#dating application development company

[ai-solutions-usa]

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[techsolutions-world]

Dating Mobile App Development Company | Protonshub Technologies

Protonshub Technologies offers the best dating app development services, creating customized and rich applications designed to guarantee success and user satisfaction. They offer advanced feature integration, and robust security measures. Contact: digital@protonshub.com to develop your dating application today!!!

[jcmarchi]

3 Questions: Tracking MIT graduates’ career trajectories

New Post has been published on https://thedigitalinsider.com/3-questions-tracking-mit-graduates-career-trajectories/

3 Questions: Tracking MIT graduates’ career trajectories

In a fall letter to MIT alumni, President Sally Kornbluth wrote: “[T]he world has never been more ready to reward our graduates for what they know — and know how to do.” During her tenure leading MIT Career Advising and Professional Development (CAPD), Deborah Liverman has seen firsthand how — and how well — MIT undergraduate and graduate students leverage their education to make an impact around the globe in academia, industry, entrepreneurship, medicine, government and nonprofits, and other professions. Here, Liverman shares her observations about trends in students’ career paths and the complexities of the job market they must navigate along the way.

Q: How do our students fare when they graduate from MIT?

A: We routinely survey our undergraduates and graduate students to track post-graduation outcomes, so fortunately we have a wealth of data. And ultimately, this enables us to stay on top of changes from year to year and to serve our students better.

The short answer is that our students fare exceptionally well when they leave the Institute! In our 2023 Graduating Student Survey, which is an exit survey for bachelor’s degree and master’s degree students, 49 percent of bachelor’s respondents and 79 percent of master’s respondents entered the workforce after graduating, and 43 percent and 14 percent started graduate school programs, respectively. Among those seeking immediate employment, 92 percent of bachelor’s and 87 percent of master’s degree students reported obtaining a job within three months of graduation.

What is notable, and frankly, wonderful, is that these two cohorts really took advantage of the rich ecosystem of experiential learning opportunities we have at MIT. The majority of Class of 2023 seniors participated in some form of experiential learning before graduation: 94 percent of them had a UROP [Undergraduate Research Opportunities Program], 75 percent interned, 66 percent taught or tutored, and 38 percent engaged with or mentored at campus makerspaces. Among master’s degree graduates in 2023, 56 percent interned, 45 percent taught or tutored, and 30 percent took part in entrepreneurial ventures or activities. About 47 percent of bachelor’s graduates said that a previous internship or externship led to the offer that they accepted, and 46 percent of master’s graduates are a founding member of a company.

We conduct a separate survey for doctoral students. I think there’s a common misperception that most of our PhD students go into academia. But a sizable portion choose not to stay in the academy. According to our 2024 Doctoral Exit Survey, 41 percent of graduates planned to go into industry. As of the survey date, of those who were going on to employment, 76 percent had signed a contract or made a definite commitment to a postdoc or other work, and only 9 percent were seeking a position but had no specific prospects.

A cohort of students, as well as some alumni, work with CAPD’s Prehealth Advising staff to apply for medical school. Last year we supported 73 students and alumni consisting of 25 undergrads, eight graduate students, and 40 alumni, with an acceptance rate of 79 percent — well above the national rate of 41 percent.

Q: How does CAPD work with students and postdocs to cultivate their professional development and help them evaluate their career options?

A: As you might expect, the career and graduate school landscape is constantly changing. In turn, CAPD strives to continuously evolve, so that we can best support and prepare our students. It certainly keeps us on our feet!

One of the things we have changed recently is our fundamental approach to working with students. We migrated our advising model from a major-specific focus to instead center on career interest areas. That allows us to prioritize skills and use a cross-disciplinary approach to advising students. So when an advisor sits down (or Zooms) with a student, that one-on-one session creates plenty of space to discuss a student’s individual values, goals, and other career-decision influencing factors.

I would say that another area we have been heavily focused on is providing new ways for students to explore careers. To that end, we developed two roles — an assistant director of career exploration and an assistant director of career prototype — to support new initiatives. And we provide career exploration fellowships and grants for undergraduate and graduate students so that they can explore fields that may be niche to MIT.

Career exploration is really important, but we want to meet students and postdocs where they are. We know they are incredibly busy at MIT, so our goal is to provide a variety of formats to make that possible, from a one-hour workshop or speaker, to a daylong shadowing experience, or a longer-term internship. For example, we partnered with departments to create the Career Exploration Series and the Infinite Careers speaker series, where we show students various avenues to get to a career. We have also created more opportunities to interact with alumni or other employers through one-day shadowing opportunities, micro-internships, internships, and employer coffee chats. The Prehealth Advising program I mentioned before offers many avenues to explore the field of medicine, so students can really make informed decisions about the path they want to pursue.

We are also looking at our existing programming to identify opportunities to build in career exploration, such as the Fall Career Fair. We have been working on identifying employers who are open to having career exploration conversations with — or hiring — first-year undergraduates, with access to these employers 30 minutes before the start of the fair. This year, the fair drew 4,400 candidates (students, postdocs, and alumni) and 180 employers, so it’s a great opportunity to leverage an event we already have in place and make it even more fruitful for both students and employers.

I do want to underscore that career exploration is just as important for graduate students as it is for undergraduates. In the doctoral exit survey I mentioned, 37 percent of 2024 graduates said they had changed their mind about the type of employer for whom they expected to work since entering their graduate program, and 38 percent had changed their mind about the type of position they expected to have. CAPD has developed exploration programming geared specifically for them, such as the CHAOS Process and our Graduate Student Professional Development offerings.

Q: What kinds of trends are you seeing in the current job market? And as students receive job offers, how do they weigh factors like the ethical considerations of working for a certain company or industry, the political landscape in the U.S. and abroad, the climate impact of a certain company or industry, or other issues?

A: Well, one notable trend is just the sheer volume of job applications. With platforms like LinkedIn’s Easy Apply, it’s easier for job seekers to apply to hundreds of jobs at once. Employers and organizations have more candidates, so applicants have to do more to stand out. Companies that, in the past, have had to seek out candidates are now deciding the best use of their recruiting efforts.

I would say the current job market is mixed. MIT students, graduates, and postdocs have experienced delayed job offers and starting dates pushed back in consulting and some tech firms. Companies are being intentional about recruiting and hiring college graduates. So students need to keep an open mind and not have their heart set on a particular employer. And if that employer isn’t hiring, then they may have to optimize their job search and consider other opportunities where they can gain experience.

On a more granular level, we do see trends in certain fields. Biotech has had a tough year, but there’s an uptick in opportunities in government, space, aerospace, and in the climate/sustainability and energy sectors. Companies are increasingly adopting AI in their business practices, so they’re hiring in that area. And financial services is a hot market for MIT candidates with strong technical skills.

As for how a student evaluates a job offer, according to the Graduating Student Survey, students look at many factors, including the job content, fit with the employer’s culture, opportunity for career advancement, and of course salary. However, students are also interested in exploring how an organization fits with their values.

CAPD provides various opportunities and resources to help them zero in on what matters most to them, from on-demand resources to one-on-one sessions with our advisors. As they research potential companies, we encourage them to make the most of career fairs and recruiting events. Throughout the academic year, MIT hosts and collaborates on over a dozen career fairs and large recruiting events. Companies are invited based on MIT candidates’ interests. The variety of opportunities means students can connect with different industries, explore careers, and apply to internships, jobs and research opportunities.

We also recommend that they take full advantage of MIT’s curated instance of Handshake, an online recruiting platform for higher education students and alumni. CAPD has collaborated with offices and groups to create filters and identifiers in Handshake to help candidates decide what is important to them, such as a company’s commitment to inclusive practices or their sustainability initiatives.

As advisors, we encourage each student to think about which factors are important for them when evaluating job offers and determine if an employer aligns with their values and goals. And we encourage and honor each student’s right to include those values and goals in their career decision-making process. Accepting a job is a very personal decision, and we are here to support each student every step of the way.

[ai-development-solutions]

Dating App Development Company India | Protonshub Technologies

Looking for a dating app development company in India? Protonshub can help you to build your dating app that enhances the online dating experience, making it safe, engaging, and efficient. They ensure to follow the entire app development lifecycle, from ideation and design to development, testing, and deployment. Drop digital@protonshub.com an email for details now!

[techerasworld]

Dating App Development | Protonshub Technologies

Get dating app development at Protonshub. From swiping to match and messaging, they have specialized in crafting immersive platforms that bring people together. With the advanced features and creative and appealing design, they are trusted partners in creating unforgettable dating experiences. Contact: digital@protonshub.com.

[divukanwar]

Dating applications are popular at this time everyone needs a perfect partner. In this app, we match users based on their interests, preferences, and lifestyles. Helpfulinsightsolution Provides the best dating apps. Dating Application Development should come with search filters, and push notifications. In this app, we involve in-app messaging, video conferencing, and analytic dashboards. At this time dating applications are fast growing. Dating Applications connect people who are looking for love or other pleasures.

