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Honestly very weird to me that the devs were clearly extremely aware of the fact that Solas is a polarizing character, and yet they specifically wrote Rook to have exactly one fixed attitude to him that you really cannot change at all. 

Like yes, there are a couple of places where you get a dialogue option to choose from a few different comments about Solas. But there are also all these auto-dialogue options where Rook completely unprompted makes immature jokes about Solas or throws out wildly incorrect assumptions about him. Not to mention all the conversations where you watch his most traumatic memories and most of the time the available responses are just different flavours of blaming him for everything. 

Perhaps the cringiest moment of the whole game for me: Rook talking to Davrin about a topic completely unrelated to Solas and Davrin mentioning an animal making the brain swell and out of nowhere Rook just saying 'I guess that explains Solas.' Childish and not even funny and completely unnecessary. Offer it as a dialogue option, sure, but making it compulsory that your character has to be this smug sneering kid? Ok.

It just seems like a very strange writing choice. They knew that a lot of people have strong feelings about Solas one way or another, they surely must have realised that most people would not enjoy being shoehorned into one very specific attitude to him. I understand that given the plot they couldn't really allow Rook to sympathize with his goals, but they could have avoided that without needing to enforce Rook sneering about him all the time.

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listen, i've joked about wisps being basically spirit-infants but i just want my twilight reference and for solas to scream at emmrich the top of his fucking lungs, ok?

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The thing that continues to baffle me is - did the writers just not realise that they had created a portrayal of Mythal which would make her come off as extremely manipulative and abusive?

It's very hard for me to understand how they could write all those memories filled with paradigmatic examples of emotional abuse, and that final scene where Solas has a very typical fawn response, and not realise that they were writing an abuser.

But if they did realise what they were doing, it's very hard for me to understand how they could think it would be appropriate in any way to have the game end with Rook bringing her back to manipulate Solas one more time into binding himself and giving up his freedom forever.

The only hypothesis I have is that it's just an instance of a specific kind of gender-essentialist blindness which somehow does not acknowledge that a woman could abuse a man?

(something something about the deep misogyny of choosing to turn one of the most fascinating woman characters into the series into a one-note narcissistic abuser and then apparently not even realizing it, as if this is just default for women or something)

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Very interesting poll! 

Although I would express the question differently. Obviously Veilguard as written should not end with the Veil coming down because that would make no sense with this story. The question is really whether DA4 would have been better as an entirely different game in which the Veil would come down, or perhaps the player would get the option to decide if the Veil comes down. (I personally think giving the option would have been the most interesting approach).

It also should be said that it doesn't really make sense to ask whether the Veil coming down would have been better for the people of Thedas or not. We do not know that and we will never know, because the writers did not tell us what would actually have happened if the Veil had come down. 

Even if we completely trust everything Solas and Varric say (and probably we shouldn't!) at best we know:

a) elves would have become immortal again. 

b) a significant number of demons would have been created during the process of the Veil coming down.  

c) thousands of people would have died. 

Beyond that? No idea! What would happen to humans and dwarves and qunari? Does the Veil coming down kill people indiscriminately or are elves somehow safer for some reason? How do spirits and the embodied relate after the Veil comes down? Is it now harder or impossible for mages to bind spirits against their will? Is everyone going to be mages now? Even the dwarves? Do elves end up with stronger magical powers than everyone else? Do some ancient elves return? Are the Titans affected? Is the Blight affected? Is the natural world affected? Does the Chantry come to an end? Does slavery in Tevinter end? Are the elves able to reclaim a homeland for themselves? etc etc

The writers could have chosen to answer these questions in ways which would make it unequivocally the case that the Veil coming down is a better outcome. Or they could have chosen to answer these questions in ways which would make it unequivocally the case that the Veil coming down is a worse outcome. Because they didn't answer these questions at all, there just cannot be any fact of the matter about whether the Veil coming down would have been better or not. 

So it really doesn't make sense to ask 'would the Veil coming down have been better in-universe.' The only thing we can sensibly ask is would it have been a better story. 

[we doin the veil now? i got a poll - ]

Should the Veil have come down at the end of DATV?

- Yes, it would have been best for the people of the world in-universe

- Yes, it would have been more narratively satisfying/coherent

- Yes, both

- No, it would have been worse for the people of the world in-universe

- No, it would have been less narratively satisfying/coherent

- No, both

- Even further nuance

- Results

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It actually really frustrates me when Mythal says 'the many wrongs we did, we did together,' because while this is technically true in a silly tautological way, it also feels extremely dishonest and manipulative.

