#Bioware Meta

[seeker-ophelia]

HAPPY DRAGON AGE DAY

Conniving Crows, Wicked Watchers, Lustful Lords, Vivacious Veil Jumpers, Wild Wardens, and Shrewd Shadow Dragons!

Me: THANK YOU SO MUCH EACH AND EVERY ONE OF YOU FOR FILLING OUT MY SURVEY! You: Lady, what are you talking about? Me: A couple weeks ago you filled out my survey! You: Oh yeah, whatever happened with that?

Well, let me tell you, good internet people!

Dragon Age: The Veilguard in “One Word”:

If I had a nickel for every "Fun, but..." or "Pretty, but..." responses, I would have a lot of nickels. "Fun but not Dragon Age" was my personal favorite.

If you don't see your verbatim response here, that's because there was 650 of you. And I had to take some liberties with verbiage here.

What were your Overall Impressions of Dragon Age: The Veilguard?

What did you like the MOST about Veilguard?

What did you HATE about Veilguard?

Ho, nelly, you guys.

186 (>28%!) of you used the “Other” box to expand on your ideas (which is part of why this graph is so uhgly) but I appreciate every single one of you sharing your thoughts with me.

19 (2.9%) of you said something pertaining to “The Writing” even though that wasn’t an option

112 (17%!) of you mentioned (at least one of) the words: shallow, pale, child-locked, darkness, nuance, choice, conflict, empty, sanitized, or (my personal favourite) toothless.  

Some “Hated” Honorable Mentions:

“Neve’s Hat”

Fuck off her fascinator is fascinating

“Not Being able to Swim”

I read it before and I still laughed; this one is the real MVP

The Death of Varric

☹

The one person who said “Harding”

I will fight you

The TWO People who said “Too many puzzles”

Bitch is this Taash? How did you get access to this???

**Shout out to the people who pointed out I spelled DIALOGE wrong, yeah I know sorry I’m an idiot

If Veilguard were to have a DLC, which Companion Characters would you want to see return the most?

I find it SO interesting that I asked for 5, and there were 5 VERY CLEAR winners...

(Cole, Dorian, Fenris, Merrill, Zevran, by a veritable landslide; there’s over 100 votes between the lowest – Merrill (284), and the next highest – Cassandra (177))  

To those of you who can’t read: the HoF, Hawke, and the Inquisitor are NOT Companion Characters.

Also, to the one person who responded: “No one deserves to be dragged through that” I see you.

*I did not have time to collate the data supplied in “Other” but I think there’s a pretty obvious winner here

And now, if a “Keep” DLC were to be made, which choices do YOU think are the most important to have?

Before we jump into that, I would just like to say how little these answers differ; despite my open ended question a LOT of people wrote the same things.

Some of you, bless your little hearts, explained your choices like im a dumb bitch who hasn’t been living in the wiki and played each game 2/3/5 times. Like I would be doing this and not know what Orzammar or the Architect is.  Bless your little worm spirits you’re so adorable.

Every person who said “Inquisitors Class” followed it up with (weird I know sorry uwu im so weird im sorry) like… guys. You know…. You are ALLOWED to have OPINIONS. And you’re not weird there was like 6 of you. You're not alone.

To the EVERYTHING/ALL OF IT people; I see you.

Four people were brave enough to admit they couldn’t remember anything, and 55 people didn’t write ANYTHING.

Behold, Joseph and the Technicolor Dreamcoat:

Circle Fate: Fate of the Chantry Circles after DAI

DAI Wardens: Wardens exiled/accepted in DAI

Divine: Who you chose for the Divine (DAI)

Fade Fate: The Fate of the person you left in the fade in DAI

Mage/Templar: The outcome of the Mage/Templar conflict (not differentiated between Inquisition/2)

Southern Rulers: All three Rulers of Southern Thedas; Ferelden, Orlais, & Orzammar

The Well: Who Drank Mythal's Bathwater (dont kink shame me)

Any answer with less than 5 responses got taken out for brevity and are listed below:

(2) Nothing Cuz they destroyed the South, (1) ANYTHING!!!!!, (1) fuck you (bioware) for disregarding the entire lore of the first few games, (1) I think the most interesting things are the smaller stuff you don't expect to carry over.

(2) Andraste's Urn, (2) Avernus (research), (1) Awakening companions fates, (2) Calpernia's Fate, (3) Cass/Tranquility, (2) Clan Lavellan Status, (1) Cullen/Lyrium, (2) DA:O Dalish Clan, (1) DA2 Isabela, (2) DA2 Qunari Plot outcome, (1) Dagna (Magic School), (1) Danarius, (1) Disband/Keep Inquisition, (2) Faded for Her Result, (3) Hawke Siblings Fate, (2) Inquisition disbanded actual consequences, (1) Inquisition Support of Nevarra or Tevintrer (josephine war table quest), (4) Inquisitors Class, (1) Iron Bull, (1) Isabela, (1) Paragon of her Kind (Golems), (1) Prisoner at Ostagar, (1) Rule of 3, (1) Save/Stop Solas, (1) Sha-Brytol dwarves, (1) Shale, (4) Solas/Inky Approval, (1) Solassan Implications, (1) Solavellan Vallaslin, (1) Soldier's Peak, (2) Sten, (2) Zevran/Darker Crows.

To the one person, who commented: “I think the most interesting things are the smaller stuff you don't expect to carry over.” I see you. And I am percolating.

If the Devs/Anyone at BioWare happens to see this, the last question I asked was this:

If you could ask the Devs/Writers of Veliguard one thing, what would it be?

A lot of responses are focused on the lore. More are questioning the narrative & lore decisions & implications of VG. Some are begging for DLC. Some are flat out rude. One is a proposition. But there are a fair amount of people who want to ask you;

‘hope you're okay’

‘How are you holding up?’

‘I hope despite everything you know that your creation is loved and adored.’

‘THANK YOU!!!’

Intelligent fans know the development Hell VG went through to be born. They know corporate culture. They understand there's often more than meets the eye. Fans of Dragon Age know what heavenly good delicious golden content BioWare can make. And they're hungry for it. Take some well deserved rest, and then come back to the table with us, because we cannot wait for more.

A Sappy Little Note:

I have Zero online presence and really expected to get about 100 responses total, and I got 650 (*mind blown emoji*), I wasn’t even able to share it to reddit main (bc of the fvbjvks mods). Most of these responses are from YOU GUYS on good ol’ tumblr.com and Im so weepy about how you all got involved and shared your thoughts with me Thank You SO MUCH.

For those of you who messaged me about the DLC, you are not forgotten. Believe it or not, I have a plan. Watch your inboxes over the next couple days, because I’m going to be prickling your creative brains over the Holidays.

Once more, Thank You All, so so so much for participating. Bare your blade, remain vigilant, and keep an Eye out for The Agents.

[dalishious]

The Sanitized Lore of Dragon Age: The Veilguard

Tevinter is the heart of slavery in Thedas. This lore has been established in every game, novel, comic, and other extended material in the Dragon Age franchise to date that so much as mentions the nation. But in Dragon Age: The Veilguard, when we are finally able to actually visit this location for the first time… this rampant slavery we’ve heard so much about is nowhere to be found. It’s talked about here and there; Neve mentions The Viper has a history of freeing slaves, as does Rook themselves if they choose the Shadow Dragon faction as their origin, for example. But walking down the streets of Minrathous, you’d never know. Because Dragon Age: The Veilguard, for all its enjoyment otherwise, has one glaring issue: It’s too clean.

