Dark Souls III is going to age really well in terms of broader cultural perception because, for one, a lot of the early criticisms bemoaning the reuse of proper nouns and whatnot read like advertisements now, given the explicit text of the game and some of the most heavy handed visual metaphors of all time. Premature scrambles to rob things with the Bandai Namco logo of their authorial intention (understandable) is less interesting and less important to me though than the strangely under-discussed topic of the game’s… design. I’ll put Cathedral of the Deep against literally any level design ever. This is the only video game ever made where you get to fight Sister Friede, Twin Princes, Dancer, Nameless King, etc. Granted, a big part of the reason bespoke design elements go unexplored in reviews is their pure density. So many of these levels and bosses would take so long to break down, and It's not like I’m contributing here either, I just listed some examples I liked. That being said, it can’t be overstated that these games, as games, are really good! Uniquely good, I think. Good in a way that should generate more trust-capital in terms of From’s competence as artists and designers more generally.

This all being said, there are still plenty of reasons to hate DS3, many of which I am sympathetic to. I’m not going to list them out (a lot of them have to do with color and lighting), but I’ll at least mention that I think modern From games are pretty clearly less mysterious and “interesting” than when Demon’s Souls was a game you maybe heard about, or the first time you stumbled into The Great Hollow. But man, they hit the transition to “more linear, more big, more fast” with the gas pedal all the way down to the fucking floor. Dark Souls III is genuinely one of the most frenetic and energized games I’ve ever played, and yet still staggeringly tight and well crafted. Bloodborne and Dark Souls III mark the beginning of a stretch of Three-Dimensional Action Role Playing Game Design so ahead of what else is out there that I’m starting to wonder just how long it will be until anything else scratches that itch. I personally didn’t find Lies of P, Nioh, or any of the other games I’ve played in this loosely defined genre nearly as promising in this regard as others have, but time will tell. Or give me recs! I’d be happy to be wrong.

Before I had even finished Baldur’s Gate 3, there was an impulse to write a sort of curmudgeonly review about how a lot of this game is written, and indeed, a lot of what characters are saying and doing doesn't really appeal to me. There was a Dark Urge to make sarcastic remarks about how hard it is for a game to recover from an opening cinematic containing a Wilhelm scream proceeding a toootally eeeepppiiiiiic dragon chase (had to get at least one in there), so on and so on. Outside of a few bad scenes though, I don't think that many writing/dialogue sins are actually being committed, more so just personal preferences being chafed against, and that's ok.

Around the time I finished the game, I imagined a review focused more around the encounter design, because I view it as the game’s single biggest success. Encounters are consistently dynamic and flavorful and engaging, so on and so on. I realized quickly that writing that review would be about as boring as reading that last sentence is, and that I view the quality of BG3’s encounter design as a sort of self-evident thing that I don’t care to (or even really know how to) substantiate.

Now, a couple weeks after first finishing BG3, the only review I care to write is about how much more I thought about Dragon Age Origins than I did about BG3 whilst playing through BG3. Every cinematic cutscene with a close up of a sometimes awkward face, every campsite conversation with a companion, every time my character's affliction threatened to turn him into the things he sought to destroy, DAO, DAO, DAO.

I’m not the first person to draw comparisons between these two games, but I do think the extent to which these games feel spiritually identical is maybe a bit unique to me. I don’t think I can rigorously justify the position that Baldur’s Gate 3’s suffers from a lack of individual identity, there are plenty of ways you could argue that the games feel totally distinct, but subjectively, I could not stop saying to myself “I can’t believe I’m playing DAO remastered in 2023.” The point here isn’t really that BG3 is playing it too safe or that it doesn’t have any original ideas, though I do maybe feel that way a little bit. The important takeaway for me is how for every bit Dragon Age Origins has gotten more refined and improved over the years, I have become less cooperative and more jaded a video game player.

