#and the side characters feel so one-dimensional

[thebraxiatelcollection]

We're halfway through the new series of Doctor Who, and I'm really unsure of how I feel about it all.

Do I think Ncuti Gatwa and Millie Gibson are brilliant? Absolutely.

But the actual stories?

I have so many mixed feelings. I just feel it tries too hard, and it doesn't reach it's full potential and I just have a lot of mixed feelings about the series and the 60th as a whole with the more I think about it.

[torchstelechos]

I love that Isabeau is the one to bring up the "what do we do if you die" conversation cause its a very good insight to his character at the very start of the game. Isabeau is practical, smart, and loves everyone dearly and wants to know how to help them when shit goes sideways. He's the one to ask about Bonnie too, which is a delightful read on how he thinks because everyone else shuts that down instantly as a "That wont happen and cant happen" but we see later in the game it can happen which is such a startling thing for a game to do but justifies the foreshadowing of Bonnie can die what do we do if that happens? Isabeau, despite everything, is also the one who gets to the heart of the matter even if its not something must people are willing to talk about. All without it being part of his friendquest, thats just him naturally. Which! Says so much about him and how he is! His character when its not about his relationship with Siffrin is a very intriguing thing because it feels like a very classic hard intellectual stance that's been softened after many years of learning to better communicate healthily with others. A reflection, if you will, of Odile but in a very drastic direction. I find him fascinating and I also want to scoop his brains out and study them under a microscope to see all his little brain thoughts.

[aroaessidhe]

2024 reads / storygraph

The Teller of Small Fortunes

lighthearted fantasy adventure

follows an immigrant fortune teller who travels between villages telling small fortunes for people

when she runs into a (mostly reformed) thief and an an ex-mercenary searching for his lost daughter, she ends up traveling with them in the hopes she can help, along with a baker they meet along the way,

they encounter various magical creatures and adventurous situations, and eventually she has to face her past

no romance

[perenlop]

ngl i actually quite like the black rose arc

[fightaers]

i just read a TERRIBLE sakura slander i have to actually sit down oh my god

[no1ryomafan]

Thinking more about umbraclaw and while there’s stuff to critique from the gameplay side I think probably the biggest flaw of it is like everything to do with the writing, and I don’t mean just plot.

It’s one of those things where it’s like- The basic narrative of the story is got across well regardless of what ending you get-yes I did look it there being multiple endings lol-and it’s the first entry of a series so the story not being the best can be forgiven but it’s a shame NOTHING is super fleshed out. Not just the soul plane but the characters don’t get much at all, they kinda just exist as set pieces to move the narrative forward. Kuon, the mc oddly never talks that the characters always acknowledge it so she’s basically a blank slate and I’m unsure if it’s because we’re meant to project onto her/interpret her whoever we please or if it’s just to reflect she’s not like the others and she’s a normal animal.

We also don’t get to know enough about her owner that it’s actually hard to care about her other then “well she seems nice ig” since you can’t say you want to care about Kuon because she’s blank unless you really put yourself in her shoes or your own pet into her place ig. And don’t even get me on how LOCKE is so weirdly interrogated into the plot and clearly has more to him yet is left off being so vague, like we get teased he’s like you but never are directly shown or hinted at that. He’s just there as a rival but he’s not at ALL fleshed out enough or placed right into the plot even if he’s spared at the end which doesn’t amount to anything, he’s just there yet again to be a set piece that’s just a bit different from the others. (And also how he hints at a deeper theme of losing control of yourself in terms make you forget who you are but it’s not explored ENOUGH even if he’s there to reinforce it it only comes up in one ending)

Like this story doesn’t make me super angry to hate the game as I’m still gonna do another ending and overall playing it is a really interesting experience I won’t get from anything else, but maaan if we get a sequel I hope the plot is reworked significantly cause it sucks how it’s “not a bad story but also a story with no substance”.

Its something that’s satisfying only because it’s a what you see is what you get thing but doesn’t have anything deeper to really pick at.

[yourqueenb]

I’m honestly really glad that they paywalled interactions with Luke and Ruby this week because I’m just not feeling them, I’m sorry y’all

[mariesoliver]

Jail time for all y'all that hyped up fourth wing like it was a gift from heaven

[nualaofthefaerie]

How about we stop interpreting the Cat King into something he is not and start listening to Lukas Gage about his own character instead?

