#i have many theories about a great many things

[bringthekaos]

I'm excited for your thoughts on the new season if/when you share them

It has legit taken me 3 days to come to terms with Act 1. Enough to be able to speak about it. Gunna apologize in advance for the wall of text, and I’m hiding it under a break for spoiler reasons. Also prefacing with these are all just my opinions. All are free to disagree with me and RB with discussions/theories etc. just don’t be a dick about it, I’m not engaging in any discourse.

Ok. So. I have mixed feelings, and I’m aware that this is because I don’t have the whole story yet. So this is all contingent on how the rest of the season plays out.

First and foremost, I’m… wildly swinging back and forth between love and disappointment for Viktor’s arc. So first the negative, and I’ll try to keep it brief because a lot of people have already expressed this and I don’t need to be beating that particular dead horse.

Viktor has had his agency, his bodily autonomy, his original ideas and nearly everything that made him Viktor stripped away. Nothing so far has been his choice. And while this could have worked just fine for an original character, he wasn’t. So there is a massive disconnect between what this character was/should have been. In League, it was all his choice (albeit with a healthy dose of mental illness thrown in, but still). AND it was very heavily suggested that many of the augmentations he performed weren’t as extensive as he lead everyone to believe (namely the controlling/dousing of his emotions). But it appears that whatever the Hexcore did to him, it’s real. He is clearly having a difficult time accessing his emotions, and if he can feel anything, it is limited to the point of him being completely stoic. And the thing with stoic characters is that you obliterate any emotional payoff for the audience. It’s very hard to make an audience feel an emotional connection to a character’s story arc when they themselves don’t feel anything (I have a theory about this though, but I’ll address it a little later in this post). And then there is the issue of Blitzcrank. Blitz was Viktor’s whole world, after his exile. How are they going to swing that? Like, I’m not even asking for Blitz to be in Arcane (that would be great, but I really don’t think they have time). But I stg if they take Blitz away from Viktor, make them someone else’s invention (my suspicion is Heimer or he finds the idea in Sky’s journal)… I’m sorry but no. This was Viktor’s idea, Viktor’s genius. I will genuinely be extremely upset if they take that from him too.

Then there is the whole situation with Sky. First, this girl was fridged. She was nothing but a plot device and continues to be just that. It feels hollow and forced, especially now that he’s hallucinating her as some sort of penance for what he did. (I have seen the prevalent theory that it’s the Hexcore using her image and his guilt to manipulate him, given that it “ate” her, and we have seen it “manipulate” him before when it punished him for trying to destroy it). But back to Sky—he barely acknowledged that poor girl. The reason for that can be argued, whether it’s because he’s gay or because he was just so wrapped up in his one-track minded research. But regardless, there just wasn’t enough setup between those two for this whole thing to have as much weight and meaning as I think it’s supposed to. Honestly to me (TO ME) it reeks of comphet. It feels like that random woman they threw at Poe Dameron to No Homo him. I’m not even asking for Jayvik canon. But the creators were well aware of this ship, after all it’s the second most popular ship in this show and it’s been around since 2012 when Jayce was literally created for Viktor. I’m asking for the bare minimum here—that it’s left open-ended as it was in League, open for interpretation.

Last negative I have is the whole Viktor Jesus thing. The first problem is I am pretty violently agnostic, and messiah narratives have never spoken to me. I don’t enjoy them, they feel weak. The whole “ordained by a higher power” thing is just… stale. Especially when this character originally had no higher power, he gave it to himself through his own hard work and ingenuity. Honestly, Viktor’s original arc is about as far from a Jesus allegory as you can possibly get. And I am absolutely terrified that they’re going to end said Jesus arc the way you’d expect—with him dying for it. Which leaves the moral of his story “disabled man should have just accepted that he was going to die despite the fact that it was the oppression and xenophobia of Piltover that left him out to dry, without proper health care, accessibility, equality, or equity that lead to his terminal diagnosis to begin with.” Which is a very oppressor-centric narrative and we do not need another one of those.

