The RPG The Blood of Dawnwalker has drawn criticism for a design choice that undermines the impact of player decisions. According to a recent critique, the game too frequently provides players with ways to avoid the negative consequences of their actions, a practice the author describes as taking "the coward's way out."
This issue typically arises in RPG quests where players are presented with a choice that has significant repercussions, such as the permanent loss of a character or a detrimental outcome for the narrative. However, the criticism centers on the game's tendency to allow players to circumvent these consequences through alternative means, such as leveling up, completing optional difficult content, or discovering a hidden solution. This ultimately dilutes the weight of the initial choice.
In a specific example from The Blood of Dawnwalker, players are tasked with defeating one of the main antagonist's lieutenants, a vampire. A character named Iulian reveals a plan to poison the vampire before the fight, weakening it. This plan, however, will also result in Iulian's death. The player is presented with a moral quandary: sacrifice Iulian for an easier victory, or refuse and face a more challenging battle while upholding a perceived moral standard.
The situation becomes more complex when the player learns that Iulian's lover, a witch who developed the poison, was killed during her research. Crucially, she also discovered a method to counteract the poison's lethal effects using an organ from a large lizard. This revelation introduces a third option: kill the lizard, create an antidote, and save Iulian, thereby erasing the original difficult choice.
The author argues that this discovery deflates the tension and removes the valuable friction that comes from making genuinely difficult decisions. The example of Mass Effect, where players must permanently choose between saving Ashley and Kaiden, is cited as a benchmark for how such hard choices can resonate throughout a game's narrative and player experience. While acknowledging that games cannot perfectly replicate real life, the piece expresses a desire for more games to commit to making players live with the discomfort of their decisions, rather than providing easy outs.
The Blood of Dawnwalker does incorporate some elements that force difficult choices, such as in-game timers that require players to prioritize which quests to complete. However, the critique suggests that the game misses opportunities to fully embrace the potential of its narrative choices by consistently offering an escape from dire consequences.