Bioware is immortal

[La vie sexuelle]

It's as if the woke scale had ended and they returned to tradition.

That reminded me of feminist lunatic https://en.wikipedia.org/wiki/Andrea_Dworkin

Although Dworkin publicly wrote, "I love John with my heart and soul,"[61] and Stoltenberg described Dworkin as "the love of my life,"[62] she continued to publicly identify herself as lesbian, and he as gay. Stoltenberg, recounting the perplexity that their relationship seemed to cause people in the press, summarized the relationship by saying, "So I state only the simplest facts publicly: yes, Andrea and I live together and love each other and we are each other's life partner, and yes we are both out."​

Heh, I used to often confuse her with Ronald Dworkin, different cup of schizo.



About her, book, Intercourse from wiki. Literary mother of world we live on:

In Intercourse, Dworkin extended her earlier analysis of pornography to a discussion of heterosexual intercourse itself. In works such as Woman Hating (1974) and Pornography: Men Possessing Women (1981), Dworkin had argued that pornography (this includes erotic literature) in patriarchal societies consistently eroticized women's sexual subordination to men, and often overt acts of exploitation or violence. In Intercourse, she went on to argue that that sort of sexual subordination was central to men and women's experiences of sexual intercourse in a male supremacist society, and reinforced throughout mainstream culture, including not only pornography but also in classic works of male-centric literature.

Extensively discussing works such as The Kreutzer Sonata (1889), Madame Bovary (1856), and Dracula (1897), and citing from religious texts, legal commentary, and pornography, Dworkin argued that the depictions of intercourse in mainstream art and culture consistently emphasized heterosexual intercourse as the only or the most genuine form of "real" sex; that they portrayed intercourse in violent or invasive terms; that they portrayed the violence or invasiveness as central to its eroticism; and that they often united it with male contempt for, revulsion towards, or even murder of the "carnal" woman. She argued that this kind of depiction enforced a male-centric and coercive view of sexuality, and that, when the cultural attitudes combine with the material conditions of women's lives in a sexist society, the experience of heterosexual intercourse itself becomes a central part of men's subordination of women, experienced as a form of "occupation"[2] that is nevertheless expected to be pleasurable for women and to define their very status as women.: 122–124 

In the 1998 book, Without Apology: Andrea Dworkin's Art and Politics, in chapter 6, titled "Intercourse: An Institution of Male Power", author Cindy Jenefsky states, "As in her analysis of pornography's sexual subordination, the key to understanding Dworkin's analysis of sexual intercourse rests on recognizing how she integrates the individual act of sexual intercourse within its larger social context. She produces a materialist analysis that examines sexual intercourse as an institutionalized practice."[3]

Andrea's own life events sound like the imaginations of an attention seeker:

* Molested in a cinema as a child.
* Sent to women's prison as a young woman, where the "internal examination" made her bleed for days afterwards.
* In the Netherlands, her husband abused her severely, forcing her to flee and work as prostitute to support herself.
* Agreed to smuggle a briefcase of heroin into the US in order to pay for plane ticket, but in the end the drug dealers gave her the money for free!
* Claimed to have been drug-raped in a hotel room, which was (finally) "widely disbelieved" by her feminist collegues.

I think that the rape mythomania comes from the victim's complex. Such people cannot solve problems on their own, they need help, and what's more, they love to create problems in which they are perceived as victims. Without their complex, victims would feel lost. They wouldn't know where to go or what to do. Moreover, the victim complex allows them to feel better than others without incurring any costs (because in the real world, strength must be proved all the time). They are weak by choice, lazy and obsessive, and their lives are a slippery slope of despair.

 

[Nifft Batuff]

Bioware thread...

 

[La vie sexuelle]

Bioware thread...

...without the topic of mental problems, SJWs and a sense of general decline?

I know, I can't imagine it either.

 

[Iucounu]

It's as if the woke scale had ended and they returned to tradition.

