We-ell...reviews with lower scores are probably more focussed on negatives than positives. A lot of the time, the negatives are more determinative to people than the positives in terms of enjoyment.
And this is not unreasonable. I liked Return of the Jedi, but the Ewoks....yeah. Takes a LOT of saber fighting and speeder bike chases to make up for even three minutes of Ewok footage. Or Ewoks at all.
So if you read the lower reviews, factor out very relative values like "I didn't like the art style at all!" and pay attention to limited quests and repetitive gameplay, such reviews are more accurate than those from someone who loves the game because a) Bioware made it and/or b) they are still in the honeymoon stage of a new game.
No. Not necessarily. I chose that guy because I don't trust people who give any game 90-100%. Very few games deserve that. I'm not saying that this is the only review you should read. I'm just saying that this is what I thought of what this guy said. Trust me, I'd like DA:I to be good.
To me they're more inclined to be reallistic reviewers than IGN (synonym of bad gaming journalism, a joke).
The Eurogamer review is fairly comparable to other critical reviews like Gamestar, Cheat Code Central, God is a Geek and PC World. Good grades, but with a fair amount of criticism based on reasonable arguments. The one thing that does feel odd about these reviews is that they sound 7/10-ish, but end up with grades that are 8/10-ish. The same thing happened with quite a few DA2 reviews, by the way.
In my experience, these ‘critical’ 8/10-ish are usually given to games published by major developers / major studios with plenty of financial clout / prestige. If they are made by a smaller publisher or less prestigious / younger studio, the final grades are more in line with the actual text of the review, meaning 7/10 or 7.5/10 tops.
Anyway, even some of the highest grades are by publications that gave DA2 higher grades than DA:I at the time. That does not mean that DA:I is ‘as bad’ or ‘worse’ than DA2, I think it’s pretty clear by now that it’s a much better game (and the only new fantasy RPG in town right now, and pretty much the only one if you have a PS4 or Xbone).
If I think there’s a lesson, it’s that it probably pays to look how ‘analytical’ the reviews are. Too many value judgments (‘amazing’, ‘brilliant’ ‘outstanding’ etc.) and very, very high grades and I usually stop reading. Truly outstanding games are few and far between, but hyperbole…hyperbole never changes.
In my experience, these ‘critical’ 8/10-ish are usually given to games published by major developers / major studios with plenty of financial clout / prestige. If they are made by a smaller publisher or less prestigious / younger studio, the final grades are more in line with the actual text of the review, meaning 7/10 or 7.5/10 tops.
Anyway, even some of the highest grades are by publications that gave DA2 higher grades than DA:I at the time. That does not mean that DA:I is ‘as bad’ or ‘worse’ than DA2, I think it’s pretty clear by now that it’s a much better game (and the only new fantasy RPG in town right now, and pretty much the only one if you have a PS4 or Xbone).
If I think there’s a lesson, it’s that it probably pays to look how ‘analytical’ the reviews are. Too many value judgments (‘amazing’, ‘brilliant’ ‘outstanding’ etc.) and very, very high grades and I usually stop reading. Truly outstanding games are few and far between, but hyperbole…hyperbole never changes.
Last edited:
It's not a low score, it's an 80 which is still quite high. I do look at reviews that are critical because I want to see what they downrated it for. If it's criteria that's important to me, then I can't say I wasn't warned.
It's obvious to me that the design team being the same as DA2 had some consequences. Essentially DA is no longer a tactical RPG in any meaningful sense and their talk about the tactical camera and all that is just marketing. Might as well get used to it.
I am going to play it, though. Nostalgia for Origins rather than anything I've heard about the new game.
I'm not even bothering to read reviews.
The game looks good from what I have seen, and EA has given Bioware more time to actually make a finished game, unlike with DA2.
I'm wondering if we will get a DLC later that adds another companion into the game? And whether that companion will be post story campaign or recruitable at the beginning. Since Bioware normally gives us new companions with each DLC, I'm interested to see what we get this time.
The game looks good from what I have seen, and EA has given Bioware more time to actually make a finished game, unlike with DA2.
I'm wondering if we will get a DLC later that adds another companion into the game? And whether that companion will be post story campaign or recruitable at the beginning. Since Bioware normally gives us new companions with each DLC, I'm interested to see what we get this time.
Speaking of good reviews, high rating and all that stuff
http://nzgamer.com/reviews/2170/dragon-age-inquisition.html
At this site are only four perfect scores 10/10 and DAI is one of them. And yes i think this review its write very well. But it's not trustworthy cuz reviewer gave this game a perfect score.......
http://nzgamer.com/reviews/2170/dragon-age-inquisition.html
At this site are only four perfect scores 10/10 and DAI is one of them. And yes i think this review its write very well. But it's not trustworthy cuz reviewer gave this game a perfect score.......
well, to balance that:
http://www.4players.de/4players.php...CDROM/32927/80791/Dragon_Age_Inquisition.html
in German though and long as fuck
Last edited:
David Gaider actually confirmed ages ago that there will be no Sebastian or Shale type of companion DLC in DAI. Not right away anyway.
I recall he said something about how the compexity of companions and their role in story and gameplay this time prevents them of simply adding another fellow smoothly to game.
As long as they're not total douche nozzles like Sebastian... they better be friggin amazing, like Shale. The grumpier the better. No more pussy white knights.
Unfortunately my German is a little inadequate
(like most of us here i suppose) So we cannot constructively discussed this contrast between these two articles. Can we?I am just posting it for those people who like negative reviews in any language:troll:Unfortunately my German is a little inadequate
Last edited:
Hey! There was nothing really wrong in Sebastian. Okay, maybe his fake accent was bit off but he was quite fun to be around most of the time with his naive and zelaous personality that you couldnt really hate. He had some of the funniest party banters with Merrill, methinks.
Grumpy Shale was indeed awesome in DAO, but if every character was like that in DA, that personality would pretty soon lose its charm and uniqueness.
Just like it would be pretty boring if every character in Witcher would suddenly be as sarcastic badass as Geralt.
Diversity before all in companions Unkindled.:victory:
Player should get to know as different personalities as possible so he can decide who he is friends with the most.
Unfortunately my German is a little inadequate
Introduction page
BioWare attempting a balancing act between its own narrative virtues and an open world à la The Elder Scrolls: Skyrim - and the rotten compromises between them are very painful. Instead of expanding the traditional strengths, we took its cue from the successful competition of Bethesda and much of Skyrim copied without reaching its suction. It has moved away from the situational role-playing game with a dramatic script to open a huge playground. The looks wonderful, lures with size and diversity. But the core is either ordinary, unpretentious or as terrible as static in many online role-playing game. Since this fascination is neither novel nor playful felt that we have to wait to Baldur's Gate Dragon Age: Origins was transferred. Should there have been progress in terms of character behavior in the last twenty years, you will not find them here. The few really good quests go under the overused Get and Put. Because of the contradictions between the narrative and the experienced also created very early a distance to the game world and its actors. Why should I collect iron as a herald of the Inquisition or hunt Aries? The own hero? Morally hardly malleable! There are few dramatic moments when the old BioWare flashes, because screenplay and story go during the scavenger hunt under and over again. Yes, you can drift for 30 to 80 hours in an endless tag-completion and flow: There's so much fighting to liberate, to pick, to tinker and also to decide - only that this little on the history effect. The exploration potential charms of beautiful landscapes are stifled early by the spoiler card and much is terribly obvious distributed for collectors - finding secrets by direction pulse is the silliest thing Canadians have been developed. Finally, the combat system is neither one thing nor friends for Action for break tactician, but still offers combo stimuli in brilliant battles. It is ultimately kidnapped in a crowded fantasy world, the animated one for weeks with all their odds and ends for surfing on the surface. Since a shard, still a mile and maybe even include a crack here. The really good role playing are as dives. But BioWare will not want to explore that depth - swimming there too little audience.
