A shift in camera angle has changed everything.
Astarion has slipped a knife around my neck and wrestled me to the ground - the companion character's customary greeting to new players of Baldur's Gate 3. It's a scene that's grown familiar over years of early access and developer previews—the sense of alarm long since dulled as I roll a D20 to try and get the high-elf lunk off me.
There are a number of mechanical advantages and disadvantages to picking a halfling during character creation. You're considered lucky, and brave—Tolkein-esque traits that confer advantages and rerolls when getting into scrapes of one kind or another. And you can move only 7.5 metres per turn, compared to Astarion's nine—a limitation that comes into play a dozen times over the course of a typical battle.
This flexible mise-en-scène didn't come easily to Baldur's Gate 3. When I visited Ghent, the Belgian city where Larian's oldest office is situated,that camera angles had been a source of arguments early in the game's development. Larian's cinematics team—many of whom are Telltale veterans, new to the studio with this project—clashed with other departments who insisted that a plethora of possible player actions be accounted for during cutscenes.
When you are 2 feet tall and roll a nat 20 on a strength check#BaldursGate3 pic.twitter.com/YuxLVbo6s1All that hard work, however, has yielded powerful results. Perhaps that should be no surprise. Game developers often talk about the importance of the—character, controls, camera—which determine how comfortable it feels to steer your avatar around a game world.
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