Sorry, I know I said I’d keep the negatives brief, and that was… not. My bad. But moving on!

I’m not saying I didn’t enjoy it, I did. I am working to embrace this new Viktor narrative and work it into my brain in a way that doesn’t ruin the ship for me. So without further ado, the positives.

Jayce.

Jayce.

Jayce.

I’d have to go back and time it, but it feels like he got more screen time in this first act than the entirety of the first season combined, and his character shined for it. It humanized him in ways season one never did. He’s caring, he’s devoted, and he loved Viktor! No matter what kind of love you think it is, it proves he loved Viktor without a doubt. He carried Viktor several city blocks to the lab to save him, and then YES, he broke his promise about the Hexcore because he couldn’t stand the thought of losing him!

And he’s funny! (The scene where he picks up the regular sized hammer in the fight against Renni and made that “this is ironic” face?? And then basically the entire interaction with Ekko? The hand me a tome thing, and then when he basically pulled this when Ekko suggested “so this is all your fault cuz you pissed off the Arcane”:

GOD that shit was great. Jayce’s personality just shined, and maybe it’s too much to hope, but maybe this will douse a little of the hate. Because instead of being a subtle hint at all of those things being true about him, it’s now overt. And when people lack media literacy, the hints have to be overt.

And th-the. The h. The HUG SCENE. I don’t think I will ever emotionally recover from that scene. Starting with Viktor who, despite being clearly emotionally—I dunno, vacant I guess—sounded so lost and scared when he said “what am I?” For me, it was whispers of that scene from The Last Unicorn: “what have you done to me?” And my poor sweet Jayce, who clearly hasn’t left this damn lab except to go to Cassandra’s memorial. Sleeping on the desk and bleeding through his bandages because he doesn’t want to spend a moment away from Viktor while he “recovers.” And his euphoric response when he finds Viktor alive, when he realizes he hasn’t lost him. And I OWE HIM AN APOLOGY, goddamn. I said in a post that “Jayce will not understand.” I thought that was how Arcane was gunna start the divorce. But Jayce genuinely did not care, as long as his lover friend was alive. And just… Jayce being so affectionate through this entire scene. The hug obviously, but also blurting things he thought he’d never get to say to Viktor—“I’m resigning from the council, my place was always here in the lab with you.”

And… the hug itself. I know we’re all analyzing it frame by goddamn frame, but I see exactly what everyone else sees—there is a moment where Viktor very subtly smiles. But it’s gone in an instant, and it turns bittersweet. LOOK AT HIM.

There is something there, it’s just buried. Deep beneath the surface. It seems to say “I want this, I have wanted this for so long.” But then he realizes something, something I don’t think we’re meant to understand yet. Maybe that he doesn’t feel anything about it anymore, and he recognizes that this should upset him and it doesn’t. Or perhaps it’s something more along the lines of “it’s too late.” Whatever it is, I think this is the exact moment he knows he has to walk away. Because he knows he’ll cave to the affection, he said it himself. (Which is another thing entirely. His voice changes when he says that. Something in him is reacting to that word. Maybe he’s fighting against it, or maybe he’s fighting to get it back. But something made him almost growl that word.)

Which leads me to my final thought (for this post anyway, cuz it’s turning into a novel); Viktor is still in there. He can still feel things, I just think they’re extremely muted by whatever the Hexcore did/continues to do to him, or he has to fight to express them. Because he also smiled at the hallucination of Sky after he “cured” Huck. And if he feels nothing, he wouldn’t have been “joyous” at the thought of her being proud of him, approving of the good things he’s trying to do in her memory. He wouldn’t crave that validation, that vindication from her. So I’m hopeful that we start to see this shell crack a little, especially if those visions of Sky are the Hexcore manipulating him through guilt. It will start to erode him, no matter how stoic he has become. And literally the only thing I’m clinging to is that Jayce will see this and try to pull him out. “He’s still in there and I have to save him.” And that maybe it’ll start to work.

