Read writer interview by CGM:
CGMagazine: Baldur’s Gate is a series that fans have loved for years. What is it like trying to revive a franchise that has had that dormancy, while still having such an avid fan base?
Adam Smith: First of all, I don’t think it was ever as dormant as it sometimes seems. I think that a lot of the threads of
Baldur’s Gate did survive in
Dungeons & Dragons as an actual setting and story. It’s such a fundamental part of
Forgotten Realms and of the
Sword Coast that there wasn’t this sense that nothing is happening for 20 years. We are set 100 years later, and that hundred years has been filled out pretty well by Wizards of the Coast. There is a lot of stuff that isn’t directly linked with the
Bhaalspawn Saga, although some of it is as well, but there is a lot that we can draw from that isn’t directly in those first games.
To tackle the other part of the question, it’s a massive privilege and obviously with that there’s a weight of expectation. But me, I was one of those people that loved the series so joining this team and working on this game is kind of the coolest thing in the world. This is one of my fondest gaming memories and now we’re making new ones.
CGMagazine: I wanted to just touch on this into lore and the canon of Dungeons & Dragons up to this point. How much flexibility did you have as a writer for this installment of the series?
Adam Smith: There was a module that worked as a precursor to where we are, even if it’s not a prequel story. We spoke to Wizard of the Coast, while working to make sure things matched up. It is very collaborative in that sense, but in terms of the lore we would come up with concepts only to find out it already does exist. It has been decades with so many writers and so many designers, if you can think it,
Dungeons & Dragons most likely has it in some way.
CGMagazine: From the demo there are so many branching storylines, and every character has different origin stories that can be told. What was it like building those storylines, how daunting was that?
Adam Smith: We’re still doing it. It’s an ongoing process, and it’s very daunting. My favourite part of any writing is when somebody finds a corner of a dialogue, and they made specific choices just to get here. You found that, and no one else in your party did and very few other people would, but that’s the coolest part when it happens. So, putting in those bits always just feels really special. After that there is a point when we started to get the VO coming in, and we studied putting together cinematics, building the characters and it feels incredibly complicated. Basically, it is a piece of spaghetti on your screen and then you’re like “look what they did with it and now it’s real.” That’s a really cool moment.
CGMagazine: How did you balance fresh material while still keeping true to past instalments?
Adam Smith: Baldur’s Gate 3 needed to not feel like it’s just a throwback or a nostalgia trip. It has to feel new, because that’s part of what
Baldur’s Gate always was. It was the thing that was pushing things forward. We want to be there as well. Narrative wise, canonically, we are set 100 years later, so that means that we’re not going backwards. But the stuff that happened in
Baldur’s Gate, the Bhaalspawn Saga, is not the kind of stuff that gets forgotten. So, it is part of our world. And we have characters who remember it. We have characters who have strong memories of it. 100 years is a long time if you are human, but it is not a long time if you are an elf. So, some people are still around who know what it was like to live through those events.