#Da meta

[ladyofc]

Something that always makes me point at screen about Solas saying walking through a world of tranquil, is that the comparison isn't a one to one and he even admits that he was wrong for it.

But it makes me think about all the spirit theories when it comes to an unveiled world. How everyone is basically severed from themselves in a sense. Everyone used to have a connection to their spirit and therefore everyone could do magic. The reason why elves (modern) produce less and less mages is because the more you reproduce the more you become physical.

Solas talks and talks in a romance about seeing Lavellan's spirit, we don't know exactly what that is but they have given us a lot of hints about it. Specifically with the one person you wouldn't think, Varric.

When talking about being the Herald and what the people see, he says on some effect of

"The only Hope they have is you."

----

I mean what else other than a Hope spirit would get religious people to sing after their holy town was destroyed.

Hope would be able to stop Leliana from killing a man that might be valuable later, Hope would get her to move on from Justina.

Hope would be able to help Cassandra rebuild the Seekers, help her see the path as divine.

Hope would make it possible for Dorian to reconcile with his father AND inspire him to go back to Tevinter with the ideals of the Inquisitor.

Hope would be able to forgive Thom and help him redeem himself because we saw the hints of how good he tried to be.

---

And to really nail in the point, Hope would be able to show an Ancient Pride spirit that the world is real. That no, this isn't a world of tranquil and that a romance and hell even a friendship almost made him completely drop everything because he loved his friends.

And as Cole says about the Inquisitor:

"You're too bright. Like counting birds against the sun. The mark makes you more. But past it... [the part that changes due to origin] And past that, the weight of all on you. All the hopes you carry, fears you fight. You are theirs.

[squirrelwithatophat]

How the Chantry (and Orlais) Turned Kirkwall into a Police State

One aspect of the Dragon Age series that I’ve always found odd is the way in which rather crucial political and historical context surrounding major conflicts the player must decide tends to be relegated to codices, outside materials (e.g., books), and optional dialogue with minor characters... meaning that many if not most players don’t seem to end up actually seeing it.  Wicked Eyes and Wicked Hearts (Dragon Age Inquisition) in particular has become somewhat notorious for what it left out, but it’s far from unusual.

With regard to Dragon Age II, there’s a popular perception among fans that the troubles in Kirkwall can be attributed almost entirely to rogue behavior on the part of Knight-Commander Meredith and various evil blood mages.  This is understandable given the overall narrative framing and Bioware’s aforementioned problem of making key context very easy to miss.  But once we take a look at the full picture, it ought to be clear that the Chantry did not simply “fail” in their responsibilities towards the mages or towards the citizens of Kirkwall more broadly — they actively created and maintained the very nightmare they later professed to be dismayed about.

Moreover, despite the running Mages vs. Templars theme, the mages were hardly the only one's who suffered under Meredith's rule. Indeed, Kirkwall endured a brutal 16-year-long dictatorship (9:21-9:37 Dragon) that came into being courtesy of the Chantry and the Orlesian empire and only fell due to the mage rebellion.

Here I’ll describe in detail (with sources and citations) the story of how the Chantry turned Kirkwall into a police state and one that ultimately descended into what the writers themselves termed "genocide."  

The Templar Coup of 9:21 Dragon

Our story begins with the conflict between Viscount Perrin Threnhold of Kirkwall and Emperor Florian Valmont of Orlais.  

With the beginning of the Dragon Age (the era), the Orlais had experienced a major loss of territory and influence.  In 9:00-9:02 Dragon (the exact dates conflict), the Fereldan Rebellion led by Maric Theirin and Loghain Mac Tir overthrew Meghren, the last Orlesian King of Ferelden (personally appointed to the position by Emperor Florian himself), and reclaimed their country’s independence after nearly a century of Orlesian occupation.  These events are described in detail in The Stolen Throne. Emperor Florian, however, remained reluctant to recognize Ferelden’s sovereignty -- with peace between the two countries not being fully established until his death and the ascension of his niece Celene to the throne in 9:20 Dragon -- and may have been eager to reassert Orlesian influence in the region.  Perrin Threnhold, meanwhile, ascended to the position of viscount of Kirkwall (also formerly occupied by Orlais) in 9:14 Dragon.  At some point during this volatile period, Threnhold decided to raise money by charging what the Orlesians regarded as unreasonably high tolls for passage through the Waking Sea, which also controlled Orlais’s sea access to Ferelden and its capitol, Denerim.

For reference, here’s a map with my highlights:

The Orlesian Chantry, founded by Kordillus Drakon I (the first emperor of Orlais), had from the beginning been dominated by Orlesian interests.  According to World of Thedas vol. 1 (p. 56): “The Orlesian capital, Val Royeaux, is home to the Chantry’s Grand Cathedral, the center of the Andrastian religion’s power.  Over multiple Blights, the Orlesians have used the Chantry to expand their influence beyond the nation’s impressive borders, notably to the north into Tevinter territory and southeast through Ferelden.”  The Chantry, not surprisingly, had backed the Orlesian invasion and occupation of Ferelden, most recently under Divine Beatrix III (probably) and Grand Cleric Bronach of Denerim. It should be noted that this is all part of a pattern of highly-aggressive and imperialistic behavior that has persisted for centuries from the early years up to (potentially) the events of Dragon Age Inquisition.

It also cannot be emphasized enough that the Templars are the Chantry’s army and were created by the Chantry in the first place.  They do not simply hunt and guard mages; they fight the Chantry’s wars and carry out its policies.  Quote: “the Order of Templars was created as the martial arm of the Chantry” (Codex: Templars).  According to First Enchanter Halden of Starkhaven (8:80 Blessed), “While mages often resent the templars as symbols of the Chantry's control over magic, the people of Thedas see them as saviors and holy warriors, champions of all that is good, armed with piety enough to protect the world from the ravages of foul magic. In reality, the Chantry's militant arm looks first for skilled warriors with unshakable faith in the Maker, with a flawless moral center as a secondary concern. Templars must carry out their duty with an emotional distance, and the Order of Templars prefers soldiers with religious fervor and absolute loyalty over paragons of virtue who might question orders when it comes time to make difficult choices.  It is this sense of ruthless piety that most frightens mages when they draw the templars' attention: When the templars are sent to eliminate a possible blood mage, there is no reasoning with them, and if the templars are prepared, the mage's magic is all but useless. Driven by their faith, the templars are one of the most feared and respected forces in Thedas” (Codex: Templars).  Likewise, a Chantry official confirms that the Templars are both “the watchers of the mages and the martial arm of the Chantry” (Codex: Seekers of Truth).  In Dragon Age Origins, the (unwillingly) Templar-trained Alistair elaborates, “Essentially they’re trained to fight. The Chantry would tell you that the templars exist simply to defend, but don’t let them fool you. They’re an army... The Chantry keeps a close reign on its templars. We are given lyrium to help develop our magical talents, you see… which means we become addicted.  And since the Chantry controls the lyrium trade with the dwarves… well, I’m sure you can put two and two together...  The Chantry usually doesn’t let their templars get away, either.”

