#he can do that because he have trespassing magic

[captain-amadeus]

Cat sketches

[galadrieljones]

It speaks volumes when Lavellan calls Solas a "terrible liar" in the Cobbled Swan. Rook is, of course, confused by this. "He's the god of lies," she says. But Lavellan clarifies, because that's not what she means. She means that he can't tell "lies of the heart." That is why he had to turn her away, because he actually could not deceive her.

Varric, very early in the game, also refers to Solas as "sentimental." He says to Rook, "He could burn the world down, and the thing that would make him cry is a single flower with blackened petals."

There's something very interesting about the elven god of lies and deceit, who unwillingly wears his heart on his sleeve, essentially creating a new version of the world in which all sources of raw, magical *emotion* that, according to him, used to imbue it with so much life and beauty have been compartmentalized from the more brutish, harsh aspects of the physical world. Because he, himself, has had to do this very thing to his own heart. He's "split." A very cool archetype. When he tells the Inquisitor to "harden her heart to a cutting edge" in Inquisition, he is projecting. Solas has built a "veil" within himself, to protect his more stern, militaristic identity as The Dread Wolf from the effusive, soft, and intelligent man that is Solas. It's the only way he can get anything done. Perhaps we should more aptly call him the god of stoicism and compartmentalization.

It's also interesting how well characters like Varric seem to know Solas, because it communicates that Solas did open up to the people of the Inquisition, during which time he "played the role" of quiet, unassuming Fade mage. Perhaps this wasn't a role at all, however, and perhaps this is why he is failing so spectacularly now. Who he really is is just this man who fell in love and made friends and found a home within a community where he did not have to cut off his emotions in order to lead. This was the "breach" in his plans, so to speak. It tore his world apart.

The whole story of Veilguard actually starts because Varric knows he can appeal to Solas's emotions and that this has a high chance of working to some degree. It's important to remember that while Varric didn't change Solas's mind at the ritual site, he was able to keep Solas talking long enough for Rook to sabotage his plans. Solas entertains Varric's pleas, because, sort of as Rook guesses with Lavellan at the Cobbled Swan, in some ways, Solas wants to be stopped. He wants someone to pull the reins on him because he is too prideful to stop himself.

Thinking back to Trespasser, I remember we all sort of knew this right away just in reading his body language. I remember someone making a whole post about it, and how he will not allow her to get too close to him. When she approaches, he takes a very measured step back. And later, as he takes the anchor, a task which requires him to take her hand, we see exactly why this is. He breaks down, calls her his "love," and kisses her. He is so stern and so measured and in "control," but then, all it takes is a single touch from the woman to whom he showed a glimpse of his true heart, his true self, to bring him to his knees.

The Veil as a narrative manifestation for how Solas tends to seal his own raw emotions away from others in order to function as the revolutionary general he had to be for centuries is a very beautiful construct to me.

[sammakesart]

Castles in the Fade, or What Was the Point of the Veil Anyway

Something that will now haunt me until the end of time is why was the concept of the Veil ever introduced into this series.

We’ve been hearing about it since the very first game. There’s a codex entry about tears in the Veil in Origins. Tamlen mentions a thin spot in the Veil if you play a Dalish elf. Sandal has a prophecy in Dragon Age 2: “One day the magic will come back—all of it. Everyone will be just like they were. The shadows will part and the skies will open wide. When he rises, everyone will see.” Admittedly, this is just one line said by a character who often says odd things, but it hinted to the fact they were planning to do something with the Veil from the very beginning. The state of the Veil is repeatedly brought up. It all had to mean something! Or so I thought. 

When I saw “The Dread Wolf Rises” quest in Veilguard, I said, “Oh, here we go!” The Veil is coming down, magic is coming back, and it’s going to set up such an interesting story for the next game. 

Alas, no. 

I hadn’t really enjoyed my time playing Veilguard up until this point. It felt like the game was ducking and dodging every bit of world building and lore that could possibly bring nuance or complexity to the story. Every returning character or faction was a cardboard cutout of themself. They shoved Solas is a time-out box and gave him nothing to do. They refused to let him have any impact or influence on the story when he had been set up to be our main antagonist back in Trespasser. This game used to be called Dreadwolf! And while we learn about his past… we never talk to him about it. In the present, he’s in stasis.

Elgar’nan and Ghilan’nain are our villains. And they are your typical evil for evil’s sake villains. They are mad, bad, and only as dangerous as the narrative will allow as to not give Rook and co too much trouble. They are surprisingly patient while Rook fixes all their companions’ problems… until Elgar’nan moves the moon to cause an eclipse. A vital component in making his own lyrium dagger. For some reason. This guy can move a satellite!? And he just let Rook walk away in previous encounters… twice. Ok. Sure.

The Evil Duo need their own dagger ostensibly to tear down the Veil, because they want to unleash the full force of the Blight onto the world. Because they are evil. And they were thwarted last time they tried to Blight the entire world. Why do they think Blighting the world is a good idea? What’s the point of ruling a world if everyone is dead? I guess they haven’t thought that through, because of the madness and the evilness.

Ok, I thought. Perhaps the gods will be the one to tear down the Veil. Or maybe we’ll have a choice to let Solas do it his way before they can, which will be less chaotic and less full of Blight. Because the Veil has to be coming down one way or another? Why introduce the concept of the Veil, especially a Veil that has been thinning and failing since the series began, if it’s just going to… stay.

There is a principle in storytelling called Chekov’s gun. If something is mentioned in a story, it must have a purpose. If you keeping mentioning that gun hanging on the wall over the fireplace, it’s because at some point in the story, someone is going to take it down and use it. The Veil felt like Chekov’s gun to me. Chekov’s Veil, if you will. It’s been here from the beginning of our tale, the spectre hanging over our protagonists’ heads for multiple games.

The Veil has been a character unto itself. It was the central focus of the third game, and its dissolution was set up to be the core conflict of the fourth game. We learn everything we thought we knew about the Veil was a lie. It was not created by the Maker to separate the Fade from this world because of jealous spirits, it was created by a guy named Solas to trap the elven gods and the Blight from destroying the world. Also, the elven gods were never gods, and they are also evil.

This reveal will surely throw the Andrastian religion into chaos! This puts the very existence of the Maker into question! The Evanuris are a lie; it’s only fair Catholicism—oh, I mean—the Chantry is a lie too. We briefly touch on that in Veilguard… then it is quietly discarded. Religious crisis averted.

But I digress.

When the title of the fourth game was changed from Dreadwolf to Veilguard, I started to see the writing on the wall. Still, I held out hope the Veil would have some greater purpose in the story. That its introduction as a concept was for a reason. That something in this world would change.

Instead, from the get-go, the question of the Veil is no question at all. We only get Solas and Varric making oblique or catastrophizing statements about it. Solas says little beyond he has a plan. If I ever wanted to hear a villain monologue about their plan, it was now! Varric, on the other hand, decries Solas’s plan. He warns that should the Veil fall, it will destroy the world and drown it in demons. And that’s that.

We never really learn why Solas wants to tear the Veil down, or why he thinks it will help anyone. “The Veil is a wound inflicted upon this world. It must be healed,” he says. And that’s basically all he says about it in Veilguard. In Inquisition and Trespasser, we learn it took the immortality from the elves. It cut most of magic off from the world. Spirits are trapped and are being corrupted into demons, and most of what we know about spirits and demons is wrong. There are ancient elves possibly asleep? That part is left vague, but ancient elves are still about. We meet some in Mythal’s temple. There seems to have been some merit in bringing it down, because elves were flocking to Solas’s cause at the end of Trespasser. He had agents working for him already. What do they know that we don’t know?

Apparently nothing, because by the time Veilguard rolls around, there are no mention of agents. He is working alone. His only motivation now seems to be he’s too deep in his sunk-cost fallacy. The Veil is unnatural, so it must be removed—consequences be damned. We are never given any reason to think Solas has a leg to stand on in his pursuit of tearing down the Veil. We never hear any kind of counter argument from anyone, not even Solas, as to why the Veil should come down. We are only told it will destroy the world. It will drown the world in demons. This is all Solas’s fault.

There is no nuance. No complexity. No moral quandary to mull over. The game gives us vague warnings with no explanation as to what exactly is so world-annihilating about the Veil coming down. We must take Varric’s word at face value. We’re the heroes; Solas is the villain. Stop him.

It makes me wonder why Solas was ever a companion in Inquisition, let alone a romance option. Solas was presented to us as a complicated character in Inquisition. We had the potential throughout the game to make him see the value of this world, to help him realize he was wrong about it. “We aren’t even people to you,” the Inquisitor says in Trespasser. Solas replies, “Not at first. You showed me that I was wrong...again.” He began the third game viewing the world as tranquil, seeing the people in it as nothing more than figments in a nightmare, just as we saw our companions in the In Hushed Whispers quest. He ends the game having made friends, having recognized he was mistaken. He might have even fallen in love. (Or he may still seen no merit in this world if the Inquisitor antagonized him the entirety of their time together.) But something makes him continue with his plan to tear down the Veil, despite recognizing this world is real. He must know something we don’t. Something we’ll learn about in the next game.

We’ve been hearing about the Veil for three games now. We’ve set up our complex antivillain for the next installment, and he’s going to tear the Veil down. We swear to stop him or save him. But it has to be more complex than that. It can’t be so straightforward. Uncomplicated. Simple. Boring. Right? Right?

Nope. He really is just the villain, mustache-twirling and all. He apparently had no greater motivation, no as of yet unrevealed knowledge that would put this whole Veil thing into a new context. It was really as simple as the Veil falling will destroy the world, so Solas must be stopped. There is no new information that is revealed which makes us question what we are doing. Solas is never given any nuance or complexity to his actions. Nuance and complexity have actively been taken away. Both him and the Veil are looking like they are the worst things to be in a story: pointless. Why introduce the Veil if it’s just going to remain unchanged? Why introduce a character like Solas, bother humanizing him (for lack of a better term), giving us his backstory, setting him up as a cunning antagonist, only to make him look stupid, then put him on a shelf until the last ten minutes of your game?

Solas was the trickster archetype of this tale. He was our version of Loki from Norse mythology. What is the role of the trickster archetype? To challenge the status quo. To bring about events of extreme change, like say, the tearing down of a Veil that holds back all of magic. Loki is a huge contributing factor in Ragnarök. Through his manipulation, he causes the death of the beloved god, Baldr. This ushers in a long winter, which signifies the beginning of the end. Loki is imprisoned for this crime. When the final battle between gods and giants begins, the sun and moon are swallowed, plunging the earth into darkness. The earth shakes and Loki is freed to fight on the side of the giants. The world burns in raw chaos, falls beneath the sea, and is reborn. The world is remade, and a new realm of the gods and a new, better earth is formed.

It really felt like this was the setup they were going for. Solas causes the death of Mythal, and this is his catalyst for creating the Veil, which ushers in a world without magic. This could be seen as equivalent to the long winter. Solas falls asleep, trapped in dreams. He wakes and sets in motion bringing about the apocalypse. It’s not a perfect one to one, but it’s there if you squint. We have a war against the gods in Veilguard. I was expecting a few remaining Titans to wake and join the fight. But we don’t get any of that. There is a final battle, but it does not end in the end of the world. Or a better world. It just ends, and everything is the same.

It seems our trickster god caused his apocalypse thousands of years before our story started, when he created the Veil. His role in this tale was over before ours began, and he really is just some relic from a long-past age. He has no role, no purpose in this story. He is here to be thwarted. He is no Loki at all.

If you can’t tell, I wanted the Veil to come down. Did I think the Veil coming down would be painless? Have no negative consequences? No. Of course not. But keeping it up has negative consequences too. And it made for an interesting story. Or at least it could have. But we never explore that. The game presents no counter argument to having the Veil stay up, which, again, begs the question: what was the point of introducing the concept of the Veil at all?

