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planckstorytime · 3 months ago

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Dragon Age: The Veilguard: Strangled by Gentle Hands

*The following contains spoilers*

“You would risk everything you have in the hope that the future is better? What if it isn’t? What if you wake up to find the future you shaped is worse than what was?”

– Solas, Dragon Age: Inquisition (2014)

I. Whatever It Takes

My premium tickets for a local film festival crumpled and dissolved in my pants pocket, unredeemed as they swirled in the washing machine. Throughout that October weekend in 2015, I neglected my celebratory privileges, my social visits to friends, and even my brutal honors literary theory class. All because a golden opportunity stretched before me: a job opening for a writing position at the once-legendary BioWare, with an impending deadline.

The application process wasn’t like anything I’d seen before. Rather than copy+paste a cover letter and quickly swap out a couple of nouns here and there, this opening required me to demonstrate my proficiency in both words and characters – namely, BioWare’s characters. Fanfiction wasn’t normally in my wheelhouse – at the time, I had taken mainly to spinning love sonnets (with a miserable success rate). But I wouldn’t balk at this chance to work on one of my dream franchises – especially since the job prospects for fresh English BAs weren’t exactly promising. So, I got to work crafting a branching narrative based on the company’s most recent title: Dragon Age: Inquisition. Barely two months prior, I saw the conclusion of that cast’s story when the Inquisitor stabbed a knife into a map and swore to hunt her former ally, Solas, to the ends of the earth. Now it was my turn to puppeteer them, to replicate the distinct voice of each party member and account for how they’d react to the scenario I crafted. And if it went well, then maybe I’d be at the tip of the spear on that hunt for Solas. Finishing the writing sprint left me exhausted, but also proud of my work.

The folks at BioWare obviously felt differently, because I received a rejection letter less than a week later. Maybe they found my story trite and my characterization inaccurate, or maybe they just didn’t want to hire a student with no professional experience to his name. Regardless, I was devastated. It wouldn’t be until years later that I learned that, had my application been accepted, I likely would’ve been drafted into working on the studio’s ill-fated looter shooter, Anthem (2019), noteworthy for its crunch and mismanagement. My serendipitous rejection revealed that sometimes the future you strive to build was never meant to match your dreams. What seemed like an opportunity to strike oil actually turned out to be a catastrophic spill.

Still, my passion for the Dragon Age series (as well as Mass Effect) persisted in the face of BioWare’s apparent decline. I maintain that Inquisition is actually one of the studio’s best games, and my favorite in the series, to the point where I even dressed up as Cole for a convention one time. The game came to me at a very sensitive time in my life, and its themes of faith vs falsehood, the co-opting of movements in history, and the instability of power all spoke to me. But I will elaborate more on that at a later date. My point is, I held on to that hope that, in spite of everything, BioWare could eventually deliver a satisfactory resolution to the cliffhanger from their last title. Or perhaps it was less hope and more of a sunk cost fallacy, as an entire decade passed with nary a peep from Dragon Age.

As years wore on, news gradually surfaced about the troubled development of the fourth game. Beginning under the codename “Joplin” in 2015 with much of the same creative staff as its predecessors, this promising version of the game would be scrapped two years later for not being in line with Electronic Arts’s business model (i.e. not being a live-service scam). Thus, it was restarted as “Morrison”. The project cantered along in this borderline unrecognizable state for a few years until they decided to reorient it back into a single-player RPG, piling even more years of development time onto its shaky Jenga tower of production. Indeed, critical pieces were constantly being pulled out from the foundations during this ten year development cycle. Series regulars like producer Mark Darrah and director Mike Laidlaw made their departures, and the project would go on to have several more directors and producers come and go: Matthew Goldman, Christian Dailey, and Mac Walters, to name a few key figures. They eventually landed on John Epler as creative director, Corinne Busche as game director, and Benoit Houle as director of product development. Then came the massive layoffs of dozens of employees, including series-long writer Mary Kirby, whose work still made it into the final version of DA4. Finally, the game received a rebranding just four months before release, going from Dreadwolf (which it had been known as since 2022) to The Veilguard (2024) – a strange title with an even stranger article.

Needless to say, these production snags did not inspire confidence, especially considering BioWare’s been low on goodwill between a string of flops like Anthem and Mass Effect: Andromeda (2017) and, before that, controversial releases like Dragon Age II (2011) and Mass Effect 3 (2012). The tumult impacted The Veilguard’s shape, which scarcely resembles an RPG anymore, let alone a Dragon Age game. The party size is reduced from four to three, companions can no longer be directly controlled, the game has shifted to a focus on action over tactics a la God of War (2018), the number of available abilities has shrunk, and there’s been a noticeable aesthetic shift towards a more cartoonish style. While I was open to the idea of changing up the combat (the series was never incredible on that front), I can’t get over the sensation that these weren’t changes conceived out of genuine inspiration, but rather vestigial traces from the live-service multiplayer iteration. The digital fossil record implies a lot. Aspects like the tier-based gear system, the instanced and segmented missions, the vapid party approval system, the deficit of World State import options, and the fact that rarely does more than the single mandatory companion have anything unique to say on a quest – it all points to an initial design with a very different structure from your typical single-player RPG. The Veilguard resembles a Sonic Drive-In with a mysterious interior dining area – you can tell it was originally conceived as something else.1

That said, the product itself is functional. It contains fewer bugs than any previous game in the franchise, and maybe BioWare’s entire catalog for that matter. I wouldn’t say the combat soars, but it does glide. There’s a momentum and responsiveness to the battle system that makes it satisfying to pull off combos and takedowns against enemies, especially if you’re juggling multiple foes at once. Monotony sets in after about thirty or forty hours, largely due to the fact that you’re restricted to a single class’s moveset on account of the uncontrollable companions. Still, this design choice can encourage replay value, as it does in Mass Effect, and free respec options and generous skill point allocations offset the tedium somewhat.

While the character and creature designs elicit controversy – both for the exaggerated art direction and, in the case of demons and darkspawn, total redesign – the environmental art is nothing short of breathtaking. I worried that this title would look dated because of how long it had been in development and the age of the technology it was built upon. Those fears were swiftly banished when I saw the cityscapes of Minrathous, the cyclopean architecture of the Nevarran Grand Necropolis, or the overgrown ruins of Arlathan. But like everything in The Veilguard, it’s a double-edged sword. The neon-illuminated streets of Docktown, the floating citadel of the Archon’s Palace, and the whirring mechanisms of the elven ruins evoke a more fantastically futuristic setting that feels at odds with all three previous titles (even though all three exhibited a stylistic shift to some extent). It aggravates the feeling of discordance between this rendition of Thedas and the one returning players know.

All of these elements make The Veilguard a fine fantasy action-adventure game – even a good one, I’d say. But as both the culmination of fifteen years of storytelling and as a narrative-based roleplaying game – the two most important facets of its identity – it consistently falls short. Dragon Age began as a series with outdated visuals and often obtuse gameplay, but was borne aloft by its worldbuilding, characterization, and dialogue. Now, that paradigm is completely inverted. The more you compare it to the older entries, the more alien it appears. After all these years of anticipation, how did it end up this way? Was this the only path forward?

Throughout The Veilguard’s final act, characters utter the phrase “Whatever it takes,” multiple times. Some might say too many. I feel like this mantra applied to the development cycle. As more struggles mounted, the team made compromise after compromise to allow the game to exist at all, to give the overarching story some conclusion in the face of pressure from corporate shareholders, AAA market expectations, and impatient fans. Whatever it takes to get this product out the door and into people’s homes.

This resulted in a game that was frankensteined together, assembled out of spare parts and broken dreams. It doesn’t live up to either the comedic heights or dramatic gravity of Inquisition’s “Trespasser” DLC from 2015, despite boasting the same lead writer in Trick Weekes. Amid the disappointment, we’re left with an unfortunate ultimatum: It’s either this or nothing.

I don’t mean that as a way to shield The Veilguard from criticism, or to dismiss legitimate complaints as ungrateful gripes. Rather, I’m weighing the value of a disappointing reality vs an idealized fantasy. The “nothing”, in this sense, was the dream I had for the past decade of what a perfect Dragon Age 4 looked like. With the game finally released, every longtime fan has lost their individualized, imaginary perfection in the face of an authentic, imperfect text. Was the destruction of those fantasies a worthy trade? It doesn’t help that the official artbook showcases a separate reality that could’ve been, with a significant portion dedicated to the original concepts for Joplin that are, personally, a lot closer to my ideal vision. I think it would’ve done wonders to ground the game as more Dragon Age-y had they stuck with bringing back legacy characters, such as Cole, Calpernia, Imshael, and the qunari-formerly-known as Sten.

I don’t necessarily hate The Veilguard (I might actually prefer it to Dragon Age II), but I can’t help but notice a pattern in its many problems – a pattern that stems from a lack of faith in the audience and a smothering commitment to safety over boldness. As I examine its narrative and roleplaying nuances, I wish to avoid comparing it to groundbreaking RPGs such as Baldur’s Gate 3 (2023) or even Dragon Age: Origins (2009), as the series has long been diverging from that type of old-school CRPG. Rather, except when absolutely necessary, I will only qualitatively compare it to Inquisition, its closest relative.

And nowhere does it come up shorter to Inquisition than in the agency (or lack thereof) bestowed to the player to influence their character and World State.

II. Damnatio Memoriae

No, that’s not the name of an Antivan Crow (though I wouldn’t blame you for thinking so, since we have a character named “Lucanis Dellamorte”). It’s a Latin phrase meaning “condemnation of memory”, applied to a reviled person by destroying records of their existence and defacing objects of their legacy. In this case, it refers to the player. When it comes to their influence over the world and their in-game avatar, The Veilguard deigns to limit or outright eliminate it.

Save transfers that allow for the transmission of World States (the carrying over of choices from the previous games) have been a staple of the Dragon Age and Mass Effect franchises. Even when their consequences are slight, the psychological effect that this personalization has on players is profound, and one of many reasons why fans grow so attached to the characters and world. At its core, it’s an illusion, but one that’s of similar importance to the illusion that an arbitrary collection of 1s and 0s can create an entire digital world. Player co-authorship guarantees a level of emotional investment that eclipses pre-built backgrounds.

However, The Veilguard limits the scope to just three choices, a dramatic decrease from the former standard. All import options come from Inquisition, with two just from the “Trespasser” expansion. One variable potentially impacts the ending, while the other two, in most cases, add one or two lines of dialogue and a single codex entry. Inquisition, by contrast, imported a bevy of choices from both previous games. Some of them had major consequences to quests such as “Here Lies the Abyss” and “The Final Piece”, both of which incorporated data from two games prior. The Veilguard is decidedly less ambitious. Conspicuously absent options include: whether Morrigan has a child or not, the fate of Hawke, the status of the Hero of Fereldan, the current monarchs of Fereldan and Orlais, the current Divine of the southern Chantry, and the individual outcomes of more than two dozen beloved party members across the series. Consequently, the fourth installment awkwardly writes around these subjects – Varric avoids mentioning his best friend, Hawke, as does Isabela ignore her potential lover. Fereldan, Orlais, and the Chantry are headed by Nobody in Particular. Morrigan, a prominent figure in the latest game, makes no mention of her potential son or even her former traveling companions. And the absence of many previous heroes, even ones with personal stakes in the story, feels palpably unnatural. I suspect this flattening of World States into a uniform mold served, in addition to cutting costs, to create parity between multiple cooperative players during the initial live-service version of Morrison. Again, the compromises of the troubled production become apparent, except this time, they’re taking a bite out of the core narrative.

