#i didn't think I had much lore in it but now that i think about it I've been passively worldbuilding this place SO much

[wasyago]

Please more Trail's gone cold au I'm begging you I need it just pour out every thought in your brain I want to hear it

hgdhhfbd i mean, sure why not

everything plot related is in the main post, there's nothing else really to tell. but i could share random details that didn't really fit into the lore drop. again tho, it's a small au and mostly an exploration of the concept, so there's not a lot.

❄️ gem and etho are siblings, i don't think it was mentioned anywhere? blood related and all that, they both have black hair, gem just dyes hers.

❄️ behind the scenes reasons for the order of deaths. generally i picked these three to be the main cast because i suddenly realized pet crew were just dungeon master and his two winners, and that was too crazy of a concept to not do anything with? so, tango as the main guy and actual master of the dungeon had to die first, seeing how he's the cave's favorite. pearl as the main explorer and as the one to unlock all the secrets had to die second, because she had to return to the dungeon / the cave to find out the truth, and she conquered it but never actually got out. and etho had to survive, because he's the "proper" winner and the one who actually escaped the dungeon with treasures.

❄️ lore reasons for the order of infection. tango you already know, but pearl and etho went in at the same time so in theory they had to start experiencing the effects together. but because etho was wearing a mask it did lessen the amount of sculk he inhaled, slowing down the process. wear masks kids!

and, well, you did say you wanted to hear every thought so. i really like the plot point of them leaving tango to die, so im gonna ramble a little about it. even just, the difference in their views on the situation is so satisfying to me. because tango had no idea something scary was happening to him! and for pearl and etho it was a life or death situation. and just-- they were talking about leaving tango and tango obviously, obviously, protested, because what the actual hell??? yes okay he's ill and a burden, but don't leave an ill guy to freeze to death in a cave, what is wrong with them????? or, okay, what is wrong with etho, pearl was against the idea. but, straight up tango did not plan for it to end this way, he had his whole life ahead of him and so many things ha still wanted to do! of course he cried when they left, what else was he supposed to do? thank etho for his awesome decision? be all cool and stoic and sacrifice himself? hell no, he didn't want to die, he never asked for this.

he did die tho, so. whomp whomp 🎺... i imagine he passed before pearl and etho even reached the stairs, so at least he didn't suffer for long. if he had a breakdown about being left alone he probably hyperventilated and inhaled like a ton more sculk, so that killed him even faster. must've sucked tho...

and then pearl, god, pearl.... she didn't encounter any dangers on the way back, since she wasn't trying to escape and the cave had no reason to be hostile towards her. but seeing how she was at the last stage before turning... she probably didn't get to tango before collapsing... not dying just yet, but too feverish and too weak to walk. but if tango was already back, he could very much go and find her. can you imagine the pure horror of drowning in your regrets as you slowly die and then having your supposedly already dead friend appear in front of you all cheery and oh so wrong. i dont know how much of tango is left in that thing, but the image of him sitting by pearl and holding her until she dies is so-- its haunting but it's sweet. and then there's still enough time to catch up with etho.

actually, gahhhh, all three pet povs are their own unique horror story and it's so good.

the horror of having to go through this terrifying experience, and then being the only survivor, knowing full well that the only reason you lived is because you left your friends to die, and there's no way of fixing it now.

the horror of everything falling apart around you because of miscommunication, and then the one time you decide to do it right you end up regretting every single decision and witnessing the direct result of your mistakes come for you.

the horror of being stupid... the horror of losing all control over your life and being betrayed in the moment of your most vulnerability, dying fully and utterly helpless.

this au is so sad but i love it so much...

okay wow that's enough for one post, ask more if you want tho!

[nadas-dirthalen]

A Veilguard Achievement Icon Opened My Eyes on 15 Years of Lore... but Was I Right?

PART TWO: What Veilguard Did Narratively, and What That Tells Us Going Forward

[ 1 ]

Hello again, friends and travellers. Now that I've beaten Dragon Age: the Veilguard, I wanted to go through all those 30,000 words of predictions that I wrote in the ~11 days leading up to its release. I'd seen an achievement icon that pieced together a lot of Dragon Age lore for me.

But, I hadn't played Veilguard. All I had was the footage from September 19, the achievement list, and anything else BioWare had released.

So... was I right? And if so, how much was I right about?

This is your warning:This post will contain spoilers for the entirety of Dragon Age: the Veilguard, and all Dragon Age content made before Veilguard.

(my davrinmance is going great as i try and collect every codex, thanks for asking!)

Today's Discussion: to Understand Dragon Age, We Must Understand Its Writing.

Before I can go any further on why I think the way that I think, or why I imagine the story might take us in certain directions, it's essential that you all understand where I'm coming from. Veilguard, like any game, is a piece of art. Its bones are built with similar narrative structures to novels (though not identical, and that's important!). To make sense of what's to come, we must examine Veilguard's bones the same way.

I've seen a lot of people wondering why, for instance, the Inquisitor is not Veilguard's protagonist. I've seen people lamenting the fact that there were not on-screen clarifications of popular lore theories. Before this series goes any further, I need to say my piece about why I believe that it was essential that Veilguard was written as it was, and why its writing does in fact help us better predict Dragon Age's path forward moreso than even Inquisition.

That said, today I hope to cover:

What Veilguard Demanded of BioWare's Writing Team, and Why

The Protagonist: Why Rook's Perspective Matters

The 3 Act Structure: Our Lens

The Companions: Paths to Our Answers — and Future Games

What Veilguard Demanded of BioWare's Writing Team, and Why

Let's get this out of the way right away: it has been 10 years since Inquisition. And, like it or not, that means one gigantic thing for BioWare: if they wanted to have any hope of making more Dragon Age, they needed to bring in new players and resuscitate the interest of many old players who did not stay in the fandom the whole time. They didn't—and couldn't—write Veilguard specifically for you or I, people of Tumblr. If they did, it would've pleased us... and then cost them so much money that we'd never get any more Dragon Age.

