Why the main narrative in the last third of the game is a bad hot mess [major spoilers!!!]

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Sorry you miss my point. I can care. I can hate things. What I can't do is change them. My only option is to buy or not buy their game. This is a really basic concept. I've purposely not said if I like it or not. My personal taste should not influence you and your personal taste shouldn't influence me. CDPR did not completely mislead like you horror vs romantic comedy implies. I understand you used that hyperbole to try to enhance your point.
So why do you even write here? What's your motivation? All you say here is that you think you're smarter than everyone else in a true Sokratian way while you miss that you just take part in the same discussion, the discussion which you declare pointless here. But hey, I don't think that I can change the game myself. I just talk about it. That's called (cultural) criticism or less abstractly just reviewing a video game. It's not meant to change anything.

And you're wrong. They did mislead me because they didn't deliver on their core promises. They didn't deliver on core elements of the type of game they wanted to make. You don't seem to see that. Ok. But I do. Maybe because I have just different priorities in gaming? Maybe because I play a game like Witcher 3 for reasons that a more or less different to yours?

OK you are trying to make a statement of fact that the last third of the game had no or very few choices and consequences. That is incorrect. There are 5 choices surrounding Ciri alone that have profound consequences. This completly wrecks your assertion. You may not agree with the choice but to state there are none is inaccurate. To claim otherwise requires you to cite the number of choices in the first and second third of the game that fit your criteria. I will continue to call people out on this as it is simply not true. You're hating the choice doesn't mean it doesn't exist.
I've pointed out in great detail why the situations with Ciri are no choices here (in the way they are used in "video game language" in respect to choice and consequence mechanics). I've made a pretty clear distinction between choices and calculations and I've explained the difference in great detail. You basically just ignore my definitions or explanations for the terms I use but you dare to criticize them nevertheless. Sorry, but I don't know wha to say about that anymore. It's just pointless to discuss that any further if you refuse to go into what I actually said in the first place.

But ok, I'll try it one more time. A choice in RPGs (and general in game design) is a situation in which you don't just decide based on logic and calculations. A choice is ambiguous, it doesn't feature a clear right or wrong that can be assumed before the situation itself. A choice usually creates or provokes player agency, the feeling that you have both freedom and impact on how the game (and the narrative) plays out. Usually a narrative choice consists of elements of morality because that's what creates personal engagement, tension and "drama". It's the ingredient which makes choices "hard" and immerses the (RPG) the player further into the narrative, thinking about ones actions and its possible consequences. That involves a lot more than mere calculatios. It's much more emotional than rational. Of course that definition is not cast in stone. People can have different definitions and perceptions. That's the one I use here and that's the reason why I don't count these situations as "real" choices. They don't create much agency. They don't feel like they have a significant impact and they don't impose a hard (the choice itself, not the possible consequence!).

So no, my assertions are not "wrecked". They follow a consistent way of thinking and argumentation. It's just that you have to actually read and go into what I write instead of using your own terminology for criticizing my points.

Please gain some reading comprehension. I NEVER compared the game to Harry Potter. Go reread what I wrote. Prove me wrong. I compared a person's reaction and ability to change the game to a person's ability to change Harry Potter. Please stop these fallacies of argument.
Of course you compared a video game to a book but anyway. A discussion seem to be pointless since you seem to think that talking about narrative elements in video games is pointless, while you make no differentiation at all between the plot, game and narrative design and corresponding mechanics like choices and consequences. I still don't understand why you write anything here then. What do you want to prove? That everything I say here is pointless because it's "just" my personal taste, my personal disliking? Is it that? Or what is it? I really want to know because that pretty much determines if I'm willing to discuss with you here any further (or if my time is too precious for that, sorry)...

And just by the way, nothing of what I've written in this whole thread was writtenunder the assumption that I had the "ability to change the game". That was never the point of anything I've written. It's not important for anything I've written. It's a completely different topic that I didn't cover anywhere here.
 
He likes his strawmen, I'll give him that.
Let's just look at this randomly picked response from him:

"Since many people got it "right" that means they did provide enough clues to solve their puzzle. Not to mention that if you did pick the wrong choice you see it immediately in Ciri's reaction. It was no problem just reloading and picking the other one"

My oh my. A strawman (nobody ever claimed it was impossible to guess them), + a quantitative fallacy (many people) + a misdirection fallacy (dur, the point is not about being able to "correct" whatevyou afterwards or whenever).
This in a context of game mechanics trumping narrative choices/storyline, causation over consistency.

Blergh


Edit: Wow, I missed his response to my comment:

"LMFAO. You don't get it. CDPR never agreed with me. Unless they had a time machine they couldn't. They never consulted me on what I thought either. So your comment is insane nonsense. Second, I never said I agreed with CDPR. It doesn't matter if I agree or not. It was a puzzle that they laid out for a gamer to solve.

You can go live in your world of "I'm right and they're wrong" all you want. But just like any author you didn't write the books. Do you have the right to say Rowling must change some plot point in her Harry Potter books? No you don't. You only have the right to like it or not like it. She controls it. CDPR control TW3.

There is a correct and right choice. CDPR dictated what that is and what you must do to get it. So your choice is simple.

1) Follow the rules of their game in order to get the choice you want.
2) Don't follow their rules and get the choice they dictated."


This is borderline autistic, I'm sorry to say. We should all empathise with Goodmongo, I feel sorry I was so harsh and condescending till now.
Do not antogonise him, please.
 
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So why do you even write here? What's your motivation? All you say here is that you think you're smarter than everyone else in a true Sokratian way while you miss that you just take part in the same discussion, the discussion which you declare pointless here.
My motivation is of no consequence to the discussion. I've never said I was smarter. In fact I've said that each of our feelings are of equal weight. As for the point it's simple. You and others claim the choices are invalid, abstract etc. I am simply refuting these definitions about the choices.