Because it's genuinely concerning how some people view him, and at this point, I am starting to believe you people are so hostile towards him because he disrupts Painland, which he doesn't since Edwin can very much like two people at the same time (most people in real life do).

Lukas also sees this shit... It's obvious he loves this character and worked very hard to make him complex and three-dimensional, only for people to misunderstand him completely and start treating him horribly, which I'm sorry but it's completely bullshit.

So less "I don't like him because he makes me feel icky for no apparent reason" and more media comprehension.

Gif belongs to @isabellaofparma 🪷🩷

AN ADDITION TO THIS (03.07.24):

I think every person should be allowed to, of course, continue to dislike him. He is a complex character, and as such, he is the whole spectrum, and that rubs people in ways. However, I did mean to provide a different point of view than the one that had begun to take prevail and I felt was a bit unfair towards what Lukas wished to portray. I will not change or edit the original phrasing because that is how I felt when I originally posted this.

I do enjoy reading everyone's opinions. The ONLY thing I will not tolerate on this post is personal insults on both sides. Do not have those under my post. I'm an adult. I can't have people fight over fictional characters with personal insults.

[zoe-oneesama]

If its okay to ask what exactly is the issue with Chloe's writing in the show for you? The creators have stated multiple times "there will be no redemption, she's rotten to the core and she's gonna stay that way" and it seems like thats what you want from her. So where exactly do they fumble the bag for you?

Mostly the part where they wasted everyone's time.

They tried to play both sides - kept her as nasty and self centered as always and did nothing to change her, but also make multiple episodes where we're meant to feel sorry for her and the heroine is portrayed as In The Wrong for being too harsh on her. It was annoying.

Like, it was just...tonally confusing at the time. It's totally in character for her to "steal" a Miraculous and not give it back when the rightful owner demands it back, being a thief was never outside of Chloe's wheelhouse. So tell me why they had the heroes give her soft woobie eyes and make excuses for her on the grounds of "you just wanted Mommy to look at you" and frame it like that's correct??????

And then, AND THEN, after wasting everyone's goddamn time trying to pretend they were doing something deep with Chloe, they didn't just double down on her being a two-bit one dimensional mean girl and tried to pretend like they didn't devote multiple episodes to convincing the audience she was more than that, but they wrote her to be even more comically evil as if to drive the knife even deeper! You can't help but read into their motivations, it feels like they're doing it to target certain fans specifically. "Oh you liked Chloe and wanted her to be redeemed? What if we ANTI-REDEEMED HER?! And now she's somehow more evil than our abusive magical terrorist! BWAHAHAHA!" Like?????? The Fuck?????

There's a moment in Season 5's "Collusion" where Bustier brings up the gift Chloe got her at the end of "Zombizou", doing this speech about how she recognized that Chloe was just a fragile teenager looking for love and attention (the EXACT THING that Season 2 spent a multi-episode arc trying to convince their audience of) only for Chloe to snap back that Bustier is using her student's feelings to "blackmail" her in that moment and uses this as grounds to get the woman fired.

And I feel like that really encapsulates the frustration I have at specifically the staff behind Miraculous Ladybug when it comes to Chloe.

Here is Chloe mocking Bustier for reading into what happened in "Zombizou" and instead it feels like the viewer is being mocked. Everyone who thought they were going somewhere with Chloe, everyone who bought what they were selling, everyone who's time was fucking wasted, is being laughed at in this moment.

Look, I never bought into Chloe being redeemed, so my personal annoyance was this dilly-dallying through this random side quest that amounted to nothing, which is a constant in this damn show. But, and I know this might be hard for some to believe, I had deep deep sympathy and empathy for fans who really thought and really wanted for the Battle of the Queens Arc to amount to something. I am so, so angry for them, because every season finds a way to not only stab you all in the back but twist the knife.

So yeah, that's my "issue".

[elumish]

When I see people talking about why they gravitate towards M/M fiction, one of the things that I see a lot is that they don't feel like there are female characters that they can relate to--that all female character are written poorly, or they're all straight or white or skinny. (This latter bit isn't actually the case, but I can see why you feel that if you only look at certain media.)

And I want to remind people that you can write female characters that you relate to, that show up the way you want female characters to show up. You can put that into the world!

If you've ever written a fanfic about a male side character and fleshed him out into a three-dimensional character, you can just do the exact same thing with a female character! There's no difference in terms of writing process or skill requirements or anything else--men are not the default, with femaleness being something that you need to figure out how to navigate.

