#How to make a wall of text

[hattedhedgehog]

My (spoiler-free) thoughts on Dragon Age: The Veilguard

The review embargo has lifted and I can officially say that I've played through Dragon Age: The Veilguard early! 

Here are my spoiler-free thoughts and personal opinions on the overall gameplay experience: 

Narrative:

Rook's dialogue and decisions impact SO MUCH of the game, and come into play later on. From companions remembering your beverage preferences, to whether someone you spared shows up later to help or harm you, it feels like the game is paying attention and that you matter.

The stakes are unbelievably high. The Evanuris are utterly terrifying villains, in ways that Corypheus wasn’t. You really feel the magnitude of their power on a personal level as well as a worldwide level.

Whatever your thoughts on him, Solas is FUN as a character. He’s fun to talk to, fun to talk strategy with, fun to rile up and verbally spar with and fun to grudgingly ally with. Now that he can drop his former act and appear to you as the Dread Wolf, and you get to see his memories, you and he team get to decide how to utilise his knowledge and how far your trust extends.

The setup and payoff of the story beats are absolutely superb. The emotional turmoil as a player of being ensnared by things that was foreshadowed earlier in the game is utterly exquisite. Every thread of the larger tapestry has been woven with so much love by the writing team, and every character’s arc tie into the larger story in interesting ways.

The characters feel like they have full lives outside of the player character. You frequently go exploring their home turf and can meet their friends and family. They interact with each other on their own and move about the Lighthouse to spend time together, leave notes for each other, and talk about each other even when the other isn’t there. The team feels like they all really care about each other as well as you. 

You can tell what your approval rating is with characters, but if you want to romance them you have to put some thought into it. Interactions and world events besides the heart on the dialogue wheel influence their attraction to you.

Gameplay:

The combat is very engaging, and I enjoyed how unique all the enemies were.

Abilities in the skill tree can be refunded so you can redirect to a different specialization, which is really handy if you’re indecisive and overwhelmed at first (like I get when choosing abilities).  Most companions can get healing abilities no matter what class, so you don’t have to worry about balancing your rogues/mages/warriors (most of the time).

Climbing, balancing on ledges, using ziplines and sliding down slopes made environments feel more immersive. Additionally I like how each companion has unique abilities that let them interact with the world (fixing mechanisms, breathing fire, summoning bridges from the Fade, etc), and learning their abilities alongside them helps you grow closer.

The wayfinder light makes everything feel streamlined, so it's way harder to get lost while exploring an area. I hardly had to look at the mini map at all, and usually I’m glued to it! This meant I could actually look around at the beautiful environments and appreciate how lively they were, even without NPCs.

The upgrade system is far less overwhelming than in Inquisition; there are a finite amount of weapons/armour/accessories to be found, which are designed for each specific character like in DA:O and DA:2. There's also no longer crafting from scratch. If you loot an item you already have, it automatically upgrades the single item rather than giving you duplicates.

You know that frustration of coming across higher-level armour that just isn’t as flattering as your current one? Not to worry, you can collect “appearances” which you can toggle on as the visual for the armour while still retaining the benefits of the original.

I cannot stress enough how simple and easy to use the inventory is. It's heavenly. 

Using the shops of specific cities increases your reputation within those cities, which is a good incentive to explore and use the shops. I usually hate in-world shopping but here it was simple, and thinking about it tactically worked pretty well.

Quests sometimes reach a point where you can't continue at your current place in the story, and must return to in later acts. When re-exploring familiar areas, everything feeling big enough to be fresh with each visit, and new loot and codex entires appear.

Edit: something I forgot to mention. In character creator, you get to make your Inquisitor after you make Rook. The build menus are all the same, so manage your energy accordingly for doing it all again immediately after for your Inky. I spent an hour and a half building my Rook and wanted to get right to playing, and had to re-wire my brain a bit to be patient and keep going with the CC. (Seeing my Inquisitor with new graphics was awesome though).

