#Isatunoll

[andarateia]

LYRIUM: SONG OF THEDAS

A millennia of history in two paragraphs. The truth about the Maker, elves, dwarves, Titans, and the Evanuris - and it's all thanks to lyrium, three little words, and one big song!

[thedaswolves]

Harding's awakening ⚡

[fanfoolishness]

Isatunoll Long-Remembered

Lyrium has always held memory and music. What does a lyrium dagger recall throughout the ages?

(Yes, this is lyrium dagger POV, a fairy-tale perspective on Titans, dwarves, the doings of the Evanuris, and the events of Veilguard. Spoilers for all of Dragon Age, ~1000 words. Thanks to @terioncalling for the encouragement!)

---

There was a time before there was time, when all was whole and sung within a thousand thousand throats. Blood carried the Song of the Stone through beat and breath, and there was harmony resounded, echoing through the firmament and the very bones of the world. Isatunoll.

Then came wounds, bitter and jagged, leeching the blood into soil and spirit. A Faded world of shimmering spirits sent invaders in their ignorance. There were battles that heaved the mountains down, that ruptured the very earth, that caused fire and flood and pain. The pain reverberated through the Song, sour and foul, a discord shivering through the blood.

The stolen blood had other uses than weaving an entire people’s dreams. Once spilled it could create new bodies — or end those that it had raised and nourished. A spirit once Wisdom, now Pride, folded blood upon itself in layers shimmering and bright, until a blade was forged that sang with dreadful purpose.

The blade could sever.

The blade could sunder.

And Pride’s cruelty echoed through the firmament and the very bones of the world.

-

The blade was not alive. But nor was it dead. It was something unto itself, a mirror of what had come before, a prism to refract the future. Or to create it.

Pride was not its only master. Tyranny bore it for a time, casting Retribution -- before Benevolence -- into splintered shadow. The blade sang anew, echoing with the scattered refrain of the spirit’s shards, until Pride reclaimed his own and drew forth the fragments in his sorrow.

The blade hung at Pride’s side as an anchor, the great sundering of the Titans, the ending of Retribution, remembered in a faint and voiceless song. It did not let him forget. The weight of it would have destroyed a lesser spirit.

But Pride was one of the old dreamers of the world beyond, and his will was mighty, enough to fill his ears and heart with a music of his own that drowned out the silent screaming of the Titans. Vengeance came upon him, and he devised a plan to bring it forth.

The dagger sang again, binding a new world where all was shadowed and the voices of the world beyond made faint. It sent Pride to his knees, the dagger clattering beside him. 

The screams of Pride’s own people carried not the ancient melody of the Song, but it was a chorus still remembered.

-

Darkness twisted what once was pure and singing, and the blade roiled with the poisoned music of the Blight. It gleamed red in the shadowed halls, a perversion of what had come before.

It sang to a Child of the Titans in the wending deep, its music choked with retribution, with sundered dreams, with the follies of the proud. The Child listened with his heart unguarded, and the voices wove within his mind a song that could not be denied.

-

A city cast in ruins, smoke heavy on the air, stone broken like a Titan’s mind. The blade whined and hummed in its corruption, rippling in a prison of pulsing red. 

It slumbered in this frozen form until mortal hands freed it once again, until it traveled under guard and spell. Great magic wove within it and without. At last the red corruption was destroyed and anew it breathed in purest blue.

It recognized the hand that held the now-cleansed blade. Pride was not so easily evaded.

-

Ah.

There, familiar, the Song! Carried still in Child’s blood, if faint and near-forgotten: the ancient music, oneness, isatunoll! 

The dagger drank deeply of its own lifeblood, but the Child of the Stone was only mortal, and he could not bear the blade.

No matter; an echo still would linger, as of Retribution, as of sleeping Titans. The blade hummed, waiting to discharge its gifts, to remind the Children who they long ago had been.

-

A filthy hand upon the blade, marred and soulless. Mercifully the carrying was brief. 

The next hand, small and strong and reaching —

ISATUNOLL!

The dwarven blood unleashed, the song resounding, unlocking, reweaving — remembering —

Another hand upon the blade, but the music slowly faded, a silent song once more.

-

Resonance. Like met like, the amplitude increasing, the effect doubling, trebling. Pride’s touch on his enemy was light and masterful, deft weaving of remembrance. It sang in harmony with the fragment in the blade, a Child wise in his own way, an admixture that seemed real as real to one that would behold it.

-

The assassin’s hand hid a tremor, a rupture nearly imperceptible. A note soured in the distilled music of the blade. The demon the assassin carried twisted, straining, in its bonds of flesh.

The blow did not strike true.

-

God-blood now twice-stolen, draining from the wielder of the flesh, flowing into ancient soil like the sweetest rain. What was stolen, now reclaimed, fragments of the Titan-stone anointed in her blood  —

The blade flashed beneath a shrouded sun. Pride and his games again!

-

The enemy of an enemy was not a friend, but perhaps an ally. The blade danced between them, gifted freely.

Until bright and blighted Tyranny fell from his lofty throne, and the Veil shivered, shredded, ached to open.

Strange words, a tuneless verse that yet held meaning, many voices in the fray, fragments of Retribution and Benevolence. Pride’s tears fell upon the blade, no magic in them but what made them fall. His blood on the blade’s edge tasted of regret upon regret, a chorus all its own.

Pride’s hands trembled, the weight too much at last. In his blood a hint of Wisdom stirred and struggled. 

His enemy’s hands were merely mortal, but they were strong and certain, cradling the blade.

Blood and blade and bound again, the Veil renewed, the sundered dreams a soft motif instead of crushing melody. Like this, the blade could find a peace.  Like this, the blade could slumber.

Until someday the Titan-song was sung again, until the blade was at last unmade, until it could rejoin the Song in blood and blue.

Isatunoll.

[therookerydatv]

Major Spoiler warning for the ending of Veilguard

But...I think they really had a missed opportunity, in killing off Harding or Davrin at the penultimate mission, they really should've kept them both alive(With Hardingwhich you send her to lead the second team, because Titan Magic, somehow Harding reacting negatively to the creation of the Red Lyrium Blade would shock Ghilinain long enough for her let go of Lucanis and then he attacks, and then Harding seemingly is injured and lost(she is captured just like your second party member choice. This causes her to be Blighted being a mini boss you fight and then free, she is not blighted but was instead responding in pure rage to anything and everything and then she and say Neve help you out against Elgarnan in the last leg, because Elgarnan guess tries to will the Blight back and is failing at it.