Did I think the Veil coming down was actually the best solution to help Thedas become a better place? I don’t know, and I never will, because the game never argues for it one way or another. It just tells you to want it in place and to stop asking questions. In real life, a catastrophic event is not the best way to solve any of the world’s problems. But this is the realm of fiction. We have gods and monsters, magic and myth. We have introduced the status quo of Thedas, recognized it needs to change, then our trickster god appears ready to fulfill his role in the narrative. 

Instead, it all comes to nothing.

I got to the end of Veilguard… and everything was more or less the same as it was at the start of Origins. Veilguard actually tries its hardest to pretend any previously mentioned problems don’t exist, so of course the Veil coming down has no merit. There are no problems to solve in this world, apparently. Solas is just stuck in the past and can’t get with the times. Silly Solas.

The Veil isn’t even a permanent solution. It wasn’t to begin with. It was some duct tape wrapped around a broken pipe, and we’ve just slapped an extra piece of tape on it. It’s still leaking. It is still unnatural, and will fall eventually one way or another. Large amounts of bloodshed weaken it, so I guess Thedas better achieve world peace real quick to avoid any battles. There were seven super-powered mages holding it together… now there is just one. Ironically, the Veil was going to fall after two more Blights anyway. The Wardens were doing Solas’s work for him! It would also have released the full force of the Blight at that time… which Solas was trying to avoid, I presume.

It feels like keeping the Veil up just pushed a big problem onto Thedas’ future generations. We’ll keep slapping bandaids on it until it all falls apart. Someone else can deal with the fallout, but we’ll be dead by then, so who cares.

Primarily, I wanted the Veil to come down from a storytelling perspective. The Veil was an interesting concept and I wanted the story to do something interesting with it. Conflict is what makes stories stories and the Veil coming down could create so much compelling and complex conflict. And the Fade is weird, and I like weird. Stories are also about change, and I wanted to see Thedas change. Yet, Veilguard is over, and barely anything has changed. Instead of magic coming back being a conflict for the next game, they went with Fantasy Illuminati. Oh.

The Veil turned out to be a nothing-burger, and no problems in this world are even close to being solved. Slavery is still rampant in Tevinter. The elven people are still oppressed everywhere. Mages have no more rights in the South than they did in Origins. Spirits are still trapped and being corrupted. The Calling still exists, though might be different somehow now? They don’t really get into that. The Chantry’s validity is still not allowed to be questioned. The Blight still exists in some form, but again it’s vague. Oh, and we learn the dwarves have been gravely wronged, and the Titans are still tranquil. At least if you redeem Solas and a romanced Lavellan joins him, they can work together on healing the Blight and helping the Titans. Oh, good. One problem is being acknowledged and some action will be taken. Offscreen. Hurray? Solas doesn’t have a really great track record of fixing problems, so Lavellan is definitely going to need to be there to make sure he doesn’t fuck it up.

For some reason, this game seemed terrified of letting us think about anything for more than two seconds. It shied away from complexity or nuance at every turn. The game is called The Veilguard—ironically, that word is never uttered in the game—but we are given no real motive for guarding the Veil. We’re unquestionably the hero. The villains are uncomplicatedly evil. Save the world… never wonder what you are doing or why.

I wanted the game to make me question if the Veil staying up or coming down was the right choice. I needed to be given a real counter argument. Convince me the alternative would actually be better or worse, because as I mentioned… things suck quite a bit in Thedas already for a lot of people right now. Let the Veil’s fate be a difficult choice to make. If the conflict cannot be what to do about the Veil, it should be am I doing the right thing about the Veil. If the heart of your game is so thin on motive, everything else falls apart around it.

I hoped they were setting up a complex, Thedas-sized existential conflict for this game in Trespasser, but no. I wanted something to happen, but nothing did. 

I want to feel challenged and changed by a story, not left feeling empty. I’m tired of superficial entertainment. I want to sink my teeth into a narrative that doesn’t paint the world in broad strokes of black and white, good and evil, heroes and villains.

Ultimately, I think my issue is why even introduce a concept like The Veil if you’re not going to do anything interesting with it. Or anything at all. What I thought was Chekov’s Veil turned out to just be a MacGuffin. And that’s disappointing.

[vaguely-concerned]

My two cents on how much of Mind!Varric is Rook’s mind trying to fill the blank space and how much is Solas actively talking through a convenient blood magic paper doll of the mind: I think it's a mix of both, a truly collaborative psychosocial horrorshow if you would, but waaaay more towards the second. It feels too directed and tactical at times to be anything else. Rook's mind is willing to go along with the denial phase as far as it can fucking carry them to not have to face the grief and regret and does its part in papering over details that don’t make any sense, the way brains will strive to create coherent meaning even out of deeply confusing input, but to my understanding it's a collaborateur in how that plays out, not the instigator or control center. Solas is using it as a path to agency and to gather insight into Rook as a person unguarded as he can't count on in his own guise. (That stoic option that leads to him being like 'oh I see you're cautiously denying me access to your inner life. well. at least you still have Varric to talk to. y'know as an outlet :)'. You absolute BITCH Solas! That alone convinced me that he HAS to have an active hand in it on some level.)

My guess is that it takes considerable effort on Solas’ part to make Mind!Varric do anything more involved or complicated than seeming to sit up in bed and give casual commentary, and that’s why he keeps having eerie five minute shallow pep talks with you before he announces he conveniently needs a nap aaanyway good luck kid you got this haha. When he’s just spouting NPC lines from his bedrest, I’m ready to believe that could be Rook’s mind being allowed to improv lines for him more freely because it’s less about Solas trying to get something out of them or working an angle and more ‘Still here! Still totally alive and fine and the mentor figure you know and love and trust :) don’t even worry about it! Thankfully there is no war in Ba Sing Sei, as we all know’ upkeep work lol. Rook’s mind is allowed to set the tone of Varric, the outlines, but not always the content. 

AND, on a (beautifully fucked up) character psychology level, I feel like Solas is indulging in actually getting to be the good supportive mentor figure to Rook with one hand to assuage the guilt he feels about what he's done -- and what he's going to do -- to them with the other. Same internal logic as he uses in Trespasser about the Qun. ‘Almost everyone is going to die from the course of action I’m doggedly pursuing eventually. But at least I can make their last years happier and freer and kinder than they would have been otherwise. and that kind of makes up for it right. a little bit. doesn't it. doesn't that make it better at least. I need that to make it better)'. Did I really take your beloved mentor and friend from you if you don’t know yet that I did? Some philosophers would argue not really! So it’s probably almost ok actually. Isn’t it even a little noble that I’m taking all this grief and guilt on myself and shielding you for now. With undertones that I’m not sure he would realize himself (and might be mortified by if he did) that he is so incredibly lonely, and even a dishonest and indirect emotional connection is more than nothing when you’re that desperate. In this setup he gets idk. Both the control he craves so incredibly badly in relationships and over himself, and the scraps, the fading afterimages, of intimacy and warmth and companionship, even second hand. The one thing Solas and Rook agree on deep deep down is that they really wish Varric weren't gone. They're handshake memeing this in the saddest and most creepy way possible.

I think an important element too is that Solas needs Rook and their team to *succeed* —  up to a certain point. He needs someone to hold the two other elven mean girls off until he can get out of here. Ideally, in a perfect world, even do all the hard work of killing them so he can swoop in at the end and do his thing when both sides are exhausted and out of resources to stop him, and then Bob’s your uncle! Same logic as he was using with Corypheus, and after that worked out so well, too! King of choosing to never learn from a single solitary mistake he’s ever made even though i fully believe he could have the capacity to Fen’Harel <3 The underlying idea isn’t flawed, you see, it was just unforeseen circumstances getting in the way. This time for sure it’ll all work out the way I cleverly imagined it in my head beforehand. Cue By Talos this can’t be happening etc. in the form of a statue almost crushing him like a bug. 

So he's providing guidance and forging Rook into a leader from two angles: one Rook might not trust, and one they probably will. Shaping them into what he needs slowly and carefully. He’s helping you hone your team into their most effective state, as he might have done with his own agents back in the day, setting up his chess pieces even if he has to squint through two glimpsed realities to do it haha. Pincer maneuver of an insidious stealth mentor you never asked for. Also… at one point mind Varric gives you a whole little monologue about how Solas' problem is that he’s always seen his interpersonal connections as flaws and see where it’s landed him, all alone and the worst part? it hasn’t even worked. it’s all been for nothing he’s back where he began with nothing to show for it but his mistakes. Like...that has such strong 'uh okay happy to play your therapist from two rooms away here what the fuck kind of traumadump is this' energy to me, I’m not sure Rook like. Thinks that much about Solas as a private person. So much of Solas' self-loathing and futile insights into his own flaws seem to shine through in Mind!Varric's dialogue all the time — I just can't believe that there's no guiding hand behind it as it were. 

Most of all. I feel like people underestimate the degree to which Solas is incredibly funny. As in, he has a very consistent and recognizable sense of humour. It’s one of my very favourite things about him. We must remember — it is crucial that we always keep in mind — Orlesian accent and wig Solas from May The Dread Wolf Take You (my beloved, the explanation for why I love this dude even with the. All of the everything else. No one does it quite like him). He is not at all above doing things or adding little flourishes for his own obscure amusement, in fact that seems to me to be one of his most consistent traits. The Randy Dowager Quarterly comment Varric has? The ‘Maybe this is the Dread Wolf’s revenge. Forcing us to house sit for him’ thing? To Me this is 100% Solas amusing himself in his boring Fade jail surrounded by the screaming hellscape of all his regrets. Source: it came to me as divine revelation through pure vibes trust me bro 

If nothing else I find it much more narratively interesting personally if the connection between Rook and Solas really is that defenselessly intimate and entwined (and so unbalanced!), and the sense of violation and invasion and betrayal afterwards consequently all the more nauseatingly intense. Even if you kept him at arm’s length in the open, he’s been under your skin the whole time, looking around, gathering what he needs to destroy you, wearing the face of a friend. Regretfully, probably, but choosing to do it every step of the way anyway. (Sound familiar, Inquisitor? Solas doesn’t have that many tricks when you actually look at it, he keeps returning to old tried and true ones like a dog with a bone haha.) Maybe he even genuinely meant some of it as mercy, which only makes it so much worse. It makes his sin against his own core principles of autonomy and the freedom of all beings in mind, spirit and body so much more juicily grave if it’s something he pursues actively and consistently, rather than it half-falling into his lap as a happy accident mainly orchestrated by Rook’s own subconscious. Solas, too, is at his very lowest point, the closest to giving in and becoming his own antithesis fully that he’s ever been, and it makes the choice of whether you still reach out your hand to him one last time or not all the more impactful and difficult.

[senseandaccountability]

the narrative that could have been

Having mulled over the game for a couple of days I have realised that the main problem for me is that Veilguard is good based on the premises they ultimately choose, but not based on the set up and promise of what was there before. I know this isn’t a unique take by any means and yes it’s all about the Evanuris and the Veil and Solas. 

Replaying really emphasises how incredibly little the game convinces me of its original main quest - to prevent Solas from doing his ritual. This is a problem as a long-term player because for three games we’ve had build up for a great crescendo tackling the overarching themes of the (restrictions and oppression of) magic, of tears in the Veil, of religious tyranny and oppression based on myths about the Black City and the temptations of flawed humans, we’ve seen and deconstructed the elves quite a bit, we got started on the dwarves and in DAI your Inquisitor can openly ask Solas if it wouldn’t be better if the Veil came down because then spirits wouldn’t be separated from the living and risk becoming demons. Cole, whose function is to reflect the plot, talks endlessly about the old songs wanting to be sung again, about how it hurts to be cut off from part of yourself, how the templars feel it, how the mages feel it, how the elves and the dwarves feel it. The Veil as a prerequisite for life has been deconstructed, the Fade demystified, the gods have mostly fallen. The Veil as an actual wound inflicted on this earth has been presented as a theory and not been convincingly rejected by the narrative. 