They did mislead me because they didn't deliver on their core promises. They didn't deliver on core elements of the type of game they wanted to make. You don't seem to see that. Ok. But I do. Maybe because I have just different priorities in gaming? Maybe because I play a game like Witcher 3 for reasons that a more or less different to yours?
Expectations are personal taste and therefore you are entitled to believe that. And words are misleading and mean different things to different people, especially since they are hardly ever quantified. I may say that the game will provide tons of enjoyment but what does that even mean? Nothing. it's never quantified. So since CDPR never really quantified what they were delivering you are entitled to feel it never reached your definition. But that does not mean they didn't reach their definition.

I've pointed out in great detail why the situations with Ciri are no choices here
I know you have. I just have a different definition of choice and consequence. I'm much more literal in the definition. A choice is the offer to pick between two or more options. Since I'm literal when you can pick snowball or drink that by definition is a choice. And the literal definition of consequence is simply that making a choice and picking an option will result in some action or reward. Clearly that also happened in the game. Drinking means dead Ciri snowball means life. I really due understand that you wanted a deeper level and meaning here. You wanted some level of complexity that went way beyond what they gave to you. It's fine to want this. It's fine not to like what they did. But you can't claim that there was no choice or consequence. Clearly there was. You even admit it.

I'm a very literal type of person. Words need to have meanings. You can't bandy about absolutes like none, never always, or use some adjectives like profound without being called on them.

But ok, I'll try it one more time. A choice in RPGs (and general in game design) is a situation in which you don't just decide based on logic and calculations. A choice is ambiguous, it doesn't feature a clear right or wrong that can be assumed before the situation itself.
That is your definition of choice. It describes what you want to see. You would have been correct if you said something like:

"The choices in the game were not complex enough for my taste. i would have preferred to take into consideration ...."

Instead you say there are no choices. There are no choices in how you define the word choice but not in how every dictionary would define that word. I'll repeat it again. You have the right not to like things to wish they were different or if other things happened. But the game was developed with logic written by CDPR. taht logic gave you a choice. That logic dictated the outcome.

And contrary to what you claim all choices are based on some calculation. The human brain works this way. Even when the question is extremely complex the brain will evaluate all options based on the input available and arrive at the decision. A choice does not have to be ambiguous. No definition claims this. And since your brain ultimately decides it is therefore resolved by logic and calculations within your brain. This is just how human nature works.

instead of using your own terminology for criticizing my points.
I don't use my terminology. I use your exact words and then apply the standard definition of those words.

Of course you compared a video game to a book but anyway.
Really? Even after I explained that I compared a REACTION to a book and game. That is not comparing the game or book. It was comparing the reaction of a person. You claim I don't read what you write. In fact I'm trying to be meticulous in getting exactly what you wrote. This example shows you did the opposite.

What do you want to prove? That everything I say here is pointless because it's "just" my personal taste, my personal disliking? Is it that? Or what is it? I really want to know because that pretty much determines if I'm willing to discuss with you here any further (or if my time is too precious for that, sorry)...
No i'm saying that your taste is 100% valid. I might disagree with some parts but I would never say that mine was better or yours was better. We can go on and on about if we felt that Triss was sexy or not. If Geralt should pick Yen or Triss. And each viewpoint would be valid. But I'm taking exception to what you claim are facts. Saying there are no choices, no consequences that no choices happen in the last third of the game. I'm also saying that CDPR has every right to tie their endings to what choices they feel are right.

There is a fine but very distinct line here. We must accept the results. BTW acceptance (for others reading this) does not equate to liking it.

Let me use one last example to show how and why we differ. You said that picking the snowball fight was not the right choice. I took exception to that because of the definition of the word "right". Exclude all emotion for a second. Right and correct simply imply that it was the proper choice to get the desired result. if you took a test and the question was "what is 2 times 2". Now the test had an error where choice A (4) would be marked as wrong while choice B (5) is marked as correct. In the context of the test the right answer (to get credit) is B. You and I can naturally complain that this is an error. But we could not say that according to the test the correct answer was B.

Now to get to Ciri lives the correct answer in the game is snowball fight. I really hope you agree with me so far at least. You would be right to say that you think drinking should be the right answer but, and this is important, instead you claim there is no right answer.

We can get into a deep discussion on if snowball is better than drinking. That is valid. But two facts remain. There was a right/correct choice, and CDPR picked snowball.

He likes his strawmen, I'll give him that.
Let's just look at this randomly picked response from him:

"Since many people got it "right" that means they did provide enough clues to solve their puzzle. Not to mention that if you did pick the wrong choice you see it immediately in Ciri's reaction. It was no problem just reloading and picking the other one"

My oh my. A strawman (nobody ever claimed it was impossible to guess them), + a quantitative fallacy (many people) + a misdirection fallacy (dur, the point is not about being able to "correct" whatevyou afterwards or whenever).
This in a context of game mechanics trumping narrative choices/storyline, causation over consistency.

Blergh

Sorry but no, please look up the definition of strawman. I'll break it down for you.

My comment "Since people got it right that means they did provide enough clues to solve their puzzle". This is a statement of fact. To believe they didn't provide enough clues means the ones that got it right were just lucky. In fact you do use the word "guess" so you make the assumption that the reason people got it right was due to a guess, AKA luck. It is you that is making a comment without any support. Where is the proof that people just guessed right? I on the other hand point to pre and post evidence that shows clues were offered in the game. And there are plenty of comments by others that state they relied upon these clues. This comment was in direct response to other comments that the choices were abstract, and not clear.

"Not to mention that if you did pick the wrong choice you see it immediately in Ciri's reaction." Once again a simple statement of fact. The game provided a visual clue on if you pleased Ciri with you choice. Are you refuting this? How is this a fallacy?

"It was no problem just reloading and picking the other one". You take it out of context by not associating it to the comment that we had to live with our choices. We don't. Some people play that way others don't.