That reminded me of feminist lunatic https://en.wikipedia.org/wiki/Andrea_Dworkin

Although Dworkin publicly wrote, "I love John with my heart and soul,"[61] and Stoltenberg described Dworkin as "the love of my life,"[62] she continued to publicly identify herself as lesbian, and he as gay. Stoltenberg, recounting the perplexity that their relationship seemed to cause people in the press, summarized the relationship by saying, "So I state only the simplest facts publicly: yes, Andrea and I live together and love each other and we are each other's life partner, and yes we are both out."​

Heh, I used to often confuse her with Ronald Dworkin, different cup of schizo.



About her, book, Intercourse from wiki. Literary mother of world we live on:

In Intercourse, Dworkin extended her earlier analysis of pornography to a discussion of heterosexual intercourse itself. In works such as Woman Hating (1974) and Pornography: Men Possessing Women (1981), Dworkin had argued that pornography (this includes erotic literature) in patriarchal societies consistently eroticized women's sexual subordination to men, and often overt acts of exploitation or violence. In Intercourse, she went on to argue that that sort of sexual subordination was central to men and women's experiences of sexual intercourse in a male supremacist society, and reinforced throughout mainstream culture, including not only pornography but also in classic works of male-centric literature.

Extensively discussing works such as The Kreutzer Sonata (1889), Madame Bovary (1856), and Dracula (1897), and citing from religious texts, legal commentary, and pornography, Dworkin argued that the depictions of intercourse in mainstream art and culture consistently emphasized heterosexual intercourse as the only or the most genuine form of "real" sex; that they portrayed intercourse in violent or invasive terms; that they portrayed the violence or invasiveness as central to its eroticism; and that they often united it with male contempt for, revulsion towards, or even murder of the "carnal" woman. She argued that this kind of depiction enforced a male-centric and coercive view of sexuality, and that, when the cultural attitudes combine with the material conditions of women's lives in a sexist society, the experience of heterosexual intercourse itself becomes a central part of men's subordination of women, experienced as a form of "occupation"[2] that is nevertheless expected to be pleasurable for women and to define their very status as women.: 122–124 

In the 1998 book, Without Apology: Andrea Dworkin's Art and Politics, in chapter 6, titled "Intercourse: An Institution of Male Power", author Cindy Jenefsky states, "As in her analysis of pornography's sexual subordination, the key to understanding Dworkin's analysis of sexual intercourse rests on recognizing how she integrates the individual act of sexual intercourse within its larger social context. She produces a materialist analysis that examines sexual intercourse as an institutionalized practice."[3]

Andrea's own life events sound like the imaginations of an attention seeker:

* Molested in a cinema as a child.
* Sent to women's prison as a young woman, where the "internal examination" made her bleed for days afterwards.
* In the Netherlands, her husband abused her severely, forcing her to flee and work as prostitute to support herself.
* Agreed to smuggle a briefcase of heroin into the US in order to pay for plane ticket, but in the end the drug dealers gave her the money for free!
* Claimed to have been drug-raped in a hotel room, which was (finally) "widely disbelieved" by her feminist collegues.

I think that the rape mythomania comes from the victim's complex. Such people cannot solve problems on their own, they need help, and what's more, they love to create problems in which they are perceived as victims. Without their complex, victims would feel lost. They wouldn't know where to go or what to do. Moreover, the victim complex allows them to feel better than others without incurring any costs (because in the real world, strength must be proved all the time). They are weak by choice, lazy and obsessive, and their lives are a slippery slope of despair.

Indeed, the wikipedia page says: "Her relationship with her mother was strained" and "she described her Jewish household as being in many ways dominated by the memory of the Holocaust". I can imagine LGBT people developed the same kind of eternal victim identity after the 1980s AIDS pandemic resulted in (somewhat undeserved) symphathy from the general public.

 

[Mikeal]

It's as if the woke scale had ended and they returned to tradition.

That reminded me of feminist lunatic https://en.wikipedia.org/wiki/Andrea_Dworkin

Although Dworkin publicly wrote, "I love John with my heart and soul,"[61] and Stoltenberg described Dworkin as "the love of my life,"[62] she continued to publicly identify herself as lesbian, and he as gay. Stoltenberg, recounting the perplexity that their relationship seemed to cause people in the press, summarized the relationship by saying, "So I state only the simplest facts publicly: yes, Andrea and I live together and love each other and we are each other's life partner, and yes we are both out."​

Heh, I used to often confuse her with Ronald Dworkin, different cup of schizo.