In response to Threnhold’s intolerable restrictions on the Orlesian navy’s movements in its traditional sphere of influence, Divine Beatrix III, an acknowledged “friend of the emperor” (and predecessor to Divine Justinia V of DAI), ordered the Kirkwall Templars under Knight-Commander Guylian to force open the Waking Sea.  Viscount Threnhold retaliated for this obviously-illegal military interference by ordering the Templars expelled from Kirkwall and later executing the knight-commander.  Then-Knight-Captain Meredith Stannard led the remaining Templars to storm the Keep and arrest Threnhold before appointing a weak viscount unwilling or unable to resist her control.

From Kirkwall: City of Chains by Brother Ferdinand Genitivi (Codex: History of Kirkwall: Chapter 4):

Taxes were crippling and Perrin Threnhold used the ancient chains extending from “the Twins” standing at Kirkwall's harbor—unused since the New Exalted Marches—to block sea traffic and charge exorbitant fees from Orlesian ships. The Empire threatened invasion following the closure of the Waking Sea passage, and for the first time, the Chantry used the templars to pressure the viscount. Until that point, the templars had done nothing to counter the Threnholds even though, as the largest armed force in Kirkwall, they could have. Knight-Commander Guylian's only written comment was in a letter to Divine Beatrix III: “It is not our place to interfere in political affairs. We are here to safeguard the city against magic, not against itself.”  The divine, as a friend to the emperor, clearly had other ideas.

In response, Viscount Perrin hired a mercenary army, forcing a showdown with the templars. They stormed the Gallows and hung Knight-Commander Guylian, igniting a series of battles that ended with Perrin's arrest and the last of his family's rule. The templars were hailed as heroes, and even though they wished to remain out of Kirkwall's affairs, it was now forced upon them.  Knight-Commander Meredith appointed Lord Marlowe Dumar as the new viscount in 9:21 Dragon and she has remained influential in the city's rule ever since.

Given that this was written by a Chantry scholar, the self-justificatory rhetoric surrounding the viscount and the Chantry-instigated coup ought not be surprising.  It appears, however, that in Kirkwall itself popular perceptions of Viscount Perrin Threnhold are in fact fairly polarized.

Whereas Brother Genitivi calls Perrin’s father Chivalry Threnhold “a vicious thug who took power through a campaign of intimidation” and Perrin Threnhold “even worse,” an unnamed servant writing 7 years after the coup paints a rather different picture (Codex: Viscount Marlowe Dumar):

What happened to Viscount Perrin Threnhold was a travesty. I served in the Keep, and my blood boils when I hear people call him a tyrant. He was a good man who tried his best to free Kirkwall from the control of those who use power for their own purposes. It's always been that way here, hasn't it? Long ago it was the Imperium. Then it was the Qunari, then the Orlesians, now the templars... when have we ever ruled ourselves? He tried to kick those templar bastards out and give us real freedom, and what did it get him?

Whether Threnhold was an evil tyrant or a nationalist hero (or both or something else entirely) is beside the point, however.  He was not overthrown for mistreating the citizens of Kirkwall; he was overthrown for opposing Orlais and the Templars (acting as an arm of Orlesian imperialism and in defiance of their official duties).  Seneschal Bran, himself no fan of either Threnhold or the Templars (and the only character to ever discuss the coup out loud), points this out in an easy-to-miss optional conversation in Act 3.

Hawke: What happens if they [the Templars] don’t like the [nobility’s] choice [of viscount]?

Seneschal Bran: Do you know how Viscount Dumar’s predecessor, Perrin Threnhold, left office?  He was a tyrant, certainly, but his rule was not ended until he actively sought to expel the templars.  “The good of all” is inexorably tied to what is good for the templars.

It’s unclear whether Knight-Captain Meredith was acting on her own initiative in toppling Threnhold or whether she received prior encouragement from the Chantry, but either way, what is certain is that the Chantry moved quickly to legitimize her actions and bolster the new order.  Moreover, the intent to seize power for the Chantry and its military forces rather than “liberate” Kirkwall from the depredations of a tyrannical viscount can be seen in the way they illegally imposed their own viscount (one kept submissive through threats of violence) rather than allowing the people to choose or at the very least following accepted selection procedures (i.e., allowing the nobility to vote on the next viscount). Indeed, this refusal to let the nobility select the viscount as per tradition is the basis of Orsino's protest at the beginning of Act 3.

In any event, Grand Cleric Elthina, as the highest-ranking representative of the Chantry in Kirkwall (appointed to her position by Divine Beatrix III herself around 20 years before Act 1) and thus exercising authority over its Templars, presided over the show trial at the end of which Threnhold was imprisoned and later murdered in his cell. Then she rewarded Meredith with a promotion.

According to the codex for Knight-Commander Meredith:

She is credited with removing the previous viscount, Perrin Threnhold, from his position after he attempted to have the templars expelled from the city in 9:21 Dragon.  The acting knight-commander was arrested and executed, and Meredith led a group of templars into the heart of the Keep to capture Threnhold. He was tried and imprisoned three days later by Grand Cleric Elthina and died from poisoning two years later. Meredith was subsequently elevated to her current position.

While merely implied here, Elthina is explicitly confirmed to have given Meredith the position of knight-commander in the first place in World of Thedas vol. 2 (p. 193):

Following Threnhold’s arrest, Grand Cleric Elthina appointed Meredith as the new knight-commander.  At Knight-Commander Meredith’s suggestion, a new viscount was chosen: a man named Marlowe Dumar.

Then in blatant violation of Kirkwall’s own laws and traditions -- again, dictating that the viscount be chosen by the nobility -- the Chantry had allowed newly-installed Knight-Commander Meredith to select the new viscount.  If approached in the Templar-occupied Viscount’s Keep and spoken to in Act 3, Seneschal Bran will explain:

Bran: When a line is judged unfit, or ends, we appoint from Kirkwall’s elite.  Or we would, if the situation was normal.  But it is not.

Hawke: Who nominates a new viscount?

Bran: A consensus of the nobility.  Normally.  And a willing nominee.

It seems to be the general consensus that Marlowe Dumar was chosen specifically because he was weak and willing to play the role of Templar/Chantry puppet (a subheading in Dumar’s WoT v2 entry even explicitly calls him “The Puppet”).  Meredith, after all, is not only responsible for his appointment but has been threatening him into compliance from the very beginning.

Again, Brother Genitivi writes quite bluntly: 

Knight-Commander Meredith appointed Lord Marlowe Dumar as the new viscount in 9:21 Dragon and she has remained influential in the city's rule ever since.

And quoting once more from the unnamed servant:

Now the Chantry has chosen Lord Marlowe Dumar as his replacement. After weeks and weeks of arguing, after telling the nobility that they would be choosing their viscount, after everyone saying it was time to use a new title—why not "king"? Why keep using the name imposed by the Orlesians? And after all that, the Chantry chose him. I suppose I can see why—everyone thinks he has the spine of a jellyfish, and it does seem that way.