That doesn't just mean modernizing the game's aesthetics, or providing a glossary in its Codex. It means they would have to balance all of the following (just at a glance):

Managing the learning curve in general. Not even I looked in the glossary as I played. Me, supreme enjoyer of all codices ever. It's just not something most players are ever going to do, as much as it the lore is such a fundamental part of the game in general. That means simplifying terms where possible — elven gods in place of Evanuris, for example — but also trimming down what would have to necessarily reference past games. Only a tiny fraction of the fanbase has played Inquisition in the last 3 years, nevermind this year.

Recontextualizing the lore. That does not mean rebooting it, it means situating all we have learned so far in a framework that fits all we have learned so far. Much of what we learned about the Evanuris seemed, for so long, to be totally separate for the things we knew about the blight and Blights. Veilguard needed to show us how those things relate, and to do so in a fresh context that would allow everyone to develop new understanding.

Pushing us one step past Inquisition's knowledge. Veilguard, after reframing the lore, had to leave us a path for new lore, and increased understanding. I think the devs put it really well when they say that their aim is to give us some answers, but leave us with even more questions. More on that later, and in future posts.

Updating Thedas' ethos. Let's face it. It has been 15 years since Origins came out. The things that were more typical of scifi/fantasy (SFF) then are just not the same now, and would not be perceived by 2024 players in the same way as by those who started Origins in 2009. The world has changed; our cultural understandings are broadening and need to continue broadening. BioWare is doing a good thing by incorporating things like nonbinary identities into Veilguard, and it is good that Veilguard is progressing the world of gaming in that way, especially considering its success. (This is also, I wager, why we choose an Archon out of two choices who want the same thing, rather than leaving that open to a more "evil" option).

Dislodge older fans from their Solas headcanons to get everyone old and new to the same confusion and potential distrust. Hear me out. Everyone who's stayed since Inquisition has beliefs about Solas. Even me, who got here in March of this year, whose fic reads overly soft now because I just didn't know Solas' grander plan until 48 hours before Veilguard came out. Everyone has had headcanons for so long that everyone has had time for their opinions of Solas to cement themselves. In order for Veilguard to work as a story, they had to debunk what everyone thought they knew: both lovers and haters of the famously controversial egg. By breaking down our existing beliefs, the devs open up essential curiosity from the players as to who—and what—Solas really is, which propels us through the narrative and has us absorbing information.

And this curiosity? It is why Veilguard could not have the Inquisitor as its protagonist. To keep us curious as players (and "readers" of the lore), BioWare needed a new protagonist.

Specifically, they needed Rook.

The Protagonist: Why Rook's Perspective Matters

Here's the thing. The protagonist is not just the face of the game. They are our vehicle to understanding that game. The plot follows their wants and responds to their understanding. What they don't know, what they want to know, is what makes up our every objective. Their emotional journey through the game is our emotional journey through the game. Following it, going after the things that matter to our protagonist, is how the entire game (including its lore) takes shape in our minds.

That's why it's essential that they don't know everything—especially after a ten year interim between games.

Veilguard's plot and twists proved that the Inquisitor did not know everything. They, in fact, knew less than half of everything. If we had kept them as the protagonist, all of our knowledge and curiosity would be shaped by the Inquisitor's understanding: a wrong understanding. We could constantly be fighting with what we think the Inquisitor should know, what should be true because we had seen it through the Inquisitor. We would be set up to be at odds with the very events of the game. Rook is a blank slate, barring a few key tonal indicators, and that blank slate allows for us to fit all previous lore into its new, recontextualized shape that I mentioned above. (Again, note that I am not saying rebooted.)

That, and Rook has multiple motivations. The Inquisitor is focused largely on stopping or saving Solas; Rook is charged with figuring everything out as it is happening to them in real time with almost no context or experience, AND stopping or saving Solas. The Inquisitor has existing allies and resources; Rook does not. Rook must build their own campaign from the ground up, and that means the player is building their own experience from the ground up. Their allies, abilities, and home base, yes, but also their knowledge. Discovering things at the same pace as Rook, with a similarly urgent drive to do so, keeps the game from infodumping at us. It keeps the reveals evenly spaced, but also immediately interesting to the player.

And best of all? Rook allows the writers to do what they want to Solas without breaking his dynamic with the endless sea of Inquisitors (or, at least, with way less risk of doing so). We needed to have our theories about him broken down and rebuilt as players; to do that to the Inquisitor would damage an entire sea of headcanons. We'd never get the Solavellan ending we wanted, for instance, if Solas had played mind games with Lavellan for that many months. And if Solas didn't do those things, if he'd been wholly defanged, he would have lost his appeal and importance in the narrative. He wouldn't be the Dread Wolf in the ways that matter to Veilguard.

It's important, then, that Rook has just the slightest bit of backstory. They care about their allies. They are not a potential political force like the Inquisitor. They have many options to be impulsive. Every single Rook has rebelled against authority. Every single one has a stubborn streak. BioWare put all those qualities there on purpose, because Solas uses every single one, in every single Rook, as a tool. That was all essential for his character development in this game! At the same time, they couldn't do that with the Inquisitor as protagonist, because after 10 years, no two Inquisitors are similar enough to predict/script their actions and responses in that way.

Those twists are perhaps the most important tool for forward momentum in the game. The more they keep us guessing, the more we'll play and seek new information, the more we'll learn. Which brings me to...