A couple little things I appreciated:

The control sounds are very pleasing. From the whoosh of opening the combat wheel to the clinking of upgrades to the subtle whir of holding the decision button, they're a nice touch.

If companions are interrupted in conversation by combat, they resume it afterwards with a "what were you saying before?".

Photo mode is so fun to play with, and you can adjust blur/brightness/lens/depth within the scene. You can also toggle on and off the visibility of your Rook, your party, NPCs and enemies!

Assan learns new interaction tricks at the Lighthouse as the game goes on.

Nitpicks:

Overall I had an incredibly positive experience. The gripes I had were tiny things like:

I genuinely like the new art style of the game as a whole. However, the blurriness of some of the features in contrast with some elements being very crisp was distracting.

When trying to sell valuables for faction points without using Sell All, it takes quite a long time to count up all the individual sales, and it isn't a live counter. So it's kind of annoying if you get +3 points for each item you sell, need 150 points to get the next tier of items, and over 10K worth of valuables that you want to sell to other factions. 

If you do lots of quests without returning to the Lighthouse often, occasionally companions at the Lighthouse will have dialogue pertaining to the quests you've just finished as if you haven't done them.

You can pet the dogs and cats in the cities, but Rook turns their back to the camera to do it and it blocks most of the action unless you rotate quickly.

Gender stuff:

I was incredibly moved that not only can Rook be trans/nonbinary in the character creator if you so choose, but they get options to feel differently about their identity and journey, and it impacts their dialogue and how they relate to other characters! To access this make sure to interact with Varric's Mirror in your room in the Lighthouse. There are many conversation options throughout the game to discuss your identity with other characters, or relate your change of self to other situations. Crucially, it comes up when entering a romance and you have to communicate with your partner about it, which I never even THOUGHT of including in a game because it seemed impossible to even allow trans main characters to begin with.

There are also multiple trans and nonbinary characters throughout Thedas. What I found the most realistic was that just like in life, it is a consistent presence in any character's life, and comes up in conversation more than once. I have never seen a game this forthcoming and open about the topic of transitioning, and it was so validating. 

Final thoughts:

I adore the other games in the franchise. Something about The Veilguard affected me in a way no other game has. I cried multiple times while playing this game, both from joy and sadness. What struck me most is that the people who worked on this game REALLY listened to feedback from previous games, and were very set on making a piece of art that meant something to people. Even during the last few years of me testing the game, things have been adjusted and changed in direct response to our reactions and suggestions. It's surreal and quite touching.

Mileage will vary, but my playthrough was 70 hours on very low difficulty and I haven't done every side quest yet. I could easily have spent more than 100 hours in the game if I wasn't pressed for time.

I hope you enjoy this game as much as I have. See you in Thedas.

[magnapanther]

drew hallownest's crown in its prime, before any stray wyrms decided to move in and create some random kingdom :3

surely the moths who built this fine statue would never turn their backs upon the being it represents, causing it to be forgotten and grow spiteful, seeding death and sickness in the interest of revenge!!

...

ANYWAYS, i know it's not super complex, but i'm pretty happy with it. been trying to figure out how to draw rock/stone and clouds in a sketchier/looser style, so here's my attempt at that, if anyone has some tips/tricks for that it'd be super greatly appreciated!! :3

also felt like i'd been drawing a lot of super gloomy dark environments and was kinda stuck in a rut/art blocked, so i wanted to step outside my comfort zone :)

seriously though imagine some beautiful sunny day with multicoloured clouds and sunbeams shining down through the crystal peaks, refracting off crystals and stuff.... i'd love to see that in-game somehow dude

[sweeneydino]

The best spy

And a green screen blank one if you wanna edit

[untitled-tmnt-blog]

I absolutely HAD to draw something for @phoebepheebsphibs's DTIYS (based on this pose)! I decided to mix things up a bit by experimenting with a more limited color palette, which was a pretty fun challenge.

[darewolfcreates]

mmm... many thoughts...

[givemedamage]

ultimately!

[rawliverandgoronspice]

I think what particularly annoys me with the "zelda was always gameplay before story" is that... it's not true? At least I don't think it's true in the way people mean it.

