#so far the narrative here is very much like

[meanbossart]

Hellow

I was catching up with the latest chapters of ANE before reading The Spice™️ and I was reminded of how well you build and describe the environment surrounding your characters. Which prompts me to ask:

1 Do you have any drawings/sketches of landscapes and places from ANE that you can/would like to share?

2 Any advice for someone (me) that isn’t really good at putting their characters in places? I always end up with either a ‘too crowded’ or a ‘too barren’ of a setting.

Thank you for reading and hopefully answering my questions byee:3

Hello!!

Thank you! I have no idea what I'm doing so I'm glad I'm able to paint a good enough picture 😅

I do have two VERY simple sketches of the house of blood/the compound that I made to compare against my boyfriend's mental picture of it, basically to see how well I had been able to describe it since it's by far the most challenging area to put down into text.

(everything is very boxy and not exactly the ideal proportion, but again, this was a very simple sketch I made to "aid" the descriptions rather than for it to stand on its own at all) Here you see the "apple core" of the hive with the drow settlement and all the precarious platforms that interconnect and spring out of it. The cabins you see are sometimes two stories high so the area us actually quite big! Which is how Do'zynge is able to walk across the support-beams on the underside of said platforms even though he's rather large for a drider. The catwalk pictured can be moved up and down to connect people to different floors a little faster.

Here's a similar sketch based off of an specific scene, this one focuses more on the walkways built into the walls. I'm not sure why I huddled the doors together so much, they should definitely be more spaced out.

Also, while I used the same shorthand for everything, the spawn living spaces are all wood and stone - from the doors to the floor and railings. While the drow settlement (where Dalyria is too) is mostly metal and well structured tents.

For your second question, that's rough because I am also never quite satisfied with my descriptions 😂but I think that's a part of it; you need to make peace with the fact that you will NOT be able to paint a perfect picture, and think of the whole process as less of a job that you must do alone, but rather a collaboration between you and the reader's own creativity! You have to be willing to put some of the onus on them to imagine what it is you're trying to transcribe, instead feeling under the obligation of giving them exact descriptions for every little thing.

I try to use words that evoke a specific style and mood - say that the room is ornamental, warm, say that it's all golden and red and six sentences from now mention that the couch your character sat in is velvety. Reveal things as they come into relevance instead of interrupting the pace for two entire paragraphs to describe the room your characters just walked into - when appropriate, consider what they would even pay attention to at all and maybe limit yourself to it. Set a rough base for your environment at the start of a scene and then sprinkle descriptors in throughout the prose, and always consider if you truly NEED to get into the specifics of something or if the reader can be left to their own imaginative devices.

Also, unless necessary or some sort of plot device, I find that trying to establish where things are in a room (doors, furniture, stairs) in a map-like manner is a waste of time. Just say "behind him", "to her left", "right ahead", I don't think being overly specific benefits anybody - your reader picturing this set of stairs facing the west rather than the east is unlikely to be consequential to your narrative.

That being said, don't shy away from pointing "unnecessary" things out when they help set a mood, or help in characterization. Way early in ANE there's a scene where DU drow walks into the room where him, Astarion, and Shadowheart have been staying and are now about to leave, he takes note of the fact that one of them made the bed - he doesn't say who, besides that it wasn't himself, but I put that there to hopefully establish from early on that one character's priorities had started to change. In the compound, Dalyria is described as collecting useless things she found in the underground and displaying them around the office - this, on top of her new look, outfit, and company should paint a picture. Irennor's living situation should say all there is to know about him, and the way DU drow dismantles his belongings after only what is immediately valuable instead of considering the historical significance of anything says something about him, too. That's my favorite way of setting scenes, by finding out how to say something about the people in it.

[teenagefeeling]

im reading a rly long environmental history book about the bering strait for school rn and i gotta say. this place is a little wild

[blueskittlesart]

*sigh* thoughts on Nintendo's botw/totk timeline shenanigans and tomfoolery?

tbh. my maybe-unpopular opinion is that the timeline is only important when a game's place on the timeline seriously informs the way their narrative progresses. the problem is that before botw we almost NEVER got games where it didn't matter. it matters for skyward sword because it's the beginning, and it matters for tp/ww/alttp (and their respective sequels) because the choices the hero of time makes explicitly inform the narrative of those games in one way or another. it matters which timeline we're in for those games because these cycles we're seeing are close enough to oot's cycle that they're still feeling the effects of his choices. botw, however, takes place at minimum 10 thousand years after oot, so its place on the timeline actually functionally means nothing. botw is completely divorced from the hero of time & his story, so what he does is a nonissue in the context of botw link and zelda's story. thus, which timeline botw happens in is a nonissue. honestly I kind of liked the idea that it happened in all of them. i think there's a cool idea of inevitability that can be played with there. but the point is that the timeline exists to enhance and fill in the lore of games that need it, and botw/totk don't really need it because the devs finally realized they could make a game without the hero of time in it.