(For test only the PC version was before us. We could not even play online. The ratings for the other systems we deliver to. Anm.d.Red.)
(For test only the PC version was before us. We could not even play online. The ratings for the other systems we deliver to. Anm.d.Red.)
Page 1
As she was about to settle the long-standing conflict between Templars and mages at a meeting, but then the unthinkable happens: your holiness and almost all well-known attendees flying in the air. Not only that, cracks in the world open to the fatal explosion anywhere that could allow demons. What is going on here? Who is behind it? On the scene to find an unconscious character, whose hand just greenish pulsates like the gaping hole in the sky. The thing seems clear: This must be the terrorist! And you shall heap the blame first figurative forms.
No sooner have you for a race, a class (Mage, Warrior, Rogue), a people (human, elf, dwarf, Qunari) and hairstyle, scars, voice decided & Co, you will have to deal with the anger of the survivors, would prefer an executed immediately. This situation is indeed an ordinary: BioWare uses the traditional motif of the mysterious external threat, which among other things in The Elder Scrolls IV: Oblivion or many other adventures reminiscent of demonic invaders. But the situation in this case is dramatically very interesting - just because you put in the skin of the alleged perpetrator! Just skip the hectic screenplay this potential conflict before it can grow at all.
From terrorists to world savior
For quiet RPG BioWare can despite some dialogs in which you can respond helpful, upset or angry as perplexed prisoner of the Inquisition, not only in this entry too little space - it goes very fast. So you have no free choice whether to eg wants to escape or cooperate. It does not matter how you react. Although the Inquisitor plays her suspicions very convincing, they are there on a few minutes later, leaving the terrorists a weapon. Hey BioWare, why so superficial, so hectic? Why can I not watch some games with this situation? Even the scenes of outrage or anger within the normal people are used convincingly only in the cutscene before you feel anything in the game world of it. This problem quickly saw through the surface and the contradiction between the narrated experiences and scenes can be observed over the whole adventure.
It is a shame that can not be the Canadians in the home more time for development, so that you can better identify with his role - in Dragon Age: Origins or Mass Effect one was significantly
Status quo set the game world:
performed better in the plot. All too soon, we mutated the main culprits for hope. This is purely narrative of course understandable, because only the greenish flickering magic of your own hand can close the cracks. In addition, any further spread of the demonic columns seems to violate the mysterious stranger himself. One is almost forced to save with the Inquisition his own life while the world - even if you play a rogue elves, the holiness actually misses the pointed ear. Nevertheless, all this would have been more credible and more open to a calm director.
No sooner have you for a race, a class (Mage, Warrior, Rogue), a people (human, elf, dwarf, Qunari) and hairstyle, scars, voice decided & Co, you will have to deal with the anger of the survivors, would prefer an executed immediately. This situation is indeed an ordinary: BioWare uses the traditional motif of the mysterious external threat, which among other things in The Elder Scrolls IV: Oblivion or many other adventures reminiscent of demonic invaders. But the situation in this case is dramatically very interesting - just because you put in the skin of the alleged perpetrator! Just skip the hectic screenplay this potential conflict before it can grow at all.
From terrorists to world savior
For quiet RPG BioWare can despite some dialogs in which you can respond helpful, upset or angry as perplexed prisoner of the Inquisition, not only in this entry too little space - it goes very fast. So you have no free choice whether to eg wants to escape or cooperate. It does not matter how you react. Although the Inquisitor plays her suspicions very convincing, they are there on a few minutes later, leaving the terrorists a weapon. Hey BioWare, why so superficial, so hectic? Why can I not watch some games with this situation? Even the scenes of outrage or anger within the normal people are used convincingly only in the cutscene before you feel anything in the game world of it. This problem quickly saw through the surface and the contradiction between the narrated experiences and scenes can be observed over the whole adventure.
It is a shame that can not be the Canadians in the home more time for development, so that you can better identify with his role - in Dragon Age: Origins or Mass Effect one was significantly
Status quo set the game world:
performed better in the plot. All too soon, we mutated the main culprits for hope. This is purely narrative of course understandable, because only the greenish flickering magic of your own hand can close the cracks. In addition, any further spread of the demonic columns seems to violate the mysterious stranger himself. One is almost forced to save with the Inquisition his own life while the world - even if you play a rogue elves, the holiness actually misses the pointed ear. Nevertheless, all this would have been more credible and more open to a calm director.
Page 2
Dialogues and localization
What stands out very quickly: Although the important dialogues are well staged, though you may ask and respond differently in talks to BioWare can not increase compared to Mass Effect 3, what facial expressions, gestures, as well as the quality of the texts themselves in terms - on the contrary. While it is commendable that this game was localized consistently given the abundance of dialogues. And most of all the important characters like the dwarf Varric can, as always, with exceptions, can also listen to German. There are also evocative scenes, in which they convince emotionally and contribute much to the atmosphere. Although this is never lip sync, but at least it looks even more natural.
But BioWare reached in previous adventures almost an intimate chamber-level game, the play often seems sterile and what has been said here interchangeably. You will notice the quality loss at the latest at the supporting roles, some of which stoically recite their texts - an early example of this is the Quartermaster in Haven, many others follow. Some dialogues in side quests are also poorly written: An ex-wife seeks middle of the desert the marriage ring she threw in a cave spiders - or something like that. Such scenes you could get over in any Hack'n Slay, but here they seem untrustworthy and out of place.
It also happens that merchants or other people during a call indicate faulty movements, eg when they are lean or support of nowhere. The own companions flit partially madly through dialogue scenes or mince one meter above the ground with a Moonwalk in the air. Despite better technology so there are not only in terms of the script, but also the representation of some regression in relation to the standards that BioWare has set itself over the years. All this is of course the new mass of figures owed.
Relationships and Story Break
And you can get used to it, because his own party members and the nine potential companions are better animated in the relevant situations and extending at least partially serious, funny or cranky entertained - including perhaps a little too much slapstick. Added to this is again the structure of relationships, if you really spend time with them, so also pursuing their personal quests. Then also erotic dalliances are possible. BioWare so stay in this area of interaction faithful, for the interest of the attendants will be rewarded. Every time you do something or says what a fellow like or dislike, just a three to plus or minus points light up. However, one can see nowhere, as the emotional status quo is just. This must be stated on the basis of behavior - and that's a good thing.
However, it must be in its role not only in the home, but suffered permanent damper that harm the identification: While some characters react differently to sex and people of the hero (to open rejection of dwarfs or qunari), but that is sometimes totally inconsistent staged. In a cutscene yelling a city dweller in Val Royeaux, because she sees the demon elf, but in the scenes nobody reacts when walking - which acts completely static. In such moments, tears for me the thread on which my fascination attached as role players. This also means that one is no longer looking so can play as in previous BioWare adventures. One can its role thus hardly interpret morally or in character: Although one may refuse help or orders and sometimes respond harshly, so that the crew may be duped, but who wants to play one real bitch with evil or completely egoistic intentions, is not only the home but also later not at his expense.