Moreover, the game’s unwillingness to acknowledge quantum character states means that it’s obliged to omit several important cast members. At this point, I would’ve rather had them establish an official canon for the series rather than leaving everything as nebulous and undefined as possible. That way at least the world would’ve felt more alive, and we could’ve gotten more action out of relevant figures like Cassandra, Alistair, Fenris, Merrill, Cole, and Iron Bull. Not to mention that The Veilguard’s half-measure of respectful non-intereference in past World States ultimately fails. Certain conversations unintentionally canonize specific events, including references to Thom Rainier and Sera, both of whom could go unrecruited in Inquisition, as well as Morrigan’s transformation into a dragon in the battle with Corypheus in that game’s finale. But whatever personal history the player had with them doesn’t matter. The entire Dragon Age setting now drifts in a sea of ambiguity, its history obfuscated. It feels as gray and purgatorial as Solas’s prison for the gods.

Beyond obscuring the past, The Veilguard restrains the player’s agency over the present. When publications first announced that the game would allow audiences to roleplay transgender identities and have that acknowledged by the party, I grew very excited – both at the encouraging representation, and at the depth of roleplaying mechanics that such an inclusion suggested. Unfortunately, The Veilguard offers little in roleplaying beyond this. The player character, Rook, always manifests as an altruistic, determined, friendly hero, no matter what the player chooses (if they’re offered choices at all). The selections of gender identity and romantic partner constitute the totality of how Rook defines themselves, post-character creation – exceptions that prove the rule of vacancy. Everything else is set in stone. The options presented are good, and should remain as standard, but in the absence of other substantive roleplaying experiences, their inclusion starts to feel frustratingly disingenuous and hollow, as if they were the only aspects the developers were willing to implement, and only out of obligation to meet the bare minimum for player agency. In my opinion, it sours the feature and exudes a miasma of cynicism.

Actual decisions that impact the plot are few and far between, but at least we have plenty of dialogue trees. In this type of game, dialogue options might usually lead to diverging paths that eventually converge to progress the plot. You might be choosing between three different flavors of saying “yes”, but as with the World States, that illusion of agency is imperative for the roleplaying experience. The Veilguard doesn’t even give you the three flavors – the encouraging, humorous, and stern dialogue options are frequently interchangeable, and rarely does it ever feel like the player is allowed to influence Rook’s reactions. Relationships with companions feel predetermined, as the approval system has no bearing on your interactions anymore. There are so few moments for you to ask your companions questions and dig in deep compared to Inquisition. Combined together, these issues make me question why we even have dialogue with our party at all. Rook adopts the same parental affect with each grown adult under their command, and it feels like every conversation ends the same way irrespective of the player’s input. With the exception of the flirting opportunities, they might as well be non-interactive cutscenes.

Rook’s weak characterization drags the game down significantly. With such limited authorship afforded to the player, it’s difficult to regard them as anything more than their eponymous chess piece – a straightfoward tool, locked on a grid, and moving flatly along the surface as directed.

III. Dull in Docktown

On paper, a plot summary of The Veilguard sounds somewhere between serviceable and phenomenal: Rook and Varric track down Solas to stop him from tearing down the Veil and destroying the world. In the process, they accidentally unleash Elgar’nan and Ghilan’nain, two of the wicked Evanuris who once ruled over the elven people millenia ago. With Solas advising them from an astral prison, Rook gathers a party together to defeat the risen gods, along with their servants and sycophants. Over the course of the adventure, they uncover dark truths about the origins of the elves, the mysterious Titans, and the malevolent Blight that’s served as an overarching antagonistic force. Eventually, Rook and friends join forces with Morrigan and the Inquisitor, rally armies to face off with their foes, and slay both the gods and their Archdemon thralls before they can conjure the full terror of the Blight. As Solas once again betrays the group, Rook and company have to put a decisive stop to his plans, which could potentially involve finally showing him the error of his ways.

The bones of The Veilguard’s story are sturdier than a calcium golem. Problems arise when you look at the actual writing, dialogue, and characterization – the flesh, blood, and organs of the work.

I’ve seen others chide the writing as overly quippy, but that better describes previous titles. Rather, I think The Veilguard’s dialogue is excessively utilitarian and preliminary, like a first draft awaiting refinement. Characters describe precisely what’s happening on screen as it’s happening, dryly exposit upon present circumstances, and repeat the same information ad nauseum. This infuriating repetition does little to reveal hidden components of their personalities, or their unique responses to situations. You won’t hear anything like Cole’s cerebral magnetic poetry or Vivienne’s dismissive arrogance. Many exchanges could’ve been uttered by Nobody in Particular, as it’s just dry recitation after recitation. It almost feels like watching an English second language instructional video, or a demonstration on workplace safety precautions. Clarity and coherence come at the cost of characterization and charisma.

Words alone fail to make them interesting. Most companions lack the subtlety and depth I had come to expect from the franchise, with many conversations amounting to them just plainly stating how they’re feeling. Most rap sessions sound like they’re happening in a therapist’s office with how gentle, open, and uncomplicated they feel. Compare this to Inquisition, where every character has a distinct voice (I should know, I had to try to copy them for that stupid application), as well as their own personal demons that it betrays: Sera’s internalized racism, hints of Blackwall’s stolen valor, Iron Bull’s espionage masked by bluster, or Solas’s lingering guilt and yearning for a bygone age. These aspects of their characters aren’t front and center, but things the audience can delve into that gives every moment with them more texture. The Veilguard’s companions lay out all their baggage carefullly and respectfully upfront, whether it’s Taash’s multiculturalism and gender identity issues or Neve’s brooding cynicism towards Tevinter’s underbelly. You’ve plumbed the depths of their personas within the first few minutes of meeting most of them.

Small exceptions exist. Professor Emmerich Volkarin stands out from the rest of the cast as a particularly inspired character: a charming, Vincent Price-like necromancer. His attachment to tombs and necromancy as a way to cope with his crippling fear of death makes for curiously compelling melodrama. The way in which he ultimately has to face his fear – either by foregoing his opportunity for immortality to save his beloved skeletal ward, Manfred, or by allowing his friend to pass on so that he can transcend into a new type existence – rises above the other binary choices in the game by being both narratively interesting and legitimately difficult to judge. Still, I feel Emmerich’s whole “lawful good gentleman necromancer” conceit, while a unique and clever subversion of tropes, would’ve worked better if it actually contrasted with anyone else in the party. Instead, the whole crew is full of unproblematic do-gooders who are forbidden by the game to nurture any meaningful interpersonal conflict. While I’d appreciate this lack of toxicity in my real-life relationships, fictional chemistry demands more reactive ingredients.

The Veilguard’s developers frequently positioned the game as “cozy” and about a “found family”, but I can guarantee you that there’s more tension at my Thanksgiving dinners than there is anywhere in this title. This family would get along swimmingly even during a presidential election. The thing about the “found family” trope is that it’s more satisfying when it’s earned. Here, it represents the default state, the starting point, and the status quo that they will always return to. Any minor squabbles (Harding wanting to sleep in the dirt, Emmerich taking too many books on a camping trip, Taash not liking necromancy) are introduced and squashed within the same scene. They all feel so extraneous. There’s so little friction among the companions here that you’d think it disproves Newton’s Third Law. The previous games never struggled in this regard, which makes the choices here all the more baffling.

Beyond the intra-party dynamics, characters lack grit or darkness to them – even when the narrative absolutely calls for it. Remember how I described the necromancer as lawful good (to use traditional Dungeons and Dragons alignments)? Yeah, that’s every character. Even the demonic assassin. Lucanis is a notorious hitman possessed by a demon of Spite, and possibly the weakest character of the game. This may or may not be due to the fact that his writer, Mary Kirby, was laid off mid-development. Regardless, he has noticeably less content than the other party members and generally feels unfinished. The demonic possession storyline goes nowhere; he doesn’t exorcise Spite, nor does he learn more about it or how to live with it. Instead, Spite is just an excuse to give Lucanis cool spectral wings (which he will use to fail several assassination attempts). The demon itself mostly just comes across as rude rather than threatening. The biggest issue, however, stems from the absence of any edge to Lucanis. When confronting his traitorous cousin, Ilario – the man who sold out Lucanis’s family to an enemy faction, kidnapped his grandmother, and made multiple attempts on his life – our grizzled, hardened assassin, pushed to the brink, demands… due process. Seriously, if your choices have led Lucanis to have a hardened heart, his method for dealing with the grievous traitor is sending him to jail. That’s The Veilguard’s idea of vindictive brutality among a clan of unforgiving murderers-for-hire. By contrast, Inquisition features Sera insubordinately murdering a stuck-up nobleman for talking too much. I believe that if modern BioWare had written The Godfather (1972), it would’ve ended with Michael Corleone recommending his brother-in-law to attend confession and seek a marriage counselor.

The writers seem intent on making the cast wholly unproblematic, with no way that the audience could ever question their morality or taste the delicious nuance of seeing someone you like do something bad. Measures were taken to child-proof every aspect of the good guys so that they couldn’t possibly be construed as anything else – even if it constricts them to the point of numbness and eventual atrophy.

To make things as palatable and accessible as possible, the language itself was dumbed down. Characters make frequent use of neologisms and bark phrases like “Suit up,” or “These guys go hard.” It emulates popular blockbuster superhero stuff rather than staying true to the diction the series traditionally employed. It’s all about the team, and the entire Dragon Age world has been stripped down into simplistic conflicts and recognizable stock characters.

This is why The Veilguard’s story largely fails. Despite being ostensibly being about the characters, they come off as an afterthought. Most of the time, only the sole requisite follower has anything to say on a given mission. Even in combat, their wholeness as fully-implemented party members falls short of expectations. Their damage output pales in comparison to the Rook’s, they have no health and cannot be downed in battle, and they mainly exist to give the player three extra ability slots. That’s the game’s true ethos for the companions, whether in combat or dialogue – utility, tools to make things happen rather than elegantly crafted identities. We end up with the largest amount of content per companion among any game in the franchise, only to have the weakest roster.

I know these writers can do better, because I’ve seen them do better. Trick Weekes wrote Iron Bull, Cole, and Solas in Inquisition, as well as Mordin Solus and Tali’Zorah in Mass Effect 2 (2010) and Mass Effect 3. Mary Kirby wrote Varric throughout the series, as well as Sten and Loghain in Origins. Plenty of other experienced writers, such as Sylvia Feketekuty and John Dombrow also contributed, so I can’t put any of the blame on a lack of skill. I don’t know if the mistake was trying to appeal to a wider audience, or if the constant reorientations of the DA4 project drained the crew’s passion and left them lacking in time to polish things.

I personally suspect that the writers had to rush out a script for all of the voiced dialogue. A video from August of 2020 showed off the voice actors for Davrin and Bellara, more than four years before the final game’s release. I think the codex entries, letters, and missives that you find throughout the game, which consist of only text, are much better written than the dialogue. My theory is that the writers had more time to revise and spruce up these tidbits, where edits were minimally invasive, as far as production is concerned. But my knowledge is limited; after all, BioWare rejected my application almost a decade ago.