[ars-webtech]

Revolutionizing Romance: Insider Strategies for Crafting Successful Dating Apps with ARS WebTech

In today's digital epoch, the quest for companionship has transcended traditional rendezvous locales such as bistros, parks, and grocery aisles. The contemporary love-seeker often turns to the digital realm, utilizing online matchmaking platforms. The burgeoning demand for such applications has spawned a diverse array of options, catering to varied preferences. Yet, navigating the competitive landscape of dating app creation presents its own set of challenges. Nevertheless, cost-effective solutions for crafting successful mobile love-connecting applications, particularly in the vibrant city of Dubai, do exist. This discourse will unveil key strategies for efficacious dating app development in this bustling metropolis.

1. Key Considerations in the Forge of a Matchmaking Application

Embarking on the venture of developing a digital cupid's bow, pinpointing your intended audience is paramount. This entails discerning the specific demographic for whom your application is crafted. Prioritizing one group does not entail neglecting others; rather, it involves gaining an intimate understanding of your target market to tailor an application that resonates with their needs. This insight becomes a powerful tool in devising effective marketing strategies. In identifying your target users, two pivotal types of data emerge: psychographics, encompassing interests and values, and demographics, which include age, location, and other statistical data. Understanding your audience's demographics provides a foundational understanding of who your potential users are, while psychographics delves into the psychological attributes of your app's prospective users.

2. The Role of a Dating App Development Company in Dubai

In the arena of matchmaking app development, two universal user expectations surface: robust security and veracious user information. Prioritizing user data protection and providing authentic information is crucial. To this end, engaging a reputable Dating App Development Company in Dubai can be a pivotal step in achieving growth and success.

3. Prioritizing Safety in the Digital Dating Domain

For users of dating applications, feeling secure and safeguarded is of utmost importance. This encompasses measures to protect personal data as well as individual safety. For instance, a lesbian-focused app, 'her', utilizes Facebook to conduct security verifications, confirming users are indeed women. This app also aggregates data from other social networks linked to the same email, such as Twitter or LinkedIn. Here are some fundamental safety measures:

4. Verification of Alternate Profiles

Encouraging users to share additional personal information, such as phone numbers or social media accounts, can foster a safer environment by deterring potential threats.

5. Categorizing Notifications

Top app developers in Dubai employ manual or automated mechanisms to prevent intimidation or hate speech, fostering a respectful and safe user experience.

6. Enabling User Reporting

Providing users with the ability to report inappropriate behavior or misconduct is crucial. This empowers users to contribute to the app's communal well-being and safety.

7. Facilitating User Control

Top developers in Dubai enable users to exclude or filter undesirable interactions, granting them greater agency in their app experience.

8. Ensuring Robust Data Security

When collecting additional personal data for security checks, app developers must prioritize user data protection, adhering to industry standards to prevent data misuse or unauthorized access.

9. Crafting an Intuitive User Interface

An intuitive interface allows users to navigate the app effortlessly. Achieving this involves minimizing actions and screens required for tasks, prioritizing user comfort, and maintaining a clear, uncluttered UI.

10. Concluding Remarks

The journey of developing a matchmaking app is neither trivial nor economical. It demands consideration of numerous factors, including audience identification, competitor analysis, algorithm design, security implementation, and chat feature integration. Despite the hefty investment, effective marketing can render the endeavor fruitful, as evidenced by successful applications. For a more streamlined development process, seeking assistance from a specialized company like DXB Apps is advisable.

Revised Concluding remarks: 

The odyssey of creating a digital platform for love connections is a complex and resource-intensive endeavor. It involves an intricate tapestry of elements such as pinpointing the target audience, scrutinizing competitive landscapes, architecting sophisticated algorithms, fortifying security protocols, and embedding interactive chat functionalities. Although the investment required is substantial, the potential returns, amplified by astute marketing and promotional strategies, can be significant, mirroring the triumphs of existing popular applications. For a more streamlined and efficient development process, collaborating with a specialized entity like ARS WebTech is a prudent choice, offering expertise and innovation in the realm of dating app development.

[technovation]

Features Of Dating Apps in 2024 | Protonshub Technologies

Check the latest feature of dating applications and related things. Read full blog to learn about dating applications.

[mobileappdevelopmentsolution]

Localization Challenges: Adapting Dating Apps for Global Markets

Embarking on a journey with an esteemed Dating App development company through the dynamic world of dating app localization can be both exhilarating and daunting. Discover the complexities of localizing these online dating applications for worldwide markets as we list the principal localization challenges.

[consagoustech]

5 Advanced Features To Implement High Security In Dating Apps

Online dating applications have become increasingly popular recently, especially between Genz and millennials. It is because these applications provide thousands of options in one place. Also, these apps offer a convenient way to connect with potential partners. 

However, every rise comes with some concern. And the rise of online dating applications comes with the issue of scams and data breaches. 

But today’s youth is also one step ahead; they are very well aware of the risks associated.

They only use those apps which provide them with better security and privacy options. This has led to a growing demand for dating apps prioritizing user safety and security. If you also want to build a high-security application, this blog is for you. 

In this blog, we will discuss five advanced features that will provide high security in dating apps and make the app more trustworthy for users.

Let's drive in. 

5 Advanced Features To Implement High Security In Dating Apps

Here are the 5 Advanced Features To Implement High Security In Dating Apps: 

End-to-End Encryption

End-to-end encryption is the golden standard for securing the communication channel. With this feature, only the sender and receiver can read the message; even the app maker cannot read your communication. Some popular messaging apps like WhatsApp and Telegram use end-to-end encryption to ensure private communication. If you are considering building Online Dating Applications, integrating end-to-end encryption can be a preferred choice. It prevents hackers from accessing user conversations, and despite being vulnerable to hacking, it would take hundreds or even thousands of years to crack it.  

Facial Recognition

Facial recognition ensures master protection from scammers. One of the biggest issues of dating apps is fake profiles. A Dating App Development Company can integrate facial recognition features to prevent this. Facial recognition ensures master protection from scammers. It is a biometric security feature that identifies users by using facial recognition technology.

With this feature, the dating app will verify the identity of users before they sign-up the account. 

Facial recognition will only allow authorized users to sign-up for accounts that make the app more secure and reliable. 

Geo- Location 

Geo-location is a must-have feature while adding security layers to the app. It helps users know the exact location of the matches, and they can avoid meeting in unfamiliar places. On the other hand, geo-location features also allow users to find nearby matches, making it possible to meet up in real-time.

By implementing this feature, a Dating App Development Company will not only ensure high security but also makes it easier for users to find potential matches and improves the overall user experience.

Artificial Intelligence

Artificial Intelligence is not only required for security purposes but also helps a Dating Apps Development Company develop more efficient, accurate, and personalized dating apps. Users are always concerned about fake profiles while using dating applications. AI will help app makers to detect fake profiles, spam messages, and other suspicious activity, making dating apps more secure for users. 

By integrating AI,  dating app developers can quickly identify dubious profiles and generate a machine warning to users to stay cautious.  Moreover, you can protect app users from cyber threats and prevent hackers from accessing user accounts and stealing personal information.

Two-Factor Authentication

Two-factor authentication is an extra security layer that requires users to provide two steps of identification before accessing their accounts. This feature can be activated by emailing or texting the user's phone number or email address. Nowadays, a typical Dating Apps Development Company is integrating Two-factor authentication to provide top-notch security to its users. This feature ensures that only authorized users can access their accounts and prevent hackers from accessing them even after obtaining the user’s login credentials.

Summing Up

The security and privacy features of dating apps are crucial for user safety. According to a recent survey, 57% of users are concerned about their personal information being exposed while using dating apps and websites. To address this concern, every Dating Apps Development Company must prioritize implementing advanced security features in the dating applications, such as end-to-end encryption, biometric authentication, AI-based fraud detection, etc., to make dating a more secure experience. 

These features will not only enhance the overall user experience but also ensure that users can trust the app with their personal information. 

If you want to build a top-notch security dating app. Look no further than the experts at Consagous. We at Consagous offer customized dating app development services that will appeal to your target demographic. Our team is made up of qualified dating app developers that are ready to implement the newest technology and all required security features. 

Get in touch with us right now to discover the potential of developing technology that connects people and minds. 

[planckstorytime]

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/

[merrybloomwrites]

Spencer - Smosh UTI Live

Summary: When you apply for a cast position at Smosh, you're only goal is to get a job. But that job introduces you to Spencer, the cute editor on staff. You keep your crush a secret for months, but taking part in a livestream where alcohol is a key factor may lead to a turning point in your relationship.

Word Count: 3K

CW: alcohol consumption

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Getting hired to be a cast member on Smosh is a dream come true. 