You then make the error saying that "many people" is a quantitative fallacy. A quantitative fallacy is relying on a set of values simply because other values can't be measured and then applying that as support for the argument. It is also known as the McNamara fallacy from the Vietnam War. But it never applies here. the use of many people was in support that enough clues were provided to allow those people to pick the right choice. The opposite side to this argument is that these people did not rely on the clues to get the right choice. I did not associate "many people" to anything but it supporting the fact that clues existed to allow people to make the right choice. No fallacy at all.

And then finally you say there was a misdirection fallacy. Again you make the mistake by trying to tie the reloading process to the clarity of the choice. In fact my point was the complete opposite. By saying that you can reload that means if the choice is unclear you are given further evidence as to it's validity and then have the option to correct this. So in order to get the right ending the game provided a secondary option to correct any mistakes you might have made.

I've always put all of my answers int eh context that the game is a puzzle. I have defined the parameters of the game and choices in this very context. You on the other hand chose to ignore this context and then take my responses out of that definition. My answers are not even close to a fallacy when applied within the definition I've given.
 
My motivation is of no consequence to the discussion. I've never said I was smarter. In fact I've said that each of our feelings are of equal weight. As for the point it's simple. You and others claim the choices are invalid, abstract etc. I am simply refuting these definitions about the choices.
You don't refute anything. Neither have I said at any time that "choices were invalid" or whatever that means.

That each of our feelings have equal weight was never up to discussion so I don't see why it has to be brought up here. Talking about narrative and game design isn't entirely subjective and arbitrary though so the agreement that our feelings have equal weight doesn't count much here anyway.

Expectations are personal taste and therefore you are entitled to believe that. And words are misleading and mean different things to different people, especially since they are hardly ever quantified. I may say that the game will provide tons of enjoyment but what does that even mean? Nothing. it's never quantified. So since CDPR never really quantified what they were delivering you are entitled to feel it never reached your definition. But that does not mean they didn't reach their definition.
What the hell are you talking about? Do even know what the concept of genres and game mechanics mean? A game is not just a 100% narrative experience, it's a set of design choices and systems that work together in a way that define a certain type of game that can be very well described. Not quantified but described based on the systems and elements it offers. What you obviously want to ignore on purpose is that CDPR said that the game would offer certain features and that the game would work in a certain way. This is the basic point of criticism. And apart from that even a purely narrative experience can be very well criticized for certain aspects that are not just about personal taste. Stuff like pacing, logical consistency, believability, simplifications etc. can be analysed. It's not about numbers or quantifications, that's true. But that doesn't change a thing.

I know you have. I just have a different definition of choice and consequence. I'm much more literal in the definition. A choice is the offer to pick between two or more options. Since I'm literal when you can pick snowball or drink that by definition is a choice. And the literal definition of consequence is simply that making a choice and picking an option will result in some action or reward. Clearly that also happened in the game. Drinking means dead Ciri snowball means life. I really due understand that you wanted a deeper level and meaning here. You wanted some level of complexity that went way beyond what they gave to you. It's fine to want this. It's fine not to like what they did. But you can't claim that there was no choice or consequence. Clearly there was. You even admit it.
You miss the point again. YOU criticized ME in the first place by using your own terminology and refusing to use mine which leads pretty much everything you say ad absurdum. And beyond that, you don't seem to get the importance of player agency here. I seperate calculations and choices for a reason and the reason is not just a wording game. The reason is that in my terminology choice has a different effect to the player, it follows a different psychological apporach, it speaks to another part of the brain, not only logic and reason, but feelings and the "moral code". It affects the heart and not only the breain, so to say. That is the core difference between choices and calculations in my analysis. It's not important how you call them yourself, the important thing is that the situations in the game create almost no player agency at all. THAT IS THE PROBLEM, not how one calls the situation itself. Player agency, the "feeling of contextual freedom and importance", is the very basis of the RPG experience. Choice and consequence is just a term to desribe the mechanic that is used to achieve that. The situations in the game don't do that on a sufficient level because they lack a moral dimension. These are just decisions that are used to create different consequences. That's not enough to create player agency. Agency can only be created in the very moment of the choice itself by putting the player in a kind of "tricky" and ambigious place with no decision being without flaws. That's not the case here as you've admitted yourself. The situations in the game have a pretty clear right vs. wrong concept (although you might not see that from the very beginning). That's the very reason why they can't create true player agency and why they have almost no emotional impact on the player. They don't create possible remorse which would be the case in a typcial Witcher-like "the lesser evil" choice situation.

That is your definition of choice. It describes what you want to see. You would have been correct if you said something like:

"The choices in the game were not complex enough for my taste. i would have preferred to take into consideration ...."

Instead you say there are no choices. There are no choices in how you define the word choice but not in how every dictionary would define that word. I'll repeat it again. You have the right not to like things to wish they were different or if other things happened. But the game was developed with logic written by CDPR. taht logic gave you a choice. That logic dictated the outcome.
You're only playing wording games and I have truly no interest in that, sorry. Everything I have to say about the topic is written in the passage above.

And contrary to what you claim all choices are based on some calculation. The human brain works this way. Even when the question is extremely complex the brain will evaluate all options based on the input available and arrive at the decision. A choice does not have to be ambiguous. No definition claims this. And since your brain ultimately decides it is therefore resolved by logic and calculations within your brain. This is just how human nature works.
No, it doesn't. Logic is only one aspect that can lead to human decisions. Emotions can be another factor leading to decisions. Some decisions we make are purely based on emotions without any logical calculation included (usually called impulsive actions). And then there are decisions that can be mostly based on morality which can lead to decisions that are against both logic/reason and emotions. And of course all of that can be mixed up and that's how we decide most of the time. But since you seem to love words and definitions so much I think I have to make it clearer what I mean. Calculations for me mean here that a decision is almost entirely based on reason and logic. It's like solving a puzzle indeed, like using mathematics and other hard sciences to solve a situation. A choice instead is something that includes emotions and morals. Such a situation is by its very nature ambigious because several decisive factors are in play. Reason could tell you something else than morals or emotions do.