So then when confronting Solas, and redeeming him, he says he will go to soothe the Titans pain. Here Lace can offer herself up to go and soothe it, in completing her personal quest with either rage or calm, she says she can best understand their pain and needs to be the one to go and do this. Thus fulfilling her Destiny in typical Chantry fashion, chants a bit of the chant to herself.

Solas being long lived is made to promise her to find a way to bring the Veil down safely if it needs to come down one day, and she'll work on soothing the Titans.

There, that's my ending.

In fact, even if you choose Davrin, so long as you have him as a Hero of The Veilguard Status, then he lives, and Harding gets captured because Ghilinain registers her as the bigger threat.

Like, who else but Harding, the voice of the Titans, not a Deep road Dwarf, but a Surfacer, one entirely disconnected from the mainstream culture of Orzammar Dwarves and Surfacer Castes and Merchants. She was a homely farm girl growing up as the one dwarf in a human village, and she joined up because she wanted to protect her home. Plus with all the elf root she grows, she wants to soothe pain, and if need be taken out the thing or person causing the pain. So either in rage or calm, she still goes to soothe the Titans. The only thing that would change is her tone towards Solas.

[royalich]

I am. We are.

[the-northern-continent]

Checking in to confirm that I did indeed play a dwarf, and wowee was it the right choice. The fun thing about playing a dwarven Rook is that you, the player, get to yell “oh the Veil is a wound inflicted on this world? It must be healed??” in increasingly louder and more sarcastic tones as the game progresses.

My current plan for Veilguard is to play a dwarf, because I can just smell the titan drama on the horizon.

That being said, if I peek at the vashoth options and see the word “Ben-Hassrath” on ANY of the backgrounds, I will be picking that so fast your head will spin. Sorry Thedas, you’re about to have two vashoth heroes in a row. Aban aqun, motherfuckers.

[liaragaming]

Me sitting here and realizing the reason Merrill's eluvian doesn't work is because June split a lyrium crystal and put a half in each eluvian.

Merrill's eluvian doesn't have another half.

BUT

somehow Solas took one eluvian and make it connect to all of the others...

so technically... Merrill should be able to do the same???? 🤷🤷🤷

[doriansbutt]

Flynn: say the magic word

Harding: Isatunoll

Flynn: 😩💦

[hipandhorrific]

Does my Rook know that I love him? That I care him? That I'd rip Thedas part for him?????

[childofthestone]

elves fleeing the ruined city of arlathan and being welcomed with open arms into cad'halash thaig. the very spirits that stole the lyrium from their gods and used their newfound bodies to tranquilize them, and yet the dwarves said "come to us, we will shelter you". dwarves and elves alike being destroyed by kal-sharok so as to not jeopardize their alliance with the tevinter imperium. somewhere in cad'halash thaig a dwarf and an elf were holding one another when they died. ir sa tel'nal. isatunoll.

[thecrowroad]

I wish we spent more time with the Dwarves in Dragon Age.

There’s a near-unimaginable scale of loss, too big to look at, it seems - an entire continent-spanning civilisation, reduced to two cities. Millenia of history, erased, lost and unrecoverable. Even the reemergence of Kal Sharok is tinged and tainted with the echoes of betrayal and abandonment, the relationship too delicate and strained to celebrate. Do we even know who the Titans truly are, to the dwarves? Gods, creators, progenitors? A symbiotic relationship where one part is dead and gone?

The genocide of the Titans goes almost without mention. Elven gods butchered Titans and used their bodies to enter the world and build their empire, and we only mourn Elvhenan. Solas and Mythal severed the remaining Titans connection to the Fade, making them Tranquil. The severed dreams of the Titans mutated and became the Blight that the Evanuris weaponised for their own ends. That blight has been killing the dwarves slowly ever since. War with the darkspawn, the loss of the Deep Roads and the other thaigs is the visible loss, but there’s also a steady decline in population numbers as blight exposure reduces fertility. The dwarves are barely holding on by their teeth.

Dagna, writing to Harding, suggests that Isatunoll was once a sort of collective unconsciousness between Dwarves. Losing access to the Fade lost the Dwarves access to Isatunoll, and now Orzammar has erased mention of the Titans from the Memories, to help maintain and enforce the caste system. To survive, Dwarves seemingly have two choices - to continue the work started by the Evanuris and keep mining the blood and bodies of their Titans while fighting an unwinnable war against the Darkspawn, or abandon it all - their culture, their history, their tenuous and fragmentary connection to the Stone Song - and live safe on the surface as little more than short humans.

Isatunoll - I am/we are (still) here. There are so many juicy, challenging stories here. How could I not want to know more about them?

[nimuelavellan]

I will never, EVER get over how the Evanuris Altars is 'Destroy the song!' (Isatunol) And the Fen'harel altars are 'please play fetch with me!'

[nadas-dirthalen]

Dragon Age: the Veilguard Was Packed with Lore — But Many of Us Overlooked It

— PART TWO —

[ 1 ]

Welcome back, friends and travellers. If you've been here a while, you'll know that I wrote 30,000 words of predictions in the week and a half before DA:tV released. But here's the most surprising thing—I was right, for the most part.

I spent my first Veilguard playthrough grinning (and then sobbing) at all the lore reveals. And here's the thing: I think most of us missed a lot of them, including even me.

So let's unpack some more.

Titans and Spirits: Dark and Light, Abyss and Fade, the Eternal Hymn and its Endless Listeners (2/2)

This is your warning: This post will contain spoilers for the entirety of Dragon Age: the Veilguard, and all Dragon Age content made before Veilguard.

I've spoken a lot about the titans before. In fact, they make up the bedrock (lol) of many of my pre-Veilguard theories. While a lot of what I said a month ago has since become canon in Veilguard, there's a lot that remains as speculation.

Today, I'm going to talk about why I still stand by my theory from October: that the titans and the spirits have far, far more in common than we think, and that this is of vital importance for the next game(s).