[hassianlovebot]

Okay so, I don't want to give spoilers in this post so this will all be somewhat vague, but I do want to say that there's another part to the Vault of the Roots after the bundles where the player's actions and dialogue are a lot more.. important and meaningful to the story. If anyone felt that this vault's story left a little to be desired, then definitely try the next part! Like I said, this next part gets started after you finish all four bundles (which isn't too hard or time consuming for this one), and like trust me, it's so much more emotionally and narratively satisfying than the first part is.

(Small spoiler in below paragraph for the first part of the quest!)

I don't want to hype it up too much, but it does handle the player's actions, thoughts, and agency a lot better than the first part. I haven't actually finished it yet so I'm not sure how the ending will be, but honestly, I think it'll be good. I think this next part will be especially more gratifying for players who weren't able to convince The Gardener (aka Hekla was the one to change his mind) since our actions and dialogue in this section directly help him in a much bigger way.

[suffarustuffaru]

i just. remembered again that i have a fembaru fic but also the premise is. Very Messed Up hah and also it was written before the canon genderbent au with its official genderbend names for everyone so its also outdated on top of that T^T i had like. Genderqueer subtext going on too. but i also wrote this fic like almost two years ago and havent touched it in forever so im unsure if i should go back to it…. o.o but i would love to finish it one day if only for my own satisfaction hah… i had a very detailed outline for ch 2 (its a twoshot) and several scenes written already anyway!! (and also i would probably update those names, make minor edits, etc etc hmm…)

[vulpinesaint]

since i am out of school and witcherposting often again i thought i would let the crowd know that i am updating my little (very large) kaer morhen fic again :) we're in the final few chapters i prommy... these emotionally damaged people are all learning to care about each other so deeply... love each other even... beautiful world...

[eyepatchdate]

back in my td debating of 'how dark should it go'

[otogariado]

almost done with brba s4. gus is the baddest bitch on earth ever. CANNOT wait to see more of him in bcs

[rivilu-2-electric-boogaloo]

...

[fettery-fetterie]

Hlev but he realizes the way to break out of the script is by merely taking it as a guideline rather than the absolute truth

[evilkitten3]

they animated this so well... villain origin story right there

Hashirama's new chinese mobile game intro is so evil it looks like he's the main villain of the story🙄

at least Madara looks fine.

[prokopetz]

With DND 5e being set up to cause DM burnout, can you give examples of tabletop systems that facilitate easy DMing? I love running a tabletop game but don't have the time to deal with 5e or homebrew anymore.

(With reference to this post here.)

This is an area where you're going to get a lot of bad advice, because there's no such thing as a tabletop RPG that's "easy to GM" in the abstract. Some systems make greater or lesser demands of the GM's time and skill, but the reason that Dungeons & Dragons has a massive GM burnout problem is a bit more subtle than that – indeed, D&D's GM burnout problem is considerably worse than that of many games whose procedures of play place much greater demands on the GM!

It boils down to the fact that games are opinionated. Even a very simple set of rules contains a vast number of baked-in assumptions about how the game ought to be played; in the case of tabletop RPGs, those baked-in assumptions include assumptions about what kinds of stories the game ought to be used to tell. The players of any given group, of course, also have assumptions – some explicit, many unexamined – about how the game's story ought to go. It's rare that these two sets of assumptions will perfectly agree.

Fortunately, perfect agreement isn't necessary, because tabletop RPGs aren't computer games, and it's always possible to tweak the outputs of the rules on the fly to better suit the desired narrative experience. In conventional one-GM-many-players games like D&D, this responsibility for monitoring and adjusting the outputs of the rules so that they're compatible with the narrative space the group wishes to explore falls principally on the GM.

