#and like... the morrigan is just such a vibe for him like it Fits its perfect its literally him frfr

[floralovebot]

recently i've been a little obsessed with the character designs in dislyte and naturally i've been thinking of the winx in it and like,,, helia blessed by morrigan... dudes.....

[lesmurples]

I rewatched season 1 of Our Flag Means Death after getting bored with Veilguard, and I was surprised by how many similar character types and themes the two (loosely) share:

Therapy-speak loving mediator as the leader of a ragtag group of mismatched weirdos

A character realizing their nonbinary identity

Background elements of colonialism/imperialism and slavery which our intrepid heroes must resist

Queer found family vibes (tho with DATV the queerness is mostly incidental and does not seem to inform the characterizations much)

Pirates are there

Except while these are some of my favorite aspects of OFMD, I despise how they’re executed in DATV. The overwhelming corporate stink on Veilguard really interferes with the writing’s ability to talk about queer or anti-colonial themes meaningfully.

Comparing the two has actually helped me work through what it is that bothers me about the lackluster character writing of Veilguard and how it could have been better (besides, yaknow, comparing it against the much better-written previous games - they were far from perfect, but god Veilguard makes them look amazing by comparison). To be fair, I’ve yet to finish the game, but I’m privy to like, 50 hours worth of content at this point between playing myself and watching my sister’s playthrough, so if the game finally improves on these points after that long it feels like too little too late.

If you want to read a waaaay too long screed comparing these largely unalike properties, then boy oh boy is this the post for you!

1. The therapy speak:

So uh, the thing about OFMD’s anachronistic, HR-approved managerial therapy speak is that it’s a joke. OFMD is a comedy first and foremost, so this fits right in with the overall tone of the show, and it’s pretty damn funny if I say so myself. Watching Stede - this campy, middle-aged, 18th century theater kid - tell a bunch of hardened pirates to talk through their feelings is hilarious. And really all it does is alienate him most of the cast - the first episode is about his crew planning to mutiny and kill him as a result of his bizarre behavior.

But, as time goes on and Stede and the crew work through hardships and get to know each other a little better, they form a bond of trust and learn how to communicate more effectively. Stede still tries to mediate and resolve conflicts peacefully among the crew, but more directly and with less artifice, while the crew grows more patient with him and realizes the potential benefit of some of his ideas. It’s pretty basic character progression writing overall, but it’s competently executed, which is more than I can say for Veilguard.

In Veilguard, Rook’s youth pastor energy as they mediate every petty squabble between their teammates casts a bland veneer over a deeply bland cast of characters. Disregarding the fact that Rook is the most milquetoast DA protagonist by far, their involvement in every character interaction leaves me feeling like I’m meeting with HR, and not in a funny way. And Rook seems to attract HR-approved pep talks just as much as they dole them out, particularly from Varric but also from Solas and Morrigan of all people. It’s pep talks all the way down!

Where this flavor of therapy speak was used with intention in OFMD to say something about the characters (and to get a laugh), here its purpose just seems to be to nip all interpersonal conflicts in the bud so our cast can be a big happy family. Teamwork! Yay! Except we started with everyone on the team being more-or-less cordial coworkers, and then we end on them being… more cordial? A bit friendlier? There’s no meaningful progression for the audience to enjoy, no real change. Every argument starts bland and it ends bland, and the few that are allowed to continue through companion dialogue are so inconsequential as to be pointless.

The previous DA games had an obvious fix for this: make the characters socially and politically opposed to each other and let them duke it out, all while having to maintain an alliance against a common enemy. The player could get in on this too if they disagreed with someone - twas a grand time. These interpersonal conflicts were a microcosm of the larger political conflicts of the story, and it allowed the characters to explore the influence of their respective cultures upon their current viewpoints. The progression and tension thus hinged on whether the influence of other characters was able to change their perspective, and if it did, what the consequences would be. A somewhat different emphasis when compared to OFMD, but both understand that allowing your characters to come into conflict with each other and resolve it over time is far more engaging than fixing every little issue right off the bat. This isn’t a sitcom where we need to resolve family tensions before the half-hour mark - it’s an 80+ hour game.

(oh god i swear i’ll try not to make every entry this long)

2. The nonbinary identity storyline:

Alright, there is one thing I like about Veilguard (shocking I know), and it’s the option to be trans/nonbinary. I’m nonbinary and have never played an rpg where that was an option before, so that was pretty dope. I think Bioware’s approach to nonbinary and trans inclusion in the character creator was fairly well done and reasonably flexible - definitely better than the trans options in Cyberpunk at any rate. I also like that we have a nonbinary companion, especially since I totally called it when Taash was revealed and felt super smart and vindicated. The execution of Taash’s nonbinary journey though… eh. It’s mostly left me kinda cold.

I won’t be the first to state that the use of modern terminology for nonbinary gender identity is offputting in this setting, and others have explained it far better than I could. It’s a missed opportunity to think through the question of what gender really means in this setting across different cultures (beyond some lip-service to the Qunari being strict about it, which besides being a retcon doesn’t really tell us much), and whether there are existing nonbinary spaces that would potentially align with Taash’s experience of the world, rather than having one transplanted from our modern sensibility. Third genders have existed irl throughout history and are embedded within cultural understandings of gender, and interpreting Taash’s gender through a more historical and/or speculative mode that better fit the setting would feel far less alienating. As it is, Taash’s story just doesn’t seem to fit comfortably in this world, not least because we’re having them discover their identity rather than already have an understanding of it. Their self-discovery story feels out of place in a narrative focused on a high-stakes, end of the world scenario, unless I’m missing something. It reads more like a fanfic that was accidentally tacked onto the source material. (I love fanfic, but the tone just doesn’t mesh here.)

This is perhaps why the writers felt the need to connect Taash’s gender journey with their bicultural experience, which… hoo boy, that didn’t go well. We have to make a binary choice for which of a nonbinary character’s cultural ties should be discarded? Disregarding the fact that this is not how culture fucking works, why are we making this decision for another person? This is the Cole situation all over again, but worse.

Our Flag Means Death, on the other hand, gives us Jim. Jim has lived most of their life presenting as an AFAB woman, but when the show starts is in hiding as a cis man with a fake nose and beard. After their disguise is revealed, Jim goes through the awkward process of addressing the cis dude-heavy crew’s inane questions about them “being a woman now,” indicating that they’re not really sure if they are one. They tell the rest of the crew to treat them like normal and continue calling them Jim, and that’s that. From then on, they’re referred to with they/them pronouns - maybe they had a talk with everyone about it off-screen, or maybe the show wanted to lean on a sort-of magical realism vibe where everyone just knows Jim goes by those pronouns now. Either way, it fits within the tone of the show and doesn’t need to take up much more space than that. We later see where Jim grew up and learn about their background getting trained by an assassin-nun to murder her family’s killers - we got bigger fish to fry.

Does every queer identity story need to be handled like this? Of course not - there’s space for a range of queer stories, whether the queerness be incidental or integral, discovered or established. In OFMD’s case, they perhaps could have spoken more about Jim’s nonbinary experience and how it fits into the setting, but they didn’t really need to. They established what they wanted to about Jim’s identity, and they decided not to go into the issue of misgendering from that point forward. I personally like how normalized it makes Jim’s presence feel, even if they perhaps could have done more. But OFMD is a limited series about a large ensemble cast of different queer folks, and they chose to be economical about how some of those queer identities were communicated onscreen.