Today's Discussion:

What Solas' Creation and Harding's Personal Quest Have in Common

Not Only Do Titans Behave as Spirits... Spirits Behave as Titans

The Dark and the Light, Sundered

Atonement Solas' Promise: He (Still) Seeks Regeneration

What Solas' Creation and Harding's Personal Quest Have in Common

Thanks to Veilguard (and the hints that came before it, if you're coming here from my previous posts), we know that Solas and Harding have far more in common than they think. Both are inexorably connected to the titans: Solas because his body was crafted from lyrium, and Harding because of how her Stone magic awoke after touching Solas' lyrium dagger.

I've theorized before that I think Solas is still connected to Isatunoll, but that the creation of the Veil altered or harmed this connection somehow. Veilguard touches on this with its implications: Solas says the blight senses his presence during the Minrathous portion of the endgame, and says during his Atonement ending that he is able to soothe the titans' anger. It also asserts, during Solas' Memory #3, that the ritual to create the Veil went wrong, wounding Solas in the process.

Both Solas and Harding, then, have to do with both the titans' past and their future. The Temple of Solasan is referenced when this codex in Trespasser mentions the titans needing to be forgotten, and we know now that Mythal and Solas would come to sunder the titans with the lyrium dagger. Solas is the reason the titans were forgotten, and is likely the source of the song "I am the One."

Harding, by contrast, is one of few dwarves whose magic has awoken. The Titan Shade in her personal quest demands that the world remember the anger and pain it has forgotten: the titans' sundering (as well as her own anger). The titans have no future without acknowledgement of their past, and so both Solas and Harding have instrumental roles to play going forward (assuming both are alive and have agreed to this).

It is evident, also, that the pain of being forgotten is traumatic to the titans. Cole mentions this several times in Inquisition, as referenced in the last post. Songs that once sang the same; titans stuck asleep, forgetting how to wake.

And here is where Solas and Harding's parallels really come to light.

This trauma forces Harding to make a choice with her Titan Shade. In every scenario, she acknowledges the Shade's pain. Her choice, then, is to embrace that pain and carry it in Compassion... or embrace the titans' anger, as well as her own. In other words, as is referenced by Stalgard...

I drew close, and the sound became something more. I could feel it, Lace Harding…. Rage, sorrow, and a vast loneliness. — Codex: Letter for Lace Harding

Rage. Harding must choose between Compassion and Rage. We've seen this before. It comes up in Down Among the Dead Men, a story in the Tevinter Nights anthology:

Following a trauma, spirits are pushed toward changing. For so long in this franchise, we called these changes "demons," and still do. But the creature itself is not different—it just exists in a different state.

Emmrich says exactly this, equating spirits and the Titan Shade.

I once communed with a soul who shared a tale of deep sorrow from his youth. "So that the truth wouldn't be lost," he said. Interestingly enough, he could only bear to recall the event after death, when the memory had lost its sting. (l cannot share the tale. A Watcher must keep the confidences of the dead.) Your experience with what you call "the Titan's Shade" brought this anecdote to mind. As you say, in the first moments of your transformation, you were unable or unwilling to confront the depth of the Titans' sorrow. But unlike my friend, this pain was never quite your own. Instead of being trapped within, it fled elsewhere. — Codex: From Emmrich, on Sorrow Denied

We see, now, that the titans do the same thing. The only difference is that Harding is connected to the titan through Isatunoll; her spirit is not, itself, inside the titan. Put through a trauma, though, the titans turn. This is something I theorized as happening to Solas' titan upon his creation, because the trauma of the elves making bodies from its lyrium caused the titan to lash out and fight back, just like Cole says in DAI.

This is why both Solas and Harding are capable of soothing the titans' anger. It doesn't matter that Harding is a dwarf and Solas is one of the elvhen: both are still connected to their titan.

But as much as Veilguard tells us about the Titans being more similar to spirits than previously thought, it does not stop there. No: if you listen closely, Veilguard whispers to you that this similarity goes both ways. Spirits are more similar to titans than we ever could have imagined.

Not Only Do Titans Behave as Spirits... Spirits Behave as Titans

Something caught my eye during my very first Veilguard playthrough, super early on. Of course, I played the whole game through the lens of my own theories, wondering if there could be a connection between titans and spirits.

Immediately I saw, on the floor of a cell in the Ossuary:

I am Nyrys I was Nyrys I we were we are Nyrys — Note: Inmate Scribbling

Immediately, I was reminded of Harding's description of Isatunoll: "It means 'I am here.' But no, not 'I.' 'I' is singular. But it isn't 'we,' either. 'We' is multiple, but also separate... Isatunoll is the eternal hymn that encompasses all time. All spaces. I am. We are. This. That. Here. There. Now. And forever."

That seems to suggest that Nyrys, an inmate who was probably turned into an abomination, might be connected to Isatunoll. The note is written almost the exact same way that Harding is speaking. "But Lore," I hear you saying, "Couldn't that just be an abomination thing, a spirit struggling to share a body?"

I thought so, too. Right up until this.

Late after— (the handwriting abruptly alters:) a PEACE cut from the ALL golden stranded weaves PROTECTION CAGE keep them OUT keep me IN (Drawn below is a decagonal diagram of perfectly even, intersecting geometric lines.) — Codex: Lucanis' Logbook, 2

Understanding that Spite is likely writing with a phonetic understanding of the common tongue, we can interpret his words as 'a PIECE, cut from the ALL.' While I cannot say for certain what the rest describes (it could be Spite's opinion on the Ossuary, a reference to the titan's sundered dreams, or anything in between)... I know that these two first lines clearly talk about a spirit who has been cut away from something larger and grander than itself. The "all."

Now that sounds like Isatunoll, to me.

If you've been here since my October posts, you know where this is going. I've got to find a way to check this idea against other sources. And the first place I go, usually? The Chant of Light, for all the Chantry's evident faults.

I'm reminded of the creation of the Maker's first and second children.

Then the Voice of the Maker rang out, The first Word, And His Word became all that might be: Dream and idea, hope and fear, Endless possibilities. And from it made his firstborn. — Threnodies 5:1

That exact phrasing—"dream and idea, hope and fear, endless possibilities"—is used both in the creation of the Maker's first and second children. The spirits and the second children's souls. It is not used anywhere else in the Chant of Light.

