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Night in the kirkwall

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Wicked Movie is going to make a trillion dollars its opening weekend and everyone will leave the theater the angriest they’ve ever been in their lives because no one except for me and my beloved mutuals knows that despite having runtime longer than the whole stage musical it is a Part One that only covers the first act

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and please feel free to tell me why in the replies/tags !!!!

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"what has magic touched that it doesn't spoil?" this, fenris :]

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Gaby Soto is a gift

Edit: I missed one!

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by Gaby Soto,Senior Lighting Artist at Bioware

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I wonder what Mae got up to this Harfest 🎃🍂

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da2 isn't the best dragon age game *because* it's openly a tragedy, but being a tragedy forces a level of narrative coherence that the other games in the series don't have, and *that's* what makes it a better game.

okay, so. dragon age 2 runs on nested foreshadowing and a limited set of themes that almost every character and plot beat fall into: love is not enough, wealth is not enough, power is not enough, good intent is not enough. the problems you run into are structural, rather than individual, and your ability to resolve them as one person is strictly limited. the arishok is a central figure for this, because he prefigures every other tragedy and makes the game's thesis statement as clear as possible. he doesn't want to be in kirkwall, but he is compelled to remain until he gets back what was stolen. he doesn't want to lead a coup attempt, but he is compelled by qunari codes of justice to act. he does not want to die and fail his duty, but but he is compelled to by the other two impossible demands. every tragedy in kirkwall is the result of too many people with wildly different definitions of justice crammed into one place specifically designed to maximize human misery and suffering, and so you get a wonderfully nested narrative onion where each quest reinforces that idea, where there are no good options, just positions you can take — even the affinity system plays into that, where constantly gassing up your friends or constantly pushing them to change are equally correct ways to go, but ones that won't ultimately make a huge difference in their lives or characters, because no matter how much they like you, they're not under your control.

this coherence is even justified by the framing device. of *course* the moral of the game is "insisting on a dogmatic, narrow idea of justice destroys individuals and societies," it's a yarn being spun by varric the con artist to a chantry cop!

neither origins or inquisition play with that sort of narrative complexity. origins is a jaundiced hero's quest, certainly, but it's still basically a hero's quest; inquisition has a number of characters who question what you're doing and why, but the multitude of voices pulls the game in too many potential directions. DA2 was so constrained in its production that it pulled on decidedly ancient theatrical traditions, and it worked so, so well

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this part of stevie nicks’ interview with rolling stone is taking me out

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Dragon Age Banter 3/???

Fenris & Merrill

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Vetra Nyx 02/??

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Paintings of hammerhead sharks depicted in the "Oki National Products Illustration Notes". From Japan, Edo Period, 1735 CE

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God I love Dragon Age 2. You live in crime city. Your found family is bisexual and hates each other. There are no good endings. Game of all time and I’ve only just started act two.

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The day the big Home Depot skeleton arrived.

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I like her because there is something wrong with her.

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