Dragon Age is likewise made up with an ensemble cast, and considering its high stakes end-of-the-world plot line, maybe it should’ve taken a leaf out of OFMD’s book and not spent quite so much time on Taash’s personal gender journey when we could’ve focused on something a bit more outwardly relevant (a big ask for Veilguard’s very personalized, individualistic style of character writing). We could have certainly related their sideplot back to their gender, but there had to be a better middle ground than what we got.

Anyway, while OFMD is fairly comfortable with anachronism, limiting the explanatory dialogue for Jim and other characters’ identities probably also helped to not break immersion. Bioware likely didn’t want to go this route for Taash, but if I might make a suggestion for our consideration: Krem. Krem was a great example of an integrated trans character who talked about his experience through the context of the culture he grew up in. Turns out, it’s very doable, and in a Dragon Age game no less.

(oh god they’re all going to be this long aren’t they, what have i done)

3. Background colonialism/imperialism and slavery:

Something that Veilguard and OFMD have in common is that the wider context of colonization, imperial conquest, and slavery that each story takes place in is more-or-less kept to the background. The characters and plots are certainly informed by this context, but the main storylines don’t often engage with it directly. And herein lies the problem: this is arguably an appropriate approach for OFMD given its comedic tone, while for Dragon Age - considering that its previous installments engaged very directly with these themes - it reeks of erasure and sanitization.

Hell, OFMD engages far more directly and frequently with these themes than Veilguard’s bloated, 80+ hour runtime, and it’s a 2-season long TV show! It’s 20 hours total at most! It explores the heterosexism of settler colonialism that chased a very gay Stede away from home, the racism and classism of the English naval crew they encounter, the power and constant threat of colonial fleets, the fact that colonizers have been slaughtering indigenous peoples, the presence and mistreatment of African slaves, and so on. They do this all while avoiding direct depictions of traumatic colonial violence, but they don’t shy away from its presence.

This has been argued to death by the community at this point, so I’ll try not to go too far into it, but Dragon Age as a series has always been interested in sociopolitical conflict and systemic oppression. It pulls quite a lot of influence from real-life history - one could say too much, perhaps - to create a fantasy world informed predominantly by the sociological forces of hierarchical society.

Past games have struggled to portray DA’s analogies for real-life racism unproblematically, but I don’t think the answer was to cast them aside or minimize their presence in Veilguard. This only trivializes the systemic oppression of this world retroactively; elven enslavement and oppression (especially in Tevinter) and Tal Vashoth and Qunari as otherized minorities are barely a blip on the radar of the game that is a) heavily focused on Solas’s past as a freer of elven slaves and b) set in goddamn Tevinter, where both elven enslavement is widespread and a longstanding war with the Qunari is still ongoing.

Yes, these story elements been handled poorly in the past, particularly with how elves mirror both African enslavement and Indigenous oppression in a way that creates unfortunate connotations when written carelessly, and how the Qunari have orientalist, Islamophobic undertones. They should not be portrayed through violent, traumatic scenes or within the same problematic scope as previous games, but they should not have been minimized to the extent that they were. It’s a structural writing issue if nothing else - the foundations of Dragon Age’s worldbuilding rely so heavily upon these forms of systemic oppression that removing and minimizing them makes the story incoherent. These elements cannot be written out of the story without completely transforming it, and because they were not willing to do that with Veilguard, we’re left with a gutted husk of a story missing most of its core elements.

Couldn’t we have just, you know, hired some sensitivity readers? Or - god forbid - BIPOC writers? Christ.

4. Queer found family vibes:

This one is bit of a stretch since the characters of Veilguard are not brought together through shared experiences of queerness; rather, they are collected randomly like Pokemon from all over the globe for their dubious skills. However, I do believe the writers are clumsily implementing found family tropes whenever you gather your team together, and they are all queer by default so that Rook can fuck them no matter what. At least that Dragon Age staple was respected if nothing else - The Characters Must Be Fuckable.

But I do think this is why we’ve been saddled with all this corporate HR team-building therapy-speak throughout the game: someone on the writing team thought this is how you write that found family thing the kids these days are so crazy about. Everyone’s super supportive all the time, no one fights too much, and when they do your character steps in to correct them (you do not get a choice in this - all of your dialogue options as Rook are effectively the same mediating bullshit). They’re all growing into a happy little family, and isn’t that sweet. Except that none of these characters are fully fleshed out because that would require giving them backgrounds that connect to the story’s wider lore and worldbuilding, and the writing team were either unwilling to do this or incapable because of production restraints. So it’s really just a bland group of pretty people being blandly nice or blandly rude to each other all throughout this bland, bloated game.

All that said, maybe we could’ve had a (queer) found family at the center of this game and actually made it work. There’s no law that says there have to be people on your Dragon Age team who will never get along or are too politically opposed to ever see eye to eye (even though I vastly prefer that in a DA story and think it reflects the series’ themes better *cough*). Absolution did a decent job of it from what I remember, though I think there were still a few conflicts between the members of that team that were used to communicate worldbuilding to us - that’s what character conflicts in Dragon Age mostly do. That is the narrative function they serve, and it’s not surprising to me that in a game with minimized companion conflicts, we likewise find minimized overall worldbuilding with respect to the various cultures of the current setting.

Anyway.

To be fair to Veilguard, I do not think we needed everyone’s entire life story in order to successfully execute the found family trope. Take Our Flag Means Death - the only character we really get much backstory for is Stede, with Jim coming in second at my estimation, and Blackbeard third. You don’t really find out that much about their histories overall, and you learn barely anything about the rest of the crew. For example, we know Lucius used to lie to his mother that he liked girls and was a bit of a pickpocket, which was not cute - and that’s all we get for him. We can infer that he was probably upper crust to a degree since he’s literate (and just from his overall vibe), but that’s about it, and the other characters are much the same.

The thing is, while I would welcome more information about the OFMD crew, I don’t actually need it. The characters are portrayed in such a way that you can infer most of what you need to know about them through the actor’s overall performance. OFMD was blessed with a wonderful cast who do an excellent job acting both scripted lines and the heavy amount of improv that was encouraged on set. Their character voices are finely honed and well-delivered, and so I’m able to get a strong sense of who these characters are, what motivates them, and how they relate with each other through their well-executed sense of voice.

Veilguard struggles quite heavily with character voice. The companions as written have some distinct qualities, but they never really have much life behind them. Davrin comes the closest to having a naturalistic voice, and I think it’s because he’s a self-serious straight man (comedically, not heterosexually). The rest of the cast relies on much more exaggerated and whimsical character tropes - a noir detective, a quirky gadget whizz, a perky necromancer, etc. - and the character writing just cannot summon level of energy these characters would usually have. We’re given a few fluff scenes with them that are sweet, but outside of that, none of these characters actually have much personality. Taash comes close with their moody teen affect, but it never quite sits well within their character arc, so it often feels incongruous.

And this brings me to my most damning criticism of the game: it is not funny. At all. Okay, maybe that’s not fair - it got a few small chuckles out of me within the 50 or so hours I’ve seen/played, but not more than like, 3 times. These characters just aren’t funny. Taash is kinda funny at first, but it dries up pretty quick. The script is just not capable of consistently good comedy. The only real humor I experienced was from Ghilan’nain acting like a goddamn Looney Toon, which was completely unintentional. Like everything else in Veilguard, the humor is bland, bland, bland.

Previous DA companions are brimming with humor, and it’s a huge part of what makes them so enjoyable. Comedy does a lot of work endearing you to a character, and you can use it in a variety of ways - it can highlight their cleverness, or reveal vulnerabilities and undercut them, or create chemistry or tension between multiple characters, all while giving the audience a sense of surprised pleasure that opens them up to connect with the characters emotionally. With a story as busy and occasionally dark as Dragon Age, using humor helps to quickly endear the audience to your characters and encourage engagement in their stories, while also releasing tension after harsher story beats.