At last did the Maker From the living world Make men. Immutable, as the substance of the earth, With souls made of dream and idea, hope and fear, Endless possibilities. — Threnodies 5:5

I've said before that I believe that all spirits originate as thoughts—namely, the thoughts of one or more of the titans. I think that even the souls of living people apply, here, despite what some of Emmrich's codices discuss. When you consider how Solas speaks about the Inquistor's spirit in DAI, it seems apparent that (at least to Solas) spirits and souls are interchangeable terms, when they belong to a living person.

Additionally, there is a manor in the Hossberg Wetlands that features an Obsession demon locked away that Rook must kill once they get to its location. The party speculates how the demon may have gotten there, and (I believe Rook) comments on how it is possible that the person from the manor themself may have become the demon.

That would imply that their soul was capable of doing so.

Now, let's go back to how spirits (the Maker's first children) and dwarves (the Maker's second children) are in possession of the same souls, per the Chant of Light. Understanding that the Chant of Light is flawed and that I do not believe that Solas is the Maker (rather, that Solas may have come from the titan that Andraste spoke to), I want to draw attention to this verse.

Then the Maker said: "To you, My second-born, I grant this gift: In your heart shall burn An unquenchable flame All-consuming, and never satisfied. From the Fade I crafted you, And to the Fade you shall return Each night in dreams That you may always remember Me." — Threnodies 5:5

It's important to note that the Maker says to his second-born (the dwarves) that they shall return to the Fade each night in dreams. Remember: the dwarves were once able to dream. More than that, though, the Maker says that the dwarves may visit the Fade each night in dreams to be able to connect with the Maker. They were, in fact, crafted with the "flesh of the Fade," a reference made to lyrium.

That implies a direct connection between the titans and the Fade. It suggests that, once, the titans also shared the Fade with other living creatures—or, perhaps, even more. I still believe that the Fade is the collective consciousness of the titans, and that reconnecting with the Fade is part of reconnecting with the titans because of that fact.

The Dark and the Light, Sundered

In a previous post, I theorized that, because Solas created the Veil and it seemed to have sundered the titans in addition to separating the Fade from the waking world, the Fade must be the titans' shared consciousness. We know now that those were two separate acts: Solas sundered the titans and put part of their dreams into the orbs that became the Evanuris' foci. For a time, I thought that this theory must be wrong.

However, in the same series of memories, we learned one more fact: his ritual to create the Veil went wrong. In Memory #3 (Blackened Hearts), he cries out in pain during the moment the Veil is created. This not only hurt the world, but exhausted Solas. Hurt Solas.

"He broke the dreams to stop the old dreams from waking. The wolf chews its leg off to escape the trap." — Cole dialogue

This refers to the creation of the Veil. We know now that Solas created it, in part, to stop the blight from escaping—that would be the old dreams waking that Cole refers to. What's interesting is that Cole refers to this as Solas chewing off his own metaphorical leg to escape the trap. There was always a personal consequence for Solas referenced here.

But why? Why would being cut off from the Fade outside of dreams hurt him? Spirits exist on Thedas all the time. It is only the trauma of being pulled through the Veil against their will that turns them to demons.

To understand that, we must understand what the Fade even is. How it relates to the titans, and what that means going forward.

First, I want to take a look at this codex from Inquisition, which suggests that the water in the Abyss (the realm of the titans) may be the exact same thing as the emerald waters in the Fade.

It is possible—even likely—that the "emerald waters" Andraste refers to are the substance of the Fade, which began as an "ocean of dreams" (Threnodies 1:1) and was reduced to a well—bottomless but limited in scope—by the Maker's creation of our world. —Codex Entry: Here Lies the Abyss

There are other similarities between these two things that come up in Veilguard, if you're looking for them. The first, for me, is a codex.

What determines which sections of the physical world are echoed in the Fade? Is there an underlying logic, or glacial patterns past comprehension? Do our collective fears and longings craft what we see? The will of a mage is especially potent. We may learn to shape the Fade's pathways, if we are ever-mindful of the dangers this invites. — Codex entry: The Obverse of Reality

The phrasing here is very interesting. We know that Shaping is something that the titans once did. The dwarves, to this day, have the Shaperate, in charge of the Memories. To see that language applied to a mage's influence on the Fade implies that mages may exist the same power to manipulate the Fade as the titans did on the Stone, which suggests that the Fade and the Stone can be Shaped in the same ways. The similarity here does lend itself to a theory where the titans and the Fade are parts of the same being/collective.

The second is that one of the revenants—the Slaughtered Pillars, from Elvhenan's Haven—have a line of dialogue that jarred me the first time I heard it.

"Light and song, stolen."

We know that the titans being sundered took their songs away, for the dwarves (save for a few, now) do not hear the titans' songs anymore. It's the word light that gave me pause.

Three guesses as to where I looked for more instances of the word light. If you guessed the Chant of Light, the gigantic piece of lore with light in its title, you are correct!

The first mention I want to note is the very early in the Chant

Opposition in all things: For earth, sky For winter, summer For darkness, Light. — Threnodies 5:4

Note that Light is capitalized here, implying significance. Again, it appears here. Here, we're implying that capitalized Light refers directly to the Fade.

(11) Above them, a river of Light, Before them the throne of Heaven, waiting — Threnodies 8:11

And, lastly, and most prominently in Veilguard: the Lighthouse. Its name, in the elven language, is "Vhen'Theneras." Translated, though, that would mean, "core of dreams." Unless, of course, dreams and Light are the same thing.

But if the Light is indeed the Fade, and there must be opposition in all things according to the Maker, then where have we seen dark before?

We've seen it in the Abyss—aka, the Void. We've seen it in the darkspawn. Those blighted beings that emerge from the Deep Roads, aka the Abyss/Void. Remember that the blight itself is the escaped maddened dreams of the sundered titans. Darkspawn refers to the product of those escaped dreams—the ones not in the Fade/Light.

Crucially, the darkspawn behave in much the same way as anything connected to Isatunoll. They hear a Calling that, at first, belonged to the archdemons, but Antoine now says is coming from somewhere else, as well.