After all, a great many of the wrongs Mythal did had nothing to do with Solas. Keeping slaves. Elevating herself to a god. Supporting Elgar'nan in his crimes. Not to mention all the wrongs she did to Solas himself.

Putting it this way feels like a deliberate choice on her part to create the impression of a moral equivalence between them when in fact no such equivalence exists. Even in this moment she's still manipulating him, and it doesn't feel great that the success of her manipulation is celebrated as a good outcome.

(This is of course also part of Veilguard's general approach to treating all its villains as morally the same, which has the unfortunate effect that they end up taking the position that the person who led the slave rebellion is no better than the slavers)

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The thing about the Veil is that it feels so much like a Big Metaphor but it's also quite underspecified what the metaphor is actually about and so people just have very different intuitive reactions about whether it should come down.

If you read the Veil as a metaphor for climate change, for the alienation of modern society from the natural world, for the segregation and dehumanization of certain sectors of society - then the Veil staying up feels like an awful unsatisfying outcome and there's no way to make that seem OK

Whereas if you read the desire to take the Veil down as a metaphor for wanting to return to 'the good old days' then I guess you will feel that keeping it up is the only reasonable resolution.

It's a pity that Veilguard didn't actually say much about what the world might look like post-Veil because the result is that everyone is left to make up their own minds about what the metaphor is and hence there's just an irresolvable gulf between the different ways people perceive the ending of the game

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neve in suits agenda sketch

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the thinggggg about Dragon Age. is that while i do believe almost all the writers have only ever had good intentions there's no escaping that the worldbuilding has always had underlying threads of racism/colonialism, just because at the end of the day. it's created by mostly white people from North America. that's just stuff that is going to come through in the stories they choose to tell and tropes they are gonna follow. but in the first 3 games, these things (like islamophobia and depictions of the Qun, or the parallels between the Dalish and indigenous/Jewish/Romani people, or the Circles and slavery, etc etc etc) were also surrounded by incredibly complex characters who in turn either refute or emphasize different aspects of those assumptions. In Origins we hear about the Qun in codex entries and from people who only have second/third/fourthhand knowledge of it, but then you can recruit Sten, our window into how it's seen from the inside. And rather than a giant bloodlust barbarian, the huge warrior is the most disciplined and reserved member of team, with an enduring appreciation for art and a secret love of sweets.

the worldbuilding always felt deep because just like real life, you see people who have all manner of opinions about things that are shaped by their own experiences with them. Vivienne's reaction to life in the Circle compared to Anders. Merrill's experience with the Dalish vs Minaeve's. On some level, all of the lore inconsistencies we get in the games are softened by the fact that they are plausibly influenced by the perspective of who we are getting the information from, and there were almost always other characters expressing different viewpoints--not always with the same narrative weight behind them, but in a way, that made it almost feel more realistic. the frankly largely unbacked fear of mages leading to them being imprisoned for life in towers, there being no perfect option for who will rule Orlais because everyone involved is at least somewhat corrupt, etc--all of this reminds me of the real world. I do in fact disagree with many things going on large scale in my country, but feel powerless to stop them as an individual. I don't always like my options for who i have to vote for in elections.

when a narrative takes itself seriously, and is willing to engage with heavy topics like the cost of war, should the individual be prioritized over the masses, how can different cultures with different values meet when they fear each other--the biases within the narrative are easier to take as part of the world overall even if it's not what the writers intended. I do not mean that this makes them in any way excusable. In some ways, it's worse, because when done unintentionally they usually hide darker implications than the creators ever intend. But it DOES mean they do not detract as starkly from the rest of the narrative. Often, in the dialogue options, many even become "in-world" viewpoints your character can respond to and in engage with. Outside of the game, they're another thing that people can discuss and compare to real world events and history. like, why DOES Sten find sugar such a novelty, and what might that say about the writer's assumptions about the cultures the Qun is based on?? these are debates we have been having since Origins came out. not every fan chooses to engage with it but these threads have always been part of the larger discussion around the games.