Truly, he has the templars on one side, the nobility on the other, and everyone expects him to solve all their problems—yet he has no power to actually accomplish it. He keeps the peace as best he can, and I think he does a good job even if no one else does.

Likewise, to quote from Marlowe Dumar’s entry in World of Thedas vol. 2 (p. 184-185):

The new knight-commander, Meredith, appointed Marlowe to the seat, much to his surprise.  Just before he was crowned, he met in private with the knight-commander at the Gallows.  Marlowe was escorted, surrounded by grim templars, to Meredith’s well-appointed office, and there, she explained her reasons for the choice.  Kirkwall was filled with entitled degenerates... “With my help, you will turn this city around,” she said.  “We will be allies.”  Meredith’s message was clear: Remember who holds power in Kirkwall.  Remember what happened to Threnhold when he overreached.  To drive her point home, she presented Marlowe with a small carven ivory box at his coronation.  The box contained the Threnhold signet ring, misshapen, and crusted with blood. On the inside of the lid were written the words “His fate need not be yours.”  Marlowe ruled Kirkwall without incident for almost a decade, in no small part thanks to Meredith’s backing.  During his reign, the templars grew even more powerful, and the knight-commander’s influence was evident in almost every one of Marlowe’s decisions.

And from Meredith’s entry in WoT vol. 2 (p. 193):

Meredith presented Dumar with a carved ivory box at his crowning.  All present witnessed the viscount going white as a sheet as he opened it... It is not known what the box contained, but the reaction from Dumar made its importance to him obvious.  What is certain is that Dumar never openly or strongly defied the templars.  Over the course of his reign, Meredith’s grip on Kirkwall grew ever tighter, and Dumar’s failure to act absolutely contributed to the events that led to the mage rebellion.

According to Lord Bellamy, “a longtime political ally of Dumar’s” (p. 193):

“Dumar had a good heart.  A good heart and a weak will.  On his own he might have made a good leader, given time.  But he wasn’t on his own.  The knight-commander was always there, looking over his shoulder.  She let him know she was watching, that he wore the crown at her sufferance.  Meredith appointed him. This was a nobleman of only moderate wealth, with little influence.  She knew she could control him and there was little he or anyone else could do about it.”

Ultimately, the coup not only secured Chantry control over Kirkwall but furthered their (and the Orlesian Empire’s) geopolitical interests in the Free Marches as a whole. After all, the “Free Marches is [sic] best known as the breadbasket of Thedas. Its farms along the banks of the great Minanter river are the source of much of the continent’s food” (World of Thedas vol. 1, p. 65), and as with many a real-world “breadbasket,” its natural abundance and misfortune of lying between multiple empires had made it the target of one invasion and occupation after another. After the slave revolt of 25 Ancient toppled the Tevinter Imperium’s hold over the region (see Codex: History of Kirkwall: Chapter 2), the city-state of Kirkwall fell to Qunari invasion in 7:56 Storm, then invasion and occupation by the Orlesian Empire in 7:60 Storm, and finally gained its independence about 45 years later in 8:05 Blessed (see Codex: History of Kirkwall: Chapter 3). Prior to the Chantry-instigated coup, Kirkwall had enjoyed independence under a locally-chosen viscount for around 115 years, with Viscount Perrin Threnhold himself ruling for 7 years.

Other city-states of the Free Marches have likewise fallen under the Chantry’s sphere of influence (if not outright control):

Starkhaven is ruled by the Vael family. According to the codex for The Vaels, “They remain devout, dedicating at least one son or daughter per generation to become a cleric in the chantry.” The sole potential heir to the throne of Starkhaven is of course our DLC companion Sebastian Vael, “The Exiled Prince.” To quote from his first codex: “Sebastian Vael is the only surviving son of the ruling family of Starkhaven, which was murdered in a violent coup d'etat. Sebastian cannot forget the irony that he still lives only because his family was so ashamed of his drinking and womanizing that they committed him to the Kirkwall Chantry against his will… Since then, his belief in the Maker and His plan for Thedas have been unshakable. Embracing his new role, Sebastian took vows of poverty and chastity to become a sworn brother of the Chantry... until word of his family's deaths forced him to take up worldly concerns once again.” Elthina appears to have been playing mind games with Sebastian from the very beginning -- first she agrees to have him confined in her Chantry, then poses as a secret benefactor helping him escape from her clutches, with the revelation of her identity as said pretend benefactor leading him to embrace her authority and the life of a Chantry brother with genuine enthusiasm (see the Sebastian short story or his WoT v2 entry for details).  After his family’s murder, Elthina urges him to remain with her rather than reclaim the throne.  Yet when he gives up on seeking the throne and actually does attempt to return to the Chantry during “a crisis of faith,” he is “turned away by Grand Cleric Elthina, who believed he had not yet committed fully to either course” (see Codex: Sebastian - The Last Three Years), leaving him confused and even more under her thrall than ever.

Ostwick is dominated by the devout, staunchly pro-Chantry Trevelyan family. According to the codex for Trevelyan, the Free Marcher: “It is an old and distinguished family, in good standing among its peers, and with strong ties to the Chantry. Its youngest sons and daughters—those third- or fourth-born children with little chance of becoming heirs—often join the Chantry to become templars or clerics.”

Tantervale is certainly... special. According to WoT vol. 1 (p. 71): “Chantry rule is all but absolute in Tantervale, earning the city its dour reputation. The city guard is obsessed with enforcement. A street urchin would get a year in the dungeon for something that would get him a pat on the back in Orlais” (p. 71).

But let us return to Kirkwall, shall we?

"The Puppet”: The Reign of Viscount Marlowe Dumar (9:21-9:34 Dragon)

Viscount Marlow Dumar’s status as an impotent tool of the Chantry and its Templars appears to be common knowledge in Kirkwall.  Various characters, from city guards to lowlifes like Gamlen, casually refer to Meredith as if she is head of state and defer to her authority.

Immediately upon approaching the gates of the city in the first quest of the game, The Destruction of Lothering (Act 1), the following exchange occurs:

Guardsman Wright: So Knight-Commander Meredith wants us to sort you all out. Most of you are getting right back on your ships, though.

Hawke: That's a templar title. Why would a city guardsman answer to the templars?

Wright: We don't answer to her... but she's the power in Kirkwall. Don't know what would happen if the viscount went against something she wanted... But he's sure never taken that chance.

Likewise, if asked about “the word on the street,” Corff the bartender remarks as early as Act 1, “People say Meredith's the real power in Kirkwall, not the Viscount. Even Dumar answers to her.”

Ordinary citizens appear terrified of Meredith, and with good reason.  During the quest Enemies Among Us (Act 1, set in 9:31 Dragon), we get the following exchange with the sister of a Templar recruit:

Macha: I pleaded with him not to join the Order, but he wouldn't listen. You hear dark rumors about the templars and Knight-Commander Meredith. And now my brother is gone.

Hawke: (“Are templars so bad here?”) In Lothering, some templars died protecting villagers. I never heard any dark rumors.

