in the new office. Everyone was very excited. (They had spent over 10 years in their last building and had noticed that with the team growing they needed more space. In August 2019 they found the new studio in the city center.)

Anyway that evening, they got an email from the CEO which contained instructions and said that due to the pandemic, they should from now all start working remotely. They had known that this happening was a possibility so they had been planning on how to have all the devs working from home, but initially less than 50% of the devs were able to work from home successfully/efficiently due to various issues e.g. you need a VPN to be able to log in remotely to do your job normally, varying home office setups. The day after this, the office was basically deserted, except for Scylla, the IT infrastructure people and one or two odd devs.

Scylla was part of the team that was working on allowing the devs to work from home. They first started looking at the short-term changes they needed to make to allow this.

“First, take care of our developers”. 

When the pandemic first hit, their and Scylla’s [as Lead Producer] first priority was to look after the devs. Many of them are parents (schools and day-cares were shut, children were studying from home), others have relatives living with them, others have other personal circumstances which of course need to be taken into account when it comes to assessing what needs to be taken into consideration for this new scenario. So, they looked at each dev on a case-by-case basis in order to evaluate, speaking to each one and asking them what they could do to support them.

One of the first changes/adaptations they could implement was flexible working hours and flexibility around deadlines. Generally speaking the devs got a lot of support, EA was really good and really supported the devs especially in the first months of the pandemic (and they are still supporting them). Initially not all devs had suitable office spaces at home, some were working from the living room from laptops or at the kitchen table. The whole covid situation basically just happened over night and nobody was really ready to deal with that change. So their first step was to enable their devs to work remotely. As a producer, Scylla’s main task is to communicate with the team such as via a number of daily meetings. He doesn’t depend so much on powerful hardware.

“Enable developers to work remotely”.

This slide shows some of a BioWare audio team. Different teams have varying and specific needs in order to do their jobs and therefore in order to do them remotely. For example, the audio team need good-quality speakers and amplifiers, while the lighting and art teams need other specific equipment such as tablets and large screens. So there was a lot of work they had to do to go through each dev to understand their individual needs and what needed to be done for them. ‘Could they download the builds? Did they have the right performance [tech-wise]? Could they submit their changelists, their codes to the server?’

Some devs needed a more powerful internet connection as it would take 6-8 hours to download a build (some devs live rurally). Some needed a lot of cable, as they were working far away from their routers (sometimes up to 50m). As time went by things got better and better. 

The chair devs work from is also important; a kitchen able chair etc is not suitable to sit in for long-term desk work, possibly leading to health issues like back ache and blood circulation problems in the legs.

Every 3 months they had money given to help devs buy new mice, keyboards, monitors - anything they needed really in order for their office setting at home to be improved. For a while, because lots of people [generally, in society] were needing and buying them, it was quite hard to buy things like webcams and microphones.

On mid- and long-term changes:

In terms of DA, we have to look at this from 2 perspectives, the change in the personal and the professional environments. 

As a consequence of working from home, people tend to be less active during the day (even in an office, you go between meeting rooms, up and down stairs etc). Physical activity supports life quality and therefore work quality. Scylla noticed that he began to feel listless and such, and found that he needed to change his routine that he had initially developed when he started working from home, for example; having a normal start time (as in, have a semblance of structure in your day as if you were still working in the office site), get dressed at the normal time, not having meetings over lunch etc. This wasn’t just him, lots of other devs encountered this and had this experience too. Devs which adapted faster had better productivity and became more productive faster.

Scylla bought a stand-up desk which he can raise up and down, and at meetings he would be delivering a talk while standing or even while walking on a treadmill. Other devs also got stand-up desks. He tracked his body’s data on a Fitbit. These sorts of things helped improve physical and mental wellbeing. Other devs did similar things, like starting going out for jogs or began practising yoga. Essentially, everyone needed to make changes to their daily routine in comparison to what they had been doing prior to the pandemic. 

The pandemic has been a thing for over a year now. In their location, every couple of weeks a new restriction is put into place or a rule is changed, and every two weeks there’s a new thing that you can and can’t do. Scylla also started moving around his property. He worked on his desk, fixed it up and painted - taking up a new hobby. Other devs picked up new hobbies too. These are good ways to be active and also to be somewhere else, i.e. to break up the working day and not be spending it all in one home office-type location. Scylla found that when he made these sorts of changes to his routine to improve his lifestyle, the data output by his Fitbit as indicators of his health/wellbeing etc improved, e.g. number of steps taken in a day, heartbeats per minute while at rest. As stated many of the other devs went through a similar process.