The world of Thedas is full of injustices. Humans persecute elves, fear qunari, and belittle dwarves. Mages of any race are treated like caged animals in most places. The nobility is corrupt. Although, Dragon Age has not always handled these injustices well, mind you. Many, many times I’ve found myself frustrated with moments that just feel like a Racism Simulator. But what makes it worth it, is when you can actually do something about it. These injustices are things that a good-aligned character strives to fight back against, maybe even for very personal reasons. Part of the power-fantasy for many minorities is that this fight feels tangible. I cannot arrange the assassination of a corrupt politician in real life, but I sure can get Celene Valmont stabbed to death in Dragon Age: Inquisition, for example. Additionally, these fictional injustices can be used to make statements on real life parallels, like any source of media. For example, no, the Chant of Light is not real, but acting as a stand-in for Catholicism, through a media analysis lens we can explore what the Chant of Light communicates on a figurative level.

When starting Dragon Age: The Veilguard and selecting to play as an elf – this should be unsurprising to anyone who is familiar with my bias towards them – I was fully prepared to enter the streets of Minrathous and immediately get called “knife-ear” or “rabbit”. But this did not happen. I thought perhaps it was just a prologue thing, but returning to Minrathous once again, there was not a single shred of disapproval from any NPC I encountered that wasn’t a generic enemy to fight. And even the generic enemies, the Tevinter Nationalist cult of the Venatori, didn’t seem to care at all that I was a lineage they deemed inferior before now. This is a stark difference from entering the Winter Palace in Dragon Age: Inquisition and immediately getting hit with court disapproval and insults. Are we now to believe that Tevinter has somehow solved its astronomical racism and classism problems in the ten years since the past game? Or perhaps are we to believe all the characters who have demonstrated Tevinter’s systemic discriminatory views were just lying or outliers? Because it makes absolutely no sense at all for this horribly corrupt nation to not have a shred of reactivity to an elven or qunari Rook prancing around. But here were are, and not a single NPC even recognizes my character’s lineage. And because this is so different from every single past game, it feels weird.

As an elf, you have the option to make a comment about how “too many humans look down on us” in one scene early in the game. You can also talk to Bellara and Davrin, the elven companions, about concerns that people won’t trust elves after finding out about the big bad Ancient Evanuris… but this is presented as if elves don’t already face persecution. It’s all so limited in scope that it could be all too easily missed if you are not paying very close attention, and coming into the game with pre-existing lore knowledge.

All this made it easy to first assume that the developers simply over-corrected an attempt to address the Racism Simulator moments. And if that was the case, than I would at least give credit to effort; they did not find the right balance, but they at least tried. However, the sudden lack of discrimination against different lineages in Dragon Age: The Veilguard is not the only sanitized example of lore present.

In Dragon Age: Origins, Zevran Arainai is a companion who is from the Antivan Crows; a group of assassins. He discusses in detail how the Crows buy children and raise them into murder machines through all kinds of torture. The World of Thedas books also describe how the Antivan Crows work, echoing what Zevran says and expanding that of the recruitment, only a select handful of those taken by the Crows even survive. When you start Dragon Age: The Veilguard as an Antivan Crow, you immediately unlock a re-used codex entry from the past, “The Crows and Queen Madrigal”, that says the following:

“His guild has a reputation to uphold. They are ruthless, efficient, and discreet. How would they maintain such notoriety if agents routinely revealed the names of employers with something as "banal" as torture.”

Ruthless, efficient, and discreet. Torture is banal. This is what the Crows were before Dragon Age: The Veilguard decided to take them in a very different direction. The Antivan Crows in this latest game are painted as freedom fighters against the Antaam occupation of Treviso. Teia calls the Crows “patriots”. And while I can certainly believe that the Crows would have enough motivation to fight back against the Antaam, given that it is in direct opposition to their own goals, I cannot understand why they are suddenly suggested to be morally good. They are assassins. They treat their people like tools and murder for money. Even as recent as the Tevinter Nights story Eight Little Talons, it is addressed that the Antivan Crows are in it for the coin and power, with characters like Teia being outliers for wanting to change that. It makes the use of the older codex all the more confusing, as it sets the Antivan Crows up as something they are no longer portrayed as.

I personally think it would have been really interesting to explore a morally corrupt faction in comparison to say, the Shadow Dragons. Perhaps even as a protagonist, address things like the enslavement of “recruits” to make the faction at least somewhat better. (They are still assassins, after all.) Instead, we’re just supposed to ignore everything unsavory about them, I suppose…

We could discuss even further examples. Like how the Lords of Fortune pillage ruins but it’s okay, because they never sell artifacts of cultural importance, supposedly. Or how the only problem with the Templar Order in Tevinter is just the “bad apples” that work with Venatori. I could go on, but I don’t think I have to.

It is because of all this sanitization, that I cannot believe this was simply over-correction on a developmental part. Especially when there is still racism in the game, in other forms. The impression I’m left with feels far deeper than that; it feels corporate. As if a computer ran through the game’s script and got rid of anything with “too much” political substance. The strongest statements are hidden in codex entries, and I almost suspect they had to be snuck in.

Between a Racism Simulator and just ignoring anything bad whatsoever, I believe a balance is achievable; that sweet spot that actually has something to say about what it is presenting. I know it is achievable, because there are a few bright spots of this that I’ve encountered in Dragon Age: The Veilguard too. For example, some of the codex entries like I mentioned, and almost all the content with the Grey Wardens thus far. It is a shame there is not more content on this level.

Dragon Age: The Veilguard is overall still a fun game, in my opinion. But it’s hard to argue that it isn’t missing the grit of its predecessors. The sharp edges have been smoothed. The claws have been removed. The house has been baby-proofed. And for what purpose?

-----

Want to support me writing more essays like this? Become a Patron!

[rosieofcorona]

okay my darlings, i've seen a lot of takes on the AMA and this answer in particular:

and after mulling it over for a few days, i have decided to offer a scalding hot take for which i need you not to execute me marie-antoinette style, please 🙏🏻 (under the cut for length).

when epler said solas realized he doesn't have any "real regard" about the lives and goals of the elves, i didn't take it to mean that he is apathetic. i took it to mean the exact opposite, really. here's why. solas loves his people. incontrovertibly. he cares very deeply about their freedoms, about their existence, about what he's done to hurt them, intentionally or not. truth be told, it's kind of his whole thing. but their motivations are, as epler said, likely to be very different. solas always has very big picture goals. he wanted to free an entire people in arlathan. he wants to restore an entire people in thedas. and his followers, for their part, might agree with those larger goals. but their personal goals are likely not so large-scale. an elf or a spirit in arlathan might wish for simpler things for themselves. the freedom to choose their own path, their own fate, their own purpose. to keep themselves safe, to live in peace. to not serve all their lives under tyrants. an elf in modern thedas might want the same. to live without circles, or alienages, or clans. to not be derided or scorned or punished in societies that were built up around them, sometimes by their own labor. and solas wants to get them there, because he loves them. he does. but he cannot love them all as individuals (or as epler said, via "formal connections,") because it would be impossible. to save The People™ requires sacrifice, and solas knows this. all revolutions have martyrs, and solas knows this. individual goals, always, are dwarfed by the good of the cause, and solas knows this. and this, i think, is where he realizes that he would be doing them a disservice by using them as tools, even willing tools. that he would be robbing them of their lives and their own motivations by allowing them to continue in his service. when epler said that solas' rebellion turned him from being a leader, I took that to mean that solas learned from what happened in arlathan, with the spirits that he and felassan brought into battle. he loved them, too, and they died for him, and for his greater good. it was never malice or apathy against the individuals. it was what had to be done to accomplish his goals on a much grander scale. i think solas realized, near the end of his plans, that he could not continue to consider the elves as The People™, but as people- as full and separate lives, each with goals and needs and loves and purposes of their own. and yes, they chose to follow him, and yes, they may be sympathetic to said greater good. but he knows how many individuals have died in his name, even if they believed in what they were doing. solas has been through all this before. he knows the costs firsthand, where these people likely do not, not truly. he's seen the loss and the grief that comes after revolution, and he doesn't want that for them. because he loves them, both as his People and as his people. he doesn't want their lives reduced to his purpose, which will override their own unless he gives up his power. it's an act of love, to me, that he realizes this. an act of love to let them go, which the evanuris could never do.