The 3 Act Structure: Our Lens

Like I said: BioWare couldn't just infodump at us in Veilguard. It wouldn't be interesting to even half the fans that stayed, these ten years. To keep us engaged as players, they had to string the lore through a series of engaging events. Keep the momentum up, so we would not be lazily looking over codices, but chasing new knowledge and understanding. It all had to be emotionally relevant and resonant to keep us caring, because very few people play games they don't care about.

Veilguard, like a lot of written art, follows the three act structure. Though there are a lot of variants on the more precise beats, they all broadly follow the same-ish path.

Hook: The opening image. In Disney movies, this is the song where the character sings about all the things they want in their journey, and what they truly need is only implied. It gives an opening note for the theme by showing what the character lacks, and what they might need to gain before defeating the final villain. In Veilguard, this is our prologue, centered entirely around Varric: the big red herring where we see that Rook is out of their depth, opting to push over a support beam rather than take on the Dread Wolf. Off-screen, it is also the background information about Rook, showing us who they are and what they want before we play.

Inciting Incident: The event that kicks off the main plot. In DA:tV, there's a big collection of these (because every companion needs one; we'll get to that). The first big one is, of course, the failed ritual. The death Rook doesn't see. The Evanuris are freed, but Rook has only half the information.

First Plot Point: "Plot Point" means "big/defining decision" in writer-speak. This is the moment the protagonist decides to go forth on their adventure. In video games, this is more or less determined for you, but you have the option to flavour this moment in Veilguard. You can choose how to tell Solas that you'll do what he wants: either by appeasing him or angering him. You do the same for Neve and Harding afterward, and then again in Arlathan and D'Meta's Crossing. You state that you're doing this, no matter what it takes.

First Pinch Point / "The Setback": "Pinch" means "twist" in writer-speak. It's the first time the narrative is shaken up, and is also usually the first time we see the true scope of the villain. In Veilguard, the first big twist has been called "the Setback" by some of the devs (notably, I heard it at a panel in September). For Veilguard, this is Weisshaupt. We see the true scope of Ghilan'nain's horrors, but we also see the first BIG hints (outside of Varric) that Solas is manipulating us—because he really doesn't seem to hate the Wardens as much as Inquisition enjoyers like myself expected. This event concludes act 1.

"New World" / "Fun and Games": The devs have remarked that they wanted to see the tone of their setback (Weisshaupt) threaded through the rest of the game, and we do: through Davrin and Lucanis' banter, through the reflections on the consequences of Weisshaupt, through every character struggling with their confidence and identity after that point, through the blight getting worse and worse and worse. That's what the New World is: the characters getting used to new circumstances after that first big twist. The Fun and Games are the slow and steady recovery from the twist, warming and solidifying formerly tenuous relationships. This is where we do a lot of companion and faction quests.

Midpoint: In a narrative that ends in a victory (so most games ever), the midpoint is a false victory. We think we've nailed something, only for something else to happen that begins to seed doubt in the protagonist's capability and/or ability to solve the plot. For Veilguard, this is the blighted dragon fight: we think we've got Ghilan'nain, but then Elgar'nan shows up and demonstrates that Rook is in so, so over their head.

Second Pinch Point: The second twist. The villain's identity is crystal-clear, and by now we've definitely interacted with the villain more directly. This is Arlathan, Elgar'nan's mind-trap—and Solas' "rescue" of Rook, showing his duplicity in full. Elgar'nan notably says a line about not falling for Fen'Harel's tricks again, and it foreshadows what we will see of Solas.

Disaster / Crisis: This is the event that triggers the protagonist's downward spiral. Not a twist (necessarily), but a catastrophe. In Veilguard's case, it's both: the Ghilan'nain fight leaves one companion dead-dead and another presumed dead. Then, the twist: Solas using Rook's sharply felt regret to pull his gambit and swap places with them. A series of events that literally had me gasping so frequently I got dizzy. Thanks, BioWare :) Many people say that this event, or something between this event and the "All is Lost" beat, conclude act 2. For games, the pacing is sometimes different, as is the cutoff mark, because otherwise the third act has the potential to be very short.

"All is Lost" / The Dark Night of the Soul: It's exactly as the name suggests: all has been lost. The protagonist doubts themself completely. It seems like nothing more can go wrong, and like nothing might ever go right again. The protagonist is at a loss for how to move forward. In Veilguard? Varric is dead. Davrin/Harding is dead. Bellara/Neve is dead. Rook is literally trapped not only in their regret, but in a reflection of Solas' regret. And to get out, they'll need...

"The Epiphany" / Second Plot Point: "Plot point" means "big/defining decision" in writer-speak, as stated above. Only this one contains more layers than the first. This is where the thematic statement of the piece comes out: the lesson that the protagonist must learn is stated, clearly, for all of us to see. It is the thing that picks them up off the ground, giving them strength to face the climax and the danger it promises. In Veilguard, this is Varric saying to Rook, "Have you learned nothing here?" and reminding both Rook and player that he chose this; Rook's companions chose this; we cannot blame ourselves for the actions of others. We cannot carry grief for other people, or we'll drown in it. Sound like any other character we know?

Climax: The big fight! But also, the big moment where the theme is shown to be the narrative key. In every ending of Veilguard, Rook being Solas' perfect mirror is the key to winning the day against the Dread Wolf. It just depends on what facet of Solas Rook chooses to mirror: the trickster, the nasty combatant, or the person who was haunted by their own failings and lost companions.