Still, there are aspects of The Veilguard’s plot that I enjoy. The lore reveals were particularly satisfying2, and many felt rewarding after a decade of speculation. I called that elves were originally spirits, as well as the connection between the Archdemons and the Evanuris, but I wouldn’t have guessed that the Blight formed out of the smoldering rage of the Titans’ severed dreams. I’d concisely describe The Veilguard’s story as the opposite of Mass Effect 3: Whereas ME3 did excellent character work, the characterization in The Veilguard leaves much to be desired. Whereas ME3’s tone was overwhelmingly grim, The Veilguard feels inappropriately positive. Whereas ME3’s lore reveals ruined much about the series’s mystique, The Veilguard’s helped tie the setting’s history together. And whereas ME3 fumbled the ending about as much as it possibly could, The Veilguard actually coalesces into a spectacular third act.

While I think the twist with Varric’s death is weak (outright pitiful compared to the Dread Wolf twist of Inquisition), the actual events that make up the finale carry a momentum and urgency that the rest of the game severely lacked. Everything from the sacrifice and kidnapping of Rook’s companions to the slaying of Ghilan’nain to the awe-inspiring battle between the Dread Wolf and Archdemon Lusacan – the whole affair takes the best parts of Mass Effect 2’s Suicide Mission and elevates it to the scale of an apocalyptic series finale. Ultimately, Solas takes center stage as the final antagonist, and the drama crescendos to a height the rest of the game desperately needed. He remains the most interesting character in the game and perhaps the franchise, and thankfully, the resolution to his story did not disappoint me (though I would’ve preferred the option for a boss battle against his Dread Wolf form if the player’s negotiations broke down). So in that sense, I think the worst possible scenario was avoided.

But is that really worth celebrating? Averting complete disaster? Exceeding the lowest standards? In many regards, The Veilguard still could have been – should have been – more.

IV. A World of Tranquil

In my essay on Final Fantasy VII: Rebirth (2024), I briefly discussed a trend in media to sand off the edges so as not to upset the audience in any way. The encroachment of this media sanitization seems to be an over-correction to the brimming grimness of late 2000s and early 2010s fiction (to which the first two Dragon Age titles belong), which earned comparable levels of criticism. Like Solas, I occasionally feel trapped in a cycle of regret, where it feels like our previous yearning for less aggressive, mean-spirited content led to a media landscape that prioritized patronizingly positive art. Now it’s clear to me that, in order to have a point, you need to have an edge.

Dragon Age historically drew a very progressive audience, and many of them congregated around Tumblr in that website’s heyday. Tumblr has garnered something of a reputation for overzealous discourse and sensitivity among its userbase, and I think that the developers of The Veilguard, in an attempt to cater to one of their core audiences, may have misunderstood both that passion and the fundamental appeal of their products. They became so concerned about optics, about avoiding politically charged criticism, that they kneecapped their world-building, rendering it as inoffensive and sterile as possible. It’s not so much “PC culture” as it is “PG culture.”

To that end, the various governments, factions, and societies of Thedas lost their edge. Dragon Age previously presented itself as anti-authoritarian by showcasing the rampant abuses of power across all cultures. Whether it was the incarceration of mages under the Chantry, the slavery practiced by the Tevinter Imperium, the expansionist anti-individualism of the Qun, the restrictive dwarven caste system, or the rampant racism against elves, social strife abounded in this world. I think that’s one thing that drew so many marginalized fans to the series. But the correlation of fictional atrocities with those of real life frequently prompted volatile discourse, with many concerned about how allegedly allegorized groups were being represented. You began to see countless essays pop up by folks who use the phrase “blood quantum” more than any healthy person should for a setting about wizards. BioWare responded to this by making Thedosian society wholly pleasant and the people in power responsible and cool and the disparate cultures tolerant and cooperative. If nothing’s portrayed negatively (outside of the cartoonishly evil gods), nobody can take offense, right?

For starters, the Antivan Crows have gone from an amoral group of assassins to basically Batman. These figures, which previously purchased children off slave markets to train them into killers, are now the “true rulers” of Antiva, by which the official government derives its authority. The Crows in The Veilguard stand against the insurgent qunari army as heroes of the common folk. They’re not an unscrupulous faction that Rook is reluctantly forced to ally with for the greater good; no, the Crows are simply good guys now. When the pompous governor of Treviso rails against them, with such audacious claims as “assassins and thugs should not represent the citizenry,” we’re meant to laugh at the governor’s foolishness. The unintentional implication this sends is that lethal vigilantism and unchecked power are cool because the people who use it are cool and stylish. The slave trade goes unacknoweldged; Antivan children want to grow up to be assassins now. The Crows never do anything wrong in The Veilguard – the governor is later revealed to be cooperating with the invaders for their own power. BioWare avoids the unpleasantness inherent in the Crows’ concept by pretending it never existed.

Perhaps more ridiculous is the Lords of Fortune, a new faction of pirates and treasure hunters based out of Rivain. Except they don’t really do piracy or treasure hunting. The game goes to lengths to ensure that the audience knows that the Lords don’t steal important cultural artifacts from any of the tombs and ruins they raid. What do they steal, then? There is no such thing as an ethical treasure hunter – plundering indigenous sites for souvenirs is inherently problematic – but the writers wanted to reap the appeal of adventurous swashbucklers without any of the baggage, regardless of whether it makes sense or not3. It comes across as a child’s idea of a pirate: they’re not thinking about the murder and looting, just the funny men with eye-patches who say “ARRR!” The developers want us to like the Lords of Fortune, and to that end, they can’t do anything culturally insensitive – even fictional disrespect toward a made-up culture. This is doubly amusing because the Lords are represented by Isabela from Dragon Age II. The same Isabela that kicked off a war with the qunari by stealing their holy book, the Tome of Koslun. This irony goes unacknowledged by the game.4

When these rogue buccaneers aren’t busy giving land acknowledgments to displaced Dalish elves or whatever, they’re enjoying their nonviolent coliseum. Pirates revel in bloodsport, but only so long as no actual blood is spilled. The Lords refuse to fight prisoners or animals in their arena, as they find such acts too cruel. I guess they’re all big Peter Singer readers. Instead, they summon spirits to adopt the visages of common enemies so that the player can kill them with a clean conscience. It’s another example of wanting to have your cake and eat it too – they wanted to create a glory hunter/gladiator faction, but couldn’t stand the underlying implications of such. So they twisted and bent them to fit into their unproblematic paradigm, leaving the Lords flavorless and lame. They barely even contribute to the main story, and they’re practically the only look we get into Rivaini society (which remains criminally underdeveloped).

More tragic is the handling of the qunari, once one of the most unique and nuanced civilizations in the Dragon Age setting. The Qun, as portrayed in the first three installments, is a society that demands all of its composite parts work in harmony. Thus, they have predetermined vocations for their children, rigid gender roles, strict codes of conduct, and an ambition to “enlighten” the rest of the world. While the Qun has often been presented as antagonistic toward the heroes, the series has commonly balanced its portrayal by showing how seductive its absolutism can be for people without hope. In some cases, life under the Qun is preferable, as is the case with former Tevinter slaves. Conformity becomes comfort when the world is regularly threatening to split apart.

The Veilguard opts for a different approach. See, Rook’s not fighting members of the Qun in this game – they’re fighting the Antaam, the former qunari military. The Veilguard constantly reiterates that the Antaam, which makes up one of the three branches of the Qun, has broken off and decided to invade, pillage, and stoke chaos. BioWare didn’t want the questionable morality and complexity of fighting an invading people from a humanized, multi-faceted culture, so they removed their culture. Their efforts to turn the non-Western-coded qunari into something digestible for their mistaken conception of a modern audience instead results in two caricatures: one being a fetishized, perfect society where there are no perceivable social ills; and the other a bunch of rampaging brutes.

Contending with a realized conception of Plato’s Republic mixed with the Ottoman Empire makes for more compelling drama than a horde of murderous giants. Again, BioWare wanted to have it both ways, and they still needed nameless, faceless orcs to kill. So every bit about the qunari’s militancy, imperialism, and repression coexisting alongside some of their more progressive ideas and communal unity is stripped of its context and meaning. Blame is placed solely on the Antaam, who no longer represent (and retroactively, never represented) the Qun’s ideology. It’s a cowardly compromise, attempting to pin the blame of all the Qun’s failings on a renegade military and seeking to exonerate the political and social apparatuses of their culpability.

At one point, a minor character named Seer Rowan lectures to an ignorant human (a proxy for the audience absorbing these retcons) that qunari society has always been egalitarian in practice, with mages enjoying freedom there. Previous games showed that the qunari shackle their “saarebas” mages, stitch their mouths, cut out their tongues, and teach them to commit suicide if they ever stray from their masters. However, we’re now assured that this is only practiced under the Antaam, and No True Qunari would ever do such a thing. Ignore the fact that, in Inquisition, we witness the enslaved saarebas under the supervision of the Ben-Hasserath, a subdivision of the Ariqun (i.e. not part of the Antaam). In fact, the Antaam that Rook fights in The Veilguard never command saarebas at all. They’re completely absent from the game (likely because the image of the bound, mutilated minority was too much for The Veilguard’s sensibilities). Seer Rowan’s weak, conciliatory retcon can’t even justify itself in its own game. The scolding diatribe communicates an intrinsic misunderstanding of the Qun by the writers – namely, it continues the pattern established with the Antivan Crows that the mechanics of power in society are fundamentally good as long as aberrant forces aren’t in charge. While I understand the desire to be conscientious about the portrayal of fictional cultures that draw upon non-Western traditions and iconography (which have historically been demonized in media), glamorizing the Qun and stripping it of its realistic nuance does little to alleviate any problems with representation. If anything, it creates new ones.

But hey, now we have our faceless orcs to guiltlessly slaughter. That’s what the Antaam’s been reduced to, bereft of the ideology that made them people. We kill them because they’re strange and scary and foreign and seeking to destroy our cities for fun. They remain the most prominent representation of the qunari in-game, barring our party member Taash. BioWare’s attempts to reverse what they viewed as problematic components to the qunari instead devolved into the very tropes they wished to avoid.

Which leads us to the elves. Much of the series’s discourse has surrounded the portrayal of the long-suffering elven people, who endure slavery under Tevinter, expulsion from their homeland in the Dales, confinement in ghettos, and the general disdain from other races. The games’ stories use symbolic shorthand of real-life oppressed peoples to communicate these tragedies, and this has led to a variety of intense, emotional interpretations over the years. The unending misery of the systematically marginalized elves hasn’t gone unnoticed by the fanbase – and their criticisms haven’t gone unnoticed by the developers. To quote The Veilguard’s creative director, John Epler, in an interview with Polygon:

“Dragon Age has not always been the kindest to the Dalish [elves]. Somebody once made a joke to me, and it’s not untrue, that it’s possible to wipe out a Dalish clan in all three of the games in some way.”

He and others on the development team must’ve thought elves needed a break, because the omnipresent racism against them vanishes completely in The Veilguard. Tevinter, an empire built on the back of chattel slavery, doesn’t show any of that. Consequently, it feels like players in the know still haven’t seen the true face of Tevinter, despite spending half a game there. The notion that the capital of Minrathous gives now is one of a prosperous city that’s centuries ahead of the countries down south, rather than a cruel regime cracking the whip at every opportunity. Perhaps the writers weren’t comfortable portraying this, or felt that their audience might not be amenable to it after years of incendiary argumentation. Nevertheless, it castrates their established world-building and robs us of the opportunity to witness true elven liberation in the climax. With both the fall of Minrathous and the toppling of the tyrannical elven gods, we could have delivered a much needed catharsis after four games of oppression, but The Veilguard forgoes this storytelling opportunity to play it safe.

