[Discussion] Potential Updates For Romancing?
Given the responses here and on Reddit, I don’t think it’s controversial to say the romances are not living up to what we were advertised. “The most romantic Dragon Age” this is most certainly not. The entirety of each romance arc is roughly twenty minutes, with characters like Lucanis spending most of that not responding to flirts at all. Not “responding awkwardly”, like Cullen rubbing his neck or shuffling before continuing to speak, I mean not responding AT ALL. Is there any chance patches could come in and save this? BG3 and Cyberpunk both had multiple patches that fleshed out their romantic interactions. It’s already been said we’re not getting DLC, but what kind of patches can we expect going forward? On the off chance the patches will be more substantial than bug fixes, I’d like to offer a few that could help turn the game aroundfor me, at least. I’ll be upfront that I’m mostly talking from the perspective of someone who has only gone through Lucanis’ romance and has been jaded by the time sink required for a really lackluster experience. The “missives” system is right there for some low-effort lore drops. Maybe an interactive love note to carry through the game? Lucanis’ commitment scene is genuinely awful. It felt like the equivalent of putting on the marriage amulet in Skyrim. It was literally just hitting the “committed—on” switch. It is the least satisfying “romance” scene I have ever experienced. They don’t touch. They hardly even gesture. They just stand there staring at each other and cycling through what looks to be idle animations. Was there cut content meant to be here, or is this genuinely the effort put into the “most romantic game ever”? Is it possible to fiddle with some scenes to make them the smallest bit dynamic? And finally, could we get a patch to allow the players to turn off the flirting between companions? It’s a real kick in the head to hear the effort put into two companions getting together, knowing how little romantic content Rook gets to experience themselves. Especially in the case of Neve and Lucanis, where Lucanis is seemingly the one companion that can be locked out of a romance entirely—and then he immediately hooks up with the person who made the exact. same. call. There’s even a line in his Inner Demons quest about being into Neve, it’s relentless and it’s insulting. I’d rather just not even hear it. Obviously there’s bigger gripes about the romances—why only twenty minutes of content? why can’t we talk to them between missions? why no kiss button?—but I feel like this is a few relatively small adjustments that could help ease some of the ick. Maybe others have more, better ideas, I don’t want to write a whole book and a half. Additional: Adding an option to object to Rook being referred to as “young” in Emmerich’s romance to allow for more RP potential.
Bioware missed a story opportunity (some spoilers)
My first and second playthrus done I wondered what it would be like to be a mourn watch mage meeting Lucanis for the first time. I am disappointed 😞. The whole time I felt like my Rook was the dumbest mage especially one who deals with spirits for a living. The dialogue acted like they had no idea what was going on and things Bellara were saying were things my rook should have said. But the biggest let down was when my mage couldn't see or hear Spite. Mourn watch mages should be trained to do so but nope dialogue was same as it was for other playthrus as a rogue crow and mage lord of fortune. This is the missed story opportunity. How great would it have been to be able to talk to Spite like Emmerich can? At the very least they could have added dialogue specifically for a mourn watch player.
Breaking things should have consequences
In every map of the game there are things that can be broken to gain loot, such as barrels, boxes etc. Besides the fact that this feels like a very lazy way of distributing loot, what makes it worse is that there is never any reaction or consequence for doing so. Tossing weapons through market stalls, citizens or even valuable urns in graveyards is seemingly completely acceptable. Not a single piece of dialogue has been written or recorded to react to the destruction the character leaves in their wake. This makes it extremely obvious that all NPC's besides enemies are no more than aesthetics to make the world feel slightly less empty. Considering the fact that AI controlled NPC's have been a thing in games for decades now, seeing how there is zero effort put into NPC interactions throughout the entire game is very disappointing.🤮The Absurdity of Breaking Objects for Resources🤮
😐😐😐This is a point that truly defies RPG logic and immersion. Someone thought it was a good idea to have players break barrels, vases, and parts of the scenery to collect valuable items, as if it’s normal for honorable characters, respected leaders, or noble warriors to destroy everything around them in search of coins and resources. 😒😒😒
My feedback - From Origins to Veilguard: The Fall of a Beloved Franchise