The game actually gives no explanation whatsoever as to why the Veil coming down would be worse than what Rook causes in the beginning and what the escaped gods then do to the entire Thedas. The entire south falls to the Blight because Elgar’nan and Ghilan'nain are let loose. The Wardens are more or less wiped out. There’s enormous political turmoil. The game gives us Solas saying “thousands” would die when he brought the Veil down, but that he had a host of spirits there to help. (Yes, I know, his sole function in this game is to Trick and Deceive so who is to say if he’s lying, HUH, but even so, THE ENTIRE SOUTH FALLS TO THE BLIGHT IN ROOK’S VERSION OF THINGS.)

The game puts emphasis on Solas's questionable methods and past horrors but it doesn't ever explain why his goals are despicable here and now. It doesn't convince us that tearing down the Veil with lots of safety measures in place and after considerations is a bad result, all things considered - save for Varric’s initial yelling about demons. (We even learned in DAI that the Veil itself creates demons because it restricts the passage of spirits, come on.) Because three games have suggested it's not, not ultimately. Trespasser especially nuances this, just as it nuances Solas’s view of this current world state. Right after his long nap he would have nuked it all, I’m sure, but the whole point of character arcs is that things happen in them and what happened to him is that he was shown layers and angles he had not considered and adjusted his mindset and ultimately his plan accordingly. That is where DAV should have picked it up. That's where the build up was headed. But, now he must serve the narrative solely as the God of Treachery and Lies which means that previous build up is washed away for the most part. (In no way do I think he is OOC in DAV, I just want to point that out so nobody thinks I’m a sappy fangirl or whatever. I think he is perfectly in tune with his inner Dread Wolf, but that is also all he gets to be, because of the narrative, and I’m always much more interested in when roles and personas clash.) Again. The main problem is that the narrative cannot explain why bringing down the Veil would be the worse option than the shit we see unfold on screen. Instead it gets a bit lost in the past.  And I have Issues with that, as well.  Like, the dumbing down of the war against the Evanuris. The war that started because the leaders of the rebellion - who previously had to carry out terrible orders so the Evanuris, the upper crust of the Elvhenan, could play gods - decided that the Evanuris was a threat to them all. And the game gives us what, a depiction of how the rebellion ended up crossing lines, too? No shit.

Like, I am fully on board with the individual theme of regret on Solas’s part and he ought to be wrecked with guilt but I wish the game could be less all over the place with what sort of things he ought to be wrecked with guilt over. Saying fuck you to the Evanuris is the best and brightest of his character, I suppose I just don't want it dragged down to the same level as him breaking the Titans. I suppose I would have wished for a narrative that also worked on a systemic level when depicting things like, you know, war and revolutions and subjugation. But we don't have that, because DAV is only about personal choices. The Lighthouse crew flippantly writing the hierarchical and violent power struggle off as being about love and betrayal is on my shitlist forever. 

No, Taash et al, it was not about pussy, it was about feeling compelled by superiors to commit heinous war crimes and being lied to about the actual purposes of your damn war in the first place. The elves shouting at Elgar’nan and Mythal in this painting aren’t driven by love and sex they have been lied to by their ruling class. It was never about freedom or ending the wars, it was always about Elgar’nan jerking off to ultimate godhood. The writing even suggests betrayal here is to be understood as Netflix drama betrayal, maybe some juicy porny plot but it’s ABOUT THE BETRAYAL OF THE ELVES BY THEIR OWN KIN.  ((ETA: I would have wanted my Dalish mage to be allowed to be furious, NOT WITH SOLAS, but with the fucking Evanuris for betraying her people and being so fucking vile that the only option that remained was to create a world where she's a second-class citizen. I would have wanted the game to recognize that not all causes are equal and that Elgar'nan's cause for godhood was objectively more vile than Solas's cause for freedom because as it stands now, there are some really iffy vibes of "both sides are equally bad" and other things authorities tend to say when comparing destructive regimes with uprisings.)) I’m sorry, this shit hits me on a personal and political rage level. 

I also can’t help but mourn a game where the Trickster God fulfilled his trope’s duty and shook the stagnation apart with his actions - for good or ill, the way trickster gods are wont to do - and where Rook was tricked into helping and then, a more complex game about its consequences could have unfolded. The Evanuris could still have been the bad guys, if they wanted big villains frothing at the mouth. There could still have been numerous unplanned consequences, like all of Solas's plans have. Maybe other ancients awake as well. Maybe ancient evils who aren’t elves, who knows. Point is - the Veil should have come down, at least in some form, at least in some outcome. THAT is what they've been building up to. In this game that never was, Rook could be an actual interesting character where we could mold her as either accepting of this trickster role (which fits perfectly for a blank slate with no ties) or set to overturn it and enforce status quo, with some vanilla option in the middle. Maybe the Veil doesn’t come down until the very end of the game, ancient magic takes time after all, maybe a lot has happened by then. But ultimately, Rook’s choice in the end should not have been about siding against Solas because he’s lying to you or because he did horrible things in the past or siding with him because you want him redeemed. The narrative should have provided those options either way. The narrative should have been brave enough to suggest that hey, maybe Solas isn't wrong at all - his methods maybe, but his goal, no. If they truly wanted mirrors between Rook and Solas, Rook should have tackled the issue of actively bringing down the Veil herself, not because it's a roses and sunshine-outcome but because it might very well be the lesser of two evils. Gods, that would have been interesting. It should have been a choice about what sort of world Rook and the Veilguard wants to see in the future. It should have been about the people, the world, not how angry Rook is that an ancient elf has tricked her. 

That would have been the game I wanted to play.  This story doesn't really give anything new to the world of Thedas, which a world without the Veil would have. It accomplishes closure for our favourite trickster god and bless them for that, but as for the plot and the world-building it ends on a meh because the narrative isn't about the people unless they're brought up as being endangered. This is why I can feel satisfaction regarding the thematic conclusion to certain character arcs, the trickster becomes the healer with the bloodiest hands, the wolf submits willingly to his trap and so on and so forth, and I can have fun with the characters and their arcs but also really mourn the game that was there, in subtext and build up over three previous games and in several tie-ins.

[internalloops]

DA:TV rant … if you are of the mind that BioWare can do no wrong /its games can be criticize or if you truly enjoying the game and are loving everything that you’ve seen so far this post is not for you. Please move along and if you don’t want me showing up on your feed please block me.  I will not be engaging with any fan that will not allow me to take up space and vent my feelings on the disaster that is this fucking game.

*Also a lot of spoilers!!

.. it’s horrible, like I knew I was going to be disappointed but holy fucking shit …

I’m about to finish act one and .. they destroyed their entire lore … BioWare destroyed their ENTIRE lore /world build of Dragon Age

Minrathous has NO SLAVES !!! They are briefly talked about via shadow dragons but they’re are none visible at all in the city ( but they have the animation to give a poor person “fake money” )

The qunari who literally fought and tried to kill solas in trespasser have been turned into mindless brutes who willingly joined the evil gods … because they command dragons ?

The blight except for one mission is harmless. They purposely turned it into a bio weapon and then (besides the dark spawn spawning from it like something out of an MMO) due to *plot armor, no one actually contracts the blight ???

The black chantry minus one building that you go through in a side quest doesn’t exist? No chantry members , no talk of the black divine ..

Dalish are all engineers now and part of the veil jumpers ( which should not exist lore wise) and all elven magic has been converted into cyberpunk technology and artifacts. Very little talk about their oppression and they are all very willing to drop all their history , even their distrust of solas , to flight the old gods .

Varric Has been demoted to inspirational speaker and narrator he has no other role and the entire team acts like he died , even when he’s in the room with him ( I think BioWare actually planned to kill him but then chickened out ) and is a husk of his former self

Same with Morgan , you can’t interact with her at all and she’s given the same mysterious background as flemeth ( the theory that she carries mythal spirit is very strong right now )

Lyrim potions don’t exist, in fact lyrim doesn’t exist at all besides the dagger. All magic has turned into technology, and if you play as a mage mana just has an automatic replenish rate /cool down effect that you can level up.

Evil gods go back and forth between an actual intense adversary and threat to the world, and a typical Disney villain.

These are just the few I can think of off the top of my head, there is so much more than this …

The game can literally be summed up as Mass effect andromeda x2 with God of war animations and marvel style writing ( not the avengers I’m talking about the recent shit)

Also for the people who want to kill solas or simply dislike him, the game pushes a sympathetic view of him on you ,even your companions who outrightly want to kill him will feel sorry for him. And I’m saying this as a solavellan fan. Yes they’re options to be mean to him and antagonize him, but you won’t get anyone agreeing with your actions ,at best they’ll be neutral about it. Now this might play out differently for those who picked the “chooses to stop him “ option , but for those who’s inquisitions wanted to save him but they wanted their rooks to hate him … you’re not gonna be happy about what you get ..

The only thing that keeping me playing is the reveal of history of ancient elves and Titans and solas’s story. And Assan!! Assan can do no wrong !! Everything else is a slog to get through.

[sodaequalsbubbles]

Okay this is going to be a long ass negative Dragon Age the Veilguard post. So don’t read if you don't care about negative opinions on this game.

First of all, I should have never looked at the veilguard art book. I shouldn't have looked. WHY DID I LOOK THROUGH IT ughhhhhhhhhhh.

Before I just felt disappointed about this game. But now it's a genuine bitter sadness after seeing all of the art book.

I had a feeling that this game was probably frankensteined together, because datv felt so half-baked with chunks of story missing from it. Honestly parts of the game gave me the same sensation as when you skip a cutscene or speed run an area, it felt so off sometimes. So I knew there was probably a lot of stuff that was removed or altered until it was unrecognizable, but I didn't realize how bad it was. We were actually robbed. BioWare stabbed us in the middle of an alley way, made off with our wallets, and stepped on our hopes for this game on the way out. (Dramatic I know, but you get the point)

And before people start saying that it's unfair to criticize this game from its concept art because, "it’s just concept art and ideas. A lot of those concepts don't end up making it to the final game. Especially with the development of a triple a". I know that, but veilguard doesn't feel like they just cut out some characters, levels, game mechanics, etc. etc.

It feels like a whole separate game was cut out, and we were left with the glued together scraps of what could’ve been.(Sorry for the poor screenshots, it was difficult to find online scans for the art book )

What? The South of Thedas was actually going to matter instead of being nuked? Who was chosen as the Divine, and maybe even the rulers of Orlais and Ferelden were going to have more impact on the story? Yeah probably.

______________________________________________________________

The agents of Fen'Harel were originally going to be a part of the game like it was hinted at in the end of Trespasser. And constantly be sabotaging your plans to stop Solas. And instead of elves giving the biggest possible meh response, to the fact that the ancient elven gods were back and trying to restore their empire, by destroying the current world. They actually react as one should in this situation lol.

And many end up joining Solas ( and probably Elgar'nan, and Ghilan'nain as well). Because it kind of makes sense for enslaved, oppressed, and abused people that have been suffering for centuries to throw their lot in with those that promise to free them.

______________________________________________________________

Another cut idea made it seem like the first act of the game was going to start with your party sneaking into Tevinter, to get ahold of the red lyruim idol from DA2. But Solas and his agents are one step ahead, and he takes it before you can. Then turns the idol into the purified lyruim dagger he uses in the ritual at the actual start of the datv. (Better than Varric just telling you where the dagger came from, ah this game really loves telling instead of showing.) So that probably means the scene of interrupting Solas's ritual was going to be further along in the story. Instead of Rook just being air dropped into this mess, with even less of an explanation than the concept art lmao.