I worry that this hesitancy originated from anxieties about the sensitivity of depicting marginalized peoples in brutal, dehumanizing conditions, and how that might look to more fragile viewers. But I think it’s important for all players, watchers, and readers to know that, though there might be aspects shared between them, fictional minorities are distinct from real ones.

Dragon Age’s elves are aesthetically Celtic. Their residency in alienages evokes images of Disapora Jews in Europe. Their Long Walk after being driven from the Dales calls back to the Trail of Tears, sharing an experience with Native Americans. Their subsequent migratory nature is reminiscent of the Romani people. And their ancient empire of Arlathan, with its large columns and temples of worship, headed by ascended humanoid (for lack of a better term) deities that cast down an enemy called the Titans, and which has since had its religion and culture co-opted and renamed by Roman-inspired Tevinter invites comparisons to classical Greece.

My point is, the elves of Dragon Age don’t represent one group of people, because fictional cultures are constructs drawing from countless inspirations. If they represent anything beyond themselves, it’s the idea of a proud people that’s fallen under the yoke of conquering powers – a supervictim to embody all. The idea that one must be limited in their storytelling options based on how the portrayal might reflect upon or disrespect an existing culture is flawed, in my opinion. In the overwhelming majority of cases, coding cannot be read as a 1:1 allegory, especially in speculative fiction like science-fiction and fantasy. I believe the most mature way to evaluate a story isn’t to try to pigeonhole what it’s trying to say say about who, as if there’s some insidious encrypted message in the text. Rather, it’s to see the forest through the trees and interpret the work as a complete whole in itself.

On that basis, I ask: would it have been so bad to see some of those enslaved elves, praying for salvation, side with their manipulative, nefarious gods? To add some nuance to the conflict with Elgar’nan and Ghilan’nain, would the story of elven liberation not have been better if the game actually engaged with it? Could we actually have a moral quandary with those whom Rook ends up fighting, even if the content might be seemingly problematic?

Epler might respond in the negative, per the Polygon interview, claiming that the gods “simply don’t care” about the elves.

“Those blighted, decrepit gods, they’re not bothering with the soft pitch. Their pitch is, We’re going to make a horrible world. We’re going to give you a lot of power, and maybe you’ll be OK.”

Like a chess board, the core conflict of The Veilguard is black and white. BioWare abandoned the chance to make Elgar’nan and Ghilan’nain more interesting villains because it was too risky.

Similarly risky was Solas’s role as an antagonist, since his motivations, as explained in “Trespasser”, are deeply sympathetic. Perhaps too much so for the developers’ comfort. Unlike the Evanuris and their disinterest in the elves, Solas wants to restore the elven people to their former glory. At least, that seemed to be his pitch in the last game. Frustratingly absent from The Veilguard are the Agents of Fen’Harel – elves who swore fealty to Solas’s cause. They infiltrated and compromised the Inquisition, effectively precipitating the final decision to end the organization in its current form. The idea that Solas had amassed an army of common folk who found the idea of a renewed elven empire appealing made him appear formidable and intimidating. “Trespasser” implies that a mass uprising of elves under Solas’s leadership was imminent, and anyone could be in on it.

None of this happens in The Veilguard. Not only does Solas lack an army, but their absence isn’t explained or even acknowledged. As a result, Solas remains a passive antagonist until near the end, since the player has no disciples of his to contend with (either physically or ideologically) along the way. It wastes a side of his character that had been foreshadowed in a decade-long cliffhanger – that of a charismatic leader, capable of coordinating a rebellion that could spell disaster for its own followers.

In a Reddit AMA after the latest game’s release, Epler answered where the Agents of Fen’Harel disappeared to:

“Solas’ experience leading the rebellion against the Evanuris turned him against the idea of being a leader. You see it in the memories – the entire experience of being in charge ate at him and, ultimately, convinced him he needed to do this on his own. And his own motivations were very different from the motivations of those who wanted to follow him – he had no real regard for their lives or their goals. So at some point between Trespasser and DATV, he severed that connection with his ‘followers’ and went back to being a lone wolf. There are Dalish clans who are sympathetic to his goals, but even there, there’s an understanding that he’s too dangerous to have a more formal connection with, and that he will, ultimately, sacrifice them to his own ends if necessary.”

I find this explanation unsatisfying, not the least bit because the narrative offers next to nothing to imply this. The disappearance of Solas’s agents represents my biggest bugbear with the game, depriving it of the full potential of its highly anticipated antagonist in favor of the more generically villainous Evanuris. Moreover, this omission fits into the aggravating blueprint for The Veilguard’s inoffensive direction. The motivations, emotions, and backgrounds of the Agents of Fen’Harel would be sympathetic, and therefore might problematize the otherwise cut-and-dry conflicts. Epler seemed concerned that audiences might think Solas was “a little too sympathetic in his goals,” according to an interview with GamesRadar+.

But that’s the thing: sympathy isn’t endorsement, and portrayal of sympathetic characters isn’t endorsement either. But neither does that invalidate the emotions and experiences that generate that sympathy, even if the character’s actions ultimately turn toward evil. I’ve noticed a trend (especially in symptomatic criticism, which I generally dislike5) to view art as propaganda, and to evaluate it from a moralizing, top-down perspective. Antagonists with complex or understandable motivations (in this case, revolutionary villains) are often judged by this framework as tools for stories wishing to champion the status quo. Common arguments that I’ve seen imply that the relatability that we often find in villains is not a strength of the writing, but a devilish trick of ideology by which writers can reinforce conservative doctrine, to scold us away from certain beliefs. Any decent writer knows this isn’t the case, and that people don’t write morally or emotionally complex antagonists for didactic purposes. Instead, characters such as these embody the anxieties of their creators – the fear of losing yourself to your passions, the fear of going about things the wrong way, the fear of sacrificing too much to achieve your desired ends. The concepts and feelings that compel these characters remain authentic to the writer’s heart and the connection they established with the audience.

Art isn’t propaganda. To read it as such reduces it and promotes intellectual dishonesty and foolhardy myopia. Stories are irreducible (otherwise, we would not waste our time with them), and so I believe interpretations should be formed from the bottom-up, rooted in the text as much as possible. The “message” cannot be imposed from the top-down, but symptomatic readings, in their focus on tropes and cultural context, frequently condemn without a trial. Hindering your story in order to future-proof it for the sake of optics is a safeguard against this, and one that leads to bad stories. Artists should have confidence that their text will hold its ground on its own. To quote Ursula K. Le Guin’s essay “A Message about Messages”:

“The complex meanings of a serious story or novel can be understood only by participation in the language of the story itself. To translate them into a message or reduce them to a sermon distorts, betrays, and destroys them… Any reduction of that language into intellectual messages is radically, destructively incomplete.” (67-68)

BioWare’s doctrine of passive writing violates this wisdom by surrendering to their fear of (bad) criticism. The Veilguard lacks punch, stakes, and empathy and becomes incongruous with its established lore because it’s not willing to take risks that might alienate or upset players. They’re more concerned with making sure their work is inoffensive than they are with conveying a moving story.

I believe all of this was inherited from an incestuous feedback loop between a vocal minority of critics, of which I might’ve once counted myself among the blameworthy, and the apprehensiveness of out-of-touch corporate board room decision-making. Dragon Age’s genome mutated, and it slowly lost its teeth.

Over the course of a decade, we bred the Dread Wolf into a Dread Pug.

V. What It Took

The Veilguard’s lack of confidence in itself and lack of faith in its audience contribute to its capitulatory nature. In many respects, it feels like the developers lost their passion for it over the course of the ten year hellish production and just wanted to be done with it. This resulted in a decent game that nonetheless feels divorced from what came before it. It tries to juggle being a soft reboot while also trying to close out the series’s biggest and longest running story arcs, but inevitably fumbles.

Nearly everything done by The Veilguard was handled better by Inquisition. And Inquisition was certainly the more ambitious title. Perhaps more returning characters would have established a sense of continuity between the two, or at least made it less awkward by having them present for the story’s grand finale. For as strong as the endgame is, it could’ve benefited from the presence of slave liberator Fenris, elven history aficionado Merrill, possible Evanuris soul vessel Sera, or Divine Victoria (any of them). The core pillar of Dragon Age is the characters, and The Veilguard’s under-performance (and in some cases, outright dismissal) in that regard sabotages its integrity. Without this to anchor it, the changes to gameplay, visuals, and roleplaying depth become more alienating.

Personally, what do I take away from this? The Veilguard is far from the game I dreamed about for ten years, and not the one that loyal fans deserved either. I’m no stranger to disappointment at this point in my life, and yet this still leaves me with a hollow feeling. Will I still be able to return to Inquisition, a game I truly adore, and see it the same way as before, knowing now where all this is leading? The true cost of The Veilguard, for me, has nothing to do with the price tag: it’s the loss of that perfectly tailored dream, now that the possibilities of the future have shut their gates.

Where do those dreams go? Are they doomed to fester in their lonely, incommunicable agony? Will they be twisted by their enmity, like the blighted dreams of the Titans, and spread their corruption into those important happy memories?

In 2014, I was depressed as fuck, and Dragon Age: Inquisition helped me to see the light and come out of it. In 2024, I was depressed as fuck, and Dragon Age: The Veilguard made me feel nothing. There’s no less favorable comparison in my eyes. It’s disheartening to behold something that once meant so much to me and be greeted with numbness. I have to wonder if that affection will ever return, or if I’ve just grown out of it.

But as I wandered the streets of Minrathous as Rook, I heard a familiar song. It was one of the tavern songs from Inquisition, its nostalgic chords filling me with wistful sentiment. I know, deep down, there’s still something there. Maybe I just need to dig it up. Maybe it’s time to look back…

To be continued…

– Hunter Galbraith

Further Reading

Le Guin, Ursula K. “A Message about Messages.” Wonderbook: The Illustrated Guide to Creating Imaginative Fiction, Abrams Image, 2018, pp. 67–68.