[midnight1nk]

So, this week's episode...

[Spoilers below cut]

save me SMG4 episode save me

(the following is my live reaction:)

moo-stache moo-stache moo-stache

why do I feel like Pedro's going to be here?

"bruh Pedro was just a one-time thing." they literally killed off Mickey, ANYTHING can happen

KAIZO YOU'RE BACK HI

OMG please tell me someone from the Team saw this fan animation and put it in the episode as a nod to the animator, that would be awesome!!!

btw great fan animation, go check it out if you haven't [link]

YAYYYY, c'mon Mario you gotta spend time with your brother :)

also I need to find a playthrough of this game while I work

whoops my hand slipped [*makes 4 say "I should've chosen the USB over you, 3"*] :)

Hey Shroomy :D ....oh *western spaghetti flashbacks*

like seriously, I can't hear that audio the same way again

helicopter helicopter (copter)

oh hey swag *he fades away* NOOOOOO

well, digging did (mostly, sorta) help the last episode

OMG HI HI HI MY SILLIES

Three, why are you here if you think it's stupid? unless... 🫵 🏳️‍🌈⁉️

it's giving "I'm only here to support my boyfriend's interests", like I'm starting to believe that they truly are dating behind the scenes

they're on a date, your honor 💙💜

and there they go bickering again smh /affectionate

I'd like to think that ever since Four drives a forklift, that's just his method of transportation. screw the car, we're taking this baby out for a spin :)

Mario, you need to be ✨forklift certified✨

sorry, just Three's gayass poses give me life

actually yeah why is the line not moving?

the boys :)

also that walk animation tho

HOW LONG IS THIS LINE?!

also c'mon Three, show us your dance moves :D

oooooh that editing i love that

THAT'S WHAT I'M SAYING

now that they've mentioned it, why are there so many conventions happening at the same time? hmmmmm *game theory theme starts playing*

SMG3: "Maybe they're lining up to go to your mom's house. That line's usually pretty long." DAYUM THREE

"the line doesn't end" ayo wtf????

shroomy, you've eaten mushrooms before and you had no problem with that

....it really is the end of the world huh

ONE WEEK LATER?!?!?!?

"there is no end" "the end will come" me, sitting in the corner: hmmmmmmmmm

whelp, it's confirmed, I kin Four now

Three's not going coo co crazy, he's just vibin' :)

THIS IS WARRRRRR

this whole fighting scene omg it's SO good!

....WOTFI? ok no :P

AWWW THAT WAS ACTUALLY SWEET DUDE

CAN WE PLEASE GET A HUG? FOR ME SPECIFICALLY?

.... yeah uh Boopkins, you're going to have to explain what the hell you mean by that

not that it's surprising, we've been through a lot. just another Tuesday (or Saturday in this case)

MY HEART CAN'T TAKE ALL THIS FLUFF

HUG HUG HUG

THAT'S MY BOYS

RAVE PARTY [*dances*]

....sonic, is that you? sorry, my mind is still in the sonadow generations phase so I can't unsee them

:O wait, Boopkins, what did you mean by that?

MARTY?!?!? WTF

SMG4: "Don't worry, Mario. There's one way we can fix this." Beat the shit out of him...? YEAH I KNEW IT HAHA

*explodes*

and congrats to samgagmincho for your art featured at the end credits 🎉

.・-: ✧ :--: ✧ :-・.

This was a fun episode, I loved it!! Seeing my boys is always a plus and I appreciate the return of some side characters. With how the world is right now, I really needed this episode. So, thanks Team, for keeping my spirits up.