______________________________________________________________

Rivain was going to be a trading post, kind of sleazy and a melting pot of different Thedas cultures. Instead of an endless sandy coast with ruins strewn about.

______________________________________________________________

The real Tevinter was going to be seen. Its opulence, pride, and strength built off the backs of slaves and magic. Because believe it or not, outright ignoring slavery in Tevinter is worse than showing it. Instead of giving us the chance to confront it, and put a stop to it like the Shadow Dragons, Maevaris Tilani, and Dorian have been trying to do for years, the game just outright acts like it’s not happening basically. Making me feel like no one in the game gives a damn about these people that are suffering. Pretending it’s not there doesn’t change anything.

A little section in the book shows that we maybe could have started a slave revolt in Tevinter as well.

______________________________________________________________

Whoever was left behind in the Fade after Inquisition, was going to appear when Rook gets trapped there.

______________________________________________________________

Isabela was intended to be an advisor, perhaps alongside Morrigan and Dorian (like Leliana, Cullen, and Josephine were in DAI). And provide you a ship, and a captain for your journey. Instead of being a glorified WWE announcer for a fighting ring. She was also going to have a proper outfit; unlike the absolute mess we got in game ugh.

______________________________________________________________

In the concept art there was more politics. Such as gaining allies from opposing sides, like the Qunari and Tevinter.

______________________________________________________________

There were also perhaps plans for more divisive and conflicting sentiments within the companions. And events where they could betray you depending on choices made in the game. (Real conflict and consequences, in my Dragon Age?!)

______________________________________________________________

The Inquisitor probably was going to have more involvement in the story.

______________________________________________________________

You could ride a GRIFFON while hunting dragons.

So yeah, the art book brought more sadness than curiosity out of me. I will now go into the salt mines, to mourn the game we could’ve gotten instead.

[pipwasreal]

Day 16: knives + mind control

Characters: Charles Rowland, Edwin Payne

Content warnings: betrayal (sort of), mind control, mental confusion, knife violence, injury, iron burns

Now with a comic by technically-human!

"Charles look ou-" Edwin yells.

But it's too late, the unfamiliar spell hits him right in the face and ripples through him, locking each limb rigid, then releasing them one by one. Charles sways and shivers, then drops back into his ready stance. He draws his iron knife, then turns to Edwin.

"Are you alright?" Edwin asks quickly, glancing between Charles and the fairy. She's keeping her distance, but grimacing in concentration, her gaze locked on Charles.

Charles doesn't answer, but starts moving slowly toward Edwin. His expression is... strange. Not at all how he normally looks. Edwin frowns in confusion.

"Charles, what are you..." he begins, then trails off.

It occurs to him that perhaps the reason he has never seen this look of grim determination before is because whenever they are in danger Edwin freezes, and Charles plants himself squarely between Edwin and whatever means them harm. He faces it down, he does whatever is necessary to keep them safe.

It's... disconcerting, being on the receiving end of that expression, that wary advance. He ought to run, he supposes, but it's Charles. He does not know how to be afraid of Charles.

"What have you done to him?" He asks the fairy.

She glances at Edwin, fear and anger warring in her wide grey eyes, then whistles a rapid five-note trill.

"Oi!" Charles says, drawing Edwin's attention back. "She hasn't done anything to me. She's my best mate and I won't let you drag her back to Hell."

Ah.

Charles lunges at Edwin, slashing out at chest height with the iron knife. Edwin stumbles backward just in time, but the tip still catches his lapel, leaving a long scorchmark across it. It smarts, of course, but he has more pressing concerns.

His mind races, trying to remember how to draw someone out of magical confusion... and also trying to remember anything Charles had shown him over the years, about blocks and binds and generally avoiding being stabbed.

"Listen to me," he says, circling away from Charles while keeping the fairy in his line of sight. "You are under an enchantment. I do not mean you any harm. Please put the knife away."

Charles laughs, and it's an ugly, bitter thing.

"Nice try. Don't lie to me. I don't want to hurt you, but I will if you don't leave us alone."

He slashes as Edwin again, but this time Edwin puts out a hand and catches the blade through his palm. It blackens and smokes something awful, but at least he can wrench the knife out of Charles' grip.

"Right. That is quite enough of that," he says, turning to the fairy. "Kindly release my friend, and we shall leave you in peace."

"What the fuck are you?" She breathes.

Edwin sighs. "Not a threat to you. We apologise for trespassing."

She nods warily. With a whirl of her grey cloak, she disappears.

Charles shivers again. Then he sees his knife in Edwin's hand and loses his mind.

[advisorykitty]

Idk if I asked this already but can you do Randal x extremely nice/pushover! reader headcanons

Randal X Pushover Reader

Headcannons!!

You were Randal’s only friend, drawn to his strange but lonely vibe. You started dating because you were too nice to say no.

You agree to everything Randal wants, even his weird hobbies like collecting creepy dolls or exploring abandoned places and playing video games.

Randal will casually say things like “You’re mine forever,” but he says it with a weirdly sweet (yet unsettling) smile.

Unlike everyone else, Randal never tries to scare you. Instead, he just creepily watches you until you notice him. Something like "Oh hey! about time you notice me~"

If someone is rude to you, Randal will offer to make them “disappear,” though you always decline with a nervous laugh.

He gifts you a doll that looks eerily like you. You accept it even though it makes you uncomfortable.

Randal has no concept of personal space. He’ll randomly appear while you’re brushing your teeth or reading, just wanting your attention.

You can’t say no to Randal’s odd requests, like exploring creepy buildings or helping him name his dolls. Sometimes even straight up trespassing .

Randal constantly reminds others that “she’s mine,” in a way that makes people unsure if he’s joking.

Probably explains why no-one longer talks to you in class

Which is great for him since you have more time to spend together!

Sebastian thinks you’re too nice for your own good and encourages you to stand up for yourself, but you never do.

Luther offers you vague, slightly creepy advice like “You can always leave if he gets too much,” which leaves you unsure if you should laugh or worry.

And you find yourself contemplating what facial expressions to make when he says something (like is he trying to be funny or serious?)

Nyen teases you about putting up with Randal, while Nyon avoids being around when the two of you are together, clearly uncomfortable.

You’ll sit through hours of some wierd anime or eat Randal’s questionable cooking, just because you don’t want to hurt his feelings.

Onetime he tried making shitake soup probably saw it in an anime

He used poisonous mushrooms that he found, and you were sick for a week

If you’re stressed, Randal insists, “I’ll handle it, don’t worry,” though you’re never entirely sure what that means.

Another time while you were at school and unbeknownst to you had been getting bullied.

The next day the bullies magically didn't show up to class. Who could of thought 🙀🙀

MINI-INTERVIEWS!!

Nyen: "She’s soft, too soft. I don’t get why she sticks around Randal like that. He’s weird, but she’s worse for putting up with it. If it were me? I’d leave. No one’s worth that much patience. Maybe she likes being treated like one of his dolls. I don’t care. She’s just... there. Nothing special." Shrugs."Whatever." Nyen doesn't really care for you. As long as you stay out his way, he'll stay out of yours. However, he is interested in seeing what it takes to break your facade.

Luther:

"Sie ist... nett. Too nice. I’ve told her—several times—that she can leave Randal whenever she wants, but she stays. Warum? No idea." He shrugs slightly, voice monotone. "Maybe she likes suffering. Patience like hers is rare but fragil. We’ll see how long it lasts. But she’s... not terrible. Just... too kind." Luther enjoys your company. If he can even enjoy it, you're helpful and don't complain?? 5 stars already. He's still confused about how patient you, but humans like your are his favourite!

Randal:

"She’s mine, forever. No take-backs. I love how she never says no, like she’s meant for me. She’s kind of like a doll, you know? Only real, and much better. I won’t let her leave. She’s perfect the way she is, even if she doesn’t know it yet." Loves you alot, maybe to much. You spend majority of your time with him and he makes sure of that! Not like you can say no anyway.

Sebastian:

"She's uh.. okay?? I don't know how she has so much patients with Randal though... atleast it keeps thing off me for a while when she's around."

Similarly to Nyen, he doesn't care much for you, but he is thankful that you keep the heat of him when Randal is busy talking to you.

Nyon:

"She's..... nice.. too nice. Strange, too, not like Randal. Good. Strange.." He's not much of an extrovert, but he does see you as somewhat extraordinary. It's not often you meet someone who isn't cynical. However, he does sometimes feel bad for you when you have to endure Randal daily; you don't see him much, so you can't exactly regulate an opinion.

[corseque]

I wanted to make a last-minute prediction post based on what I’ve seen so far. I haven’t looked at new Dragon Age news for the past couple (3? 4?) weeks, and I know I’m (on purpose to avoid spoilers) missing some (probably a lot of) details that other people already know. I DON’T WANT TO KNOW. So if I’m already right or wrong about something,

PLEASE please DON’T TELL ME.

You can come back in a month and tell me THEN. It’s just one more month to wait.

Also, this is just for fun, and it’s not serious. It’s based on vibes and also based on what I would write myself. I have developed a surprisingly specific image of what might happen to Solas and I’m just want to write it down.

I’m thinking “there is no possible way this is right………” but then I’m like “unless…..?” so a vague chance of potential spoilers

First, I’ve been suspicious about the elven gods getting free and Solas being trapped. If you think about what Solas says in Trespasser, it’s very

Part of Solas’ aim that has so far been revealed to us is he likely wants the Veil torn down, and one of the only things that is keeping him from that is the reality of the elven gods trapped in there, who would be released.

Inquisitor: “If you destroyed the Veil, wouldn’t the false gods be freed?”

Solas: “I had plans.”

But that is no longer a concern from that moment in the gameplay trailer where they are released. 

“I intend to restore them. Doing so will most likely destroy your world.”

Two elven gods rampaging across Thedas sounds like the kind of “the world is being destroyed” situation Solas was talking about. It is his incision that breached their prison, and it isn’t impossible that Rook may have been almost manipulated into completing it. I wonder if Solas is playing his two sets of enemies against each other yet again?

In the old tales, Solas uses his enemies to fight each other while he is tied to a tree, trapped. He gives both sides equal advice until they are both defeated, at which point he frees himself and finishes what he set out to do. 

Honestly, even though he’s “trapped,” it sounds exactly like the sort of thing that needs to happen for his work to continue.

(All of this is speculation that I think I’ll have a better idea about once I hear the full first conversation with him, and exactly how he words his point of view of what happened. If he’s very squirrelly in his wording, I’ll know he may have caused it on purpose.)

“I seek regeneration,” he said in Vows & Vengeance. The devs had said that Solas has been bringing back magic for centuries before the series even started. Perhaps it explains why the dragons have returned. It seems that his reshaping the world, regenerating it, will be successful because it seems to be moving steadily without him. So maybe this is a last and, once in motion, inevitable step in “healing” the injured world.

I think that the elven gods are very scary and world-ending, but Solas is the only one of them that reshaped the world successfully. He will be the one to do it again, not Ghilan’nain or Elgar’nan or any other god. He is a trickster his, and Tricksters are the Gods of Inevitable (otherwise catastrophic) Change.

One of the greatest criticisms of Inquisition was the lack of screen time Corypheus had. And how the climax fell flat at the end because he didn’t have enough screen time. This leads me to believe that Solas may be the “Last Boss” of DA4. Because we definitely HAVE a complicated satisfying personal relationship with him that has been set up for two whole games.