What stands out very quickly: Although the important dialogues are well staged, though you may ask and respond differently in talks to BioWare can not increase compared to Mass Effect 3, what facial expressions, gestures, as well as the quality of the texts themselves in terms - on the contrary. While it is commendable that this game was localized consistently given the abundance of dialogues. And most of all the important characters like the dwarf Varric can, as always, with exceptions, can also listen to German. There are also evocative scenes, in which they convince emotionally and contribute much to the atmosphere. Although this is never lip sync, but at least it looks even more natural.
But BioWare reached in previous adventures almost an intimate chamber-level game, the play often seems sterile and what has been said here interchangeably. You will notice the quality loss at the latest at the supporting roles, some of which stoically recite their texts - an early example of this is the Quartermaster in Haven, many others follow. Some dialogues in side quests are also poorly written: An ex-wife seeks middle of the desert the marriage ring she threw in a cave spiders - or something like that. Such scenes you could get over in any Hack'n Slay, but here they seem untrustworthy and out of place.
It also happens that merchants or other people during a call indicate faulty movements, eg when they are lean or support of nowhere. The own companions flit partially madly through dialogue scenes or mince one meter above the ground with a Moonwalk in the air. Despite better technology so there are not only in terms of the script, but also the representation of some regression in relation to the standards that BioWare has set itself over the years. All this is of course the new mass of figures owed.
Relationships and Story Break
And you can get used to it, because his own party members and the nine potential companions are better animated in the relevant situations and extending at least partially serious, funny or cranky entertained - including perhaps a little too much slapstick. Added to this is again the structure of relationships, if you really spend time with them, so also pursuing their personal quests. Then also erotic dalliances are possible. BioWare so stay in this area of interaction faithful, for the interest of the attendants will be rewarded. Every time you do something or says what a fellow like or dislike, just a three to plus or minus points light up. However, one can see nowhere, as the emotional status quo is just. This must be stated on the basis of behavior - and that's a good thing.
However, it must be in its role not only in the home, but suffered permanent damper that harm the identification: While some characters react differently to sex and people of the hero (to open rejection of dwarfs or qunari), but that is sometimes totally inconsistent staged. In a cutscene yelling a city dweller in Val Royeaux, because she sees the demon elf, but in the scenes nobody reacts when walking - which acts completely static. In such moments, tears for me the thread on which my fascination attached as role players. This also means that one is no longer looking so can play as in previous BioWare adventures. One can its role thus hardly interpret morally or in character: Although one may refuse help or orders and sometimes respond harshly, so that the crew may be duped, but who wants to play one real bitch with evil or completely egoistic intentions, is not only the home but also later not at his expense.
Google translate. First few parts. Will post the rest soon since I want to read it myself as well and class is boring as fuck today lol.
---------- Updated at 11:01 AM ----------
page 3
Why do not you use the swirling demonic hand for whisperings or dramatic incidents? Why not build on something like the dark side of the Force? All these opportunities for more voltage is allowed to lie. Anything else is completely sobering for the brand BioWare role-playing games: The main story, for which you need at full concentration on the essentials of the 30 to 40 hours, sleeping right after a hasty entry - and for many, many hours. In this long period the important companions sink despite their steadily interspersed comments sometime as little interesting fellow; climbs to a horse, they disappear even literally. Then you can hardly miss it, because they simply interfere too little and much palaver in slapstick. The vibrant hand? It does not matter. The party? It does not matter.
As soon as one is first installed as the leader and the hinterland explored happened narrative or interpersonally nothing relevant. So anything that would make for drama, conflict or emotions. Only after reaching the capital of Orlais the story is finally continued around the conflict between mages and Templars Inquisition again. But at what a level! The script is at times clumsy. As rich a few cutscenes for a riot not matter if you do not feel it in the world itself - hello BioWare, you wanted open world, so it shows! Although Val Royeaux looks at first glance picturesque, but acts with his French aristocratic flair as a sterile foreign body. Compared to an Assassin's Creed is pure in the streets and statics, which concerns the behavior of people. I thought we were next-gen? In other regions, the representation of the population who may be in shock, panic or react should live at least after fleeing the misery, much to clean. Although you must ensure & Co in quests for food, clothing, weapons, which is in the game world, although on the one hand much better represented than in Dragon Age 2, but simply not credible for the year 2014th
Power vacuum in idyllic landscape
The political situation is purely narrative controversial: As the head of the Church was killed along with all his potential successor, global unrest, and a power vacuum is created yes. The peoples distrust to ensure demons fear and terror groups more radical and aggressive on the loose. Whoever is in charge? The charismatic leader calls unceremoniously from the Inquisition, will gather an army and make the perpetrators of the attack trace. And then you will be dismissed in this great world, somewhere very powerful lure dragons between their peaks, deserts and swamps - as far as one is the name of the game nor fair.
And the scenery is impressive: even the first Central European-looking region, the so-called hinterland is greater than both predecessors together. You can go out later in this zig-wide areas, covering a wide range of scenic wooded to mountainous, of volcanic, sandy to muddy. Thanks to the Frostbite 3 engine it all looks damn impressive, especially since you can jump and climb to reach even higher-lying plateau - even if the latter is quite weak animated.
The result is almost an action-adventure feeling when you walk on steep slopes and the magician repaired a broken bridge over a ravine. There are narrow passes and waterfalls, lakes and caves, it created intimate moments, ranging from red-gold idyll until'm too dreary gloom. Within these regions here and there scurrying animals like rams, pigs and squirrels around like rodents. In the background, curl dark towers or powerful statues. But BioWare is making a mistake. Almost everything is displayed, cataloged or recorded too early. You feel like you on a scenic sightseeing tour with GPS and Wikipedia constant stream. At least here you will feel like you are in an online role-playing game à la Guild Wars 2.
As soon as one is first installed as the leader and the hinterland explored happened narrative or interpersonally nothing relevant. So anything that would make for drama, conflict or emotions. Only after reaching the capital of Orlais the story is finally continued around the conflict between mages and Templars Inquisition again. But at what a level! The script is at times clumsy. As rich a few cutscenes for a riot not matter if you do not feel it in the world itself - hello BioWare, you wanted open world, so it shows! Although Val Royeaux looks at first glance picturesque, but acts with his French aristocratic flair as a sterile foreign body. Compared to an Assassin's Creed is pure in the streets and statics, which concerns the behavior of people. I thought we were next-gen? In other regions, the representation of the population who may be in shock, panic or react should live at least after fleeing the misery, much to clean. Although you must ensure & Co in quests for food, clothing, weapons, which is in the game world, although on the one hand much better represented than in Dragon Age 2, but simply not credible for the year 2014th
Power vacuum in idyllic landscape
The political situation is purely narrative controversial: As the head of the Church was killed along with all his potential successor, global unrest, and a power vacuum is created yes. The peoples distrust to ensure demons fear and terror groups more radical and aggressive on the loose. Whoever is in charge? The charismatic leader calls unceremoniously from the Inquisition, will gather an army and make the perpetrators of the attack trace. And then you will be dismissed in this great world, somewhere very powerful lure dragons between their peaks, deserts and swamps - as far as one is the name of the game nor fair.
And the scenery is impressive: even the first Central European-looking region, the so-called hinterland is greater than both predecessors together. You can go out later in this zig-wide areas, covering a wide range of scenic wooded to mountainous, of volcanic, sandy to muddy. Thanks to the Frostbite 3 engine it all looks damn impressive, especially since you can jump and climb to reach even higher-lying plateau - even if the latter is quite weak animated.