Macha: And those are the stories my Keran adored. But it is not like that here, serah. There is a growing darkness in the order. They prowl the streets in packs. Hunting. And now, they say their duties put them above us, that they have the right to... take people from their homes. It is frightening.

Hawke: (“Tell me about Meredith”) What do people say about Knight-Commander Meredith?

Macha:  Oh, she has many admirers. They laud the service she does in keeping the mages in check.  But others say she is terribly fierce and utterly without pity. That she sees demons everywhere.  It is dangerous even to whisper such things.  People harboring escaped mages just disappear.  Templars interrogate and threaten passers-by.  My friend has a cousin who’s a mage, and she says he was made Tranquil against his will.  You hear more with each passing day.

Of course, Knight-Commander Meredith’s reign over the Gallows was notoriously brutal long before she came into contact with Red Lyrium.  Writing 3 years after the coup (but 7 years before Act 1), in 9:24 Dragon, Brother Genitivi remarks that "Kirkwall has been a tinderbox since becoming the center of templar power in eastern Thedas." As early as Act 1, mages in the Gallows can be heard crying out, “This place is a prison,” and “Knight-Commander Meredith would kill us all if she could.”  When asked if mages are imprisoned, the guardsman replies, “Used to be, back in the Imperial days. They kept slaves here until the rebellion. Now the templars run it and use it to lock up their mages. Guess not much has changed” (The Destruction of Lothering, Act 1).  Karl Thekla’s final letter before being turned Tranquil (with such illegal uses of the Rite having been repeatedly reported to Meredith) “said the knight-commander was turning the Circle into a prison. Mages are locked in their cells, refused appearances at court, made Tranquil for the slightest crimes” (Tranquility, Act 1).  If Hawke questions the truth of these accusations, Anders responds, “Ask any mage in Kirkwall. Over a dozen were made Tranquil just this year. The more people you ask, the worse the rumors become.” (Elthina also appears to be aware at least to some extent of the subsequent ambush, in which a Tranquil Karl was used as bait to ensnare his former lover).

According to the short story Paper & Steel (focusing on Samson): “Under Meredith, freedom was a cruel dream for Kirkwall’s Circle mages. They were often locked in their cells, watched night and day by templars who were told any step out of line was suspicious. All those young magelings, told that magic was a curse, that they were dangerous, and that they had to be shut indoors all their lives looking out through those windows. Some went mad. Others, mad or not, tried jumping.”  And from First Enchanter Orsino’s entry in World of Thedas, vol. 2 (p. 195): “Every time a mage died by their own hand, Orsino would hear Maud’s final words to him: 'This is no life.’ The templars didn’t seem to care about the suicides. Most had the courtesy to say nothing at all, but some would snigger when they thought no one was listening. 'One less to worry about.’ ‘The only good mage is a dead mage.’ Orsino’s anger at the templars grew...” (Note that this began long before Orsino became first enchanter in 9:28, three years before the start of the game). It's also worth noting Knight-Captain Cullen Rutherford quite explicitly attained his position as second-in-command of the Kirkwall Templars position because of his anti-mage extremism, later including violence against those perceived as mage sympathizers and their families.

To name more specific abuses, the Gallows features whipping posts (with dialogue confirming the reliance on whipping) and multiple other medieval torture devices, including a rack, a pillory, and iron maidens.  We also see numerous references to casual beatings, sexual assaults, forced Tranquility and facial branding, long-term confinement in dark cells, and permanent family separation (e.g., Emile du Launcet).  Escape attempts are typically punished with summary execution, according to multiple sources (e.g., Ser Thrask, Ser Karras, Grace). According to Ser Thrask, the most sympathetic Templar (besides Carver), kindness to mages would be a "badge of shame" among among his colleagues. For more, I recommend checking out the “DA2 mage rights reference post” by @bubonickitten​. Again, note that these are cruelties largely occurring prior to or during Act 1, long before Meredith started going insane due to Red Lyrium.

If Feynriel is forced into the Circle at the end of Wayward Son (Act 1), the ex-Templar Samson says, “I hear they got your boy Feynriel locked up in the Circle. Bad business, that. It ain't all templars that're bad. It's hard luck being born a robe, but most places, they make it work. That bitch Meredith runs the Order in this town like her private army. You don't toe the line, you end up on the next corner here in Darktown.  I don't think you got to hate mages to love the Order.  But Meredith don't agree.” Samson, it should be remembered, had been expelled from the Templar Order for passing love notes from the mage Maddox to his lover.  For the crime of “corrupting the moral integrity of a templar,” Meredith ordered Maddox turned Tranquil.  According to Cullen in Before the Dawn (DAI), “Knight-Commander Meredith wielded the brand for far lesser offences, believe me."

Ordinary citizens appear to be well aware of at least some of Meredith’s reign of terror in the Gallows, given that various NPCs (including some who do not personally know any inmates) will refer to it.  During Tranquility (Act 1), for example, a mob of Ferelden refugees threatens the party over fears that the latter intend to turn in “The Healer of Darktown” to the Templars. One exclaims, "We know what happens to mages in this town.  And it ain’t gonna happen to him." Moreover, the knowledge is sufficiently widespread as to have reached faraway countries.  A note dated 9:35 (set between Acts 2-3) from a mage of the Hossberg Circle in the Anderfels expresses utter horror: “I have heard that in the Kirkwall Gallows, mages are locked in their cells with barely room to stretch, let alone exercise.  I can promise you that any mage of the Anderfels would be stark raving mad after a week of such treatment... No wonder Kirkwall has such trouble with blood mages” (WoT v2, p. 173).  

And through all of this, Meredith has the support of the Chantry and more specifically Grand Cleric Elthina.

Not only did Elthina appoint Meredith to her position in the first place (WoT v2, p. 193), but if asked her opinion on Meredith in Act 1, Elthina snaps, “Gossip is a sin, child. Knight-Commander Meredith has an admirable devotion to her duties. It is not my role to form opinions on her character.”  An odd statement to make about a subordinate, since Meredith reports to her directly (as knight-commanders legally do to the nearest grand cleric).  The codex for Knight-Commander Meredith confirms at as of the end of Act 2, “she enjoys the grand cleric's full support and has free rein in Kirkwall as the commander of its most powerful military force.”  According to Elthina’s codex, many claim that Elthina “allows Knight-Commander Meredith more leeway with each passing year.”   According to World of Thedas vol. 2, which tries to put a more positive spin on Elthina’s role, her detractors “say her stubborn refusal to exercise her Chantry-given authority allowed the conflict between the templars and mages to escalate, finally resulting in the disastrous mage rebellion of 9:37 Dragon... Since Elthina was loath to exploit her authority as grand cleric, she refused to order either the mages or templars to stand down when tensions flared.  Many believe that she could have forced one side to retreat by showing her support for their position, but Elthina refused to take sides” (p. 196-197). This is at best an abdication of responsibility to dependents for someone intent on remaining in power.