It's the description of Isatunoll that ties this all together for me: titans/their children and spirits, Abyss and Fade, dark and Light.

In a letter from Dagna to Harding, she describes Isatunoll — but in that description, she focuses on this idea that beings connected to a hivemind "know their purpose." Purpose is a word used by Solas all the time in DAI. Spirits have their own purpose.

Think about ants. Ants know what they are. They know their purpose, and they must understand, instinctually, how that purpose fits within the whole. But what if it doesn't end there? What if their consciousness isn't just individual? What if the nest itself knew what it was? A collective sentience of some kind. Nothing says the ants don't have a collective sentience. We just assume they don't, because they're ants. Ants. Or bees. Or darkspawn. Now, there's a thought. — Codex Entry: Thoughts on "Isatunoll"

What if consciousness itself is not individual? asks Dagna. What if the nest itself knew what it was? This explains the darkspawn, after all: the blighted beings who are all connected to the song of the Calling, and the maddened dreams the blight originates from.

The nest, except for that small trickle of escaped blight, is the Fade. The Fade, which is a place that responds to the collective wants and memories of those inside it. The Fade, whose pathways are shaped by the thoughts and wants of the people—especially mages—within it.

My theory is this: the creation of the Veil may have hurt Solas because Solas was still connected to his titan, and to Isatunoll. Some of his love of the Fade may be because he misses the titans' shared dreams—and, by extension, the shared dreams of every living person on Thedas (except the dwarves, and we know why that is).

Atonement Solas' Promise: He (Still) Seeks Regeneration

We know that the Fade is the collective consciousness of the Titans. Their shared dreams. We also know that not all titans are blighted, because the one in Descent is not. Harding's titan also is not, by the end of DA:tV. I posit that this is why much of the Fade, according to Solas in DAI, is far preferable to the Nightmare's domain that we get to see in DAI. Some of that shared consciousness is still healthy.

Easing the titans' anger, therefore, means fixing all of the Fade. Reconnecting the two might mean that the collective consciousness between all spirits could return to Thedas—and since at least elves' and dwarves' souls likely come from the same origin, it could do a lot to bring some of the people of Thedas together.

This, to me, is part of Solas' grand plan. It is not only to bring back the world from Mythal's time—it is to bring back the world before they broke so much of it, before the titans were sundered by his hand. After all: Solas seeks... regeneration. And that's something he promises us after Mythal leaves.

It's important to me, therefore, that Solas says the blight can feel his presence during the fighting in Minrathous. Not that Elgar'nan can detect Solas through the blight, but that the blight itself can feel him. Neve/Bellara, depending on who is taken, can reach out to protect Solas the very same way: by communing with the blight itself, feeling what it wants, and redirecting its course. We see, here, a hivemind in action.

We also know that Atoned!Solas promises to "soothe the titans' anger." This is something he promises to do from Fade Jail, implying that he is able to interact with the titans and their anger from the Black/Golden City. This implies that the Fade itself, as a realm, is a means of communing with the titans, not just a specific spot within it.

The Veil coming down was always going to un-sunder the titans, and that was always one of the true aims of Solas' goals. Even if it meant blighting the world at first and effectively causing the apocalypse, the titans would eventually feel soothed. The Veil is a wound inflicted on this world, Solas has said before... and we know now that it was.

This section, short as it is, is just me telling you that Solas is still able to achieve those ends from Fade Jail. Just because the Veil is now bound to Solas' life force does not mean that the titans can no longer heal.

This buys us valuable time, allowing the titans' anger to soothe before their consciousness is restored, so that the transition is gentler. It promises hope for all of Thedas going forward. It might even promise a healthier, more stable Fade, shaped by dream, idea, and hope more than fear.

But what will that mean for future games? What could the Fade have to do with what's to come?

Why is now the time that the Executors and "those across the sea" want to make their big planned move on Thedas? Why is now when the "poison fruit" has ripened?

Like many of you, I hope to figure it out—and I feel that every day, I get closer.

Stay tuned. :)

___

If you read this far, you're a hero, now and always.

Like I keep saying: I have to absorb this lore day by day! I cannot inhale the entire wiki in a day, much as I'd like to believe I could! That means that future posts can't adhere to a strict schedule, as they depend on me unearthing enough codices, notes, and connecting threads to provide a post's worth of material.

In future, I'm hoping to learn more about: the Forgotten and Forbidden ones, as well as the connections between them; the Executors, those across the sea, and the connections between THEM; the areas across the sea; the Devouring Storm and what it could mean for Thedas' existence... and maybe how Ghilan'nain was ever connected to any of it.

Stick with me on this journey, if you like. It's fun to keep theorycrafting and yelling with you all. <3

[thebaldursmouthgazette]

A collection of rambles on the dwarf/tranquil/blight/templar connections:

Blighted creatures connect to the hive mind of the blight and hear the calling, which we now know to be a corrupted version of isatunoll. Templars consume lyrium and this makes their bodies incomplete, and reaching for something bigger (the titans). This reaching blocks magic. The joining ritual for the wardens involves drinking darkspawn blood AND lyrium at the same time, which slows down the progress of the blight, perhaps because they’re calling for the rest of the titan from consuming the lyrium

Tranquil people are cured by a spirit touching their mind. Dwarves are sort of tranquil, but regain their dreams by connecting to titans (or becoming a grey warden).

Seekers gain abilities by being made tranquil and then reversing the process. These abilities include the ability to control the lyrium in the veins of templars and mages. Dwarves who have communed with titans gain abilities such as moving stone that is part of a titan, and turning darkspawn into stone (we do not see a dwarf who has communed with a titan turn anything except darkspawn into stone), darkspawn being extensions of the titans dreams. Being cured of tranquility gives you power over titan body parts specifically.

[felassan]

DA:TV spoilers/long post under cut. This post is a continuation of [this post] and [this post].

Reminds me of Crom Cruach. fitting for an Avvar :) where Rian the Red was a hero of the Fourth Blight, this Cruach the Wolf was a hero of the Third Blight.