The result is almost an action-adventure feeling when you walk on steep slopes and the magician repaired a broken bridge over a ravine. There are narrow passes and waterfalls, lakes and caves, it created intimate moments, ranging from red-gold idyll until'm too dreary gloom. Within these regions here and there scurrying animals like rams, pigs and squirrels around like rodents. In the background, curl dark towers or powerful statues. But BioWare is making a mistake. Almost everything is displayed, cataloged or recorded too early. You feel like you on a scenic sightseeing tour with GPS and Wikipedia constant stream. At least here you will feel like you are in an online role-playing game à la Guild Wars 2.
Page 4
Sensing stimuli and secret Echo
Terms of investigating stimuli was so much more possible in this RPG. As we learn about the world? In dozens of dialogs you can get information - which is and remains a strength. But you can hear at some point no longer out, because that is not necessary. It collects almost automatically tens of backgrounds in the form of notes, scattered randomly around the lie often. Or else: you noticed too often that they have no connection to the people or the situation in the game world itself - one rarely comes into situational environments with life of its own, but usually grazes quest objectives. It is indeed commendable that there are so scary to read much, but what will the well presented? Not in the form of beautiful paper, yellowed parchments or noble books with old font, but in sterile text boxes in a modern font. All that is then archived exemplary, but it is hardly encouraged to browse. There are probably tens of thousands of lines of text, all the novels would fill. Posterity will hardly remember a line from that Dragon Age.
What about the secrets in the game world? What if we should do something to find in a quest? Cruel, very cruel! I will not animate for free Discover. I'm conditioned for graze at viewpoints: (!) There looking like a magical hidden object fragments in the landscape via a telescope according to the motto 0/6 up to 6/6, which only materialize after labeling, so I einsammle thereafter, for example, turn to open in a remote oasis a door in a dungeon. The claim? For children. The cover? It does not matter!
Even worse is the treasure hunt: I will externally controlled as a submarine by sonar. This must be thought of as soon as I somewhere something to find the first area roughly purple is inked on the map. Then I flop back and in the vicinity of the target then the map icon will blink once golden on. That said, I will now press L3, so that even the direction of the target is displayed. And hold on now: When I was out like an idiot up close, I have to actually press L3 again, so that eg the required notice as if by magic on the table materialized (!). Say: Even if I want to do without this incredibly stupid signal and find the same place as I can nix investigate or take. This really is the silliest thing BioWare has ever created! People, there is a proper scavenger hunt in reality exciting - because you have to after the last arrow at least not actively looking.
Collecting Attractions
There is so much mass, but so little class: explorers are indeed unlock incredible number of areas with dozens of quests that deal with one at 80 hours plus X. There are huge labyrinthine caves and ravines where one is almost like an action-adventure game on the go, to find the right path. But beyond all the little collectable happened really surprising within the landscape or the rooms. Where are sudden interventions directed over small situations that are observed or escalate times before your eyes? All that it e.g. so often been in Skyrim within the game world to life of its own, is available only in batches - the result is an almost old-fashioned static.
And if there is something that feels more like designed for small children, you just do not want to overwhelm: For example, uncovering treasure caves on the Nachmalen of zodiac sign. Since we find these astrological apparatus and must - after all in a line - trace the image, which is a lower right of course displayed. Why is all this so stupid simple? Why do not I first bring at least something about the night sky and its characters in experience before me the blueprint is displayed for that? No, I start again one of these unspeakable minigames. And if I have mastered on multiple devices, in fact a secret cave materialized anywhere on the map. Just stupid if I already know, I even cleaned and there simply again materialized a treasure. Yes, such moments of late reward at the same place it was in Skyrim, if a quest retroactively referred to it. But here a unique astrological Fund I is suggested if meet the blue rays from different directions somewhere - and then I get so usually rewarded. Why is there not open a unique dungeon? That would be cool!
Terms of investigating stimuli was so much more possible in this RPG. As we learn about the world? In dozens of dialogs you can get information - which is and remains a strength. But you can hear at some point no longer out, because that is not necessary. It collects almost automatically tens of backgrounds in the form of notes, scattered randomly around the lie often. Or else: you noticed too often that they have no connection to the people or the situation in the game world itself - one rarely comes into situational environments with life of its own, but usually grazes quest objectives. It is indeed commendable that there are so scary to read much, but what will the well presented? Not in the form of beautiful paper, yellowed parchments or noble books with old font, but in sterile text boxes in a modern font. All that is then archived exemplary, but it is hardly encouraged to browse. There are probably tens of thousands of lines of text, all the novels would fill. Posterity will hardly remember a line from that Dragon Age.
What about the secrets in the game world? What if we should do something to find in a quest? Cruel, very cruel! I will not animate for free Discover. I'm conditioned for graze at viewpoints: (!) There looking like a magical hidden object fragments in the landscape via a telescope according to the motto 0/6 up to 6/6, which only materialize after labeling, so I einsammle thereafter, for example, turn to open in a remote oasis a door in a dungeon. The claim? For children. The cover? It does not matter!
Even worse is the treasure hunt: I will externally controlled as a submarine by sonar. This must be thought of as soon as I somewhere something to find the first area roughly purple is inked on the map. Then I flop back and in the vicinity of the target then the map icon will blink once golden on. That said, I will now press L3, so that even the direction of the target is displayed. And hold on now: When I was out like an idiot up close, I have to actually press L3 again, so that eg the required notice as if by magic on the table materialized (!). Say: Even if I want to do without this incredibly stupid signal and find the same place as I can nix investigate or take. This really is the silliest thing BioWare has ever created! People, there is a proper scavenger hunt in reality exciting - because you have to after the last arrow at least not actively looking.
Collecting Attractions
There is so much mass, but so little class: explorers are indeed unlock incredible number of areas with dozens of quests that deal with one at 80 hours plus X. There are huge labyrinthine caves and ravines where one is almost like an action-adventure game on the go, to find the right path. But beyond all the little collectable happened really surprising within the landscape or the rooms. Where are sudden interventions directed over small situations that are observed or escalate times before your eyes? All that it e.g. so often been in Skyrim within the game world to life of its own, is available only in batches - the result is an almost old-fashioned static.
And if there is something that feels more like designed for small children, you just do not want to overwhelm: For example, uncovering treasure caves on the Nachmalen of zodiac sign. Since we find these astrological apparatus and must - after all in a line - trace the image, which is a lower right of course displayed. Why is all this so stupid simple? Why do not I first bring at least something about the night sky and its characters in experience before me the blueprint is displayed for that? No, I start again one of these unspeakable minigames. And if I have mastered on multiple devices, in fact a secret cave materialized anywhere on the map. Just stupid if I already know, I even cleaned and there simply again materialized a treasure. Yes, such moments of late reward at the same place it was in Skyrim, if a quest retroactively referred to it. But here a unique astrological Fund I is suggested if meet the blue rays from different directions somewhere - and then I get so usually rewarded. Why is there not open a unique dungeon? That would be cool!
page 5
Does not work? Does not exist!
There are also einigee inaccessible areas with magical barriers, but also dissolve quickly in air: Where fire burns, it hunts sometimes just pure ice. And because from the beginning to almost everything combines to skills in the group, also eliminates special about the classes. So you can explore everything from the beginning, without having to make time to worry about a specialist or targeted character development, yes relates only to the fight - therefore they can also be easily run automatically. This eliminates the brooding, the party role-playing games like Wasteland 2 could be so appealing because you may have to give up areas or treasures in the game world because of the occupation. Not here, here I have from the beginning of the golden admission ticket for the whole amusement park. The locked chests are scarce: Who has a rogues must not try to crack until the locks, but opens almost everything from the first minute on a button - and for the closed doors there then eventually a free circuit in the form of an Inquisition ability. A multi-stage campaign quest for rogues (or warrior or mage), the piecewise unlock special class abilities? None.