It also works the other way around - when tragedy comes or characters are made to suffer, it can hit that much harder because you’ve become so endeared to them. When the Grey Wardens fail to halt the blight at Ostagar in Origins and are all but wiped out, the sense of loss is best communicated through Alistair, who up until this point has been a friendly, wise-cracking presence at your side. Seeing his grief and sense of despair in contrast to his usual good humor signals what’s been lost better than just being told, and because we are (assumedly) endeared to Alistair through his humorous attitude, we can empathize with his struggle and feel the weight of this story beat more effectively. It’s also shockingly, darkly funny when Morrigan is completely unsympathetic and later calls him a whiny pissbaby for missing all his dead friends. This helps to transition us out of the previous scene’s lower mood, and it tells us a lot about her character and her dynamic with Alistair.

And humor is an extremely valuable tool in executing the (queer) found family trope. Humor not only does a lot of work for characterization (especially with a larger ensemble cast), but it can also signal comfort and trust between characters, as well as highlight tensions without fully compromising the feeling of security offered by the found family. If tragedy strikes, it then offers a contrast against the usual comedic tone that can emphasize a scene’s drama to good effect. Humor isn’t absolutely necessary to pull this off, but it’s highly effective at establishing characters and their relationships quickly and enjoyably, and so it can be a valuable tool for large casts and plot-heavy stories where you have limited time to spend learning about each character.

Comedy is subjective, and so maybe Veilguard’s humor works for you in a way it doesn’t for me. Likewise, maybe the humor of the previous games and even OFMD don’t work for you the way they do for me. However, my main sense of Veilguard is that less investment was put into any comedy writing as versus the previous games. Less time is given for jokes, both in character dialogue and in the outer world, from what I’ve seen of it (I cannot imagine anything like the Golden Nug merchant in Orlais happening in this game). At best we get sorta sarcastic comments from Rook, but even Rook’s “funny” dialogue option only prompts any kind of humorous or sarcastic response like, maybe half the time. The writing staff just did not prioritize humor in this game seemingly at all, either by choice or necessity.

Add to this the lack of character depth and detail with all your companions, and they just have nothing for you to grab onto. They have so much potential with their quirky, surface-level descriptions, but no one did the work to flesh them out or make them engaging. Good humor or a strong character voice could have saved them even with the lack of detail and dimension, but it’s just not there. And because there is no real depth, detail, or good humor to unite the characters with each other, the found family trope falls flat and every interaction just feels like an office event.

If you like queer found family feels and haven’t seen Our Flag Means Death, check it out - highly recommend it. That show nails found family like a fuckin pro, doesn’t even break a sweat. And it’s gay as fuck.

5. Pirates:

Both have pirates. I vastly prefer the OFMD pirates over the Lords of Fortune tho. In case you were wondering.

OKAY. This insanely long post must end. It started as a thought experiment to see what we could learn from OFMD’s successes and if they could be applied to Veilguard, and then it turned into me giving unsolicited writing advice. All I can really add is to tell you that any time I’m playing or watching Veilguard, I’d rather be watching Our Flag Means Death.

Or playing the other DA games. They were pretty good. Yes, even Inquisition - at least Inquisition was funny.

[twixitativi]

having bsd dragon age au thoughts. help

NOTE: these are just initial thoughts without too much thinking into them and odds are i would have different opinion post thinking about it. this is just vv basic on a surface level stuffs

port mafia - im going to go out on a limb and potentially claim the chantry/templars are the port mafia just because like... i could see dazai breaking away from that + having the antimagic properties is fitting

on that note chuuya being a half-elf templar and then realizing that he's a mage and having to break away from the chantry mayhaps

chuuya being half-elf and dazai being an ass and making fun of him for being short and upon discovering that he's a half-elf being like SO THAT'S WHY--

dazai taking wynne/alistair's role and being at ostagar -> arrival at the tower and chuuya is just like "YOU" (said angrily but /affectionate) and they're angrily talking to one another about the circle situation

atsushi as a shapeshifter... but that would make him a mage. hmmm

will forever be obsessed with the idea of dazai as a rogue. iirc dragon age 2 had a templar/rogue mix and like. i feel like thatd be very on brand for him

yosano as a healing mage (but also as the warrior/mage specialization bc bffr do you really want to tell me she wouldn't be fighting like nahhhhh)

kenji is 110% a warrior. maybe dual-weapon? honestly id find it fucking hilarious if he went around with a greatsword

akutagawa would probably also be a mage

kunikida as a rogue

tanizaki as a rogue

mori as a knight-templar? maybe? complicated

oda as a mage-templar????? maybee??????

fukuchi as loghain....

on that note... fukuzawa as king cailan? THAT GETS WEIRD THOUGH LMFAOOOO

WAIT WAIT so if im thinking narrative-wise, what would make sense would be for loghain to be mori, cailan to be... idk someone, duncan to be oda, alistair to be dazai, the hof to be atsushi... oh man its all coming together

morrigan is chuuya. bam. it works

leliana gives kenji. idk. similar vibes; could also see her being atsushi tbh

sten would be kunikida maybe? ideals the qun etc etc

wynne.... wynneeeee yosano?

i could see lucy being zevran MAYBE. nikolai also gives hella zevran vibes but idk

oghren. man, oghren. who tf would be oghren. i guess fukuchi gives oghren vibes??? LMAOOOOOO

shale my beloved would probably be like,,, q if we're being literal, but maybe kyouka? idk. could also be akutagawa

dog.

i will also say this is trying to fit people into the dao companions without even TRYING to tackle da2 or dai...

anyways

[tabriscadash]

I was asked this on my old blog right as I set about transitioning to this one, so...

The first character I ever fell in love with: for DA:O, dare I say Daveth? What can I say -- I irrationally got incredibly attached to him. otherwise, DEFINITELY Morrigan, and I have crystal clear memories of my first run through Lothering and looking at Morrigan like 😍 the whole time. For DA:2/E, Carver -- unless you count Anders & Justice since I knew of them from Awakening beforehand, in which case probably Justice. For DA:I, it’s a toss-up between Vivienne or Cole -- I technically liked Cole first but SPECIFICALLY in the supporting material (Asunder), and didn’t vibe with him anywhere near as much in the game, AND I got him as a companion after I got Vivienne, so probably Vivienne.

A character that I used to love/like, but now do not: for DA:O, I guess Oghren? I never loved him, but I liked the idea of him because I really liked the dwarves/Orzammar side of DA’s worldbuilding -- but he’s such an unlikeable character that I just.. don’t vibe with him at all. I debate recruiting him every single time now, and I don’t think I ever do his personal quest (in the base game OR Awakening). for DA:2/E, I don’t really have anyone that fits -- but I REALLY wanted to like Merrill and Aveline more than I did, and especially in Aveline’s case, I can’t stand her and genuinely think she’s the unintended, secret Big Bad of the whole game. for DA:I, probably Cole, bc I was really into the idea of a little walking-corpse serial killer animated by a spirit as per the book, but that’s not really the vibe in DA:I, and combined with the somewhat patronising/ableist language and how significantly he is infantilised (including by the fandom) I just got put off him. I do still like him, but not as much.