Literally. 

You’d watched Smosh videos when you were growing up, and loved when it expanded to include new people. From that moment, you had one goal in life, and you did everything you could to achieve it. 

The audition progress was equal parts exciting and terrifying, weeks spent on your application followed by multiple callbacks, each time meeting a new person who you have been a fan of for years. 

Getting the call that you were hired was the best moment of your life. Not only were you excited that you achieved your dream, but now you have proof that your hard work paid off. Plus, the people that you always looked up to had chosen you. They liked your comedy, your personality, and thought you’d fit in with them. 

Your first day is nerve wracking, as first days always are, but everyone is so welcoming that by the time you’re heading home, you feel only excitement about what’s to come. 

Over the first week or so, you manage to meet almost everyone who works for the company. You recognize plenty of them. Of course you know all the cast members, as you’ve been watching videos of them for years. You also recognize some of the crew members who have guest starred in some videos as well.

It isn’t until the start of your third week that you meet Spencer the editor. He looks familiar, you know he’s been on the channel before, but without Kimmy doing an official introduction you wouldn’t have been able to put a name to his face. 

Ever since that first conversation there was something that just drew you to Spencer. Maybe his fluffy hair, maybe his laugh, maybe even his passion for Mountain Dew kickstart. Whatever it was, it was the start of a great friendship. 

It wasn’t long before you and Spencer ended up at the same lunch table every day. It also wasn’t long before your feelings for him switched from platonic, to maybe something a little bit more. 

So yea. You developed a crush. On a coworker. Which is generally a pretty bad idea. There’s always the chance that if you started dating, you could break up and that would cause tension amongst everyone at Smosh. And with Spencer being there years before you, it probably wouldn’t end well for you. Plus, he probably doesn’t even like you back, so if you were to ask him out he’d reject you, and then everyday would be totally awkward.

That’s why you keep your feelings a complete secret. No one knows. You only tell your best friend, Katie, that you like someone at work, but don’t even tell her his name.

Time goes on, you make great friends and fun videos, and life is going well. You and Spencer talk every day, but nothing more ever happens.

Then you get put on a Smosh Pit video. It’s one of your favorite series, “Beopardy”. You adore trivia, having watched Jeopardy with your parents every night after dinner growing up. This is your second time on this series, and you had lost by only a few points the last time. You’re determined to win this episode, but they hadn’t revealed the topic yet, as they didn’t want any of you studying in advance. 

It’s not until you’re on set sitting between Ian, Olivia, and Shayne, that you learn Spencer is the host of the episode which is titled, “Are We Smarter Than Our Editor?” You’re feeling pretty confident in your editing knowledge, having learned a lot from Spencer over the last couple of months. Your only problem is the potential for getting distracted simply watching Spencer be on camera. 

It still is rare that he’s in this position, and from the start his confidence is, unfortunately, very attractive to you. Taking a deep breath, you center yourself to remain professional. 

It’s a fun shoot, one of your favorites so far. You win by 200 points, and celebrate your first victory. When the cameras stop you joke with your video costars for a little bit before getting up to make your way to the lunchroom. 

Before you can leave the studio Spencer comes over and says, “You did a great job today.”

Blushing at his compliment you reply, “Thank you. Guess sitting with you at lunch really paid off.” 

“Wow, I thought my company was the prize there but it looks like you’re using me for my editor knowledge.”

“Oh absolutely. I knew that would come in handy someday,” you say with a laugh. 

“Heading to lunch?” He asks. 

“I am indeed,” you answer. 

The two of you walk over together and grab some food before heading to your normal table. 

“Be right back,” Spencer says after putting down his lunch. A moment later he walks over again, carrying a drink for himself as well as a can of your favorite flavor of La Croix, which he places in front of you. It makes your heart race just a bit faster, seeing that he not only knows which drink you like the best, but made sure to bring you one. Not the whole table, just you.

Things like this have been happening for a few weeks, little interactions and favors that make you wonder if maybe Spencer has feelings for you the same way you do for him. After thanking him for the drink, you sit quietly, lost in your thoughts while conversation flows around you. The table you’re at is full, the rest of your friends discussing a new game they’ve been playing. 

But then you look up and see that Kimmy is being just as quiet as you. She’s looking at you, like she’s trying to solve a puzzle. It isn’t until she looks pointedly at you, then Spencer, that you realize she may have you figured out. 

Turning back to your food you ignore her eyes practically burning a hole in your head. After finishing lunch you head to the bathroom, choosing one that’s hidden in a back hallway. You thought that would mean no one would find you, but Kimmy is waiting for you when you’re done.

“Is something going on between you and Spencer?” she asks with no preamble, a large smile on her face.

“Nothing is happening,” you reply.

“But do you want it to?”

You don’t answer right away, not wanting anyone at work to know the truth. But this is Kimmy. One of your closest friends here. If there’s anyone at Smosh you can confide in, it’s her. 

“I may have the tiniest little crush on him. But that’s all! I’m not planning to act on that or anything. I don’t want it to get awkward at work if anything goes wrong.”

“And why do you think it’d go wrong?”

“Kimmy, I bet he doesn’t even feel the same way, so it’s silly to even worry about it,” you say. 

“Oh, he absolutely feels the same way. Boy has heart eyes every time he looks at you,” Kimmy replies. 

“He does not!”

“Okay, sure. Honestly I thought you were going to confess the two of you are dating in secret, not that you both have silly unrequited crushes on each other. I guess I could be wrong, but I’m certain that boy is head over heels for you.” 

Just as she says this, your phone buzzes with a ln incoming text message. It’s from Spencer and reads, “You disappeared after lunch, you okay?”

You can’t help the smile that forms on your face as you read the message, endeared by him checking up on you. When you glance up, Kimmy is giving you a knowing smirk. You jokingly say, “shut up,” before walking back to the tables. 

Spencer is standing there, looking around worriedly. He catches sight of you and relief spreads across his face. 

When you get close he says, “Everything alright?” His hand rests gently on your elbow, and you feel like your skin is burning from just that small point of contact. 

“Yea, I’m good. Just stopped to talk to Kimmy,” you reply, hoping no one notices your reaction to him touching your arm. Well, no one except Kimmy, who is giving you yet another knowing look from across the room. 

Luckily it’s time to get back to work, and you can focus on something other than your crush.

The next few weeks fly by. You’re all getting ready for the first live show that Smosh will be doing in years. It’s a big undertaking, on top of all the normal videos you need to shoot, and everyone is incredibly busy. 

And yet, you still get to see Spencer every day. At the very least you get lunch together, but he also often happens to be getting coffee in the kitchen at the same time as you, and you see each other during the rehearsals. Your heart skips a beat every time you get him to laugh, and the two of you share more eye contact than is strictly necessary.

All of this has you thinking that maybe Kimmy is right. Maybe Spencer really does like you as well. But still, it’s a tricky situation to date a coworker. And this job, as well as Spencer’s friendship, means too much to you to risk it. So your crush continues to remain a secret.

Finally, it’s time for the live show. Smosh Live: Under the Influence. Oh yea. That’s the other part of the live show. You’ll all be drinking alcohol during it. 

Well, not everyone. A few cast members will be staying sober. One of them being Spencer. And you’re grateful for that. And for the fact that he’s your designated driver for the night.

The live show is an absolute blast. You make sure not to go too crazy with the drinking. Not only are you technically at work, but everything you do is being live streamed to thousands of people. The last thing you want is to make a fool of yourself, so you take it easy with the alcohol.

Or well, you take it easy until the celebratory afterparty. Where you may go a tad overboard. Not too bad, not blacking out or anything, but definitely feeling a bit inebriated. Your inhibitions are definitely lowered. 

Which would be fine. Except Spencer is your ride home. Sober you should have realized this is a recipe for disaster. But now drunk you is in control. Alone. With Spencer. 

It’s after midnight when everyone finally starts to head home.

“You ready?” Spencer asks, handing you a glass of water which you happily take sips from. 

“Ready,” you reply once you’ve finished the glass. He takes it from you and places it on a nearby table before leading you out to the car, his arm wrapped around you protectively to keep you upright as you stumble slightly. You giggle as his hand wraps more firmly around your waist and you lean into him. 

He opens the passenger door for you, and you pout as you’re forced to separate from him. When he gets in the driver's seat and looks over he sees the big doe eyes you’re giving him. 

“What is it?” He asks. 

“Nothing,” you quickly answer, making no move to look away. Spencer knows something is going through your mind but decides not to push. He begins to drive, hand resting on the center console, and in your inebriated state that seems like a perfect invitation for you to slide your hand into his. You’re so focused on watching his fingers intertwine with yours that you miss the pleased smile on Spencer’s face. 

“Thank you,” you suddenly say. 

“What for?” Spencer asks. 

“For making sure I get home safe,” you reply. 