About her, book, Intercourse from wiki. Literary mother of world we live on:

In Intercourse, Dworkin extended her earlier analysis of pornography to a discussion of heterosexual intercourse itself. In works such as Woman Hating (1974) and Pornography: Men Possessing Women (1981), Dworkin had argued that pornography (this includes erotic literature) in patriarchal societies consistently eroticized women's sexual subordination to men, and often overt acts of exploitation or violence. In Intercourse, she went on to argue that that sort of sexual subordination was central to men and women's experiences of sexual intercourse in a male supremacist society, and reinforced throughout mainstream culture, including not only pornography but also in classic works of male-centric literature.

Extensively discussing works such as The Kreutzer Sonata (1889), Madame Bovary (1856), and Dracula (1897), and citing from religious texts, legal commentary, and pornography, Dworkin argued that the depictions of intercourse in mainstream art and culture consistently emphasized heterosexual intercourse as the only or the most genuine form of "real" sex; that they portrayed intercourse in violent or invasive terms; that they portrayed the violence or invasiveness as central to its eroticism; and that they often united it with male contempt for, revulsion towards, or even murder of the "carnal" woman. She argued that this kind of depiction enforced a male-centric and coercive view of sexuality, and that, when the cultural attitudes combine with the material conditions of women's lives in a sexist society, the experience of heterosexual intercourse itself becomes a central part of men's subordination of women, experienced as a form of "occupation"[2] that is nevertheless expected to be pleasurable for women and to define their very status as women.: 122–124 

In the 1998 book, Without Apology: Andrea Dworkin's Art and Politics, in chapter 6, titled "Intercourse: An Institution of Male Power", author Cindy Jenefsky states, "As in her analysis of pornography's sexual subordination, the key to understanding Dworkin's analysis of sexual intercourse rests on recognizing how she integrates the individual act of sexual intercourse within its larger social context. She produces a materialist analysis that examines sexual intercourse as an institutionalized practice."[3]

Andrea's own life events sound like the imaginations of an attention seeker:

* Molested in a cinema as a child.
* Sent to women's prison as a young woman, where the "internal examination" made her bleed for days afterwards.
* In the Netherlands, her husband abused her severely, forcing her to flee and work as prostitute to support herself.
* Agreed to smuggle a briefcase of heroin into the US in order to pay for plane ticket, but in the end the drug dealers gave her the money for free!
* Claimed to have been drug-raped in a hotel room, which was (finally) "widely disbelieved" by her feminist collegues.

Ealy life checks out.

 

[La vie sexuelle]

It's as if the woke scale had ended and they returned to tradition.

That reminded me of feminist lunatic https://en.wikipedia.org/wiki/Andrea_Dworkin

Although Dworkin publicly wrote, "I love John with my heart and soul,"[61] and Stoltenberg described Dworkin as "the love of my life,"[62] she continued to publicly identify herself as lesbian, and he as gay. Stoltenberg, recounting the perplexity that their relationship seemed to cause people in the press, summarized the relationship by saying, "So I state only the simplest facts publicly: yes, Andrea and I live together and love each other and we are each other's life partner, and yes we are both out."​

Heh, I used to often confuse her with Ronald Dworkin, different cup of schizo.



About her, book, Intercourse from wiki. Literary mother of world we live on:

In Intercourse, Dworkin extended her earlier analysis of pornography to a discussion of heterosexual intercourse itself. In works such as Woman Hating (1974) and Pornography: Men Possessing Women (1981), Dworkin had argued that pornography (this includes erotic literature) in patriarchal societies consistently eroticized women's sexual subordination to men, and often overt acts of exploitation or violence. In Intercourse, she went on to argue that that sort of sexual subordination was central to men and women's experiences of sexual intercourse in a male supremacist society, and reinforced throughout mainstream culture, including not only pornography but also in classic works of male-centric literature.