A ship that I used to love/like, but now do not: for DA:O, I don’t really have one? I guess see my DA:I answer, lol... for DA:2/E, has to be Anders - I don’t think he’s OOC in 2, but I think his writing does so little with him and he feels v. reductive. Where his relationship could be SO interesting and angsty, it instead is written in a really dull and/or cringey way. It would have been nice to see Anders more like the Anders of Awakening near the beginning of the game (rather than random, infrequent and questionably rare snippets), and then see the progression of his relationship with Justice as the game went on -- I want more interesting abominations, PLEASE. for DA:I, listen I cannot express to you HOW EXCITED I was for my planned Lavellan to romance Sera… also I used to be way more tolerant of Cullen x Amell/Surana ships because, like, hey dark ships are fun, right? But since Cullen’s ~wholesome whitewash~ in DA:I, and his fandom clamouring to absolve him of any wrongdoing ever.. it’s boring to me.

My ultimate favourite character™: for DA:O, probably Sten? or Morrigan. They’re both fantastic, and also are significant comfort chars for me. for DA:2/3, honestly, probably my own Hawke -- I feel so hugely proud of her, and can’t imagine I’d enjoy the game anywhere near as much had I not played it as my Hawke. If not her, maybe Sebastian or Carver? for DA:I, I really love Vivienne, as well as Blackwall, and Solas is a great character even if I probably would not say I liked him.

Prettiest character: for DA:O, we all know it’s Zevran. for DA:2/E, I think Aveline -- although her aggressively bland colour-scheme lets her down in a major way (although I respect her dedication to all orange all day every day). There’s just something about her arms -- very Abby from TLOU:2. for DA:I, maybe Josephine? Ser Barris is very pretty, too...

My most hated character: for DA:O, I really didn’t like Alistair, Wynne and Oghren, and of my companions - Oghren is probably my least favourite. He’s vulgar and also profoundly uninteresting. for DA:2/E, it has to be Aveline. There’s just something about ineptitude and a complete, wilful refusal to take accountability for your actions that I can’t stand. It would be okay if it was an intentional character flaw, but the game/narrative treats her like she’s lawful good and it really annoys me. for DA:I, maybe Iron Bull? He was a huge disappointment for me. I also really dislike Sera, Cassandra, and Varric. I’m so sick of Varric - I never want to see him again.

My OTP: for DA:O, I really loved Zevran’s romance -- but I am also very amused by the fact that Leliana got to ‘love’ status with Kallian accidentally, AND I got the ‘love’ glitch for Justice (👀) and Velanna. I do sometimes wonder about an AU where Kallian is forced to make a politically expedient marriage with Nathaniel Howe for diplomatic reasons in order to consolidate her position as Arlessa, and it being an entirely platonic arrangement (it’s not like anyone expects an heir from an infertile Grey Warden) -- and maybe Zev and Nate kiss sometimes, who knows? I also LOVE my Darkspawn Chronicles AU where Kallian and Nelaros are a happy, married couple each hiding their skills with weapons from each other like dumb, cute sweethearts. They shelter Zevran when he fails to kill Alistair and a poly couple evolves. for DA:2/E, I love the IDEA of a Seb romance that isn’t so strictly conditional around the structures that abused him -- he should be allowed to love, chastely or otherwise, but free from the Chantry OR his position as prince/heir. I’d LOVE to actually have a romance with him where you can actually challenge the abuse he’s experienced. for DA:I, Malika doesn’t have a canon romance (although I think when I replay, I’m going to romance Josephine!) but I think Blackwall has an amazing romance. Solas’ is also iconic, it must be said. 

My NOTP: for DA:O, I really dislike Alistair in a shipping capacity; he’s immature and says a lot of misogynistic shit and I don’t think he’s the worst for it, but I don’t really vibe with shipping him, having played the game as a female city elf. for DA:2/E, I wouldn’t say I have one, particularly? although I really dislike Aveline’s relationship with her husband simply because it seems incredibly inappropriate, given that they work together and she has power over him -- and because I dislike her, generally, I don’t feel inclined to do something nice for her. for DA:I, I suppose Sera/Lavellan -- although I’m not AGAINST it, it just really isn’t for me, having attempted it. I also don’t really vibe with Dorian x Iron Bull. Something abt the way the game handled BDSM and their relationship banter specifically I don’t really like.

Favourite episode quest: for DA:O, probs Orzammar/the Deep Roads. I really love the dwarven lore! and, of course, Fort Drakon is really funny, even though it’s not canon in my game iirc. for DA:2/E, maybe the murder mystery with the serial killer, where ultimately Leandra dies? I also really enjoyed all the companion quests. for DA:I, The Descent (just, all of it, lmao) and everything to do with the Avvar. Crestwood also BANGED.

Saddest death: for DA:O, it’s frankly a fucking INJUSTICE that Shianni gets murdered if you make her Bann of the Alienage -- the idea of that happening whilst Kallian is in Amaranthine and unable to protect her :( genuinely very upsetting. I go back and forth on who is made Bann, tbf, so idk how canonical it is: I think maybe Cyrion would get it, but I’m also endeared to Soris holding the position, with Shianni as Hahren. for DA:2/E, Bethany. I wish both twins had had the chance to reach Kirkwall :(. Let Leandra die instead. for DA:I, maybe not the saddest death, but the most memorable for me was that one sleeping dragon in the Hissing Wastes.. leave her alone. Stay out of a womans’ business.

Favourite season game: DA:O!

Least favourite season game: DA:I.

Character that everyone else in the fandom loves, but I hate: for DA:O, Alistair. I cannot deal with his complacency and hypocrisy. for DA:2, I really disliked Merrill but I honestly cannot remember why. DEFINITELY Varric -- I hated how the game forces you to be his best friend, and if you’re low approval, you have to endure these pointless pissy little comments with this little anti-dwarf centrist pissant. After the expedition, I literally have no reason to put up with him, and I NEVER take him out. I hate that he plays the same role in DA:I, too. for DA:I, the Iron Bull was hugely disappointing, and I also really don’t vibe with Cassandra. She just seems very wishy-washy and complacent and hypocritical, and many of her comments about other cultures seem snide for literally no reason other than bigotry. 

My ‘you’re a piece of trash, but you’re still a fave’ fave: for DA:O, lbr probably Sten. Mans is gonna launch a HORRIFYING invasion in the next game iirc and frankly, I’m ok with it. Just wanna see that big bastard again ❤🥵. for DA:2/E, I LOVE Gamlen, ok? for DA:I, I am not sure if I have one.

My ‘beautiful cinnamon roll who deserves better than this’ fave: for DA:O, if any of you so much as LOOK at Velanna wrong, it’s hands. That includes Bioware. I also feel incredibly protective of and sad for Morrigan. for DA:2/E, probably Sebastian -- I feel so sad for him, and so frustrated by the limitations with the game. for DA:I, I’m honestly not sure.. maybe Josephine? I don’t really feel this way about Sera, but I do think she deserves better from the game and its writing, and also from fandom: there are valid criticisms of her, but the hate she gets is not proportional to any valid issues with her -- and gee, I wonder why that is.

My ‘this ship is wrong, nasty, and makes me want to cleanse my soul, but i still love it’ ship: for DA:O, I did use to find Cullen x Surana/Amell intriguing as a dark ship -- I actually hc that Neria Surana is actually Nelaros’ sister, and have dabbled with it as a dark ship. I also am interested in Loghain/Alistair - which each pretends the other is someone else. Alistair is wooby, hate ships are, in general, fun -- so long as we acknowledge that they are, indeed, unhealthy ships. for DA:2/E, I kind of feel like Sebastian romances are, invariably, kind of dark... and, similarly, Anders romances -- especially with certain red Hawkes, The way it ends is, invariably, bordering on fucked up. ALSO Hawkecest is weird and wonderful: GET WITH IT. 