On the professional side of things:

They had to improve remote delivery of builds. Accessing things from home as a dev requires a VPN. They need to download a build every day and then upload it to the server after making their changes to the game. They had to work with infrastructure and research other tech, such as streaming tech to allow remote console access, in order to better facilitate this process. For remote access, they also had to work on adapting communications channels.

“Adapting channels of communication.”

In this slide, the team are working on the storyboards. Before you can implement motion capture & performance capture, you have to ‘run the storyboards’ like this. These are small illustrating drawings which reflect the drafts and are meant to quickly reflect the intention of the scenes that are to be built. Before the pandemic, the team would go to meeting rooms like this, sit down, talk and interact in person. After the pandemic, the question became ‘How do you do this over Zoom?’ You can, but it’s not quite the same; it’s harder to see peoples’ expressions, some people are embarrassed speaking over Zoom etc. Therefore they had to adapt their communications systems, and unlearn the ways in which they developed before in order to relearn and learn new ways of communicating.

Slack was a tool that they adopted on this front. Communications channels can be confusing on Slack, so there was a need to develop structure. For example, how quickly should someone reply (as a recommended convention for the purposes of work)? They had to define the process/procedures for the channels so it was clear for the team as a whole how it would all flow (this is important especially if you have a team with say 30 people or as a whole hundreds of people). Before the pandemic, they had stand-up meetings where they’d go around in a circle every morning and talk about their activities - what they’re going to be working on, any roadblocks they had encountered etc. The question arose ‘How do you replace these?’ They ended up doing Slack messages at a certain time of day and updating their statuses with some details on what they’re working on and color-coding (green - fine, yellow - need help, red - busy/blocked out).

Another issue that they faced was unforeseen - the number of meetings that devs were having really shot through the roof. When there wasn’t a good structure of communications channels, any conversation would become a meeting. Everybody began scheduling meetings left and right, and at the end of the day they would have little time left in which to actually work on their to-do lists. Hence, they had to work with the team to really analyze and be very pragmatic. ‘Which meetings needed to happen? Which didn’t? Is a specific meeting really necessary? Which meetings should be recurring? What can be done over Slack?’ This guideline had to be given to the team to help, and it improved things a lot. The number of meetings decreased a lot and they got more effective. For example, by making sure to set an agenda for meetings beforehand, and by having meeting notes (then a dev who didn’t really need to be at a meeting could skip attending and just quickly review the notes output after instead). They also decreased the standard length of meeting times from the default Outlook blocks of 1 hour and 30 mins to 55 mins and 25 mins respectively. This 5 minute change gave devs time for things like bio breaks (also 4 hours in a row at a computer in a home office with one meeting after another just isn’t good for a person).

“Adapting p-cap and mocap”.

On content:

From a content point of view, the most difficult thing in terms of the pandemic was adapting p-cap and mocap (performance capture and motion capture). They hire actors and it’s a large studio. The pandemic meant big limits to what they could and couldn’t do. The actors had to be masked and 5 meters apart in distance (although it doesn’t look like it in some of these shots due to angles). Also there could be no other person around in the studio - only the actors. The directors instead would ‘patch’ in remotely on big screens (you can see this in the second photo in the top right). 

Before the pandemic, they felt that they wouldn’t be able to do p-cap or mocap properly remotely, as the directors would usually stand right next to actors giving guidance on their performance. The techs would also usually be near. But they adapted! The keyword is adapting, changing process. It’s harder and it’s different, but it is possible, and people start rethinking what is possible. What was said to be impossible before now is possible.

P-cap differs to mocap in that it also captures voice and facial expressions.

On the future of work after covid:

There will probably be more working from home and more flexibility for workers e.g. being able to work say 3 out of 5 days from home. It does depend on what a dev’s specific job is however. For example, the audio engineers require lots of specialist equipment and said equipment is of higher quality and quantity in the office. So, depending on role, devs might be working more often or less often from home.