The Veilguard. A game that should have been the triumphant continuation of Dragon Age's legacy, but instead stands as a glaring example of how misguided leadership and personal agendas can derail a beloved franchise. While it’s great that you enjoyed parts of the game, it’s impossible to overlook the fundamental issues that have left so many fans disillusioned and disappointed. Let’s start with the so-called puzzles. It’s difficult to even call them that without feeling like you’re overstating their complexity. The Veilguard doesn’t offer puzzles that engage your intellect or tie into the lore of the world. Instead, it presents tasks that are little more than mundane errands—moving objects, flipping switches, or solving basic patterns that feel like they belong in a mobile game, not a premium RPG. The satisfaction of problem-solving, something that Dragon Age used to excel at, is completely absent here. Instead of making players feel clever or immersed, the game reduces these moments to boring, uninspired chores. And then there’s the loot system. In previous games, collecting resources and finding items felt tied to exploration, strategy, and the narrative. Here, it’s a monotonous grind. The process of breaking random barrels and furniture in search of materials turns your hero into a glorified vandal, smashing their way through the world in a way that’s entirely disconnected from the story. It’s not just tedious; it actively breaks immersion. How did we go from looting ancient ruins and earning rewards for completing complex side quests to this shallow, thoughtless approach? The root of these problems lies squarely in the leadership of Corrine Buche. Under her direction, Dragon Age has been stripped of its identity and turned into something unrecognizable. For years, Dragon Age stood out as a series that seamlessly integrated diversity and inclusivity into its world without making it feel forced or preachy. It was one of the first major RPGs to feature same-sex romances and characters from a variety of backgrounds, and it did so organically, letting these elements serve the story and enrich the world. Under Buche, however, inclusivity has been turned into a political statement rather than a narrative tool. Features like neutral pronouns and genital scars feel less like meaningful additions and more like a box-ticking exercise designed to signal progressiveness. These choices don’t add to the story or enhance the experience; they stick out as jarring and unnecessary. Dragon Age always embraced diversity, but it did so naturally, through deep characters and thoughtful writing. What we see now is a franchise hijacked by Buche’s personal vision, which prioritizes her worldview over the series’ legacy. This shift has alienated many players. Not because they oppose representation—Dragon Age fans have always been open-minded—but because it feels performative and shallow. Players aren’t looking for a game to lecture them; they’re looking for immersive storytelling, complex characters, and choices with real consequences. Instead, we got a game so focused on avoiding controversy that it sacrificed depth, challenge, and identity. The backlash isn’t surprising. Many players now avoid games the moment they’re labeled "woke," because they’ve seen this pattern before: shallow storytelling masked by superficial gestures of inclusivity. The result is a game that feels sanitized, safe, and detached from the dark fantasy roots that defined Dragon Age. Thedas was once a brutal, morally complex world where choices carried weight and players wrestled with dilemmas that had no easy answers. Now it feels more like a fairytale, scrubbed clean of its grit and complexity. The tone, aesthetic, and narrative direction have all shifted so drastically that it’s hard to even recognize this as part of the same series. And what about the future of The Veilguard? Hopes for a New Game Plus or DLC are slim at best. Developers have already hinted that no additional content is planned, and given the game’s lackluster reception, it’s easy to see why. The production costs were undoubtedly astronomical, yet the sales and reception suggest the game didn’t come close to breaking even. If The Veilguard had been a financial or critical success, EA and BioWare would be celebrating it publicly. Instead, there’s an uncomfortable silence, a quiet acknowledgment of a missed mark. Buche’s leadership has proven to be a mistake, one the franchise cannot afford to repeat. Her lack of experience and insistence on injecting her personal worldview into the game have severely damaged Dragon Age. This isn’t a role for someone still finding their footing or trying to use the franchise as a platform for personal ideals. Dragon Age needs a leader who understands its roots, respects its audience, and has the vision and maturity to steer it back to greatness. Buche, unfortunately, is not that person. If BioWare wants to save Dragon Age, it needs to acknowledge the mistakes made with The Veilguard and learn from them. This means bringing in experienced developers who can honor the franchise’s legacy while finding meaningful ways to evolve it. It means creating games that prioritize storytelling, player choice, and character development over shallow gestures and misguided agendas. Above all, it means respecting the fans who have supported this series for over a decade. At its core, The Veilguard feels like a betrayal of what Dragon Age once stood for. It’s a stark reminder of how easily a beloved franchise can lose its way when the wrong people are at the helm. If BioWare wants to avoid turning Dragon Age into a cautionary tale, it must act decisively to course-correct—and that starts with finding leadership that understands what made this series great in the first place. For now, The Veilguard stands as a painful lesson in how not to handle a legacy. Let’s hope the next chapter doesn’t repeat the same mistakes. ##Final Note: Before anyone misinterprets my message, I want to make it clear that my critique is directed at the creative leadership behind The Veilguard, not the individual personally. My tone has been respectful, focusing solely on the franchise and the product, with the intention of providing honest and constructive feedback. I have no intention of offending anyone—this is simply me exercising my right to express my opinion as a dedicated fan of Dragon Age.