Now, here's where the trouble starts: the larger the disconnect between the story the rules want to produce and the narrative space the group wants to explore, the more work the GM in a conventional one-GM-many-players context needs to do in order to close that gap. If the disconnect is large enough, the GM ends up spending practically all of their time babysitting the outputs of the rules, at the expense of literally every other facet of their responsibilities.

(Conversely, if that gap is large and isn't successfully closed, you can end up with a situation where engaging with the rules and engaging with the narrative become mutually exclusive activities. This is where we get daft ideas like "combat" and "roleplaying" being opposites – which is nonsense, of course, but it's persuasive nonsense if you've never experienced a game where the rules agree with you about what kind of story you should be telling.)

And here's where the problem with Dungeons & Dragons in particular arises. The rules of D&D aren't especially more opinionated than those of your average tabletop RPG; however, the game has developed a culture of play that's allergic to actually acknowledging this. There are several legs to this, including:

a text which makes claims about the game's supported modes of play that are far broader than what the rules in fact support;

a body of received wisdom about GMing best practices which consists mostly of advice on how to close the gap between the rules' assumptions and the players' expectations (but refuses to admit that this is what it's doing);

a player culture which has become increasingly hostile to players learning or knowing the rules, and positions any expectation that players should learn the rules as a form of "gatekeeping"; and

a propensity to treat a very high level of GMing skill as an entry-level expectation.

Taken together, all this produces a situation where, when the rules and the group disagree about how the game's story ought to go, the players don't experience it as a problem with the rules: they experience it as a problem with the GM. A lot of GMs even buy into this perception themselves, which is how you end up with GM advice forums overflowing with people telling novice GMs that they're morally bad people for being unprepared to tackle very advanced GMing challenges right from the jump.

(At this point, one may wonder: why on Earth would a game develop this sort of culture of play in the first place? Who benefits? Well, what we're looking at in practice is a culture of play which treats novice and casual GMs as a disposal resource whose purpose is to maximise the number of people playing Dungeons & Dragons. Follow the money!)

So, after all of that, the short answer is that there isn't a specific magic-bullet solution to avoiding D&D's GM burnout problem – or, at least, not one that operates at the level of the rules, because there's no particular thing that D&D as a system is doing "wrong" that produces this outcome; the problem operates almost entirely at the play culture level.

In practice, two things need to happen:

Placing a greater expectation on the players to learn and understand the game's rules; and

Selecting a system where the gap between the story the rules want to produce and the narrative space the group wants to explore is small.

It's that second one that's the real trick. In order to minimise that gap, we need to know what kind of narrative space your group wants to explore, and that might not be something you have a good answer to if you don't have good lines of communication with your players.

(As an aside, there's a good chance that we're going to see dipsticks cropping up in the notes insisting that their favourite system short-circuits this problem by being perfectly universal and having no baked-in narrative assumptions. These people are lying to you, and lending credence to the idea that there's any such thing as a universal RPG is a big part of how we got into this mess in the first place!)

[daydreamerdrew]

Iron Man (1968) #96

[taliabhattwrites]

I don't think there is a significant or notable number of people who believe transmascs are not oppressed.

I feel slightly insane just having to type this out, but this is rhetoric you inevitably come across if you discuss transfeminism on Tumblr.

The mainstream, cissexist understanding of transmasculine people is the Irreversible Damage narrative (one that's old enough to show up in Transsexual Empire as well) of transmascs as "misguided little girls", "tricked" into "mutilating themselves". It is a deliberately emasculating and transphobic narrative that very explicitly centers on oppression, even if the fevered imaginings misattribute the cause. As anyone who's dealt with the gatekeeping medical establishment knows, they are far from giving away HRT or even consults with both hands, and most transfems I know have a hard enough time convincing people to take DIY T advice, leave alone "tricking" anyone into top surgery.

Arguably, the misogyny that transmasculine folks experience is the defining narrative surrounding their existence, as transmasculinity is frequently and erroneously attributed to "tomboyish women" who resent their position in the patriarchy so much they seek to transition out of it. This rhetoric is an invisiblization of transmasculinity, constructed deliberately to preserve gendered verticality, for if it were possible to "gain status" under the sexed regime, its entire basis, its ideological naturalization, would fall apart.

Honestly, the actual discussions I see are centered around whether "transmisogyny" is a term that should apply to transmascs and transfems alike. While I understand the impetus for that discussion, I feel like the assertion that transmisogyny is a specific oppression that transfems experience for our perceived abandonment of the "male sex" is often conflated with the incorrect idea that we believe transmasculine people are not oppressed at all. This is not true, and we understand, rather acutely, that our society is entirely organized around reproductive exploitation. That is, in fact, the source of transfeminine disposability!

