#dragon age inquisition dialogue

[daitranscripts]

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Main Quests - Complete Note: Quests include all relevant ambient dialogue and conversations.

The Wrath of Heaven

The Threat Remains

In Hushed Whispers

Champions of the Just

In Your Heart Shall Burn

Here Lies the Abyss

Wicked Eyes and Wicked Hearts

Under Her Skin (optional)

Before the Dawn (optional)

What Pride Had Wrought

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[arcane-gold]

not to be dramatic but taking this screenshot dealt me psychic damage

[abyssal-ilk]

since i'm talking about bull today, i think its a bit of a mistep to say bull turning against the inquisitor in trespasser is an act of revenge for the death of the chargers. this isn't a result of the inquisitor betraying bull or hurting him. it is a result of the inquisitor reaffirming iron bull's place within the qun. it isn't something that the inquisitor "deserves" for killing a group of beloved soldiers. it is simply the consequence of choosing a political allegiance- the qun- and enforcing the idea that a small part can and should be sacraficed for the greater whole. the chargers can be sacrificed for the inquisiton, the inquisitor (and dorian, and vivienne, and sera, and anyone else bull befriended) can be sacrificed for the qun.

[paragonraptors]

for science (because im curious)

if you have more than one worldstate, pick for the one you consider your "main"/"canon" worldstate or the one you plan to use first for da4! also feel free to lay out your reasoning in the tags gushing about your dragon age runs is accepted and encouraged here.

[lizzybeeee]

DATV explaining the 'Regret Prison'

A REGRET PRISON IS STUPID AND I'M TIRED OF PRETENDING THAT ITS NOT

TL;DR: a prison can serve as a metaphor but it shouldn't be entirely comprised of a metaphor.

From what I understood from what the game gave us: Solas has made a new prison to move the God's too - since bringing down the veil would free them from the Black City. This new prison is separate(?) from the fade or so far removed/contained that bringing down the veil would not compromise it...apparently. We interrupt his ritual, Solas gets sucked into the new prison he made, and the elven gods are free.

When Rook gets kicked into the fade they're physically there - which means it's a physical place in the fade, like how it was a mixture of physical/thought when we entered it in DAI. Which makes sense - the gods are real and living beings, they need to be in a place, there must be some aspect of physicality to it.

Alright, cool, it's a Black City 2.0 - I assume it's better defended to prevent people breaking in/out again?

NOPE.

We get there and it's a 'regret prison'?? It's tied to the regrets of those within it? Composed of regrets??? Solas had to wait for the right moment for Rook to be sufficiently 'full of regret' that they could switch places?

So is the prison tied to Solas's regrets? If so, how can Rook escape? The prison seems to work around the idea that it relies on the regrets of the person it's holding to work - which is how/why Rook was able to be trapped and later free themselves (along with whatever remains of the team apparently being able to do something on their end, not that we hear about it).

WHICH IS STUPID!

Are you telling me the prison intended to hold to megalomaniac elven gods was going to imprison them based on their own regrets? Is Solas assuming that Elgar'nan and Ghilan'nain are as self-pitying as he is? They'd break out quicker than Rook did! He made a time out corner for the elven gods to sit in and gave them an out if they reflected on their emotions/regrets or decided that they don't regret what they did. Elgar'nan, a spirit of tyranny, is not going to 'regret' his actions - he is going to justify them by telling himself and others that he knows what's best.

We can come across some of Solas's regrets in the prison if you run around a bit and explore:

Remnant of Failure - talking about the orb from Inquisition.

Remnant of Parting - talking about Mythal

Remnant of Reflection - more vague, talking about the Titans I believe.

So maybe he altered it - maybe he intended the prison to be 'locked' with his own regrets because after a millennia of having a pity party he still can't bring himself to self-reflect and look to the future. But what if Solas died? Or if his guilt lessened - would it diminish the strength of the regret prison?