[felassan]

one thing I wanna say is that 4 years ago after Tevinter Nights was released I wrote,

[Solas'] ritual site has surely gotta be somewhere the Veil is thin or weak. The Veil is almost certainly thinner/weaker in areas which have experienced or feature extensive bloodshed, death or use of magic. Callback implies that it is also thinner/weaker in areas which have born witness to many significant/important events in a general sense. Known places in the lore where it is thin or weak include the Brecilian Forest, where the bloodshed of many battles weakened it beyond repair, and Skyhold, which has seen more than its share of “ripples”. Both of these locations are in the south, and we’re heading north. [...] In Tevinter Nights we learn the Veil is thin in Arlathan Forest, and thinner in such a way as to be different to the way it is thin in other places. The Forest is wracked by ancient lingering elven magic, which is is slick, dangerous, heavy, leaping, and comes to mages easily and with little resistance. “Something else” also lurks at the edges of mages’ awareness there, sensing them pulling at threads of magic when they cast spells. You can hear the whispers and breaths of something huge just out of view. Since the Veil was made to imprison the Evanuris, maybe this is Evanuris lurking on the other side and the Forest is the site of their prison? [...] In any event, the Forest is in the north, and it would be easier to go unnoticed doing a long ritual deep in the woods. For one there is tree cover, for another not many people go in there, believing it to be haunted. Arlathan Forest therefore seems like a good candidate for the ritual site.

[duriens]

so we all agree that kirkwall is both horrifying and fascinating and i wish they'd delved more into its bloody history beyond the snippets we get from the codexes of the band of three. like hello?? three seekers of truth - among which a dalish mage - scurrying about the sewers and lower passages of the city, discovering that kirkwall was designed as some sort of magical symbol, has grooves in the sewers allowing the flood of blood downward for blood magic purposes, and last but not least realizing that its circle of magi had a much higher number of failed harrowings & episodes of blood magic hysteria than basically any other circle in existence??? you cant leave me hanging like that. why was the veil so thin there even before tevinter came? why were they weakening it further?? what was tevinter doing with all those disappeared slaves every year and the huge blood magic ritual involving thousands of slaves and the city itself being a magic symbol??? did the band ever find out if the Forbidden Ones are the same Forgotten Ones of dalish lore??? why was xebenkeck called 'forgotten one'??? hello????? what the fuck is up in kirkwall??????

[rawliverandcigarettes]

Thinking about Mass Effect, as you do, and how I'm kind of sad that the way it's been engraved in pop culture has more to do with the way internet reacted to it at the time than what the actual game is about. Yes sure, it's about romance (and not that much all things considered) and it's pulpy (but not solely because of hot lady aliens), but it's also intricate worldbuilding that touches on a lot of sharp ideas, and a complicated tug-of-war between a genuine and vulnerable belief in reconciliation and community VS post 9-11 US military propaganda and steadfast belief in heroic exceptionalism, and the melancholic yet energizing mood, and the daring narrative systems, and so so much more than the 'We'll Bang OKs" and the "There's No Shepard Without Vakarian" and the whole ME3 ending situation

It's all there, but I'm sad the impact of the series is often reduced to (what I think is) the least interesting parts of its sum

[lizzybeeee]

DATV Mini-Rant about the lack of Lyrium Potions in this Game

A small thing that immediately made my stomach drop when playing DATV was the fact that there are no lyrium potions.

I did an elective on game design in university and chose Origins as my game of choice for my final essay because I always loved how much the game incorporated the world/lore in its game mechanics! Call it pathetic or sad (I won't blame you lmao) but this series was the first video game that engaged me so deeply with its story-telling that I wanted to dissect it. That's why I'm focusing on the lack of magical cocaine in a fantasy game series.

Lyrium is a substance that serves as a game mechanic and a major lore/world-building element. It's use is essential if you play the game as a mage or have party members that are mages - it replenishes mana in game, its use is central to being a mage within the story (harrowing, rituals, etc...), and it's a major export/plot relevant resource that is important to the world at large.

So imagine my surprise when I boot up DATV for the first time and there's no lyrium potions as a mage character. My main interest in the game series was for its lore and story (RIP) so I didn't look too hard into developer interviews or videos about the combat itself - it would either be good or bad, but that wasn't my main draw to the game. I kept playing, wondering if I would ever unlock another slot for potions, perhaps, but then it was abundantly clear that it wasn't the case.

It's a small thing, but popping a lyrium potion mid-combat has the same effect that hearing people say 'Maker's breath' and 'Thank the Maker' does. It's this little bit of world-building that reminds me that I'm playing a Dragon Age game. It's not just a 'mana potion' or some other glowy blue magic vial...it's this substance that's important to the world and that has a reason to be there beyond rejuvenating my mage.

It's the major export of Orzammar -> the pillar of its economy.

It's the substance that allows waking mages to enter the Fade -> it allowed me to save Connor Guerrin with the aid of other mages.

It's the substance that the Chantry uses to leash it's templars through addiction -> an addiction I encouraged Cullen to overcome in DAI.

It's the substance used in the Rite of TRANQUILITY.

It's the substance that allows my warrior character to take on the templar specialization in each game -> Alistair and Ser both talk about lyrium and its relevance to training (in DA2 you just do it lmao)

It's the substance burned into Fenris's skin by Danarius.

It's the literal blood of the Titans -> lyrium veins are literal veins (such a cool design choice in DAI to make them look like blood capillaries!)

And all the time in DAO, DA2, and DAI my mage characters were downing this substance like there was no tomorrow.

Even though the combat changed in DA2 and DAI they still kept lyrium potions for mages. Even though they simplified herbalism from DAO in the next two games, they still required the player to interact with the world and find the ingredients for these potions. It was this gameplay mechanic that linked the player to the world -> I know that I need blood lotus to set shit on fire, elfroot for healing potions/lyrium potions, etc... It was cool game design, having game mechanics and lore interconnected like this.

(Not saying that picking up dozens of elfroots was fun or the best game design, btw -> but it's just an example of how they linked the world and game mechanics together, and I like the intent behind it! Cool design does not equal effective design lmao)

What do we get in DATV? No lyrium, whatsoever, just healing potions.

Potions we don't even have to work to find or get crafted! Just break some green shit and there it is! We don't pick up ingredients or discover unique flora to each of these Northern Areas for our own use. We don't loot potions or ingredients from corpses, sacks, boxes, chests (etc...) to replenish our own stock. A healing potion in this game is not a potion you craft, made from ingredients you found, it's a button I press on my controller. It's lost that immersive link - especially when your companions can toss another one at you while being effectively immortal in combat.