I know I'm someone who "just got here" and there is a history here that I'm not a part of, but so much of that history is speckled with hearsay and fabrication that I can't even attempt to make sense of it. All I know is that I, in 2024, have been called a revived medieval slur for effeminate men by people who attribute certain beliefs to me based on my being a trans woman who is also a feminist, and I simply do not hold those views, nor do I know anyone who sincerely does.

If you're going to attempt to discredit a transfeminist, or transfeminism in general, then please at least do us the courtesy of responding to things we actually say and have actually argued instead of ascribing to us phantom ideologies in a frankly conspiratorial fashion. I also implore people to pay attention to how transphobic rhetoric operates out in the wider world, how actual reactionaries talk about and think of trans people, instead of fixating so hard on internecine social media clique drama that one enters an alternate reality--a phantasm, as Judith Butler would put it.

Speaking of which--do y'all have any idea how overrepresented transmascs are in trans studies and queer theory? Can we like, stop and reckon with reality-as-it-is, instead of hallucinating a transfeminine hegemony where it doesn't exist? I'm aware a lot of their output isn't particularly explicative on the material realities of transmasculine oppression despite their prominence in the academy, but that is ... not the fault of trans women, who face extremely harsh epistemic injustice even in trans studies.

The actual issue is how invisiblized transmasculine oppression is and how the epistemicide that transmasculine people face manifests as a refusal to differentiate between the misogyny all women face, reproductive exploitation in particular, and the contours of violence, erasure, and oppression directed at specifically transmasculine people.

You will notice that is a society-wide problem, motivated by a desire to erase the possibilities of transmasculinity, to the point of not even being willing to name it. You will notice that I am quite familiar with how this works, and how it's completely compatible with a materialist transfeminist framework that analyzes how our oppression is--while distinct--interlinked and stems from the same root.

I sincerely hope that whoever needs to see this post sees it, and that something productive--more productive dialogue, at least--can arise from it.

[physalian]

How to make your writing sound less stiff part 2

Part 1

Again, just suggestions that shouldn’t have to compromise your author voice, as I sit here doing my own edits for a WIP.

1. Crutch words

Specifically when you have your narrator taking an action instead of just… writing that action. Examples:

Character wonders/imagines/thinks/realizes

Character sees/smells/feels

Now not all of these need to be cut. There’s a difference between:

Elias stops. He realizes they’re going in the wrong direction.

And

Elias takes far too long to realize that it’s not horribly dark wherever they are

Crutch words are words that don’t add anything to the sentence and the sentence can carry on with the exact same meaning even if you delete it. Thus:

Elias stops. They’re going in the wrong direction.

I need a word in the second example, whether it’s realizes, understands, or notices, unless I rework the entire sentence. The “realization” is implied by the hard cut to the next sentence in the first example.

2. Creating your own “author voice”

Unless the tone of the scene demands otherwise, my writing style is very conversational. I have a lot of sentence fragments to reflect my characters’ scatterbrained thoughts. I let them be sarcastic and sassy within the narration. I leave in instances of “just” (another crutch word) when I think it helps the sentence. Example:

…but it’s just another cave to Elias.

Deleting the “just” wouldn’t hit as hard or read as dismissive and resigned.

I may be writing in 3rd person limited, but I still let the personalities of my characters flavor everything from the syntax to metaphor choices. It’s up to you how you want to write your “voice”.

I’ll let dialogue cut off narration, like:

Not that he wouldn’t. However, “You can’t expect me to believe that.”

Sure it’s ~grammatically incorrect~ but you get more leeway in fiction. This isn’t an essay written in MLA or APA format. It’s okay to break a few rules, they’re more like guidelines anyway.

3. Metaphor, allegory, and simile

There is a time and a place to abandon this and shoot straight because oftentimes you might not realize you’re using these at all. It’s the difference between:

Blinding sunlight reflects off the window sill

And

Sunlight bounces like high-beams off the window sill

It’s up to you and what best fits the scene.

Sometimes there’s more power in not being poetic, just bluntly explicit. Situations like describing a character’s battle wounds (whatever kind of battle they might be from, whether it be war or abuse) don’t need flowery prose and if your manuscript is metaphor-heavy, suddenly dropping them in a serious situation will help with the mood and tonal shift, even if your readers can’t quite pick up on why immediately.