My ‘they’re kind of cute, and I lowkey ship them, but I’m not too invested’ ship: for DA:O, I joked about Velanna x Leliana once and I’ve not been able to stop thinking about it ever since… Velanna x Sigrun is also something that can be so personal. Ariane x Finn is adorable and are paid DUST by Bioware AND fandom. I actually am really into Anora x Nathaniel & NO I will NOT explain myself; it’s a crackship but it’s MY crackship. for DA:2/E, Isabela x Fenris is super cute, but I don’t pay enough attention to them to really have super committed thoughts & feelings on them. for DA:I, Blackwall x Josephine is cute as a background ship; I also think Maryden x Cole is sweet.

[lostgirlrewatch]

1x08 - Vexed

Original Air Date: November 7, 2010

Written by: Michelle Lovretta

Directed by: John Fawcett

Okay, so. Vexed.

This is the original pilot. I don’t think they necessarily presented it as the first episode chronologically—more like, this is what you can expect from our show. Showcase picked it up and it went to series. Vexed became episode 1x08. You can find more info about it in this interview with Michelle Lovretta and Jay Firestone.

Anyway, this episode was shot earlier than the rest, and you can tell. Makeup and styling is different, and they hadn’t quite settled on the tone they eventually went with. As such, this episode is a bit grittier than normal. I find it interesting both for its different tone and for the fact that many of the decisions they made for the episode were made in the interest of selling the concept to Showcase.

This fucking article is great and is a much better review of this episode and why it’s so god damn good than my shit below. It also provides an extremely detailed look into...exactly what I just described above. All of the behind-the-scenes production stuff. Check it out.

The premise: Bo finds a lead on someone who might know about her mother--a falsely accused death row inmate named Lou Ann. Bo vows to prove her innocence in exchange for answers, but her quest leads her into contact with a vicious Dark Fae named Vex.

I do wonder if they wrote this episode without really knowing where it was going to fit into the first season, assuming they had an outline. It works as a standalone and in some ways it feels a little disjointed from what came before in episode 1x07, right from the beginning. Dyson coming right out and saying something so blunt as, “She’s never gonna love you,” feels a bit off to me. But then again, all the characters in this episode are a bit “off,” which is understandable. This episode is like…the prototype. The beta.

“No offense to my own kind, but humans are a little pedestrian now.” *awkwardly laughs* Right... “your kind”…haha you’re enslaved. Lauren are you okay.

“Once you go Fae you never go back, huh?”

“So I hear.”

Me:

Bo feels a little bit more aggressive to me in this episode, like when Siegfried mentions her mother and she wigs out. It’s her normal desperation plus a bit of added homicidal urges. She’s a slightly grittier Bo.

As we can observe from the opening sex scene between Bo and Dyson, this episode is a bit more sexually explicit than we’re used to. This, I am not super a fan of on a personal level. However, the episode is also more violent than usual and incorporates horror elements. This, I am super a fan of because that’s kind of my shit, and it’s something I wish they would have leaned a little bit more into in the rest of the series.

There is nothing I don’t love about this scene. The creepy opera music that sets the stage, the gourmet meal prep (those gourmet meals always end in murder).

(Am I the only one who loves this random little detail they plopped into the background?)

Vex’s entrance—not overly dramatic, just, boop, there he is. 

The tense build-up as we’re drawn to the knife, not sure where it’s gonna go—

--oh, oop, there it goes. 

We know what’s going to happen now, but we build up to it, agonizingly, anyway. Surely we’re not actually going to sit here and watch as he shoves his hand into the disposal and then keep watching as he turns it on and it grinds his hand up. Oh, but we are.

Some scenes have a way of sticking with ya.

So I guess even the Lost Girl universe isn’t all camp and games. People are still people. Especially when they’re ancient as fuck and have all that time to stew in the cesspool of their fucked up emotional and psychological issues. So divorced are they from the concept of mortality, growing up and growing old, that their maturity level laps itself and becomes immaturity—they tend to to behave like children. 

Not all Dark Fae are curmudgeonly, innocuous old grandpas who own restaurants or absolute Queens like the Morrigan. Some of them are like Vex. And just like, fuckin murder people—and each other. Vex’s world is different than Bo’s world. Vex lives in a world where violence is mundane. Empathy is nonexistent and pointless anyhow. Sometimes I wonder if immortal characters are drawn to violence and death because it’s as close as they can get to experiencing a sort of vicarious mortality.

I love Vex’s character throughout the series—up to a certain point—but I love him best in this, his original episode. In later episodes, Vex is portrayed as a sort of morally ambiguous anti-hero, or anti-villain, whichever you prefer. I have mixed feelings on how well the transition from villain to anti-hero is handled. The farther along you get in the series, the more he becomes reduced to a shell of his former self, purely comic relief, and just…sucks.

But in 1x08, Vex is a villain. Straight up. The things that he does are horrifying and the show does not bother trying to get you to empathize with him. And to be clear, this does not mean that he is not a multi-dimensional character, that he isn’t worthy of empathy, or that he is pure evil. What it does mean is the show does something I wish more shows would do. It creates a genuinely threatening and reprehensible villain that is both worthy of your analysis, even your stanning (I stan), and yet whose actions are still inexcusable.

In that interest, let’s talk about him. At this point, his most defining characteristic, the simplest way we can begin to understand his motives, is that he utterly lacks empathy. Vex is the kind of person who would puppeteer a woman and force her to drown her own children. 

He is ordered to kill this woman’s family as punishment for betraying the Dark Fae’s rules. And in this episode, Vex is shown to be someone who rigidly follows the Dark Fae’s orders without question, and without any particular investment in them either. But he doesn’t just kill the kids—he uses his powers to force the mother to do it. To drown them. For no real reason other than his own amusement. That’s another level of sadistic. For a less intense example, in his introduction scene, he gruesomely tortures Siegfried before killing him. Just for funsies. (Well, okay, and to get information.) Vex lacks empathy, clearly, and may scan as a sociopath, but he’s not a stoic one. He gets enjoyment out of tormenting his victims.

Is this the kind of guy the writers are going to try to later convince us is a harmless comic relief mascot? Surely n—

Yes. Yes he is.

I am not at all opposed to the idea of Vex slowly becoming a morally ambiguous anti-villain, even a member of the gang. In fact, I think that premise is interesting as hell. But what I feel like happens later is that the show kind of forgets that Vex did all this horrible shit in the past. Kinda brushes it under the rug. Not only does this make it a lot harder for me to get behind him becoming one of the gang, it also does the character himself a great disservice. I’ll probably get into this more once Vex starts showing up more frequently, and why I feel the writers mishandle him.

To be clear, in spite of how sadistic he is, Vex is not a malicious person. He doesn’t have any enmity for the people he’s ordered to kill. He’s not angry, not hateful, not spiteful. He just doesn’t really care. He’s almost a kind of nihilist. None of it really matters. Somebody who thinks like that would have a fairly breezy time killing people.

Because I like when in-universe politics make things complicated, I like that the in-universe politics of the Light and Dark Fae makes things complicated. Bo wants to free Lou Ann, and she wants the Light Fae’s help, but they can’t help her because it would mean basically declaring war on the Dark Fae. MAJOR no-no. Likewise, they can’t go after Vex because all of his actions are sanctioned by the Dark Fae’s government. Bo’s unalignment gives her freedom, but it’s not without its downsides. She has no influence and no resources when things get too big for her to handle.

“Smells like fried bitch.” An icon. If I remember correctly from one of the behind-the-scenes features, they brainstormed and tested out a bunch of different one-liners to use for this moment, until Ksenia Solo ad-libbed this.