“I’ll always make sure you’re safe,” he answers. 

“You’re a really good person. I’m so happy we met. I’d be really sad if you weren’t my friend. Which is why I don’t want to mess it up.”

“What do you mean?” He asks. 

“You know, wanting too much and ruining what we have. I mean, I like you but it’s complicated.” You don’t even realize you’ve just confessed your feelings to Spencer, but he immediately notices, and begins to feel hopeful. He hopes that this isn’t just drunk ramblings, that you actually mean what you’re saying. 

“It doesn’t have to be complicated,” he says. 

“But it is! What if you don’t like me back?”

Spencer can’t help but laugh at how honest you’re being, like you don’t even realize you’re admitting this all to him. 

“Okay well first of all, don’t worry about that. Because I do like you back,” Spencer admits just as he parks the car in front of your building. 

“You do?” You ask, eyes finally meeting his. 

“I do. I have for a while now.” Spencer’s watches as your entire face lights up, eyes sparkling as you  smile the brightest smile he’s ever seen. 

“C’mon,” he continues. “Let’s get you inside.” 

You’ve barely opened your car door before Spencer is there, once again wrapping an arm around your waist. You’ve sobered up a bit, no longer stumbling at all, but you’d never deny yourself a chance to be close to him. He keeps his hand lightly on the small of your back while you fumble with your keys. 

He comes inside, needing to make sure you’re settled for the night. He’s been to your place a couple times before during group hang outs so he knows where to find what he needs. While you duck into your bathroom to change into pajamas and get ready for bed he fills a glass with water, placing that, a granola bar, and some pain relievers on your bedside table. He figures you’ll need all of that at some point between now and tomorrow morning. 

You're about to walk into your room, suddenly feeling exhausted and just wanting to climb into bed. But you nearly bump into Spencer as he walks out of the bedroom. 

“I left some things on your table,” he explains. 

“Thank you,” you shyly reply. 

“I should get going,” he says, but you don’t move to let him pass. Instead you ask, “Can you stay? Just a couple minutes until I fall asleep?” It’s bold of you to ask, but you always feel extra lonely after drinking, and you’d already been pretty bold in the car so you figure it couldn’t hurt. 

“Of course,” he replies and steps to the side so you can enter the bedroom. You get under the covers, laying on your side, and look at Spencer with expectant eyes. Understanding your wordless request, he sits on the edge of the bed. His hand rests on your hip before he starts to gently rub your back. 

You’re asleep in no time, comforted by Spencer’s presence. 

When you wake up the next morning you’re feeling better than you have any right to after a night of drinking. You eat the granola bar and take the pain medicine in order to relieve the mild headache before it can get any worse. As you finish the glass of water you reflect on the night before. 

Your eyes go wide as you realize what happened at the end of the night. You’d drunkenly confessed your feelings to Spencer. You’d asked him to stay with you until you fell asleep. You’re mortified! You actually told him you liked him. Were you insane?

But before you spiral too much, you remember his response to everything. How he admitted his feelings as well. How he stayed with you, gently lulling you to sleep. 

Could this be the answer to months of pining? A drunken confession?

You pull yourself out of bed and decide a shower is definitely needed. When you get out you see a few texts in a Smosh group chat, you’re friends planning to meet up at a diner. You text that you’re in, and a moment later your phone dings again, this time Spencer asking if you want a ride. You accept his offer, hoping the ride won’t be too awkward after everything that happened. 

You get ready and Spencer pulls up a little while later. 

“She lives!” Spencer shouts as you climb in the passenger seat. 

“Ha ha,” you answer dryly. “I’ll have you know I felt perfectly fine this morning.”

“Well then I am impressed,” he replies and you both laugh. 

Throughout the drive there, during the meal, and even the drive back home, neither you nor Spencer acknowledges the elephant in the room. But the suspense is killing you, so you once again invite Spencer inside when you get home. 

“I wanted to talk about what happened last night,” you say once you’re both seated at your kitchen table. “I didn’t mean to blurt everything out, but I guess I’m happy you know the truth.”

“So you meant it? You weren’t just saying that because you were drunk?” Spencer confirms. 

“I mean, I probably wouldn’t have said it without some liquid courage, but I did mean it. I’ve liked you since I met you. But I never thought you’d like me back,” you explain. 

“Of course I like you! How could I not? God, you’re so pretty, and funny, and kind. You’re like, the coolest person. So yea, I’ve liked you the whole time too.”

You both sit quietly for a minute, absorbing this information. 

“What happens now?” You finally ask. 

“Well now I can ask you on a date without worrying about you rejecting me,” he answers. 

You blush and duck your head, bashful at this statement. But before you can hide too long, he gently lifts your chin so you’re looking at him again.

“Y/N, will you go out to dinner with me?” he asks.

“Spencer, I would love to,” you reply. 

The two of you can’t help but start giggling like two high schoolers that just decided to go to homecoming together. You realize that this could be your future. Lots of smiles, and laughs, and time spent enjoying one another’s company. 

You know it’s too soon to think about forever, but when Spencer suggests a round of Mario Kart to ease the tension, it’s clear that there’s something good between the two of you. And you can’t wait to see how it all unfolds.

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AN: Thanks for reading! Hope you enjoyed it! I have 5 more Spencer fics planned at the moment, but feel free to send in requests!

[jcmarchi]

Unlocking the quantum future

New Post has been published on https://thedigitalinsider.com/unlocking-the-quantum-future/

Unlocking the quantum future

Quantum computing is the next frontier for faster and more powerful computing technologies. It has the potential to better optimize routes for shipping and delivery, speed up battery development for electric vehicles, and more accurately predict trends in financial markets. But to unlock the quantum future, scientists and engineers need to solve outstanding technical challenges while continuing to explore new applications.

One place where they’re working towards this future is the MIT Interdisciplinary Quantum Hackathon, or iQuHACK for short (pronounced “i-quack,” like a duck). Each year, a community of quhackers (quantum hackers) gathers at iQuHACK to work on quantum computing projects using real quantum computers and simulators. This year, the hackathon was held both in-person at MIT and online over three days in February.

Quhackers worked in teams to advance the capability of quantum computers and to investigate promising applications. Collectively, they tackled a wide range of projects, such as running a quantum-powered dating service, building an organ donor matching app, and breaking into quantum vaults. While working, quhackers could consult with scientists and engineers in attendance from sponsoring companies. Many sponsors also received feedback and ideas from quhackers to help improve their quantum platforms.

But organizing iQuHACK 2024 was no easy feat. Co-chairs Alessandro Buzzi and Daniela Zaidenberg led a committee of nine members to hold the largest iQuHACK yet. “It wouldn’t have been possible without them,” Buzzi said. The hackathon hosted 260 in-person quhackers and 1,000 remote quhackers, representing 77 countries in total. More than 20 scientists and engineers from sponsoring companies also attended in person as mentors for quhackers.

Each team of quhackers tackled one of 10 challenges posed by the hackathon’s eight major sponsoring companies. Some challenges asked quhackers to improve computing performance, such as by making quantum algorithms faster and more accurate. Other challenges asked quhackers to explore applying quantum computing to other fields, such as finance and machine learning. The sponsors worked with the iQuHACK committee to craft creative challenges with industry relevance and societal impact. “We wanted people to be able to address an interesting challenge [that has] applications in the real world,” says Zaidenberg.

One team of quhackers looked for potential quantum applications and found one close to home: dating. A team member, Liam Kronman, had previously built dating apps but disliked that matching algorithms for normal classical computers “require [an overly] strict setup.” With these classical algorithms, people must be split into two groups — for example, men and women — and matches can only be made between these groups. But with quantum computers, matching algorithms are more flexible and can consider all possible combinations, enabling the inclusion of multiple genders and gender preferences. 

Kronman and his team members leveraged these quantum algorithms to build a quantum-powered dating platform called MITqute (pronounced “meet cute”). To date, the platform has matched at least 240 people from the iQuHACK and MIT undergrad communities. In a follow-up survey, 13 out of 41 respondents reported having talked with their match, with at least two pairs setting up dates. “I really lucked out with this one,” one respondent wrote. 

Another team of quhackers also based their project on quantum matching algorithms but instead leveraged the algorithms’ power for medical care. The team built a mobile app that matches organ donors to patients, earning them the hackathon’s top social impact award. 

But they almost didn’t go through with their project. “At one point, we were considering scrapping the whole thing because we thought we couldn’t implement the algorithm,” says Alma Alex, one of the developers. After talking with their hackathon mentor for advice, though, the team learned that another group was working on a similar type of project — incidentally, the MITqute team. Knowing that others were tackling the same problem inspired them to persevere.