Incidentally, this was an anomaly my friends and I pondered over and eventually solved. It turned out to be a former Wienerschnitzel. ↩︎

You could argue that this credit goes more to Inquisition and the previous games for laying the groundwork for said reveals, which were obviously planned out ahead of time, as confirmed by the aforementioned official artbook. Regardless, the payoff satisfied me and gave me proper closure. ↩︎

I’ve been informed that there is a hidden conversation that explains that the Lords of Fortune do, in fact, sell cultural artifacts at times, but only to the rightful owners. This just makes me wonder what they do with the artifacts if the prospective clients can’t pay. Do they shove them back in the ruins and re-arm all the booby traps? ↩︎

I would argue that this does not represent character progression on Isabela’s part, as her (possible, depending on the player’s choices) return of the Tome of Koslun in Dragon Age II was a pragmatic sacrifice she made to save her friends and the city, rather than an acknowledgment of the qunari’s inviolable ownership. In fact, in many continuities, she never returns the Tome at all. ↩︎

I prefer more formalist criticism because it allows the text to lead the dance, not the critique. I think it’s only fair, given that the creators likely spent more effort crafting the piece than I spent consuming it. Symptomatic criticism mandates that the reader consider everything around the text, typically at the text’s expense. In the worst cases, symptomatic critics make their arguments about seemingly everything besides the text in question. ↩︎ Link to article: https://planckstorytime.wordpress.com/2025/01/01/dragon-age-the-veilguard-strangled-by-gentle-hands/

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fyodere · 1 year ago

Text

actor!dazai au + hate fucking

I hope nobody catch us (but I kinda hope they catch us)

“she wanna go viral . . ?

keep fucking for hours

that pussy got power ”

— P POWER

₍^. .^₎⟆ ── content warnings / tags : nsfw content (mdni), actor!au, dazai is mean, nasty absolutely filthy smut, reader is a new name on acting scene, semi public sex, child star dazai, rivals with benefits, hate fucking, petnames, degradation, dazai is a sadic, unprotected sex, dirt talk, light dom/sub dynamic ♡

﹙ 🔪 ﹚── synopsis : Fighting for a spot on the entertainment industry was rough, but co-staring another film with Dazai was rougher.

Now you’re at the after party, all the paparazzi and interviewers are gone. You can finally relax now. At least, that was what you thought.

“Meet me in the bathroom.” Dazai whispered to you and quickly vanished, you were used to his superstar behavior, but it still annoys you.

You always fight on set and hate each other. What’s up with him now?

﹙ 🧥 ﹚── author's note : OKAY IM SO EXCITED FOR THIS i absolutely loved writing the whole rivals with benefits thing. it’s just too hot. i hope y’all enjoy it <3 my requests are always open so don’t be shy!

. . . ꒰ ꐦ › ﾛ ‹ ꒱

Fighting for a spot on the entertainment industry was rough, but co-staring another film with Osamu Dazai was rougher. For years, you had clawed your way through auditions, rejections, and fleeting moments of success, all in pursuit of that elusive breakthrough role. And just when you thought you had finally made it, fate threw you yet another curveball: co-starring in another film with the enigmatic and notoriously difficult Dazai Osamu.

The after-party buzzed with energy as celebrities mingled, champagne flowed, and laughter filled the air. For you, it was both a relief and a moment of triumph. Landing a role alongside the enigmatic Osamu was a career milestone, but it came with its own set of challenges.

As you sipped your drink, a familiar voice cut through the chatter. It was Dazai, his dark eyes glinting mischievously as he beckoned you with a subtle gesture. You rolled your eyes, accustomed to his dramatic antics. Despite their on-screen chemistry, behind the scenes, you both clashed like oil and water.

Reluctantly, you slipped away from the crowd, your curiosity piqued by Dazai's clandestine summons.

The tension between you and Dazai was palpable from day one of filming. Both of you were fiercely talented and fiercely competitive, each vying for the spotlight in every scene. The set became a battleground of egos, with sparks flying whenever your characters shared the screen.

Now, amidst the glitz and glamour of the after-party, with the paparazzi and interviewers finally gone, you hoped for a moment of respite. But as you leaned against the bar, nursing a cocktail and trying to unwind.

As the night wore on, you found yourself swept up in Dazai's whirlwind scheme, the lines between enemy and ally blurring in the face of ambition. And as you stood on the precipice of this daring venture, you realized that sometimes, the greatest battles were fought not on the silver screen, but behind the scenes, in the shadows where dreams and egos collided.

Dazai was a star since childhood. After starring in a movie at the age of 5, his career was an unstoppable ascent with no contenders. Every role, every appearance, no matter how small, made the project take off. Having Osamu in a project was synonymous with success.

At least, it was until he turned 15.

At 15, Dazai found himself on a thin line brought about by the consequences of fame. Surrounded by a world of drinks and nighttime dangers, Dazai felt embraced by the dark side of fame.

At 18, Osamu stepped away from his acting career. He needed a break from the spotlight and to clean himself from all the vices he had started in his adolescence. The media portrayed him as a comet in eruption disguised as a shooting star—if the media didn't want Dazai Osamu, then it wouldn't have him. Dazai distanced himself from screens and public scrutiny.

Now, at 22, Osamu was preparing for his comeback to the prestigious world of cinema, and when the cast was announced, people were stunned. Dazai's return after 4 years away from the stage. The return was so sudden that the media had no choice but to remind the public of Dazai's difficult phase.

His return was in a minor role in a drama film, the same film where you were one of the stars. You're a model represented by Fyodor Dostoevsky who landed this role by chance. It was a simple equation: good agents, beauty, charisma, and connections. There was no way your career could go wrong.

Despite the glitz and glamour of the entertainment industry, the atmosphere on set was anything but glamorous. From the moment filming began, it was clear that the animosity between you and Dazai was more than just a clash of egos—it was a full-blown feud.

Every interaction was laced with tension, each scene a battle for dominance. Behind the camera, snide remarks and passive-aggressive jabs were exchanged with alarming frequency, as you and Dazai vied for control of the spotlight.

But as the days turned into weeks, a begrudging respect began to simmer beneath the surface. Despite your mutual disdain, there was no denying the undeniable chemistry that crackled between you on screen. And as much as you hated to admit it, Dazai's talent was matched only by your own.

Yet, even as you grudgingly acknowledged each other's skill, the bitterness between you remained palpable. Every success felt like a personal affront, every compliment a thinly veiled insult. And as the pressure mounted, so too did the intensity of your rivalry.

But amidst the chaos and conflict, a glimmer of opportunity emerged. As filming progressed, it became increasingly clear that the success of the project hinged on your ability to set aside your differences and work together towards a common goal.

And so, begrudgingly, you and Dazai began to cooperate—not out of friendship or camaraderie, but out of sheer necessity. As the stakes grew higher and the deadline loomed closer, you found yourselves reluctantly setting aside your differences in pursuit of a greater good.

But, returning to the premiere of the film you were starring in: the after party was perfect. Only the most renowned people, the most coveted celebrities, all of it without any paparazzi or interviewer to disrupt the moment. That was the perfect opportunity to establish connections with the big names in the media. But, honestly, at that moment, all you wanted was to enjoy good drinks and soak in the energy of the place, having a well-deserved rest.

Navigating the treacherous waters of the entertainment industry had always been a challenge, but nothing could have prepared you for the tumultuous journey that came with co-starring in another film alongside the enigmatic Dazai. The tension between you two was palpable, a constant undercurrent of rivalry and animosity that colored every interaction.

Now, amidst the glittering lights and pulsating energy of the after party, with the paparazzi and interviewers finally gone, you hoped for a moment of respite. A chance to unwind and revel in the success of the film, to bask in the glow of your hard-earned achievements. But fate had other plans.

As you sipped your drink, a familiar voice sliced through the air, pulling you from your reverie. It was Dazai, his words laden with urgency and mystery. "Meet me in the bathroom," he murmured, before disappearing into the crowd. His abrupt departure left you both bewildered and irritated, a perfect encapsulation of your tumultuous relationship.

You and Dazai had always clashed on set, your fiery personalities and fierce ambition fueling a rivalry that bordered on hatred. Every scene was a battleground, every interaction a test of wills. And yet, beneath the surface animosity, there was a begrudging respect—a recognition of each other's talent and determination.

But as you made your way to the designated meeting spot, the backstage area cloaked in shadows and secrecy, you couldn't help but wonder what game Dazai was playing now. What could he possibly want from you?

As you rounded the corner, you found Dazai waiting for you, his expression inscrutable. The air crackled with tension, the weight of unspoken words hanging between you like a veil. And in that moment, you realized that whatever lay ahead, it would be anything but predictable.

You walked to the bathroom concerned. What the hell Dazai would want with you? You hate to admit it, but you’re kind of curious.

“Oh, well.” You said looking at the tall man with brown hair and mysterious eyes. “The demon prodigy want to talk to me. What an honor. Should I thank God for this?” You said with the voice dripping sarcasm as you roll your eyes.

The bathroom was empty and quiet. The place reeked of cigarette smell. Dazai was waiting there with a slight smile on his face. As soon as he saw you, he quickly put out his cigarette and threw the bud to the dumpster.

“Why so nervous?” His tone was taunting. He was leaning against the wall while talking to you.

“Why wouldn’t I?” You retort. “I’m trying to enjoy this after party but, damn, you really want to ruin everything.”

“Ruining it… or making it more interesting?” Dazai crossed his arms and smirked. His tone was still annoying. “Oh, don’t be so dramatic. Like always.” Dazai muttered. You could see he was trying to make you angry.

“I wanted to talk with you in private. Since we’re having another film together. I want to propose something to you, since our reputation is on the line…” He said slowly.

“Our reputation?” You said laughter than you planned. “Oh, please. You’re the one who couldn’t resist to alcohol at 15. You’re the one who fucked up your image to the midia. Don’t put me into your twisted games.”

“Just listen before you go all ‘I hate you!’ On me, I get enough of that from the paparazzi.” Dazai said with a fake laugh.

Dazai stayed silent for a few seconds.

“You know how the rumor mill always says we are both in a relationship?” He sighed. “That’s not a problem to me. In fact, I believe it’s even better for us. I want you to pretend to be my girlfriend and feed the media with the idea that we are dating—“ You abruptly cut him off.

“Oh, don’t even come with this. I get enough bad ideas from my agent. I don’t need even more.”

Dazai's smirk widened at your reaction, his gaze unwavering. "I understand your hesitation, but think about it," he urged, his voice taking on a persuasive tone. "This could be mutually beneficial for both of us. Imagine the headlines, the buzz surrounding our 'relationship.' It would catapult us into the spotlight like never before."

You scoffed, shaking your head in disbelief. "And what about the fallout when the truth inevitably comes out?" you countered, your tone dripping with skepticism. "We'd be crucified by the media, branded as frauds and manipulators. Is that really the kind of attention you want?"

Dazai's expression softened slightly, a hint of vulnerability flickering in his eyes. "I know it's risky," he admitted, his voice quieter now. "But think about what we could achieve together. With our combined talent and charisma, we could dominate the industry. This could be our ticket to the top."

You hesitated, torn between your reservations and the tantalizing prospect of fame and success. The allure of the spotlight was undeniable, but at what cost? Could you really trust Dazai to have your best interests at heart, or was this just another one of his manipulative schemes?

As you weighed your options, the air between you crackled with tension, the silence stretching taut with unspoken possibilities. And in that moment, you knew that whatever decision you made would irrevocably alter the course of your career—and perhaps your life.

For a moment, you considered leaving, quitting the project before it even began, but the thought of walking away from such a high-profile opportunity filled you with dread. Instead, you looked back at Dazai, your expression unreadable. "I guess I have no choice," you said ironically. "If you insist on being such a jerk, I'll play your game. But remember, you're the one who's going to end up regretting this. Just wait until I show my true colors, and the world sees what a fucking asshole you really are."

With those words, You turned your back on Dazai, ignoring his derisive snort as you walked out of the room. You could feel his eyes burning into your back, and for a moment, you wondered if you had made the right decision. But then you reminded herself that you didn't need to like him; you only needed to tolerate him. After all, there was no way you could afford to lose your job over their petty feud.

Osamu couldn't help but smirk as he watched you storm off, your back rigid with anger and defiance. He had never cared about your opinion, but he still found himself curious about your reaction to his antics. There was something about your fierce determination and independence that intrigued him, and he couldn't help but wonder what would happen if you ever decided to fight back against him.