Moreover, Elthina’s dominance over Kirkwall appears to depend in large part on at least appearing to manage Meredith and her troops.  According to her codex, “People frequently turn to her to mediate disputes—particularly those involving the powerful Templar Order, over whom she holds authority as the Chantry's ranking representative.” So Meredith as military leader rules both the Circle and the city-state through fear and violence, while Elthina maintains her power by playing Good Cop to Meredith's Bad Cop. Both then maintain a pretense of legality and legitimacy by fronting Viscount Dumar as the public face of the regime.

And this dual-power system works quite well for them -- at least until Meredith starts losing her mind under the influence of the Red Lyrium idol.

[A link will later be provided for Part 2 on Escalation and Direct Rule. If I ever do get to it 😭😭😭]

[laurelsofhighever]

A list of potential cures for the Calling, that we know about, that BioWare has apparently forgotten

Andraste's grace: it's not specified whether the flower the kennelmaster has you pick in the Korcari Wilds is Andraste's grace or if the game just needed a one-off asset and decided to reuse one they already had. However, in the dark future in DAI, Leliana is found to have unusual tolerance for the taint, and in DAO she talks about her mother pressing her laundry with dried Andraste's grace flowers, so it makes you wonder. Anyway, the flower stops Barkspawn becoming a ghoul and seems to make them immune to the taint from that point on.

Maric's longsword: he finds it in the Deep Roads and is suprised it isn't covered in the same Blight-rot as everything else - until, that is, he touches the sword to a patch of it and sees it wither away. Whether it's the dragonbone the sword is made of or the runes on the blade is difficult to say, though if it was just the dragonbone then it would make sense for that to be a more well-known property of the material (and would have been an interesting reason for why dragons were hunted to extinction). If Alistair carries it with him, doesit slow the progession of the taint through his body? Does he know its effects, and give it to the HoF to help keep them safer on their journey to find a permanent cure?

That obsidian dagger Duncan finds in The Calling: the dagger belonged to First Enchanter Remille - who also gave the expedition members brooches that accelerated the spread of the taint. iirc the both the dagger and the brooches are made by the Architect with Blight magic, which means the darkspawn magisters have more knowledge of how the Blight works than the Chantry attributes to them.

Whatever the fuck is going on with Avernus: he hasn't managed to cure himself yet, but he's managed to make it to 200 and the Warden can let him continue his experiments if they don't kill him - and he'd be a really useful resource if the Warden later wanted to send him other potential cures for testing.

Dragons: they have an ability to isolate the Blight in their bodies by forming crystaline cysts around the initial infection to stop it spreading. Useful if it can be more widely applied. Also, it's implied that Maric's reaver blood, which Calenhad gained by mixing his blood with a dragon's, is what somehow cured Fiona of the taint, kinda like a reverse STI, BUT in the Deep Roads they went through an area where the walls were coated in a pale, chalky substance suspiciously devoid of Blight-rot and she touched it, so I'm a bit suspicious of that.

Blood magic: makes sense since the taint is a problem that starts with infected blood. There are two major instances in DA canon where blood magic has been used to purge the taint from an object or being (both by elves btw). The first is Isseya using it to draw the taint out of a clutch of unhatched griffon eggs, which she says is only possible because the taint hasn't yet taken over the hatchlings' bodies to the same extent that it had with the adult griffons. The second instance is Merrill purging the Blighted eluvian in DA2. It's insane that Anders - who is a reluctant Warden and who possibly knows the HoF seeks a cure - isn't more excited about this. She literally removed the Blight from a fully tainted object. Since Isseya proved the same can be done with living tissue, it's probably the closest we've come to an actual cure, but since it also took years there's no telling if it could be a practicaly solution for all Wardens

[rederiswrites]

Saw a post in passing saying that op hoped the advent of Lucanis, treasured "prince" of the Crows, wouldn't lead to the sanitization of the Crows. The group that we know most as the one that buys children, tortures them so severely that many of them die, and then uses them as assassins that die if they fail.

And I don't know man, I don't think that's a big worry. Like, could they? Sure. But nothing about Lucanis' story or the other story in Tevinter Nights that revolves around Crows does that. It just gives a top-down view of the Crows, not a bottom-up one.

The Crows were always, in theory, an outgrowth of a group that tried to uphold Justice and the Antivan Way, or whatever. It was always Antiva's shadow military. That's not new lore. It's not surprising to find Crows that believe they're righteous.

And Lucanis very much was beaten and abused. His grandmother trained him, and she used beatings and the withholding of food and water in doing so. He doesn't seem to have much faith in the Crows as an agent of good. To quote from the Wigmaker Job (Tevinter Nights),

Illario: "This isn't Antiva. We're not heroes here." Lucanis: "We're not heroes anywhere, cousin."

and later:

The Antivan Crows were assassins not freedom fighters. Back home, people liked to romanticize, but Lucanis knew what he was.

Before, we saw the Crows from Zevran's perspective, and he started as the lowest of the low. Now, we have Lucanis, favored child and heir apparent. It's an entirely different viewpoint. And yet it's the same organization as it always was. It still uses torture and coercion, even on the highest of its members.

[rachelamberish]

Just finished inquisition and found this fucking bullshit after the coryphipiss fight

(In regards to the orb being destroyed and solas despairing that it’s irreparable:)

LAVELLAN: “Are you sure? We could take the pieces, try to…”

SOLAS: “That would not recover what has been lost.”

No im sick like im actually sick trick weekes you are sick in the head for this one bc its so innocuous but it is also both of their character thesis statements in two lines fuck off.

She just wants to help him build a better world but he can’t. He can’t see the forest through the trees he is so stuck in his guilt and regret that he cannot process or move on from in any constructive way that he just won’t let. Anyone. Help. Him.

“I have to be a martyr. It’s what I deserve.” NO! YOU! DON’T! There are people LINING UP out the door to give you lifelines and you take NONE of them because your brain is so unfathomably traumatized over this thing you’ve done that has effected arguably for the worse the lives of every single person who has ever lived that it is actively refusing to do anything but hit the reset button. It rejects any other solution because any other solution means that it’s real and he has to live with it.

He can’t bear to look at an orb that’s been glued back together because it reminds him that he is the reason it’s broken. So better to just throw it out and start over.

[dirthenera]

I want to talk about Emmrich’s costume- as a professional costume designer. (GIF by @hawke , thank you! It’s so beautiful 😍)

In preparation for DAV, I’ve been watching Vincent Price movies. In two specific movies, I’ve seen elements of Emmrich’s costume.

The first is The Fall of the House of Usher. In it he wears a long, dramatic, red velvet coat that is just… SO sexy. I mean… I’m normal about clothing

It really reminds me of the ✨ drama ✨ of the intricate red leather details of his coat. The vibes match- though the details don’t quite. The oversized collar, yes, but they traded velvet for leather (which makes sense for a video game)

The next is the emerald green captain’s coat in War Gods of the Deep. The color has been carried over, along with the fold over lapels with the round details and even the lines on Emmrich’s coat that mimic the trim lines.