I think it can feel intimidating, sometimes, when you don't relate to any of the female characters that you're seeing, to try to write a relatable female character, but the great thing about writing is that the more you do it, the better you'll get.

Think about something that you dislike in the female characters you think are written poorly. Maybe you dislike the arc that many have in certain types of M/F romances where they acquiesce to the demands of male characters, even when the rest of their personality wouldn't indicate that they would do that. (I know I hate when I read that.)

Take that issue and play with it. Write a female character who doesn't do that! Write a female character who does the things that you want to see female characters doing. Write a female character who isn't white or isn't straight or isn't skinny, if that's what you're looking for in a female character.

And if your issue is that you don't want to write about the issues that women face, you can just...not do that. Maybe she has a bunch of female coworkers, and her male coworkers are feminists (literally the project that I just came off of at work--it does happen). Maybe the fantasy world you're writing doesn't have gender-based discrimination. Maybe you just don't write about those things, in the same way that so many people don't write about homophobia in their M/M fics, because you just don't have to.

Female characters are exactly as easy and exactly as difficult to write well as male characters.

[deception-united]

Let's talk about strong female characters.

And, more specifically, the problem with them. Don't get me wrong, I am all for a fierce leading lady who can hold her own in any situation. Inspiring, intimidating, capable. All-around badass. But it seems like lately, every other female character we meet is cut from the same warrior cloth, and it's starting to feel a bit predictable.

First, let's give credit where credit is due. The influx of strong, capable, and independent female characters in recent media is undeniably empowering. Seeing women take charge, wield swords, and save the day sends a powerful message to audiences young and old: girls can do anything. And that's a message worth celebrating.

However, there's a flip side to this trend that's worth examining. In the rush to break away from the tired old tropes of delicate damsels in distress, it seems like some writers have swung too far in the other direction. How many recent female protagonists can you name who aren't strong and independent? Who have weaknesses that they aren't afraid of showing, or aren't able to hide? We're seeing a lot of new male leads with these characteristics, which is great, but it's like we've traded one stereotype for another.

All this results in a lot of one-dimensional female characters. I want to see girls who are witty, goofy, immature, sensitive, cocky. While it's great to see women kicking ass and taking names, it's also important to remember that strength comes in many forms.

One of the things that makes characters truly compelling is their complexity. Sure, it's empowering to see a woman single-handedly lead or defeat an army, but what about her flaws? Her insecurities? Her moments of vulnerability? Those are the things that make her relatable, that make her human. That makes her resonate with readers.

Take the classic "strong female character" archetype and add some depth to her. Maybe she's a skilled warrior, but she's also quick with a sarcastic quip. Or perhaps she's fiercely independent, but she's also afraid of being vulnerable with others. Or maybe she's not. Maybe she's not strong or independent or fierce at all. Maybe her strength lies somewhere else. Give her layers, give her contradictions, give her flaws.

And let's not forget about the other roles that female characters can play. The witty sidekick, the comic relief, the immature goofball, the sensitive soul—these are all valid and important character types, and they deserve to be represented just as much as the badass warrior woman.

So, to all the writers out there: by all means, keep giving us strong female characters. But let's make sure they're more than just stereotypes. Let's make them human. Let's give them depth and complexity and nuance. Because in the end, that's what makes a character truly unforgettable.

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[aroaessidhe]

2023 reads // twitter thread  

Song Of Silver Flame like Night

YA wuxia/xianxia inspired fantasy

a girl in a colonised country with a mysterious seal on her arm left by her mother before she was killed

when a state magician finds her, she escapes with a boy to his school of secret traditional magic practitioners, and discover the secrets her mother left her

powerful demon gods

[hotdaemondtargaryen]

EWAN MITCHELL TALKING ABOUT AEMOND TARGARYEN IN EPISODE 4 FOR NUEVA MUJER MAGAZINE.

(video of the interview comes out this week)

AEMOND, AT THIS POINT, IS THE MOST INTERESTING AND COMPLEX CHARACTER IN THE ENTIRE SHOW. AT THIS POINT IN YOUR HISTORY, WHAT ARE YOUR INTERESTS?

"I love exploring the dark side of Aemond and delving deeper into his vulnerability."

"At the end of season 1, with his dragon, Vhagar, he knows he's made a mistake and lets his emotions get the best of him."