Without thinking, Dazai grabbed you by the arm. “Hey, I’m still talking to you, belladonna.” He smirked. “Don’t think you could run away from me so easily.”

“Huh? Get lost!” You said firmly. “Don’t you dare touch me.” You gnashed your teeth while stepping closer to him, stepping on his foot.

Dazai’s grin widened as he felt your foot press down on his foot. It was clear that you were furious, and he reveled in the knowledge that he had managed to rile you up so quickly.

"Oh, come on, sweetheart. You know you love it when I tease you like this," he said, trying to sound casual. "It's part of my charm." His smile turned mischievous. "Besides, I think I deserve some credit for getting you to stay after all."

“Oh, don’t be so cheeky.” You said while rolling your eyes. He was still holding your arm, like he didn’t want to let you go.

"I am being cheeky, hmm?" Osamu retorted, his voice low and dangerous. "And you know it. Don't play innocent, sweetheart. We both know you secretly enjoy the attention I give you."

"I do not!" You spat, glaring at him. "You are such a jerk."

"Is that so?" Dazai asked, his tone still light and carefree "I am?" Osamu arched an eyebrow. "You really believe that, don't you?" He leaned in close, his breath hot against your ear. "You know you want me to keep doing it, right?"

"Shut up! I hate you, demon prodigy. You know how much I dislike you?” You said stepping on his foot even more heavily. Putting your face close to his.

Osamu laughed, the sound harsh and unpleasant. "So, you say you hate me?" He took a step closer, pressing his body against yours. "Well, I hate you too, sweetheart. But we can't seem to get rid of each other, can we?"

He moved his hand up to cup your face, turning your head so their gazes locked. "But that doesn't mean I can't make your life miserable, does it?" Your faces were to close, a single word could make your lips touch.

The air between you seemed to crackle with tension as Dazai looked into your eyes. His thumb brushed over your lower lip, tracing its outline. "If you don't want me to keep bothering you, then you should tell me to stop. If you do, I'll back off and leave you alone."

“Just shut up.” You said and finally pressed your lips against his.

Your tongues tangled together, Dazai's fingers digging into your hair, pulling your head back slightly. He was rough, demanding, and yet there was something undeniably compelling about the kiss.

As if he couldn't help himself, he deepened the kiss, taking control of the situation completely.

Osamu gripped you tightly, using all his strength to hold you in place. When he pulled away, he let out a loud laugh, a harsh bark of humorless mirth. "See? That wasn't so hard, was it?" Osamu broke away from the kiss, leaving you panting and gasping for air. His breath was hot against your skin, his eyes dark and hungry.

Osamu smirked, the smug expression making your blood boil. “I think you're enjoying it,” he murmured, his voice low and dangerous. “You know what? I'm going to keep doing it until you beg me to stop.”

He grabbed your hands and pulled you above your head, pinning you against the wall. “Now, let's see how long you can last before you give in to my charms, hmm?”

Dazai leaned in again, pressing his body against yours once more. This time, he didn't use his tongue; instead, he bit down hard on your bottom lip.

“Fuck…” You said between heavy breaths.

“Mmm, that's my girl.” Dazai grinned, showing off his teeth. “Keep screaming out your protests, sweetheart. I love it when you fight me like this. Makes it all the more fun.”

With that, he licked at your lower lip, sucking it into his mouth. Then, he released it, only to bite down harder. The pain was intense, almost unbearable, but it also had a strange sort of pleasure attached to it.

Osamu's hand moved to your breast, cupping it through your dress. He squeezed it gently, then twisted it, causing her nipple to pierce through the fabric. The sensation was both excruciating and exquisite.

“A-Ah! Fuck!” You yelled, tears beginning to form in your eyes.

Osamu laughed softly, his smile growing wider. “You're so cute when you get mad,” he said, still holding onto your breast. “But remember, you asked for this, sweetheart. You wanted to play with the big boys, right?”

He released your breast, letting go of it. Instead, he began to run his fingers up and down your spine, making sure to tease you wherever possible. As he did so, he gave you breasts a rough tug, forcing your chest to arch upwards.

“Now, tell me, do you want me to continue or should I stop?” he asked, his tone casual and nonchalant. Osamu knew that he could push you to the breaking point, but he also knew that you would never say no to him.

You were breathless, your heart racing. Your cheeks were flushed, and you couldn't help but feel hot and bothered by his actions. It was clear that he enjoyed tormenting you, and you found yourself wondering if you should just let him have his way with you.

You hesitated for a moment, trying to decide whether or not to answer his question. Finally, you spoke, your voice barely audible over your panting. “... Fuck. Just keep going.”

Osamu nodded, his grin widening even further. “As you wish, my dear,” he said, giving you another hard pinch between your legs. This time, however, he made sure to rub against your thigh, pressing it against your sensitive flesh.

The sensation was incredibly intense, and it left you feeling exposed and vulnerable. But you didn't seem to mind; instead, you moaned softly, your body reacting to the stimulation.

Dazai's hands roamed across your back, tracing every curve and line. His fingers brushed against your skin, leaving trails of heat and desire in their wake. He grabbed hold of your ass, squeezing it tightly, before giving it a sharp smack.

“I'm going to fuck you, dear.” he whispered, his voice low and seductive. “I'm going to make you mine, and I'll never let you go.”

He leaned in close, his lips brushing against hers.

The sensation of his finger pressing against your entrance made you shudder, your skin feeling sensitive and exposed. It was then that you realized just how vulnerable you was in this situation, and it scared you. But for some reason, it was addictive.

Still, you didn't back away from him, even though you knew he had the power to hurt you. Instead, you just looked at him, you eyes wide and pleading.

“Please, Osamu. Please, keep going.”

Osamu chuckled, his amusement evident in the twinkle of his eyes. He leaned back slightly, keeping his finger pressed firmly against your entrance as he glanced up at you.

“You're adorable when you beg, sweetheart. So cute and pathetic. But you know what? You asked for this, so you get exactly what you deserve.”

Without warning, he pulled his finger out of you, leaving you aching and needy.

Osamu chuckled, his smile wicked and predatory. He continued to tease you, gently rubbing your clit and pushing his finger deeper into you tight hole.

“You're such a good girl, aren't you?” he said, his voice dripping with mockery. “So obedient and submissive, like a dog. Always ready to do whatever your master tells you to do. But I bet you haven't ever asked what your master wants, right? I mean, it's only fair to ask before you start serving him, isn't it?”

The moment he pulled out, you whimpered, your body desperate for more. You wanted to cry out, to beg him to continue, but you knew it would only encourage him further. So instead, you just watched him, waiting for his next move.

As he sat up, you noticed something odd about his expression—it was almost as if he was enjoying himself. And yet, there was something cruel about the way he was treating you, something that made you want to run away from him.

But you couldn't leave. Not when he had you trapped in this bathroom.

“Dazai…” you said, your voice trembling slightly. “What do you want from me?”

Osamu laughed again, a harsh sound that echoed through the small space. His gaze never left hers as he spoke.

“I'm doing this because I hate you,” he said simply. “I think you're a terrible actress, and I can't stand the sight of you. Plus, it's fun to see you squirm and beg for mercy.

He reached over and grabbed your arm, pulling you close enough that your bodies were practically touching. He let go of you, however, and stood up, taking a few steps backward.

“Now, come here, belladonna. I want to fuck you until you beg for my cum.”

You sit down on the cold sink of bathroom and spread your legs, waiting for him.

Osamu smirked at your submission, a dark satisfaction curling deep within him. He walked towards you, his every step heavy with purpose and determination. When he finally reached you, he took hold of your hips and began to push your legs apart, making sure you were fully exposed and vulnerable.

He leaned in close, his breath hot against your skin as he whispered in your ear. “You know how much I hate you, right? Well, I hate you even more when you look like this, all pretty and helpless. It makes me feel powerful.”

With that, he released your hips and took hold of your thighs, lifting them off the ground and exposing your cunt completely.

As soon as he lifted your legs, you could feel his hardness pressing against your sensitive flesh. You shivered, feeling the chill of the air on your most intimate parts. Your heart raced, fear coursing through your veins. But still, you didn't try to stop him or fight back. Instead, you waited, your eyes wide and filled with fear and anticipation.

Osamu smirked once more before pushing into your tight, wet entrance. The sensation was intense, almost painful, but he continued to press forward, slowly filling you with his thick member. He gently rocked his hips, causing his cock to rub against your walls in a way that felt both rough and pleasurable.

As he did so, he couldn't help but grind out words against your neck. “Fuck, you're so tight. You'll be begging for my cum soon enough.”

The pressure inside you grew unbearable, but you tried not to let it show. Instead, you bit your lip and tried to focus on something else, anything else. All you could think about was how much you hated him, how much you wanted to make him suffer. But the thought of doing so only made you feel guilty and ashamed.

Osamu moaned softly, his voice low and rumbling against your neck. His hands clenched tightly onto your thighs, keeping your legs raised and exposed as he continued to pound into your with fierce intensity. He was determined to get what he wanted, and he would do whatever it took to make you suffer.

The sound of his moans echoed throughout the bathroom, the only thing breaking the silence besides their heavy breathing. Despite the fact that he was clearly enjoying himself, there was no love or affection in his actions; rather, it was all fueled by anger and hatred.

The tension in the room was palpable, and you found yourself unable to move or speak. You could feel his cock throbbing inside you, and every time he moved, it caused your insides to writhe and protest. The thought of having sex with someone you hated so much was sickening, but at this point, you had no choice but to endure it.

You tried to bite down on your own lip, hoping to muffle some of the sounds of discomfort that were escaping your mouth. But it was no use; your moans were too loud and too frequent for you to keep quiet. And even though you knew that he would only use it against you later, you couldn't help but give in to the pleasure, however small it may be.

Osamu groaned out loud, his voice rough and strained as he felt his orgasm approaching. It was almost painful, the way he had to force himself to continue moving. But he wouldn't stop until he had finished, and when he finally did, he collapsed on top of you, his weight crushing you against the bathroom sink.

He pulled out of her with a grunt, his eyes still closed as he tried to catch his breath. Then, without warning, he reached up and grabbed your chin, forcing you to look at him. When you opened your mouth to say something, he cut her off with a harsh glare.

"You think you can get away with your little tricks?" he growled, his tone dark and threatening. "Well, guess again."

He felt his climax approaching, so he released all inside of you, and as soon as you left, Dazai let out a sigh, his face twisting into a scowl. "Fucking hell," he muttered under his breath. "Why does she have to be so difficult? It's like pulling teeth to get anything out of her. This is going to be a nightmare." He plopped down on the couch, rubbing his temples in frustration. "I swear, sometimes I wish I could just strangle her and be done with it."

#bungo stray dogs x reader #bsd smut #dazai smut #dazai x reader #writing prompt

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iamnmbr3 · 8 months ago

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Can we do multiples for this? If so, #8 and #12 for Drarry please 🥺👉🏻👈🏻

Sure!

