rhunae

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"Honey and lavender cream. Sweet, intriguing..." This started off as a leyendecker style study, ended up as lucanis drinking his coffee and me rendering that cloud of smoke for wayy too long rip -☕🪻🍯🐝-

[ get him as a print here!]

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Close enough, welcome back aura of a goddess taking advantage of the blind loyalty of an innocent follower swayed to her service

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The haha surprise because we wanted you to hate Solas, is much more obvious in the 2nd run. And I mean, super obvious.

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While writing that Dragon Age 2 post the other day, I made a narrative connection I had never made before.

I was writing about the Templar route, and about how the game makes no bones about how the Templar route is the evil route, it's clearly narratively marked as such. Because the structure of the game sets itself up from the start to make Hawke have some sympathy for the mages: they are the child of a mage and the sibling of a mage. This is an issue that Hawke cannot exempt themselves from having opinions on.

But that said, yes, you can choose the Templar route. You can decide that the tragedy of your family being ripped apart by the mage plight has hardened Hawke's heart against them. You can join forces with the Order that has hunted your family members their whole lives. You can choose to tighten the iron fist, instead of choosing to break it. You can become the ruler of Kirkwall. You can kill your sister.

And then I realized: That's Meredith's story.

Meredith, whose sister was a mage, the sister who died from it and ripped her family apart in the process. Meredith, who hardened her heart against people like her sister and dedicated the rest of her life to punishing others like her. Meredith, who joined causes with the Templar order who made that happen. Meredith, who took over the city.

You can choose to become Meredith. The game lets you do that. But you have to know -- as you climb over her corpse to ascend her bloodied throne -- that it's not a 'good' choice.

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"this is beyond your comprehension"

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Just rip out my heart, why don't ya.

Sad birb boy *sad chirping noises*

Choosing Minrathous over Treviso... hurts my heart when Lucanis rejects Rook. It's the next day, and I'm still mopey over that. My Surana/Rook isn't even going to romance him, but ...oof. My sad birb bf...

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I kept Cole a spirit, so I'd like to think my Rooks have helped him out.

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Choosing Minrathous over Treviso... hurts my heart when Lucanis rejects Rook. It's the next day, and I'm still mopey over that. My Surana/Rook isn't even going to romance him, but ...oof. My sad birb bf...

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she tied you to a kitchen chair

she broke your throne

she cut your hair

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Lucanis Dellamorte, the Demon of Vyrantium

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So, full disclosure, I haven't been a Solas fan before.

I am now.

And that's because of Veilguard and the many, many ways in which I felt let down by this game.

The aspect that bothers me most is the reduction of nuance and complexity.

Rook's hero's cakewalk (because “journey” really isn't the right word) is a ready-made path that offers no deviation at all and never challenges the player in any meaningful way.

Sure, you can spend some time pondering the pros and cons of saving Treviso or Minrathous. Ultimately, it makes no difference. Rook does their best, they just can’t be in two places at once.

Same with the companion character arcs. What does it mean if you decide to you turn Emmrich into a lich? For the most part, it's idle musing. Indulgence. He’ll be happy either way, there are no real stakes. Yeah, your actions do have consequences, just not the sort of consequences that make a substantial difference. It’s the illusion of choice – reduced to cosmetics.

The problems with decisions that cost nothing is that they don’t feel like an accomplishment. They also don’t allow for character growth. Rook doesn’t change, they remain static. Even the section in the Fade where Rooks faces their regrets is easy and comparatively lightweight. Varric was killed by Solas, Harding resp. Davrin died in combat and either Bellara or Neve was abducted by Elgar’nan. It’s not like Rook’s decisions actually caused these events, it’s not like Rook actually failed through a choice they had to make that turned out to be the wrong one. Everyone was there willingly and volunteered to fight the good fight. Rook’s regrets are not about real guilt, they are about feeling sad and guilty. And that – it needs to be said – is not the same thing. At all.

At the same time, the story carefully avoids any kind of true ethical dilemma.

It's not even about the lack of mean or edgy dialogue options; that’s just a symptom. The cause is the writers’ unwillingness to let realism intrude in Rook’s fairytale – the lack of anything that would require Rook to compromise on morals, or fight temptation. Rook is never faced with any sort of moral conundrum, or allowed to act out any kind of vice that realistic characters have. In its straight-path simplicity, Rook's story is apparently written for children and people who remain child-like in their yearning for simple, uncontested truths.