I even see some Doctor Strange influences- which is very interesting because Vincent Price was the inspiration for the character originally. It may also throw some interesting meta towards the theory that one of his hands is messed up.

But back to those two specific movies- though Vincent Price has been in many movies involving death, those two are the roles where his characters knew they were dying and didn’t try to run from it- the ones where they face and embraced death instead of trying to cheat death or fight it.

Like Nick Boraine, his VA, has stated multiple times as being his favorite aspect of Emmrich. That he doesn’t see death as something negative, that he embraces and sees the beauty in it.

I’m very curious to see if there are any other parallels between these characters and Emmrich once we get to play the game. If you’ve seen any of his movies I haven’t and noticed another parallel, please add to this post!

[kcwriter-blog]

I've been thinking about how we the players know so little about Solas compared to what the writers and developers know about him and how that affects the way he is written.

I mean we know he is an ancient elf. We know he was powerful enough and skilled enough to create the Veil. We know he and Mythal were friends. He doesn't seem to have liked Andruil and Falon'Din much. Skyhold belonged to him. He removed vallislin. He tried to free slaves. He had kind of an underground railroad thing going. He seems to have had a lot of money secreted away. He painted even back in Arlathan. A lot of statues seem to have been made of him. People in the Vir Dirthara knew he created the Veil but were surprised that he would do something like that. He seems to have always had an affinity for the Fade and spirits. He enjoyed whatever version of the Game nobles in Arlathan played. He was cocky and hot blooded, always spoiling for a fight. He is capable of love and friendship.

I think that's all and it really isn't much. Everything else anyone says about him is pure speculation. It makes meta fun but its easy to get too caught up in our own ideas.

We speculate about him based on things we learn from his personal quests and what we see in Trespasser but we don't know anything for sure. Was he a slave? Was he a spirit called out of the Fade by Mythal and given a body? Did he manifest a body like Cole? Was he just a normal elf born in a small village to the north? Was he a noble and privileged or did he work his way up? Did he join the fight against the Titans? Was he a genius who theorized that the waking world and Fade could be separated? Did he use untried magic because his back was against the wall and he couldn't think of any other way to save the world? Was he a friend of the Evanuris so they trusted him enough to fall into his trap? Was he one of them?

So many questions. The writers have tried to portray him sympathetically. They want us to empathize with him. And I have to ask myself why? He is one of the antagonists. Wouldn't it be easier to portray him as not having any redeeming qualities? And yet, he is basically described as the hero who lived long enough to become the villain.

I know his detractors believe he is a genocidal, racist maniac but that doesn’t track with everything we learn about him as high approval or romanced Inquisitors. It certainly isn’t born out by his statement that he is doing his best to minimize the damage.

He truly believes what he is doing is best for the world and is willing to break it and remake it. What does he know? But more importantly, what do the writers know? Fen' Harel has existed since Origins. Devs have always planned for him to make an appearance. That means the valleslin has always been a mark of slavery even if the Dalish didn't know. The Creators have always been horrible, slave owners even if the Dalish don't remember. Which means Solas has always been the rebel fighting for what he believes is right.

Why do the writers see him not so much as the villain (although Epler uses that word constantly - he is usually the only one though) as they do a somewhat noble person who keeps making mistakes? Why is he portrayed as just a sad man who can't see past his regret and guilt. What was he like? What changed him? What did he know about the Veil before he put it up?

I get that a lot of people don't like the idea of being tied to him in Veilguard but maybe the writers did that so we have no choice but to get to know him - the good and the bad. Maybe we finally get to know Solas the way the writers and developers know him. I'm looking forward to that.

[knife-eared-jan]

Not to completely devolve into obsessive posting about Solas, but as an autistic, listening to that banter between him and Cole where he talks Cole through his overwhelm from being in the material world and telling him to focus on bodily sensations etc to ground him... it's impossible not to read that as him helping him through an autistic meltdown.

And the way he does it, so understanding and gentle and then reassuring him that he has nothing to be ashamed of. That it can be overwhelming for anyone.

Cause shame when you come down from it is usually a big part of it. Like maybe even the worst part of it in my very personal opinion, if someone else witnessed it. And to have thst someone be like, it's completely fine. This is not something you need to apologise for. You're not broken for experiencing this.. yeah.

I just wanna smooch Solas so bad for that. No matter how often I hear that particular banter, I almost tear up every time.

[ammoniteflesh]

Inspired by this post (WHICH, BE WARNED, CONTAINS DA4 SPOILERS).

Varric is a writer. In all writing - but especially fiction - you really benefit from specificity. Small details. Individual circumstances. The reader's mind latches onto it much more effectively, that way.

Varric does not see the big picture. He sees specifics. He doesn't see the plight of mages, or the threat posed by magic. He sees his friend Hawke, and what they thought. Where Bartrand saw all of Orzammar, Varric just saw plates.

Varric doesn't believe in things. He doesn't care about ideology, he doesn't have a vision for the world. He believes in individuals. He cares about his friends.

Which is the real tragedy, right? Because the people Varric cares about... they *do* believe in things. They won't make Varric their yardstick for how the world should be. They won't choose Varric over their cause. They won't be content with how things are.

Being Varric Tethras is watching the people you care about turn away from you for reasons you will never comprehend.

[quitefair]

The Temple of Mythal and Greek Sculpture

Or: How Bioware takes from history without any nuance.

--

Picture this. You're me, playing Inquisition for the first time. You get to the Temple of Mythal, the doors shut behind you and you finally get to look around. It's a typical elven ruin for the game, nothing much seems different...

Hold on.

Hold the fuck on.

You know what that is.

You know what that's based on, and for a long time after it tickles you. Oh, maybe that meant something in the grander scheme of things! We've never seen such a blatant reference to a real-life sculpture anywhere else in game (to my knowledge at the time)! Maybe it'll come up later and it'll all make sense!

Here's the deal. I've been bothered by this for years. The more I think about it, the more angry I become. Anger over a single fucking type of statue, you say? There's a lot of other shit to be angry over in this game, and you choose this?

YES! I CHOOSE THIS! AND THIS IS WHY.

--

Picture this. You're me again, aged 14 this time. You're in the Louvre, the first museum of Western classical art you've ever been to. You've grown up in a place where this interest could only be cultivated from extra-curricular reading, and for a kid that age from my country to be ass deep in Greek and Egyptian myth is frankly lmao. Neurodivergent. Anyway.

So we're wandering around the Louvre, I've just taken my parents through the Egyptian section and given them a thorough infodump on everything I know about burial rites.

And then we enter this room. And I very nearly fall to my knees when I catch sight of her.

This is the sculpture the statues at the Temple of Mythal are based on - one Winged Victory of Samothrace.

She is a sculpture from the Hellenestic era, depicting the goddess Nike stood at the prow of a ship. Her head and both arms are missing, save one hand with two fingers (also in the Louvre but displayed separately). She was found on the Greek island of Samothrace, among the ruins of what was known as the Sanctuary of the Great Gods. It seemed like she was displayed at the top of a hill, looming down at all that regarded her.