Another development is that lots of devs are moving house. In lockdown etc people started reassessing what’s most important in life. Some are moving further away from the studio to get a cheaper rent or for example couples who both needed an office space to work from home from but their current place only had one area. Others are moving closer to nature for a better quality of life, and still others have other different reasons for doing so. Over 10 devs that he knows in fact have recently moved, including Scylla himself.

The pandemic changed certain skills being used by people on a daily basis. Scylla used as an example of this one of his soft skills, being able to tell from looking/interacting in-person with someone if they are stressed out. Obviously it’s less easy to tell if someone is stressed out when you’re remote, so you adapt different ways of checking in with people in the new situation. To continue carrying out his role as Lead Producer, he began checking in with his team pro-actively on the new comms channels and asking how they were doing.

Also, now that companies are more open to working remotely, there is going to be increased competition for hiring devs. They saw both sides of this coin at BioWare. They were able to hire devs from many places that they couldn’t hire from before e.g. Montreal, Vancouver, the US, as there’s less need for devs to relocate to Edmonton or Austin. This opens up opportunities to hire really intelligent and skilled people that they would not have had access to before.

Question and answer segment:

The pre-production phase has been concluded. They’re in the production phase.

They are not giving out a lot of details yet but Scylla is really excited as a big fan of the whole series. He thinks that with DA4, they will have the opportunity/possibility to launch the best story out of all DA games. He feels that the characters they’re making are amazing. He’s dying to say more but can’t. 

When you work from home you need to keep your team as productive as possible. During the pandemic, when people started working from home, they noticed that some people became more productive and some people became less productive. They were analyzing it on a case-by-case basis so as not to make assumptions. They were interested in seeing what they could do to help. At the beginning of the pandemic, they were looking at the devs as people and seeing what they needed.

Production of DA4 still needed to continue during the pandemic because they want to be able to launch the game.

This slide shows a writer. Writing is an example of a role which is more able to work from home easily.

Their productivity did go down in the first month of the pandemic. After adaptations, some people then became more productive than they were before (this was role and personal situation-dependent, examples of this being artists and coders who were able to art and code at home without being interrupted, thereby being able to produce more). Covid has affected productivity in general, but this is part of our new reality. They have adapted and adjusted some deadlines. They have enough data (Scylla LOVES data) now to understand how long it will take them/how long they’ll need to launch the game. They have always had historical data for this purpose, but they’re doing more of this sort of thing now to ensure that they are doing things at the right time.

Remote hiring opens up the door to more talent joining, so if someone has talent geography will hold them back less. Some companies though may choose not to hire people from other countries due to labor issues, cumbersome legal aspects, time zones. But even in such cases there are activities for example that can be carried out while the rest of the team is asleep such as testing or working on the build, or there are cases where those companies still will want to hire a specifically/highly talented person even in spite of the potential legal aspects and so on.

On mental health: People were affected. There is the mental, physical and social impacts of the pandemic situation on people. EA supported them during the pandemic in terms of their mental wellbeing, there are specific companies (services offered, speaking to a therapist) that they can contact if they need something or help. EA had always been good at supporting them with this sort of thing but this has improved further during the pandemic. Another change was that they could/can take a couple of days off if they needed/need to because of the pandemic e.g. to take care of children, who were obviously not at school at the time. As a producer he had to be very mindful of all of this. How much they were monitoring peoples’ wellbeing really went up during the pandemic.

A question that was asked - in terms of DA4′s storybeats, is there anything in there that they decided to change due to the pandemic as it wouldn’t be sensitive or appropriate to include anymore, for example a plague plotline or something? Scylla’s answer is that DA and ME are games in which they try to have narratives that are relatable, which include things which people will identify with, so that players understand what characters are going through etc. Nothing in DA4′s plotline/storybeats has been changed (in the frame of this question, relating to the pandemic), as it didn’t have anything in it that could be specifically or a directly connected to a pandemic-type situation or anything. Of course the DA story has Blights and the Taint, but these are different & fantastical things and existed long before the pandemic situation. So this wasn’t the case with DA4 and there was no need to change anything, but this has happened to other games where they decided to change a storyline due to a strong correlation with something in the real world.

There were then concluding/closing remarks. The message he wants to send is that a crisis will always spark opportunities. Look at a crisis and try to see how you can grow.

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