PlanetXbox360: "Am I missing something? When Mass Effect 2 launched last year, it was welcomed by critics with unending praise, many hailing it as this generation's best game. After playing the first game and being only moderately impressed, I was hesitant in picking up the sequel. Naturally, all the high review scores and unending compliments to BioWare for making such a fantastic title, compelled me to try it for myself. You see, I'm a sucker for a game that has a good story and cast of well developed characters, something this game was said to have in spades. However, after completing the game for myself, I must say that I wasn't all that impressed; so much so, that I'm not all that excited for the trilogy's final installment."
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 Changes are made that no one asked for, often at the expense of what originally made these games special.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.
EA just hosted its quarterly financial conference call, and its executives have been asked to comment about the recent price hikes for games.
Today, Electronic Arts announced its financial results for the fourth quarter of its fiscal year 2025, alongside the full year.
Split Fiction has sold nearly 4 million copies, and the next battlefield is confirmed for a release by March 2026 with a reveal this Summer.
Oh dear. OHHHHHHH dear.
You've just p***ed off N4G.
The only one of those points ill agree with is a couple of the characters.
In Mass Effect 2, Jack really confused the hell out of me. One moment she was a bitch, then she wa sobby, then a bitch, then happy, then a bitch again and I just had no idea what to think of her.
And I don't like the fact that a lot of the companions for ME3 are just returning ones from ME1 and ME2. ME2 added new ones greatly, as the only returning "full" companion was Garrus. To be honest, id like a lot more newer ones.
Sounds like you just don't like the Mass Effect series then. You don't like the gameplay sequences because they're repetitive, you don't like the characters because you think they're boring, and you think the story is poor. You also don't like the dialogue-wheel and don't think it really adds to the Role-playing experience, honestly if you have this many problems with the series why even play the games?
I'll play it but understand your reasoning...
Although I know to respect one's opinion, no more how wrong some of them may be, I only see #1 as being the only point that actually holds any ground.
To me it sound like a game series you just arent interested in... If you didnt like the characters, thought it was repetitive, and that the story was boring why the heck would you be excited for the final installment