Resolution: Narrative threads are tied up, or a promise is made to tie up those loose ends in future installations. Veilguard's credits do both of those things. :)

Why am I telling you all of this? Because the lore must follow that skeleton. Every reveal we get must fit into both the timing and the feeling of those events. It would not fit to suddenly drop everything about the Titans right after Rook gets to the Lighthouse, which is why those enemies you need to kill to get the last memories are level 30-40. It would not fit to uncover everything about the blight's origin before Weisshaupt. If they forced us into that as players, all the casual fans and new players would duck out, feeling overwhelmed.

Even for us older fans, narrative structure shapes significance. You can tell a lot about a codex's overall importance and tone just by understanding where you find it, and when. That's why the Trespasser codices carry so much weight, even the ones about the Evanuris' actions that we don't see on screen at all: they are at the bitter end, and so they carry all the bitterness, longing, and mourning of that ending. Without the context of Trespasser, they mean less.

This is also why Veilguard paces its companion quests this way, not allowing you to complete them until later in the game. Every companion has something to teach us, and BioWare wanted to give each companion's narrative the weight it deserved.

The Companions: Paths to Our Answers — and Future Games

Anyone who's played Inquisition knows that companion quests shape entire facets of the lore in individual games, as well as set us up for the trajectory of the next games. Just look at Solas and Cole: together, they shaped our whole understanding of spirits in Veilguard. They set us up to ask all the right questions about not only spirits being bound as demons (Solas' quest), but about spirits being able to manifest in physical shape (Cole's quest). Together, their narrative conclusions foreshadowed much of the Evanuris' reveals in Veilguard: that they were spirits who could manifest into corporeal shape, and that they had the ability to ask others to manifest—and then bind them.

Again, these quests are paced throughout Inquisition's main plot. You cannot do their before Skyhold, and you cannot do them after the cutoff of (I believe) the Temple of Mythal. Inquisition forces you to see those quests' endings in the exact right spot: sometime around the midpoint (Adamant/WEWH), but before the disaster/dark night (the Temple of Mythal). They do that so you will feel that those things are significant.

Veilguard does the same thing. Every companion has a facet of the lore attached to it, but you cannot follow those threads to their conclusions at the beginning of the game. The game won't let you, because the moments need to be spaced out properly and carry the necessary emotional weight. Not all of their quests promise speculative material for future games in the same way, because some explain the context of the current game (Varric, in DAI, accomplished both with the red lyrium content, for instance; Leliana, meanwhile, dealt with the theme of faith in DAI and did not promise future speculation).

These concepts will all get far more attention in due time, but in short, here's what I think is associated with each companion:

Harding: Titans! But also, angry titans, and the difference between "angry titan" and "source of blight." In the same vein, what the dwarves should do going forward, and where they should place the titans in their culture.

Neve: The soul of Veilguard; her narrative is very current to DA:tV, in my early understanding. But she brings forth a lot of nuance to the themes of regret, and what that regret looks like on a smaller scale (a city, rather than a world). She does a lot of work in showing us that regret is regret, no matter the scale, and that the work we do to do better matters, no matter the scale. Additionally, her personal quest foreshadows Solas' use of blood magic against us being more than we thought by showing off Aelia's puppets, suggesting to us (tonally) that Rook may be Solas' puppet.

Bellara: The Forgotten Ones!! Anaris! Also, the place of ancient elvhenan in the future of Thedas, and what the elves should do/feel going forward.

Lucanis: I think they were going for some Forgotten One/Forbidden One hints, judging by some notes from the Ossuary and some banter between Lucanis and the others. This needs more dissection. Lucanis sort of does both what Bellara and Neve do: the Forgotten Ones, and also the heart of Veilguard's theme, with a lot of found family vibes thrown in.

Davrin: The blight itself, and the future of the blight without any archdemons left to cause capital-B Blights. Thedas' path to healing its nature.

Emmrich: The nature of what spirits are. I need to go screencap more specifics, but I swear this necromancer has referenced the difference between spirit and human soul and has stumbled upon saying that the two might not be so different at least once. Also, the Formless One centers around the Necropolis, and I'm thinking "spirits seeking bodies" and this whole idea of unlife/undeath is going to be explored later.

Taash: Remember how I said BioWare needed an ethos update? I think we see that most predominantly in Taash, whose entire personal quest is an examination of the values and priorities of different cultures, as well as the place of gender and gender ideology in Thedas. We saw this with Dorian and Krem in DA:I, but Taash modernizes that conversation (10 years has changed a lot!) and brings it front-and-center. At the same time, their existence is referencing (potentially) the Scaled Ones, and showing us that the kossith (Qunari) might have far more ties to Evanuris shenaniganry than we thought—and that those shenanigans did not happen on Thedas, but potentially far across the sea. (Neve and Lucanis accomplish this, also, with the Shadow Dragons and Crows, but not to the degree that Taash does).

This is why the companion quests MATTER, and (at least partially) why the game asks you to complete these quests or suffer consequences in the finale.

You know what else happens, upon completion of these companion quests?

You get codices. In Dragon Age, they are the threads that tie the seemingly disconnected pieces of the plot together, and that's on purpose. This time, they automatically unlock upon completing different stages of companion quests—and as far as I can tell right now, days after completing the game for the first time, the ones revealed later DO contain spicier hints about future lore than those revealed earlier.

And between ALL of these things—the demands Veilguard's timing placed on Bioware, the need for Rook as a protagonist, and the structure for every companion's quests—I think BioWare did an amazing, genius job with their narrative. Yes, I have seen some of the art book content, and yes, it would have been so cool to have those things, but... I truly do not think BioWare needed them, as close as I would have held cameos like Cole to my heart.

From a lore perspective? They knocked it out of the gods-damned park with Veilguard. They did an amazing job with each of their quests, and I promise: there is no shortage of juicy lore to be found in Veilguard. Now that I've inflicted an outline of what I know about stories upon you, I promise: all of this serves as context for everything I look forward to saying in future posts.