And then again, yes, you're right. I'm not satisfied with how CDPR staged and wrote these situations. Not only because I think they don't create any player agency but also because the whole last third of the game doesn't follow the typical Witcher mantra "the lesser evil". That mantra doesn't exist anymore in the last third of the game. That's just a hard fact and no personal taste, I'm afraid. You might be indifferent about that but many people are not. This mantra was a core strength of the series so far and I think we have every right to point out that this is missing here.

I don't use my terminology. I use your exact words and then apply the standard definition of those words.
How nice for you. Maybe you shouldn't take part in discussions then, especially not when you attack other people while ignoring their definitions. That's not how good discussions based on arguments work, sorry.

Really? Even after I explained that I compared a REACTION to a book and game. That is not comparing the game or book. It was comparing the reaction of a person. You claim I don't read what you write. In fact I'm trying to be meticulous in getting exactly what you wrote. This example shows you did the opposite.
Ok, ok, I got it. Let's just stop with that right here since it has pretty much nothing to do with my points anyway.

No i'm saying that your taste is 100% valid. I might disagree with some parts but I would never say that mine was better or yours was better. We can go on and on about if we felt that Triss was sexy or not. If Geralt should pick Yen or Triss. And each viewpoint would be valid. But I'm taking exception to what you claim are facts. Saying there are no choices, no consequences that no choices happen in the last third of the game. I'm also saying that CDPR has every right to tie their endings to what choices they feel are right.
There are no choices in the way I defined and described them. That is 100% correct and you couldn't refute that so far. What you tried instead is playing around with the words themselves instead of what they mean in the context...

---------- Updated at 01:12 AM ----------

There is a fine but very distinct line here. We must accept the results. BTW acceptance (for others reading this) does not equate to liking it.
Why do you say that? What's the point? That has again nothing to do with anything I've ever written here. An analysis of a video game or its narrative has nothing to do with whether you accept how it's done or not. What does that even mean here, accept? What's the consequence? Sorry, I don't get it.

Let me use one last example to show how and why we differ. You said that picking the snowball fight was not the right choice. I took exception to that because of the definition of the word "right". Exclude all emotion for a second. Right and correct simply imply that it was the proper choice to get the desired result. if you took a test and the question was "what is 2 times 2". Now the test had an error where choice A (4) would be marked as wrong while choice B (5) is marked as correct. In the context of the test the right answer (to get credit) is B. You and I can naturally complain that this is an error. But we could not say that according to the test the correct answer was B.

Now to get to Ciri lives the correct answer in the game is snowball fight. I really hope you agree with me so far at least. You would be right to say that you think drinking should be the right answer but, and this is important, instead you claim there is no right answer.

We can get into a deep discussion on if snowball is better than drinking. That is valid. But two facts remain. There was a right/correct choice, and CDPR picked snowball.
I think our basic disagreement is that we look at these situation from two completely different perspectives. You want to have a desired result. I don't even know what you mean by that. But that's not how I see a proper choice situation. The result is completely unimportant for that. What counts is how it feels in the moment of choice. What counts what feels like the best thing you could do in the situation. I'm sorry, but I can't talk about these situations without talking about emotions and feeling at the same time because for me they are crucial for both the approach to such a situation and its understanding. I don't think the concept of right and wrong does this justice. That's just the wrong dimension. But that all leads back to our different definitions of choice...
 
But that all leads back to our different definitions of choice...

Exactly and the game will never meet your definition.

I can redefine combat and say the game has no combat. Or I can redefine alchemy and say the game has no alchemy. These are all personal definitions just like your definition of choice. And since I can never convince you that your definition is not the one to use this whole conversation won't go anywhere. But rememebr this the next time someone else complains that there are no combat or RPG elements they just might be redefining the terms as you did.
 
Exactly and the game will never meet your definition.

I can redefine combat and say the game has no combat. Or I can redefine alchemy and say the game has no alchemy. These are all personal definitions just like your definition of choice. And since I can never convince you that your definition is not the one to use this whole conversation won't go anywhere. But rememebr this the next time someone else complains that there are no combat or RPG elements they just might be redefining the terms as you did.

I did not redefine these terms. The defintion of choice I presented here is the one used in every Witcher game and pretty much every RPG so far. It's not just my exclusive definition but how the terms is used most of the times in the video game world. The choice&consequence mechanic and the concept of player agency is not my invention, it's common knowledge in the industry and especially in the genre.

So no, the game doesn't only meet my definition (whatever that means...) it doesn't meet the standards it set for itself by its genre description, by the way its predecessors work, by the way it works in different parts of itself and by the way it was marketed by CDPR. And you know what, I'm not the only one to think so. It seems many people agree with some or many of my points. That's not a magic miracle based on my personal taste and definitions of words I invented myself. That's the case because there is a basic understanding of how game design works, a basic understanding that is at least comprehensive to those who get into the game design theory a little bit before.

What you do here is just avoiding a real discussion. You avoid the discussion about player agency on purpose I guess because you pretty much know that calculations can't really generate that. And again, it's player agency that drives an RPG, not how we call a mechanic that is used to generate it. It doesn't change a thing whether you can convince me that I use the word choice the wrong way. It doesn't change the fact that these situations have a certain effect on the player - or not - and that the difference between these possible effects is what consitutes whether the game offers situations that follow the "the lesser evil" mantra or not and (another point you seem to avoid on purpose, just like player agency...) and whether the player feels that the choice is hard and has significance in the moment of the situation itself or not.

So yeah, pretty much strawman arguments here from you I'm afraid.
 
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What you do here is just avoiding a real discussion.

So lets get to the meat then.