A Dalish elf and former Keeper named Ifean who became a Grey Warden. sounds like they used they/them pronouns. :> I wonder if the Dryden here was Sophia Dryden, former Warden-Commander of Ferelden?

After First Days and Last Days come New Days. the Blighted Black City.

Clan Ersallae. New Dalish clan name dropped.

This environmental art of the tree-person coming out of the broken eluvian was so cool and beautiful and eerie, it goes really hard

The prop for the Executors Mysterious Circles codex points is exactly like the art of the same set of symbols in the secret ending :D

doing this with the art on those 'cards' was rly cool too. :)

Clan Sabrae reference! My lil Mahariel-loving heart is thrilled.

Deep Roads places which smell of seawater/ocean/sea/salt/brine - like in Horror of Hormak and the smell of the Executor in the last story in TN.

It strikes me that while "storm" is used in "Devouring Storm", which is connected to the Executors/enemies or those across the sea/the mysterious substance, here those very entities [?] are using storm language in reference to.. Ghilan'nain? Because here the storm that has been quelled is them saying "lol Ghil is ded now". The sun dimming is Elgar'nan's death obviously and wolf defanged is self-explanatory. this is ? - sun and wolf are obvious imageries for Elgar'nan and Fen'Harel respectively but "storm" isn't.. the first thing I would use for Ghil. yknow? Curious 👁️👁️ especially when it was Ghil's monster labs in TN that had the pools with the salt smell.

Adding this to my "pics of this damn thing" collection.

These halla-horn instruments sound so beautiful :') does Antiva standing strong with the Dales refer to this one?

This reminded me of [this] codex where the team are debating which Evanuris=which Old God, they suggest Urthemiel for June and Dirthamen for Dumat, and Neve adds that Dumat liked toads, asking did Dirthamen too? this memento seems to associate frogs with June.

We try to lead despite the eventual failing of our markings. To the inevitable and troubling freedom we are committed.

This reminded me of two things (I know that in the world it echoes the Titans'/lyrium's song, isatunoll etc): - the Stone-singers and Stone-singing in The Lord of the Rings: The Rings of Power - this excerpt from the Book of Taliesin: "The Awen I sing, From the deep I bring it"

Dumat's toad again.

Or... beyond it? "Forbidden" could refer to the Forbidden Ones, and the Fade is the land of dreams ofc, but it also sounds Cekorax-y, Cthulu-y, Voidy. (if not Beyond it, maybe a creature that's neither demon or spirit - things "past the Veil of our world, neither demon nor spirit".)

Satina mention ( ๑ ˃̵ᴗ˂̵)و ♡ Thedas's Second Moon And Related Conspiracy you will always be famous.

Crows from one house can join another, if they get permission. there's also dialogue from Lucanis which says that the Houses sometimes try to steal promising Crows from one another.

Fun reference to one of Davrin's quests :>

Lucanis' attempt to woo Viago in days gone by.

Lucanis on having his first relationship.

lmao

New lore [?] - Crow Houses apparently sometimes recruit from armies or the trades.

Tarot/divination card decks with major and minor arcana including ones like Death and the Fool exist in Thedas. "We do not talk about Fight Club."

Shartan lore and also I am still desperate to know what "Glandivalis" / "Glandival" means.

Horror of Hormak reference q.q

Luck in the Gardens reference

Audric and Down Among the Dead Men ( •́ω•̩̥̀ )

Bellara and Harding discuss Ir sa tel'nal and isatunoll. Codex entry: Torn Notebook in the Deep Roads, Section 3 from DA:I -

Many of these pages are filled with sketches of elven statues matching the ones found in the area, along with notes and what look like attempts to practice Qunlat: Trying to remember that old bedtime song about Mythal. My mother sang it the night before the darkspawn came for my clan. It's the last time I ever heard her voice. Ir sa tel'nal, Mythal las ma theneras. Ir san'a emma. Him solas evanuris. Da'durgen'lin, Banal malas elgara. Bellanaris, bellanaris. Written beside each elven line is a corresponding phrase, likely a translation: I am empty, filled with nothing(?), Mythal gives you dreams. It fills you, within you(?), Making our leaders proud. My little stones, Never yours the sun. Forever, forever. Hahren said we had lost some of the old words. What if they have changed? Durgen'lin from durgen'len? Little dwarves, never yours the sun? What did Mythal do here?

Bellara on another meaning of this song.

[hyperions-light]

okay everyone today let’s talk about profound, overwhelming emotion as a theme in Veilguard

Sounds fun right

Gonna do like a sort of deconstructed essay thing (or I WAS, but this is an actual essay. Sigh)

Thesis: DATV is exploring how its characters confront and process emotions and events so overwhelming that they could define the characters entire lives if ignored or pushed aside; the player is encouraged to provide the characters with the appropriate emotional tools to dismantle the seemingly impossible obstacles that stand in their way, in order to complete their character arcs and contribute to the resolution of the central conflict.

WOagh this got way long, like REALLY long, so I am cutting here. I hope you didn't think the Grey Warden essay was verbose, bc this is much longer! You've been warned lol

PART I: ISATUNOLL

I feel like we have to talk about Harding first bc what’s more overwhelming than having the entire history of your race shoved on you at once? (I've decided to relocate to the computer, so you know I'm taking this seriously) So Harding gets magic rock powers, and then you have that sort of lull in her story where she's just trying to feel them out, but you can already see the game setting up the dilemma, because she's constantly checking against Rook to see what they think about it. She doesn't know how to feel-- should she be worried, excited? You can encourage her down different paths, but whatever you choose, you're providing a way for her to conceptualize this thing that (as far as she knows) has never really happened to anyone else.

And then when you go to meet the Oracle, the game introduces the idea of this overwhelming rage, this intense frustration that IS hers, but also isn't. She (probably) doesn't know what happened to the Titans by that point (you can do Regrets of the Dread Wolf pretty early but idk if it's able to be finished at that point?) but I think the stone giant you fight there is her inborn anger resonating with the much larger, dormant anger of the Titans. And you see her deny her own anger and her own feelings generally (the coffee scene with Lucanis, while tonally lighthearted, is intended to set this up). Again, Rook can intervene, and this time you also see your companions providing their own advice (Lucanis and Taash both tell her not to hide her anger/try to make people happy and Davrin repeatedly urges her to stand and face 'whatever it is' directly). So both Rook and their friends are supplying tools to deal with this upcoming confrontation.

