kingcom said:
Opening comments passed without contest as per request, I won't argue a topic that the other party doesn't want to discuss.
Yes, you're right about how people form arguments, the reason why I write in a manner that dismisses arguments made purely on knee-jerk reactions, prejudice and hyperbole is because this is not okay. An opinion not backed up by facts, research and analysis is not as credible as one that is and should not be treated as such. I'll be the first to admit that I fall into the trap of thinking 'Oh no! Someone is wrong on the internet!' but if someone's opinion is expounded by making statements that are objectively false, understanding why they've come to that conclusion may be helpful in correcting them but it certainly doesn't legitimise it.
I've seen that video before, I remember at the time thinking that some of the points were well made, others were garbage including the point about narrative cohesion breaking down. (the producer doesn't even justify the statement, he just superimposes text and audio to the extent that it sounds like he's making an argument to support the statement but it's just unintelligible noise - and he does this right after dismissing the use of the critical method to refute his argument out of hand) I've redacted a large section here elaborating on the issue which I will post on request, but knowing how heated discussions about the Mass Effect 3 ending can get and how tired of the topic the forum is I'd rather not elaborate unless I must.
Back to 'Dragon Age II': Your justification for the viewpoint that the narrative fails to explain itself is that a lot of people are complaining about it. Based on your statements about the formation of an argument doesn't that make this irrelevant? By your own statements, the complaints may not be based on anything to do with the narrative cohesion. What seems most likely based on your other points is that the text requires a degree of work to be understood, and that people who were not invested in the characters weren't willing to put that work in.
I would argue that the introduction isn't an attempt to get the player to connect with the character, that starts to happen with the arrival at Kirkwall, it's instead an attempt to engage the player through the game-play. More combat happens in the first 10 minutes than in the entire subsequent hour. This is a problem if the player finds the combat lacking in depth, challenge, or any number of other criticisms I've heard levelled at this game any of which are largely subjective and matters of personal taste which doesn't make them flawed but does make them useless for supporting objective statements about the game's quality - which is all I ever set out to refute.
I haven't played a mage in DA2, but from your recount it does sound like it introduces problems. Bethany provides some fairly vital exposition on Hawke's motivations for the Deep Roads expedition - it is desperation as you suggested - and I'd assumed Carver did the same on a mage play-through. Apparently not. As I understand it, Flemeth's appearance was to patch over an apparent contradiction that occurred in the first game which gave the player the option to seemingly kill her and this needed to be written around. (although the same care wasn't given to Leliana which makes this a little doubtful)
For the Qu'nari, they're trying to occupy the city, which it's been strongly implied Hawke is starting to feel some sense of attachment to. Hawk gets to play the hero because everyone else is trying and not doing too well. Depending on what side quests have been done, Hawke may also have won the respect of the Arishok prior to this, making the resolution through single combat more believable, though this point isn't essential.
Concerning the Templars working with a mage, yes, that does appear uncharacteristic no denying it; I can only guess that Meredith was planning to use one of her enemies against the other so she only has to deal with one of them herself. (She considers Hawke her enemy regardless of whether Hawke is a mage or not, the lyrium has made her quite paranoid - in fact in the endings that I've seen the Chantry seeker states that she blames Meredith for the conflict) This does rely on the assumption that she's still capable of rational thought at this point, doubtful.
Lastly - illusion of choice. This observation was made as a response to a specific comment which I had read to imply that the origin stories opened up concrete options further down the line concerning the narrative's direction. I should however have phrased it in a manner that did not imply a general value judgement. As long as the illusion is convincing it is indeed equal to actually being given choice.
I will concede that a mage play-through possibly doesn't make sense because I don't have any personal experience from which to refute it, I will have to do it myself and see if I can keep track of it. Thank you for raising these issues and humouring my wall of text, it has given me quite a lot to think about.