_____

If you got this far, thank you, as always!

This series is going to take a turn toward what I noticed in Veilguard, how I feel that Veilguard adds to my theories (or perhaps debunks some of them), and where I think the series is going to go from here. But in order to write all that properly and miss as little as possible (even though, in November 2024, with no wiki or transcripts, I am guaranteed to miss things), I need to keep playing the game and keep reading the codices I find.

Stay tuned for the next instalments, though I cannot say how quickly they will come after this. <3

[oneemasan]

"I... don't need a wish today - Being with everyone is enough."

Fairytale soiree event by @angelwishess - congatulations on 100+ followers and thank you for hosting the event, i had a lot of fun!!

this is my first time joining a fan event (and drawing an actual card for erice), design notes & clear file under the cut!

jfdghsfgjjksghfdj i didn't think i would have time to draw erice for the event any time soon, but for some reason i didn't feel like working on any of my wips today so i painted the background to relax a bit (and warm up) aaaand ended up with the card done 4 hours later - well, why not!

at the very beginning i wasn't even planning an actual background, but hey whatever happened happened alright (besides, i planned it as a r/sr, and then realized i was having a lot of fun rendering - but not enough motivation for a dynamic pose... we got an in between, i guess?)

at some point, i added firefly everywhere, and the piece ended up looking SO cluttered..... so i erased all of them except the one she's holding - and i feel like i lost a bit of what i wanted to convey, but it looks better than it did before, so it's fine!

on one side, i wish i spent more time polishing the pose, etc, on the other, damn i wanted this done today

actual design notes fr fr this time

my first thought was the yellow dress, and i was almost sure i'd go with it but still decided to do some other sketches for fun - and in case another idea popped up i don't usually ramble too much about her lore outside of dms, but the thing with erice is that she very likely doesn't believe this kind of outfit/event would suit her - since she's a bit more... brash than she'd like, among other things (read : as much as she wishes she could wear fancy dresses, she definitely doesn't feel comfortable doing so because of her usual temperament/sweet self esteem issues, kind of), so upon wearing such a dress she would probably go "wait, this is wayyyy too delicate for me, i need to change back into my usual clothes NOW"

so, i ended up going for the simple white, knee-length dress thinking it was what suited her the best - and here came another problem : it does look the right mix of formal and simple for her, but it very definitely doesn't look fairy-like, at all... at the same time, i wanted to keep the shape, to keep it simple - to have something she would enjoy wearing that would still fit the theme, so i added a butterfly pattern and transparent fabric over the dress - cute and simple enough that she can enjoy herself without worrying too much about how mismatched she thinks her looks and personality are... my daughter she's so precious to me

while i was drawing the actual piece, i ended up adding a bonus layer to her skirt because it looked a bit empty without it - it also helps making the dress shape look more.... logical lol

[kitterkat100]

My thoughts on Dragon Age: The Veilguard

So, I finished datv yesterday and now have time to sit and think about it. Now, obviously this is just my subjective opinion, so take it with a grain of salt. I am going to start with the good and go into the bad and then finish with more good (that teacher training coming in). Also, I learned how to do a read more for this.

I am going to start with the combat. I have made another post about this, but that was like 3 hours into my first playthrough. Veilguard has the best combat in the series. Usually Dragon Age games have combat that is a slog to get through, so much so that many people in the fandom say they don't play the games for combat but for the story. I have never been a fan of the real-time with tactical pause, I find it a little boring. I am not a big fan of turn-based, to begin with ( that is one of the reasons I still have not finished Baulder's Gate). In the past, if I wanted to play a good story game with fun combat, I would play Mass Effect. But I have fun just fighting enemies, if DAI's combat was this fun I would replay it more often.

Next the art direction. Now, I am no artist and I know next to nothing about anything. But I really like the art. I think the environments are beautiful. I like the character models. I know people were complaining about the models having small heads in the lead-up to the release, but I think it was because the game doesn't use heroic proportions. And you don't notice in-game at all, at least I didn't. Also the brought back some reused assets from the Inquisition, and some of the paintings that have been around since Origins.

Okay the companions. I might write a longer post for each companion later on. I am going in alphabetical order.

Bellara: I romanced her, and I love her so much. She has some strong Tali vibes with a strong dose of ADHD. I am a little sad that we did not even kiss until after the final battle, but I just read that as her being ace or demi (like me!).

Davrin: He is such a bro. I love him and Assan so much. His banter with Emmrich is so funny. The ending to his story line is a little weak, but I will talk about that in his own post.

Emmrich: I think Emmrich is one of the best companions in the whole series, flat out. I love this man, he going to be my next romance (Female Qunari Grey Warden).

Harding: Harding is great. I really liked all of the Titan stuff in her storyline. I did get her killed, so I am not sure what her ending is like. I did think her romance with Taash was cute.

Lucanis: I'm going to say it. I think Lucanis is the weakest of the companions, I don't dislike him. I don't if I missed a lot of content because I saved Minrathous instead of Treviso or if it was because his writer got canned during development. And what he did have felt bare bones. I thought we would be dealing with Spite a lot more. I will say his recruitment mission is a blast.

Neve: I played a Shadow Dragon so my character had a lot of in common with Neve. I like her, but I don't have any strong feelings towards her one or another. Her romance with Lucanis is a thing that happens. I might change my mind when I get around to romancing her.

Taash: I am cis, so take this with a grain of salt. But I think their storyline about being non-binary was oddly paced. I did like everything past that, I think it was much better paced. I do like them a lot. Also, they are really cute with Harding. I do wish there was more of a reaction to me getting Harding killed on Tearstone Island, but that is a writing complaint.