Lol. Kenzi is just so done with Bo and Dyson’s drama.

Lou Ann, the Fae woman who is on death row for killing her kids, obviously strikes a nerve with Bo. 

It’s kinda weird, because when we first meet her, Bo’s main motivation is that she wants to be able to live her life without being forced to kill others and stay on the run to do so. Those problems kinda get solved in the first episode. 

Since then, her motivation has been to live her life without these big mysterious Fae governments telling her what to do. In the first episode, Bo, like Lou Ann, says that she chooses humans. Bo was raised human and wants a normal human life, or as normal as she can get. At the same time, most of the other characters on the show, including her friends, spend a lot of time trying to convince her to embrace her Fae identity and a Fae lifestyle, because it’s “who she is” and she has no choice but to embrace that. “Choice” is a keyword that gets thrown around a lot in this show. But what is the show really trying to say about it? There’s some kind of nature vs. nurture conflict going on here, and I don’t feel like either Bo or the show itself has really decided on which side of the line they fall. On another note, this show has huge Fuck the System vibes. Which I appreciate. We stan an icon who chooses to reject a static, repressive, harmful system even at great personal cost.

A few episodes ago, Bo and Lauren went on a mission together and cemented their bond of trust. In this scene, Lauren breaks that trust. 

She sleeps with Bo to distract her from going after Vex, under the pretense that it is simply the culmination of them both being attracted to one another. The next morning, it doesn’t take long for Bo to figure this out. She is appropriately hurt. She has feelings for Lauren, there was an intimacy there, and she trusted her in a way that she doesn’t normally trust other people, because of her past. Lauren took advantage of her feelings and used her. Whether Lauren wanted to do it or not, whether she had any way of refusing, isn’t relevant in this moment; it was cruel regardless.

But what does Lauren say?

“I haven’t done anything wrong.”

Oop. There it is. There’s the Lauren I remember.

She hasn’t done anything wrong, y’all. Well, I’ll be damned. Lauren never did anything wrong ever in her life. *Lauren did nothing wrong meme*

The way Lauren says this line, with so much conviction, makes me feel like she genuinely believes it. She believes that she did nothing wrong. She is legitimately deluded about what just happened.

This is only the first in what I remember to be a very long string of instances where Lauren pushes blame onto others and denies any culpability in her shitty actions. At least, in this case, Bo isn’t buying it.

Waiting for Bo in the most extra-ass, goth, flamboyant setup possible is exactly the kind of quality villainy I expect from Vex.

It’s criminal that Bo never gets to use this awesome sword.

And…I love that Vex just gets to walk out of there, laughing. Because the system. And he’s not even really evil. He’s just a sadistic asshole. With a job. It’s. *chef’s kiss*

[twatd]

Getting TWATD at the Wake, i: WicDiv #45 Reactions

Every month, two writers have returned to this blog. They did an essay each. For five years. And now it’s all over.

The Wicked + The Divine #45 is out, showing us what the gods did after the cycle ended. We’re following their lead and breaking our own rules. We won’t be writing the normal essays about the issue. Less a remembrance of WicDiv’s death, and more a celebration of its life. 

Let’s start with our initial reactions. Once we’d both read the issue, we sat down and discussed our feelings on where everyone ended up, and how the story finished. Here are the highlights of that conversation.

Spoilers for... well, for the entirety of WicDiv, I guess, below the cut.

Tim: So here we are. After five years and 45 issues, we reach the end of The Wicked + The Divine. Overall, did it feel like a satisfying ending to you?

Alex: After #44, which I enjoyed but didn't really feel like an ending to me... this issue was pretty much exactly what I wanted from the end of this story. I liked where every character ended up, and I got a bit weepy at the sheer optimism of them still being alive and making a positive difference in the world.

What about you?

Tim: I was more or less the flip of that. For me, the emotional climax was last issue, and this is more of a coda that works beautifully in some ways and stumbles a little in others. That might just be my expectations shaping my reading though - we've both sunk a lot of time into thinking about this series, so we're always going to come in with baggage.

Alex: Oh, absolutely. But I suspect our own sets of baggage aren't necessarily the same. WicDiv is a broad church, and I think we've always got slightly different things from it. And I wonder if that informs our different reactions?

Tim: I would be interesting to dig into, but I worry this whole thing could turn into a mutual therapy session.

Alex: Hah. I mean, that's what this whole comic is for, right?

Tim: This issue keeps the focus relatively tightly on Laura. Do you think WicDiv overall was always her story?

Alex: I actually disagree with that statement a little. The big twist of this issue, for me, is how much it was Cassandra's story.

As I slowly realised who the funeral was for (a process extended out a little thanks to the slightly blurry review PDF obscuring the name on the programme), I was actually kind of furious. Cassandra's always been one of my favourite characters, and she's been a little absent from the last couple of issues.

But, at the halfway point of the issue, I think that starts to show itself as intentional. In the end, Cass gets to give her own eulogy, and she's probably got the most lines of anyone in the issue. Even when she's not around, people are talking about her. It's basically “Where’s Poochie?” meets a Cassandra-themed Bechdel Test. And I love it.

Tim: Yeah, it's essentially a Cass sandwich between two slices of Laura bread. It effectively makes their relationship the central figure of the final issue, which is fascinating given that this issue also introduces a whole new wrinkle to the dynamic that we've seen them develop over 44 issues.

I'm sure that there are plenty of people out there who shipped them, but I've got to say, Laura and Cass ending up married sort of blindsided me. I loved their friendship throughout the series, and the way they slowly opened up to each other, but I can't say I picked up on any romantic vibes between the two. Am I being a clueless straight dude here?

Alex: I think that, for all WicDiv's love of foreshadowing, their relationship isn't something that has been signposted much during the series. There is Laura's line in #43 about jealousy and envy, but I think this is more about the vast period between these two issues. A relationship that was one thing, organically becoming another. Rather than – to pick another comic which was hugely formative on us both and has a weirdly similar ending – the Yorick/355 thing of 'oh, this is what that always was'.

Tim: Yeah, I suppose in a way it speaks volumes about just how much was jammed into the two years that we followed those characters through, and how much more you can fit in a time span 20 times longer. But I do worry that it slightly undermines the Laura/Eleanor moments in #44.

Alex: That might be it, actually – Laura and Eleanor were the bits of #44 I found least interesting, because it's a dynamic I'm just not that invested in. I do agree that it feels narratively messy to bring that relationship up only to immediately push it aside, but I feel like that's part of the point – and it's probably easier for me to accept, because I was never aboard that particular ship.

Tim: I can definitely accept that a the pairing of Laura & Eleanor feels too chaotic to last, while a Cass & Laura marriage would be built on rock.

How about where everyone else ended up? Were there any surprises that stood out to you?

Alex: I think the one that surprised me most is Aruna (ex-Tara) and Jon (ex-Mimir). Not where they ended up, exactly – Jon building her a body is something I've seen multiple people on Tumblr crossing their fingers for – but rather how much is done with how little.

They're the gods we got to know least, because of when and how they were each introduced, and they don't get much page space here, but I still Got It. The abstraction of Aruna's body, and Jon inevitably growing into his dad but learning from his mistakes... those are both really lovely endings for those characters.

What about you?

Tim: Aruna is obviously the most visually stunning, and I love the design that McKelvie has created. It reminds me of something I can't put my finger on, and for some reason it means that when she started playing guitar, I was like "oh, it's St Vincent". Make of that what you will.