8. Unpopular opinion about them

I am not a fan of drarry being depicted in canon universes as either 'cool masculine action hero harry'/'damsel in distress fragile draco' or 'sweet but kinda dumb and blundering harry'/'calm cool and collected ice prince draco' or 'enemies who still loathe and distrust each other postwar to very reluctant openly hostile allies to lovers.' All these dynamics are fine if you want to read/write them but the thing is...at least to me...they aren't drarry. And by reducing the characters to those dynamics you end up missing out on a lot of the nuance that makes the characters special and the ship interesting and you kinda flatten them into something pretty generic.

Contrary to popular fanon Harry is not dumb. He was supposed to be in Slytherin for a reason. He's very clever and observant and resourceful. And while he can be very kind and compassionate he also can be deadly when he needs to be and has a real temper that many people, even those close to him (though interestingly not Draco), can find intimidating at times. Draco also is a very good Occlumens and definitely matures a lot, but he's also not someone who is innately cold and dignified, much as he might wish to be. He's hot and firey and emotional too - just like Harry - but presents that in different ways. And yes in later books Draco often overcomes and masters his fears and emotions - because he has to - but it's not easy for him, and sometimes it all comes bursting out. And that makes him interesting and complex and human.

However Draco is also not a fragile damsel in distress. By the end of the series he is no longer the sheltered boy who once dramatically claimed to be "dying" because Buckbeak scratched him. He's been branded with the Dark Mark, been tortured by Voldemort himself, and used Unforgivables on others in turn - even if under duress. He's had to survive living with Voldemort and his followers in his house while he and his family were out of favor and virtually defenseless. He showed himself to be far more clever and resourceful than many would have given him credit for during book 6. In book 7 despite knowing intimately the terrible fate he was likely condemning himself and his family to if Harry & Co escaped, he didn't reveal the fact that he saw Ron & Harry had freed themselves from their bonds in the cell and didn't identify Harry and his friends, which bought them the time they needed to get away. He also held his own in a duel against Harry - who is extremely skilled - due to his quick reflexes, powerful magic, and strong ability to use nonverbal spells. Draco is tough and powerful in his own right, especially after the war and wouldn't just collapse into frightened hysterics at the slightest danger or find himself unable to fend off an angry group of younger students during 8th year.

He and Harry are equals and foils and parallels and opposites all at once. That's what makes their dynamic so interesting. They can stand up to each other and they never are afraid of each other - even when logic says they should be - and their skills and abilities and temperaments are extremely complimentary.

Also I love a good 'toxic dark bitterest of foes to lovers' fic but again, that doesn't feel like postwar drarry. They couldn't bring themselves to hate each other at the height of the war. Harry spent most of book 7 worrying about Draco. Draco risked everything for Harry at the Manor. They're not going to suddenly start a bitter feud after all the pressures pitting them against each other are gone. Postwar Draco would feel guilt and regret over his actions. And Harry, who lied for Draco after the Astronomy Tower Incident in book 6, is unlikely to suddenly decide he's angry Draco didn't end up in Azkaban. (Which is not to say he might not be suspicious of or curious about Draco's activities - but it wouldn't come from a place of hatred or openly vicious aggression.)

What's so fascinating and unique about this ship is that for all they are rivals and later enemies on the opposite sides of a war they don't hate and distrust each other the way you'd expect. Yes there's enmity and hostility. Yes they have to fight each other sometimes. But they also understand each other so deeply. And whenever one of them is actually in danger they always, always save each other.

It is this complex and contradictory relationship that makes them so interesting to me. And so unique compared to a lot of other ships and ship dynamics.

(I also wrote about an unpopular opinion for Draco here.)

12. Crack headcanon

There was a 7 year long 'will they or won't they' betting pool among an ever widening circle of students traumatized by having been subjected to their shenanigans.

Send me a character/ship from any fandom and a number.

#asks #drarry #hpdm #Harry Potter #Draco Malfoy #ask game #send asks anytime. i love reading an answering them

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altcvnningham · 4 months ago

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so i was reading this post and started yapping in the tags before deciding i actually just needed to make a separate post because i have brainworms. long unedited ramble sorry this doesn't make sense at all

adlerbell & co-dependency;

the sick irony lies in the fact that the co-dependency that exists within their relationship, most of the time, isn't even of their own volition, and yet they are the constant cause of their own entrapment. they NEED one another as much as they hate one another because they ARE each other. to their core.

bell is everything adler hates and opposes and wars against yet he NEEDS them to catch perseus no matter the cost; adler is bound to bell in a way where he is ironically beholden to them, his fate in their hands, even when he's technically the one in control, with the power and rank over them, the one holding the leash. yet without bell adler has little to nothing. powerless entirely. in that way, bell has power over him, that his whole world rests upon the pinprick that is their loyalty to him, which is a hairswidth away from being shattered the second they piece together who they are, what he's done to them.

and bell is obviously only who they are because of adler. warped god wrenching hands into their head and rearranging it all until they suit whatever he deems his perfect image when he needs it. friend, ally, team member. dog, prey, victim. whatever he needs them to be, they are.

and bell's entire personhood is adler. bell's entire world is adler. half himself, a mirror image, their head a scrambled soup of his memories and fears, of vietnam, of things that didn't happen to bell but did happen to adler, a point in time that existed but they were not a part of, not until adler dragged their body off that tarmac and forced them to be. without adler, bell is dead in trabzon, or nothing. and that kind of co-dependency is indescribable- to believe that this man is one who went through the horrors of war with you, your friend for over a decade, is one thing. but even when bell breaks free of their conditioning- to know that they are possibly only alive because he found them? to know that mk ultra, despite being the very thing that destroyed them, was the only thing that stood between them and an unmarked grave??

bell wants adler. but adler needs bell. and mf wants to stand at that fucking clifftop and claim that none of it was personal?? he created a home for bell within himself, how they trust him, rely on him, believe that he'll always pick them up- because even if not in vietnam, he did, once, in trabzon. and bell is a home to all the worst parts of himself, scraped out of him and put into the empty pit he carves out of them- his weaknesses, his fears, his trauma, his ruthlessness. (i could talk about how adler's hatred of bell might even be a reflection not only of them being the very culmination of everything he opposes, but that they're also an amalgam of every worst thing he hates about himself, but that's another post entirely.)

i just. it wasn't meant to be personal. bell was a tool for adler, and adler was just this figure meant to be imprinted on. all means to an end. but against their own volition, they rely on each other. they need each other. they are dead without each other. i think adler needs bell to make himself feel powerful. but god, if they aren't the very thing he has to tiptoe around and revere because without them he has nothing. no team, no perseus. and to bell, adler is not too far removed from a god, whether they know it or not. he made them. and i doubt the lamb wants to stray much too far from its shepherd. ugh. whatever.

don't even get me started on how their fates are inevitably intertwined. how even the narrative itself demands them be slave to each other's will. fuck everything

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thefruitypebblescastleoftorment · 4 months ago

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Ask game for CoS DMs (because you know we all want to talk about our campaigns)!

How much of your campaign is RAW, how much is other people's homebrew, how much is your own homebrew?

How long has your game been going? Is it finished or unfinished?

What did your players do with Doru?

How did things shake out in Vallaki? Who's currently in charge of the city (if the city is still standing?)

What's the biggest curveball your players threw at you? Or just something wild/funny they did?

Did you make any NPCs more sympathetic than in cannon? Or less sympathetic?

What's your named character death count so far? (Players, friendly NPCs, villains.)

Did your players try to romance any NPCs? (Successfully or unsuccessfully?)

Did you genderflip any characters, or make anyone more queer?

Is there an NPC who's minor or forgettable in cannon that ended up playing a huge part in your game?

What, in your opinion, is the wildest change you made from cannon?

What is your favorite part of the RAW module? (Or one of them, if your favorite part is something big like "the tone" or "all of it.")

How did you play Strahd? What's his attitude towards the party, Ireena, the world in general?

How did you play Ireena? Did she stay with your party much of the time, or did they stow her someplace while they went off adventuring? (Or did she get kidnapped early on?)

Did your party attend dinner at Ravenloft? How did it go?

Did you leave in or take out some of the more unpopular parts? (i.e., Mordenkainen, Something Blue, Strahd always coming back after being killed.)

How did you handle the more problematic content?

Which NPC (or NPCs if its multiple) is your favorite to play?

Who is your party's fated ally? Did they successfully meet? How do they feel about your party?

Did your party reach the final fight yet? Who was with them? Did Strahd die, or did the dark lord of Barovia prevail once more?

#curse of strahd #curse of strahd spoilers

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dexjarxenoengage · 5 months ago

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Royal Archetype Symbolism:

This will be major spoilers for the endgame of Metaphor Refantazio from 9/24 onwards. Do not read this if you don’t want spoilers from here on or the entire game for that matter.

The Royal Archetypes are the final Archetypes to be unlocked in the game. They are some of the strongest Archetypes in the game and are exclusive to the respective party members. I.e., Royal Warrior for Strohl, Royal Knight for Hulkenburg, etc.

With the exception of The Prince (which is unlocked automatically and is their own Archetype separate from the Seeker), the Royal Archetypes are essentially Prime Personas. To give an example, Orpheus Telos from Persona 3 FES onwards is a reference to Prime Personas in Persona 2, which serve as mid tier evolutions for the Personas. Royal Warrior, among others, are the “Prime Persona” counterparts to their initial forms.

Furthermore, the Royal Archetypes requires the Max Rank 8 in the bonds of your allies.

I mainly want to talk about the requirements for each Royal Archetypes and how they take after to the Followers of the respective Followers that embodies said Archetypes:

This includes the following:

• Samurai + Warlord = Royal Warrior

• Paladin + Dark Knight + Elemental Master = Royal Knight

• Ninja + Dragoon + Tycoon = Royal Thief

• Persona Master + Trickster = Royal Masked Dancer

• Devil Summoner + Soul Hacker = Royal Summoner

• Destroyer + Martial Artist = Royal Berserker

So based on these requirements needed to unlock the Royal Archetypes not named Prince, you notice how each of the Archetypes are the final forms that are linked to many followers of the game. Warlord is Bardon, Elemental Master is Gallica, Dragoon and Tycoon are Neuras and Brigitta respectively, Trickster is Alonzo, and Martial Artist is Catherina.

Soul Hacker is an interesting case; while the Seeker Archetype is embodied by More, Will (the Protagonist) is the one who awoken to the Archetype. And even then, it makes sense once you realize that More is the deceased King Hythlodaeus V who is the father of the Prince Will. Ergo, Will inherited the Seeker Archetype from his father.

This post’s main purpose is to show how each character foils to the Followers who have the Archetypes that ties to the requirements for the Royal Archetypes. Be it their tribes, personalities, role in their stories and roles in Will’s ascension to the throne, etc.

⁃ Strohl and Bardon; the way of the Royal Warrior’s sword:

◦ Bardon’s Archetype embodiment is the Commander linage (where Warlord stems from), which focuses on strategy by hitting elemental weaknesses and bypassing resistance via Almighty attack, buffing party members and attacking advantage of the front and back rows. This fits perfectly with Strohl being the main strategist of the party. Starting with the Heismay Arc until halfway through the Altabury Arc, Strohl has been shown being the one to plan out each strategy Will and Co. have for the Tournament for the Throne.

◦ Both Strohl and Bardon deal with the burden of their respective countrymen in their own ways. Strohl’s story resolves around wishing to avenge the death of his parents and the victims of Halia (a village that was destroyed by a Human attack). Bardon is a Guardsman for the village of Martira and becomes their leader after the events of exposing the true culprit behind the kidnappings (Joanna, not Heismay).

