who in God’s green Earth thought it was a good idea to give your old school RtwP ode to Baldur’s Gate to a guy who doesn’t like nor respect those games in the first place?
Solaris, one of the greatest science-fiction films of all time, was made by a director who had little to no respect for the genre's conventions. Likewise, Obsidian's signature move has always been to subvert (usually a preexisting IP). With PoE, however, the aim was considerably more perverse and all the more fascinating for it: to subvert nostalgia for the IE games themselves, i.e. the very emotion on which their Kickstarter/PR campaign was predicated. Hence the underlying leitmotiv, which deals with
disillusion,
disenchantment and
disappointment. The first instalment, especially, is a game about losing faith in the very trappings of fantasy, about no longer being able to suspend disbelief. While one may (rightly) quibble with the execution, this is a far more interesting take on the genre than it is given credit for. As an aging gamer who has never subsequently recaptured the feeling of playing the IE games for the first time in my mid-teens, PoE's negative capability (per John Keats) to turn the lived experience of blasé devs grappling with an existential and professional midlife crisis into a yarn about how we cope with the brittleness of our beliefs is unusually honest and the kind of
mise en abyme that more eloquently speaks to my adult sensibilities than PF:K's straight-up pastiche (which was fine for what it was, by the way).