Speaking of the writing. It is really a mixed bag. Some of it is great and then some of it was giving slop comics from the mid-00s. The first several hours are story slog, some of that is because of all the lore dumps, and some of it is because it is oddly paced. The writing gets progressively better throughout the game. From the point of no return to the credits it is the strongest writing, maybe not in the whole series but definitely since the last third of DAI. That after-credit scene was a choice. I will probably talk about that more after I figure out how I feel about it. I think Elgar'nan and Ghilan'nan are the strongest villains since Loghain, it really helps that they are present throughout the game. There are definitely moments where you feel that Rook is HR, but not a lot, but enough that I understand why that made it into some reviews. I don't think it is any more quippy or Marvel-like than any other Dragon Age game, "Swooping is bad" comes to mind.

Finally, some random thoughts. I think this game really nailed the horror of the Blight, I can't get the image of Bellara wrapped in Blight tentacles during the final section out of my head.

I played a non-mage elf shadow dragon, and there was a lot of reactivity for the shadow dragon part, less the elf part. I know I missed a conversation with Tarquin about it, but still. It's like no one even noticed the pointy ears.

That's it for now. I might add more as think about it.

8/10, I had a blast.

[flossingh]

If they were going to destroy southern Thedas anyway, why not bring down the Veil? It had been prophesied! And we know for a fact now that preventing it from happening killed millions of people (in addition to the deaths of every single elf who has ever or will ever live, the corruption of countless spirits, the sundering of the Titans, all caused or made worse by the existence of the Veil). Magic could have flowed like water. Mountains could have walked the land. Familiar places could have been made unrecognisable. I wanted to see what happened. That version of the world has so much story potential to me, with all its new chaos and new danger and maybe, if we chose carefully, sometimes, new harmony.

The Titans alone - their fate haunts me. It has haunted me for years, and now it's worse. The people who once tended them with such devotion now tunnel through their veins, hollowing them from the inside, and they're still alive. They are still alive. They were waking. Could their Tranquility be reversed, if anyone in the world cared to try? Harding certainly didn't.

Oddly, or perhaps not, because what I love most about this world is its lore, the thing that made me feel so melancholy about this game was the codex. There was nothing new, not really. No new mysteries, no sense of discovery, of having to think things through, of putting the fragmented pieces together for years to come. Just some minutes from a book club and a shopping list, the marginalia of my companions rather than the text itself. I could get that anywhere.

In Veilguard, the more I played, the smaller and less full the world felt. All the mysteries were explained, all the questions were answered, all the character arcs were resolved, all the lore and politics and repercussions were… set aside, let's say, and it felt like farewell. There was nothing new to replace it. No more questions. No mystery. In Origins and DA2 and Inquisition, Thedas felt alive, and by the end of Veilguard it felt inert. We have plumbed the depths of this rich world and mined its veins and there's nothing left to see. It's dead now, or at least tranquil.

Listen, I am deeply sympathetic to the fact that after three games of choicemaking, the whole of Thedas has on some level become unworkable quantum. I understand, I really do. They had to reset somehow. But why not create, instead of destroy?

The theme of Veilguard is regret, and the message of Veilguard is you have to move on. I understand. I am grateful to have this game. I am. I wanted to see what happened, and that's what I got.

[emmanuellececchi]

You are right. We don't hear, and we don't know much about training at all. Where it is done? How it is handle? So it is difficult to estimate if, yes or no, women were part of a regular training. I guess the way I saw it comes from the fact we never hear about any women anywhere near the army, or in any conversation. But, on the other hand as you pointed out, if it was something known and accepted, why would they speak about it?

As for Thèoden, would he even know about it? We don't know if he does visit and check on the army/eored training. It might not be his role and he could leave that to each commander/leader. Or, as you said, he might hear about it but might not want to intervene... or do not think it would ever come to use... Then maybe this is why he asks only for men (once again my brain overthinking something based on nothing XD).

As for Eomer, maybe it is the way it is written in the french version, or I mixed up both book and movie, but I always thought it wasn't something that he knew about his sister. And Gandalf talk as well let me think he had no idea of her desires... But I agree his main surprise in Pelennor was to find her here rahter than in Rohan.

But, on the other hand, if he knew she could fight and trained as such, why not understand her worries, her need? Maybe because he wants to protect her and avoid seeing her in battle. I am not trying to say Eomer is to blame or anything. I just wonder if Eomer was really knowledgeable about Eowyn's training and her capacity.

And don't worry, @from-the-coffee-shop-in-edoras, I always hope to have your opinion. I do not know as much as you on Rohan Lore and I was curious about your thoughts on everything, so thank you for sharing and showing other points here and there that I didn't see.

Finally, this from @dilettantefeminist

Who among the horse people will write the fic where the women of Rohan have a secret fight club and that is how they learned? 🤔

The first rule of Fight Club is: you do not talk about Fight Club. SEowyn knew and had swear secret to not let anyone know. Now imagine, all the women of this club are here on the Pelennor field and they found Eowyn and they don't want the guys to know so they decide to take care of her and carry her, discreetly, letting other people think she's dead so that they can take care of her secretly (I am going out of control sorry). And then Imrahil arrives and wonders why those guys are not able to see she is alive, while actually they know and want to bring her somewhere else....

Anyway... who's going to write this for us? 😆

Defending the castle like a man...

I've just read this article : Defending the castle like a man: on belligerent medieval ladies.

One of my friend is practicing HEMA (historical european martial art) as well as forging. We speak often about it and I have many question, mostly because of my main character in my medieval romance. As in forging, strength is not all in fighting. Know how to do it and practicing is first and foremost (she is smaller and thinner than me. she can wield swords that I cannot lift).