So, the culmination of the arc comes in Isana Negat, where Harding faces the physically manifested anger of the Titans in the form of herself. She says it is her anger, and it IS, she is angry and they are angry, together; Isatunoll-- I am, we are. She did not know what to do with it, and that is why it is here; the game is positing that avoiding confrontation and acceptance of one's feelings can lead to harm for oneself AND for others. It IS Harding that is attacking you, because it was her raising the enemies in the cavern. But, at the same time, Harding is here out of a desire to protect others, and she is compassionate to this manifestation; she apologizes for not knowing how to confront it and letting it run wild in this way.

Fortunately, by this point Rook and company have already provided her with the tools to be successful in this encounter. She does not turn away from her anger, she does not attempt to run or dissemble as she might have done before. By the time Rook reaches the platform she has already absorbed the being; she is just having a hard time fully accepting it. Rook and the other companion physically grab hold of her, as Rook directs her down the path of acceptance through compassion, or acceptance through embracing anger. It is important that neither choice offers a denial. Through the strength of the unity of the team, here represented by physical closeness, and because Harding herself has changed as a character, she is able to integrate the Titans' anger and affirm that she and the other dwarves will continue to persist in spite of what was done to them. DAI players may recognize this as a well-placed echo of the conversation thread between Solas and Varric about the man who persisted in spite of losing everything; Varric said then that the fact that the man lived, that he continued, was a triumph in itself. The dwarves triumph as a race here, by not allowing the horrific violation committed against the Titans destroy them, and so does Harding.

The final piece of Harding's journey is her meeting with Stalgard and his sister outside of Isana Negat, in front of the mountain that was/is a Titan. She returns to them the knowledge that was lost for centuries, and the anger that comes with it, but affirms that they cannot return to what was; this brings change, GOOD change, to the dwarven people and will redefine them. By successfully accepting this outsized emotional trauma, Harding has helped her people, and becomes a more effective member of her team. Catharsis, acceptance, and emotional growth make her stronger.

PART II: I AM NOT THIS

When Rook meets Lucanis, he has been kept in a prison for a year, being tortured and violated by the Venatori, who have been attempting to turn him into a demon. It hasn't worked correctly, because Lucanis and Spite have an accord. However, you first see him just kind of running around killing whoever he comes across; Rook provide direction and a specific target, a chance for freedom. It is significant here that the prison is underwater; Lucanis is, metaphorically, drowning. The prison is also referred to as the Ossuary, which is a place you store the bones of the dead; the outside world believed he was dead, and, metaphorically, he did die here. You kill his torturer, but it is not enough; the woman who kidnapped him and the orchestrator of his violation still lives.

Rook returns to Treviso where Lucanis finds out that he has truly lost almost everything. His grandmother, Caterina, appears to be dead, and his city, Treviso, is occupied by the Antaam. The only thing he has left is Illario, and he immediately grabs onto the idea that Zara, who he believes killed Caterina, is going to kill Illario, too. He panics in response, but he is trained as a Crow to shut down his emotion, and practiced at doing so from his year spent constantly disassociating in the Ossuary. He says he needs to work; Illario and Teia protest, but he insists. He is returning to the thing he knows how to do, grabbing for a sense of normalcy when everything else is lost and he believes the little he has left is in danger. He will destroy the threat and this will also conveniently allow him to put off his real emotional trauma from the prior year.

Every cutscene Rook has with Lucanis between his major plot events in this section involves him trying to contain and ignore Spite. He tries to constantly stay awake to ensure that the demon cannot take over, and he tries to befriend and placate his new associates by buying them stuff (a VERY rich person thing to do) and taking care of them. He is trying to convince himself and them that he is NOT dangerous; he is not a demon, not an abomination. But he is not confronting his fear, he is only putting it off; often, in conversation with others he will be flippant about Spite, or he will deflect their concern about it. He chooses his 'bedroom' in part because it can contain Spite, and because it is the farthest possible location from the Eluvian, where Spite keeps trying to go (I just noticed that! Very fun!). In the meantime, he is also ignoring the fact that Illario is being extremely suspicious, because he doesn't want to know that his brother is the one who hurt him. Lucanis is an astute person by nature, and could certainly have observed this, had he not been deliberately trying to obscure it from himself.

Davrin is a huge problem for him because he is the most direct person in Veilguard. He shows up and tells Lucanis that if Spite overtakes him, he will kill him. This touches on Lucanis' fear of his own lack of control and drives too directly at what he wants to ignore. They are immediately at odds, which is made worse by Lucanis' 'failure' at Weisshaupt, which causes him to lash out at Davrin. He believes that the fact that he was unable to kill Ghilan'nain is indicative of him losing his abilities as an assassin, which is one of the only familiar things that he has left. Fortunately, Rook and company are there to reassure him; the situation is helped by the presence of Taash, Emmrich and Neve, who are unafraid of Spite, and whom he can rely on to control the demon if he cannot. However, the problem remains that he refuses to seriously deal with Spite in any way. As the inextricable representation of Lucanis' trauma (it would LITERALLY kill him to remove it), ignoring him means Lucanis is unable come to terms with what has happened.

This comes to a head when Illario kills Zara, and Lucanis is unable to stop Spite from almost murdering his brother with his own body in response. This is the final, most devastating loss of control. He apologizes to Rook for the lapse, and tries to refocus on Illario, who he now has definitive proof betrayed him. He says he is going to take everything away from him, but truly this is just another distraction; revenge is not going to be enough because it will just mean that he has nothing on which to focus his and Spite's combined ire, and then he will still have a demon inside him and no accord. What saves him is Rook, and finding out that Caterina is still alive. This is fantastic news because it means he hasn't lost everything, but it also presents a dilemma; is it more important to attack Illario, to seek revenge, even if it endangers Caterina's life? Does he risk what he values most-- his family-- to pursue his vengeance?