Extensively discussing works such as The Kreutzer Sonata (1889), Madame Bovary (1856), and Dracula (1897), and citing from religious texts, legal commentary, and pornography, Dworkin argued that the depictions of intercourse in mainstream art and culture consistently emphasized heterosexual intercourse as the only or the most genuine form of "real" sex; that they portrayed intercourse in violent or invasive terms; that they portrayed the violence or invasiveness as central to its eroticism; and that they often united it with male contempt for, revulsion towards, or even murder of the "carnal" woman. She argued that this kind of depiction enforced a male-centric and coercive view of sexuality, and that, when the cultural attitudes combine with the material conditions of women's lives in a sexist society, the experience of heterosexual intercourse itself becomes a central part of men's subordination of women, experienced as a form of "occupation"[2] that is nevertheless expected to be pleasurable for women and to define their very status as women.: 122–124 

In the 1998 book, Without Apology: Andrea Dworkin's Art and Politics, in chapter 6, titled "Intercourse: An Institution of Male Power", author Cindy Jenefsky states, "As in her analysis of pornography's sexual subordination, the key to understanding Dworkin's analysis of sexual intercourse rests on recognizing how she integrates the individual act of sexual intercourse within its larger social context. She produces a materialist analysis that examines sexual intercourse as an institutionalized practice."[3]

Andrea's own life events sound like the imaginations of an attention seeker:

* Molested in a cinema as a child.
* Sent to women's prison as a young woman, where the "internal examination" made her bleed for days afterwards.
* In the Netherlands, her husband abused her severely, forcing her to flee and work as prostitute to support herself.
* Agreed to smuggle a briefcase of heroin into the US in order to pay for plane ticket, but in the end the drug dealers gave her the money for free!
* Claimed to have been drug-raped in a hotel room, which was (finally) "widely disbelieved" by her feminist collegues.

I think that the rape mythomania comes from the victim's complex. Such people cannot solve problems on their own, they need help, and what's more, they love to create problems in which they are perceived as victims. Without their complex, victims would feel lost. They wouldn't know where to go or what to do. Moreover, the victim complex allows them to feel better than others without incurring any costs (because in the real world, strength must be proved all the time). They are weak by choice, lazy and obsessive, and their lives are a slippery slope of despair.

Indeed, the wikipedia page says: "Her relationship with her mother was strained" and "she described her Jewish household as being in many ways dominated by the memory of the Holocaust". I can imagine LGBT people developed the same kind of eternal victim identity after the 1980s AIDS pandemic resulted in (somewhat undeserved) symphathy from the general public.

In modern slang: Lolcow :D

It's as if the woke scale had ended and they returned to tradition.

That reminded me of feminist lunatic https://en.wikipedia.org/wiki/Andrea_Dworkin

Although Dworkin publicly wrote, "I love John with my heart and soul,"[61] and Stoltenberg described Dworkin as "the love of my life,"[62] she continued to publicly identify herself as lesbian, and he as gay. Stoltenberg, recounting the perplexity that their relationship seemed to cause people in the press, summarized the relationship by saying, "So I state only the simplest facts publicly: yes, Andrea and I live together and love each other and we are each other's life partner, and yes we are both out."​

Heh, I used to often confuse her with Ronald Dworkin, different cup of schizo.



About her, book, Intercourse from wiki. Literary mother of world we live on:

In Intercourse, Dworkin extended her earlier analysis of pornography to a discussion of heterosexual intercourse itself. In works such as Woman Hating (1974) and Pornography: Men Possessing Women (1981), Dworkin had argued that pornography (this includes erotic literature) in patriarchal societies consistently eroticized women's sexual subordination to men, and often overt acts of exploitation or violence. In Intercourse, she went on to argue that that sort of sexual subordination was central to men and women's experiences of sexual intercourse in a male supremacist society, and reinforced throughout mainstream culture, including not only pornography but also in classic works of male-centric literature.