We already have pre-established lore (though DATV has shown they don't really give a crap tbh) that once the being that has claimed/altered an area of the fade is slain, it's influence diminishes both in and outside of the fade. So if the prison was tied to his regrets then it would require Solas to basically live forever to keep it stable - especially if he brought down the veil and removed the one barrier that kept the world and the fade apart.

Rook and Solas needed some assistance to exit - but it doesn't seem like it was much! Solas used his dagger and Rook just...got out through a fade tear? This is Solas's 'more secure' second prison? It has a worse track record than the Black City! If Rook - who is not an elven god - managed to escape the regret prison what is to stop anyone else from breaking in and out of the prison?

And what did Solas intend to do with the blight - the bulk of which is apparently in the black city?? If bringing down the Veil would free the gods in the black city doesn't that mean that the blight would also be released?! Did he have a plan? Why does he go fully ahead with bringing down the veil at the end if the black city is still there and filled with blight?!

I get it: the 'regret prison' is a metaphor for how Solas holds onto the past and how Rook can move past their regrets and grow. He's trapped by the past - it's a prison. Cool. But this prison is supposed to by a physical place to contain the gods - not just to solely contain Solas. The mission is literally called 'A Cage for Gods'.

The Black City is an actual place that's so far out of reach of anywhere else in the fade that no mage can ever reach it while in dreams - let alone physically, which was only done once and took tremendous effort/blood sacrifices. It made sense - it was cool to see floating in the sky in DAO!

Though it's not said specifically, it's strongly implied that Arlathan is the Black City. You can see in the concept art that floating elven city is exactly the same as the black city in DAO! It's this foreboding thing just lurking in the sky - a constant reminder of the sin that led to the horrors of the blights and darkspawn. A real place with lore and history that also serves as a metaphor for the hubris and destruction of those who call themselves gods and act as tyrants -> for both the evanuris and the magisters.

I WANT TO UNDERSTAND THIS BIOWARE!

WHAT IS THIS KINGDOM HEARTS NONSENSE???!!

[jerichoes]

Dragon Age: Inquisition (2014) (dev. BioWare)

[too-many-lavellans]

Just one more kiss. And another. And another.

[lelianasbong]

I think a lot about the fact that Leliana and Sera were young orphan girls from working class families who were adopted by human noblewomen... how Leliana took to that life like a fish to water and Sera rejected it wholesale: the material excess when others have nothing, having pride in something you didn't earn but were lucky enough to be born into. But Sera being an elf meant her life with Emmald was never going to be the same as Leliana's with Cecilie. The music and etiquette lessons that carried Leliana are harsh reminders of a life that didn't make room for someone like Sera.

They're both religious and their faith leads them to the same conclusion: no one should be excluded based on who they are and no one is without worth. They're rogues who love pranks and teasing their friends, they love ✨️ WOMEN ✨️ and are vocal about it, they're willing to sacrifice themselves and gut their enemies if it means protecting their people. They're steadfast friends and devoted lovers. Leliana learned her archery skills from Marjolaine - a nobleman's sport, a game to mirror The Game, 'I made you, Leliana. I can destroy you just as easily' - while Sera learned by the sweat of her brow, practicing until the arrow hit its mark more often than not and her arms no longer shook. There are no tutors in back alleys.

Leliana forswore her old ways for the ascetic life of a Chantry sister (before taking up arms to defeat the Blight); Sera inherited Emmald's fortune and gave it all away to orphaned children despite herself being hungry and homeless, because Sera is kind and because the knowledge of where that money came from was more painful than the joy of spending it.

[exhausted-archivist]

I was today years old when I learned Solas isn't the one controlling the Fade dream. The Inquisitor came and found him and he just changes the setting. I'm not transcribing all of the romance dialogue, but the relevant bits:

Solas: Sleep well? Option 1:

If you kissed in the fade PC: I've never done anything like that before. On a number of levels.