I just enjoyed watching my silly little guys doing silly little adventures. Traffic is a nightmare so I don't blame Mario in the slightest. Anyway, 3 and 4, how was your date? /silly

Can we just talk about the animation? It was so good!!! You really see the quality they put in, especially in that fighting scene. I didn't expect MARTY of all people to be the cause of all this. I honestly thought it was going to be a gag of something harmless just being in the middle of the road for no reason (like a turtle or smth) and the Crew being like "ARE YOU FREAKING KIDDING ME?!" but NOPE, Marty was here and apparently A SORCERER?! I really shouldn't be surprised, what am I talking about here. And ofc the OG duo immediately beating the shit out of him is so fucking funny to me. He didn't die (I know that), but he's definitely going to be more relevant in the future.

...puzzlevision 2? ok I'm sorry

SMG4 show and jokes aside, I hope you all are ok. No matter what happens, we'll stick together. Don't give them the satisfaction that they want. You aren't alone, and we'll keep on fighting.

Going to be a Sonic fan here, Sonic 06 is famously known to be... augh. But there is a good moment with Shadow that I think is relevant now:

Mephiles (the villain of the game): "It's futile. The world will betray you. Why fight at all? Why risk your life for those who will persecute you later?" Shadow: "If the world chooses to become my enemy, I will fight like I always have."

Take care, my dear fellows, and I'll see you all in my next post!! Hmmm, there is "no end" [*game theory intro plays*]

[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

[tanadrin]

In general I think Yglesiqs is just wrong that trans issues motivates swing voters. This isn’t the gay marriage debate in the aughts. And I think voters who do care about this issue seeing a selective sacrifice of trans rights in some areas as a capitulation to transphobia isn’t going to inspire them either—especially when we have real world examples of “we just have some concerns around the edges” exploding to full blown anti-trans hysteria dominating even supposedly center left parties in Britain. And I think that would be a fair reaction. There are definitely institutions that are salivating at that prospect, even liberal ones like the New York Times. Things could get much, much worse for trans people very quickly in much of the US; they are a minority whose civil rights are in a much more precarious position than those of many others.

Swing voters are crucial but you do have to not badly demotivate your base! And saying to people who support queer rights and might try to argue to their friends and social media followers to vote on that basis that they have no other choice is not, in my opinion, a great idea; they may not vote Republican, but they may well stay home. If you can’t even be arsed to defend existing rights for people, that’s gonna turn a lot of people off.

“Popularism” is all well and good in theory but I think Yglesias is not reckoning with the information environment. A lot of popular shit Biden got no credit for because people get news from social media and memes. People seem to consistently think the Harris campaign didn’t say things it absolutely did say and did say things it absolutely didn’t for similar reasons; if swing voters think you ran the litterboxes-in-schools campaign when you mostly talked about affordable housing and cost of living (shit that is supposedly really popular!) you have a problem that is not what messaging should you adopt, but how to get your messaging to penetrate swing voters’ eyeballs in the first place.

And like maybe I’m missing something here, but it sure seems to me like Harris ran a pretty popularist campaign! She talked about housing and the middle class and how she’d crack down on immigration and how she was in favor of guns and she avoided talking too much about abortion rights (even though those are actually quite popular), and she didn’t win; and a lot of voters came away with the impression she was a far left radical. I think that’s a problem for Yglesias’ theory.

Matt Yglesias seems to think the only thing for the Democrats to do is to lurch as far to the right as possible and throw trans people under the bus, but I think this is stupid; MAGA candidates not named Trump ran behind their peers, plenty of Democratic policies passed in the form of ballot initiatives, and many Dem candidates outran Harris by at least a little bit. AFAICT the election was genuinely a backlash against incumbency and not a repudiation of Democratic policy positions generally.

Which sucks! But it also implies you shouldn’t screw over members of your core coalition to try to seize ground already firmly occupied by reactionaries. People with reactionary politics will vote for the brand name version, and you run the risk of alienating people who up til now voted for you. The problems liberals have relate predominantly to messaging in a fragmented media environment and the uniquely troubled circumstances of 2024 than they do to an electorate disgusted by trans women in sports or pandering to people who use the phrase “toxic masculinity.”