Zelda games were always kind of integrating story based on the standards of the time. When game stories were in game pamphlets, Zelda's stories was in the pamphlets. ALTTP tried to tell a pretty complicated stories with the limitations of the time. OoT was actively trying to tell an epic, cinematic tale packed with ambiance and expand what 3D could offer that 2D games struggled with. Majora's Mask is deeply character-driven in many, many ways. Wind Waker and Twilight Princess are both pretty concerned about their stories, down to the point that some people were bored by TP's cutscenes in particular. Skyward Sword, from what little I have played it, is very very invested in its characters and their journey (and 2D Zeldas have Link's Awakening, Minish Cap... None of them are visual novels, but they are concerned with emotional journeys, character arcs, mysteries about their own world...)

What is true is that the narrative wraps around the mechanics, and not the other way around. The mechanics drive themes, aesthetics, emotional beats and character journeys; and that's great. The world is a puzzle, and the world is delightfully absurd when it needs to be, full of heart when it calls for it, dark and oppressive when it suits the player experience.

That does not mean the games aren't invested in their stories. Even BotW has a pretty complicated story to tell about an entire world rather than one specific tale or legend --all of it at the service of the gameplay, which is exploration and mastery of your environment.

So. Yes, none of the Zelda games are million-words long visual novels that care deeply about consistency and nuance; but stories don't need consistency or deep lore to be meaningful and serve an emotional journey. Again: gameplay is story. The two cannot be so easily parsed from each other.

And Zelda as a franchise obviously care deeply about story, characters and setting (and still does right now --otherwise there wouldn't be a movie), even if it doesn't try to imitate prestige narrative-driven games, which is great and part of why I love this series so much. Doesn't mean it couldn't have done better in the past, it obviously could have, but I feel like pretending that nobody ever cared about story or character is just... false? It's a huge disservice to the devs too. Some of them obviously cared immensely.

The "gameplay above story", at least in the extent to which it is paraded today to defend TotK, mostly, is a really recent development. And I think it's one that deserves to receive some pushback.

[take-care-of-it]

I think taking Jimmy at face value with his “attracted to cartoon horses” thing is a mistake. I think in hindsight, the subtext is pretty clear that he said that to make Anya uncomfortable. Taking him at face value is the mistake that curly makes (albeit curly thinks he’s joking).

I also don’t think depicting a Jimmy with morally taboo paraphilias is necessarily missing the point, but I do think there’s this impulse to make him ~sexually deviant~ in a way that serves to distance him from “normal society.” As if he isn’t supposed to be emblematic of it.

Like, I think if you’re genuinely trying to explore that, you have to grapple with the idea that Jimmy himself thinks he’s normal. He isn’t “deviant and loving it” or whatever. He isn’t a sadist knowing and loving the harm he’s doing.* He’s genuinely convinced himself he’s a normal guy. He does not want to grapple with the harm he’s done. Jimmy’s way of getting around guilt is refusing to admit he’s done anything he needs to feel guilty about.

Jimmy wouldn’t be secretly guilty and self-flagellating about it. (Actively. He DOES feel guilt, but subconsciously.) He also wouldn’t be openly “admitting” this to Anya if he were being serious. It’s a joke, Curly’s right to take it as such. But it’s subtextually a joke at Anya’s expense. Something to make her uncomfortable.

Thinking that Jimmy associating Polle with both Anya and the unborn baby is something that came first, as a serious thing before the joke, is a mistake imo. I think it’s something that comes back to bite him when the subconscious guilt starts getting a little less subconscious. A joke association twisted into a more serious one by Jimmy’s unrelenting refusal to see Anya as a person.

* The exception here is people Jimmy thinks “deserve” the harm being done to them. “Morally justifiable harm,” if you will. I think Jimmy does take some satisfaction from hurting a post-crash curly, for example, but he justifies that to himself with the idea that Curly “looked down on him in the same way” pre-crash. He always has to view the harm he does acknowledge doing as punching up harm. He always has to be the righteous one.