A sense of community also helped to motivate other quhackers. For one of the challenges, quhackers were tasked with hacking into 13 virtual quantum vaults. Teams could see each other’s progress on each vault in real time on a leaderboard, and this knowledge informed their strategies. When the first vault was successfully hacked by a team, progress from many other teams spiked on that vault and slowed down on others, says Daiwei Zhu, a quantum applications scientist at IonQ and one of the challenge’s two architects.

The vault challenge may appear to be just a fun series of puzzles, but the solutions can be used in quantum computers to improve their efficiency and accuracy. To hack into a vault, quhackers had to first figure out its secret key — an unknown quantum state — using a maximum of 20 probing tests. Then, they had to change the key’s state to a target state. These types of characterizations and modifications of quantum states are “fundamental” for quantum computers to work, says Jason Iaconis, a quantum applications engineer at IonQ and the challenge’s other architect. 

But the best way to characterize and modify states is not yet clear. “Some of the [vaults] we [didn’t] even know how to solve ourselves,” Zhu says. At the end of the hackathon, six vaults had at least one team mostly hack into them. (In the quantum world where gray areas exist, it’s possible to partly hack into a vault.)

The community of scientists and engineers formed at iQuHACK persists beyond the weekend, and many members continue to grow the community outside the hackathon. Inspired quhackers have gone on to start their own quantum computing clubs at their universities. A few years ago, a group of undergraduate quhackers from different universities formed a Quantum Coalition that now hosts their own quantum hackathons. “It’s crazy to see how the hackathon itself spreads and how many people start their own initiatives,” co-chair Zaidenberg says. 

The three-day hackathon opened with a keynote from MIT Professor Will Oliver, which included an overview of basic quantum computing concepts, current challenges, and computing technologies. Following that were industry talks and a panel of six industry and academic quantum experts, including MIT Professor Peter Shor, who is known for developing one of the most famous quantum algorithms. The panelists discussed current challenges, future applications, the importance of collaboration, and the need for ample testing.

Later, sponsors held technical workshops where quhackers could learn the nitty-gritty details of programming on specific quantum platforms. Day one closed out with a talk by research scientist Xinghui Yin on the role of quantum technology at LIGO, the Laser Interferometer Gravitational-Wave Observatory that first detected gravitational waves. The next day, the hackathon’s challenges were announced at 10 a.m., and hacking kicked off at the MIT InnovationHQ. In the afternoon, attendees could also tour MIT quantum computing labs.

Hacking continued overnight at the MIT Museum and ended back at MIT iHQ at 10 a.m. on the final day. Quhackers then presented their projects to panels of judges. Afterward, industry speakers gave lightning talks about each of their company’s latest quantum technologies and future directions. The hackathon ended with a closing ceremony, where sponsors announced the awards for each of the 10 challenges. 

The hackathon was captured in a three-part video by Albert Figurt, a resident artist at MIT. Figurt shot and edited the footage in parallel with the hackathon. Each part represented one day of the hackathon and was released on the subsequent day.

Throughout the weekend, quhackers and sponsors consistently praised the hackathon’s execution and atmosphere. “That was amazing … never felt so much better, one of the best hackathons I did from over 30 hackathons I attended,” Abdullah Kazi, a quhacker, wrote on the iQuHACK Slack.

Ultimately, “[we wanted to] help people to meet each other,” co-chair Buzzi says. “The impact [of iQuHACK] is scientific in some way, but it’s very human at the most important level.”

[estherax]

Disco Elysium creative team VS Studio ZA/UM: the complete(?) timeline (updated on March 24th)

Recent news confused a lot of people, including me, so I made a timeline of events to understand the situation better! If you have any corrections, more info and sources feel free to reach out to me or add to this post!

Important parts are highlighted in orange, names and organizations to keep in mind are in italics, the newest corrections and updates are highlighted in green, other information elaborating on the situation is in (brackets).

October 1st, 2022. Martin Luiga puts out a Medium post announcing the dissolution of ZA/UM cultural association and confirming that Kurvitz, Hindpere, Rostov no longer work at ZA/UM studio "since the end of last year and their leaving the company was involuntary."

October 3rd 2022. Kotaku published an article, claiming "the studio hasn’t been transparent about what exactly happened with staff either." According to "two sources familiar with the situation, the studio’s internal announcement of Kurvitz’s departure late last year [2021] also contained a threat of possible legal action against him. Any split would have been made messier by Kurvitz and Rostov being shareholders in the studio, the sources said. It’s also clear ZA/UM has gone out of its way to try and keep the situation quiet. Kotaku reached out for an interview with Kurvitz in February [2022]. The studio declined on his behalf, but provided no indication the developer had already left the company." Kotaku also mentions a tweet from Martin Luiga announcing the dissolution of ZA/UM cultural association. One of Martin's tweets (further elaborating on the dissolution) was quote tweeted by user nob69691 with caption "the suits have killed disco", to which he responded with pictures of the game’s executive producers, Tõnis Haavel and Kaur Kender.

October 25th, 2022. Kotaku Australia reports Kurvitz’s company, Telomer, has filed an application against Studio ZA/UM to "obtain information and review documents." Court date is listed as November 28th, 2022.

Kotaku also reached out to Martin Luiga for a comment; when asked if the case’s purpose was to regain control of the Elysium IP, he responded, “What else could it possibly be?”

November 9th, 2022. Studio ZA/UM puts out a statement detailing the dismissed employees (unnamed) "had limited to no engagement in their responsibilities and work, created a toxic work environment, demonstrated misconduct towards other employees including verbal abuse and gender discrimination, and attempted to illegally sell ZA/UM's intellectual property".

In an Estonian newspaper, Estonian Ekspress, ZA/UM CEO Ilmar Kompus has further accused Kurvitz and shareholder Saandar Taal (Rostov's alias) of "humiliating colleagues and intending to steal IP" as well as "belittling women and co-workers."

Kompus added that their dismissal was demanded and carried out by Kaur Kender, executive producer on Disco Elysium and their direct manager at the time. Kender was placed on a leave of absence on medical grounds in late August according to Kompus.

Speaking to the Estonian Ekspress, Martin Luiga said he was "driven to drink by the unnatural work arrangement" at the studio. "The work was organised in such a way that the goal did not seem to be to make games, but rather to make people quarrel with each other."

(I am also adding anonymous claims, take them with a grain of salt)

One source that spoke to GamesIndustry.biz, who asked to remain anonymous, described the situation as "not black and white," and said that long-term staff were reluctant to speak out about Kurvitz’ behaviour because they respected him, and felt like they owed him for their positions. Sources that spoke to the Estonian Ekspress described a clash of two visions between the business team of ZA/UM led by Kompus, and the creative team formerly headed by Robert Kurvitz, which considered profit "secondary." This was corroborated by our sources, one of which described the situation as "CEO corporate scheming on one side, a toxic auteur on the other."

On the same day, Kurvitz and Rostov shared a Medium post explaining their side. Kurvitz and Rostov are minority shareholders in Studio ZA/UM, while "the majority of this company’s shares were initially held by Margus Linnamäe, who provided the initial capital. In 2021, Linnamäe was bought out by another minority shareholder," a company called Tütreke. They say this company "is a vehicle for two Estonian businessmen — Ilmar Kompus and Tõnis Haavel." Kurvitz and Rostov described Linnamäe as a trusted majority shareholder, but didn't share the same sentiment regarding Kompus and Haavel. "As soon as they became majority shareholders, we were quickly excluded from daily operations, our employment was terminated and our access to the company’s information was shut off. Our firing came weeks after we started asking for documents and financial data, which is still being kept from us. We have now learned that Tütreke OÜ must have obtained control over Zaum Studio OÜ by fraud. We believe the money used by Tütreke OÜ to buy the majority stake was taken illegally from Zaum Studio OÜ itself".

Studio ZA/UM denied any claims of fraud and insisted that dismissal of wokers "was a decision that had to be taken for the wellbeing of the collective."

Correction: Ilmar Kompus's statement came out first on Estonian Ekspress on November 8th 2022 21:06. His statement and Studio ZA/UM's statement given to GameIndustry.biz were reproduced and published in a GameIndustry.biz report on November 9th. Rostov and Kurvitz's Medium statement came out later on November 9th. GameIndustry.biz report added an excerpt from Medium on November 10th. (i used Wayback Machine to check this, the report was updated between 11:08 and 11:53)

November 9th 2022. Kotaku puts out an article, summarizing the above statments from Studio ZA/UM, Kompus, Kurvitz and Rostov. "When asked by Kotaku, a spokesperson for ZA/UM declined to elaborate beyond its original statement [about dismissal of employees over misconduct], including whether the allegations also applied to Rostov as well as Helen Hindpere."