No Fade kiss PC: I've never done anything like that before. Do you regularly talk to people in dreams? Solas: No. Consider that one more rule you have effortlessly broken in your rise to power.

Option 2:

If you kissed in the Fade PC: I had some odd dreams. Very odd dreams. Liked how it ended, though. No Fade Kiss PC: I had some odd dreams. Very odd dreams. With very odd people in them, for that matter. Solas: I will take that as a compliment, given that you include yourself. Remember, you came looking for me.

Option 3:

If you kissed in the Fade PC: When I asked to talk to you, I didn't think we'd be doing it in the Fade. Or, for that matter, doing it in the Fade. Solas: (Laughs.) No Fade Kiss PC: When I asked to talk to you, I didn't think we'd be doing it in the Fade. Still better than the dream where I'm standing naked in front of the war table. Solas: Since you went to the trouble of finding me in your sleep, it was worth the effort of doing something interesting. I had no idea the Anchor would allow you to dream with such focus. It is truly remarkable.

Solas Responses to lines with a Fade Kiss

(if in a romance with someone else) Solas: A momentary lapse in judgement. As you are now seeing someone else, we may comfortably leave it in the land of dreams. (Otherwise) Solas: I apologize. The kiss was impulsive and ill considered, and I should not have encouraged it. […]

All other lines revert to:

Solas: But I am reasonably certain we are awake now, and if you wish to discuss anything, I would enjoy talking. [...]

[mysticwastelandkitten]

Replaying inquisition with the knowledge of who Solas really is is such a wild ride. Look at this smug bastard slouching when you first meet him. Look at that stupid little smirk he's got on like he's getting away with something- WHICH HE IS. Acting all cute and demure. I can't believe this little shit fooled me! 😭

[simpforsolas]

As I continue to progress through the games on my replay leading up to Dragon Age: The Veilguard's release, the more I'm reflecting upon the heart of the series. As an RPG, the purpose has always been to create a dynamic game that responds to our choices, and part of that is to create a believable world that's real enough that there are multiple ways you can play the game. No ultimate "right" answer or "wrong" answer. Even if there are perspectives you disagree with, you can understand why characters may hold different opinions from you if you think about why they think the way they do.

With all these thoughts spinning around in my mind, I began my DAI replay and got a dialogue with Solas that I think gets right to the heart of the entire series:

Inquisitor: I've heard the stories [about Ostagar]. It'd be interesting to hear what it was really like. Solas: That's just it. In the fade I see reflections created by the spirits who react to the emotions of the warriors. One moment, I see heroic wardens lighting the fire and a power-mad villain sneering as he lets King Cailan fall. The next, I see and army overwhelmed and a veteran commander refusing to let more soldiers die in a lost cause. Inquisitor: And you can't tell which is real. Solas: It is the fade. They are all real.

This is it, people! This is what Dragon Age is all about! This is why we have characters who some people love and some people hate, why no one is perfect. This is why there's so much discourse about the game. Dragon Age is all about different people reacting to an imperfect world and understanding why they act the way they do. Especially in recent times, writers often fall into a trap of not wanting their characters to be problematic in any way that it can take the life out of them and leave them feeling stale. But Dragon Age does not do that. It fully commits to its characters, for better or for worse, allowing their pasts and perspectives to shape their imperfect world views and inform their behaviors. Ironically, Solas's exact words here about Loghain can be applied to him, and it's exactly why some people hate him while others love. Like Loghain, some see him as an egotistical murderer while others see him is a tragic figure whose empathy and idealism drive him to monstrous acts.

What's the truth? What is real? Ultimately, it doesn't matter. All that matters are the emotions and interactions people (players included) have with the world and characters. That's why the choices in games like Dragon Age matter so much. There shouldn't be a right answer or a wrong answer; all that matters is what feels right to the player. Because in Solas's words, all our different perspectives on things that happened? They're all real. And this is where so much discourse comes from. People try to take away the nuanced view of these characters and the world and insist that their perspective is the objective truth. Someone who loves Anders could be in danger of brushing past his many flaws while someone who hates him might be incapable of understanding the complexities that drove him to become the person he ended up. But in the end, all our different reactions to these characters are valid and real, both the positive and the negative. These characters are complex and three-dimensional, and to fully appreciate them it's imperative that we recognize that.