She reads lots of things about medieval warfare and we have discussion about it, and more recently because of my main character in my medieval romance. She had send me this article. And while reading it, I thought about some of my mutuals and the quite recent discussion about Eowyn and Théoden. So this is for you : @torchwood-99 , @from-the-coffee-shop-in-edoras , @konartiste. @errruvande I thought about you as there is a good reference about Alfred's daughter.

Reading this, I thought about Théoden. Rohan seems to have a certain history of female fighters. Shieldmaiden is not a name coming out of nowhere. So... what led Rohan to, seemingly, forget about this role? When did it happen?

In this article, there are a lot of example of women who did fight in war and defend their territory. It seems there are more and more proof of that. Even more, it seems women were actually expected to know at least how to defend their castle and lands. "Do as their husband do". So they had to know how to fight or at least strategies and siege... And some knew how to use bows, crossbows and even swords. Still, they had been, most of the time, erased or played down.

It is not said if this erasing was all along or more recent, as it is noted that those women of war were common up until the 14th centuries. In any case, they existed, but in later ages, it was inconvenient for men to have their female kin show "men's virtue".

Did something equivalent happened in Rohan? Why would something like this would happen? I would be the first to say "Oh it's all Saruman/Grima's fault". But no. Theoden do not think of sending Eowyn to war. He does not even have the reflex to think about her as a leader for his people. if it had been Grima and/or Saruman, he would have think about it.

Could it be his gondorian upbringing? After all he grew up in Gondor, had a gondorian mother? Thengel did not seem to held his countries culture in high regard. So, could it be this? Or even before that?

In my glèomenn fanfic, Tirwald said it was legends and old story. Could it be even older? Something more recent, linked to another culture?

So... What do you think?

[unma]

My theory is that you've had (or currently have) a big thing for roleplaying, perhaps directly related to your aptitudes as a writer.

I feel like someone just sniped me through a buncha buildings and windows and still hit a head shot. How could you tell? I haven't actively roleplayed in at least a couple of years—not because I don't want to, tbh, I would if I could actually get back into it again—so I'm surprised anyone could tell. I still have a bunch of my proudest rp posts saved (it was mostly crp), and I was into it for at least 3 years or so.

It's definitely related to my aptitude as a writer though. Having to respond so often to some of the most detailed crp posts where you would and often did get technicality'd into oblivion (and would do the same back) definitely made me care a lot about the details, and I'm not gonna lie I do still draw on that still when describing combat sometimes. Getting technicality'd into oblivion doesn't sound too fun, but I assure you it was (once you got used to it anyway), and that community was definitely my closest set of online friends for a good bit.

[pa-pa-plasma]

okay i just marathoned the entirety of ATLA live action & i might do an actual review of it explaining my thoughts more in depth, but the TLDR version basically boils down to this:

if you want to watch Avatar: The Last Airbender, just go watch the 2005 cartoon

[ante--meridiem]

Well. Potentially inadvisable message I sent a few days ago not really expecting a reply to did, in fact, get a reply.

[joshuamj]

bro i feel so bad for my classmates in my chinese class.... the difficulty has ramped up and boy are some of them struggling. I'm at a slight advantage since i had taken a slight bit of chinese before (slight, since covid interrupted it :/ ) and have a family member who can speak the language, but even i'm starting to be more unsure and hesitant in what i say. i have a feeling tho that our already small class is gonna get smaller... we havent hit the deadline for dropping classes yet.. so we might lose a few people :(

[arklay]

MR. & MRS. WESKER 🤍

i was able to commission the lovely @rcehb-art on twitter for this piece of diana and wesker during their strange after-the-fact reception for their very private wedding. i am just so in love with this and how it turned out, and i can't thank rc enough !! she is so kind and amazing to work with and i can't recommend her enough if you're looking to commission artwork ♡

[monty-glasses-roxy]

There's something delightfully fucked up about somehow binding people's consciousness to animatronics and then taking that a step further to turn part of your spirit or whatever into code to gain another form of immortality. I also Really dig the idea of Glitchtrap killing OG Afton - almost something poetic about the shift of power from Afton being killed by his own OpenAi-Powered fursona for me. But I guess he probably canonically died in Pizza Sim.

I like Help Wanted+SB era FNAF a lot more than the older games, but there's so many interesting things to carry forward from the old stuff too. My city now.

Oh that would be a hell of a narrative play for him to die like that ngl

But yeah. Our city now lmao

[loregoddess]

more Octo2 thoughts bc it's been a hell of a weekend for me and I need something nice to think about (shh, my weekends are on weekdays, don't ask, just know tips are better on the real weekends, and I will eventually one day not work in food and have real weekends off again hopefully); under the cut bc lategame spoilers, as usual

alskdjaskld completely forgot Throne's Ch3 Father's Route, so I did that real fast before heading to Stormhail. Apparently? I forgot? Did not pay attention? To the fact that Sebastian/Father actually is never directly stated to be Claude's son, and insofar as we know he was just born in some shitty town and had to resort to stealing to survive (and therefore wasn't raised to be a Blacksnake), and joined the Blacksnakes of his own free will after moving to the city?? So like, sure he could still be Claude's son bc *vaguely gestures at Mr. Bigtits Sexiroth and his terrible horrible fucked up MGS-scheme to not be Vide's vessel* and it could be he was only allowed into the Blacksnakes bc he was secretly Claude's son, but it's still an interesting detail that unlike 99% of the Blacksnakes, he wasn't raised by/in the organization itself.

Marietta however does seem to have been part of the Blacksnakes, which has the disconcerting implication that she's uh, related to Claude despite bearing his child later on (which I honestly wouldn't put past him, and if Throne is somehow the Cleopatra of a fucked up Fantasy Ptolemy-esque family tree, I honestly wouldn't even question it at this point, there is so much weird shit going on in her story arc).

