The Good, the Bad and the Lovely

The Good, the Bad and the Lovely – a take on RPG alignments…and love interests

When playing a classic Roleplaying Game such as Dragon Age: Origins (Bioware, 2009.), Baldur’s Gate (Bioware, 1998) or any game that is based on classic pen and paper role-playing rules, the player will probably either choose or play out a certain alignment during the course of the game.  The table of alignment looks something like this

[1]

While it is possible to play out these alignments in a pen and paper role-playing game, at least with a game master who is willing to focus on it, it gets more complicated in video games. Most often the alignment is played out through dialogue options, choice of quests and in the interactions with NPC’s including members of your group. Transferring the same range of alignment choices into a video game without making them meaningless, is an almost impossible task and therefore fails in most games. Usually players go along two lines – either one is the goody or the evil one. Those are usually the choices with the most recognizable consequences which can be the possibility to go places, join societies, get new contacts and goods  for lower prices and sometimes even boosts or the opposite of all that. NPC’s will react accordingly with regards to their own alignment. To play something neutral or chaotic in the middle just wont to any of these things since one never gets enough of a reputation of any kind to trigger the chances in attitude. Some might remember you as somewhat good others as somewhat bad but in the end no NPC will have an meaningful attitude towards you, which might be the true meaning of neutral but it sure is not rewarding for the player.
An additional dimension is added when the player character can and must also interact with her group members. In Dragon Age: Origins the relation to your group members determines not only their will to fight by your side but when the relationship reaches a certain point in the ‘Approval Rating’, the respective companion will get a bonus to their chosen stat.

This is how the appreciation rating is translated into statistics:

Approval Rating	Disposition	Romance
(-100)	Crisis	Interested
-99 - -26	Hostile
-25 - 25	Neutral
26 - 50	Warm
51 - 70		Care
71 - 75		Adore
76 - 90	Friendly
91 - 100		Love
[2]
How the bonuses look like

Approval Rating	Bonus to Stat
25%	+1
50%	+2
75%	+4
90%	+6

[3]

This leads to a whole dimension of micromanagement of your companions which actually goes against what role-play is about. Talking from my own experience I do not necessarily like all of my companions and do not want to make an effort to please them, which would also go against any chosen alignment but neutral good. However, the most effective way of playing a video game makes is beneficial to be on all your members good sides in order to get the at least one of the better boosts. The difficulty presents itself not only within the one on one interaction with the fellow travellers, but in the decisions the player makes while playing. It is hardly possible to make decisions everybody is pleased with, so the player is forced to align with some of the companions and reject others either along the own chosen alignment or in terms of who she prefers to get the boost. Therefore, the relationships arising from gameplay are not to be seen as genuine role-playing choice but often as a compromise between what is beneficial and a personal way of playstyle. Unfortunately the range of choice and variety is shrinking significantly with these mechanics at play. Especially the emergence of a romantic relationship which results of these studious changes seem less meaningful than they potentially could be.
While I enjoy the possibility to play an alignment and have options to react to a certain situation, it is frustrating how arbitrary the reactions and consequences can be. In terms of NPC interaction and quest choices I found my personal playstyle but forced companion relationships are simply not my cup of tea.

References

Bioware, 2009. Dragon Age: Origins. Electronic Arts.

Bioware, 1998. Baldur’s Gate. Black Isle Studios.

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[1] http://gamerstavern.org/2014/05/

[2] http://dragonage.wikia.com/wiki/Approval

[3] ibid