1) Why should drink be better then a snowball fight?
2) Why is telling Ciri she can't be good at all things, which in context actually means she can't be good at mastering her gift, be bad?
3) Why should going to the meeting with her be better then letting her go herself?
4) Why would skipping the grave be the better choice?
5) Why is taking her to met the Emhyr the better option?

And the most important:
6) Why shouldn't these have an impact in the game?

Pick one or all of them.
 
So lets get to the meat then.

1) Why should drink be better then a snowball fight?
2) Why is telling Ciri she can't be good at all things, which in context actually means she can't be good at mastering her gift, be bad?
3) Why should going to the meeting with her be better then letting her go herself?
4) Why would skipping the grave be the better choice?
5) Why is taking her to met the Emhyr the better option?

And the most important:
6) Why shouldn't these have an impact in the game?

Pick one or all of them.

Where's the meat?

NONE of these question have anything to do with any of my points. But that you ask them sadly proves that you still don't understand what I'm actually talking about. I begin to fear that my lacking English skills avoid making my points any clearer but I'll try again.

The question whether I think any of these alternatives were better than another one is irrelevant. What's relevant is that these situations are simple rational with an almost non-existing moral dimension. The way the whole situations are written is wrong in the way that they can't create true player agency. In a choice situation that generation such agency there is no clear right or wrong, no clear better or worse. Just "the lesser evil" options which means that all of alternatives might lead to believable good or bad consequences (often both, in different ways). A real choice situation that generates player agency is NO puzzle you can solve if it's well staged and written. That's the core of my argument here so the question whether I think that any option to choose in the dialogues here is better than the other is completely out of discussion. Again, these situations lack the emotional and moral impact of meaningful choices in the very moment you have to decide on them.

About question 6: they can have an impact in the game of course. That's not the problem. The problem is how they are written and staged in the first place. The problem is that even for a puzzle you have no clear rules what to choose, at least in my opinion. It's of course simple to interpret these situations when you know the consequences. But that's the wrong way to look at these situations. They must be assessed in the moment they happen without any knowledge of both the "agenda" of the developers nor the actual results. Without proper information to make an "educated guess" you are just doomed to one result the devs are leading you. In such a situation you don't even have good information to solve a puzzle, not even talking about a meaningful choice.

What you basically do here is mixing up the analysis of choices and consquences which are not the same after all. A choice has to work on its own, no matter the actual consequence. Hell, it can even work without any actual (shown) consequence at all if it's well written. The rest of the job is done by the human imagination and the feeling and thoughts we have while making the choice and while thinking about its possible impact. A consequence on the other hand works well if the chain of causalities is staged properly which basically means just consistency. It's the understanding of cause and effect in the moment a consequence plays out. It's about our understanding that something we've done in the past leads to a certain result. It's questionable here if that is true for the situations with Ciri in the game. A lot of people here complained about their lacking knowledge why they got the epilogue they experienced. So there seems to be something missing in the chain of causality here, at least in the way it's explained in the game. It's of course simple to just look up the chain of causlities in some forum or walkthrough but that's not how it should work. But after all, that has little to do with my major concern about the choice situations and their lack of player agency and their lack of and deeper emotional or moral dimension. That's the meat.
 
What you basically do here is mixing up the analysis of choices and consquences which are not the same after all. A choice has to work on its own, no matter the actual consequence. Hell, it can even work without any actual (shown) consequence at all if it's well written. The rest of the job is done by the human imagination and the feeling and thoughts we have while making the choice and while thinking about its possible impact. A consequence on the other hand works well if the chain of causalities is staged properly which basically means just consistency. It's the understanding of cause and effect in the moment a consequence plays out. It's about our understanding that something we've done in the past leads to a certain result. It's questionable here if that is true for the situations with Ciri in the game. A lot of people here complained about their lacking knowledge why they got the epilogue they experienced. So there seems to be something missing in the chain of causality here, at least in the way it's explained in the game. It's of course simple to just look up the chain of causlities in some forum or walkthrough but that's not how it should work. But after all, that has little to do with my major concern about the choice situations and their lack of player agency and their lack of and deeper emotional or moral dimension. That's the meat.

So what "choice" in TW2 would you say fit this description?
 
So what "choice" in TW2 would you say fit this description?

- whether you kill Arjan or not
- whether you support Iorveth or Roche
- whether you kill the dragon or not
- whether you save Triss or help Roche (Roche's path)
- whether you kill Henselt or not (Roche's path)
- whether you kill Letho or not
...

(just to stay with the main narrative)


Personally (and forgive me!) id pay for a DLC to set things right having had the "bad" ending
The "bad" ending could easily be improved by just adding a choice situation after Ciri went through the portal (if the rest of the story stays untouched). The player should have the choice whether they want their Geralt to be sad and angry or whether they want their Geralt just to accept that Ciri won't come back and to live on with his life.

That would actually MY perfect ending. Ciri goes away and nobody knows what happened to her (and nobody knows whether she dealt with the White Frost or no -> also leaves a lot of space for a possible Ciri-based sequel...) and Geralt just goes on with his life, living the life of a Witcher (maybe with his love or not, both could be ok if properly explained). That'd be a kind of "open end" I prefer for story like the Witcher's one (also following Sapkowski's tradition)...

Anyway, the basic point is that I AM Geralt and I want to decide for mywelf whether I basically commit suicide or not. Isn't that the core of a role playing game? ;)
 
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- whether you kill Arjan or not
- whether you support Iorveth or Roche
- whether you kill the dragon or not
- whether you save Triss or help Roche (Roche's path)
- whether you kill Henselt or not (Roche's path)
- whether you kill Letho or not
...

(just to stay with the main narrative)

All of those are really life or death choices. Most directly but the others implied. But surely a life/death option can't be the only way?