Extensively discussing works such as The Kreutzer Sonata (1889), Madame Bovary (1856), and Dracula (1897), and citing from religious texts, legal commentary, and pornography, Dworkin argued that the depictions of intercourse in mainstream art and culture consistently emphasized heterosexual intercourse as the only or the most genuine form of "real" sex; that they portrayed intercourse in violent or invasive terms; that they portrayed the violence or invasiveness as central to its eroticism; and that they often united it with male contempt for, revulsion towards, or even murder of the "carnal" woman. She argued that this kind of depiction enforced a male-centric and coercive view of sexuality, and that, when the cultural attitudes combine with the material conditions of women's lives in a sexist society, the experience of heterosexual intercourse itself becomes a central part of men's subordination of women, experienced as a form of "occupation"[2] that is nevertheless expected to be pleasurable for women and to define their very status as women.: 122–124 

In the 1998 book, Without Apology: Andrea Dworkin's Art and Politics, in chapter 6, titled "Intercourse: An Institution of Male Power", author Cindy Jenefsky states, "As in her analysis of pornography's sexual subordination, the key to understanding Dworkin's analysis of sexual intercourse rests on recognizing how she integrates the individual act of sexual intercourse within its larger social context. She produces a materialist analysis that examines sexual intercourse as an institutionalized practice."[3]

Andrea's own life events sound like the imaginations of an attention seeker:

* Molested in a cinema as a child.
* Sent to women's prison as a young woman, where the "internal examination" made her bleed for days afterwards.
* In the Netherlands, her husband abused her severely, forcing her to flee and work as prostitute to support herself.
* Agreed to smuggle a briefcase of heroin into the US in order to pay for plane ticket, but in the end the drug dealers gave her the money for free!
* Claimed to have been drug-raped in a hotel room, which was (finally) "widely disbelieved" by her feminist collegues.

Ealy life checks out.

Weird, but it is such a problem to find a public figure in America without this particular ancestry...

 

[dunehunter]

After Bioware saw the success of BG3, would it change their mind to turn DA4 into a more traditional CRPG like DAO, or will it still be a shitty action game like the DAI?

 

[Saint_Proverbius]

Indeed, the wikipedia page says: "Her relationship with her mother was strained" and "she described her Jewish household as being in many ways dominated by the memory of the Holocaust". I can imagine LGBT people developed the same kind of eternal victim identity after the 1980s AIDS pandemic resulted in (somewhat undeserved) symphathy from the general public.

It's almost like she has a nearly filled out Victim BINGO Card.

I think that the rape mythomania comes from the victim's complex. Such people cannot solve problems on their own, they need help, and what's more, they love to create problems in which they are perceived as victims.

That's one of the things that made me scratch my head when I was reading her list of times she was "victimized". While I'm not typically someone that believes in blaming the victim, there is a certain threshold that someone can cross to where you have to question if they're putting themselves in to situations to be victims or they're making it up. It's pretty bad when you come up with so many things that even the #MeToo shirt wearing crowd start to question your claims.

 

[La vie sexuelle]

There is one more possibility - some people are so crazy that they somehow pick out the madness around them and infect others with it. I could believe that Dworkin throughout her life, starting from childhood, emanated and perfected madness to the point that it manifested externally.

 

[Hammer Of The Heretics]

If you exude crazy vibes sane people stay away from you. You end up surrounded by other crazies who do crazy shit. Lather, rinse, repeat.

 

[Frozen]

Do they even make games anymore?
I can't remember what their last game was, but I know it was shit (some multiplayer crap?)
Inquisition was 10y ago, ME3 12y ago.
We maybe already have Zoomers here younger than that.

You cant be immortal when you are already dead.

 

[Cat Headed Eagle]

You cant be immortal when you are already dead.

bioware is a lich king

 

[Camel]

ME:A had:

• A stupid trans NPC (Hainly Adams) that IIRC only had a few lines of dialogue and nothing else
• A background conversation between two NPCs you could overhear that essentially reconned the Asari from all female to non-binary with prefered pronouns but that could be easily missed.

DA:I was WAY more woke than Andromeda. Between the two games, I vastly prefer Andromeda.

 

[Butter]

I feel like you guys had enough warning to bail before getting suckered in by Inquisition OR Andromeda.

 

[mediocrepoet]

ME:A had:

• A stupid trans NPC (Hainly Adams) that IIRC only had a few lines of dialogue and nothing else
• A background conversation between two NPCs you could overhear that essentially reconned the Asari from all female to non-binary with prefered pronouns but that could be easily missed.