"It's good to see that feeling again and it breaks down and takes away that one-dimensionality: there's something more underlying beneath the surface that, in part, motivates it."

IT IS CLEAR THAT AFTER WHAT HAPPENED, A CONFRONTATION BETWEEN AEMOND AND DAEMON IS GOING TO HAPPEN. WHAT CAN YOU TELL US ABOUT THAT?

"Sure, but at what cost? Everyone saw the damage the three dragons did in the battle."

"After that moment, all of Westeros already knows what it is to fight with dragons and what they can do."

"Now, with Aemond and Daemon, if they sat together in a room, any item in it would be a deadly weapon."

HOW DO YOU DEFINE THE RELATIONSHIP BETWEEN AEMOND AND AEGON? IT IS VERY CLEAR THAT AEMOND IS INFINITELY SUPERIOR THAN HIS BROTHER AND HE KNOWS IT.

"Yes, I think he has always seen Aegon as someone who is inferior to him."

"He feels like he doesn't have the drive to be a king and the perseverance to be a leader."

"While Aemond was training with the sword and studying with the masters, his brother was probably in some Flea Bed brothel squandering his inheritance."

"So Aemond, although he was the second son, always felt that he should have been treated as the first and always prepared himself for that."

"He also feels that he would probably make a better king than Aegon."

"He hates his brother, but he loves him at the same time, because he is his brother."

"They share a heritage."

"He wants to love him, but Aegon gives her plenty of reasons not to."

BUT DID AEMOND WANT TO KILL AEGON?

"When we are in the battle scene, and when Vhagar attacks Aegon and Rhaenys, the question arises as to whether he intentionally tried to hurt his brother, or if he was in his way or if he was just collateral damage."

"I think it goes back to the previous answer: I think of them as Michael and Fredo Corleone, at the time when the latter betrayed his brother and plotted against him."

"This is because although they hate their enemies, there is a deeper hatred towards someone who should protect and care for you."

"And Aegon never did that. In fact, he led the bullying. Aemond “forgives”, but never forgets."

NOW THAT YOU'VE ALSO RECORDED 'THE LAST KINGDOM', AND, COMPARED TO YOUR CHARACTER, OSFERTH, AEMOND TARGARYEN IS CRUEL AND RITLESS. WHERE DID YOU GET INSPIRED FROM TO INTERPRET IT?

"It's interesting that you mention Osferth, because in many ways he is the antithesis of Aemond, in the sense that they are children of royalty who were marginalized and have been treated unfairly by their brothers."

"Aemond himself, because he has been sidelined, has a lot to prove."

"He is the second son who will inherit nothing and recognizes that whatever he wants in this life he will have to go out and get it himself, by hook or by crook."

"He has tremendous power in Vhagar."

"And, of course, he recognizes that he can do things that no one else in the kingdom can do."

"And that's why he sees it as a call to greatness, to write his name in the history books."

AEMOND IMPOSES FEAR. IT HAS A DANGEROUS AURA. HOW DO YOU TRANSMIT THAT SENSATION TO THE SPECTATOR, THAT SOMETHING TERRIBLE CAN HAPPEN TO SOMEONE LIKE THIS IN A PLACE?

"I think that in the first four episodes, Aemond is still not very much at the center of the conflict."

"You see it with Criston Cole plotting and trying to manipulate the council because they know war is inevitable."

"Now: Shakespeare said the eyes are the windows to the soul, but in Aemond's case, what does it mean to have one and the other a safari? Do you see less of his soul? There is silence."

"A lot of silence on your part and in those moments you say a lot without saying anything."

"I love those moments, because as a viewer, you can project your own interpretation on the character about what is happening through his or her gaze."

BY THE WAY, WHAT IS THE RELATIONSHIP BETWEEN AEMOND AND ALICENT?

"Someone asked me if I thought Aemond had problems with his mother and I don't think so: he just wanted to be loved by her a little more."

"He is an empty child and children need that unconditional love to be balanced beings and develop a vision accordingly."

"And since he never had that, he had to look for solutions in other beings. In Vhagar. At Mrs. Sylvie, from the brothel."

"Children need to be loved unconditionally: if a child is not embraced by the village, they will hug them to feel their warmth and seek validation through other means."

"In Aemond's case, it's war."

"And of course, if he finds out what Cole, his best friend, has been doing with his mother, I don't know how he would take it."

HE'S A PRETTY BROKEN CHARACTER. HOW DID YOU EXPLORE THAT?