23rd of November, 2022. PC Gamer reports a hearing was held in Harju County Court in October, where Kurvitz and Rostov argued that Kompus had allegedly sold four concept sketches (for Disco Elysium sequel), to Tütreke for just over €1 and then immediately bought them back for €4.8 million using Studio ZA/UM's money. This amount is what was apparently used to buy Linnamäe's large stake, and put it in the hands of Kompus. "Kompus allegedly hoped that ZA/UM and Disco Elysium could be resold quickly. [...] But there remained a problem: Robert Kurvitz is the creator of Disco Elysium, still owns a piece of it, and has the right to block any acquisition."

The latest legal battle was lodged by Kaur Kender, executive producer and marketing manager of the game, "who claimed in court that Kompus cheated him out of just under €1,000,000." At Kender's request, the court seized Kompus' stake in Studio ZA/UM to prevent a sale or transfer of holdings during the proceedings.

Haavel is also accused in the lawsuit of following Kompus' actions. The filing pointed out that the holder of the IP rights to Disco Elysium is a subsidiary called YESSIRNOSIR LTD, which is owned by ZA/UM UK. The director of ZA/UM UK is Anu Reiman, who is also reportedly a partner of Haavel's. Kender claims that Haavel's involvement is being "kept secret" because he's €11.2 million in debt as a result of his 2015 conviction.

Speaking to the Estonian Ekspress, Kompus denied the existence of a lawsuit against him, and Haavel called the allegations "completely absurd." Both were shown legal documents by the outlet and did not respond.

December 8th, 2022. According to GamesIndustry.biz article, Kaur Kender has withdrawn a lawsuit against Tütreke.

Studio ZA/UM provided a statement from Kompus, but could not provide a reason for Kender's withdrawal. Kompus says: "We are pleased that Kender and his attorneys have chosen to withdraw their lawsuit – one that should never have been filed in the first place. Their decision affirms there was no basis for their accusations and that I have acted appropriately and responsibly, as underscored by the corporate records I provided."

The article also mentions Studio ZA/UM was unable to provide an update on the suit's progression against Kurvitz's company, Telomer.

PC Gamer reached for comment, Kender stated that his lawsuit against the owner of Studio ZA/UM proved to be successful and provided a timeline of the lawsuit:

Kaur Kender's lawsuit against the owner of ZA/UM was successful.

Kaur Kender's (his company, Chromed Investing OÜ) lawsuit against the owner of Zaum Studio OÜ proved to be successful.

On October 25, 2022, Kaur Kender's company filed a lawsuit against OÜ Tütreke (Ilmar Kompus company), in which was demanded the seizure of Zaum Studio OÜ's share belonging to OÜ Tütreke.

On October 29, 2022, the Estonian court secured the action and shares belonging to OÜ Tütreke were seized.

On October 31, 2022, the order securing the action was forwarded to Nasdaq and the Estonian Business Register.

On November 1, 2022, Kaur Kender sent a letter in English to contacts, including Ilmar Kompus and Tõnis Haavel, stating that the minority shareholders demand the convening of a general meeting.

On November 4, 2022, Ilmar Kompus' company OÜ Tütreke paid a total of 4 million euros to Zaum Studios OÜ in two payments.

On November 11, 2022, Ilmar Kompus' company OÜ Tütreke paid 800,000 euros to ZA/UM Studios OÜ.

Ilmar Kompus referred in the corresponding payment orders: "Return of the amounts received on the basis of the contract on 12.2021-01.2022 due to the nullity of the contract".

To the extent that Ilmar Kompus returned the illegally taken 4,800,000 euros, Kaur Kender achieved the goal of the lawsuit filed, and the court proceedings in this case will be terminated.

PC Gamer also provided commentary and an excerpt from Estonian Ekspress: "Eesti Ekspress reports that Kompus "paid back" €4.8 million to Studio ZA/UM in November. The outlet says that the reason provided for the transaction was that the €4.8 million "was received on the basis of a void transaction." Eesti Ekspress points out that Kompus "controls both sides" of that void transaction. [...] By now transferring €4.8 million to the company to repay it for a "void transaction," the intended message seems to be that he didn't use company money to buy his shares. But why did he have the €4.8 million in the first place?"

Robert Kurvitz told PC Gamer that his party is aware of "Kompus’s view that the money taken from ZA/UM Studio was 'repaid'." Kurvitz says he's seen a "partial bank statement allegedly confirming such repayment," but remains unclear on the "source and legal nature of this repayment, and the further use of the allegedly repaid funds."

"Further, any 'repayment' of the company’s money which was used to illegally acquire a majority stake does not erase the main consequence of the initial injustice⁠—which is that Kompus remains the majority owner, a position that he was only able to attain by using the company’s money as his own," said Kurvitz. "In light of this, there has been no material change in our situation, and we continue to consider our legal options. We cannot comment on the decisions taken by Kaur Kender with regard to his claim, to which we were never a party."

March 14, 2023. GamesIndustry.biz reports legal dispute between Studio ZA/UM and the game's producer Kaur Kender has been resolved.

"ZA/UM has announced that ex-staffer Kender has repaid all debts owed to it. Also, per a court order, Kender has repaid CEO Ilmar Kompus for legal fees from a lawsuit that was eventually withdrawn back in December. Additionally, he's divested all his shares in the games company.

Studio ZA/UM says both Kurvitz and Rostov have dropped their "unfair dismissal" claims due to lack of evidence. However, the company says it continues to face a "series of baseless allegations from former employees" and expects more claims to "fall apart under legal and factual scrutiny."

March 16, 2023. In a statement sent to GamesIndustry.biz, Kurvitz and Taal (alias for Aleksander Rostov) said the press release is false in multiple areas. The pair maintain they are the remaining minority shareholders of the studio. The developers explained, "The press release implies that our employment claims against the studio were withdrawn for lack of evidence. They were not. We see our dismissal as part of a larger campaign against us and will pursue legal options accordingly." The statement adds that they disagreed with Kender admitting the lawsuit he withdrew in December 2022 was misguided.

"Kender's lawsuit was based on the misuse of ZA/UM's funds (€4.8 million) by the majority shareholders [Ilmar Kompus and Tõnis Haavel] to increase their own stake in the company. In the press release, Kompus and Haavel admit to this misuse, arguing only that the money has been 'paid back to ZA/UM,' " the duo explained.

"Paying back stolen money, however, does not undo the crime; here, it does not undo the majority that Kompus and Haavel have illegally gained in ZA/UM."

Additionally, they described that, unlike Kender, they will not be silenced in this ongoing legal dispute. "Unlike Kender, we have not participated in the looting of ZA/UM, and Kompus and Haavel have no power over us."

March 23rd 2023. GamesIndustry.biz updates initial post with a reply statment from ZA/UM. The studio reiterated that Kender admitted that the lawsuit was misguided on his part. It said, "In addition, as part of a court order, he also paid the legal fees for CEO Ilmar Kompus, who had to respond to that now-withdrawn claim." ZA/UM adds, "Using details like 'looting,' 'stolen money,' and 'crime' make for riveting reading but are far from reality. The actual harm to the studio is not from some fictional 'looting,' but rather from Mr. Kurvitz and Mr. Taal, while employed by the studio, refusing to do their jobs, creating a toxic workplace, demeaning colleagues, and attempting to misappropriate Studio IP."

Additionally, the studio explained that Kurvitz and Taal are welcome to challenge these facts in court.

(The next court hearing is scheduled for September 11th.)

[mostly-marvel-musings]

Minor Inconvenience

A/N: Hello Stark Squad! Trying something new here, an actor AU with our beloved Mr. Stark. Because I had a request for ‘sharing a bed’ prompt in my ask box a million years ago, here it is! Hope you enjoy it :)

Pairing: Actor! Tony Stark x Actor! Reader

Warnings: Almost smut, fluff.

Word count: 2.2k

My Masterlist

.

“And cut!” the director yelled, letting out a sigh of relief and thanking the crew before turning to his lead actors.

“That was amazing, Y/N and Tony. Rest up. We’ve got a big day tomorrow.” he gave you two a thumbs up, and a green signal to break out of character for the day.

You didn’t realize you were holding in a breath until you let it out, all thanks to your co-star Anthony Edward Stark. The feelings you had developed for the man during the schedule of your film weren’t going anywhere, and there was nothing you could do about it.

It is just a crush! It’ll pass. That’s what you kept repeating in your mind on loop. Justifying it by blaming the story you two were a part of.

The film was about your characters falling in love in times of uncertainty and your love being tried and tested over the course of the journey. It was so beautifully written, the writer being one of your closest friends, and the director being a legend in this genre, you were beyond ecstatic to be a part of the project.

And then there was Tony.

The actor loved by millions, the superstar who had the world at his feet. Being in his presence felt like being swept up in a storm, there was flurry all around, but the eye of the storm was him. And you could say you were officially in the whirlwind.

Tony had an aura about him, he definitely was every bit the superstar they made him out to be. His presence was commanding, magnetic and nobody could look away. And he romanced the camera like nobody’s business. You were definitely a fan and every interaction with him had you turn into a giggling schoolgirl.