[Feedback] DAV Critic
So first of all this is my feeling for the game and what i think about it after completing my first adventure playthough and best ending which took me roughly 76 hours, 96 if we count my other playthough starts , i dont mind hearing yours but lets try to avoid harassment and hate boning. But let get to it: First thing first, I love the Lore god i love it, while when compared to other games of the franchise it lacking it still amazing drop of info, and love it all the more, with expanding on the knowledge that been left in the dark for so long. i think that is one of the major thing they did right. now on to the good, Great, bad, and Ugly. the good in my opinion, is the Combat the the world design, it feel like a Mix of Origins World design with DA2 and DAI Combat system with a more refine aspect. i think this was a good thing cause what made Origins so amazing was that each area had so many hidden areas and unlock to achieve and had to be returned to, DAV reimagine that and brought it back with alot more verticality and exploration. While the Combat system is smooth and the tactics give plays a easier time for the high pace combat, on NiM i can say it helps alot half the time. the Great... The Story, "alot" feel the story is lacking and it may be, but i can honestly say that it equal to Origins to a degree, baring that it be at least on the level of inquisition, i mean seriously this story is great the cutscene the build up the endings, the interactivity is just top notch. and while the choice making is lacking in it cause and effects it still pretty good and near the level origins but feels still there. THE BAD: World connecting and Choices god this is something i very much dislike, the thing that made the DA franchise so great was how each choice we made in the precious installment had a cause and effect in the world of the next game, Warden kill or spare loghain decides on the warden we meet, or how the fade choice is effected between champion and Warden, or how the Choice that the champion decide to support in DA2 or their Class of being a mage or warrior. i mean seriously this interconnectivity between game made it amazing including the relationship, how in DAI the choices of DAO show up in DAI like romance partner and more!!! But in DAV that choice and world connecting has been all but removed on the highest level of degree, Morrigan no longer has her child is that how it happen between the Grey warden in the DAO DLCs and DAI main story, and is instead someone who drank the water of Mythal and more. all are previous choice meant nothing in DAV and the world we built was removed!!! which put a huge damper to many including myself. THE UGLY!!!! the Thing that made Dragon Age, what it is. the Dark Gritty Nightmarish World, it showed us the aspect of both a Dark and light life of a Fantasy world with darkness and hero's, it didnt hide it nature it showed us the darker side of nature and humanity ambitions and greed. it felt right and realistic to degree, and that what made it good, cause we made choices and decision that affect the world and made us and are avatar feel real. None of that seem to be real in DAV, it feel that to much of the politic state of the world we live in is affecting the game design, and more. a little extra Will call this the Worst. is the nudity and Sexual Preference choices, DA franchise has always stated it openness of the sexuality of thedas i mean every franchise has had a edition of lore tidbit of it in a book somewhere or another, But this went a little overboard, due to the Woke Culture when i heard taash say non Binary i seriously did a double take, WTF So your telling me that DA has advanced education system that is on level with are society, they have algebra and Trig, and more!!! Seriously this is a Fantasy WORLD it HIGH FICTION!!! if a gaming company has to be affected by something like this they need to look at themselves agian and ignore that, their a reason BG3 did so well cause they didnt care about no i identify as a Apache helicopter BS. if a person who needs to identify has a issue with the game they can go make their own. i guess my last thing is the nudity it not big but still, there really was no point with the level nudity in the game, if it was on the level of BG3 i say yeah your right to implement it but for what in the game honestly yeah no it not at that level of requirement. if you make a future game with the same level as BG3 which i believe the DA Franchise could be if EA was willing to commit to it. I think you should consider that as honestly we live ina different world then what we used to live in when DA first started and gamer dont really care. Only those looking for drama care. and you can just ignore them and not response to them which will make them mad but they will give up sooner or later.Suggestion for Dragon Age: The Veilguard - Character creation
Spoiler Warning Why I'm Making This Suggestion: Currently, this is my third playthrough. I managed to get the perfect ending and the secret ending on my first run without even knowing about them or looking for it. I know that this game always offers multiple ending, but my first playthrough I always just go with what I would choose. I guess I am a nice person! All this to say: the game is extremely easy. But for me, the story makes it worthwhile. Having played from the beginning, I am always pleased to see characters from the history we forged throughout the years. My character this time around: Female elf warrior reaper. Here are the guidelines I gave myself to guide my answers/choices: she wants to protect her people, so even though she despises the ancient tyrannical elven mages that claimed to be gods, she will do anything to defeat them. I didn’t think that those simple guidelines would create such a break in the immersion of the story, and so early on. When I met the veil jumpers, no choices about already knowing the gods. The current system doesn’t always reflect these kinds of nuances. I also find that some side stories are missing a satisfying ending. For