[helluvabutt]

Wishful thinking that he'd open up enough to initiate a conversation and get help but I can dream.

Inspired by this tweet:

[jackshiccup]

fishlegs’ display of unwavering loyalty to hiccup after everyone turned their backs on him has to be one of the most poignant moments in book 9 for me. the entire scene of him announcing ‘i do not turn. i do not turn… hiccup is still my king. slavemark or no slavemark.’ making sure he was heard by all the other tribes when he did and then bestowing his most prized posession to his best friend as a blessing for luck and as proof of his faith in him, putting the necklace around hiccup’s neck ‘so grandly that it was like he was a hero annointing his king’ because that’s essentially who they were in that moment… and then by the end when hiccup is forced to flee— crying for him and his fate but stubbornly holding on to hope, willing himself to be strong and wearing hiccup’s helmet instead of his own

[chaoticly-shy-dragon]

Whoever wrote that percy jackson au of the dead boy detectives, you live under my skin and I love you. So much so that my brain tried to think of a way to make it even more canon-accurate without making them dead. or reborn Hazel Levesque style.

What I have so far is playing on the whole West civilization bit and how it moved to the.. well west - but also that World War 2 was a big three kid conflict? So. I have sort of a time-table and I'm throwing it out of the window.

Edwin is a child of Athena - that much stays the same - who is very bookish and very studious but not in the way the rest of his siblings are. They are handy and crafty, strategic and interested in architecture or design. He.. is not. (I need a reason why his siblings didn't come to help him when the "death scene" happens.)

The whole boarding school is one of many spread across the London countryside - Chiron moves a lot. They teach both ancient and modern warfare because magic or not you can't escape the bloodshed forever - you either get drafted or you run and get blacklisted somewhere or another.

(St Hilarion was actually a son of Apollo that got really popular during the Crusades - Zeus didn't smite the school when it was established because times are different and Hera would be angry if there was another big fire with no explanation that put their soldiers'- eh-hem- kids' lives at risk.)

They still teach Latin alongside Greek because it was what all normal boarding schools did and that's what they were. Maths, English, and Sciences - were all taught to the boys. The girls went to another school - where they were taught the bare minimum to survive. Because sexism was rampant and if the Romans were on the wrong side of the civil war, that means no matter how progressive the gods could have been in certain areas, they aren't now/then–

Artemis really, really hated that time period. Zoë or this version of Zoë got a kick out of shooting so many assholes in the face. Or in their dicks. They also got way more recruits than in later years. Silver lining.

Anyways: Simon - son of Hecate - and the bunch of boys, one of which was a son of Hades, do the whole let's sacrifice Edwin. Only the book is a Christian book on witchcraft that Simon truly didn't think would work. He and the rest - Hades boy included - did the whole preparation of the sacrifice as it was absolutely terrifying for Edwin to experience on top of everything else. They didn't know it was a real thing - but is the only reason why Edwin stays alive.

It's essentially a stasis charm that lets the ritual run for as long as needed without the poor victim dying beforehand. It requires bloodletting and "runes" and such. The thing is scary, traumatizing stuff so it seemed like a fun thing for Simon and his buddies to do. So they did it.

They skimmed the reading. Blood with power is spilled, ritual that is very real gets haphazardly done and so monsters get involved.

Fun fact, that I'm really hoping is actually true - sometimes monsters with names similar to other religions' occult beings pick up the summoning calls. If the ritual is shoddy enough for them to hear, the participants all die either way, it's only important who gets there first.

So. The bullies get killed and a fury-type thing drags Edwin's whole being to the fields of punishment so it can feast on its offering. He gets dusted Sally Jackson style.

We enter his hell era. ( Part 2, Part 3, TBC )

[fusionfanatic]

Research for an au fic I’m working on: how would Azula act and behave in a modern setting? And I don’t mean re-imagine her character within a modern context and stories. This isn’t Azula, but she’s an overachieving American high schooler with strict and overbearing parents, or Azula, but she’s the soon-to-be CEO of her father’s multinational conglomerate based in Japan or something. No, I mean how would Azula as she is in canon, Fire nation princess and all, act and behave if you simply just took her from her world and plopped her into [insert current year you’re reading this]?