DA:I was WAY more woke than Andromeda. Between the two games, I vastly prefer Andromeda.

Is this real?

 

[La vie sexuelle]

ME:A had:

• A stupid trans NPC (Hainly Adams) that IIRC only had a few lines of dialogue and nothing else
• A background conversation between two NPCs you could overhear that essentially reconned the Asari from all female to non-binary with prefered pronouns but that could be easily missed.

DA:I was WAY more woke than Andromeda. Between the two games, I vastly prefer Andromeda.

Is this real?

Of course. Your surprise is only because you didn't look at their, Bioware, blog when they still had it.

Building a Character: Cremisius “Krem” Aclassi​

by Author - Patrick Weekes - Posted on December 4, 2014

(Note: This article contains spoilers for the Iron Bull’s character arc up to his personal plot, but not including it. If you’ve already had drinks with the Bull’s Chargers, nothing in here should be spoiled for you.)
The Idea
A couple years ago, BioWare did a BioWare Base panel on LGBTQ representation in our games at PAX. We heard concerns, praise, and a lot of heartfelt discussion about how we present characters from the LGBTQ community. One of the most repeated requests was for representation of transgender and/or genderqueer characters in a way that did not make them either a monster or a joke. When the panel was over, some of us kicked around ideas about what we could do.
Talking over drinks at the bar later, we hit two major challenges. First, any conversation about the subject had to come up naturally in-game. A minor character like a shopkeeper would have no reason to explain that she is trans, so either the conversation would never come up or it would come up because her voice was clearly masculine, at which point it would look like a joke to most players, no matter how we tried to write it. Second, the character had to serve a purpose beyond “being there to be a genderqueer person.” Every character in our game serves a purpose—reinforcing the theme of a plot, character, or area—and we do not have the budget for someone who is just there to tick off a box.
As we discussed ideas, the possibility came up of Iron Bull’s lieutenant being such a character. Bull needed a lieutenant. He’s a mercenary commander, and even if we didn’t have the memory budget to have his entire company around all the time, I needed to be able to remind players that Bull has a history of command. In addition, Bull’s loyalty is pulled between life under the Qun and a life of freedom, and I needed a character on each side who could represent that pull.
Cremisius “Krem” Aclassi met both challenges. His conversation could come up naturally, along with discussions of life as a mercenary, and he could serve a vital role in the story as a grounding force who would remind the player that Bull is more than just hired muscle. Krem’s status as a trans man, rather than being just tacked on, could emphasize Bull’s character by opening up discussions of Qunari gender roles.
The Execution
Once we had decided what we wanted to do, we tackled the concept of Krem with other departments to figure out how to do it correctly. In doing so, we saw how much of our game’s engine was based on set gender assignments, from voice to face to animation set to localization plan for foreign languages. Every single department stepped up enthusiastically to make sure that Krem was created with respect. Colleen Perman gave Krem his fantastic face using the character art team’s head-morph system, John Epler nailed his animation and body language, Caroline Livingstone and Jennifer Hale found a great voice for a trans man in a world without access to transitional procedures, and Melanie Fleming made absolutely certain that Krem was gendered appropriately in all languages.
On the writing side, I wrote Krem as best I could, and the editing team looked at every line and cleaned up dialogue and paraphrases that could give the wrong impression. I then passed him to two friends in the GQ community… at which point they showed me where I was absolutely messing things up and gave me constructive feedback on how to improve. In the first draft, Bull was the one who brought up Krem’s binding as a friendly joke. My friends pointed out how incredibly hurtful such a callout was for many trans people in real life (“Hey, by the way, you’re actually a woman, just wanted to remind you!”) and that it made Bull into an incredibly offensive jerk. This was not at all what I wanted—people playing now will note that Bull and Krem give each other grief about little things all the time, but never attack truly sore spots—and I rewrote the scene so that Krem is the one who brings it up first. This makes it clear that Krem is comfortable discussing being trans, and the player will not be offending Krem by asking questions about it.
In the investigate hub where you can ask Krem about his past in Tevinter, the first draft had him deserting after fighting off someone who discovered his secret and tried to assault him. My friends noted that this played directly into the sad “attacked trans person” cliché, and while it was plausible, it was an ugly event that could well trigger trans people who have experienced harassment in real life. The goal was for Krem to be a positive character who was living his life happily now, and I revised his departure from Tevinter accordingly.
(Very few writers enjoy talking about things they messed up in their first drafts, and I am no exception. That said, I am hugely grateful to my friends for helping me avoid some obvious-in-retrospect mistakes. Their help was amazing, and any stuff that still bothers people is on me and me alone.)
The Reception
We are all proud to have brought Krem to life in the game, and seeing people in the genderqueer community respond positively to him has been wonderful. We are also listening to feedback on how we can improve with characters in the future. (For example, some trans folks feel I wrote the player choices to be too clueless or uninformed, and wished for options to speak from more personal experience. I’ve heard the feedback, and I intend to do better next time.) It would be a lie to say that this was as easy as creating any other human character—it was uncharted territory for all of us on both the technical and the artistic side—but it was worth the extra effort. The world of Dragon Age has room for people of all backgrounds and identities, and it was a pleasure to show that in one more way.