I was going to write an entirely separate post on the mind prison, my favorite part of Lucanis' arc, so I'll (try) to be brief here. The metaphorical Ossuary is a prison of Lucanis' fear; those he is scared he will hurt, or who will see him for what he believes he is: a demon. In order to get him out of it, Rook needs to cooperate with Spite, and confront each fear individually, breaking down their flawed presuppositions about Lucanis which are trapping him there. It is also significant that Lucanis himself is unable to articulate that he is trapped, and is even unable to ask for help; it is Spite who invites Rook in and concretizes Lucanis' emotional state. He can't get out alone. When Rook reaches Lucanis he admits that he has been avoiding his emotions but that, "It's just... so much. I don't know where to begin."

What happened to Lucanis was life-alteringly traumatic. It is unsurprising that he does not have the tools to effectively confront it. However, Rook encourages him here to begin the process by creating an agreement with Spite in the short-term. Process your trauma by breaking it down and taking it one step at a time. After this section in the game, the player can hear Lucanis converse with his friends about trying to work with Spite; about how the spirit is learning to understand the physical world, and they are no longer fighting. Again, we see that ignoring his emotions was hurting both Lucanis himself and other people, and that by moving forward, no matter how slowly, he can regain control of his life and build a new one alongside Spite, accepting the new circumstance.

When he confronts Illario for what he did and, incidentally, control over the Crows, he does not kill him. He never loses control and he and Spite work together to resist the blood magic that Illario attempts to use on them. Working through his problems with the support of his team allows Lucanis to preserve what he values-- his family, the Crows-- instead of pursuing an endless and ultimately pointless crusade of death in an attempt to avoid his problems. He makes the Crows stronger and heals himself through confronting and accepting his emotions.

PART III: I WILL GO AND SEEK ATONEMENT

Hey it's Solas! Remember how this game used to be called Dreadwolf? That was probably because he's the thematic anchor of the narrative. So, here we go. (This section is going to discuss the 'good ending' for Solas, because I don't think the others really feed into this theme much.)

Solas is the instigator of the conflict in Veilguard, and he may be an antagonistic force throughout the story, depending on how Rook chooses to deal with him. This game gives confirmation that Solas is a spirit, and so the generally established rules apply: he acts as you expect him to act, he is what you expect him to be, so the player is likely to have wildly variable experiences with him.

Throughout the game the player can encounter sections which depict his greatest regrets in his life so far; taking physical form, creating the weapon that severed the Titans' dreams, incidentally creating the Blight, accidentally sending Mythal to her death, and accidentally creating the Veil (dang, nothing goes right for this guy lol). This series of decisions led, in Solas' time, to monumental harm for countless people, and it is what has led him to his current course. He cannot stop because he is utterly trapped in his regret; these moments, though degraded, surrounded him within the Lighthouse while he planned for a decade. The Caretaker tells you that his regrets are so vicious that they are the teeth with which Elgar'nan and Ghilan'nain are tearing into the Crossroads. Solas is destroying something beautiful he helped build because he is unable to let go of the past.

Although you, dear reader, may have your own opinion of him, Solas is undeniably compassionate. In DAI, he will give you massive amounts of approval for simply helping out villagers and performing menial tasks that serve no greater purpose than to alleviate suffering. The amount of suffering he (mostly) unintentionally caused could do nothing but horrify and pain him. His regret is oceanic. If you decide to persuade him to your side at the end of the game, one of the reasons he cites for continuing down his destructive path is because it would dishonor those he has wronged if he were to abandon his work. He is sunk cost fallacy-ing himself into mass murder, basically.

Part of the reason that he is doing this is because, like with Lucanis' issues, the emotion, the weight of the repeated failure is almost too big to effectively reckon with. But Rook can help him do it. Throughout the game Solas watches through his avatar in the Lighthouse; he sees Rook build their team, sees them solve the problems of the people around them and find strength in unity, and so when they appear in Minrathous he does actually believe that they can solve the problem that he cannot. He is deceiving Rook when he gives them the dagger, true, but this is his most valuable asset in the fight; if he did not believe in their success, it would be extremely foolish to give it to them and to commit himself to the comparatively lesser evil of Lusacan. So, Rook has effectively proven the Power of Friendship, as it were, through their actions in Veilguard.

To achieve the 'good end' for Solas, you need to have finished Regrets of the Dreadwolf and successfully confronted the fragment of Mythal that lives in the Crossroads. She will be impressed by your work in proportion to the amount of things in the game you've finished, so you must have bonded with your companions and you must have freed the Crossroads from the ravages of Solas' regrets. He helped make the mess, but other people can help him fix it, which is essentially the point that Mythal makes to him at the end; that he's not literally solely responsible for actually every bad thing that's ever happened.

You also have to tell the Inquisitor to attempt to reach him, which will lead to them saying something about forgiving his past actions if he stops trying to destroy the Veil presently (I assume the dialogue is similar in the friendship route; I have a Solas-romancing Inquisitor and that's basically what she said. I felt that part was general enough it probably carried over). All of these people and various pieces of Solas' past and present are here to break down the gigantic wall of regret that's preventing him from doing the right thing in this moment. All of his arguments for why he must keep going are refuted by these people he cared for, and to whom his regrets are attached.

Through Rook's actions they have demonstrated their ability to solve seemingly overwhelming problems. You can help Harding tame the anger of the Titans, you can help Lucanis confront his trauma, and you can help Solas finally see past his regret and be the hero he has always wanted to be. This is obviously not the only route the player can take through the game, but if they do, they help create a narrative that repeatedly deals with deconstructing and resolving overwhelming emotion. (Dear readers, remind me to make a post about Bioware games and participatory storytelling.) The story examines how intense emotion, ignored or denied, hurts oneself and others, and presents several solutions which all begin with asking for help. There is strength in unity, in compassion and togetherness, and if you cannot see the way forward alone, you will find it with other people.

WhEw okay if you actually finished reading that give yourself a high five and take a lollipop from the basket on your way out the door

on any other platform I think I would have hit a word limit of some kind, so thanks tumblr

edits incoming? very tired rn. Think I had some other point to make about Solas that I forgot maybe. I also think I could've added some of the other companions to this (Taash and Bellara were top candidates) but imo these two are the strongest for this particular theme. And it was already so long lol

okay I sleep soon. you can lmk what you think if you want? don't be a dick tho, I hope that goes without saying lmao