The only new flora we hear of is Broma's Bloom which I did like the lore behind! It's used in dye to colour the Warden's armour and its growth is a sign that the damage of the Blight is lessening. I love that! That's a cool bit of lore! Especially since it's named after Andraste's mother in a land that is supposed to be extremely religious. Geographically unique flora and fauna (biodiversity) is just as important as architectural design when designing an area - DAI did this amazingly well with the different creatures and plants we could run into in each area!

The first time we meaningfully talk about lyrium is when we go to Kal Sharok for the first time - a decent amount of game time since the beginning of the game, depending how fast you play. And then, when we get there, the lyrium looks like a bunch of crystals from a 'grow your own lyrium' kit. The absence of lyrium from the game world and mechanics is something that was very hard for me to overlook considering its importance to every previous entry. Especially since in this game we address the fucking Titan's and what the fuck happened to them.

Just...imagine playing a mage in Dragon Age and not using lyrium?

This game is a death of a thousand cuts - so many small, meaningful world-building elements and mechanics brushed off - before fucking godzilla comes along and nukes it all with the handling of the main story/lore.

[dearest-and-nearest]

Alistair > Taash

Anyway, quick post on why Alistair as an infantile character works so much better than Taash.

Spoiler: because we can react to his infantility and fix it, rather than just supporting and liking the character.

It's worth starting with the fact that both Alistair and Taash both like to start swearing if the other is behaving “wrong” from their point of view. But while in Alistair's case “wrong” is like a fucking psychopath slashing elves, mages, beggars and just passersby, to get a shout-out from Taash, it's enough to simply ask why they're wearing a qunari harness if they don't follow qun themselves.

That said, the difference is stark the rest of the time. The Veilguard squad doesn't really care about Rook, they are friends with each other, while you are somewhere on the sidelines, waiting for your time to comfort and embrace another companion. Taash is no exception in this regard, they only need us when they are in a bad mood and need a session from a therapist represented by us. At the same time, Alistair tries to support us as much as he can, sympathizing with Cousland/Mahariel/Edukan/Tabris' grief. He is also grieving, but he realizes that the world does not revolve around him, unlike Taash.

Well, and the world's reaction to the characters' infantility. Taash is loved by everyone. Supported. They bitch about Emmerich like he did something to them, when in fact… he dares to think dragons are boring? And yet you can't tell them to shut up and leave him alone, only explain in the gentlest possible tone of voice the obvious things that not everyone thinks like you. Everyone cares about their problems, everyone wants to help them.

At the same time, Alistair is constantly being told that he's too soft, that he's weak, that he needs to grow up. Morrigan is the first to do this, of course, but the rest of the squad loves it too. His infantilization is not something natural, it's a flaw, just like Leliana's fanaticism, Ogrhen's alcoholism or Morrigan's whole personality.

And especially the difference in their personal quests and dialogs with them is noticeable in this. With Taash you can't say who cares about your problems, we have an apocalypse on our doorstep, do you really care about identity issues right now? You can't express your displeasure with their phrases, you can't make fun of those very issues or support their mother, only be a nice good friend. At the same time, the character himself continues to behave like at best a teenager (although this is a long-adult person, they are in their 20s, such behavior is unacceptable at such an age), who resents that their mother does not cook their favorite dish, and demands to do it themselves.

Alistair, on the other hand, can be hardened in the course of his quest. You can mock him along with Goldanna and ask him what he expected in the first place? Why did he come? And you can tell him to grow up, to stop being so soft. And Alistair in this case grows up, stops whining if you make him king, and on the contrary, starts wanting the title. He stops running from responsibility and accepts it.

Well, bonus: if you don't interact with Alistair, you only learn a plot-important thing in the form of him being the king's bastard. Other than that, you won't hear about Duncan, you won't hear about the guards, you might not talk at all once after Ostagar. What's more - you can replace him with Loghain. At the same time, if you don't interact with the Taash, they will announce in ultimatum form at the next meeting that they have found their pronouns (because what else to think about during the apocalypse), and your character will support and accept them without options.

Basically all the problems with Taash are sharply related to the lack of roleplay. If you can react to a character and their lines, it's much harder to get annoyed with them, while at the same time if the game is somehow convinced that you're obligated to like a character, you start to hate them pretty quickly. Simply because what has the character done to deserve my good treatment? Taash hasn't done anything. Alistair at least tried to be a good person (though his post-Redcliffe behavior is peak infantilism).

The short conclusion is simple: dao's best companion is Sten. And with infantile characters you need either the opportunity to correct them and make them grow up, or at least not to interact with them in principle, not just to support an adult who behaves as if they are 15.

[dragonageruinedmylife]

I feel like one thing that isn't being discussed during the discourse is: Bioware Needs Veilguard To Sell.

Yes, longtime Dragon Age fans would probably try to get their hands on the game even faster if everything was catered to us with the Keep choices. But they also want to bring in new players, and they need to not overwhelm them after three games.

Bioware has had a lot of difficulty as a company since Inquisition. We've all seen it. Mass Effect: Andromeda had a very mixed reception and had enough backlash that DLC plans were canceled (RIP because I loved it.) Anthem was a garbage fire because it veered so far from what Bioware games are. The last real win the company has had in years was when they released the remastered Mass Effect Trilogy in 2021.

If Veilguard isn't a hit, EA may very well gut Bioware more than it already has. They need this to be their comeback, so they have to make it familiar enough for us old fans and welcoming enough for new fans. It would be great if they could cater specifically to us long time fans for everything regarding the game, but from a marketing stand point, they're being very smart.

I really am not trying to be dramatic or say people shouldn't be disappointed, that's valid. But I just want this to stay in the back of people's heads as well.

If we want more stories in these worlds we love, Bioware has to first reestablish itself as the RPG powerhouse it used to be.

[bardandbear]

So Morrigan is back. And she has her mother's crown. These are the desginer notes from the post-credits scene in DAI, where Flemythal is seen passing something through an eluvian before Solas arrives:

Designer's Notes: This is Flemeth from the previous two games. In this game, Flemeth's story comes to a head -- she knew that Solas would summon her, and that he would need to steal her power to further his plans. She knew that because they are both elven gods…yet Solas has slept for a thousand years and his power dwindled, while she was killed long ago and a spark escaped from her into the body she now holds. She has nurtured that spark, and knew that Solas would need it. He was once her oldest friend, but she knows in his drive to save the elven people he will kill anyone -- even her. She intends to let him have the power, so long as she can pass the essence of her god-hood onto Morrigan, a gift Flemeth had always planned for her daughter yet one Morrigan misunderstood as hostile possession.

I see this as confirmation that Morrigan accepted her mother's gift - Solas has Mythal's power, but Mythal remains in play - importantly - outside the fade with her own free will.

This begs the question though: is it the essence of Mythal or her power that is tied to the Well of Sorrows? Because in scenario one, an Inquisitor that drank from the Well would be bound to Morrythal. In scenario two, they would be bound to Solas.

Personally, I would put my money on the former, as 'essence of her godhood' would make far more sense to be tied to her religious relic. I also don't know what's worse - we've spent enough time around Solas for his actions to be relatively predictable. He will generally avoid cruelty where possible, but he will use the tools at his disposal to achieve his goals if there is no better way. He also actively dislikes things associated with godhood, and the deprivation of freedom - I don't think he'd use the power unless absolutely necessary.

Mythal though... her helpfulness always has appeared to be tied to pulling the strings of fate for her own purposes. It's very difficult to get a read on her intentions, or her limits.