"That's one of the most fascinating aspects of playing him."

"Because beyond that image that has been created, he is in a very different physical and psychological place from what we saw last season."

"He has cultivated this facade - almost homage - inspired by Daemon Targaryen."

"Now, there is a movie called 'Fire vs. Fire' starring Robert De Niro where he has a code to protect himself."

"Aemond has something similar."

"That's why it's so easy for him to reject the madame in episode 3, because he knows that in her world there is no place for love, since it is a weakness."

"He has to be seen as this 'Terminator' who scares everyone and is all-powerful."

"So it's interesting to see what's behind all of that, to see this abandoned boy who is still there."

DO YOU THINK THAT AFTER THIS BATTLE HE WILL HAVE SOME KIND OF GUILT LIKE WHAT HAPPENED TO LUKE AND ARRAX?

"He knows that there is no turning point this time."

"What happened with Luke and Arrax, he knows was a mistake."

"It wasn't his intention."

"He let his emotions get the best of him and lost control of his dragon."

"Here he is in complete control and knows what the dragons can do."

"In episode 5 you will see all the consequences of this."

[demodraws0606]

Jax's fear of being trapped and what that might imply about his past/future

Hello 2 days ago i've developped a chronic case of Brainrotting about Jax, tragic I know.

I'm kinda basing this slightly of what Gooseworx have said in QnAs though I will not rely on it because I think purely relying on a creator's words and not the media isn't really satisfying.

The main thing that stood out to me in this episode with Jax was that he seems to fear punishement.

He seems really freaked out when Gangle proposed the idea of Cain punishing him...

And then he immediatly goes to Zooble to be like "lol you don't believe Cain actually could punish us right ?" and while he's proven right at the end of the episode, the fact that he immediatly tries to seek reassurance that he wouldn't get punished says a lot. In fact in his expressions he looks both sides while saying it almost like he seems...unsure/anxious (idk the right word).

Also when he's brought into the employee training scene. He's weirdly...afraid and shaken by it ?? (not showing the screenshot cos everyone remembers that scene).

Which like, I understand that was terrifying but it was a strangely strong reaction to something that...light ? I mean he wasn't brainwashed or anything. I might be stretching it but all of it, including the scene's purpose makes me wonder if it brought Jax bad memories of...something.

After that scene happens, he completely acts normal and stops trying to be a dick completely.

Now this isn't a convo about weither that's Jax's true self and his jerk self is a persona. People are trying way too hard to either try to make him a one dimensional asshole or secretly a good guy which like he's neither he's a bastard with layers. But that's not what this is about so ANYWAYS.

All of this made me wonder what was Jax's main Thing, more so his theme or the thing that makes him tick.

We know with Gangle it's her issue with masking (her dreams, how she feels, etc...), Ragatha being a people pleaser, Zooble's body dysmorphia, King's memories and how they link with the loss of his wife and Pomni's desire for companionship.

For Jax we actually don't really know other than...he's a dick and he's using it to cope which like....duh ?

But with this episode and also a little thing that I got from researching QnAs (because i'm normal and chill like that) made me realise what could Jax's Thing.

A Fear of Consequences and being Trapped

Now the main thing that drove this thought was me finding out Gooseworx assigning a song to Jax which is this one.

Don't fence me in, huh....

That line meaning a desire to not be restricted and not losing their freedom.

This makes me think this is probably what Jax's character is at least partially about, or more so...his biggest fear. Being restricted, reprimended or trapped.

I think in part that fear could be related to his past, which I'm gonna throw my cards here, my own personal theory is that he was stuck in juvenile detention for misbehaving as a kid. That experience traumatising him enough that he was probably similar to the Jax we've seen at the end of episode 4, just Tired.

Now does it Necessarely have to be a juvenile detention center, honestly no ? But it's the thing that makes the most sense in my head.

Either way this also explains a lot of things about his behavior in the circus.

He's now secluded in a space with absolutely 0 Consequences, the one person who can dish it out is an AI who is probably programmed to never harm humans (directly at least). He's even proven right at the end of episode 4.

I think what led to Jax's shit behavior was this realisation that this is pretty much now his Safe Heaven. In real life he can't just be who he wants to be, there's potential consequences that he's afraid of.

Now I know I'm gonna hear like "oh so you just think Jax is an asshole by nature", I don't think he is (i don't think he's ever been a nice person his life but like there's a difference here), I genuinely think he's not more so being himself rather that it's just that he's overcompensating for the lack of freedom that he's felt his entire life.