The Dragon Age world and its characters are so meticulously crafted that at its practically its own living thing at this point. As players interact with it, we all end up having our own experiences that influence our opinions of everything, from the characters, to what decisions are the best, to opinions on in-game power dynamics and politics.

[daitranscripts]

Solas Masterpost

Main Quest Cutscenes:

The Threat Remains: A Blessed Hero What Pride Had Wrought: Forgive My Melancholy

Prompted Conversations:

In Hushed Whispers: Point Taken Champions of the Just: Betrayal is Worse Here Lies the Abyss: Unnerving Wicked Eyes and Wicked Hearts: Court Intrigue - Source of the Breach - Investigate: Tell Me About Elves Investigate: Tell Me About the Fade Investigate: Tell Me About Yourself Investigate: Tell Me About Your Journeys Investigate: Tell Me About Corypheus - Specialization: Knight-Enchanter Specialization: Necromancer Specialization: Rift Mage

Personal Quest - All New, Faded for Her:

Pt. 1 - A Friend in Need Pt. 2 - Twisted Against Its Purpose Pt. 3 - Responsible Pt. 4 - Return to Skyhold

Approval:

Measuring the Veil - Low Approval: How Does It Feel? Low Approval: You Have Abandoned the Elves Low Approval: You're Addicted to the Fade Warm Approval: Felt the Whole World Change Warm Approval: Sleep Well? High Approval: Before the Anchor

Romance:

The Truth Post-Romance: Harden Your Heart - Wicked Eyes and Wicked Eyes: After the Ball

Deleted Dialogue

Companion Masterpost

[enigmaticagentalice]

please Bioware just give me any indication in Veilguard that Varric and Cassandra are still friends and in regular contact, I am on my knees, one single crumb is all I need to sustain me

[abyssal-ilk]

adding to this post here that i just reblogged but i cannot get over vivienne and the constant dehumanization she faces by the orlesian court. before what happened in kirkwall, mages weren't feared in orlais. they were fashion accessories. vivienne is called the jewel of the high court of orlais. her character kit explicitly says the reason why she dresses so finely even during combat and situations where one would usually wear armor is because to dress for comfort or purpose is scandal. beauty is tied to power. she must be beautiful. she must be seen as desirable. im soo,,, agh

[legionofpotatoes]

I know the discourse well is poisoned and no one hates bioware games more than bioware fans, but I am just 🫠 having so much fun with veilguard it's unreal. It is selfishly the dragon age game I always wanted. with less emphasis on cRPG, a more focused story, curated mission based design that spotlights the high fantasy stuff, slowburn structure with companions, significantly less sidequest bloat, and a fully real-time action-oriented combat system that isn't riddled with the growing pains of previous titles. when I first played origins I imagined something almost exactly like this as my ideal version of a sequel; and it was one of those dirty, selfish thoughts that I knew was disrespectful to the then-established DNA of the thing, but I can't help but feel giddy about having it here and now. like down to the shift away from the childishly dark tone and to something more inherently flexible with a baseline aspirational quality. I hate aesthetically depressing games so much. am I not alive right here and right now already

When I say "aesthetically" there though I do mean it. I'm fully on the opposite side when it comes to tone and positions expressed in the story itself. I am just not including that in my analysis because I am not done yet - so please no spoilers! I think I am where most people consider to be the second act, and I definitely have my gripes with the narrative framework and some of the optics, but I won't put the cart before the horse and will see how it wraps things up first. Above that level, in terms of how it presents itself, of how it plays, of how it balances its core pillars - it is such a bioware-ass game and I could not be any cozier in it. So grateful it exists

[proffbon]