melchiz: So sex makes a generic plot good? Because Dragon Age is a solid game, but its plot is typical. Mask of the Betrayer, an expansion for the bug-riddled Neverwinter Nights 2, is far more original and engaging with its story.
Nah. Sex as a singularity does not make a generic plot better, however as a well woven fiber in the plot, the potential for a fantasy-faux romance for a role playing game can gives it more depth and help draw in some players deeper into their character. In example, there was a noticable different between Obsidian's NWN2: Primary Campaign and Bioware's Baldur's Gate 2 or NWN: Hordes of the Underdark or even Obsidian's NWN2's Mask of the Betrayer concerning NPC and protagonist interactions. Now I can't find the article to cite it, but I do remember reading about an Obsidian writer noting that they didn't like or want to develop a large romantic aspect for the game during the development of NWN2. As a result some of the fan base voiced disappointment in the end-product concerning the lack of romantic options/character depth, character development outcomes, and the primary campaign's lack-luster plot tie-ups.
Some of these fans were use a feeling of solid resolution with the prior Bioware line-up, in so Mask of the Betrayer seem to pick on these soft-points and made an effort to form a more solid companion interaction to help beef up the characters aspect of the story arch rather than the almost randomly strung together patchwork which was passed off as the primary campaign.
Now to the crux of the matter, I would place that story weave for say a novel must be different than a video role playing game weave especially with the "you formulate the protagonist" types of games. In games like the Witcher which is based off of a novel, the protagonist is already formulated and players get to see the world through Geralt, though the player can influence Geralt's behaviour it is still within limits of Geralt's persona; in so writers can do their thing and "viewers" can either take it or leave it. In "you formulate the protagonist" type of RPGs, the protagonist is a hollow shell so writers should work with more primal emotions like sadness, rage,
sexuality, or shock to draw the players into their characters. The writers can't really force an emotion if you refuse it, but a good writing crew will open up the potential for such emotions in an wide-aspect RPG like Dragon Age. This is done so that the players can take away from the game what they want to take away, "garbage in - garbage out" as they say.
In my view, this is why Bioware has the game development reputation that it has since it first took up the task to make a "worth-while" D&D game since the post "gold-box" days back in the 90s.