2014! Ten years of cringe and woke.

https://twitter.com/bioware/status/1774480106385187083

 

[Cat Headed Eagle]

I don't remember Krem being particularly bad, other than them standing out as the second in command of sorts in Bull's company. I didn't go gay for the Bull, and all things considered, he ends up being a pretty good character.

 

[Saint_Proverbius]

Is this real?

Yes, so is their Easter Tweet about trannies.

 

[Skinwalker]

I made the choice in Bull's character quest that got his merry gang of trannies and degens slaughtered. This caused Bull to turn on me in the final DLC, so I ended up killing him too.

Best decision I've ever made in a video game!

 

[La vie sexuelle]

I made the choice in Bull's character quest that got his merry gang of trannies and degens slaughtered. This caused Bull to turn on me in the final DLC, so I ended up killing him too.

Best decision I've ever made in a video game!

It was possible? How?

 

[Skinwalker]

I made the choice in Bull's character quest that got his merry gang of trannies and degens slaughtered. This caused Bull to turn on me in the final DLC, so I ended up killing him too.

Best decision I've ever made in a video game!

It was possible? How?

There's a strongly-telegraphed critical choice in the main game you have to make while doing Bull's character quest (some kind of stupid mission for the Qunari for whom he pretends to be reluctantly working). You can sacrifice his gang for the sake of the mission, or jeopardize the mission for the sake of saving the gang. I hated his gang, and was pleasantly surprised that they actually all died (including the tranny) when I chose to stick to the mission.

Then, in the final DLC, he just comes out towards the end of the campaign and admits he's been working against you this whole time, and you get to kill him in a boss fight. It was very tragic.

 

[whydoibother]

Still pirading DA4.

 

[Elttharion]

I made the choice in Bull's character quest that got his merry gang of trannies and degens slaughtered. This caused Bull to turn on me in the final DLC, so I ended up killing him too.

Best decision I've ever made in a video game!

Killing two fags birds with one stone.

 

[La vie sexuelle]

I made the choice in Bull's character quest that got his merry gang of trannies and degens slaughtered. This caused Bull to turn on me in the final DLC, so I ended up killing him too.

Best decision I've ever made in a video game!

It was possible? How?

There's a strongly-telegraphed critical choice in the main game you have to make while doing Bull's character quest (some kind of stupid mission for the Qunari for whom he pretends to be reluctantly working). You can sacrifice his gang for the sake of the mission, or jeopardize the mission for the sake of saving the gang. I hated his gang, and was pleasantly surprised that they actually all died (including the tranny) when I chose to stick to the mission.

Then, in the final DLC, he just comes out towards the end of the campaign and admits he's been working against you this whole time, and you get to kill him in a boss fight. It was very tragic.

I last played in that in 2014 and without DLC. Perhaps I will give this game a second chance, but in The Based Way.

 

[Skinwalker]

Perhaps I will give this game a second chance

Please don't. It's bloody awful.