Of all the sorts of conflicts that a story can offer, Veilguard carefully avoids the most realistic and (in my opinion) interesting ones: Character vs. self and character vs. society, aka, politics. The game firmly refuses to go there. To the point where it creates a completely unrealistic consensus on all sides that eliminates yet another sort of conflict: character vs. character.

If Rook and their companions would talk politics, they’d all be on the exact same side. In a two party state, they’d all cast the same vote.

I am sure that there are many players who feel comforted and reassured by that fact, who sincerely believe that this is how stories should be written. That stories should reflect the world not as it is but as they think it should be. But for everyone who likes their stories a little more realistic, that lack of meaningful interpersonal conflict, that lack of real diversity which comes not from appearance but from different cultures and opposing viewpoints amounts to a frankly cringe-worthy, artificial and juvenile surface-level interaction between characters. Or, to phrase it differently: the diversity remains skin-deep and doesn’t extend to the philosophical, and even in the few instances where it does, it shies away from the political.

Which means that the only conflicts that remain are the most boring and stereotypical ones: character vs. monsters resp. the supernatural, where all foes are evil in the blandest way (Supremacist Venatori! Fascist renegade qunari! Power-hungry necromancers!). These conflicts are resolved through exploring maps and endless, repetitive combat.

The only thing that brings a bit of nuance to the game is Solas’s story. And there is an element of character vs. character in Rook’s and Solas’s relationship, but the sad truth is that what could have been a fascinating mirrored character journey falls flat for all the reasons already explained – because where Solas is a character as layered and controversial as it gets, Rook is anything but.

Solas’s story shows how even people with the best intentions and the greatest integrity are ultimately broken by what life throws at them, both by the decisions that are forced upon them and the choices they make on their own. It shows how a prolonged war is always a sunk cost fallacy: I’ve gone this far, if I stop now, it was all for nothing.

Rook’s victories, on the other hand, come without a cost – both in terms of moral corruption and in accountability. The guilt Solas bears is real. The fight against the titans, followed by his war against the Evanuris, requires compromising his own morals, one day at a time, one century after another, he’s trying to save the world yet doomed to fail. Sacrificing the spirits to win a battle after the war has gone this far? Every single war leader around the globe would make the same decision. In fact, all of them do: They do sacrifice the lives of others if it will help them win, they do send soldies into the trenches to die, whether these soldiers want to or not, and they are rarely, if ever, truthful about the reasons why.

In a certain way, the story of the spirit of wisdom turned flesh is reminiscent of the biblical Fall of Man: the original sin. Solas has fallen, and he’s broken. In trying to heal the world, he’s trying to heal himself. The burden is too heavy, the responsibility to great, the knowledge that he is responsible for all of it too devastating. Solas’s greatest conflict is character vs. self. It has the potential to be great. In a way, it is. It’s the single redeeming quality that, depending on your interpretation of what went on behind the scenes, the writers managed to salvage from the original concept of Dreadwolf or the lone pillar that withstood all their attempts to bring it down.

Only sadly, infuriatingly, in the end, that fallen hero’s ending is put into the hands of a protagonist who judges him from the perspective of someone who has never even stumbled – not because they are wiser, braver, or kinder. No, just because the writers were gracious – or cowardly? – enough to never let them fail.

The game gives Rook a moral high ground which isn’t earned in the slightest because Rook never had to walk even a quarter of a mile in Solas’s shoes. They don’t know what they would have done in his stead, they have no idea what it actually means to see the sorry shape the world is in and know that it was your hands that shaped it. And even where Rook might actually be culpable – the interruption of Solas’s ritual that freed the remaining Evanuris – anyone is quick to assure Rook that it wasn’t their fault.

Whatever regrets Rook carries, they’re born from self-doubt and trauma response. Survivor’s guilt, mostly. When compared to Solas’s immense guilt, Rook’s regrets are, for lack of a better term, insignificant. That Rook manages to face them doesn’t mean that they are more truthful or emotionally mature, it just means that Rook’s story is a tale for children and Solas’s is not.

It’s not that I’m necessarily opposed to the idea that the player decides Solas’s fate through their actions. It’s the injustice of it all that bothers me: The player is led through a game that provides a safe space for their character, one that is devoid of any interpersonal conflict and any ethical quandary. Rooks succeeds through kindness and heroism and taking their companions on team bonding exercises.

As if Solas could have won the war against the Evanuris if he’d taken the time to take his companions on coffee dates.

The juxtaposition – Rook vs. Solas – fails, simply because of this deep divide. Rook’s story is detached from reality and yet Rook gets to be Solas’s judge, jury, and executioner. On what grounds?

