In the realm of gaming, the incessant cycle of combat encounters can sometimes feel like an obligatory chore rather than an engaging experience. David Gaider, the former lead writer at BioWare and the creative mind behind the Dragon Age universe, shares this sentiment. He reflects on his time at the studio, where he often found himself advocating against the overuse of what he terms “trashmob fights”—those repetitive skirmishes with bandits, goblins, and other foes that seem to exist solely to fill time.
Combat vs. Narrative: A Delicate Balance
Gaider’s perspective was notably influenced by his admiration for the level design in Vampire: The Masquerade – Bloodlines 2. He recalls the Ocean House Hotel level, a haunting experience that left a lasting impression on him during his teenage years. “There’s a whole plot that takes place in a haunted hotel,” Gaider explains, “where, unlike the rest of the game, there’s no actual combat, but it’s tense from beginning to end.” This level resonated deeply with the BioWare team, sparking discussions that would shape their approach to game design.
Gaider utilized the Ocean House level as a compelling argument against the insistence on frequent combat encounters. “Whenever the level designers would be like ‘we have to sprinkle some popcorn fights everywhere because players get bored,’ I was like ‘no, they don’t! That doesn’t need to be a thing!'” His conviction highlights a growing awareness in the industry about the importance of narrative depth over mere action.
However, not all of Gaider’s ideas were implemented seamlessly. During the development of Dragon Age: Inquisition, he envisioned a combat-free masquerade ball in Val Royeaux. Despite his efforts, the design team ultimately decided to include combat, leading to an experience where players had to intermittently leave the festivities for battles. “To be fair, I’ve been to parties like that,” he quips, acknowledging the challenge of balancing player engagement with narrative flow.
Gaider recognizes the necessity of keeping players invested, but he argues that this can often be achieved through storytelling and political intrigue rather than constant fighting. “It’s always underestimated that part of that can be story—politics can keep people interested,” he asserts. “What the player doesn’t need to do is just fight, even if it’s an RPG.” This perspective invites a re-examination of how role-playing games can evolve, focusing on enriching narratives that captivate players without relying solely on combat mechanics.