I’ve had the absolute privilege of seeing her in person twice in my life, both before and after the 2013 restoration. And let me tell you, regardless of which staircase that leads you there, the sight of her will stop you in your tracks.

[Now with people, for scale.]

She is massive. Larger than life, and immediately is the centre of your attention. It's not the fact that she has no head, no arms. No, you will realise the closer you get to her, the more you're able to appreciate the details of this absolutely astounding piece of history.

No. It's because she feels so alive.

The way her robes drape against flesh, wet from sea-spray or rain, yet flowing with the motion of an invisible wind. The wings cast behind her dramatically as her right foot steps forward. Standing tall and proud, unflinching, unbowed against the elements. Even without her arms, you can feel how dynamic the torso and legs are.

You don't need to be an art historian, or even have any knowledge of Greek myth or art history to stand in front of her, as I once did as a young teen, and nearly be brought to tears.

So.

This brings me to the first of the two main gripes I have with the way this sculpture is used in Inquisition.

Compared to the way she's displayed in the Louvre, and also presumably how she was presented to her original audience - larger than life, looming, powerful, beautiful - she is relegated instead to smaller, repeating statues of the same nature throughout the temple.

This diminishes the purpose of the original sculpture, which was to instill a sense of awe and wonder. The singularity that forces you to focus and appreciate the scale and intricacy. The aura, the gravitas of having a single, massive sculpture of such a dynamic figure is completely gone.

And to make things worse, they Mythal-ify her. Adding a helmed head and changing her beautiful feathered wings to leathery dragon wings. They don't even add arms, which is odd because the original sculpture very clearly is missing its arms.

And, may I ask, Why?

It feels cheap, like they saw the Winged Victory and were like 'oh shit this is a cool sculpture, we should add it in game' without giving any fucking thought to what the sculpture means.

Which brings me to the second gripe. The complete disregard for the symbolism of the Winged Victory.

Detail from the Athena fountain, Parliament Building of Vienna, showing Nike the Winged Victory in the palm of Athena's hand [source]

Nike is a minor Greek deity, said to be the daughter of Pallas (a Titan) and the river Styx. Her other siblings by the same parents include Zelus (Zeal),  Bia (Might) and Kratos (Strength).

Yes. That Kratos.

She was one of the earliest gods to pledge her allegiance to Zeus in the Titonomachy, and after the victory of the Olympians, Nike and the other gods that allied with them were allowed to live on Olympus. In her aspect as Victory, she is closely associated with several of the major Greek gods, and in particular, Athena.

There's also her Roman counterpart, Victoria. This version doesn't come with the backstory Nike has, but is more of a general concept of victory. This is the aspect that is present in a lot of the modern sculptures and interpretations of Nike/Victoria:

Left: Detail from the Berlin Victory Column. Right: Detail from the Victoria Memorial, London. Note the similar iconography, of a woman seemingly standing against a strong wind, fabric and cloth adhering and yet flowing against the breeze, wings outstretched.

From this, we can probably extrapolate what our beloved Winged Victory might've looked like. Here's an artist's render of one possibility:

There's some iconography we need to go through before moving on - symbols that are commonly associated with Nike/Victoria.

One is the trumpet as see in the reconstruction above, the sound and symbol of the end of war, of impending peace. Another is the laurel wreath, another Greek symbol of victory and achievement. Famously, laurel wreaths were used to crown victors of the original Olympic games.

This is another conversation entirely, but there’s a discussion to be had about the duality of Elgar’nan and Mythal, in term of vengeance and justice, and how an emotional rage versus a calculated wisdom can be compared to the difference between the two Greek gods of war – Ares and Athena.

If we can compare Mythal to Athena, in the sense of her wisdom in making difficult decisions, then it’s not a stretch to associate Mythal with the symbolism of Nike, and therefore explain the presence of statues similar to the Winged Victory in her temple.

But since Bioware absolutely did not put this in the game for anything other than the Aesthetic, there’s some problems that need to be addressed.

Mainly in the way in which these statues are scattered throughout the temple. If you wanted static, ominous statues to line the walls as your player characters explore, perhaps have like, I dunno. Less dynamic statues that you reference?

Left: Nike of Paionos, Right: Stele 1 of Las Incantadas

Or maybe instead of statues, have friezes lining the walls. Like this one from the equally iconic Pergamon altar, depicting the Giganomanchy.

It’s the same symbolism, the wings, the smiting of foes and victory of good over evil.

And then perhaps, at the heart of the temple... where, y'know Bioware, lay a body of water sacred to Mythal herself, you could've perhaps done something remarkable. You could then have had the most dramatic and beautiful entrance you’d ever seen.

[Nike, at the iconic Daru Staircase, the Louvre]

It was at this moment that Mythal walked out of the sea of the earth's tears and onto the land. She placed her hand on Elgar'nan's brow, and at her touch he grew calm and knew that his anger had led him astray. - Codex entry: Mythal: The Great Protector

Mythal herself strides out of the Well Of Sorrows, the metaphorical tears of her followers that died and kept their knowledge alive in her name. Her (draconic) wings spread out, (restored) hands outstretched to touch her husband, to calm the rage that nearly destroyed this world.

A symbol of victory against the blind rage of a god against His father, the Sun. A symbol of wisdom and grace, against the violence of hatred. A divine sense of something bigger than anything we could imagine.

There's also the lack of iconography regarding victory, instead piling on some cheap representations of what we think of as Mythal. That's another post entirely on the symbolism of the Elven gods, but if Bioware really wanted to hone in on the Athena/Athena Nike parallels, they might have thrown in the trumpet/laurel/palm leaf symbolism with the statues, alongside the dragon wings.

If this were the case, then maybe, just maybe, Inquisition would’ve then earned the use of this sculpture in the game.

Sources not listed above/Further reading if you're interested

https://www.louvre.fr/en/explore/the-palace/a-stairway-to-victory

https://www.worldhistory.org/article/1412/winged-victory-the-nike-of-samothrace/https://smarthistory.org/nike-winged-victory-of-samothrace/

https://smarthistory.org/nike-winged-victory-of-samothrace/

https://www.khanacademy.org/humanities/ancient-art-civilizations/greek-art/hellenistic/a/nike-winged-victory-of-samothrace

[justcallmecappy]

One of the criticisms I've seen DA players have in response to Anders' actions at the Kirkwall Chantry is some degree of, 'his actions forced innocent mages into a war they had no choice whether or not they wanted to be involved in'.

What a lot of these players seem to miss is this: The mages were already involved. They have been involved since childhood, when their magic manifested.