I first played Dragon Age Origins when I was about 11, I think. I never beat it then because it was too hard, so I would just replay the first 10 hours or so every several months with my Mom. Back then, the unseen latter 2/3rds of DAO represented a limitless, larger than life world that could go on for 1000 more hours for all I knew. A game world bigger than me, beyond my comprehension, containing things I didn’t even know I wanted.

Last year I beat Dragon Age Origins for the first time, I thought it was ok.

Baldur’s Gate 3 is a lot better in almost every way than Dragon Age Origins, but ultimately, I think it's still Dragon Age Origins. I am of two minds about this fact: For one, I think it's great that 11 year olds now get to play Baldur’s Gate 3 instead of Dragon Age Origins. Had I played BG3 when I was 11, it would probably be my favorite game of all time. On the other hand, I think there is a good chance that when those kids turn 23 they’ll be writing reviews about how much that year's GOTY winner feels like an improved, but ultimately similar experience to Baldur’s Gate 3, without realizing they are actually writing about how similar that game is to Dragon Age Origins. I worry that when I write this review, it isn’t actually about Dragon Age Origins, but about a game that came out 10 years before that. I worry that Western RPGs have and will continue to have a certain tone and tenor, and that we’ll all get increasingly annoyed about it, because eventually most people unfortunately grow out of being innocent, unconditionally giving, boundlessly imaginative media consumers. I hope that I’ll at least enjoy the 2033 GOTY winner. I hope I continue to enjoy Dragon Age Origins.

There is a bridge in the city of Baldur’s Gate in Act 3 with a closed gate to the Upper City at its end. If you try to cross the bridge to get to the gate, you are told not to or you will die. Right before the game ends you can walk up to the gate. If you position your camera just right, you can mouse over an interactable object presumably meant to access the Upper City. For a kid somewhere, behind that gate lies 1000 hours of things to do, people to meet, monsters to kill. For me, it's probably DLC that will be released with the definitive edition in a couple years.

Here’s to 15 more years of Dragon Age Origins, to 25 more years of Baldur’s Gate and to 50 more years of Dungeons and Dragons. Here’s to 100 more years of cheesy companion romances and 200 more years of video game faces not looking quite right. To 500 more years of really good aoe fire spells and 3000 more years of the fucking player character muttering inane bullshit to himself SHUT UP WILL YOU.

(static) …Isa- ah, DAMMIT. (static)

Issac! Isaac, listen, I shit my pants. I shit my pants real bad… (sighs)... This situation has me totally immobilized. We won’t be able to move the Carbon Reactor to the Electronics Bay until we get this sorted out. I need you to bring me a fresh pair of pants.

Quick Isaac, The doors to the Thermal Energy Facility should b- (static)

SHIT! … Locked.

Isaac, I need you to find three card keys for the doors to the Thermal Energy Facility. They should all be equidistant from you in different directions, and you might have to move a thing on some rails. Please hurry, I don’t know if I can hold out much longer. And don’t forget the pants.

(static)

I really wanted to love this, and I truly did the first 4h or so. Part of that was that the mechanics clicked together perfectly and the introduction to the world was truly interesting, even though the prose is nothing to write home about. After those 4h I was already thinking about how I would shape my next playthrough. Well, I didn't need to do that, since the game becomes so easy after you upgrade 4 or 5 times that you can pretty much achieve anything you want during your first playthrough.

It's a shame those mechanics fell apart about midway through my run. The further you advance in the story, the storylines, the daily actions you take and how they relate to the themes of the game grow further apart, making the actions feel empty and what started as a tense resource management game became a boring (but kinda cozy) slog.

Anyway, the exploration of it's main themes is pretty on the nose, which is fine (it is also very on the nose in Disco Elysium, since everyone is comparing these too), but here it's so much more shallow. If it wasn't, I don't think I would have minded the cozyness, it would be a great reward, even.

The game needed more work on ironing out these things, because the foundation is pretty good. Hope the sequel learns from these mistakes, although I don't think it will since the game was pretty universally aclaimed.