And so one gathers scary early so awful lot without being stopped. Instead let's talk the monuments or buildings for themselves, perhaps to make them curious about inscriptions or incidents, you will be showered with tens of texts and articles. Of course, that's not bad per se, even if one can read something and created an archive of the time. But why bother, things look more accurate if on the map at once - ie without that one is closer - something as "sight" is marked and immediately everything is nicely sorted for the collective effects? So there are no sensing stimuli, but a completion routine. Yes, Skyrim has also used this Mechanimsen - but much better, much more atmospheric. When I open the map here, I feel like in Assassin's Creed.
Welcome to Absurdistan
It all looks so great that it would go off without a quest. Only when you enter the building, you will quickly notice that almost all graphics, but nothing is subject. Here one can not rely on a shelf or add individual objects, but always click only this one note, or a box of these. And that leads on to a much larger dramaturgical problem besides the lack of sensing stimuli: The game world itself is not an authentic stage with believable reactions, but much too fast to a playground for collecting, picking and completing checkpoints - one feels everywhere "entertained ", but can not dive. So much so that both the story with their highly explosive starting position and their role is counteracted with all the activities. The result is too often a non-bridgeable contradiction between the dramatic story behind and the ordinary events in the game world. And with all due respect for the open-world trends: This is still an offline RPG!
Unleashing their role as drawn and herald of the Inquisition, the spies and alliances forged, is the one ridiculed with invalid orders: Why do I need iron, wood and herbs collect? What are all these unnecessary substances and ingredients, all this craft stuff? Especially since that is also staged so plump, so by simply picking iron without the help of a black walnut from the mountain. Why do I have Aries & Co shoot for leather or find herbs for potions, where as tens of people scurrying about? Why do I have as a marked man, which is to close demonic cracks, are also looking for places to cut wood? It's still unbelievable, where your own people sit in the wilderness? When the troops of the Inquisition but so desperately need weapons, why not you show it? Instead, they train in full gear with enough swords. These contradictions rob the game world again credibility.
There are also einigee inaccessible areas with magical barriers, but also dissolve quickly in air: Where fire burns, it hunts sometimes just pure ice. And because from the beginning to almost everything combines to skills in the group, also eliminates special about the classes. So you can explore everything from the beginning, without having to make time to worry about a specialist or targeted character development, yes relates only to the fight - therefore they can also be easily run automatically. This eliminates the brooding, the party role-playing games like Wasteland 2 could be so appealing because you may have to give up areas or treasures in the game world because of the occupation. Not here, here I have from the beginning of the golden admission ticket for the whole amusement park. The locked chests are scarce: Who has a rogues must not try to crack until the locks, but opens almost everything from the first minute on a button - and for the closed doors there then eventually a free circuit in the form of an Inquisition ability. A multi-stage campaign quest for rogues (or warrior or mage), the piecewise unlock special class abilities? None.
And so one gathers scary early so awful lot without being stopped. Instead let's talk the monuments or buildings for themselves, perhaps to make them curious about inscriptions or incidents, you will be showered with tens of texts and articles. Of course, that's not bad per se, even if one can read something and created an archive of the time. But why bother, things look more accurate if on the map at once - ie without that one is closer - something as "sight" is marked and immediately everything is nicely sorted for the collective effects? So there are no sensing stimuli, but a completion routine. Yes, Skyrim has also used this Mechanimsen - but much better, much more atmospheric. When I open the map here, I feel like in Assassin's Creed.
Welcome to Absurdistan
It all looks so great that it would go off without a quest. Only when you enter the building, you will quickly notice that almost all graphics, but nothing is subject. Here one can not rely on a shelf or add individual objects, but always click only this one note, or a box of these. And that leads on to a much larger dramaturgical problem besides the lack of sensing stimuli: The game world itself is not an authentic stage with believable reactions, but much too fast to a playground for collecting, picking and completing checkpoints - one feels everywhere "entertained ", but can not dive. So much so that both the story with their highly explosive starting position and their role is counteracted with all the activities. The result is too often a non-bridgeable contradiction between the dramatic story behind and the ordinary events in the game world. And with all due respect for the open-world trends: This is still an offline RPG!
Unleashing their role as drawn and herald of the Inquisition, the spies and alliances forged, is the one ridiculed with invalid orders: Why do I need iron, wood and herbs collect? What are all these unnecessary substances and ingredients, all this craft stuff? Especially since that is also staged so plump, so by simply picking iron without the help of a black walnut from the mountain. Why do I have Aries & Co shoot for leather or find herbs for potions, where as tens of people scurrying about? Why do I have as a marked man, which is to close demonic cracks, are also looking for places to cut wood? It's still unbelievable, where your own people sit in the wilderness? When the troops of the Inquisition but so desperately need weapons, why not you show it? Instead, they train in full gear with enough swords. These contradictions rob the game world again credibility.
Ouch on that 4players review. Will read it carefully at home, I'm hoping for a good analytical piece.
The same reviewer gave DA2 an 'okay' grade back in the day, but wasn't exactly enthusiastic, and he hasn't become any milder, apparently.
The same reviewer gave DA2 an 'okay' grade back in the day, but wasn't exactly enthusiastic, and he hasn't become any milder, apparently.
page 6
page 7
Page 8
page 9
Burglary, theft, weapons draw? All the same ...
On the other residents react to anything. Whether in front of important people or guards pulling his arms, triggering magic detonations in the crowd or simply enters houses and everything can go along there - there in 2014 no response. Even if people a skeptical or hostile encounter in the dialog, you can plunder the box next to them immediately! Should there have been advances in character behavior in the past ten years, we will not in this Dragon Age: find Inquisition. And that's really an indictment, because since BioWare traditionally lagged behind and at least could install rudimentary reactions. That all goes credible, even in open world, by the way Skyrim has also proven - there were also some inconsistencies, but the world there seemed much longer as an epic scene.
And what you see in the wilderness and the settlements? Although BioWare is the daily life of the people better than the previous: One can observe many active groups or people at work. In addition, there had discussions or rumors are discussed, so that a camp or a settlement seems at first glance quite alive. But you can appeal to almost anyone, and other acts on the second look superficial and static: Just take go to a guest house where a woman like a robot playing a lute, while no one is aimed even a glance at the stranger, who either wanted to destroy the world or to save now. So I'm in this situation as the herald of the Inquisition and Elf into it, but nothing changes at the tables. Here it would at least have to give a whispering or similar! The woman with the lute is then copied again to Val Royeaux. You can reach here just is not the authentic bustle of a small town such as Flotsam in The Witcher 2. What made for an atmospheric difference!
In the collection loop of Assassin's Creed
Yes, there are marauding Mage, Templar or bandits in the countryside - but sometimes a few meters away from bystanders. Although you meet dozens of small decisions and can help people in everyday life. But you miss this pleasant shiver of foreboding or of mystery, which would indicate at least that actually brews something threatening together. Even the vibrant times of the own hand is not even used to build tension within the group or the biography of the character. After heated home with the oh so terrible threat, it will be released in a nearly normal life, the cracks closes sometime in passing and almost lost in a seemingly endless, beautifully designed fantasy park full of odds and ends.
You can not stop the other: Here is another area that shows so many symbols and objects - as five camps have been found there yet discovered sights, brought these letters, looted caves, shards found, collected clothing or just cracks are closed. Behind this waterfall to wait according to map a secret, there should be protection built towers, before chasing wolves and the way you need only a few ingredients and herbs here as for the improvement of weapons or armor. Where to find what? Everything is usually marked on the map immediately, then activated with the target marker and off we go by compass in that direction, while as the bandi tables Kroppzeug in almost fully automatic battle routine weghaut way.
