“In fantasy worlds, historical accuracy is a lie” by Tanya D. via Offworld

In fantasy worlds, historical accuracy is a lie

The mythical realms of Dragon Age grow beautifully with the telling, including their representation of Earthly minorities. Even so, something’s missing…

I’d like to welcome you to Thedas, a fantastical place lots of us have lived in since BioWare’s Dragon Age: Origins launched in 2009. The borders of this lush fantasy world have sprawled ever outward through the release of Dragon Age II, and welcomed ever more players. With the most recent game, Dragon Age: Inquisition we can end up a leader, whether we’re a human, an elf or a dwarf.

But though almost anything’s possible within Dragon Age‘s beloved world of Thedas, something feels off. Although Dragon Age is a fantasy roleplaying game, Thedas is overlaid with a faux-European sociopolitical landscape — and that means there are few people of color among its citizenry. Why do the sinister old arguments of “historical accuracy” still apply to this fantasy world?

Elves, magic, dragons, shapeshifting and ancient powers of world destruction are somehow totally believable, but the idea that brown people might exist is somehow not. My colleague MedievalPOC‘s blog uses art, history and other resources to regularly debunk the broad but rarely-questioned misconception that only white people were around in medieval times. So if we know brown folks definitely existed in actual Medieval Europe, why are they absent from a made-up fantasy world only loosely inspired by Medieval Europe? Where are the brown folks in Dragon Age‘s Thedas?

Let’s have a look at the history of representation in my favorite game series.

Read the rest of the article over at Offworld

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God is Real and it wants us Dead – Originally posted at Polygon, by Tauriq Moosa

God is Real and it Wants us Dead: The Religious Terror of Bioware’s Biggest Games (originally posted at Polygon, 12/12/2014)

By Tauriq Moosa

OPINION text didn’t translate from copy-pasta on original article.

OPINION

Games are often better at conveying horror than most other mediums, due to our direct and real-time responses.

This year, we’ve experienced the constant dread of Alien: Isolation and the grotesque physicality of The Evil Within. Overlooked, however, is the cosmic horror in BioWare games.

“We impose order on the chaos of organic life. You exist because we allow it, and you will end because we demand it.” These are the words of Sovereign, the first Reaper you encounter in Mass Effect. At this point, you discover that all life has been essentially created and guided by these godlike creatures. Now the Reapers are coming to end what they created.

The entire Mass Effect trilogy is preparing for war against beings who are more powerful than anything in existence because they, essentially, created existence.

Here, all of life is told their creator wishes it to end. This isn’t nihilism written in the stars, it’s death row on a cosmic scale as everything marches towards the gallows. To fight seems futile; as Harbinger puts it in Mass Effect 2, creation seems to be “dust struggling against cosmic winds.” The entirety of existence is little more than the ant farm for uncaring gods.

BioWare’s love of cosmic animosity toward creation found a new twist in Dragon Age as well.

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