Over the span of your shoot, you got to know the man a little better, he had been courteous, warm and inviting. And now you knew him well enough to be invited to the legendary lunches that he hosted with great music, good food and amazing company. The man knew how to show people a good time.

You often wondered if that ‘good time’ was applicable in other areas as well…

Those were just some of the thoughts you had to mentally shake yourself out of.

“It was a good day, wouldn’t you agree Y/N?” Tony offered you a kind smile, frowning watching you a little dazed.

“Huh? I’m sorry I-I wasn’t..” you stared at your fingers, mentally cursing yourself for zoning out again. This happened enough times for it to be embarrassing now.

“Paying attention, yeah I got that. You okay?” he seemed genuinely concerned, giving your shoulder a gentle squeeze, not helping your situation as you felt a thrill rush through your body.

For fuck’s sake, Y/N! He has touched you before, hell, you had hugged the man several times. And now there was a major scene you had to perform tomorrow. One where you kiss Tony, well, your character kisses his character.

“Mmmhmm super! I uh, I guess I’m just tired. Today was brilliant, you were brilliant, as always! I mean you are brilliant!” you chuckled, hoping your nervousness wouldn’t show. The smirk he hid behind his handsome features said otherwise though.

“You sure you didn’t sneak in a weed gummy earlier or something?” Tony said in jest, your eyes going wide in reaction simply amused him.

He secretly enjoyed watching you all flustered. It was endearing.

“Did they fix the plumbing in your room?”

“Oh no, they haven’t. And I can’t stay at my friends’ room tonight, she’s got a hot date that she is confident she’d fuc–um, sleep with tonight.” you managed to correct yourself terribly, placing a stray lock behind your ear as you two walked towards your cars.

That was the thing. The hotel you were staying at had been modest given the remote location, it wasn’t a big production and you were quite comfortable with it. Two days ago, you had woken up to a pipe bursting in your bathroom and your room flooding in a matter of minutes. You had to bunk up with the one person who didn’t mind sharing given that the hotel had been fully booked.

Tonight you were out of options, there was no hotel in sight for miles and no empty rooms were available.

“What are you gonna do?” he asked, opening the card door for you, making you realize you had to think of your options pronto.

“I guess I could look for another hotel but there isn’t one that’s so close to set. I am screwed.” you sighed, closing your eyes as the back of your head hit the backrest of your car.

Tony motioned you to roll down the window as he shut the door for you, leaning against it casually as he spoke, adding much to the fluttering of your heart.

“You could stay with me.”

“What?”

“For tonight. We can share the room, if you’d like.” he offered, his big brown eyes looking at you full of hope.

“I wouldn’t want to intrude, Tony. I’m sure you’ve got plans.” you didn’t want to be a bother, especially not with your situation. No matter how many excitable flips your insides did, you had to be a professional.

“I sure have plans. I plan on spending this lovely evening cracking open a bottle of whiskey that is said to taste better with some company. What do you say, Y/N?”

He made you laugh, hell, he made you feel like a teenager with raging hormones. You would hate to make those pretty brown orbs sad, so you agreed.

“Okay. Thank you, Tony. Really.”

He merely brushed it off, tapping the car twice before heading to his.

“And no you’re not sleeping on the couch!” he called out, almost sensing your thoughts, making you giggle yet again.

…

The keycard bleeped before Tony held the door open for you, watching you intently as you dragged your suitcase inside.

His room was definitely the best one you’d seen amongst all. Of course, it was him. He would be given the best suite the hotel had to offer.

It offered through their floor to ceiling windows the most amazing views of the meadows that surrounded, the pine trees lining the beautiful landscape topped off with the most stunning sunset.

“It is quite something, isn’t it?” Tony murmured, smiling at the way your body had naturally dragged you towards the windows.

“Stunning. I love outdoor shoots for this very reason. It’s sunsets, nature and all the things you wouldn’t normally experience back home.” You let out a soft sigh, placing a hand against the glass as the skies dramatically changed colors.

It took everything in Tony’s might to not walk up to you that very moment, push your hair aside and kiss your neck. And it would be a lie to say that he hadn’t thought about doing it before.

“I’m gonna take a shower, if you don’t mind?” You asked timidly, making Tony realize you were now facing him.

“Sure. I’ll join you.” He blurted out without thinking, shaking his head and scratching the back of his head nervously.

“I mean, please go ahead. I will take one when you’re done.” He muttered, missing the blush that had crept up on your cheeks at his earlier statement.

…

The shower was relaxing, hot water cascading down your back worked out all the knots and kinks while your mind was preoccupied with what Tony had said earlier.

I’ll join you.

Was there a tiniest chance he felt the same way about you? The Tony Stark crushing on his co-star who also happened to crush hard on him? It was ridiculous to even think about but the part of you that often had you day-dreaming about him encouraged you to believe in the possibility.

Tony jumped up from his seat as he heard the door unlock, gulping as you walked out in a fluffy robe, drying your hair, smelling heavenly. Clearing his throat awkwardly, he brushed past you to head to the bathroom, inhaling your scent inevitably. It made his cock stir as you passed him, giving him a shy smile.

“Feel free to open the bottle of whiskey, it’s right there. I won’t be too long.” he nodded at the expensive looking bottle on the small table they had in his room. It looked like it was sent from a fan, a female one that was too complete with a handwritten note and a not-so-subtle imprint of red lips.

“Oh and I ordered some fries. I remember you saying you loved them.”

Could this man be more perfect?

You did mention your undying love for fries at one of his parties but you never thought he’d remember.

“Thank you, Tony. You’re really going out of your way to impress me.” you blurted out, biting your bottom lip to stop the grin that formed.

“Hey as long as it’s working!” he chuckled, sending you a wink before disappearing in the bathroom. You were screaming internally at this point.

The evening was definitely going to be interesting.

…

You spent some time checking your phone before hearing the water turn off, your heart doing a little flip as Tony’s head peeped out from the door, calling your name.

“Could you be a dear and pass me a towel?”

Handing him a towel, you couldn’t help but let your eyes feast on his physique that was now glistening and was tantalizingly on display, making you wish he’d push the door just a little further. He had arms to die for and a toned chest that made you weak in the knees, his happy trail inviting you to explore a little lower, until Tony cleared his throat.

“I mean I could’ve walked out naked if I knew you’d enjoy the show.” he smirked, giving the towel you held in your hands a firm tug, pulling you forward. Your cheeks felt hot as you let out a nervous laugh, shaking your head.

“Maybe I needed to join you.” you felt bolder now, letting go of the towel and mirroring his smirk.

You figured it was now or never.

Pouring both your drinks, you waited for the man to join you, doing your best to get your erratic heartbeat to calm down.

Conversation flowed easily between the two of you as it always did, reminiscing about the first time you met, how you got into acting and landing this role. You even admitted to breaking into an embarrassing dance with your team the moment they confirmed you had been signed on for this film.

It was way past midnight by the time either of you bothered to glance at a clock.

“Jeez! Is that the time? I’m afraid we must get our beauty sleep as much as we can, big day tomorrow.” he placed both your glasses on the nightstand, chuckling as you both let out a sigh in tandem.

You’d changed into your sleep shorts and a large t-shirt that you had hoped nobody saw you in, thanks to the unforeseen situation, Tony now knew you slept in t-shirts with cheesy quotes on them.

“Tony, are you sure about this, I mean I’m tiny I can manage on the couch.” You tucked a lock of hair behind your ear as you watched him fluff the pillows.

“Look, if anything, it should be me offering to sleep on the couch but I’m gonna be selfish tonight.” he murmured, his voice soft.

“What do you mean?” your own voice barely over a whisper at the close proximity of him as he extended his hand for you from across the bed.

Maybe it was the whiskey that sat warm and fuzzy in your bellies or just the fact that there was something you both felt in the moment. An unsaid chemistry, tension you could cut with a knife.

The bed dipped under your weights as you got on your knees, still clasping Tony’s hand as you got closer, breathing each other in.

His scent was intoxicating to you, his eyes criminally brown as they bore into you, making you lose yourself in their depths.

“Well, I’ve been told, you’ve never kissed anyone on screen yet. Is that right?” he asked softly, bringing his other hand to brush your hair out the way gently to cup your face.

You managed a nod, leaning into his touch and closing your eyes momentarily. It was true. You had been in several films before however somehow there wasn’t any that had required you to kiss a costar. That added to the fact that your big on-screen kiss would now be with this gorgeous man who was right before you.

“We’ve got something here, Y/N. Something electric, palpable. See how our bodies react to each other?” his lips were now inches away from your ear, a smile adorning his features as his words sent a shiver down your spine, proving his point.

“And what are we gonna do about it?” you breathed, pressing your hand against his chest, noting how his heart beat against your palms and his very obvious boner that wasn’t hidden anymore.