me, there are a few moments where I noticed that my choices mattered. Like with Mythal. She will aid you in the fight against the dragon if you manage to get her trust. Also, Hossberg Wetlands. At the end of the blue flower quest, we have an idea about its future. And it’s a nice one—do not get me wrong. BUT! What does Bellara do with the archive spirit if we decide to keep it? What is up with that person in stasis in Arlathan Forest? What happens to Dwarves, now that we might be able to fix their dreams? And yes, I understand this is only my third playthrough and I might discover more about the story, but as of now, excuse me while I ask myself these rhetorical questions. I am also aware that some secrets must be kept to leave room for a fifth game. I would like to suggest enhancing the character creation process by adding more specific choices related to race, upbringing, beliefs, knowledge, and cultural views. These choices would create a richer, more nuanced character creation system that aligns better with the lore of the Dragon Age universe and offers players more flexibility in shaping their characters' identities. You guys already made fantastic choices about gender, but it feels like you stopped there. You can even make this as involved as you'd like. These choices could influence dialogue options, NPC interactions, and even story outcomes. From simple options like an elf knowing about the gods to more complex choices, where an elf supports the old gods and either goes against them for survival or completely agrees with them to forge a new world. Here are some suggested categories and examples. You know your lore better than I do, so I understand that I might have missed some options. But they are endless! Race and Character-Specific Choices: Religion: Elves: Do you venerate the elven gods as benevolent deities, or do you recognize them as tyrants who abused their power? Do you change your mind about the gods after learning what they did to the Titans? Dwarves: Were you noble or casteless? Do you feel pride or resentment about your caste? What are your thoughts on the Paragons? Are you part of a specific Paragon’s family? Qunari: Were you a follower of the Qun, or have you rejected it? All: Do you believe in the Maker and follow the Chantry’s teachings? Do you follow the Imperial Chantry? Are you atheist and reject traditional gods entirely? Does learning that it was all true (elven gods) baffle you? Upbringing: Elves: Did you grow up in a forest with your clan, or in an urban setting among an alienage? Dwarves: Are you still adjusting to life on the surface? (This could open fun dialogue options.) Do you have the stone sense? Qunari: Are you a fire-breather? What are your thoughts on fire-breathers? If you followed the Qun, what was your assignment? Lore Knowledge: Religion: Did you know that the old gods were tyrant mages, or do you still venerate them? Or do you know nothing about them? Do you accept the Maker’s teachings, or are you skeptical? Do you believe that everybody is correct: The Qun, the old gods of Tevinter, the old elven gods, the Maker? History: How much do you know about the world’s history? Do you have insights into the Qun, ancient elven history, or the Grey Wardens? Cultural Views: Views on Mages: Do you adhere to southern, northern, or Qunari views on mages? Could a Tranquil become a rogue or a warrior? Are you for or against tranquility? Do you believe mages are superior? Do you fear magic? Views on Politics: Are you a mole for the Venatori? Were you once a slave and admire Solas for freeing you? What are your thoughts on the caste system? The Qun? Views on Race: Are you willing to protect your people at all costs, or do you not care about others or your own people? Faction-Specific Choices: The Crows: Were you an assassin, or were you more of a bureaucrat? Did you enjoy the life of a Crow, or was it just a job? Mourn Watch: Did you grow up resenting your parents for abandoning you, or have you come to accept it? Were you abandoned like some recruits, or did they have a bad feeling about you? Grey Wardens: Did you want to join the Wardens, or were you forced into it due to a criminal past? Are you fully committed to the Warden’s vow, or are you cynical, doing it for survival? If you were a criminal, do you see it as a chance to redeem yourself or as punishment? All: Do you resent your faction throwing you out, or not? Archetype-Based Packages: To minimize the number of dialogue lines and responses needed for all these choices, I suggest creating archetype-based backgrounds, similar to what was done in Dragon Age: Origins. Each archetype would bundle a few core character choices together to reflect typical character traits. For example: The Apologetic Assassin: A character who kills because it’s their job but feels guilty and constantly apologizes for their actions. The Reluctant Warden: A character who didn’t choose the life of a Grey Warden but feels trapped by the oath and their past. The Bitter Mourn Watcher: A character raised by the Mourn Watch who resents not knowing their parents but uses their upbringing as a source of strength. The Protector Elf: A character who wants to safeguard their heritage at all costs. This approach would help keep the writing manageable while still allowing for personalized role-playing choices that feel meaningful. This would also allow for more complete endings to some aspects. For example, a veil jumper would be way more interested in the archive spirit than the actual story allows, and by the end of Bellara’s storyline, we could find out more about what it had to offer. The same could be said about Emmrich’s quest line and finding out something about our past for a Mourn Watcher. Conclusion: Adding these new options to character creation would allow for more diverse role-playing experiences, offering more personal connections with the world and other characters. It would also provide more meaningful interactions and potential story outcomes that align with the player’s choices, enhancing immersion and replayability.