[knife-eared-jan]

Watching the scene of Harding where she talks about Isatunoll, does anyone else get the sense that her role was initially written for Dagna?

Let me preface that Lace is lovely and I'm very happy her fans get so much more content and a full romance with her and I hope it's everything you dreamed. But I just get the strong sense that her role was initially planned for Dagna before they ever started writing for Veilguard.

Firstly, as others have commented, Harding was born and raised in Redcliffe, so it comes as quite a surprose that she's a follower of the Stone and concerned by What The Dwarves Have Lost. I mean sure, it doesn't necessarily contradict anything established about her, but it was certainly never set up in any previous games with even a single hint. Dagna was from Orzammar however, and it would have made perfect sense for her to cling onto her culture in some way even if she left her home to pursue her special interest.

Which brings me to dwarves with magic. Up until now, and them introducing Harding as caring about the Stone etc., it wouldn't have made that thematically impactful a narrative for the Scout from the Hinterlands who joined the Inquisition to have an adventure to be connected to Titan magic... I'd have expected her arc more to be about how adventures aren't always fun and you can actually get hurt pretty bad in the big bad world out there or something along those lines maybe. You know who was set up perfectly for it though and would have absolutely lost it if they got magic? Someone obsessed with magic all her life and actually getting to experience it for herself now. At the cost of learning some rough stuff about her culture.

I didnt't really get the sense in DAI that Harding was meant to be more than that plot device to introduce areas at the time they wrote DAI (again, no value attached here, I just don't think they planned for anything more at that point. The devs said themselves they were surprised by how strong the fan reaction was for her). But when they brought back Dagna no matter your choices in DAO and gave her all those mysterious lines about feeling mountain-tall and lyrium and tranquil... I very much did get the sense that they were leaving crumbs for her to come up again in a titan plotline.

(And least importantly, they even seem to have given Harding Dagna's signature absent-minded rambling? DAI Dagna always seemed way more confident and verbally sparring with you than what we've seen so far for Veilguard imo.)

Idk I just feel like maybe this was concepted for Dagna initially but was changed to Harding early on because of the popularity her character got.

Edit: I should maybe make clearer, that I don't think they like rewrote Dagna as Harding at the last minute or anything like that, but that they had planned this in their little mysterious red book at the time of writing Inquisition and leaving hints for the future and changed it when they actually got to writing the companions for Veilguard because of the fan response to Harding and because they didn't want 2 female dwarf companions when one with a romance was already groundbreaking but they needed that companion tie-in to the titans.

[seeker-ophelia]

Ophelia’s Review, Part Three: The Lore

Man. Thank you to @senseandaccountability ’s post for sparking this brainwyrm because I was at a loss for words on how to start this post, and I could not put my finger on what was actually bothering me.

Again, let me just say, emotionally, this game wrecked me. I enjoyed it. I (am probably one of the few who) liked the combat. I liked the companions (basic as they are). And I liked the story. I liked the locations. I liked the quests and the loot system and the companion banter. But.

The Lore.

[Part 1:Emotion]   [Part 2:The Dragon Age System]

If you’ve read my Part 2 Review, you know the end of it is actually its own little fic-let on the Veilguard realizing the veil needs to come down.

And I’m just going to straight up copy a paragraph from @SenseAndAccountability ‘s post (I strongly recommend you go read it, its fantastic).

Replaying really emphasizes how incredibly little the game convinces me of its original main quest - to prevent Solas from doing his ritual. This is a problem as a long-term player because for three games we’ve had build up for a great crescendo tackling the overarching themes of the (restrictions and oppression of) magic, of tears in the Veil, of religious tyranny and oppression based on myths about the Black City and the temptations of flawed humans, we’ve seen and deconstructed the elves quite a bit, we got started on the dwarves and in DAI your Inquisitor can openly ask Solas if it wouldn’t be better if the Veil came down because then spirits wouldn’t be separated from the living and risk becoming demons. Cole, whose function is to reflect the plot, talks endlessly about the old songs wanting to be sung again, about how it hurts to be cut off from part of yourself, how the templars feel it, how the mages feel it, how the elves and the dwarves feel it. The Veil as a prerequisite for life has been deconstructed, the Fade demystified, the gods have mostly fallen. The Veil as an actual wound inflicted on this earth has been presented as a theory and not been convincingly rejected by the narrative. 

Let’s recap, just a little bit.

In Origins, we are introduced to the Dragon Age World. Its politics, its magic physics, the races, and its religion. We are introduced to the concept of the Chantry and the Templars and the Circles (*wiggles my eyebrows at you). We learn about demon possession, and about spirits in the fade. And maybe most importantly, we are introduced to the concept of The Blight.

The unstoppable, indiscriminate zombie-plague that sweeps Thedas once a century or so. And maybe more importantly, thanks to the sacrifice of the Grey Wardens, how to stop it.

In 2, the Thedas lore is even subtler. We were introduced to Dalish Gods in Origins, but because of Merrill we get a little more. We start to become curious about the Gods of the race that has been subjugated and enslaved throughout the common Ages. We learn the tense political atmosphere surrounding the Templars and the Mages, and the Chantry’s weakening hold on the politics and structure of Southern Thedas as a whole. We learn about slavery in the north, about the basics of the Qunari, and we have a Terrorist (potentially our lover), hit the religious organization in our city.

In Inquisition, we learn all about the magic. We learn about the fade, about the veil, we learn all about the Elvhen. We pick a side in the Mage/Templar war, we learn about this strange process of Tranquility, the only power templars have to control mages (thanks to Cassandra), and we also learn what that control costs (thanks to Cullen).

And because of Solas, and Cole, we learn about spirits. About how the Veil turns them to demons on their passing into the real world. About how all they want is to stay true to their purpose. They are simple, pure things, and while there are demons, of course, its not all bad in the fade as maybe we might have believed before. After all, Solavellan’s first kiss happens in the fade.

In Descent, we learn about titans, about memories, about songs, about lyrium, about isatunoll.

In Trespasser we learn about why the Titans even matter. Orbs. Power. Greed. The creation of the Veil, and what it really means.

*Insert Kronk Oh-Yeah-Its-All-Coming-Together.gif*

We had 10 years to scheme. 10 years for theories. 10 years to datamine.

So what did we learn in Veilguard?

Well, in the grand scheme of things, nothing.

We have theories confirmed. Which Evanuris hat belongs to who, how the blight was created, how the blight is spread, and how the blight is controlled (kinda-not-really). At least, we learn how the Evanuris are doing it.

What did we learn that was NEW?

We learned about the Morn Watch (but I mean, did we really?) Emmerich has a good relationship with wisps and spirits. We learn about his distinction between a spirit and a soul.

We learned *a little* more about Qunari culture.

We learned it was a blood magic ritual that was holding the veil up, tied to the life force of the Evanuris, now tied to Solas.

We learned about the Evanuris’ Dragon-Thralls and the strong connection between the two, a connection strong enough to get their souls out of Solas’ Fade Jail.

We learned that the Evanuris could not only control The Blight, but had relics to give to others (the Venatori) to control blighted things. We learned their greed for power was so vast, so consuming, they were willing to Blight the world to achieve it.

But we fought an archdemon, in Origins and in Veilguard. We see and know the terror and horror of the Blight.

This makes any action Solas commits understandable, and even necessary. Would we have done anything different? If my leaders were bent on blighting the world, wouldn’t I go to extreme lengths to stop them? Compromising my own morals, dignity, and values to do so?

I think I would.