Definitely not a one-sided crush. He wanted you, and you wanted him.

“I think we’re gonna go off-script. A lot. And not just on set.”

The gif is simply because I LOVE IT. What do we think?

[dragcnbreak]

love languages

5 times Ness called Mike a pet name + 1 time Mike called Ness a pet name.

Also cross-posted on AO3!

◞♡࿐

1. Sugar

The first time was a complete accident; Mike and Ness hadn’t even started dating yet. Their crushes on each other were known throughout their friend group and by each other but they hadn’t ever done anything about it.

Mike is leaving Abby in Ness’ capable hands when it happens. He has a job interview lined up and Ness will always get his shifts covered when Mike needs him. Mike is about to leave out the front door when Ness approaches him. “Wait,” he calls out, sidling up to Mike, “your tie is a bit messed up.”

Ness fixes it in a jiffy but their eyes suddenly meet and they both instantly become flustered and nervous. “Thanks.” Mike smiles when he’s recovered and Ness nods in response. “Break a leg, sugar.” He says softly, the familiar theater expression slipping from his lips easily. He barely even recognizes the endearment that left his mouth as well.

Mike is fully red, unable to get any words out this time. “Are you guys finally gonna kiss?” Abby calls out from in front of the television, grinning knowingly. Ness nods, surprising Mike, but kisses his cheek instead of another place. Mike hurried out the front door soon after, too embarrassed to even lock the door behind him.

◞♡࿐

2. My love

Mike and Ness have been barely dating for a month but Ness thinks about calling him pet names all the time. He’s definitely one for sappy terms of endearment, words of affirmation being his love language and all. But he’d never want to make Mike uncomfortable so he figures he should ask first.

They’re sitting at the dinner table by themselves, Abby at a friend’s house for the night, when Ness gets the courage to ask. “Mike,” he begins and the mentioned looks up from his food. “Yeah?” He responds, stabbing at his dinner. “I wanted to know if it’s okay if I called you pet names.” Ness smiles kindly. “Like… like that time I called you sugar.”

Mike blushes at the memory, ducking his head to peer down at his food nervously. “Y-yeah, I don’t mind.” Ness gently takes Mike’s free hand and kisses the top of it. “Thank you, my love.” Mike somehow turns even redder, still staring down at his food but Ness can see his strawberry cheeks perfectly.

◞♡࿐

3. Puppy

When Ness gets home from work one evening, Mike is sitting at the dinner table. The taller comes behind him and kisses the top of Mike’s head, running his fingers through his hair after. “Whatcha working on?” He asks Mike when he sees the stack of sheets on the table. “Papers I’m filling out for Abby’s school, bills, job applications, y’know, the usual.” Mike sighs and leans into Ness’ gentle touch.

“I’ll get changed and come back and keep you company.” Mike looks up to argue against it but Ness has always escaped to their room, doing just that. He comes back in a few minutes, comfier clothes than before on. “Here, get up for me.” Ness manhandles Mike with surprising strength, sitting down on the chair himself. Mike sputters indignantly but Ness grabs him again and sits his body down again.

Mike is sitting normally in the chair again, but now he’s in Ness’ lap. Ness is sitting with his back facing the table so their chests are touching. They lean into each other’s warmth simultaneously. “So you can work and we can cuddle.” Ness explains simply, resting his head down on Mike’s shoulder. Mike huffs but continues where he left off.

A few minutes pass by again and Ness can’t help but move his head back to begin leaving gentle kisses along Mike’s neck. The latter freezes, shocked by the new development. “What are you doing?” He asks quietly. “What? Does puppy not like it?” Ness teases his boyfriend, who turns scarlet at the pet name.

“P-puppy?” Mike stutters. “Where did that come from?” Ness smiles and chuckles softly. “I’m still trying out new pet names. Do you not like it? It’s okay if you don’t.” The shorter shakes his head. “Um, no… I… I like it.” He admits, almost too low for Ness to hear. “Good. You’re my puppy.” Ness reaches up to card his fingers through Mike’s hair again, almost like he’s petting a dog. Mike resists the urge to whine like one too.

◞♡࿐

4. Hon

Mike almost forgets about the double date at the mall as he’s so busy with his new job and taking care of Abby. Ness reminds him before he leaves for work in the morning. “Abby will be at school. You know Vanessa’s been trying to arrange this for a while. I’ll meet you guys at the mall at 1.” Mike nods automatically, giving Ness a goodbye kiss before he leaves.

One o’clock arrives all too quickly and Mike finds himself sitting across Vanessa and her girlfriend, Cindy. “Hi, Mike! It’s so good to see you.” The latter goes in for a hug while the former just gives him a smile. “Hi, Cindy.” He responds before escaping her grasp. “How’s Abby?” She asks and the three launch into a conversation.

A few minutes pass and suddenly, Vanessa looks behind Mike. He turns to see his boyfriend jogging over to the group. “Hi, hon, sorry I’m late.” Ness takes a quick glance to make sure no one’s looking before pressing a kiss to Mike’s cheek. Mike blushes from both the attention and the pet name.

Vanessa literally laughs out loud while Cindy lets out an “awww”. “Hon? Really?” Vanessa smiles cheekily, holding her face with her hands. Ness grins and shrugs. “I’ve been trying out pet names.” He explains, sitting down with the rest of them. “How cute.” Vanessa guffaws again and Cindy rolls her eyes at her girlfriend. “Like we’re any better, babe.” The blonde blushes and it’s Ness’ turn to laugh. Mike even manages a smile at the antics of the people he cares about the most.

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5. Angel

Mike gets home late, a usual occurrence with the job he recently got hired at. Because of this, Ness waits up for him on the couch, usually curled up with a book or watching television. But tonight is different as Mike unlocks the door and slams it closed behind him. “Hey, hey, hey,” Ness sits up immediately, chiding him, “you’ll wake Abby.” The gentle tone makes Mike deflate immediately.

The shorter rushes over to the couch, dropping his stuff on the floor and throwing himself onto Ness’ lap. Ness catches him with a huff, wrapping his arms around his boy. “What’s wrong, angel?” He lets the pet name slip, hoping it’ll soothe Mike. It just makes him break down into tears.

They sit like that for what feels like an hour, Ness running his hands along Mike’s back while the man sobs quietly. He’s not one to cry very often so Ness is grateful for the opportunity to comfort him this rare time he does. “I’m so… tired.” Mike finally mumbles into Ness’ chest. “I know, so why don’t we get to bed?” Ness asks softly but Mike shakes his head.

“No, I mean… I… I got fired.” Mike admits and Ness frowns. “What happened?” Mike shakes his head again. “Doesn’t matter. I just don’t know if I can do this anymore. I’m so tired.” He repeats the phrase. “Do what, angel?” Ness throws out the pet name again, realizing Mike didn’t argue against it before.

“Going from job to job after getting fired so many times. It feels pointless.” Mike explains as best he can; words don’t ever come to him that easily. “It’s not pointless.” Ness tries to reason with him. “I know how hard you’re trying, for me and for Abby. You just haven’t found the right place yet.”

Ness suddenly gets an idea. “Why don’t you come work at Sparky’s?” Mike looks up at his boyfriend, blinking owlishly. “I can put in a good word for you and we can get shifts together and I can train you.” Ness rambles on, excited at the idea. His excitement must be infectious as Mike smiles a small yet still genuine smile. “Okay.”

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+ 1. Baby

Mike’s love language isn’t really words of affirmation. He doesn’t much say anything like that, even to Abby. Instead, he relies on his actions or other, less mushy-gushy words to convey how his feelings. He’s been doing stuff like that for Ness ever since they first met, especially when they started dating.

But Mike soon comes to realize something that’s a bit terrifying: he loves Ness. And he wants to let him know somehow but he doesn’t think he can say the words. So, instead he opts for saying something that Ness will know is basically an “I love you”.

Mike wakes up one morning and decides today is the day he’ll attempt to convey his love for Ness. He notices the mentioned man is not in bed but he can smell the reason why. Mike shuffles out of bed and into the hallway to get to the living room. He stands by the dinner table, watching Ness make breakfast for a few seconds.

Then, he walks forward and wraps his arms around the taller. Ness is startled a bit but quickly resumes making breakfast. “Good morning.” He hums. “Good morning, baby.” Mike responds and is shaken when Ness turns around in his arms. “What did you call me?” He asks, a bit too loud for so early in the morning. “I called you baby, Ness.” Mike smiles, chuckling. Ness’ face immediately softens when he realizes he heard right.

“I love you too.” Ness sighs albeit fondly and leans down to kiss his boyfriend. They both are grinning into the kiss, Mike because the other understood what he meant and Ness because he’s never been this happy before. Their lips don’t part for a while, too busy relaxing in each other’s presence. Until they smell something burning anyway.