I'm also confused by many of those examples. They had no real impact. And in most of them there was no real feeling to what was done. It is probably just how I felt while playing TW2 but for most the base emotion of anger ruled in half of those in the list.

The first one in the list, for me, came down to can I kill him easily enough. I didn't even know him. I had no connection to him. I didn't care if he lived or died. It was a pure calculation on how hard the fight would be and if he had good loot. So when I played the game on an easier mode I killed him and everyone else. On the hardest mode I bypassed the fight because it would be too hard. But in the end either option really meant nothing to the game. What was the consequence?

I can make the same argument for 3 and maybe 4 of those. So I must be missing something. How does the first one give Geralt agency?

EDIT: BTW the choice of Iorveth or Roche is really done so you can have multiple play through's. It is an easy way to extend a game without having to extend the main plot or story. I never seen it as some big decision that will impact the future. Instead it was a mechanism to allow me to play the game at least a second time so I can experience different quests. Didn't ME have something like this where you had to choose which planet to go to. But to to this means you have to give up the open world concept as it requires a linear path. I would rather have more open world.
 
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Anyway, the basic point is that I AM Geralt and I want to decide for mywelf whether I basically commit suicide or not. Isn't that the core of a role playing game?

Eh, the Witcher's Balliwick is it's not Skyrim or Dragon Age but closer to Telltale Games' stuff.

You're not so much a Blank Slate as Lee from The Walking Dead.
 
All of those are really life or death choices. Most directly but the others implied. But surely a life/death option can't be the only way?
Not necessarily, but it's indeed among the most influential ones on our mind if we have to decide about life and death. But that's just the setting. A lot of adventure games prove that choice situations don't need to be about life and death all the time in order to be meaningful and effective.

I'm also confused by many of those examples. They had no real impact.
They don't have to have any impact. Again, choices and consequences are two different things. And again, you can't evaluate a choice based on any consequence. A choice situation has to work on its own, in the very moment you make the choice. The possible impact on the game is completely irrelevant for the evaluation of the choice. If you want to evaluate the consequences in a game and how much "weight" your decisions have, then we talk about impact of decisions. But that's not what I'm talking about when writing about choices.

The first one in the list, for me, came down to can I kill him easily enough. I didn't even know him. I had no connection to him. I didn't care if he lived or died. It was a pure calculation on how hard the fight would be and if he had good loot. So when I played the game on an easier mode I killed him and everyone else. On the hardest mode I bypassed the fight because it would be too hard. But in the end either option really meant nothing to the game. What was the consequence?

I can make the same argument for 3 and maybe 4 of those. So I must be missing something. How does the first one give Geralt agency?
Choice =/= consequence

About the first one: maybe we have a different level of empathy here but I play my games with a "moral compass". Killing enemies isn't just "fun" for me in a serious RPG, it's always something that touches me and that needs good context to feel comfortable with me. The question whether to kill somebody or not isn't just business as usual to me. If I can "spare" somebody I feel agency because I had the choice to kill him and maybe it was a good fight and some great loot would await you. But having the choice not do so gives me narrative freedom. It gives the the choice to put my moral compass and empathy above "gamey reason" so to say. It gives me the choice to wager between moral, feelings and reason in any way I (or anyone else) see fit. That creates agency for me. Of course there are situations which might feel more impactful and more meaningful but it's still a choice I remember and which I enjoyed a lot.

EDIT: BTW the choice of Iorveth or Roche is really done so you can have multiple play through's. It is an easy way to extend a game without having to extend the main plot or story. I never seen it as some big decision that will impact the future. Instead it was a mechanism to allow me to play the game at least a second time so I can experience different quests. Didn't ME have something like this where you had to choose which planet to go to. But to to this means you have to give up the open world concept as it requires a linear path. I would rather have more open world.
Choice =/= consequence

Eh, the Witcher's Balliwick is it's not Skyrim or Dragon Age but closer to Telltale Games' stuff.

You're not so much a Blank Slate as Lee from The Walking Dead.

Context? Of course Geralt has a seious and fleshed out backstory. But how is that connected to having no choice in the end? Why can I decide whether I want to participate in Radovids assassination but now whether I want to commit suicide or not? That makes no sense. The game already have choice situtions (in many side quests and in the first two thirds of the main quest) so why making the end all linear? You can't argument with Geralt being a predefined character here. That would be highly inconsistent in the way Geralt is implemented in the game.

I also don't understand what the Skyrim vs. Walking Dead comparsion should say me here. Care to explain?
 
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Choice =/= consequence
I come from the world of physics and science. Cause and causation are fundamental principles of the universe. Choice always result in a consequence. Even not picking is a choice. Since the game does in fact enforce choice consequence it exists. I know this goes back to our fundamental difference of definition. To me choice without a consequence is no better then making a choice of eating a banana or an apple. And even there exists the possibility of a consequence.

About the first one: maybe we have a different level of empathy here but I play my games with a "moral compass".
So you never experienced the evil side of KOTOR or Fallout games? Or played the bad guy in PT? These are games and in games we are encouraged to explore many avenues. We are not forced to play just what we are.

but now whether I want to commit suicide or not? That makes no sense.

It was the crone who kept saying that. In fact Geralt rebuts her and says that it isn't suicide. Therefore, it is only your interpretation that he dies and commits suicide. After all the monsters were low level ghouls and he killed hundreds of them already in the game. All that ending really shows is grief. And what emotion follows grief? Anger.
 
I come from the world of physics and science. Cause and causation are fundamental principles of the universe. Choice always result in a consequence. Even not picking is a choice. Since the game does in fact enforce choice consequence it exists. I know this goes back to our fundamental difference of definition. To me choice without a consequence is no better then making a choice of eating a banana or an apple. And even there exists the possibility of a consequence.
You miss the dimension of time. You only look at the whole sitution after you've completed the whole game. I look at the sitution while I experience it. It's an analysis that explores the moment. You can't evaluate the impact and the "meaningfulness" of a choice if you don't restrict yourself to the time in which you have to decide. Whether a choice situation works for itself is dependent on which feelings it evokes in the player while the player makes the choice.