So the ending for Solas needs to do a lot of things:

“These are the times in which legends are born or slain” Solas as the Dread Wolf will die

It needs to work for both people who love and hate Solas

In order to defeat the Elven Gods, Rook has to find their weakness, which is Solas’ weakness too (maybe a fatal flaw, or how they can be truly killed) so it can be used on Solas too. Perhaps this will involve Solas trying to obscure this from Rook as best as he can

Solas fully is on Rook’s side against the evanuris, but when they’re taken care of, he doesn’t need to team up anymore

I don’t believe that you will be able to stop Solas’ plans, and I hope that they will change Thgedas’ world no matter what. I hope it’s just a fact of life that the Veil comes down

The story basically needs to involve Solas betraying Rook again, because new players need to experience that feeling in order to be in the same place with him as they were in DA3

It needs to give players a torn situation about him, one that makes you feel he’s reasonable but at the same time make it satisfying to fight him. So I believe this is why he will betray the player again, even if he is getting along with them.

I believe there needs to be a boss fight against Solas because he does have a cool big monster form and people have been promised to be able to kill him

It needs to be satisfying for those who romanced him too, but it also needs to be beautifully sad because part of the draw of the romance compared to all the others in the series is that it’s beautifully sad

For that reason, I suspect (not because I particularly want this to happen, I’m just saying what I see most likely) is that fighting and killing Solas may not actually be optional, and he is killed in every worldstate. This way, everyone gets a last boss fight and everyone experiences pretty much the same story without much branching 

I think the difference between friendly and unfriendly version may be whether he is brought back to life by the efforts of those who care about him after he is killed

So basically:

Veil comes down/magic comes back

Solas helps Rook take down evanuris

Solas betrays Rook when it seems the story should be over

Boss fight with Solas as the Dread Wolf (see: my Tulpa Theory)

Solas is defeated and killed

Story ends there if Solas is hated, (story about Rook getting revenge)

If Solas is loved, Solas is brought back and rebirthed in another freer form through a spirit ritual, perhaps as Wisdom, but some part of it is bittersweet like Rose and Doctor 10 (story about regret).

But basically, no matter how Solas and Lavellan’s story ends, their love enduring will be the path to joy, or them being together. Rook can kill Solas and Lavellan can bring him back. Even if it has to just happen off-screen or in fanfic.

I think it is very likely that Solas kills Varric or another character as a way to transition from passive threat to active threat. Or maybe Rook is responsible because of the theme of regret, idk. But I think we’ll get a great cathartic end for Varric probably.

I think we may have to choose between Varric and the Inquisitor, because it’s similar to the Hawke-Alistair choice

I would be very surprised if the story ended with Solas and Lavellan went off into the sunset together in a perfectly happy ending with nothing bittersweet. But sadly, I don’t really see this happening and I think bittersweet may be the name of the game.

Other things I predict:

We can assume that the Inquisitor will have an optional death scenario when they reappear, where we choose either to let them sacrifice themselves in some way, or save them. So perhaps there is an ending where Solas and Lavellan die together and can be free as spirits, which would also be bittersweet.

I don’t really have predictions for anything but Solas, so the big lore reveals might change the situation so much that none of this applies or makes sense anymore. In which case I will probably be HAVING FUN.

I am not EXPECTING any of this to happen, I am just writing it down and posting it in case I’m right. Anyway please wait until I’m done playing to tell me if I’m right or wrong, and this is just for fun, I wouldn’t mind if the whole game was completely different.

[kcwriter-blog]

Solas and the Orb

I was playing through Trespasser again and something Solas said finally percolated through my brain. I had never thought about it before but found it interesting.

Solas tells the Inquisitor that if he had retrieved the Orb, he "would have "entered the Fade using the Mark you now bear. Then I would have torn down the Veil."

In other words, he would have torn the Veil down from the Fade side, not the waking world side.

Dagna says the Anchor reminds her of a key. We know the Inquisitor can open rifts as well as close them. They open rifts in the prologue and in the Fallow Mire. We also know they can open a rift to physically enter the Fade.

We know the Orb gave Corypheus a lot of power but he couldn't use it to enter the Fade. That is why he looked for magic objects. Which means Solas couldn't use the Orb to enter the Fade. The Anchor is necessary.

So what seems to be going on here? I'm putting the rest of this under the cut due to length and possible spoilers for Veilguard.

I would argue that the Orb creating the Breach was the result of Cory doing a similar ritual to the one he and the other Magisters Sidereal did to enter the Fade the first time.

Solas' agents may have let the Venatori find the Orb but I doubt it came with an instruction manual. We know from Dorian that there are pictures of similar orbs in Tevinter. So maybe Cory thought he knew what he was doing.

Solas' plan was for Cory to unlock the Orb and be destroyed. It would have worked if Cory hadn't had the Archdemon ability to jump into tainted bodies - which he had access to since there were plenty of Grey Wardens around.

As an aside, there was no way Solas or his agents could have known Cory could do this because only the highest level Wardens knew Cory even existed. It's never made clear if they knew he could body hop. We also know that rifts occasionally open on their own or can be opened with magic - Telana's rift in Jaws of Hakkon and the rift in the Still Ruins. Both pre-date the Breach and obviously an Orb wasn't needed to do that. So Solas could have opened a rift, using the Mark, without creating a Breach.

So what are the implications? The first is that Solas didn't realize the ritual Cory was going to perform (if he even knew the details) would blow a hole in the sky. He may have thought he would gain the Mark and absorb the power of the Orb. The Breach may have been a side effect of Cory's ritual. Solas understands how the Orb works so his idea was to take the magic, go into the Fade and do whatever he had to do. In other words, Solas would not have created a Breach, although he realized what had happened as soon as he saw it.

Tearing down the Veil would have had consequences for both sides but we don't know how it would have worked if the Veil was torn down in the Fade. We don't even know why Solas felt he had to do it from the Fade side.

In Veilguard we see Solas opening the Veil from the waking world side. There is a hole in the sky and rifts but it seems to be more contained. I suspect that without the Mark, Solas had to do what Cory was doing - gather magic objects to open the door. The only way to open the door from the waking world side would be to open a hole with the accompanying rifts.

When Solas gets pulled into the Fade, The hole vanishes. Which indicates Solas had more control over things than we give him credit for. No Breach and no reason for Rook to close rifts like the Inquisitor. Which adds credence to my theory that Cory's ritual plus the power of the Orb created the Breach.

Okay, so now what? Well Solas may be in prison but he is also where he needs to be to tear down the Veil like he planned. Which is going to make things very interesting if we manage to spring him from jail.

[schoenpepper]

Isekai'd Chronicles 2

Intro: Heartslabyul in an isekai AU.

Warnings: bad writing, awful grammar, proofread by quillbot, almost falling in Riddle's part, mentions of poisoning in Trey's part, also a little suggestive on Trey's, just a bit

A/N: I'm happy the previous parts seem well liked. I'm currently working on the endings, but it might take a while, so please remain patient. Thank you, and I hope you enjoy!

Masterlist

Your childhood friends leave a year earlier than you do for the magic school, but it's fine. That means you have one more year to prepare yourself before going to the battlefield, which may or may not be your deathbed. After all these years, you've finally become an accomplished heir! You even dabble in a little bit of swordsmanship in your spare time, and your father tells you you'll make for an excellent knight should you wish for it. Maybe you would have taken up his offer if you were still that same person from years ago, but now you want to face your fate head-on! In any case, Jamil and Kalim were still waiting for you in the magic school, and you just can't let them down. Your first day there is a mess, though.

It's a boarding school with dormitories for all sorts of races, and with one wrong turn after the other, you find yourself stepping off a cloud and plummeting to your doom. You're caught in the air by magic, safely levitated back up to the cloud by a red-headed angel who scolded you to Heaven and back for being reckless, as well as going to the angels' dormitories when you're very clearly human.

Congratulations! You've met Riddle Rosehearts, the heir of the Saintess of Heaven!

He collars you with his signature magic, telling you to deal with it because it was obviously your fault for trespassing. And it is, but you didn't even know how you got up there! Apologies leave your lips and you promise, you're very sincere. It was an honest mistake. You were just human after all. Surely, being the smart and awesome and cool angel he is, he wouldn't hold it against you? His forgiveness comes at the price of one (1) strawberry tart. The next day, you come by his dorm, on purpose this time, and tell him that you even brought nice lemon tea as proof that you were super duper really sorry. The collar comes off.

Now, you're not stupid. Riddle isn't good news because he's a capture target, you know? But your new friends, Ace and Deuce (who are in no way related to the original game), are also angels! And you see Riddle more often than you would have liked, but he's... not terrible, actually. He's a stickler for the rules, but you find that bribing him with sweets is an easy way to get a more lenient sentence. He's kind and smart, and you find yourself asking for his help for certain subjects when Jamil was way too busy looking after Kalim (and the rest of the human dormitory). When you start to think of him as a sort of friend, he confides that his upbringing was a bit too tough, even for Heaven, and that he's now scared of breaking the rules his mother had set in fear of losing it all.

And you sigh. You can be friends with him, probably. He's okay. Then, that's another male lead who might not kill you.

Your fingers gently trace the pure white feathers that grew on his wings. "Your wings are so beautiful, Riddle senpai." You praise happily, pulling off dirt and hair from little nooks and crannies.

"Um, thank you, I suppose." Your hand reaches the tip of his wing, brushing against a bent feather.

"Can I pull off the damaged feathers?"

Riddle nods, and you take it as your cue to snap off the pretty thing and hold it out next to him. "Can I keep it? It'll make for a cute necklace, I think."

Riddle pauses, his face turning as red as his hair. You feel like you've offended him somehow, but he nods again, looking away. "...It's yours, then, if you want it."

You really need a break. All you've done recently is study! And as you face the two sleeping idiots with their heads buried under books, you decide to go and raid the angel dormitory's kitchen. Anyway, if Riddle found out someone ate his pastries, you could just say that you were never there in the first place! Yes, yes, as slithery as a snake, invisible like a middle child.

You tiptoe your way down the stairs and thank the literal Heavens that the angels' dorm had a strict curfew, so no one can even catch you in the act.

Ha, sike.

The lights are on, and it smells like paradise, if paradise were in the form of chocolate chip cookies. There's a tall, green-haired angel with glasses and a cheesy 'Kiss the Cook' apron, and he gives you a mischievous grin and a cookie to buy your silence. You chew on the delicious treat with your eyes closed and think that it's just to die for. No, really, because the person who gave you the cookie is none other than Trey Clover. And in the otome game, the villain died via poisoning on this to-be-archbishop's route. So be a smart cookie, turn tail, and run. You should do that. Right. But when he mumbles something about there being chocolate mousse and banana pudding in the fridge that might also buy your silence, you agree to his terms and gorge yourself on desserts while seated on the counter, your legs swinging while you chat with him. He's stress baking, he says, because third-year assignments have been piling up, and you learn that he's learned how to bake and make treats from his grandfather, who'd learned how to do it from some human.

Your frequent study sessions with the ADeuce combo are punctuated with you sneaking off in the middle of the night and eating whatever Trey's making. You feel a little guilty, just enough to offer to help, and you feel so honored when he buys you your own little 'Kiss the Cook' apron as a gift. You two start to bake together sometimes after class, and he's very enjoyable company. He's really nice, and he makes unfunny dad jokes while he tells you about random things that happened in his day, and you rant his ear off about your troublesome duo as well as your thoughts of getting a cat. You think he's a really sweet guy, and it's not long before you take out the journal of otome game things you've been keeping since you were three, just to cross his name out like the other ones.

Trey is safe. He's a fun older brother kind of guy, responsible, and mature. He wouldn't poison you if he got himself a significant other. Then there's only ten more guys to avoid. Good job, you!

Trey laughs as another handful of flour makes its way onto his face, and he easily repays the favor by smearing cream onto yours.

"Stop! I give, I give!" You surrender in fits of giggles, now finding yourself in between him and the counter. The laughter dies down, but his signature smirk is there. "Don't you give up just a bit too easily? You started it, after all." He teases, caging you in with his arms.