Having such a terrible evil, having such an indiscriminately bad thing, The Blight, leaves absolutely no room for nuance. No room for complexity. Just good versus bad. Destroy the bad thing at all costs.

So we do. Wham, bam, Evanuris dead.

And the only thing stopping us from tearing down the Veil, is the Blight.

Because Solas tells us that the Blight is in there too.

But, he made a new Prison for the Evanuris, one without a veil, before Rook & Co. interrupted his ritual. Why can’t we move the blight into there and still tear down the Veil?

What is stopping us at this point?

Solas says: Thousands would die

(You’re trapped in your regrets)

This is why you had to use me to escape the prison. It’s made from regrets. And you’re trapped in yours.

You cannot understand -  

Destroying everything won’t erase your mistakes.

You have a chance right now to save the world. Bind yourself to the Veil and stop it from falling.

2. (Do this the right way)

You’re right, you do need to make up for the damage you’ve done, but breaking the world again is the wrong way to do it.

Letting the veil collapse –

Is what YOU want. Making amends isn’t about what YOU want.

You have a chance right now to save the world. Bind yourself to the Veil and stop it from falling.

3. (This won’t help anyone)

Who does this help? A lot of people are going to die… So you can fix something they don’t even see as wrong.

It is not just people, spirits –

Will be destroyed when you do this, too. Won’t they?

You have a chance right now to save the world. Bind yourself to the Veil and stop it from falling.

Listen. I can't believe I'm about to say this, but there's more to Dragon Age than Solavellan.

This, in the end, was an emotional decision. The decision to leave the veil up was tied to emotion, and not logic.

So, what does all this mean?

Well, for players new to the series, nothing. They were always fighting for the Veil to stay up. The opposite of what the antagonist wants, pretty much. Easy enough to follow along.

But for returning players? Lavellans who stood in Fade-Haven? Players who walked Vir Dirthara? Mages who made the Descent, and saw how horrible it was for the dwarves to be sundered from their dreams, and made the horrifying connection that the Veil did the same to them?

Trespasser Solas: You must understand, I awoke in a world where the Veil had blocked most people’s conscious connection to the Fade. It was like walking through a world of Tranquil. (We aren’t even people to you?) Not at first. You showed me that I was wrong… again. That does not make what must come next any easier.

When I learned about the rite of Tranquility in Origins, I was disgusted. The first thing that popped into my head was lobotomization. They are one and the same to me. Turning a person into a husk of what they were. Separating them from their emotions. From hard emotions, yes, from things that are not easy, even painful, but at the cost of themselves.

We walk with Harding through her decision to, although the Titans are angry, and what was taken from her people was great, not reunite Titan and Dwarf because…

Lace: The story of their end is the story of our beginning.

Mythal releases Solas from his journey to reunite Elvhen with the Fade.

Harding releases angry Titans from their quest to reunite with the Dwarvhen.

And so the Veil stays up. The Titans stay sundered.

But… at what cost?

Lest we forget, it was the sundering of the Titans from the Dwarves that CREATED THE BLIGHT. The Titans created the blight as a weapon to infect the Elvhen as punishment for their death, their tranquility.

This Tranquility Ritual, be it in the form of keeping Mages from the fade, be it of Titans or of Elvhen, is WRONG.

I’m a Blue-Collar Journeyman, and we have a turn of phrase we use with old fellers who don’t want to change the way they do things.

Just because you’ve been doing something for a long time, doesn’t mean you’ve been doing it right.

You can do something for years, and still be doing it wrong.

And both Lace and Rook decide that this is the way things have been done, for AGES. We’re not going to change now.

And I’m just… Solas. As John Travolta playing Vincent Vega in Pulp Fiction, confusingly standing there, looking around with my arms out.

Did we learn nothing from the Lessons of Origins? Nothing from the Lessons of Inquisition?

Maintain the Status Quo? That’s the answer?

At what cost?

One of my favourite lines in in my Part 2 Post is this;

Veilguard, is shallow. The essence is there, beneath it's Veil, pressing and bursting at the seams to escape, but is being held back by a gentrification of Thedas.

This decision, the decision to keep the veil up, is shallow. Its basic. Its Easy. It is pre-masticated, lunchable drivel. It was spoon fed to us in easy dialogue and groupthink.

What about every other thing we learned in the other games of Dragon Age?

If Weekes et al. want me to forget about how horrible the Rite of Tranquility is, they’re going to have to come out with a hell of a companion novel between now and DA5, because this makes no sense to me.

I ask you. If sundering Titans created The Blight, what did sundering the Fade create?

Or should I say,

If separating Dwarvhen from their Memories created the Blight (out of Titan anger),

What did separating Elvhen from the Fade create?????

Lets talk about Ser Dave.

If you read my part 2, you’ll know that Ser Dave is my name for the ‘?????’

Not only is it so insulting to my intelligence to call something ‘?????,’ because of course then I’m going to pay more attention to it, but its so lazy. Let it introduce itself to Rook and say “call me the wicked witch of the west,’ ‘a concerned party,’ ‘I am the Batman,’ ‘I am No One,’ ‘I am Daivd Gaider,’ ffs.

An I excited at a new villain? Yes. Am I happy to learn there was a shadow organization pulling the strings behind all of my villains throughout The Dragon Age? Abso-fucking-lutely not. Am I happy Southern Thedas, Treviso, and Minrathous are essentially razed after the rise of the Evanuris? No.

Nothing we did in any of our previous games mattered. Nothing I did mattered. Ser Dave was there the whole time, controlling, balancing, guiding, whispering.

I was doomed to fail from the start.

The moral of the story in Veilguard is to not assume the burden of others actions:

And yet its Ser Dave and the Nazgul Band that assumes responsibility for my villains?

What in the Actual Fuck?

So what is going to happen in 5? I don't know. Will I find true agency? How do we have a villain worse than a God? How do we live in a Tranquil’d world, knowing the alternative? How do you bring back the dark, heavy, realness of Thedas, after the gentrification of Veilguard? After blanding Thedas, making it easier for more palates, needing to feed the EA Machine.

For the record, I have yet to complete my second playthrough. I have yet to find all the codices. I have yet to get all the companion banter. I have yet to play as every race. I have yet to make every decision. And if Inquisition taught me anything, its how one little piece of information can change everything. So, for the record, this whole post could be wrong.

In fact, I hope, and pray, that I am missing a big piece of something in Veilguard. That I just haven’t found it yet. That one little thing that’s going to shift my worldview. And I’m going to play until I find it.

Because these messages Veilguard is sending? They’re too contradictory. Too opposite to be coincidence. Too Different to simply be Bad Writing™. I said that Veilguard is a Tranquilized Version of what DA4 could have been. Inquisition, 2, and Origins, were too deep, for Veilguard to be this shallow.

And… Maybe its copium, but I’m kind of hoping that it was on purpose.

[dalishious]

A BioWare Guide on How to Murder a Fanbase

I have been a Dragon Age super-fan for almost fourteen years, now. I have played every game, with every DLC. I have read every novel, lore book, and every comic — yes, even the terrible ones that are better off forgotten. I have seen the anime film, the animated series, and the web mini-series. I have enjoyed all of these pieces of the franchise over and over, more times than I can count. So, make no mistake: the negativity you’re about to hear comes from a place of love for this fantasy world, developed by many creative people over the years. I would love nothing more than to see the resurrection of passion in the Dragon Age fandom again. But the unfortunate truth is, that resurrection is only needed because BioWare took the fandom out back and shot it in the first place.