That doesn't mean that choices don't lead to consequences. Of course they do. That's not the point. The point is that what you feel while playing a game is at least as important as whether you deem consequences as logical results to how you decided in various situations. That't two different aspects of the topic of choice and consequence.

It doesn't surprise me anymore that you don't seem to get the concept of "agency". You can't grasp that concept if you only look at the consequences and whether the chain of causality is valid that leads to the consequence. Agency has nothing to do with the actual consequence. Agency is the feeling you have while making choices in the game. The more choices you have the more agency you feel. It's pretty much how much of ourselves we put into the game, how deep we are emotionally and mentally invested in a game. That's why meaningful choices are so impactful. They challenge ourselves, often on a fundamental level, and not only serve as puzzle to overcome or as a way to access new storytelling paths. That's how they mechanically work, as you've said, cause and causality, and indeed, from a purely mechanical point of view, a "meaningful choice" isn't much different from a "puzzle calculation" when you only look at whether the consequence branch seems to be believable or valid. But there is more to choice than pure mechanics. It's player psychology. It's how we react to certain situations in games and what the cause in us. Choices and calculations work fundamentally different in that regard, to me at least. If you don't feel the same and if both situations work just the same for you, I fear that we perceive video games in a very different way, maybe based on different levels and priorities when it comes to empathy. If that's the case I feel sorry for you, to be honest, because you very much miss one of the most fascinating and most engaging aspects of video games and RPGs in particular.

But maybe it's again only wording games we play or it's still a misunderstanding. It should be pretty clear that I talk about "meaningful narrative choice" here as a psychological concept that is able to create player agency. Apart from that there is mechanical/gameplay choice (which can cause agency as well) which is indeed apparent in the last third of the game but which I excluded from the discussion due to the concentration on the narrative parts. And of course when we let Geralt talk to Ciri we have to make a choice in the simple meaning of the dictionary, if that's what's so important to you. But a simple choice in its basic meaning and the concept of meaningful choices in video games are different. So when I say that the game lacks proper narrative choice in the last third of the game I mean that it lacks meaningful choice. I mean that the narrative bits of the main storyline aren't able to create player agency. Even on the opposite. It's so linear and predetermined that the game even decides on our ultimate fate instead of letting us choose for ourselves which is basically the worst thing you could do in an RPG.

So you never experienced the evil side of KOTOR or Fallout games? Or played the bad guy in PT? These are games and in games we are encouraged to explore many avenues. We are not forced to play just what we are.
Where did I say that we are forced to do anything? Choice is the exact opposite of being forced to something.

If you want t to play a bad or ruthless character you can. It's up to you. Why not? It's usually not my style but I like the option. Because having options is the very nature of an RPG.

It was the crone who kept saying that. In fact Geralt rebuts her and says that it isn't suicide. Therefore, it is only your interpretation that he dies and commits suicide. After all the monsters were low level ghouls and he killed hundreds of them already in the game. All that ending really shows is grief. And what emotion follows grief? Anger.
It's not important what the end really shows. Important is that the devs took the decision out of my hand how I want my character to deal with the situation. So they basically acted against the very idea of roleplaying. Roleplaying in its most basic formula means that you decide how you deal with situations you're character is thrown into. In an RPG it's the task of the devs (or in PnP, the dungeon master) to create a setting and a chain of consistent situations you have to deal with. The epilogues neglect that. They just force my character into some situation I see unfitting. Not the sitution itself but how I deal with it. And grief and anger are not the only possible emotions. Killing the crone is not the only possible outcome to the situation. I'd say that the whole situation doesn't fit to Geralt's character, neither the one I know from the books nor the one I've roleplayed for hundreds of hours before. That's the problem here.
 
I fear that we perceive video games in a very different way, maybe based on different levels and priorities when it comes to empathy. If that's the case I feel sorry for you, to be honest, because you very much miss one of the most fascinating and most engaging aspects of video games and RPGs in particular.
Empathy in a video game, yes in real life no. I separate the two very easily. Hopefully you weren't implying that I lake empathy in the real world.

But maybe it's again only wording games we play or it's still a misunderstanding.
No it really is a fundamental difference in how we approach a game. I evaluate what the game will be. How "deep" is it. So a game like PT requires a different level of attachment to get the ultimate benefit from it. But I realize that applying that same level of attachment to COD games (yes exaggeration) is not only useless it is going to disappoint me. I think your disappointment stems from the fact that you wanted it to be "deeper" while I approached it as it was. Sort of like having higher expectations can mean you are disappointed with an outcome even when that outcome is better than 95% of the other options.

Where did I say that we are forced to do anything? Choice is the exact opposite of being forced to something.
not forced in the sense of a gun to your head but instead in reference to you comment that you play your games using your moral code. I was trying to say that if you always use your moral code you are "forced" to a path in that game that applies to that code.

If you want t to play a bad or ruthless character you can. It's up to you.
I can easily switch from good to bad guy because to me it's just a game. In GTA games I kill a motorist with a rocket launcher just because they cut in front of me. Of course that never happens in real life. The game was created to be played that way. I treat it as just that. A game.

It's not important what the end really shows. Important is that the devs took the decision out of my hand how I want my character to deal with the situation. So they basically acted against the very idea of roleplaying. Roleplaying in its most basic formula means that you decide how you deal with situations you're character is thrown into. In an RPG it's the task of the devs (or in PnP, the dungeon master) to create a setting and a chain of consistent situations you have to deal with. The epilogues neglect that. They just force my character into some situation I see unfitting. Not the sitution itself but how I deal with it. And grief and anger are not the only possible emotions. Killing the crone is not the only possible outcome to the situation. I'd say that the whole situation doesn't fit to Geralt's character, neither the one I know from the books nor the one I've roleplayed for hundreds of hours before. That's the problem here.