"Please, it's a strategic retreat."

"Is that so?"

"Obviously."

There's a few seconds of silence as he stares into your eyes. You move slyly to swipe a dab of flour from the counter, gently tapping it onto his nose. "I won, senpai."

[wordstome]

kingdom come - i

king König x princess & assassin reader

2nd person, no y/n, she/her pronouns, afab reader, romance, enemies to lovers, arranged marriage, kind of age gap because König has been king for a good chunk of time but it's not really much of a factor, fantasy/medieval setting, magic exists but it's the creepy kind ordinary people don't fuck with

3.5k words

tw: swearing and König gets a boner. what's new

[NEXT]

GUESS WHO'S BACK ON HER BULLSHIT HAHAAA IT'S MEEE STARTING A NEW SERIES/AU AGAINNNnnnnn. Don't fret, I'm still working on university au! I just started watching The Great (the tv show) and I was like hmm. I should get back to that one idea I had.

p.s. When I mention a "mask" on König, imagine a sort of phantom of the opera, Brahms kinda thing. He isn't always wearing the hood.

Outside, the bells are tolling. Back home, you’ve only ever heard church bells ringing to rally the troops. But here, in these foreign lands, they ring for a royal wedding.

You're wearing a truly massive dress shaped like a pastry. It's a work of art, to be sure, but it leaves you feeling restrained and vulnerable. You should be wearing armor into war—hard boiled leather and curtains of steel rings, not delicate lace and silken ribbons. You're walking into a battle: you would have liked to be able to bend forward further than thirty degrees.

You're at least glad you don't have to wear a veil—it would have been borderline unbearable if you had your vision restricted on top of everything else. It does mean, however, that you can see him standing at the end of the aisle, waiting for you.

A gigantic man with a soldier's physique, wearing a mask that covers more than half his face. Just the sight of him sends a a chill down your spine.

The officiant’s voice booms out over the assembly, but you don’t hear any of it. The sound washes over you, distant and echoing, as if your head is underwater. Your whole being is on alert as you tilt your face upwards to look at the only part of your soon-to-be-husband that you can see properly: his eyes.

They bore into you as if they're looking straight into your soul. As if they're revealing all of your secrets. For a moment, you feel disarmed, even though you can still feel the calming, solid presence of your trusty dagger against your thigh.

As the officiant finishes the wedding vows, he offers his hand to you, his touch shockingly gentle.

You steel your resolve and stare resolutely back at him as you place your hand in his, and the officials begin to bind them together with velvet cords. You remind yourself who you are, where you are, and what you must do.

You remind yourself that you have to kill him as they tie the final knot.

The woods are foreboding, home to a darkness that seems infinite and all-consuming. The heavy old trees that surround the palace grounds shut out most sunlight and all moonlight, and sometimes it feels as if the forest itself is a living, conscious thing brimming with a dangerous unknown. It's proven to be an effective line of defense in the past: citizens don’t dare to trespass on the royal grounds as it is, but an extra deterrent never hurt anybody.

Except perhaps enemy soldiers. But they learn their lesson quickly.

To you, however, the woods are comforting. You’ve spent many lonely nights amongst these trees, training until your body was sore all over. These trunks have withstood many a misplaced blow, these exposed roots have been your downfall many a time, and this mossy undergrowth has cushioned your bruises during many a tumble and fall.

Tonight, however, there is no training. No combat, no groans of pain, no thuds against wood or flesh. You are blanketed in quiet, something sorely needed as you contemplate the days to come.

This is it. The task you’ve trained for all your life is here. Every sore joint and pulled muscle, every tear-soaked pillowcase, every scolding in Father’s office has led to this. Sometimes it seemed as if the day would never come, as if years of reading, shooting, riding and sparring would be for naught. Though your breath rattles the leaves around you, you feel as if you’ve been holding your breath ever since Father broke the news. This is happening.

You leave in a few hours, as soon as the sun comes over the horizon. Your maids have already packed your luggage—you had to enlist their help after it became too difficult to pick what to bring and what not to bring. If all went well, you’d be back in this room in a few weeks. But what could you afford to bring? What did you need for your sanity? What minute details of an object could compromise your position?

Luckily, Calliope, your most trusted lady-in-waiting, was able to step in when she found you sitting on your rug, clutching your set of cloth dolls—the only toys you’d ever owned as a child that weren’t made with murder in mind—and suggest you take a breath of fresh air. You don’t know where you’d be without her, honestly. You may be your father’s pride and joy of a perfectly well-rounded monarch and killing machine, but you would never have gotten here without her by your side.

You sigh and lean your head against the thick limb you’re lying on. If you didn’t already know you’d wake up with a complaining spine that would then have to spend days riding a horse, you’d go to sleep right here, right now. The woods are your home, these trees your solace. You’ll miss it terribly, as the only place you can truly avoid all servants, generals, teachers, and parents.

Well. Parent.

But as with all things—Father’s rare good mood, your training days, peacetime—the sweet, silent embrace of the forest can’t last forever.

Reluctantly, you give the tree one last pat and climb down, making the trudge back to your room so you can at least attempt to catch a few winks of sleep.

It takes quite a few days of travel to get to your destination. You arrive in the empire next door's capital city saddle-sore and on edge. This was the snakes’ nest, the heart of the beast.

And yet…people are happy.

The mood in your hometown is far quieter and more grim—your country has been at war with this one for as long as you can remember, and yet the contrast could not be more vast. Back home, people walk directly from place to place, and don’t make eye contact with each other. Here, children play unsupervised, outdoor markets overflow with people, and windows are thrown wide open as neighbors chat.

You don’t know how to feel. The previous king here was a ruthless conqueror, building an empire by invading neighboring countries and forcing their monarchs to yield—or killing them when they were defiant. Your own land had only escaped being absorbed into the empire by employing rigorous military discipline and strict wartime measures. Yet here, in the heart of the empire, you would never be able to tell it was a nation at war.

And now you’re marrying the king’s son. The current king. The one they call König. So little is known about him that his entire existence is shrouded in rumor: that the hood he wears conceals a monstrous, disfigured face, that he plotted his father’s demise, that his first wife died not of childbirth, but was assassinated in quiet due to being unable to provide an heir.

You don’t plan on sticking around long enough to find out if the rumors are true.

To your surprise, your reception by the people feels more curious than hostile. You’d expected a bit of resistance, or at least a few dirty looks, considering you're the princess of the country they've been at war with for years. But whatever König has told them has been far more charitable than you anticipated.

Your arrival at the palace is greeted by a flurry of activity. Your entourage scatters to put affairs in order, but Calliope and a small contingent of guards follows you into the main hall. Not that you need them—but you need to keep up appearances. No one outside your family’s most tight-knit circle knows you can throw a punch, much less have an assassin’s training.

You don’t feel in the least bit prepared to meet your fiancé—and target—face to face fresh off a days-long journey, but you’re ushered into the main hall anyway. It seems your task has already begun whether you like it or not.

“Ah, princess. Welcome to my humble home.” You hear him before you see him, his voice heavy with an accent. There’s something a bit charming about it, you think—before the sight of him shakes some sense back into you.

He’s huge. He towers over even his own palace guard, broad with muscle, and moves with a deadly raw power even in this nonthreatening setting.

When his father still ruled, before the current peacetime, stories of the empire’s prodigal heir on the frontlines served as frightening bedtime story and a terrifying cautionary tale for the nation’s soldiers. A beast in a hood who fought with the strength of ten men.

You stand your ground as he approaches you. The hood, then, is real—although the stories were so consistent about it that it was never really in question, was it? What the stories had left out were his eyes—striking and green, piercing into your soul as he bends to kiss the back of your hand. It’s an odd sensation that sends shivers racing up your spine.

“The pleasure is mine, your majesty,” you respond, a hint of apprehension in your tone. Of course you had been expecting some form of courtly courtesy, but for some reason you hadn’t expected him to be such a…gentleman. A part of you had been expecting some feral animal, needing to be put down.

"I'm sure you must be exhausted from your journey," he says. "I hope you will find your rooms to your liking." Something about his demeanor is almost...bored? As if greeting his future wife is just another task he's obligated to complete.

He doesn't join you for dinner that night, which is odd. The servants inform you that he's taking care of some urgent business. You hope that your dejection is taken as disappointment that you won't have an opportunity to get to know your fiancé. You are, but not the way people may think.

After all, getting to know your target is half the battle.

You're left to your own devices the next day. König, you're informed, won't be available. That urgent business from last night appears to be an ongoing situation.

Fine by you. You could use some time to prepare.

You spend the day wandering the palace, familiarizing yourself with the grounds and plotting an escape route. You're halted on your brisk survey when you stumble upon a...garden?

Unlike the perfectly manicured hedges outside the palace, or the groomed efficiency of the kitchen gardens, this place is small. Quiet. A little overgrown, but clearly taken care of. The grass is long and soft, dappled in sunshine. Flowers burst forward, crowded around trellises spiraling with vines.

Part of you feels like a trespasser in this private little sanctum, but another part of you is set at ease by the idle tranquility of this place. You pause, feeling a pang of homesickness. It reminds you of the forest: wild in its own way, but gentle and welcoming at the same time.

Something at the corner of your vision catches your eye. A bush bursting forward with round, dark little berries.

Nightshade. Deadly nightshade, in fact. What is this doing in this peaceful little garden? You move forward to examine them closer.

"You shouldn't be here."

You whirl around to find König standing behind you. You had been so absorbed by the garden that you hadn't detected his approach.

Your cheeks burn. You've only been here a day, and already you're letting your guard down. This won't do.

"My apologies, your majesty. I got....lost."

You hold your breath as he draws near. His expression is unreadable—not that you can see most of it, anyway. But when you meet his gaze, you can tell he's sizing you up.

"This is quite a long way to wander."

Shit, is he suspicious? Thinking fast, your brain supplies the best answer you can muster.

"Should a future queen not know the palace she is to live in?"

"Mmm. You make a fair point."

Before you can say or do anything further, he's standing right in front of you. "That's nightshade, you know." You can feel him watching you, assessing your reaction. "Not many can recognize it."

"I..." You can't very well tell him that you know what nightshade looks like because you're an expert in deadly poisons. "I had been wondering what they were."

"I see." He leans forward and plucks a berry off the bush, rolling it between his fingers. "Have you ever tasted one?"

Does he know? Is that a threat? You can't read his expression behind that goddamned mask of his. You stare at him, hoping you look dumbfounded instead of panicked.

"No? They're quite sweet, you know." He holds it out to you. "Care to try one?"

"Your Majesty, I—"

"Don't look so nervous." If you had ever thought he looked frightening before, there's something uncanny about the half-smile that he gives you now. "I didn't expect you to say yes." Before you can say or do anything, he pops the berry in his mouth.

You're too stunned to do anything but watch as he chews for a moment and swallows. One berry won't kill him, but you're more concerned about why he's doing this. Is he trying to intimidate you?

"This was my mother's garden." He gestures to the general surroundings. "I spent a lot of time here as a child. Peaceful, isn't it?"

You let out a tiny sigh of relief now that the conversation appears to be moving on. "Yes. Quite."

"It's always been a place to get away. The first time I ate a nightshade berry was right here, when I was six. I was violently sick for weeks." His tone is a little too light for someone describing being poisoned as a child, and it's unnerving.

"That's when I learned to be careful of things that are too sweet. A good lesson to learn, don't you think?" He walks towards you, and you brace yourself for anything.

He stops next to you, you facing one way and him the other. "Take care then, princess. I will see you tomorrow."

You stare resolutely ahead. "Yes."

And hopefully you won't see him for much longer after that.

Fuck. You forgot about this part.