[legionofpotatoes]

star wars outlaws

[sleepygaymerdisease]

Does anyone else think about how Shinji said this twice...

The first time was somewhat innocent, because he didnt believe in the idea of fate. He refused the idea outright because it was just too bleak. He wanted to think that there was a way for everyone to live, so why believe in something like destiny or predetermination?

And yet... He likely said this out loud to comfort Tezuka, to motivate him, to keep him from giving into despair. Shinji does not believe in fate, but the person he is dragging out of the battle field does, and he wants Tezuka to borrow his own feelings of determination and passion for just a moment, so they can both live to see the next day.

But what Shinji doesnt understand is that Tezuka did this sacrifice precisely because of Shinji's passion. Shinji has nothing to offer to this man because Tezuka has already made the choice to purposely refuse the benefits of Shinji's savior complex. He make his choice the moment that he walked out the door of Atori, and purposely distanced himself so Shinji wouldn't try to die for someone else. Tezuka explains that he changed fate for Shinji to live. Tezuka explains that he took this man's place so that Shinji can fight in this war, so that Shinji can find an end to the violence. Tezuka wants him to continue where he would fail, where he would have blamed himself for the death of another friend and never gotten back up.

Shinji wishes there was another option, that he could have somehow seen this coming and stopped Tezuka and figured out a way to live too... But what can he really do? Tezuka's last words left such an impact on him, and while Shinji originally didn't believe in fate, he could not help but lean into the idea after Tezuka's death. He tends to weigh other people's ideas more than his own in his head, so when Tezuka dies because he followed his principles to the end like this... He just can't deny it as much as before. Denying that fate exists would be spitting on the face of his friend's choice, right?

So the idea sits with him. The idea that fate was already changed... He's not sure if he can believe it, but he can't not believe it, either. There had to have been another way that things have gone, right? That's what he wants to think, but he cannot deny the weight of Tezuka's ultimate choice. He has to learn to accept this, somehow, but it's hard for him, it's hard to remember which thoughts are his own and which thoughts are borrowed from his memories of Tezuka. Shinji slowly becomes burdened by the idea of fate. Believing in Tezuka's last hope is the only way for him to continue, it's the only way for him to cope.

And that's when the narrative throws a fucking curveball. This character, wrattled with grief, finally trying to move on from that horrible moment of senseless violence, is forcibly dragged backwards. Six months. Six entire months happening all over again right before his eyes. Shinji gets an impossible second chance to fix what never should have happened. He knows who is going to die and he has the time to prevent it. He can change it.

But he discovers that he cannot change himself. He watches everything in horror as it happens all over again because he cannot break out of his own skin. He can't change his habits, he can't think different thoughts or change his actions, he can't seem to remember the details of that future that has not happened yet. His future self, and his future grief, is buried deep inside of him. He tries to claw his way out in any way he can, but he is trapped in the prison that is himself. He can only catch the smallest glimpses of clarity through the bars of his cell, and by then it is often too late.

When Shinji finally gets back here, to this moment, he must have repeated these words. He cannot change his thoughts, after all. So he says it and it means the same thing as before; he wants to comfort Tezuka and lend him his own determination and will to live. But there is now an additional meaning to it, isn't there? There is now a layer of despair. A part of Shinji is so, so desperate for things to change. A part of him knows that Tezuka diverted fate for his sake, and isn't that diversion a part of fate now too? Can't we change that too? Do not die when fate tells you to die. Don't do this, don't leave me again.

[wildsaltair]

I just YEARN for Maximus. just to give him forehead kisses and take a long walk with him and share a meal with him and fall asleep under the stars beside him. I just yearn to be the one who makes him smile and the one he knows he can trust with his heart

[pocketgalaxies]

obsessed with marisha's mediocre fcg impression