“The morality system of Dragon Age was probably the best of any Bioware game to that point. Instead of building points in either a paladin or badass category, the warden had to earn the admiration of each individual teammate. The warden had to learn the moral and philosophical code that each of her companions lived by and act—whether genuinely or not—according to each ally’s relative morality. The warden could agree with an ally’s outlook, defy it, try to change it, or ignore it, but she was always being judged by the fallible people closest to her, not by a cold and objective “light/dark” side. If a friend had a problem with the warden, she could prevaricate to earn their cooperation or insult their sensibilities and hope that they would get over it later on. This forced the player to create a character based not on what they thought the good guy or bad guy would do but based on how the game’s cast might react. And the widely different personalities of the varied characters ensured that somebody would always eventually take issue with the Warden.

It made the story as personal as it was grand. Even as the world was at stake, the player was making friends and experiencing a fantastic—if familiar—world from multiple perspectives. Entire plot threads could be created or altered by a single line of dialogue. The goal was simple and unchanging, but with so many paths to reach it, the warden couldn’t help but become a fleshed out character of her own. The interaction between the Warden’s various origin stories with her decisions up to a given point forced her to come to life and to take on a role of her own.”
(Mark Filipowich, Pop Matters)

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