If you are born a mage in Southern Thedas, you are marked. The Templars will find you, or your neighbors who were conditioned by the Chantry to fear magic will turn you in, and you are brought to the Circle where you are at risk of Tranquility, or Annulment, and subjected to a Harrowing. Your children born to you in the Circle will be taken from you to be raised in a Chantry orphanage (like Wynne's child was). You are not allowed to get married, or start a family, or own land. You are not allowed to leave your Circle ever, unless conscripted to fight in the army (like in the Fifth Blight) or fulfilling some whim or need of those in power (like Malcolm Hawke being made to entertain nobles at a party). You might be thrown into the dungeon and left to starve to death, like the mage child Cole (and other mage apprentices of the White Spire) did. You are at risk of physical and sexual abuse, like the mages of the Gallows were.

Innocent mages were already involved. They were already being killed, they were already fighting for their lives for centuries since the inception of Circles, long before Anders' actions.

Also, in the case of the Gallows specifically, Knight-Commander Meredith had already called for the Annulment as early as the beginning/mid of Act 3. The mages' lives were already in danger, even before the Chantry was destroyed.

Anders tried for six years to make people listen and show how magic is not meant to be feared and can be used for good -- by publishing a manifesto, by providing free magical healthcare in Darktown -- to bring people's attention to the plight of mages and change things for the better. It took the imminent threat of his people being slaughtered wholesale for him to resort to what is aptly titled 'The Last Straw'.

If players want to blame anyone for subjecting mages to a conflict they did not want, look no further than the Chantry and their system of exploitation and oppression over the mages. Put blame on the Chantry for forcing mages into lives they did not choose, and asserting methods of culling and control over them, simply for how they were born. It was the Chantry that gave them no choice whether or not they had a say in staying alive or dying.

And if DA players would still say that the mages could have tried for a more "peaceful route" to alleviate their circumstances (despite seeing how Anders' manifesto, his Darktown clinic, and years of trying to negotiate with Elthina failed and Meredith was calling for Annulment anyway): very rarely do the oppressed win change by pandering to the morals of their oppressors.

Innocent mages were already suffering and being murdered in droves, for centuries. Innocent mages were already involved in this struggle, whether they wanted to be or not. And Anders' actions at the Chantry was like a rallying cry: If we're going to die anyway, then I'd rather die trying to take them down than giving them what they want.

(Also, I have not yet gone into detail on what actually started the mage-templar war, which was the Seekers hiding the cure for Tranquility, and Lord Seeker Lambert's decision to dissolve the Nevarran accord and take the Templars hunting for the free mages across the countryside because he decided dead mages were better than free mages -- because that's a whole separate post.)

[ladyofc]

[veilkeeper]

okay minor DA:V spoilers regarding that one passive on the skill tree

....

but i think the mortalitasi passive that is literally just blood magic is actually a really interesting look at how the chantry has to make exceptions to their own ideology in order to maintain its hegemony. like i know some people are upset about it because it's just blood magic under another name, but let's play in this space for a second.

in orlais, ferelden, even the free marches, all blood magic is a hard no. using your own blood to power spells is the territory of maleficars, if you get caught you're fucked. but in nevarra, where the mortalitasi and the associated funeral rites are very important culturally, exceptions are made. so even though it is in direct conflict with some really important ideas about acceptable magical practices and the nature of spirits, the chantry sort of has to strategically loosen the reins in order to maintain some amount of power and presence in nevarra.

they do a similar thing with the seers in rivain, too, where people are allowed to practice "hedge magic" (and even let spirits possess them, as is indicated by some codex entries), because they know that trying to stamp out those cultural practices will just lead to stronger opposition to the chantry overall.

it's sort of interesting to see where the chantry forces assimilation and where they take a backseat and let some things go. it's especially interesting to see where that intersects with cultural ideas around magic and spirits.

[rederiswrites]

Why have I never thought about what the archdemons' goal was with the Blights until just this moment?? With all the evidence we have that they're probably thinking beings, somehow I still had that Origins brainrot, thinking of them as having really no more than animal cunning, like the other dragons we encounter. But there's so much reason to believe that they're more than that! So what are they actually trying to DO with the Blights??

That's a rhetorical question. We don't know the answer. I just can't believe I never asked it before.

[lafaiette]

DA: Veilguard spoilers below.

Is the Caretaker referring to a figure we don't know yet, one of those champions of the gods mentioned in Trespasser?

Or, since this part of the Crossroads is Solas' domain, they are referring to Solas, meaning he was an important soldier fighting for the gods' cause and solving their squabbles? (Perhaps Mythal's own champion?)

Solas is apparently depicted in one of the "regret" murals of the Lighthouse, although we still don't know if the figure on the right is really him.

The scene seems to depict the Evanuris' ascension after "pillaging the earth" (mining Titans for their lyrium and hearts), with Elgar'nan's voice cruelly claiming the elves need "gods who can protect them".

The interesting thing is that Solas says "We". "We are not gods."

In Trespasser, we discover that the Evanuris were first generals fighting in a war, and only later started acting as gods.

That "We" implies Solas was part of the Evanuris, meaning he was seen as one of them; if he really was one of their champions (like Shartan was for Andraste), perhaps he was rewarded for his efforts in their war with power and influence, and allowed to be part of their group, while maintaining that vague figure of "outsider" Fen'Harel is still famous for - a giant wolf guarding important places and temples, being a sentinel, honoring Mythal, and visiting dreams.

[detectiveneve]

one of those things that's really striking and interesting to me is how often it's simply not addressed when discussing low approval Solas + inquisitor that Solas is, in many ways, acting out his role as the fantasy trickster god. he comes to you in a very humble format; an apostate mage elf, which in the social dynamic puts him veeeeery low on the podium. one of the first things he does in his first conversation is address the fact that HOPEFULLY, the Inquisition will remember who helped, and who did not -- because it is a very real possibility, again, in the context of the social dynamic, for him to be fucked over supremely by the inquisition -- to put him back into a circle, etc. once it's over. of course, Solas knows, and we the player know, that this will never happen, because he's Fen'Harel and such and such. but when interacting with him IN GAME? that social dynamic is vital to understanding why Solas acts the way he does around you. it's fairly easy to rack up approval--simply make the effort to consider a perspective other than your own, a perspective from someone who society has deemed very low (elven mage). slam him down and be belligerent? it only confirms that the leadership here is rooted once again in power hungry individuals who will step on the lowest classes for their own gain.

it's quite literally... fantasy trickster god testing the hero to see if they will treat the humblest person with kindness, or need to learn the error of their arrogance. solas APPROVES almost entirely of things that promote elven and mage freedom, helping the needy, freeing those who need freeing, not playing into being an arrogant leader. when you punch him, in the social dynamic, you are exerted an abuse of power and authority that now goes beyond the verbal, into the physical. could HE, if he were a simple elven mage, defend himself? no. because an elven mage hitting the leader of a holy army back could have him be put to the death. none of this excuses Solas' own flaws, his faulty reasons for his actions, etc. but like, taking into consideration the actual social structure of the game and what kind of power dynamics are going on here, it's necessary to UNDERSTAND the character and what kind of choice you make here, and how it all informs Solas' idea that either 1. he's wrong, this world has things worth saving, but he cannot diverge from his course, even if he on some level wants to be stopped, or 2. this world is just as terrible as the one he left behind, and it needs to be undone.