Whatever the case is, pick a metaphor that fits the narrator. If my narrator is comparing a shade of red to something, pick a comparison that makes sense.

Red like the clouds at sunset might make sense for a character that would appreciate sunsets. It’s romantic but not sensual, it’s warm and comforting.

Red like lipstick stains on a wine glass hints at a very different image and tone.

Metaphor can also either water down the impact of something, or make it so much worse so pay attention to what you want your reader to feel when they read it. Are you trying to shield them from the horror or dig it in deep?

4. Paragraph formatting

Nothing sticks out on a page quite like a line of narrative all by itself. Abusing this tactic will lessen its effect so save single sentence paragraphs for lines you want to hammer your audiences with. Lines like romantic revelations, or shocking twists, or characters giving up, giving in. Or just a badass line that deserves a whole paragraph to itself.

I do it all the time just like this.

Your writing style might not feature a bunch of chunky paragraphs to emphasize smaller lines of text (or if you’re writing a fic on A03, the size of the screen makes many paragraphs one line), but if yours does, slapping a zinger between two beefy paragraphs helps with immersion.

5. Polysyndeton and Asyndeton

Not gibberish! These, like single-sentence paragraphs, mix up the usual flow of the narrative that are lists of concepts with or without conjunctions.

Asyndeton: We came. We saw. We conquered. It was cold, grey, lifeless.

Polysyndeton: And the birds are out and the sun is shining and it might rain later but right now I am going to enjoy the blue sky and the puffy white clouds like cotton balls. They stand and they clap and they sing.

Both are for emphasis. Asyndeton tends to be "colder" and more blunt, because the sentence is blunt. Polysyntedon tends to be more exciting, overwhelming.

We came and we saw and we conquered.

The original is rather grim. This version is almost uplifting, like it's celebrating as opposed to taunting, depending on how you look at it.

—

All of these are highly situational, but if you’re stuck, maybe try some out and see what happens.

*italicized quotes are from ENNS, the rest I made up on the spot save for the Veni Vidi Vici.

[hattedhedgehog]

My (spoiler-free) thoughts on Dragon Age: The Veilguard

The review embargo has lifted and I can officially say that I've played through Dragon Age: The Veilguard early! 

Here are my spoiler-free thoughts and personal opinions on the overall gameplay experience: 

Narrative:

Rook's dialogue and decisions impact SO MUCH of the game, and come into play later on. From companions remembering your beverage preferences, to whether someone you spared shows up later to help or harm you, it feels like the game is paying attention and that you matter.

The stakes are unbelievably high. The Evanuris are utterly terrifying villains, in ways that Corypheus wasn’t. You really feel the magnitude of their power on a personal level as well as a worldwide level.

Whatever your thoughts on him, Solas is FUN as a character. He’s fun to talk to, fun to talk strategy with, fun to rile up and verbally spar with and fun to grudgingly ally with. Now that he can drop his former act and appear to you as the Dread Wolf, and you get to see his memories, you and he team get to decide how to utilise his knowledge and how far your trust extends.

The setup and payoff of the story beats are absolutely superb. The emotional turmoil as a player of being ensnared by things that was foreshadowed earlier in the game is utterly exquisite. Every thread of the larger tapestry has been woven with so much love by the writing team, and every character’s arc tie into the larger story in interesting ways.

The characters feel like they have full lives outside of the player character. You frequently go exploring their home turf and can meet their friends and family. They interact with each other on their own and move about the Lighthouse to spend time together, leave notes for each other, and talk about each other even when the other isn’t there. The team feels like they all really care about each other as well as you. 

You can tell what your approval rating is with characters, but if you want to romance them you have to put some thought into it. Interactions and world events besides the heart on the dialogue wheel influence their attraction to you.

Gameplay:

The combat is very engaging, and I enjoyed how unique all the enemies were.

Abilities in the skill tree can be refunded so you can redirect to a different specialization, which is really handy if you’re indecisive and overwhelmed at first (like I get when choosing abilities).  Most companions can get healing abilities no matter what class, so you don’t have to worry about balancing your rogues/mages/warriors (most of the time).

Climbing, balancing on ledges, using ziplines and sliding down slopes made environments feel more immersive. Additionally I like how each companion has unique abilities that let them interact with the world (fixing mechanisms, breathing fire, summoning bridges from the Fade, etc), and learning their abilities alongside them helps you grow closer.