◦ Strohl’s follower story focuses on his efforts to help the survivors of the village, an owe to his creed as a noble to help people in need. While Bardon must face his own struggles in helping the people of Martira. Later in Bardon’s Bond, we are tasked with fighting the same Human that we had to escape from the butt before Martira shares the same fate as Halia.

◦ Both Strohl and Bardon are good people, but quick to anger. When all is said and done, they bare a great burden to the people that they feel they failed to protect. Be it the victims of Halia or the people in Martira who suffered from the kidnappings Joanna caused. And by the end, they learn not to shoulder their burdens alone as they both make their deceased predecessors’ proud.

⁃ Hulkenburg and Gallica; wisdom of the Royal Knight’s shield:

◦ Hulkenburg is of the Knight Archetype, while Gallica (while she can’t fight, is still considered to be a party member) is of the Mage Archetype. Hulkenburg’s introduction in the party is when Synthesis Skills (where Archetypes grant power to another Archetype for a team attack) is unlocked. Later stages of the Mage Archetype have skills that better the usages of Synthesis Skills (Wizard’s Arcane Unity and Elemental Master’s Magic Link). Synthesis Skills are about teamwork and the bonds of friendship, as well as strategies in the Archetypes you use.

◦ Both Hulkenburg and Gallica are devoted in their mission to save the prince, and they are both unwavering in their loyalties to those they devoted their power and trust to. However, the truth behind the prince’s identity and the true culprit behind the curse alludes them. The Prince was Will all along and was cursed by Rella, not Louis. And also, both of them knew Grius/Alces longer than anyone else and are heavily impacted by his death and the fight against his undead self.

◦ Even after learning the truth among other truths, their devotion to the true prince (Will) only became stronger than it ever was before. Hulkenburg is delighted to know that Will was the Prince the whole time and that everything she did wasn’t in vain. And Gallica learns that the memory of her and Will being long time friends was just a fabrication. This doesn’t stop Gallica from being Will’s friend and would continue to devote herself to him of her own volition.

◦ Beyond that, they both have self deprecation issues as far as their roles are concerned. Gallica has been shown very early into the game that she wishes to help Will as much as possible and feels regret when he’s in danger. And Hulkenburg doubts her role as a knight for not being able to save the prince. Will seems to be an emotional button for them as well. Hulkenburg turns into a grieving mess when the original prince is found dead during the events of 9/24. And when Will dies by crushing his vessel to prevent his second Human transformation at Louis’s hand, poor Gallica is left crying over his fresh corpse.

◦ Overall, in their own ways, both Gallica and Hulkenburg have Will as their emotional guide because the two of them are devoted to him in their own ways.

⁃ Heismay, Neuras and Brigitta; the Royal Thief’s walk of atonement:

◦ Heismay, Neuras and Brigitta are interesting combination of characters to talk about considering that all of their Archetypes play wildly different roles. A Thief, a Gunner and a Merchant. How exactly do all of these Archetypes work to fit with the requirements for the Royal Thief archetype?

◦ It’s not necessarily the gameplay that tied them together. It’s their respective roles in who they are as people. What do I mean by this? It’s simple, Heismay, Neuras and Brigitta are all adult followers. And as adults, they have their own personal burdens that ends with them resolving to ensure that the younger generation doesn’t pay the price for the old ones’ mistakes.

◦ Both Heismay and Brigitta are both cynical about the world around them as a result of their backstories: Heismay lost his child to a Paripus riot, while Brigitta was a street urchin who became cynical of the ways of the world. It’s thanks to Will’s actions that both of them begin to find hope and walk out of their respective dark paths.

◦ Heismay and Neuras are both the only known characters in the team that actually drink. Neuras has been drunk a few times, while Heismay is very careful with how much alcohol he consumes. He only became drunk when he ate the Dragon’s Tear (not that he could have known its properties until was too late).

◦ On a more serious note, while both of their sidequests and stories resolve around certain items (Heismay’s son’s remains and the Relics), both of their Bond stories end with a resolution regarding them. Heismay decides to turn his son’s urn into a necklace with Eupha’s help, while Neuras destroys the relics after realizing their world destroying properties. So in a way, both Heismay and Neuras learn from the past so that the future won’t be affected by it later on.

◦ To me, Heismay serves as the adult figure of the group that Grius initially served. Some may say that Grius’s death unintentionally undermines that message of equality between the races as the team loses their only Rhoag representative. While I can understand the sentiment, Grius’s spirit remains with the cast through other characters like Maria. Heismay and Neuras serves as the adult figures for the team twice over, and Brigitta, while not a party member, is a fellow Rhoag that knew Grius.

◦ Heismay finds similar themes with Neuras and Brigitta through the fact that they are the adult figures that fills the void Grius left behind. His spirit is with us through various ways, and it shows here.

⁃ Junah and Alonzo: the Royal Masked Dancer’s hidden depths:

◦ Junah and Alonzo both are of the Nidia tribe, often deem by other tribes as deceiving, lying scum. And it’s not hard to see why they get the reputation. Both Junah and Alonzo both use deception in their own way, but they both do it for greater good.

◦ Junah is acting as an undercover agent on Louis’ side, working to find a way to break the prince’s curse. While Alonzo uses his deception to help Will, acting as the future King’s intelligence advisor. Both also have adoptive family members of different races that ultimately die in their stories (For Junah, Rella who is an Ishika, and Alonzo’s mother who was a Paripus). And Junah and Alonzo’s actions going forward are in their memories.

◦ Their respective Archetypes in Masked Dancer and Faker both have final forms that serve as a reference to the Persona games: Persona Master takes after mainly Persona 3 and 4, while Trickster mainly takes after 5. Persona Master’s main Synthesis Skill is shown to be reference to both 3 and 4 via the Tarot Cards, the Invokers that SEES uses (which are guns) and cut ins. While Trickster is based on what P5’s Joker is often called in the story: “A Trickster.”

◦ Junah and Alonzo both aspire to be beacons of hope to those around them in their own ways and are good people at the end of the day. Junah’s singing is what gives her hope, and she wishes to spread that hope to others. While Alonzo uses his lies to help the people around him, even if they deem him a “parasite.”

⁃ Eupha and Will (son of More): the Royal Summoner’s journey through life:

◦ I have already made a post on how the Seeker linage being the prerequisite to evolve the Summoner Archetype is fitting with Eupha’s growing love for Will throughout their bond: https://www.tumblr.com/jaredxenoengage/765352399442526208/i-love-that-euphas-archetype-summoner-requires but let’s see if there is more to it than that.

◦ The Seeker Archetype, as we know, is the Archetype that is cultivated by More/King Hythlodaeus V, who is Will’s father. Will awakens to the Seeker Archetype linage first, and not the Prince. So while More isn’t a party member, Will is. So technically speaking, out of all of the Royal Archetype requirements, this makes Eupha the only one that needs a linage that was awaken by a fellow Party Member.

◦ Will (knowing that he is the Prince) and Eupha had both lost their parents, obviously. And both of them have ties with the greater lore of the entire game as a whole, which depicts stories of the old world that was once humankind (which is what Eldas are). Eupha has a sworn duty to fight alongside the Dragon God: Eht, Dragons are made of pure Magla. With the revelation that Will is the Archetype of the Prince given a human form, he too is a being a pure Magla. Which is why Eupha was able to speak through his mind during her introduction. Just as Eupha is meant to fight alongside the beloved god, Eupha also finds herself fighting alongside another being made of Magla. This plot point compliments itself further with the Dragon Trial’s (which were made for the protagonist) in mind.

◦ As for More, it’s the same thing as Will, he is the Archetype form of King Hythlodaeus V who was killed by Louis at the start of the story. How do Eupha and More foil each other? The main difference between them is that Hythlodaeus lost hope because of the death of his wife and the lost of his son. He sought his own death and used the Royal Magic in hopes that he could make someone into a better king than he was. While Eupha was convinced her whole life that her life was meant to be sacrificed for the sake of her village. Eupha eventually breaks free from this mindset and awakens to her Archetype. Eupha did what More could not in her lifetime, find hope and a reason to live.

◦ The Elite forms of the Summoner and Seeker Archetypes are both named after the Atlus related games: Devil Summoner and Soul Hacker respectively.

◦ And it’s just Eupha herself says in game, she, like Will has the power to journey into the unknown world. An unknown future. Will had the power to awaken this resolve in her, and with it, blossom potential love between the two.

⁃ Basilio and Catherina; the Paripus’ Royal Berserker soul:

◦ Basilio and Catherina are both Paripus with rough dispositions on the surface, but both prove to be earnest people. They both initially had reasons to oppose the protagonist at first; Basilio was working with Louis, the one who killed the king. While Catherina, who is a fellow candidate. has no hard feelings towards Will, but she wants to become Queen to help the future of the Paripus. Both eventually see the folly of what they were doing and eventually turn coat (Basilio joins the team after his brother’s death, while Catherina drops out of the race because her folks were crossing a line she wouldn’t have).

◦ The Berserker and Brawler Archetypes both revolve around physical strike attacks and dishing out as much damage as possible. Notice how Berserker doesn’t use HP like Brawler does. Basilio may be of the Berserker Archetype, but when he is calm, Basilio is a lot more insight than it would seem. As he is the first person to truly question if what Louis is doing is truly right for him and his brother, and the future of those that can’t fend for themselves. Catherina is much more reckless in comparison. And it takes seeing how her race to become Queen becomes a risk for Paripus to go the extreme to get ahead to see that what she is doing might bring more harm than good.

◦ Even their Follower Stories are mainly different with some similarities being that it’s about Basilio and Catherina stopping their fellow tribesmen from crossing further lines. At least Catherina was able to convince followers to walk down a better path eventually, but Basilio isn’t as fortunate. As he was forced to put Vinca down.

⁃ Will; the prince’s path to be king:

◦ 9/24 reveals that Will is a living breathing Archetype created from the Prince’s wish to travel the world and lead the kingdom to peace. The Seeker Archetype was the first Archetype to awaken in Will. It embodies the very essence of this game’s themes to explore the unknown without fear.

◦ As Will journey continues, and he eventually learns who he really is, the Prince Archetype embodies the Ruler Archetype from Carl Jung’s 12 Archetypes (which is what the aforementioned powers are based on). And based on Carl Jung’s take on the Ruler Archetype, it also falls in line with the themes of what makes a good king.

◦ In contrast to his father; as the previous king, gave up on his hope that he had for the Kingdom. As such, by leaving most of the circumstances in Forden’s hands, Louis lost all faith in him and decides to kill him. Will becomes king and defeats Louis by staying true to his ideals.

◦ Although the Prince Archetype is its own Archetype, it takes after the Seeker Archetype in many ways. It has the same One Handed Sword usage, the same Hero Passive in Cooperative Chase, and has the most Synthesis access in the game. However, Seeker doesn’t have Synthesis Synergy with the Summoner Archetype (ironic given that Will and Eupha are the most romantic coded relationship in the game). Eupha’s Arc contains the most truth about the old world in all of Euchronia. We get the full truth about the old world after Will awakens to his true Archetype, which can perform Synthesis Skills and grant them between all Archetypes. This is when Will and Eupha’s bond is at its strongest.

The fact that so much intention to detail that comes with the Archetypes and the Followers is the type of writing talent that I have come to expect from Atlus.

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