In a way it's similar to how people act on the internet.

Imagine that you were a misbehaving kid and you were reprimended HARSHLY for it, to the point where you're not really fixed per say but you're stuck being terrified of even being slightly flawed.

But now here he is, in a place where death doesn't matter, the harm he does doesn't matter and the one person who can actually hurt him just gives him weird shenanigans that give him opportunities to lash out.

However, there's a tiny little problem...

This fantasy cannot last forever forever and I'm not talking about them getting out because as far as they know it's out of the cards for them.

It's very much clear that the circus with the arrival of Pomni is becoming more tight knit and less divided, creating a more solid friendship group with the help of Pomni being an actual normal nice human person (Zooble is nice too but they're more jaded and too depressed to deal with most of everything, and Ragatha is a whole baggage).

It's becoming increasingly clear in the episodes themselves as well that, Jax can't just be an asshole anymore. Every episode since episode 1 has led to him being reprimended or him not being given what he wants. The group is becoming closer and they're sick of his bullshit.

He also probably doesn't like being alone and hated. We see him seeming sad at the talk of Kofmo's funeral before having to go back to being angry and dismissive in his facial expression.

Maybe he really did want to go to Kofmo's funeral but like would anyone actually believe he would be genuine, after being an asshole for so long would it really be worth for Jax to just break it all right there.

But it's clear he's also not really enjoying being alone.

Jax in a way is basically burrying a hole for himself. Being an asshole was his perfect dream after probably living a life of boredom and repression but now that this consequenceless existence has finally revealed itself to just be a mirage, he's now unable to access the things he really needs.

Actual friendship.

It's clear that the Digital Circus has a point of companionship being extremely important, in fact when we get mentions of Kofmo's abstracting we get also mentions about how no one really founds his jokes funny. Kinger mentioning how making someone feel alone and unwanted is the worst thing you could do to someone. Gangle is saved by Pomni and Zooble's presence.

However there's no one at fault for Jax's isolation, he only has himself to blame.

Ive got more but i'm tired so hope you guys enjoyed it.

[a-driftamongopenstars]

alright, i finally finished Dragon Age the Veilguard.

tldr; 3/10. I didn't like it.

If you enjoyed the game and would rather keep enjoying it, please don't click the read more section as what follows is rather critical.

I can finally sit down with my thoughts and put them together in a more cohesive structured review, touching on most things that I wanted to address. I'll start with positives and then focus on the negatives.

Warning, this is VERY long.

Overall, I had a neutral to negative impression of DatV, which got worse by the end of the game. It had some good moments, but they were entirely unexplored and underutilized, suffering from bad writing. While the game itself is rather pretty, it didn't outweigh the dialogues, the stories and the lore butchering that took place.

1. Environment and visuals. 8/10.

I think Veilguard is a very beautiful game. I enjoyed exploring the corners of this new world, the little bits of environment design and storytelling that it had. It felt magical, certain locations were mesmerizing! I couldn't stop staring at the valley where you go to with Harding, the carcass of a titan.

2. Combat. 9/10.

I love flashy combat, I enjoy hack and slash, so until the very end of the game I was having most fun in combat. Yes there was repetitiveness but I tried to combat (hehe) it with changing my abilities and weapons every now and then. I liked combos and I liked timed parries. Enemy tactics got a bit boring by the end, but a few enemies still surprised me and challenged me.

.... That's where positives end. Now on to the negatives.

1. Characters. 2/10.

I don't understand what happened. Almost all the characters in this game were tuned down to a two-dimensional personality, "good" and "bad" - and absolutely no nuance. This happened not only to the villains, but to the different NPCs and even our companions. Their interests got narrowed down to single points of interest (Lucanis and coffee being a prime example to me), their motivations got watered down.

This is not what I expect from a Bioware game. I want to be challenged, I want to dislike characters or approve of their choices. I like characters who are messy and complex and don't always have their shit together.

I like villains who may have other reasons for their choices, other than "ba ha ha, I am so evil and I will do evil things". Where is Alexius who sold himself to the Elder one, just so he could save his beloved son? Where is Samson, forsaken by the Chantry and turned to red lyrium with his addiction? Where is Calpernia, misguided in her choices, just to free the slaves of Tevinter?

Where are the slaves of Tevinter anyway?? That's another topic.