In December 2018, three years after the release of Dragon Age: Inquisition’s Trespasser epilogue DLC, BioWare first announced the then-untitled next Dragon Age game with a teaser trailer. At this point, most fans were anticipating this would mean within the next couple years, we would see the game. This assumption was based on the fact that Dragon Age: Inquisition was first announced in 2012, and released in 2014, with an extra year of development added last minute.

There have been dribbles of extra content since then, adding to the franchise. This was enough to keep some fans still breathing and interested. 2020’s Dragon Age: Tevinter Nights was a lovely anthology. 2020’s Dragon Age: Blue Wraith and 2021’s Dark Fortress were wonderful comics tying up the story started in Knight Errant. And 2022’s Dragon Age: Absolution was a well-animated series with an interesting cast of characters and story. But all these still left the fandom with a major question: What was going on with the next game? It was untypical of BioWare to be so secretive, in comparison to how they handled sharing information of the past games in the franchise. The only form of updates fans still have to go on is mostly just concept art and short stories, hinting that something must be in production. But why was the wait so long?

In 2015, the first version of the next Dragon Age began with a clear vision, clear scope of practice, and a reportedly happy developer team. Most gloriously in my book, there was no multi-player… but this did not align with the Electronic Arts typical money-mad schemes. EA’s push for “games as a service” meant they wanted to monetize all their games as much as possible, and therefore, they wanted them to be a live service — as Anthem demonstrated, that meant sacrificing things that are staples of good RPGs, like narrative and character choice. So in 2017, version one of the next Dragon Age was scrapped and replaced. This new version would have, in total or to at least some degree, an online portion of play.

There is one part of Schreier’s article, “The Past and Present of Dragon Age 4,” that really sticks out to me, regarding this:

“One person close to the game told me this week that Morrison’s critical path, or main story, would be designed for single-player and that goal of the multiplayer elements would be to keep people engaged so that they would actually stick with post-launch content.”

The idea of splitting up components of a game into single-player and multi-player is a terrible idea, because it means that there would be a large bulk of content only accessible through online gaming; something many fans, like myself, are repulsed by. Even if I did enjoy it, I spent most of my life growing up with either no internet or shoddy internet incapable of playing online games. I know many rural people who are still in that position, losing more and more of their favourite gaming pastimes because they are locked out of the ability to play them. It is a disservice to hide content behind a wall like this, especially in a world that is so lore-heavy like Dragon Age. The news of multi-player in Dragon Age understandably upset many, and this is when I first noticed a large drop off in excitement over the next game.

However, in 2021, the failure of Anthem (multi-player) and success of Star Wars Jedi: Fallen Order (single-player) led the executives at EA to bend to the wishes of BioWare leadership and allow them to go back to the drawing board yet again on the next Dragon Age. This meant removing all multi-player content!

While I am very happy that there will reportedly be no multi-player in Dragon Age: Dreadwolf, I can’t help but feel bitter and a little disgusted over the ridiculous development time spent on something no one but EA wanted in the first place. If it weren’t for this foolishness, Dragon Age: Dreadwolf would be in our hands right now. Instead, it’s been in development hell for nearly nine years and counting. Nine years is a long time to expect fans to carry a torch for you through radio silence, but it’s no wonder BioWare has shared barely anything about the next game; it’s been in flux for so long, they likely haven’t had anything concrete to show.

BioWare hurt its reputation even more when the news broke that the studio very suddenly laid off 50 people who were working on Dragon Age: Dreadwolf. This is pretty damning on its own, but BioWare took it a step further. Former developer Jon Renish shared a statement revealing that the studio was only willing to offer laid-off employees two weeks of severance per year of service, and denied health benefits. The denial of health benefits in particular is a pretty wild move for a studio with a reputation for “stress casualties”. The latest news on this is that BioWare has still so far refused to negotiate better severance packages, leading to a lawsuit. The lawsuit originally had 15 former employees, but this dropped due to the fear of not being able to afford to pay their bills. So now, while EA sits on $400 million net income, the laid-off employees are struggling to buy holiday presents for their children. These horrid business practices are not to be ignored when accounting for a lack of faith in a studio. What kind of monsters reward workers who make your games special with vaguely reasoned lay-offs?

The latest news on the Dragon Age: Dreadwolf front from BioWare came early this month, December 2023, with a trailer… announcing a trailer that will come next summer… that will announce the release of the game. Supposedly. Maybe. We’ll see. But by this time, BioWare is something of a laughing stock of their own fandom. Reactions to the video released with a pretty map graphic and a few rendered locations were, from what I personally observed, mostly sardonic in nature. People have commented on the vapourware nature of the game, and like all vapourware, that leads to disintegrating trust.

Despite all this, people like Mary Kirby, (one of the veteran Dragon Age writers who was a victim of the layoffs,) said, “it’s bittersweet that Dreadwolf is my last DA game, but I still hope you all love it as much as I do,” encouraging fans to still support the game when it eventually is released. But after every misstep BioWare has taken, that’s a tough sell now. Fans are finicky, RPG fans more so than others, one could argue. We have our favourites, and many of us stick to those favourites for life over our appreciation for the artistry — but that relationship between studio and fan should go both ways. EA and BioWare has betrayed that relationship, and it will take a hell of a lot to build it back up again, now.

[This piece is also available on Medium!]

[mayakessarin]

"The severed dreams of the titans were the original source of The Taint(Sorry, the Blight) " bwuh. Alright. Lets go through this. -so, there was nothing to the myth of Andruil bringing it back from the void? Okay... -the titans were effectively made tranquil by the Evanuris, yes? That state that famously stops the subject from dreaming??? -what are these severed dreams, then? The game talks about them as a rather tangible thing. -and on that note--they're being locked away by the veil? What? You locked water in the ocean? Sure, why not. -Solas had his plan for the Evanuris when the veil came down, but if we take the above idea at face value, did he ever suggest a plan for dealing with those dreams(again, ???) being released? -running with that premise: So the veil weakening would then lead to the taint leaking out, right? So why did nothing happen at the breach? (I guess the red lyrium there? maybe? This game didn't expand on the nature of red lyrium in the way I expected it to) Why isn't there blight in Kirkwall's sewers? Why doesn't blood magic have that risk? Do you see the problem? -if the titan's severed dreams are the source of the whole problem, how does that track with time? Why do the blights start in 800 TE?

[felassan]

this post is under a cut in case anyone would consider it to be DA:D spoilers, as the things it mentions came from the leak a year ago (spoiler warning for link) that included screenshots and a gif of the game. (the things this post mentions are therefore not new information and this does not reference a new leak)

I'm just thinking again about Rook (which seems to be the PC's name or title) and the imagery conjured by the name. ◕‿◕ this post is just speculation and overanalyzing for fun. also this post is a now-finished draft from my draft section from a while back.

I think it would work as a surname (like "Hawke") or a codename (think Leliana's spies and contacts such as "Butler", "Farrier", "Butcher", "Charter", etc although these are all professions that end in "-er" or "or" iirc). it could also be a title (like Warden, Hero, Champion, Inquisitor, Herald) or a nickname - like maybe it's short for "Rookie", it's a Varric-assigned nickname and it references how the DA:D PC is the newest member of the team after he recruits them?