You had been prepared for this, of course, but you only realize now that you hadn't been mentally prepared. It wasn't until Calliope was helping you undress that you remembered what usually happens between a man and a woman the night of the wedding.

You pace the room, stewing and plotting, getting increasingly antsy before the door swings open and the man himself comes strutting into the bedroom.

"You look like a cornered deer." You hear König shut the door behind him, but you don't turn around.

"I've never done this before." Mentally, you curse yourself for the quaver in your voice.

"Well. Tonight won't be your first."

"What?" You do turn at that, watching him carelessly shed layers all across the room between swigs of his drink.

"I have no interest in bedding you. We do have to sleep in the same room for appearances, though." He plucks a grape from a cluster sitting on a side table and throws it up in the air, catching it with his mouth.

You haven't been in his presence much in the past few days, but each time you have, something about your encounters with him have shaken you up and set you on edge. Somehow, he's kept you on your toes even with a limited presence. Your meeting in the garden was dizzying and confusing, the ceremony set you on high alert. And now, he's thrown you another curveball.

It feels almost too easy. He's just going to go to sleep in the same room as you? No fanfare? "You don't want to...consummate the marriage?"

"You sound upset." He cocks an eyebrow at you. "Were you hoping to?"

"No!" Your face feels hot as he gives you that lopsided half-smile again, more like a smirk this time.

"That's a shame. I prefer fucking willing participants, you see." He drapes himself over the elaborate chaise lounge opposite the bed.

"Are you usually this vulgar?" you retort.

"I see no reason for pretense. We're married, after all." Curiously, he hasn't taken his mask off. Does he sleep in it? Or is he only keeping it on because you're here?

You feel silly now, dressed in a flimsy little silken thing, wrapped up like a present for a brute who won't even touch you. Considerate of him, you suppose. Not that it will matter for very long.

"Sleep well then, hmm? You should be well rested for your first day as queen tomorrow." There's a dangerous gleam in his eye, but it disappears so quickly you wonder if you had imagined it.

"Yes," you say, sitting on the bed while not taking your eyes off of him. "Sleep well."

You give it a few hours, just to be safe. A few hours of laying awake staring at the ceiling. A few hours of watching as moonlight bathes the room in silver light. A few hours of watching him.

The deepening darkness casts sharp shadows across his face, making him seem even more inhuman. What do bloodthirsty emperors dream of? Dominating the weak? Slaughtering the innocent? Conquering women? You shudder. Best not to know.

It's well past midnight when you slowly, quietly get up and pull your dagger from its hidden holster. One downwards thrust, and you're going home. One quick motion, and all of this is over.

It's a little anticlimactic, you think. But this is for the best. For you. For your people. For your family.

Light as a feather, you straddle him, hovering over him just enough so that your weight doesn't wake him. You try not to think about how intimate this position is, and remind yourself that this is the best way to prevent him from getting up or struggling, should your first strike not end him immediately. Which it will, of course.

You take a deep breath as you position the blade right over his heart, calming the fluttering anxiety in your mind. The beginning of a new chapter of your life begins now.

You plunge the dagger downwards.

In an instant, König's eyes fly open. Before you can react at all, his hand has seized your wrist in an iron grip, the tip of your dagger a hair's length from his chest.

"Well, well, well. What do we have here?" He purrs. "A little assassin?"

You grit your teeth and attempt to overpower him: you're so, so close. But his strength is so overwhelming that you can't even get the tip of the dagger to make contact. Panic starts to set in. This isn't good. This is disastrous, actually. He was supposed to be asleep!

You attempt to pull away, to get away, to do anything, but it's no use. "You don't seem surprised," you spit.

"It's not every day your most bitter enemy offers you his daughter's hand in marriage as a truce," he replies, clear amusement in his voice. Is he enjoying this? "Of course I smelled a rat. You must think me a fool."

"No." Yeah, you kind of had.

"Lying ill suits you, princess." You cry out as he jams his fingers into the tendons in your wrist, forcing you to release the dagger. You watch, helplessly, as he picks it up with his other hand and turns it over, studying it in the moonlight.

"What a delicate little knife," he muses. In your hand, it's a sizeable weapon. But held in his fingers it looks small, harmless. To your dismay, he then proceeds to chuck it at the opposite wall, the blade sticking itself solidly in between two panels.

"You knew?" you ask, a tremor in your traitorous voice.

"Oh, I suspected. You had me disappointed for a while—I thought you would have made an attempt well before this." He lets out a deep chuckle that sends terror through you. "For a moment I even thought that you were as you presented: just some poor little lamb, a peace offering given up to the slaughter." His eyes narrow behind the mask. "I am glad to see that you have proven to be much more interesting than that."

"Interesting?" Out of all the reactions you would have expected him to have, this is not one of them. Fear, anger, even immediate violence. Not...interest.

"You have no idea," he says. Your eyes widen as he you feel his hand run up your thigh.

That's not the only thing you feel, though. He shifts a bit underneath you, and it's then that the earlier flush to your cheeks returns in full force. Is he...hard?!

"If you're going to kill me, then get on with it," you ground out through your teeth.

"Little one, if I had wanted you dead immediately, I would have already pinned you down and snapped your neck. No, you've given me a gift: a gift I intend to cherish." You shiver as he slides a hand up your thigh. "A challenge."

"Is this a game to you?" You're not sure if your breath is running ragged from fear or anger, now.

"I could end this at any time, you know." You gasp involuntarily as a hand closes around your throat. "But that would be no fun, now would it?"

"You are a fool, then." You stare at him defiantly, even as his grip constricts your breathing. "Because I will kill you."

His eyes dance with some mad glee. "That's what I like to hear."

Hiiiiiiiii besties. I've been chewing on the idea of a medieval royalty sort of au since before Shrike, and I came up with this premise like. At least a year or two ago, before I was even in the COD fandom. So I'm glad to finally be making some real headway on it! I have no idea how many parts this is going to have. I have a lot of plot planned for it, so we're just gonna have to see where the vibes take us!

I'd like to thank @danibee33 my angel as always. I bounced a lot of royal/medieval/king König ideas off of her, some of which I still may use, but I changed the plot drastically when I had an epiphany a week or two ago. Hope you like this one babe <3 Also, thank you @kneelingshadowsalome and @gremlingottoosilly for their historical/time period aus. Your fics gave me a real kick in the ass to finish this.

Also shoutout to Pedro Pascal fans? I stumbled upon some breathtakingly kinky fanfiction on this beloved hellsite featuring the Mandalorian, and thought: you know what? If people can proudly write and publish the nastiest, most shameless smut I've ever read, then I can push through whatever impostor syndrome, perfectionist embarrassment I have with my work and get it done.

As usual, please let me know your feedback! I'm trying out a bit of a different characterization for König (not that much different, he's still our beloved violent horny maniac), and I want to know what people think.

I'm also going to be using my taglist again. If you were tagged here and don't want to be tagged anymore, please let me know! And if you would like to be added to the taglist, drop a reply <3

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[yes-these-obsessions-are-healthy]

The revelations given to us by the writers in the Reddit AMA are my 14th - 19th reasons why. It has single-handedly squashed any naive hopes that Bioware is still the storytelling powerhouse it used to be. Every single answer John Epler gave in the AMA is like an individual Game of Thrones S8 nuke. The contempt and disregard he has for the Dragon Age setting is palpable enough to taste.

I can only speculate: Were these the original sentiments and the intentions of the writers dating back to the game’s first round of development (dear God I hope not doubtful)? Is John Epler a Solas/Dragon Age hater that had been kept in check by a team of somewhat competent creative minds until the ill-fated exodus of much of the remaining core Bioware team? Is this simply a matter of retroactively adopting this worse storyline as the canon and running defense for a game that they know deep in their hearts is shittily written but must rationalize for the sake of keeping sweet with their EA overlords? Or, the absolute worst thing imaginable: Do these employed writers, in their absolute heart of hearts—no bullshit, no self-delusion, no fake-smiling at the camera to keep their job safe—think that they’ve written a decent story?

Because whether you like Veilguard or not, Epler’s answers show a callous, vindictive, spiteful disregard for the Dragon Age IP. Every magical, creative, cerebral, thoughtful, engaging thread, every distinct, unique, ambiguous, promising plot beat laid with earnest (even if messy) care, ultimately amounted to nothing but unremarkable, unimaginative, lethally disappointing shibboleth.

This AMA to me proves that the love for Dragon Age is dead. Writers may love it, Weekes may love it, but there is no love left in that building. A good Dragon Age game died when EA killed the initial dev cycle. They killed it again when nearly all the writers were laid off/left Bioware in the 2015-2017 window. There was no hope. The story you love, the Dragon Age you love, effectively ended at the conclusion of Trespasser.

Veilguard is not a game that was grown with love, but rather with scarcity, desperation, instability, confusion, corporate and in-studio mismanagement, and resentment.

That is not the game the fans deserve. That is not the game those who birthed the Dragon Age IP deserved to have inflicted on their brainchild. That is not the game that anyone deserves to have worked on—a Frankenstein of failed resurrections cobbled together to form a mediocre milquetoast abomination that fulfills no one but dilettantes and tourists.

It’s been a whole month since the game dropped. I’ve gone from hope to unease to bewilderment to disappointment to annoyance to frustration to sadness to scorn to contempt to grudging sympathy to cold antipathy.

I watched Angry Joe’s Angry Review of Veilguard and he said he was afraid that he now likes the IP less after having played Veilguard (he very much enjoyed Inquisition for all its flaws), and I’m afraid if I’m in the same boat.

In the end this is all fiction. It’s a video game franchise. It’s just a video game. It’s just entertainment. But damn it, hours were invested into this. Hours and sappy tears I will never get back. Emotional investment that will never be repaid. I feel like I’ve been swindled, like my creativity and imagination and energies that I devoted years into cultivating have amounted to absolutely nothing.

[lizzybeeee]

Me watching my Inquisitor walk off with Solas at the end of the game like :) "aw cute ..hey if Mythal hadn't told you to stop would you have murdered her,," (I haven't played the other endings yet).

This!!!

(Obviously, not murdered her personally, but he absolutely had no qualms about doing the ritual once more - knowing the consequences of it.)

Let me preempt this by saying that I wanted there to be a happy/fulfilling ending to Solas and Lavellan. I'm not a blind hater! Just someone who finds it very hard to put my own Lavellan in the place of the 'Lavellan' provided to us in DATV.

The Solas/Lavellan relationship already was kind of iffy (power imbalance, constantly dragging her culture, removing her vallaslin/then dumping her, constantly lying to her, etc...) but DAI did a great job of making you feel sympathetic towards his plight - especially after Trespasser! He woke up in a world so divorced from his own that it was unrecognizable - the people he had done so much for were suffering from the consequences of his actions, justified as they may have been at the time (stopping the evanuris). His actions led to great suffering in the pursuit of preventing even greater suffering.

Even after we learned of his plans in Trespasser, it was very much: "cool motive, still murder."

I felt sympathetic towards Solas and the implication that we could change his mind, given to us in Trespasser, gave me hope that we would be able to convince him of another path. That he could find a place in Thedas as it is now and look to the future. That was why I chose the option to try and get through to Solas, despite knowing that his plan would lead to mass death/terror if it went ahead.

I always expected the Veil to fall at some point, but i was hoping there'd be some more nuance to it than: veil gone, demons everywhere, lots of people die. Well, I was very wrong lmao.

But, if anything, the game made me entirely unsympathetic towards Solas.

The moment he started his ritual he chose the old elven empire over Lavellan - over her family, friends, home, culture, and anything else she may have loved/valued.

And he did this twice.

He chose to pursue lowering the Veil - knowing that thousands would likely die. For all his insistence of 'minimizing the damage' he went in knowing that many more people would die because of his actions. There was no justification of stopping the evanuris this time either - no excuse of not knowing the potential consequences of his actions like the first time.

