"Turn Based is finally back in rotation, and you can expect an episode every two weeks. The pattern will now be Co-op, Turn Based, Co-op, Turn Based; you get the idea. Since this is a catch up episode we decided to suspend the Spotlight and upcoming discussions and just speak on a couple key RPG topics that have been on our mind.
We touch on the announcement of Mass Effect 4, and what we expect from the game. Do you have any hope for the game? let us know in the comments. We also discussed Dragon Age 3 in more detail, basing the discussion off my controversial article. David puts us onto Ni No Kuni, an up and coming PS3 title. And we also discuss how platforms such as the Playstation Vita and Wii U could revolutionize the RPG genre."
The latest game in BioWare’s fantasy role-playing series went through ten years of development turmoil
In early November, on the eve of the crucial holiday shopping season, staffers at the video-game studio BioWare were feeling optimistic. After an excruciating development cycle, they had finally released their latest game, Dragon Age: The Veilguard, and the early reception was largely positive. The role-playing game was topping sales charts on Steam, and solid, if not spectacular, reviews were rolling in.
Its easy they called the die hard fans people in their nerd caves who will buy anything and then went woke to reach modern audiences....insulting the nerds in their caves along the way showing utter contempt for their fan base. very hapy it failed and any company who insults their fan base and treat their customers with contempt and insults, in future, i also hope fail.
It’s disappointing but not surprising to see what's happening with Dragon Age: The Veilguard and the broader situation at BioWare. The layoffs are tragic — no one wants to see talented developers lose their jobs. But when studios repeatedly create games that alienate their own fanbase, outcomes like this become unfortunately predictable.
There’s a pattern we’re seeing far too often: beloved franchises are revived, only to be reshaped into something almost unrecognizable. Changes are made that no one asked for, often at the expense of what originally made these games special. Then, when long-time fans express concern or lose interest, they’re told, “This game might not be for you.” But when those same fans heed that advice and don’t buy the game, suddenly they're labeled as toxic, sexist, bigoted, or worse.
Let’s be clear: the overwhelming majority of gamers have no issue with diversity, LGBTQ+ representation, or strong female leads. In fact, some of the most iconic characters in gaming — like Aloy, Ellie, or FemShep — are proof that inclusivity and excellent storytelling can and do go hand in hand. The issue arises when diversity feels performative, forced, or disconnected from the narrative — when characters or themes are inserted not to serve the story, but to satisfy a corporate DEI checklist. Audiences can tell the difference.
When studios chase approval from a vocal minority that often doesn’t even buy games — while simultaneously dismissing loyal fans who actually do — they risk not just the success of individual titles, but the health of their entire studio. Telling your core customers “don’t buy it if you don’t like it” is not a viable business strategy. Because guess what? Many of us won’t. And when the game fails commercially, blaming those very fans for not supporting it is both unfair and self-defeating.
Gamers aren’t asking for less diversity or less progress. We’re asking for better writing, thoughtful character development, and a respect for the franchises we’ve supported for decades. When you give people great games that speak to them — whether they’re old fans or new players — they will show up. But if you keep making games for people who don’t play them, don’t be surprised when those who do stop showing up
I thought the writing and character development were fine. Sometimes things just dont resonate with people.
Mass Effect 4 has the perfect chance to reintroduce dialogue skills, and Baldur's Gate 3 might be the blueprint BioWare needs.
I'm not so sure they can, most talent that made the old games as good as they were, has left Bioware.
They can always recruit old fellas,
And also, new devs can always learn and also new indie devs are very passionate evident from the amazing indie games heavy with these gameplay features.
I don't think anyone would wanna come back after the stories that were told from Anthem development. I just don't see it happening. It's a bit similar to blizz, some of the talent has come back there, but there has been a shift in the studio's culture and also what the higher ups expect/demand of them
After andromeda and veilguard i think it’s assured that the bioware we once knew has gone, I have little hope for me4. Hopefully i’m wrong.
EA just hosted its quarterly financial conference call, and its executives have been asked to comment about the recent price hikes for games.
I'll take a listen...cant stand EA. When they took over, I knew the end would be near.
However, as many times as Ive beaten ME1 & ME 2, (more than 6 times each) Ive beaten ME3 1 & 1/2 times.
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I'm replaying through ME2 right now seeing as how it is one of my top 10 games to replay.
I really hope that they move towards that ME2 feeling with ME4. Stay clear of ME3's style and move towards that spacey feel again.