2. Rook. 4/10.

On one hand, I liked playing Rook. They were stoic but with a humorous side, ready to get the job done, compassionate to other people.

The problem is that it's the only Rook you can really play. The protagonist is set in their ways and their dialogues and there is very little to roleplay. Rook really does feel like a gentle manager, trying to get everyone to play along nicely, while providing therapy every now and then, and is excluded from the majority of friendly interactions with other people. That awkward glance everyone gives you after their banter is embarrassing. The way you can third wheel people, the way the game actively offers you to leave a couple of animated conversations between other people - why even include those? Why not make Rook a part of the 'team'?

I did like Rook's dynamic with Solas. They got to see a different side of him, one that's not presented heavily in Inquisition. But like everything else, it felt surface level and underexplored.

3. Story arc. 2/10.

I am left unsatisfied with the story. The pacing threw me off so much nearly every quest, it was hard to stay on track. From "we need to solve this NOW" to "actually, let's all slow down and deal with our problems", the plot's priorities were all over the place. We kept hearing about the gods and their destructive oppression, but we saw surprisingly little of it. Yes, there was the Blight, yes there were Venatori and the Antaam, but they felt more like a video game fodder and dressing rather than a part of the story.

Not to mention that all of those things made little sense to me. Why would the gods align with aforementioned factions? Why would the aforementioned factions align with the elven gods? In-game explanation was not enough for me, it did not make sense. Not with the established lore in the previous games.

I also did not enjoy the ending. While the idea of Solas binding himself to the Veil is good and does make sense, what was suggested as the good ending (inviting Mythal to deal with Solas essentially) actually left me feeling awful. I sent a man, full of regrets and self-loathing, on a lonely journey to figure himself out. That... did not sit right with me at all. Neither did the fact that Northern Thedas, supposedly the point of the gods' attack, gets to live and flourish, while Southern Thedas is dying of starvation and blight. That is UNHINGED to me.

4. Music. 1/10.

There was no music. I remember one track. It was not memorable whatsoever and I can't believe they hired Hans Zimmer to do exactly nothing. Just wow.

5. Lore. ???/10.

And here is the worst offender. What was done with Dragon Age lore is unacceptable. I was doing a head-in-hands every five minutes. This was a slap in the face of so many fans who enjoyed the three prior games and delved into deep, interesting lore of various races, countries, cultures and religions. Veilguard showed a big middle finger to all that.

Everyone has already touched upon the sanitization of different factions. From the suddenly slaveless Tevinter to found family Antivan Crows, everything has been scrubbed clean and made sweet and palatable and "good".

The Dalish clans have been removed from existence as we know them. The Antaam left the Qun? Don't even get me started on that. The Chantry has no influence in this game? Really? The Chantry? The biggest religion in Thedas? The one that we know has heavy presence in the Anderfels, the Black Divine in Tevinter? That Chantry?

I think it really hit me how disrespectful the game is during the quest of saving the Dalish elves, where apparently Elgar'nan's Venatori, uplifted to be his servants and chosen people, were trying to sacrifice them. It's a gross and oddly telling idea that the ancient Elven god turned to a faction of racist mages to sacrifice elven people. I actually can't believe I'm writing this. Just how much are you going to shaft these people? Mindboggling.

There is a lot more I have to say on this specific topic, and I probably will later, but the idea is this.

6. Romances. 2/10.

Whoever said this is a game with romance lied so hard. So hard. The romance was atrocious. From the badly written flirting to the lack of romantic scenes (I romanced Davrin), to the poorly timed and awkward 'final' romance moment... It was atrocious. I felt no connection between Rook and Davrin beyond what game was telling me. My actual companions got more screen time with their romances than me and my LI.

Damn, even Evka and Antoine, my single most beloved NPCs in this game, had more romance going on that my Rook.

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All in all, Veilguard was a massive let down. After having enjoyed the first 3 games many times over, with multiple playthroughs, I was so excited to see how the story of the Inquisition, of the elves, would end. When I saw the first trailer for VG, I knew I would never get to see it. When I played the game, I was left with disappointment and disdain.

I'm glad there are people who enjoyed this game, genuinely. I'm sure there's something to find for anyone, but it was not for me. Nor was it for many other people. It was a let down. I feel like I'll never get the conclusion I wanted - so I'll have to write my own I guess.

I have more thoughts on this game that I might be sharing, but for now this is the review I wanted to write. Thanks for reading!