The wayfinder light makes everything feel streamlined, so it's way harder to get lost while exploring an area. I hardly had to look at the mini map at all, and usually I’m glued to it! This meant I could actually look around at the beautiful environments and appreciate how lively they were, even without NPCs.

The upgrade system is far less overwhelming than in Inquisition; there are a finite amount of weapons/armour/accessories to be found, which are designed for each specific character like in DA:O and DA:2. There's also no longer crafting from scratch. If you loot an item you already have, it automatically upgrades the single item rather than giving you duplicates.

You know that frustration of coming across higher-level armour that just isn’t as flattering as your current one? Not to worry, you can collect “appearances” which you can toggle on as the visual for the armour while still retaining the benefits of the original.

I cannot stress enough how simple and easy to use the inventory is. It's heavenly. 

Using the shops of specific cities increases your reputation within those cities, which is a good incentive to explore and use the shops. I usually hate in-world shopping but here it was simple, and thinking about it tactically worked pretty well.

Quests sometimes reach a point where you can't continue at your current place in the story, and must return to in later acts. When re-exploring familiar areas, everything feeling big enough to be fresh with each visit, and new loot and codex entires appear.

Edit: something I forgot to mention. In character creator, you get to make your Inquisitor after you make Rook. The build menus are all the same, so manage your energy accordingly for doing it all again immediately after for your Inky. I spent an hour and a half building my Rook and wanted to get right to playing, and had to re-wire my brain a bit to be patient and keep going with the CC. (Seeing my Inquisitor with new graphics was awesome though).

A couple little things I appreciated:

The control sounds are very pleasing. From the whoosh of opening the combat wheel to the clinking of upgrades to the subtle whir of holding the decision button, they're a nice touch.

If companions are interrupted in conversation by combat, they resume it afterwards with a "what were you saying before?".

Photo mode is so fun to play with, and you can adjust blur/brightness/lens/depth within the scene. You can also toggle on and off the visibility of your Rook, your party, NPCs and enemies!

Assan learns new interaction tricks at the Lighthouse as the game goes on.

Nitpicks:

Overall I had an incredibly positive experience. The gripes I had were tiny things like:

I genuinely like the new art style of the game as a whole. However, the blurriness of some of the features in contrast with some elements being very crisp was distracting.

When trying to sell valuables for faction points without using Sell All, it takes quite a long time to count up all the individual sales, and it isn't a live counter. So it's kind of annoying if you get +3 points for each item you sell, need 150 points to get the next tier of items, and over 10K worth of valuables that you want to sell to other factions. 

If you do lots of quests without returning to the Lighthouse often, occasionally companions at the Lighthouse will have dialogue pertaining to the quests you've just finished as if you haven't done them.

You can pet the dogs and cats in the cities, but Rook turns their back to the camera to do it and it blocks most of the action unless you rotate quickly.

Gender stuff:

I was incredibly moved that not only can Rook be trans/nonbinary in the character creator if you so choose, but they get options to feel differently about their identity and journey, and it impacts their dialogue and how they relate to other characters! To access this make sure to interact with Varric's Mirror in your room in the Lighthouse. There are many conversation options throughout the game to discuss your identity with other characters, or relate your change of self to other situations. Crucially, it comes up when entering a romance and you have to communicate with your partner about it, which I never even THOUGHT of including in a game because it seemed impossible to even allow trans main characters to begin with.

There are also multiple trans and nonbinary characters throughout Thedas. What I found the most realistic was that just like in life, it is a consistent presence in any character's life, and comes up in conversation more than once. I have never seen a game this forthcoming and open about the topic of transitioning, and it was so validating. 

Final thoughts:

I adore the other games in the franchise. Something about The Veilguard affected me in a way no other game has. I cried multiple times while playing this game, both from joy and sadness. What struck me most is that the people who worked on this game REALLY listened to feedback from previous games, and were very set on making a piece of art that meant something to people. Even during the last few years of me testing the game, things have been adjusted and changed in direct response to our reactions and suggestions. It's surreal and quite touching.

Mileage will vary, but my playthrough was 70 hours on very low difficulty and I haven't done every side quest yet. I could easily have spent more than 100 hours in the game if I wasn't pressed for time.

I hope you enjoy this game as much as I have. See you in Thedas.