Alex: That's a nice bit of pop-cultural synaesthesia. (…synthaesthesia?)

Tim: Otherwise, I found Umar's evolution really interesting. It felt like some of his selflessness had curdled into anger a little, and seeing him echo Cam was a real heartbreaker. That and his dynamic with Cass - he felt like someone with a whole bunch of tragedy and regret draped around him.

Alex: That's a really interesting take on him. And it's testament to how open these characters' fates are left – I didn't get that vibe off him at all, but it makes complete sense, and I can now see it in the severity of his design.

But the closure of that final plot loop, with the Morrigan prophecy, was definitely something that stuck out to me. It was painful, and I'm not sure how I feel about it. The idea that he's married, but it's to someone who – canonically, word of literal god – isn't the love of his life? Oof.

Tim: Here's a question - would you want to see more of either the 2055 cast or the times in between, or do you think this snapshot was enough? Like, if this had been a final arc, instead of a final issue.

Alex: In the run-up, I assumed this issue would be structured like: ‘five years, and ten years later, and...’. So I definitely thought we’d get more of that stuff than we did.

Honestly, I love these versions of the characters a lot, but I think spending longer with them could only diminish the impact. And I like that there's a certain level of 'nope, you don't get to see this'. It reminds me of what Laura tells us, about her abortion: “You don’t get details.”

Tim: And yeah, I agree. As much as I have questions I'd love answered, the answers I speculate on in my head are probably as satisfying as actually seeing them on the page in some ways. Knowing that the characters got to live on and make choices and mistakes is, in a lot of ways, enough.

We've spoken numerous times before about how WicDiv is a book obsessed with cycles and systems. Do you think the characters have well and truly broken free from what was trapping them?

Alex: Absolutely. I think that's what I found so moving about this issue – their lives moving forward, unencumbered by all the things they kept being dragged back into over those two years. It doesn't mean they're perfect people, in the final reckoning, but they do get to be whole people.

Tim: There's definitely a sense of somewhat messy real lives outside of this moment, something that's hard to convey in such a small space. Eleanor seems to be the one holding on to her iconic poses and perfect sarcasm the most, which absolutely makes sense, but even she feels like someone who has changed and evolved. They are all free to colour outside the lines now, which isn't always pretty, but it's true.

Alex: So we're agreed that the gods all managed to break free of their cycle. But as WicDiv has been coming out, the two of us have also found a neat little groove to live in. How do you feel about that going away?

Tim: This has been a wonderful community to be part of, and I've rarely if ever stumbled across negative parts of it, which is pretty extraordinary for a fandom in the modern age. I will definitely miss watching people react to and interpret new issues as they come out, and I hope the interesting voices that I've discovered through this keep writing about other things that inspire them. How about you?

Alex: It's a weird mix of sadness and relief, because our relationship with this comic is so tied up with thinking and reading and especially writing about it. Both of our lives have changed a lot over the five years WicDiv has been coming out, and in particular we've both been hella busy of late, so I've definitely felt that monthly cycle starting to bite into my neck.

But who am I kidding? I give myself about six weeks till I start missing it all, and send you one of my famous late-night texts, the ones that start "Tim, I've had a bad idea..."

[galadrieljones]

Dragon Age Question Meme

Tagged by @thevikingwoman and @idrelle-miocovani. Thanks!! ^_^

tagging @pikapeppa @a-shakespearean-in-paris @wrenbee @bearly-tolerable @hidinginthehinterlands @ladylike-foxes @sasshole-for-rent @ma-sulevin @princessvicky01 @lyrium-lovesong

01) favorite game of the series?

Inquisition. It was my introduction to the franchise, and I just have a hard time going back to older games and enjoying them the same? I really liked Origins, but the silent protag, despite my love for Skyrim, isn’t really my thing. I’ve never *actually* played all the way through DA2. Don’t shoot me. I just don’t have the time lol.

02) how did you discover Dragon Age?

My husband bought it for me for my birthday one year, on a recommendation from a guy at GameStop. He said, “My wife loves Skyrim. What are some other games she might like?” Inquisition had just come out like six months earlier.

03) how many times you’ve played the games?

I’ve only played through Origins once. I’ve played through Inquisition in its entirety (including Trespasser) 4 times.

04) favorite race to play as?

Hmm. I’ve played most as an elf, but that’s due to Solavellan. I am not really an elf-exclusive kind of lady. My first two PTs were with Trevelyans who romanced Cullen and Sera respectively. In Skyrim, another game with a million race choices, I’ve mostly played as a Nord, with a couple wood elves, too. So, I like elves and humans equal, I’d say.

05) favorite class?

Rogues, archers in particular. This is pretty much always true for me. Though I play Revasan Lavellan as a two-handed warrior with a great big sword and it’s QUITE fun (in Skyrim, my main Nord is a two-handed warrior, too.)

06) do you play through the games differently or do you make the same decisions each time?

I have mixed certain things up. I’ve done playthroughs in Inquisition where I let the Wardens stay, playthroughs where I exile them. I’ve also gone with the Templars once, though I mostly choose the Mages because I just like In Hushed Whispers better. I like to mess with the opening world state a little in the Dragon Age Keep, too. But there are certain things I always need to be the same, just because I can’t cope with the other options lol. For example, Morrigan and Warden Matthew Cousland are an OTP for life for me, and it’s canon in my brain forever that Matthew would not do the blood ritual with Morrigan, nor would he allow it to be performed with anyone else, so he died saving the world. But they do have a baby together--Kieran exists. But he is not an old god baby in my universe and never will be.

07) go-to adventuring group?

Solas, Iron Bull, and Dorian with Sene Lavellan; Solas, Cassandra, and Sera for Revasan Lavellan. Sometimes, I’ll mix things up a little with Sene (who I’ve played a LOT) and bring Sera instead of Dorian, or Cole instead of Dorian. Sometimes I’ll bring Cass or Thom instead of Bull. I specialize Sera with daggers, actually, so I can have two kinds of rogues. 

08) which of your characters did you put the most thought into?

Overall, probably Sene, since I’ve played her the longest and written about her the most. But I’ve put a lot into Revasan as well. In some ways, I feel I know his code better than Sene’s. 

09) favorite romance?

Solas. But Sera was also lovely.

10) have you read any of the comics/books?.

No. I have “Masked Empire,” but I’ve not read it.

11) if you read them, which was your favorite book?

-

12) favorite DLCs?

Trespasser. I also like Jaws of Hakkon. The Frostback Basin is a super neat setting with a lot of strangeness and beauty. I love the pink.

13) things that annoy you.

Not much? Mostly I get annoyed when parts of the fandom fixate on things that annoy them. That annoys me, because I’m here for the positive vibes, not the negative.

14) Orlais or Ferelden?

Ferelden. I think it’s weirder. 

15) templars or mages?

Mages. Honestly both factions have problems  in their leadership as far as I’m concerned, but I tend to choose the mages more often, because the quest is more fun in Inquisition, and I just can’t stand the idea of them being enslaved by some Tevinter fuckface. 

16) if you have multiple characters, are they in different/parallel universes or in the same one?

I have two universes: one where Sene is Inquisitor, and one where her father Revasan is Inquisitor. They each exist in their respective universes though and are the same people, just in different roles. Sene is with Solas in both.

17) what did you name your pets? (mabari, summoned animals, mounts, etc)

Warden Matthew Cousland named his Mabari Good Boy.

18) have you installed any mods?

Console only

19) did your Warden want to become a Grey Warden?