On the other residents react to anything. Whether in front of important people or guards pulling his arms, triggering magic detonations in the crowd or simply enters houses and everything can go along there - there in 2014 no response. Even if people a skeptical or hostile encounter in the dialog, you can plunder the box next to them immediately! Should there have been advances in character behavior in the past ten years, we will not in this Dragon Age: find Inquisition. And that's really an indictment, because since BioWare traditionally lagged behind and at least could install rudimentary reactions. That all goes credible, even in open world, by the way Skyrim has also proven - there were also some inconsistencies, but the world there seemed much longer as an epic scene.
And what you see in the wilderness and the settlements? Although BioWare is the daily life of the people better than the previous: One can observe many active groups or people at work. In addition, there had discussions or rumors are discussed, so that a camp or a settlement seems at first glance quite alive. But you can appeal to almost anyone, and other acts on the second look superficial and static: Just take go to a guest house where a woman like a robot playing a lute, while no one is aimed even a glance at the stranger, who either wanted to destroy the world or to save now. So I'm in this situation as the herald of the Inquisition and Elf into it, but nothing changes at the tables. Here it would at least have to give a whispering or similar! The woman with the lute is then copied again to Val Royeaux. You can reach here just is not the authentic bustle of a small town such as Flotsam in The Witcher 2. What made for an atmospheric difference!
In the collection loop of Assassin's Creed
Yes, there are marauding Mage, Templar or bandits in the countryside - but sometimes a few meters away from bystanders. Although you meet dozens of small decisions and can help people in everyday life. But you miss this pleasant shiver of foreboding or of mystery, which would indicate at least that actually brews something threatening together. Even the vibrant times of the own hand is not even used to build tension within the group or the biography of the character. After heated home with the oh so terrible threat, it will be released in a nearly normal life, the cracks closes sometime in passing and almost lost in a seemingly endless, beautifully designed fantasy park full of odds and ends.
You can not stop the other: Here is another area that shows so many symbols and objects - as five camps have been found there yet discovered sights, brought these letters, looted caves, shards found, collected clothing or just cracks are closed. Behind this waterfall to wait according to map a secret, there should be protection built towers, before chasing wolves and the way you need only a few ingredients and herbs here as for the improvement of weapons or armor. Where to find what? Everything is usually marked on the map immediately, then activated with the target marker and off we go by compass in that direction, while as the bandi tables Kroppzeug in almost fully automatic battle routine weghaut way.
page 7
Not enough good quests
And no matter what you do: Really good quests that go enter on the Get and Put, destroying and communication, you have to look far. Yes, there is, if you take simple as a knight in shining armor or between parties must engage in arcane misadventures. Or when you finally tracks down a few notes, to-do and search the hiding place of a dragon. But the majority of the tasks staged a 08/15-routine, familiar from many online role-playing games. And some of them make it even better than BioWare.
The real threat to the world sinks given the wealth of possible roles in the collection routine: Because it is on the way, one only cares about these crazy Templar, built another warehouse or bring the potion to the schnappatmige mother. Although the first of several huge, beautifully designed areas "hinterland" is, it reminds due to the many activities sometimes more of an all-you-can-XP theme park and a really dangerous wilderness. Although later pleased about oases, coastal storms and swamps, but the principle behind it is always the same.
Here, BioWare is quite hard to stage something like harshness or monumental splendor à la Skyrim - at least graphically. The landscape with its wooded hillsides and waterfalls, with its small mountain stairs and jagged niches always worth a walk. We find weathered statues or ancient ruins, where you browse around a bit and even can climb to reach hidden areas. Why will still arise as the discoverer of this tag-stimulus rather? This is not only because there are few cities: Besides Haven and smaller settlements can be described as such really only Val Royeaux in Orlais. And this metropolis disappointed with their statics. The picturesque Artdesign suggests something noble exotic, but no later than after the first teleport (!) By the sterile streets, where you will be forced back to a stupid treasure hunt with Pingimpulsen, flies curiosity. All explorable is a very early reveal on the map and the symbols - to surf from Icon to Icon, it checks off his list. In addition, you can very easily and safely teleport himself within small regions from camp to camp.
Riding and routine
This also makes the mounts almost superfluous: the moment in which one is seated on a horse for the first time, is anything but remarkable for guiding the Rosses plus speed boost with smoke on the tail looks very artificial. Games like Shadow of the Colossus or even Two Worlds have staged better riding. If one encounters enemies that ignore one in the saddle within a few meters close, you go down easy and invisible during the ride companions then materialize around you. But they are not completely redundant, since there are so many pickup and delivery quests between the camps that you like to go with speed as a messenger.
And no matter what you do: Really good quests that go enter on the Get and Put, destroying and communication, you have to look far. Yes, there is, if you take simple as a knight in shining armor or between parties must engage in arcane misadventures. Or when you finally tracks down a few notes, to-do and search the hiding place of a dragon. But the majority of the tasks staged a 08/15-routine, familiar from many online role-playing games. And some of them make it even better than BioWare.
The real threat to the world sinks given the wealth of possible roles in the collection routine: Because it is on the way, one only cares about these crazy Templar, built another warehouse or bring the potion to the schnappatmige mother. Although the first of several huge, beautifully designed areas "hinterland" is, it reminds due to the many activities sometimes more of an all-you-can-XP theme park and a really dangerous wilderness. Although later pleased about oases, coastal storms and swamps, but the principle behind it is always the same.
Here, BioWare is quite hard to stage something like harshness or monumental splendor à la Skyrim - at least graphically. The landscape with its wooded hillsides and waterfalls, with its small mountain stairs and jagged niches always worth a walk. We find weathered statues or ancient ruins, where you browse around a bit and even can climb to reach hidden areas. Why will still arise as the discoverer of this tag-stimulus rather? This is not only because there are few cities: Besides Haven and smaller settlements can be described as such really only Val Royeaux in Orlais. And this metropolis disappointed with their statics. The picturesque Artdesign suggests something noble exotic, but no later than after the first teleport (!) By the sterile streets, where you will be forced back to a stupid treasure hunt with Pingimpulsen, flies curiosity. All explorable is a very early reveal on the map and the symbols - to surf from Icon to Icon, it checks off his list. In addition, you can very easily and safely teleport himself within small regions from camp to camp.
Riding and routine
This also makes the mounts almost superfluous: the moment in which one is seated on a horse for the first time, is anything but remarkable for guiding the Rosses plus speed boost with smoke on the tail looks very artificial. Games like Shadow of the Colossus or even Two Worlds have staged better riding. If one encounters enemies that ignore one in the saddle within a few meters close, you go down easy and invisible during the ride companions then materialize around you. But they are not completely redundant, since there are so many pickup and delivery quests between the camps that you like to go with speed as a messenger.
Page 8
The battle system: Action vs tactics
I was hoping that this Dragon Age clever planning against the brilliant action moves to the forefront. And at first glance, seems to speak to both camps. You can decide whether you actively fighting in shoulder perspective: Then one moves in real time slashing, shooting or searing through the battle, during the battle rages around you with considerable lightning and smoke, with arcane incantations and small earthquakes. Looks good and you can at any time take on the role of the other heroes, perhaps to try a Giant Axe or a fire stick instead of two daggers.