what was different about Veilguard is that the unintentional centrism, colonialism, and racism remained part of the world when the writing otherwise attempted to strip out all of the darker complexities that were put in on purpose. the creators told us "this will be a brighter, happier, more hopeful game--no more huge focus on slavery and inevitable corruption and religious differences!" so sure the game doesn't show the specific mistreatment of elven slaves in Tevinter, or the Crows buying orphans to run through the murder gauntlet. But it does show the Qunari reduced to crazed soldiers who only follow orders and don't think for themselves. The elves are framed as responsible and even deserving of their own downfall. Bringing up these criticisms is just carrying on the larger conversation that has always existed, it's simply that there is barely any in-world way to hide it anymore. to me, this is what made playing the game so jarring and tonally inconsistent. the framing of "hurray! it's all hopeful now!" paired with what colonialism/centrism/etc that remains, means those things feel like an intentional statement now instead.

and frankly: learning about the work conditions at Bioware/EA, the upheavals during game development, their massive levels of burnout--only REINFORCES all this, rather than excuses it. the lack of time for writing means that first-draft decisions became ingrained rather than reviewed and edited, and even more implicit bias can slip through. rushing a plotline they don't have time to develop fully means that complexity cannot make it into the end product, resulting in simplification of previously complex portrayals of other cultures/lineages. last minute massive cuts like losing Kal-Sharok outpost as a location means we barely get any dwarf reaction/perspective to massive lore dumps about their history, and Rook's default to flat, joking dialogue mean the player can't respond to them with much variation themselves, even if you pick different dialogue wheel options--there's 1-2 lines of variation, and then the scenes play out identically every time. the player/protagonist can no longer respond to these things in world, limiting how much they can be handwaved as intentional worldbuilding vs development oversight. and i DO think the departure from wanting to tell complex, deep stories itself was a decision at least in part influenced by these conditions. why WOULD they want to spend so much extra time and effort adding those layers when in real life they were overworked, jerked around, and repeatedly seeing all their previous hard work scrapped?

yes, it's a miracle the game shipped at all. no, this does not mean it is for some reason exempt from the same conversations fans have had about the series for years. yes, it became way more noticeable to many of us in this installment. no, that does not mean everyone hates the individuals who made it. people can have multiple opinions. they can enjoy the characters while also criticizing their framing or the limited growth the plot allows them. many of us are perfectly capable of acknowledging the devs were backed into a corner in many ways--but the end product is what we got. It's the content we are going to be analyzing and discussing in context with the other games for however long interest remains in the series. I have the deepest sympathies to the people who worked on it, and I think they were failed by editors, managers, and higher ups who put them in that position. I also do not enjoy a great deal of what they ended up creating in as a result of that situation.

burned out writers/devs cannot create art to the same quality as healthy ones. saying "and look at how well they did in spite of it all!" feels, to me, more like a slap in their face than admitting this game did not match the complexity and standards seen in previous entries in the series. i don't want to cheer on how brave they were in the face of it all. i want to show the higher ups and corporations who put them there that it was inexcusable, and leads to products I'm not going to enjoy or support to the same degree anymore, in hopes that this stops happening in the future.

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It was always very obvious that the multiplayer stuff in particular, plus other dev cycle issues, was responsible for many of the problems. Not all of them, but many of them.

Perhaps after this article some people will finally be able to understand that criticizing the game is not primarily about being hateful towards individual devs. The way the game turned out is a result of all of these terrible choices that happened during the development.

Seeking to silence criticism of the game because you want to support the devs is ultimately counterproductive. People should be criticizing the game in order to make it clear to games companies that the games resulting from these kinds of practices turn out poorly and that this will be reflected in their reception and success.

i think part of me is past being angry at VG like... im somehow trying to move on, it made me feel too bad and hollow.

but the article is no surprise. the Multiplayer's remains were what led to a lot of the criticisms people had about the writing (ex: why were the Crows defanged? because they were supposed to be a group you'd be okay with supporting in a multiplayer. It's just that we talked then about why it doesn't work in universe.)

it was a no winning situation and yeah a miracle this game is even out, but in the state it was? it might as well not have came out at all. I wouldn't feel bitter about the whole franchise otherwise.

Now onto hoping this article proves that the development was messy and even the devs didn't want it that way and it sabotaged the game, and that cr*tical people aren't just being bigots for saying this doesn't work.

Bleh. I don't even want to be thinking about all this anymore. A good way to put it to rest.

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username origin tag

thank you for the tag, @galacticsparkles !