I think it sounds catchy, and cool - it's snappy and short, Hawke-like in this way. and it sounds like the kind of name a spy or secret agent might have in a fantasy, superhero or sci-fi-type setting.

a rook is a black bird, Corvus frugilegus, a member of the corvid family. rooks have been perceived as vermin and nuisances by people in the past, and persecuted due to this. they bear a resemblance to their crow and raven relatives, both birds which have a large cultural footprint and lots of symbolism in areas such as folklore and art. Hawke obviously also had a bird motif going on from their surname and associated art pieces. corvids also bring to mind the Antivan Crows (assassins, thieves, & spies), reminding of the stuff about how in this game the PC may be trying to operate under the radar, and the reporting on a previous iteration of DA:D which had the game concept as being focused on spies and heists. rook plumage is inky black, bringing to mind darkness and shadow.

from the bird angle, a "rook" sounds neat opposite a "wolf" imo. wolves are obviously another animal that have large footprints in culture, myth and folklore. in the natural world there is symbiosis sometimes between wolves and corvids when hunting/feeding. there are lots of photos of wolves and corvids together.

a colony of rooks is called a rookery. of course, the fortress of Skyhold has a rookery. it's from there that Inquisition Spymaster Leliana operates (operated) sending her black birds on missions with letters and messages to her many agents and spies throughout Thedas. what if Rook is one of Leliana's... "rooks"? a spy or agent of the remnants of the Inquisition.

A rook is also defined as "A cheat or swindler; someone who betrays" [noun], "mist, fog" [noun] and "to cheat or swindle" [verb]. it's also a type of trick-taking card game. these sorts of things bring to mind a rogueish, stealthy aspect, and the shady, shadowy dealings and card-game played in Minrathous Shadows.

a rook is also a chess piece. they're castle-like (since "rook" can also mean a castle or fortification) and usually have their top in the shape of a battlement. they can move in any direction along a rank or file on a chessboard on which they stand (horizontal/vertical, not diagonal). they can also do the "castling" move. in history, rooks have also been called towers, castles, rectors and marquesses. in chess, each player starts the game with two rooks at opposite ends of the first rank. chess itself is a game of strategy and tactics. "the chessmaster" as a trope is a character type who manipulates events, tugging on strings and moving 'pieces' into place on a metaphorical chessboard. [Solas' DA:I dialogue about his past, like the one he has with Sera about cells of spies/agents, hark to this]

in the castling move,

"Castling is a move in chess. It consists of moving the king two squares toward a rook on the same rank and then moving the rook to the square that the king passed over. Castling is permitted only if neither the king nor the rook has previously moved; the squares between the king and the rook are vacant; and the king does not leave, cross over, or finish on a square attacked by an enemy piece. Castling is the only move in chess in which two pieces are moved at once."

castling rules often cause confusion, even occasionally among high-level players. historically the move has its roots in the "king's leap", of which there were two forms and which arose in part it seems due to increasing importance of king safety as other pieces were given increased powers through time as the game developed. "the king would move once like a knight, or the king would move two squares on its first move. The knight move might be used early in the game to get the king to safety or later in the game to escape a threat." basically it moves the king away to safety and the rook to a more active position. there is also kingside castling and queenside castling. I wonder, symbolically.. is Rook more the king's rook, or the queen's rook? (reminds me of the Left Hand and Right Hands of the Divine hh). who or what is the king in this hypothetical analogy? the World of Thedas itself? as a castle or fortress.. Rook is the bulwark against what's to come? [over-thinking ik ik, tis just for fun hh].

by now we're all familiar with the chess game Solas plays in banter dialogue with Iron Bull during DA:I. in the in-world chess game, rooks are called towers. Solas moves his right-hand tower once. at a later point in the game, Iron Bull's "Arishok" piece takes Solas' left-hand tower, getting a check and leaving him feeling triumphant. Bull asks Solas wth he is doing as Bull takes Solas' remaining tower. "Your last tower, by the way". Bull, a spy and liar himself, bears down on Solas' pieces "with his full army", thinking a win is in sight. Undeterred, Solas executes a few moves in a sneaky plan and entraps Bull in a checkmate, winning the game after sacrificing various pieces to enact his plan.

rook also brings to mind the Tower tarot card and its meanings. it's associated with sudden, disruptive revelation and potentially destructive change. it connotes danger, crisis, sudden change, destruction, higher learning, and liberation, as well as adversity, calamity, deception, ruin and unforeseen catastrophe. reversed, it connotes things such as negligence, carelessness, apathy and vanity (vanity.. pride). in this depiction of the Tower tarot, lightning strikes from the sky, striking a crown (hubris) off the top of a tower and setting it alight as people fall from the tower to their doom. this imagery and the upright meanings of the card bring to mind the sudden massive change Solas seeks to bring about (destroying the Veil), the revelations and liberation for some that it might bring, his identity as Fen'Harel Lord of Tricksters (deception) as well as the destruction he seems to think the Veil destroying action will cause ("as the world burns in the raw chaos"...). the 'Tower scene' has also already played out once before in Thedosian history, when Solas created the Veil and sealed the Evanuris away, leading to the fall of Arlathan and its wonders. in modern Thedas, Morrigan and Flemeth (as well as possibly some side 'prophecy' type things) both allude to a big change coming to the world.

in DA:I, the Tower tarot card is ofc none other than Solas' ending card, if he is not romanced. in the DA:I version of the card, we see Solas, cloaked in a dark robe and holding a mage staff under a half-moon or eclipse. darkness seeps from his shadow, stark against the orange sky, and blends with the giant black Dread Wolf, looming ominously and open-mouthed above him with its many eyes. (the Tower tarot card Solas scene is later referenced in DA:D promotional art and DA:D-era in-world murals). it makes sense to have assigned this to Solas given the above discussed meanings of the Tower tarot card, but it's a verrry inchresting choice imo to then give "Rook" as a name/title for the DA:D PC.

and most inchrestingly, there's the symbol from the front of Mark Darrah's mysterious Red Book. this mysterious red book shows "a flaming rook" on the cover. the book was an internal guide for developer and publisher eyes only that summarized the vision for DA:D, in its Joplin iteration. we know that the Joplin project has since been revised to an extent that it was the newly codenamed Morrison instead, but the red book is known to still contain plenty of ideas likely to appear in DA:D. most pages of the book remain highly classified. it's the symbol on the front that's of most interest to us though for the purposes of this post. there is a castle, tower, or rook, like a fortress or the chess piece. above the tower, a fire burns, reminding us of the burning tower from the Tower tarot card imagery and what that symbolizes, as well as Solas' "world burning in the raw chaos" line from Trespasser. inside the fire is a wolf, the Dread Wolf, in a now very-familiar and repeated motif in DA:D art, merch, murals, teasers etc. whatever else "rook" may connote, it feels like it's not an accident at all that the PC's name is apparently "Rook", given this depiction of a fiery rook and the Dread Wolf together.

what do you think? ^^

[thedissonantverses]

I’m saying this as a Solavellan shipper but I really do feel like Solas is so much more interesting as an antagonist. Antagonists with good motivations is great! It’s fantastic! One of the reasons I love Veilguard so much is Rook gets to face Solas as he is and it’s so well-written. Like this is everything a narrative foil is supposed to be. I love the dynamic more than I love Solas’ and the Inquisitor’s and that is saying something! Give me evil Solas and give me sad tragic hero Solas they’re both great.

While the elven stuff has been engaging and I love it, and Solas is one of my favorite characters in fiction, if we never see Solas again in this franchise I’ll be happy both because his character’s arc is done and over and because I’m ready to move on to lore that doesn’t revolve around elves or the Evanuris. We have so many more characters and lore that deserve the same time and attention and love. Dragon Age is much more interesting as a franchise if you don’t warp everything to revolve around a single person.