He chose to begin the ritual that ended up releasing the Elven Gods - knowing full well the risks it entailed.

He killed Varric - whether by accident or not, it was by his hand.

He chose to use blood magic to manipulate Rook into thinking that Varric was alive - puppeting his corpse around in Rook's eyes and putting his words into Varric's mouth.

He chose to manipulate, mold, and guilt Rook into the old 'switcheroo' in his mind palace/regret prison

He chose to 'free' the elven people by bringing down the Veil - regardless of their feelings about it (elven Rook can call him out on this!), never mind the consequences or ramifications of a bunch of people suddenly having their bodily autonomy overwritten by now being magic/having immortality.

He looked at the devastation caused the by the Gods and still went ahead with trying to bring down the veil again.

These are the thing he does in-game - not even mentioning making the dwarves/titans tranquil, creating the blight, started the chain of events that led to SOUTHERN THEDAS BEING DESTROYED, and taking my good gear from Inquisition!

Aside from the 'all lore leads to Solas' reveal just being really dull it also does nothing to help with making me sympathetic to him as a character. The audacity of this man to say: "it was like walking in a world of tranquil" when he fucking lobotomized the dwarves/titans is wild in retrospect.

If he didn't do the ritual at the beginning, if something else went wrong and that resulted in the God's being released, I could understand why a Lavellan would still want to get through to him. It would make sense - she could stop him from doing it again at the end too! You can still have him conflicted and torn between the restoring the past or pursuing the future - but this doesn't happen!

He never chose Lavellan in this game! Hell, it's Mythal who convinces him to stop?!! He owes her nothing! He's learned nothing from this!!! He's only stopped because Mythal 'pardoned/freed' him - once again showing that he values the ancient elves/mythal over her!!!

How impactful would it have been to have him choose Lavellan over Mythal! To show us this! Mythal, who 'crawled through the ages for a reckoning' (which was retconned to her being sad about the elves lmao) telling Solas to go through with the ritual and him touching grass and saying 'no'.

It's something I feel was wildly out of character for him as well - he never came across in DAI as being subservient to Mythal, if anything the ending cutscene gave me the impression they were equals?!

After everything he did in this game - after all we learn about what he did in the past - I had no interest in reasoning/appealing with his ass. None whatsoever. My inquisitor/Lavellan asking if Solas can be reasoned with only made me regret making that choice - perhaps other people's inquisitor's would say that, but mine would not, especially after everything that happened in game.

She came across as delusional: standing on the ruins of a blighted Minrathous, the south blighted to hell, dead all around them, blight tentacles everywhere, a gaping hole in the Fade right next to them:

Lavellan: "I forgive you! All you have to do is stop." Solas: "But I cannot."

Boom! There it is.

At this point it's not romantic, it's just sad! Sad that she's spent 10 years pining after a man who seemed to learn nothing at all from what happened in DAI.

------------------------

There should have been some sort of a dialogue option with Lavellan right before you go into the big fight - she can ask you what you think of Solas, if he's truly regretful for everything that happened, and then you can give her an answer that can 'change' her approach to Solas in the end - giving the player some agency as to how their Inquisitor would actually respond to this.

Ending One: Bye Bye Bye

Rook: "HE'S A GUY."

alternatively, "Look around you! Look at what Solas has done - what he's threatening to do even now after all of this! You gave him every chance to turn away from this path. So did Varric...and look at what he did!"

Lavellan is bitter/angry with Solas: "It seems we never were people to you after all."

Refers to him as 'Fen'harel' and not Solas - dig the knife in deeper, give us angst!

"Just go. You love the Fade, don't you? Enough to do all this - enough to kill Varric for your pride in a dead world that no longer exists. We were never 'real' to you, were we?"

Solas says his goodbyes, expresses his love, and Lavellan steps back.

Solas leaves voluntarily, his 'situation-ship very much over', to stew in his regrets for the rest of his life.

Ending Two: Bittersweet Goodbye

Rook: "Girl, it's been 10 years."

alternatively, "You loved him once, perhaps you still do even now - after all he's done - but love wasn't enough. Love does not excuse this."

Lavellan is firm with Solas, does not excuse his actions, but has a bitter sweet farewell: "I had hoped…it doesn't matter what I hoped. You made your choice - it wasn't me. It wasn't our friends. It wasn't this world. You can make a choice now - if I ever mattered you. If I, if our friends, were ever real to you."

They can have a final goodbye, a goodbye smooch, and then he can go off to the Fade.

Bittersweet ending - acknowledge what they had and then provide closure.

Ending Three: Happy Ending (?)

Rook: "He didn't mean it babe. He's tots sorry."

alternatively, "He seems to regret what's happened - I've seen his memories, his regrets. He believes this is the only path he has. Perhaps you can convince him to find another."

Default Lavellan ending basically

"There is no fate but the love we share" blah blah blah

As happy an ending as it can be when you have Lavellan fuck off to the Fade - leaving behind her life, friends, family, and whatever remains of the world for an eternity.

I'm being mean but I genuinely wanted a happy/fulfilling ending for them both too - despite the fact that this game seems to want that ending as well, it did little to convince me of that. :(

I genuinely liked Solas in DAI - despite his flaws, I thought his romance was compelling and I was hoping to be able to convince him to change/alter his path. I can see what they were trying to do with him in DATV but it's so hard to feel sympathy for him when we see/know the results of his actions. The story in this game is doing anything but convincing me to give him a 'happy ending'.

'Love' can't excuse what he did and neither would my Lavellan.

Also RIP Sandal's Prophecy about the Fade lmao

[crimsonphantasmagoria]

I've been scouring my brain for weeks now, trying to come to a reconciliation between the Solas we get through Inquisition into Trespasser, and the Solas we see in Veilguard, and I think I've finally come to an answer which satisfies me, though YMMV of course. It all has to do with selfishness.

What put me onto this is the way he talks about the romance path. "It was selfish of me" he says, almost angrily. Selfishness is a thing he can't stand in others, and certainly can't stand in himself.

Solas has had his opinions and wants dismissed in the name of selflessness again and again. Most importantly, this has been done by the person he Respects the most, Mythal (this is true whatever you believe the nature of their relationship was).

The first thing, which led to everything else, is that she persuaded him to take a body for a selfless cause: protecting the People from those like Elgar’nan. Then, she had him craft the Lyrium Dagger, against his wishes, because it was necessary to end the war. And then she betrays him. He was brought into this world against his will to prevent Elgar’nan and the like basically from doing exactly this, and she's going along with it? He doesn't want to go against her, but he has to, for the good of the People.

Once the rebellion starts, Solas is required to act against his personal wishes again: he has to uphold the mantle of the Dread Wolf. We see this in Felassan's letter to him.

The next time we see Solas and Mythal together is when he warns her about the Evanuris using the Blight, and more or less asks her to run away to the Fade with him. And she refuses. We can debate her motives all we want, but I think it's safe to say that running away to the Fade with her was what he wanted. His selfish wish. And she rejects it, and goes to confront the Evanuris alone, and dies. His grief reframes this as her dying because he was selfish. And in his grief, he chooses to seal away the Blight and the Evanuris. Now, this wasn't a bad thing to do, but he is pretty explicit in Trespasser that he did it directly in response to them killing Mythal. A selfish act. And it goes catastrophically wrong.

He comes to years later, and the world is horrifying. Elven mortality, corrupting spirits, magic suppressed, all because of his mistake. His selfishness has hurt the People he has a duty to, given to him by the person he respected the most. He immediately sets about fixing the mistake. After all, he's more or less the only one who can. He kills Felassan, when he betrays the cause. He doesn't want to, but since when has he wanted any of this? When was the last time something he wanted mattered? Fixing what he's done to the world matters more.

But then he gets outwitted by Corypheus, and the Veil is coming down in the worst way possible, causing untold harm on both sides. And he can't fix this problem. The only person who can is the one with the Anchor, the future Inquisitor. So he sets himself to helping them do so, because it's the best he can do to fix his new mistake. And in doing so, he sees the best parts of the new world. He meets people he genuinely likes and admires, potentially even loves. He realises that these people are complete as they are, 'real'. It goes faster with a high approval or romance Inquisitor, but even with low approval, he eventually gets to the same place. He wants to help them. He wants to stay with them. He wants his time with them to have mattered.

But that would be selfish. Since when have his wants mattered?

He leaves them. He doesn't want to, but he has to. He kills Flemythal, because he needs her power if he's going to do this, even though he doesn't want to. He weeps. Gets back up and continues on. Since when has what he wanted mattered?

Trespasser happens, and he tells the Inquisitor almost everything, because they deserve to know, but also...he doesn't want to do this. This is the beginning of his subtle attempts to help them stop him. He can't admit it. He can't admit that he needs help, that he wants to stop, but he can subtly, almost unconsciously guide them.

This culminates in him leaving the eluvian path open for Varric and co to follow him to the unguarded, unwarded ritual site. Unfortunately, Varric tries to reason with him. But he cannot be reasoned with by Varric. Nor by the Inquisitor, nor anyone else in modern Thedas. That's what he wants, you see? He wants to stop, so he can't. That would be selfish. I do think that, maybe, if Harding had taken the shot, he might have allowed it. Taken it as a fair defeat. But she doesn't, so we'll never know.

So he ends up in the regret prison, otherwise known as literal Hell for Solas, and tricks Rook into helping release him. He's more or less the only one with power sufficient to take on Elgar’nan. You know, the guy he came here, unwillingly, to oppose in the first place? So he goes and helps the Shadow Dragons in Minrathous, but it isn't enough. Fortunately, Rook escapes, and they defeat Elgar’nan together. Unfortunately, he has now run out of excuses to not do the thing he doesn't want to do, and the Veil is coming down anyway, so.

But then Rook offers another choice. Bind yourself to the Veil and save us. He does seriously consider it for a second, because it's what he wants to do, and Rook isn't a person he cares about personally. He might respect them, but he doesn't really like or care about them, like he does Varric or the Inquisitor. Weirdly, this might make it a more effective plea, taken from this perspective. Ultimately, though, the Unselfish thing is clearly to fix his mistake, fix the world, so he goes to do that.

Then here comes the Inquisitor. He can't stop for them either, but he feels like he owes them an explanation still. He failed Mythal, and she died. He was selfish, and she died. This will all have been for nothing if he acts selfishly now.

Now Morrigan arrives. Whose fault is that? She channels fragment Mythal. I like to think this part is these two fragments of Mythal reuniting for a few moments. And Mythal says, in effect, "if i had let you stay where you wanted, if I'd listened to what you wanted, then maybe none of this would have happened. You aren't the only one at fault here. Be free from your duty to the People, and choose your own path from now on."

The Inquisitor reinforces this, and it takes him about two seconds of collecting his thoughts to choose, because frankly it's what he's wanted to do the whole time. And then he chooses to return to the Fade, and to seek atonement for his part in creating the Blight. Probably also something he wanted, but felt like he couldn't persue because he wanted it. But now he finally can, because his wants have been acknowledged by that person he respected the most as valid. So off he goes.

This might actually make the romance with Lavellan even more powerful because it means he wanted her badly enough that he almost chose her anyway, even despite his prior conditioning. Sadly, he eventually realised that the relationship was fucked if he couldn't stop his plans and couldn't tell her who he was because he couldn't stop his plans, so he ended it, for her sake, another selfless act, to try and make it easier for her to hate him. And if she doesn't, and asks to come with him in Trespasser, he refuses, for selfishly stated reasons, because he wants this one thing to remain pure and uncorrupted. But in the end, he won't refuse her again because he's finally allowed to want again, and what he wants most of all has always been her.

Idk, I've just been struggling to make Solas’s motivation change between games make sense to me, and this is what worked. Nobody else has to think this. Totally just my personal speculation.