I wish I had a more interesting explanation, but I have just always really liked the word ephemeral. And I tried to think what kind of noun might follow ephemeral and the first thing I thought of was an instance.

I'm not sure who hasn't yet been tagged. @acquired-elfroot I can guess the source of yours haha but maybe there's a specific reason for it? @arrowfortea ? @trash-begging ?

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Reflections of Opulence

Written for @breitweisergallery for the @arlathanxchange 2025 ☺️

Creators have been revealed, so I can post the piece I wrote for the Arlathan Exchange!

Breitweisergallery asked for

The Right and Left Hands… just another thing stolen from the elves. Elvhenan era, Mythal's Right and Left Hands.

-

Ellana and Solas, the Right and Left Hands of Mythal, are sent to the unveiling of June's latest invention: the eluvians. The evening progresses as many do in Arlathan's noble courts, with unbearable posturing and schmoozing. All Ellana wants to do is curl up with those she loves.

(AO3)

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one last time

Solas and Felassan meet in a garden, and navigate the perils of Arlathan's court, and love one another. Then they go to war.

They have only each other now; it will have to be enough.

(It is not)

This is the story of how things fell apart, and what happened after.

oneshot, 10,000 words

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His Sentimental Fool

Characters: Felassan, Solas Pairing: Solas x Felassan Fandom: Dragon Age Rating: M Other Tags: Grief/Mourning, Post-Mythal's death, POV Felassan, Mythal critical (Felassan isn't a fan) Summary: In the aftermath of Mythal's death, Felassan seeks out a grieving Solas, hoping to compel him to act. Written for @virshiral for the @arlathanxchange! Thank you for giving me the chance to write this pairing.

Most days, the Vhen'theneras sings.

Everyone hears it a little differently, Felassan has found. Harranhal hears a lullaby her mother would sing, Vhernehn hears birdsong, and so on, and so forth.

Most days, Felassan hears a harpsichord, keys played by an exacting hand with no patience for sour notes. Most days, it strokes the keys with a note of hope, of promise— of pride.

Today it plays a dirge, heavy with a note of mortality.

Read the rest on AO3!

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🏳️‍🌈Happy pride🏳️‍🌈

This years pride fanart victim is this bisexual icon that loves to blow up chantries. Good for him, you do you💅

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can you please elaborate on villain josie. i think i hauve the blight

so one of the most fascinating things canon says but perhaps didn’t intend to say about josie is that, for her to arrive when she does, she must have agreed to join the inquisition before any explosion, before corypheus was ever on the scene. josie came to be the ambassador for the inquisition’s original intent: if the divine’s peace talks failed, the mage and templar rebellions would be brought to an end by the sword. so in a version of events where the inquisition was called to do just that... why wouldn’t she still be on board? josie has no approval bar and will never leave or lessen her support no matter how you abuse your power. what does that look like when it’s not the player whose side she’s on?

villain josie should be exactly the josie you know & love: the brilliant and talented noblewoman adored by all, effortlessly kind and polite in all her interactions, who hates the sight of violence. convinced by her old friend leliana that this is an exciting, worthy cause and the quickest way to peace for thedas, determined to make her mark on history and reverse her family’s fortunes, ably dismissing all rumours about the inquisition’s atrocities and sure that they are just rumours. she’s no less dangerous or less to blame than any other enemy because she does her work at a desk with clean hands. her quest can go down a few different ways but to recruit her you must truly confront her with the reality of what she’s been helping the inquisition do

(obviously there’s still a romance option. how could there NOT be a romance option when you finally go head to head at the winter palace with the chess master who’s always been one step ahead of you, and she’s the most beautiful woman you’ve ever seen. and she’s a villain now so her outfit design is peak. and naturally you’re required to dance with tension crackling between you and afterwards when her perfectly professional letters arrive you’re sure they smell faintly of the perfume she wore that night. there’s still a duel somehow. these things are essential.)

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The rules are simple: go to pinterest, search "your name + core," post six pictures. Then tag six people.

Thank you @crimsonphantasmagoria for the tag, this was fun!

I ran out of steam after four. Anyway I am not really sure what the connection between these is, but they are pretty!

tagging @ar-ghilas-vir-banal @introvertedmegalomaniac @elynnism if you would like to participate!

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Comm alert! Another gorgeous Inky, Saskia Lavellan, with Josie <33 Ty to ultraviolets13 on bsky for letting me make this super sweet piece for her!! What a pleasure it was <3