No. He didn’t want anything to do with the Wardens. He was sort of like the Prince Hal of the Couslands, causing trouble and being ironic and kind of a jerk and a charmer. Morrigan often casts him as having had a bandit’s sensibility but a good heart. He joined the Wardens because after his parents died he was a mess and didn’t know what else to do or where else to go. I picture him as only having been like 24.

20) hawke’s personality?

I kind of just go with classic purple Hawke lol. He’s a little derpy but brave as hell. His plans often go wrong but he’s very good at improvising. He romanced Fenris. His name is simply Garrett. 

21) did you make matching armor for your companions in Inquisition?

No lol. I like to use knightly colors though. I always use light, silvery metals and then with accents that fit each character’s personality. Sene’s accent color is always a fiery red. Revasan’s is a cold blue.

22) if your character(s) could go back in time to change one thing, what would they change?  

Probably not much. My characters all tend to sort of face forward at all times. Revasan might change things from his wife’s tragic backstory though. He might save her family from the Fifth Blight if he had the chance.

23) do you have any headcanons about your character(s) that go against canon?

Plenty lol. I headcanon my Lavellans as land rich farmers who live stationary, wealthy lives and have for three generations. I have robust headcanons for the Dalish in general, mainly that there is a robust farming tradition among them, and that there are more successful Dalish elves than many humans and city elves realize. Nobility and Chantry officials would be unfamiliar with their culture, but any agricultural and merchant families of Ferelden and Orlais and the Free Marches would probably work often with Dalish farmers. I also headcanon Dalish farmers as being very much in league with the Merchant’s Guild. The Lavellans have a strong, historic partnership with the Tethras family, for example, because of all the business they do in Kirkwall. Varric has known Revasan and also Sene for many years. 

I also reject the barefoot elves thing. I just...for me, personally, it’s too Fantasy with a capital F and I like things to be a little grittier than that. So my elves wear boots, okay? Come at me.

24) are any of your character(s) based on someone?

Nope. Or, well, I mean, Revasan’s appearance is heavily informed by that of Luke Evans. His voice claim is like a mix between Gordon Ramsey and Jude Law. Sene is entirely unique.

25) who did you leave in the Fade?

When it was Hawke or Stroud, I left Stroud. When it was Hawke or Alistair, I left Hawke. Hawke wanted it more. Alistair is too...precious in my mind. I was worried about him. But in my sort of main world state, Alistair is King of Ferelden and not a Warden, so Stroud is actually in the Fade for all intents and purposes.

26) favorite mount?

Lol I don’t use mounts. My party and I run around on foot like children and get eaten by bears like men. 

[incorrectacomafquotes]

OKAY SO, Here is the playlist I made for acowar/acomaf. I’m going to post a link to the playlist on Spotify right after this so if that works better for you check that out as well. This is a list + description of all the songs on the playlist. if you want to, give it a listen. If you want to add anything send me a message I’m always willing.

LOTS OF LOVE xxx

1. Terrible Love by Birdy: This song reminds me of Feyre when she is living with Tamlin after returning from the mountain. I think it sort of represents how alone she feels, and how intertwined with guilt she is as well.

2. When I Was Your Man by Bruno Mars: I found this song to be sort of how I imagine Tam to feel towards the end of acowar when he realizes his mistakes, and only wishes Feyre the best.

3. I Feel It Coming by The Weeknd: This just reminds me of how Rhys feels for Feyre.

4. O’Sister by City and Colour: Wow okay this song reminds me of how Nesta and feyre feel towards Elain, how they wish they could help her but are powerless to the demons she holds in her head.

5. Not In That Way by Sam Smith: If you know this song, you know exactly who this is about. Basically how Az loves Mor but knows if he ever said anything, her feelings would not reflect his own.

6. Liability by Lorde: tbh I cried when I first heard this song. I find this song to relate a lot to Feyre and her process of finding self love.

7. Scene Two - Roger Rabbit by SLeeping With Sirens: I added this song bc it reminds me of Rhys’s encouragement towards Feyre to mend her own wounds, and to become her own savior. Kind if how he encourages her to love and forgive herself.

8. HEAVEN (ft. Betty Who) by Troye Sivan: This one is up to you. I find it could fit a lot of our beloved characters. To me, it reminds me of Az.

9. Self Control by Frank Ocean: When I hear this song I often think about how Az feels for Mor, and how haunting it must be to watch her suffer and not understand why she’s in so much pain. Az loves her so much that he doesn’t want to ruin the friendship by admitting his feelings. In short, Az has no self control when it comes to Mor.

10. Eyes Closed by Halsey: Literally all of Halsey’s songs remind me of SJM books so this was difficult to choose from. Honestly Badlands is just 100% SJM books. But this song in particular reminded me of Mor, and how she lost the girl she once loved and lives her life hiding her feelings.

11. 26 by Paramore: This one reminds me of the Inner Circle, and all those who dare to hold onto their dreams.

12. Moonlight by Ariana Grande: This song reminds me of when Feyre first falls in love with Rhys and Velaris in general.

13. Fly With Me by Iration: Well, this song talks about “flying” which is a euphemism of getting high bc its iration, but the lyrics remind me of how Rhys invites Feyre to fly with him, and how freeing the experience is when they all fly together in general.

14. Oh Death by R.I.S.E.: I added this song bc it kind of has a folk vibe which I like. I find it to remind me of the war in general, and how close to death everyone is.

15. Monster Lead Me Home by Sara Hartman: This song was suggested to me, I find it reminds me of when Mor picks Feyre up and brings her home, and how Velaris and the inner circle become home to Feyre.

16. Oceans by Seafret: This song was also suggested to me and ugh wow I love it thank you so much. This one is again, up to you. I think of Az and his feelings for Mor when I hear it.

17. Fallingforyou by The 1975: This songs reminds me of the night of Starfall, and Feyre falling for Rhys in general. But, you could also relate this song to Nesta and Cassian.

18. Talk Me Down by Troye Sivan: (can you tell I love Troye) This song is really innocent, and reminds me of how Elaine and Azriel would be if they ever started to be together, because it would be soft and gentle.

19. Marked Man by Mieka Pauley: Again, this song was suggested to me. This song represents how Nesta promised the King of Hyberyn she would kill him and have her revenge for what he did.

20. Saturn by Sleeping At Last: I love this song so much. The album is great as a whole, but this song really reminds me of Velaris and the inner circle.

21. Just A Game by Birdy: I know this song was made for the thg soundtrack, but, I find it reminds me a lot of how Feyre feels when she first comes to Paryhian. She’s lost and confused, plays Amarantha’s game, and then her feelings for Rhys change when he saves her under the mountain.

22. Bad Intentions by Nikyee Heaton: Okay, this could work for Amren, Mor, or Nesta. It reminds me most of Morrigan though….

23. Haunted by Poe: Another wonderful suggested song, meant to represent Elaine’s gift.

24. Love Is a Losing Game by Amy Winehouse: My all time favourite song. I totally think of Mor whenever I hear it.

25. Samurai (feat. Katy Tiz) by Vanic: I just love this song lol, but yeah this sort of reminds me of music that would play when Cassian and Azriel are training Feyre. Badass af.

26. Quit (feat. Ariana Grande) by Cashmere Cat: Reminds me of how Nesta pushes her feelings for Cas away, but she can’t let him go.

27. 99 by Elliot Moss: When I listen to this song I imagine what Rhys feels like when he gives the little goodbye speech before everyone splits up before the war begins.

28. My Baby by Julia Stone: Weirdly this song makes me think of Kallias and Viviane.

29. Bloom by The Paper Kites: This song reminds me a lot of Elaine. Maybe someday if she has growing feeling for Az. It’s just gentle, like she is.