The Middle Ages in Modern Games: Conference Proceedings, Vol. 2 (2021)

Page 15

2: What to Expect from the Inquisition: Historical Myth-Unmaking in Dragon Age: Inquisition Alicia Mckenzie, @merovingianist, Wilfrid Laurier University It is fair to say that the name ‘Inquisition’ has some historical baggage in the eyes of the modern audience. BioWare’s choice to use it for the titular organization of their third Dragon Age game is strategic; by evoking the idea of conflicting interpretations of history, it foreshadows one of the game’s major themes. Dragon Age: Inquisition opens with a devastating magical explosion, an act of apparent terrorism that destroys a peace conference called the Conclave. The explosion kills the Divine, the head of the Chantry and the religious leader of southern Thedas, as well as countless members of the warring factions. The Divine’s surviving lieutenants proceed to implement her back-up plan and declare a new Inquisition. The original Inquisition was founded centuries before, in the early days of the Andrastian religion. Thedasian history disagrees on its legacy: the Inquisition is remembered as a group of dangerous zealots by some, as an organization dedicated to justice by others. Like its predecessor, the new Inquisition’s mandate is to restore order (which also means investigating the attack on the Conclave). The player character is the sole survivor from ground zero, left with the ability to mend the rifts in reality caused by the explosion. Seen as a potential saviour and dubbed the ‘Herald of Andraste’ by Thedas’s shaken people, they are inevitably drawn into a leadership role within the new Inquisition. Through conversations with NPCs, the Herald can explore different interpretations of the first Inquisition's history. Mother Giselle (a surviving Grand Cleric) calls the original Inquisitors "hunters and zealots" who spread the Andrastian faith by force, although she understands the Divine’s goals in reusing the name. Cassandra and Leliana, the Divine’s lieutenants, have more positive interpretations. But it is the PC who becomes the Inquisitor, whose choices will ultimately shape the direction of the new Inquisition. Will the Inquisition be as ruthless in its pursuit of justice as its predecessor, or will it wield its power in more tempered ways? The Herald is faced by a constant series of choices, especially once they have been acclaimed as Inquisitor. Once acknowledged by the rulers of Thedas, the Inquisitor is given the right to judge prisoners taken by the Inquisition. Execution is always an option, but so are more creative or compassionate judgements. “Justice has many tools”, as the Inquisition’s ambassador Josephine points out. Judgements and other role-playing choices affect the game’s approval mechanic, which governs the Inquisitor’s relationship with their NPC companions. High approval unlocks new conversations and quests, while acting like a brutal thug leads to painful and explosive confrontations as your supporters lose faith in you. Even more consequential choices come in main story quests like ‘Wicked Eyes and Wicked Hearts’, where the Inquisitor investigates an assassination plot at another peace conference. While there, they must help resolve the civil war in the Empire of Orlais by deciding which side will receive the Inquisition's support. But should they choose the claimant best for the empire, or the claimant who is best for the Inquisition? The ethical choice is not clear-cut; the Inquisition’s needs favour one solution, while the well-being of the Orlesian people favour another. The Inquisitor must decide which will be their priority. Choices such as these shape the Inquisition's legacy. By the end of the game’s main storyline, the Inquisitor's actions determine the election of the new Divine and the future direction of the Chantry (moderate or radical reform, or a return to traditional ways). But such massive influence comes with a cost. In the game’s final DLC, “Trespasser”, the Inquisition is facing enormous pressure from the 9


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Articles inside

46: Hearing the Middle Ages: Playing with and Contextualising Acoustical Heritage and Historical Soundscapes Research

6min
pages 81-83

42: Trying not to Fumble in Medieval Times: Role Playing Games as a Medium of Historiography, Authenticity, and Experiencing the Past

2min
page 76

41: What It Means To Be Swadian: Encoding Ethnic Identity in Medieval Games

2min
page 74

38: The Sovereign Code: The Eurocentric Mechanics of Nationhood in Strategy Games

1min
page 70

37: Erasing the Native Middle Ages: Greedfall and the Settler Colonial Imagination

2min
page 68

35: The Middle Age as Meme: Medieval Spaces Remixed and Reimagined

3min
pages 65-66

34: Fuck the Paladin and the Horse He Rode In On

2min
page 64

40: Problematising Representation: Elsinore and its Reimagination of Hamlet

2min
pages 72-73

33: What Comes After the Apocalypse? Theories of History in Horizon Zero Dawn

2min
page 62

31: The Middle Ages in Modern Board Games: Some Thoughts on an Underestimated Medium

5min
pages 59-61

28: Analysing and Developing Videogames for Experimental History: Kingdom Simulators and the Historians

2min
page 55

29: Age of Empires II as Gamic History: A Historical Problem Space Analysis

3min
page 56

26: Strange Sickness: Running a Crowdfunding Campaign for a Historical Research-Based Game

2min
page 53

25: Iconic Bastards and Bastardised Icons: Plebby Quest’s Neomedievalist Crusades

2min
pages 50-51

24: How to Survive a Plague of Flesh-Eating Rats: An Introductory Guide to Studying Remediated Gameplay Imaginations of Medieval Folklore and Beliefs in A Plague Tale: Innocence

2min
page 49

22: It's Medievalism Jim, but not as we know it: Super-Tropes and Bastard-Tropes in Medievalist Games

6min
pages 45-48

21: Watch your paths well! – On Medievalism, Digital Games and Chivalric Virtues

2min
page 43

20: “They're Rebelling Again?” Feudal Relations and Lawmaking as an Evolving Game Mechanic

2min
page 42

19: Feudal Law and MMOs: “I'm afraid he's AFK my liege”

2min
page 41

12: Dragons and their slayers: Skyrim in Comparison to Middle High German romances and Heroic Epics

3min
pages 30-31

14: What you Leave Behind – Tracing Actions in Digital Games about the Middle Ages

4min
pages 34-35

17: Visiting the Unvisitable: Using Architectural Models in Video Games to Enhance Sense-Oriented Learning

2min
page 38

16: Medieval Japanese Warfare and Building Construction in Total War: Shogun 2

2min
page 37

9: Unicorn Symbolism in The Witcher Storyworld

2min
pages 24-25

3: Where the Goddess Dwells: Faith and Interpretation in Fire Emblem

5min
pages 17-18

10: Dante in Limbo: Playing Hope and Fear

3min
pages 27-28

2: What to Expect from the Inquisition: Historical Myth-Unmaking in Dragon Age: Inquisition

3min
pages 15-16

1: Immersion as an Intermedial Phenomenon in Medieval Literature and Modern Games

7min
pages 10-13

6: “Everyone Knows Witches are Barren”: Images of Fertility, Witchcraft and Womanhood in Medievalist Video Games

2min
page 21

7: Cross Cultural Representation in Raji through Medieval Mythology and Architecture

2min
page 22

5: The Portrayal of the Third Crusade and Crusading Ideology in Dante’s Inferno

2min
page 19
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The Middle Ages in Modern Games: Conference Proceedings, Vol. 2 (2021) by University of Winchester - Issuu