As I said, right in the beginning, I haven’t been a Solas fan before. But by the end of Veilguard, I was firmly, irrevocably, Team Solas, just because I was so annoyed that the narrative put Rook in a position of moral superiority. I detested my own character. Jesus, what a goody two-shoes! I was rooting for Solas simply because his story was so much more: a genuine tragedy, a study in complexity. Rook, on the other hand, remains bland, snotty, unchanged. Untried.

The thing is, I don’t believe that my reaction was one the writers had intended. I strongly feel that they didn’t mean for me to pick up on their double standard, that they expected me to walk away fully satisfied, convinced that Rook and The Team were the Good Guys because they went on picnics and petted the griffon, their final victory well-earned and just. If only Solas had had a Team and taken care of their emotional needs – he could have taken down the Evanuris with nary a scratch!

It’s all so very disingenuous.

Rook and, by extension, the player exist in a bubble of sanitized content. That is clearly deliberate. The player is meant to like it there. (In that sense, it’s only logical that they changed the title from Dreadwolf to Veilguard.) And clearly, it does resonate with a certain kind of their player base: mostly with people, I think, who would like their real life to be a bubble too and whose only experience with moral corruption is when they find it in others.

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he has once again bewitched me , by being pathetic

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“I hope this email finds you well…”

how the email found me:

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Taash: Hey Lucanis, are there non-binary Crows?

Lucanis: Sure. Lots of them.

Taash: Do they still get capes?

Lucanis: Of course. Why wouldn't they get capes?

Taash: I don't know! People do stupid gender stuff. Only men can wear this. Only women wear that.

Lucanis: Not in Antiva. The only rule is that you must have style.

Taash: Good.

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my funny controversial veilguard opinion is that while i get why people are saying the 'sexy lof' armor is orientalist and i do think there's a convo to be had there... that armor is also based off of actual clothes people historically wore in southeast asia. like this

is absolutely based off of these

and while these are stylised forms of the outfit it's not because of the skin being shown. the women wearing shirts underneath are not wearing it as thai people wore tabengman historically. because historically we didn't really wear a lot of shirts, shirts were not legally mandated clothes until the 1940s. my thai grandmother is older than that. in fact a lot of asia didn't get around to stigmatizing and sexualizing breasts until the 1800s or later (like you can find photos of korean women in the 1900s with their breasts out and that was fine and normal culturally). the reason these are stylized though is bc they're made of silk and they're wearing brocades. most people would've worn this in plain fabric without gold brocades bc silk and gold are expensive.

and, to be clear, a lot of both the LoF and qunari armors and fashion is based off of historical southeast asian fashion. isabella is straight up wearing a hmong necklace.

the qunari ropes are also almost certainly based off of muay boran kard chuek which is this old way of binding your hands with hemp ropes in thailand for boxing. you can also see that in qunari concept art they've drawn them with intricate knots that are very chinese in origin, they're wearing armor in rattans weaved patterns. (i'll also point out that it was explicitly said in the past that people from east tevinter, which is closer to seheron, look like dorian, and dorian's va is half indo-fijian and half malay. that man belongs to the south pacific.)

and yes, we could have a whole conversation about specifically choosing to look at these armors instead of other southeast asian armors. but i think a lot of people think the armor is based off of western fantasies of belly dancer costumes... which while may have played a part, it's also very clear to me that the devs have used a lot of southeast asian inspiration for seheron, rivain, and part of tevinter.

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Nevermind that "Rook" was the Hero of Fereldan, that was 20 years ago, the more recent 'transgression' wasn't so much for not listening to an order, but the First Warden wants to do something truly heroic before he answers the Call. Rhue thwarted that.

She was there at the right time, right place, while he was too busy fluffing his feathers miles away.

He got to his position from politics, easily bribed from wealthy donors, and rubbing elbows with the elite.

She has the scars from getting things done.

Being the Hero of Fereldan, she isn't afraid to speak her mind. Many of her fellow wardens respect her for defeating the Archdemon.

Her insubordination galls him. It pricks his jealousy any time another report crosses his desk of her heroics. He thought to prick her pride by demoting her.

A rank she really doesn't give a shit about. She knows her capabilities.

She also not afraid to tell even her higher rank commanders, including the First Warden, where to go and how to do it.

She could have gotten out of being dragged to a Grey Warden prison (more then the dialogue tree allowed), but the save by a certain Tevinter Magister was a nice entrance.