I'm still not entirely convinced Marietta didn't pull a Hatoful by pretending to kill her child w/ Sebastian and actually killing her child with Claude (making Throne actually Sebastian's daughter, and therefore making the whole "not Vide's vessel" thing make a bit more sense, although I have a new theory cooking for that as well that doesn't require her to not be Claude's actual daughter), but the evidence is stronger for Throne being Claude's literal daughter so, anyhow, her story arc is still a very messed up MGS-esque Fantasy John Wick story. But I mean, I still have one more chapter for Throne to try and scour for information for why she isn't Vide's vessel, what's going on w/ the Blacksnakes and their superpowers, and also how exactly the legend of the prince and princess might shed light on Solistia's distant past (I mean, we know the prince was probably Claude, but the princess? Arcanette maybe? and what of the two fighting kingdoms? does the Great Wall and the lost kingdom therein have something to do w/ it?)

Ochette's Stormhail chapter was pretty straightforward. I did waste most of my money buying fancy armor and weapons though, even with Partitio's 20% discount via his follower (who is ironically Masoud). It did have some interesting timeline info though (Glacis's egg was shattered 10 years before the start of the story, around the same time Ochette was required to choose her animal companion). I'm really going to have to watch a walkthrough/playthrough of everything though and actually take notes on the various years and stuff to put together a proper timeline one of these days...

Oh, and Osvald does say the Pit of D'arqest is "just south" of Stormhail in his banter w/ Temenos, so yeah, it seems like the Infernal Castle and the Pit of D'arqest are related if not the same location. Interesting to keep in mind for when I eventually go and level grind there.

Finally pinpointed the two things about Temenos's story arc that were irking me. The first I knew, and that was that "genocide survivor joins her peoples' killers and also seeks the power that her people literally abhorred which is also the source of power for her peoples' killers to...try and destroy said killers" just does not work as a plot for me. Love the concept of Kaldena as a character, but god her arc is a mess. Writer's could have done something more interesting with her than...all that. She deserved better writing.

The second thing is, uh, the entire Stormhail chapter. I didn't really process it my first run bc Crick's death is so out of left field that I was too surprised to think about it, but the pacing for this chapter is just...weird (certain scenes could have been slightly rewritten and put into Ch2, or at least the events could have been rearranged so there weren't these awkward pauses and transitions into new scenes; I get there were trying to let Crick get enough screentime to make his death matter, but honestly the entire thing is just kinda poorly paced by my tastes).

But more so than the pacing, HOW AM I SUPPOSED TO BELIEVE THAT BOTH TEMENOS AND CRICK ARE INTELLIGENT ADULTS which they clearly are except for this one thing IF THEY IMMEDIATELY SPLIT UP AFTER SOMEONE TRIED TO KILL THEM ONCE? HELLO? Is this a horror movie? Are you perhaps, young teens in a mediocre slasher flick? Someone tried to KILL YOU and you decide no, it's fine, let's take a break for the night, I'm going to the inn, you can head on back to the Sacred Guard which we just established is where the killer is hiding, this is a very logical, good plan with no flaws whatsoever.

Like, listen, I don't think Crick's death was really necessary (it doesn't actually add that much to the overall narrative in my opinion, aside from shock value, and we already had Jorg getting killed bc he Maes Hughes'd himself by knowing too much, you can't...pull the same trick twice without some fancier plot setup usually), but what really irks me about it was it was entirely avoidable if the two had just gone ahead and either investigated together (confrontation with Cubaryi could have still occured, except Crick would be there), or headed to the inn together since Crick's entire thing is protecting people and someone literally just tried to kill Temenos (and then they could have investigated and the chapter could have more or less played out the same except Crick may or may not die, like they could have had him die protecting Temenos before or after the fight w/ Cubaryi, although again, I don't think his death adds more to the story than leaving him alive would have, and my general thoughts on character deaths in fiction is that they should always be absolutely necessary for the entire narrative and plot to work)

So anyhow, yeah, Temenos's Stormhail chapter is actually where his story kinda starts to feel eh to me. I wish to release an army of puppies to chew on the writers' furniture and slippers, just for the frustration. Because like, as I thought, there doesn't have to be that many changes to Temenos's story to make it work for me, the pacing and random "horror movie protagonists IQ" doesn't work for me. Or Kaldena's writing. But both those things would require just the slightest rework to make the entire narrative flow smoothly.

Anyhow, looking forward to seeing Hikari get zapped off a bridge next (I know it's supposed to be serious and dramatic, but Rai Mei literally just zapping him off the bridge is so funny to me, she really just sees him and casts Bolt of Fuck Off). I'll also be keeping an eye out for Ori since her journals indicate she should be around for this next chapter.

[stillness138]

thinking about how i didn't even meet all of the tieflings back at the grove because all outdoor areas are a slideshow for me but ended up resolving the entire conflict by just downing the goblin camp leaders with halsin and suddenly at the party the people i spoke to for the first time already saw tav as someone to look up to

thinking about how the character i made has spent half of her life in near complete seclusion and the limitations of my laptop can be justified as social anxiety induced need to just streamline business in the grove as much as possible

thinking about how ever since killing minthara and starting to wear her armor tav has looked a lot more comfortable too, especially in comparison to whenever the game switched for camp clothes

yeah i think this one will be about confidence

[eggmeralda]

can you get burnout from doing nothing

[illogicalvulcans]

y'know i think i prefer when showrunners have an ending in mind to work towards and/or at least a general plan for the show they're making actually. idk maybe I'M the weird one for liking story cohesion between seasons in the shows i watch