But this feels for fans of hot spots close combat at all to automated and hectic. Situational voltage across counterattack timing or sign Firecracker? None. You just have to keep à la Diablo the button pressed to very fast easy to land hits, so depending on the "damage per second" weapon cause - as an archer you fire a machine gun from a quasi always full quiver from. Just wanted to dodge and go attack spells. So close to the shooter the feel of Dragon Age has never been.
After all, the simple continuous fire of the Quartet enough time from many normal, but not against all enemies: The claim against monstrous demons from the cracks or even hissing dragon arises in that one, either quickly connect to supportive magicians hats or vulnerable areas of the body giant lizards It must target individually. Then dissolving the protective, restorative or erupting special maneuvers in time and in damage-enhancing combination after they are active again. Over time, fills a bar with colorful icons - this is known as well from many online role-playing games such as the display of the danger of the enemy in yellow or red.
And what do the three other heroes of the group? Is helpful to be similar to Mass Effect can previously set the automatic actions of the combatants, so that you can exclude micro-management during ongoing action theory: When should who einschmeißen a healing potion? When should what spells or abilities are used? What special moves are even available? All this can be defined theoretically for each character. Only one does not work: you can choose any weapon set, so can not actually take up daggers during the fight from the bow - very annoying! Ever makes collecting and equipping of weapons due to the sterile menus not much humor. And since we are on the subject of tactics.
Neither one thing nor
How Dragon Age plays, if you prefer not brilliant action, but primarily the clever planning? First, the Soothing: Yes, you can always pause and give each character both movement and action commands. And now all the Annoying: An overview from the elevated perspective is a joke. We see hardly anything, because you can zoom out so little. How can one plan, without having to constantly switch between views? In addition, the clear group commands such as "position hold" will eventually completely ignored: Since you want alone and invisible in a spider cave, posted the rest farther out, but are suddenly colleagues something in the middle of the cave by command - wiped out and be. Such command disrespect are completely annoying.
In practice tactical fine-tuning is anyway only very rarely necessary. There are also no healing spells, for which one would have to organize special protection and good timing in the magic sequence or the positioning of the characters. Everything focuses on the explosive offensive. For all those companions share yes a stock that is initially at eight healing potions. And always, when someone is nearing death, one pauses and throws it - done. If someone dies? Revive simple way and at your fingertips! If you move alone from the death zone, the companions jumbled way, reborn from the sky. As there is drama or fear for the group arise? Sometime you take while also exploring all the little troop marauding not really seriously, because you usually done without tactics by the book in real-time. Therefore, these small battles nerves sometime even if you have an area seemingly adjusted and again unravels same battle routines after a short trip to the same place.
One can hardly exploit the terrain, because there is too little physical interactions destructible objects and no active coverage points. This is just the arsenal of ranged magic, projectiles and grenades would have offered for it! After all, the physics blocked very nice all stories on rocks or walls - you can not just hunt through what. Of course you can also block bottlenecks and also benefited in part from the height. But most enemies can be successively pull out from its coverage by being anpiekst once. If you still want to do more damage from the top, you have to activate abilities of the character the way first.
So: The battles can entertain only limited, if demonic enemies with immunities or arcane support and huge creatures demanding at least basic planning. Before the fight, it is then to pause and fly with the camera to the enemy in order to study their resistance to Fire, Ice & Co as well as make their mage locate. Then back to the native group, backwards warrior forward, own mage and archer - run, that's it. Only if you close cracks, you must firstly coordinate against several waves and on the other note, you can weaken the plan itself, by fixing its center and focus the hero with its billowing green hand on it.
The only tactic is like Mass Effect on combinations of character abilities into play, which can provide devastating damage: Mage freezes the enemy Schütze poisoned him and the assassin still attacked him from behind - ouch! And the only Motivating: There are dozens of these double, triple or quadruple combinations that invite experimentation and studying the unlockable skills. No later than on the third of four levels of difficulty to get combos without hardly. The bottom line here is more demanding than in Dragon Age 2, but the combat system but neither one thing nor for tactician for real-time fighters. Who wants to act really classic and in peace with each command will be disappointed by the camera perspective and the limited possibilities.
I was hoping that this Dragon Age clever planning against the brilliant action moves to the forefront. And at first glance, seems to speak to both camps. You can decide whether you actively fighting in shoulder perspective: Then one moves in real time slashing, shooting or searing through the battle, during the battle rages around you with considerable lightning and smoke, with arcane incantations and small earthquakes. Looks good and you can at any time take on the role of the other heroes, perhaps to try a Giant Axe or a fire stick instead of two daggers.
But this feels for fans of hot spots close combat at all to automated and hectic. Situational voltage across counterattack timing or sign Firecracker? None. You just have to keep à la Diablo the button pressed to very fast easy to land hits, so depending on the "damage per second" weapon cause - as an archer you fire a machine gun from a quasi always full quiver from. Just wanted to dodge and go attack spells. So close to the shooter the feel of Dragon Age has never been.
After all, the simple continuous fire of the Quartet enough time from many normal, but not against all enemies: The claim against monstrous demons from the cracks or even hissing dragon arises in that one, either quickly connect to supportive magicians hats or vulnerable areas of the body giant lizards It must target individually. Then dissolving the protective, restorative or erupting special maneuvers in time and in damage-enhancing combination after they are active again. Over time, fills a bar with colorful icons - this is known as well from many online role-playing games such as the display of the danger of the enemy in yellow or red.
And what do the three other heroes of the group? Is helpful to be similar to Mass Effect can previously set the automatic actions of the combatants, so that you can exclude micro-management during ongoing action theory: When should who einschmeißen a healing potion? When should what spells or abilities are used? What special moves are even available? All this can be defined theoretically for each character. Only one does not work: you can choose any weapon set, so can not actually take up daggers during the fight from the bow - very annoying! Ever makes collecting and equipping of weapons due to the sterile menus not much humor. And since we are on the subject of tactics.
Neither one thing nor
How Dragon Age plays, if you prefer not brilliant action, but primarily the clever planning? First, the Soothing: Yes, you can always pause and give each character both movement and action commands. And now all the Annoying: An overview from the elevated perspective is a joke. We see hardly anything, because you can zoom out so little. How can one plan, without having to constantly switch between views? In addition, the clear group commands such as "position hold" will eventually completely ignored: Since you want alone and invisible in a spider cave, posted the rest farther out, but are suddenly colleagues something in the middle of the cave by command - wiped out and be. Such command disrespect are completely annoying.
In practice tactical fine-tuning is anyway only very rarely necessary. There are also no healing spells, for which one would have to organize special protection and good timing in the magic sequence or the positioning of the characters. Everything focuses on the explosive offensive. For all those companions share yes a stock that is initially at eight healing potions. And always, when someone is nearing death, one pauses and throws it - done. If someone dies? Revive simple way and at your fingertips! If you move alone from the death zone, the companions jumbled way, reborn from the sky. As there is drama or fear for the group arise? Sometime you take while also exploring all the little troop marauding not really seriously, because you usually done without tactics by the book in real-time. Therefore, these small battles nerves sometime even if you have an area seemingly adjusted and again unravels same battle routines after a short trip to the same place.
One can hardly exploit the terrain, because there is too little physical interactions destructible objects and no active coverage points. This is just the arsenal of ranged magic, projectiles and grenades would have offered for it! After all, the physics blocked very nice all stories on rocks or walls - you can not just hunt through what. Of course you can also block bottlenecks and also benefited in part from the height. But most enemies can be successively pull out from its coverage by being anpiekst once. If you still want to do more damage from the top, you have to activate abilities of the character the way first.