So how would your Geralt have handled Ciri's death? The game had to pick something. They had to have some type of script for the voice actors. Going to retrieve the medallion is very plausible. And as I've said it was only the crone who was talking suicide. See the problem we have here is that you say your Geralt would do something else, whatever that may be. So how can the game know what your Geralt would do? And if we have 1000 people would it have to accommodate all 1000 views? I don't see any alternative to them picking some ending and then going with it. They had to have something to show.

Unless you wanted something like:

Game - Ciri is dead how does your Geralt respond:

1) Go kill yourself.
2) Go party with the hookers at the brothel.
3) Go kill the crone.
4) Go seek comfort in Triss/Yen arms or Dandelion if you messed that up.

And then play an epilogue on that.
 
Empathy in a video game, yes in real life no. I separate the two very easily. Hopefully you weren't implying that I lake empathy in the real world.
I don't talk about real life.

No it really is a fundamental difference in how we approach a game. I evaluate what the game will be. How "deep" is it. So a game like PT requires a different level of attachment to get the ultimate benefit from it. But I realize that applying that same level of attachment to COD games (yes exaggeration) is not only useless it is going to disappoint me. I think your disappointment stems from the fact that you wanted it to be "deeper" while I approached it as it was. Sort of like having higher expectations can mean you are disappointed with an outcome even when that outcome is better than 95% of the other options.
That makes no sense at all. You approach it as it was. So if a game is bad or deosn't offer what it should offer you just get along and give it a 10/10 because "it's just what it is". Sorry, but this is not a valid argument to me.

And yes, I want the game to be deeper and offer something better. I don't see what's wrong with that.

not forced in the sense of a gun to your head but instead in reference to you comment that you play your games using your moral code. I was trying to say that if you always use your moral code you are "forced" to a path in that game that applies to that code.
I can easily switch from good to bad guy because to me it's just a game. In GTA games I kill a motorist with a rocket launcher just because they cut in front of me. Of course that never happens in real life. The game was created to be played that way. I treat it as just that. A game.
How do you come to the conclusion that I don't treat a game like a game? That doesn't imply that I can get emotionally attached and reflecting part of myself into the stuff I experience. That's how I play games. That's why I love RPGs. I see that you don't understand that. For you it's pretty much the same whether a game is linear or not. You only want a mechanical sound game. That's ok. But just try to understand that games mean different things to people and other people might expect different things from video games. Believe me, there are a lot of people who want to play RPGs not only to follow a certain storyline or to master some gameplay mechanics but to get deep into the game. Immersion and empathy in video games are perceived differently by different people.

So how would your Geralt have handled Ciri's death? The game had to pick something. They had to have some type of script for the voice actors. Going to retrieve the medallion is very plausible. And as I've said it was only the crone who was talking suicide. See the problem we have here is that you say your Geralt would do something else, whatever that may be. So how can the game know what your Geralt would do? And if we have 1000 people would it have to accommodate all 1000 views? I don't see any alternative to them picking some ending and then going with it. They had to have something to show.

Unless you wanted something like:

Game - Ciri is dead how does your Geralt respond:

1) Go kill yourself.
2) Go party with the hookers at the brothel.
3) Go kill the crone.
4) Go seek comfort in Triss/Yen arms or Dandelion if you messed that up.

And then play an epilogue on that.
Something along those lines, yes. I want to have at least a choice. I'd probably choose a different set of options though.
 
That makes no sense at all. You approach it as it was. So if a game is bad or deosn't offer what it should offer you just get along and give it a 10/10 because "it's just what it is". Sorry, but this is not a valid argument to me.
Huh? No I never said what I would rate it as. What I said was that I don't approach all games with the same expectation. I never expected TW3 to have the depth of PT. If you did that was your fault. I will judge a game based on how I enjoyed it. Not every movie can be Casablanca level. I enjoyed the crap out of Armageddon but would never try to say that it was a masterpiece. But even having realistic expectations means a game can still fail. KOTOR 2 failed for me for example.

And yes, I want the game to be deeper and offer something better. I don't see what's wrong with that.
We can all want that. But even a shooter can be fun.

How do you come to the conclusion that I don't treat a game like a game? That doesn't imply that I can get emotionally attached and reflecting part of myself into the stuff I experience. That's how I play games.
Thats fine for you but I don't get emotionally attached to fiction be it a game or a movie. We are just different int hat respect.

For you it's pretty much the same whether a game is linear or not. You only want a mechanical sound game.
Clearly you don't know what I want. In fact I've said that open world vs. linear means there will be trade offs. More open requires a different type of story and flow. I accept these limitations and adjust accordingly. And that "mechanical sound game" where did that come from?

Immersion and empathy in video games are perceived differently by different people.
Exactly. And your perception is no better nor worse then the next persons. Yet you constantly imply that your view is in fact better. I.E. using terms like I feel sorry for you etc.

Something along those lines, yes. I want to have at least a choice. I'd probably choose a different set of options though.
And IMO that would be stupid and silly. It says that I can get the exact same ending as anyone else and all those choices meant nothing. But you have made it clear that choices should not have any consequences. Well I guess in a game it can be that way but in RL all choices, every last one of them will have some consequence. It's a fundamental law of physics and can't be avoided.

EDIT: I have to add something. The single hardest decision for me int he whole game was Roche vs. Dijkstra. I know Roche was making a bad decision. He was wrong in his assessment. Yet he showed up to help me and defend Ciri. he risked his life for us. Am I to turn my back on him now? But if I support him that means Nilfgaard wins. He was being used by Emhyr and was blinded by his limited vision for Termaria. And there were HUGE consequences based on this decision. Side with the a-hole who is right or let someone die who is wrong but risked his life for you and Ciri.

And this decision was harder to make than any in TW2.
 
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