So: The battles can entertain only limited, if demonic enemies with immunities or arcane support and huge creatures demanding at least basic planning. Before the fight, it is then to pause and fly with the camera to the enemy in order to study their resistance to Fire, Ice & Co as well as make their mage locate. Then back to the native group, backwards warrior forward, own mage and archer - run, that's it. Only if you close cracks, you must firstly coordinate against several waves and on the other note, you can weaken the plan itself, by fixing its center and focus the hero with its billowing green hand on it.
The only tactic is like Mass Effect on combinations of character abilities into play, which can provide devastating damage: Mage freezes the enemy Schütze poisoned him and the assassin still attacked him from behind - ouch! And the only Motivating: There are dozens of these double, triple or quadruple combinations that invite experimentation and studying the unlockable skills. No later than on the third of four levels of difficulty to get combos without hardly. The bottom line here is more demanding than in Dragon Age 2, but the combat system but neither one thing nor for tactician for real-time fighters. Who wants to act really classic and in peace with each command will be disappointed by the camera perspective and the limited possibilities.
page 9
Control: Mouse and Keyboard vs. Gamepad
The controller on the PC with mouse and keyboard has been specially adapted, but is far from optimal: Why can I eg not a leisurely stroll, but only so hectic race? Since I do not also helps the Shift key. Why can I not pick up objects or actions or perform the mouse button? For that I must actually press "F" and fiddly close to the target zoom, which also looks bad catches. Yes, you get used to some point on this Gehampel, but I would have had to prove my control at least free. And in the fight, it is - despite pause - very fiddly when you have close cracks about "F".
Only when you connect a gamepad, you realize what the controller has been optimized: the console. Here you can walk at a slower pace due to the analog sticks and can blend seamlessly with the Sprint; including collecting and activating liquid goes out of hand. Although it has the disadvantage in the fight, that you have not activated all attacks and spells in a bar at a Glance available, but you can change very quickly on the shoulder buttons between them. I have finally decided on the gamepad.
Foreign Policy and Mission poker at the card table
Quite early one stands with his advisers before a card table. That you do not get goose bumps here so as yet in Mass Effect, as the first time opens the star map, may lie in the scenario and the fact that we know these countries yes. But here I have hoped for strategic impulses, on a power play with the warring factions. After waiting the diplomat Josephine, the spy Leliana and the Templar Cullen there beside the Inquisitor; additional consultants can engage on the go. But what you decide foreign policy there, is ultimately just another activation mechanism for gold, skills and missions. The more frequently you in the outside world has important political tasks such as Erect bearing or support troops, the more you climb alongside his own on stage and in the rank and wins two types of points: Inquisition and power points.
You can distribute Inquisition points to unlock skills in the four areas of troops, secrets, relationships and Inquisition. These are quasi additional universal technology trees beside the combat skills. There was a time when it was worth it to distribute a point on strength or charisma, so you could hit harder or convincing argument. In Dragon Age: Inquisition can not improve his basic character values directly after a climb, but only indirectly through objects or weapons eg Get wisdom +3. Or just at this card table - and acting partly absurd: I turn on additional rhetorical skills for the dialogues or more places eg equipment not free, as I invest in my character or companions, but as I take this Inquisition points. Thus, for example, the ability of rogue on, that they really can open all the locks. And there is so much superfluous and downright ridiculous: I'm already so gespoilert in almost automated treasure hunt, then I shall here under "secrets" actually reduce nor "eagle eye" the detection radius of the treasures? And I get the "secrets" by points on "cuttings": A ten percent chance to find additional plants! Oh man, Bioware - I have already so many of them.
More interesting than this activation of Inquisition bonuses is at first sight the strategic level on the map. After all, you have access to the neighboring and competing empires Ferelden and Orlais. Now you can invest in these kingdoms his power points, to send agents on mission. Actually a great idea because they are running in real time, while the world further explored - sometimes takes a little only a quarter of an hour, sometimes two hours. But the benefit is limited to gold and items or more allies. The fractions and external dangers in this huge world are hardly as acting forces noticeable: While you get times depending on the partner other jobs, but you can not be as active act between mages and Templars and the neighboring kingdom of Orlais, that one's decisions on the would affect the political status quo. And by the power points you have at some point so many that you do not know what to do useful with it. But you get in this role play and even "power" when items of ingredients tinkering - and again and again, for the same collection.
The controller on the PC with mouse and keyboard has been specially adapted, but is far from optimal: Why can I eg not a leisurely stroll, but only so hectic race? Since I do not also helps the Shift key. Why can I not pick up objects or actions or perform the mouse button? For that I must actually press "F" and fiddly close to the target zoom, which also looks bad catches. Yes, you get used to some point on this Gehampel, but I would have had to prove my control at least free. And in the fight, it is - despite pause - very fiddly when you have close cracks about "F".
Only when you connect a gamepad, you realize what the controller has been optimized: the console. Here you can walk at a slower pace due to the analog sticks and can blend seamlessly with the Sprint; including collecting and activating liquid goes out of hand. Although it has the disadvantage in the fight, that you have not activated all attacks and spells in a bar at a Glance available, but you can change very quickly on the shoulder buttons between them. I have finally decided on the gamepad.
Foreign Policy and Mission poker at the card table
Quite early one stands with his advisers before a card table. That you do not get goose bumps here so as yet in Mass Effect, as the first time opens the star map, may lie in the scenario and the fact that we know these countries yes. But here I have hoped for strategic impulses, on a power play with the warring factions. After waiting the diplomat Josephine, the spy Leliana and the Templar Cullen there beside the Inquisitor; additional consultants can engage on the go. But what you decide foreign policy there, is ultimately just another activation mechanism for gold, skills and missions. The more frequently you in the outside world has important political tasks such as Erect bearing or support troops, the more you climb alongside his own on stage and in the rank and wins two types of points: Inquisition and power points.
You can distribute Inquisition points to unlock skills in the four areas of troops, secrets, relationships and Inquisition. These are quasi additional universal technology trees beside the combat skills. There was a time when it was worth it to distribute a point on strength or charisma, so you could hit harder or convincing argument. In Dragon Age: Inquisition can not improve his basic character values directly after a climb, but only indirectly through objects or weapons eg Get wisdom +3. Or just at this card table - and acting partly absurd: I turn on additional rhetorical skills for the dialogues or more places eg equipment not free, as I invest in my character or companions, but as I take this Inquisition points. Thus, for example, the ability of rogue on, that they really can open all the locks. And there is so much superfluous and downright ridiculous: I'm already so gespoilert in almost automated treasure hunt, then I shall here under "secrets" actually reduce nor "eagle eye" the detection radius of the treasures? And I get the "secrets" by points on "cuttings": A ten percent chance to find additional plants! Oh man, Bioware - I have already so many of them.
More interesting than this activation of Inquisition bonuses is at first sight the strategic level on the map. After all, you have access to the neighboring and competing empires Ferelden and Orlais. Now you can invest in these kingdoms his power points, to send agents on mission. Actually a great idea because they are running in real time, while the world further explored - sometimes takes a little only a quarter of an hour, sometimes two hours. But the benefit is limited to gold and items or more allies. The fractions and external dangers in this huge world are hardly as acting forces noticeable: While you get times depending on the partner other jobs, but you can not be as active act between mages and Templars and the neighboring kingdom of Orlais, that one's decisions on the would affect the political status quo. And by the power points you have at some point so many that you do not know what to do useful with it. But you get in this role play and even "power" when items of ingredients tinkering - and again and again, for the same collection.
There's a live marathon stream live now for those interested: http://www.twitch.tv/bioware