[lairofsentinel]

Since this user's posts seem to have been deleted in previous opportunities I copy-paste their words here because they express exactly what I feel about this game. Dragon Age has died, unfortunately.

I'm a big time Dragon Age lover and have enjoyed every game in the series. Personally, I think Inquisition is the best in the series. And I was excited for Veilguard right up until I actually began playing it. Now, I want to clear things up at the start as to what I look for and believe makes a good Dragon Age game. To start, I DON'T CARE ABOUT COMBAT. I. Do. Not. Care.

You can make it Origins tactical. DA2 fast tactical. DAI hybrid. God of War action, I don't care. Dragon Age has always had combat that was...fine. A nice distraction and breakup in between the bits I actually care about: narrative ROLEPLAYING, story, characters, and exploration. I don't give a crap how great the combat is if the narrative roleplaying and writing are poor, I'm not playing BioWare titles for amazing gameplay. I am here for the story, the characters, and the roleplaying. Truth is, for a time I considered DATV's combat to be the best in the series.

And this is why I feel the game is a terrible Dragon Age, because it lacks or fails to respect those elements concerned with narrative roleplaying, story, characters, and exploration. Now, in many reviews and online videos you'll hear some reference often to the drop in writing quality. And a lot of time people will incorrectly say that the writing with the characters is to "modern" or "Marvel quippy" or not "dark" enough. I think these people are wrong, they recognize there is a drop in writing quality from previous games but aren't able to articulate why that is.

Dragon Age has never adopted any sort of faux medieval speech and vocabulary (though we'll get into this more later). This is a series that used "epic fail" as a thing someone uttered in the very first game. It's always had anachronistic dialogue and banter. So why is it such a drop then? Why is it considered poor? Simple. This is a game that does not believe in the world it has setup for over a decade. It does not believe in or engage properly with its own world and lore. I mean, look no further than the title "The Veilguard" a phrase that is never uttered by anyone in our group, and further proof it was a last minute marketing change. Compare to Inquisition where the title is apparent from the start in the game and has actual meaning.

You see, characters in DATV do not feel or react to events the way they should based on the lore. Why is no one constantly asking what the hell the Inquisitor is doing? The Inquisitor is kind of a BIG DEAL when it comes to Solas and Elven Gods, my Inquisitor drank from the WELL OF SORROWS! So why are we sitting around thinking at the start, "hmm lemme think who I can contact who might know more." The Herald of Andraste! They know more Rook, the guy that is technically your boss. The Inquisitor! Who else have you been working for this entire time? Who do you think told Varric to recruit you?!

But even removing the Inquisitor, the Elven Gods being real and also near synonymous with the old Tevinter Gods is kind of a BIG DEAL. It was only a theory fans crafted long ago that slowly revealed itself to be true. And it completely upends known religious dogma on all sides. Yet, why aren't people we meet going through a massive existential crisis? For instance, the Veil Jumpers we initially meet were presumably told off-screen about Fen'Harel, and are seemingly cool with this massive knowledge alone. But then we talk about those two other Gods being released and they're like, "well, shit those two aren't good." As if they have any clue if the fables about those Gods are real when we previously just upended everything they thought about the Dreadwolf! Why are you acting like this is another Tuesday?! Your entire religion is wrong. In that same conversation, Strife notes "Solas might be a bastard, but compared to the Evunaris? Let's just say they weren't know for being kind rulers."

My brother in Anduril, what are you talking about! Elven religion teaches that Elgar'nan was so beloved by the Earth that it "the land brought forth great birds and beasts of sky and forest, and all manner of wonderful green things." And that he fought the jealous Sun that tried to burn the land and all beasts away. Custom says that he and Mythal, "created the world as we know it" after defeating the Sun. He is literally described as one of the "good" Gods. WHY ARE YOU ASSUMING HE IS EVIL! It's like finding out Satan is real, but not as evil as have come to believe and then being told Jesus Christ is back and a devout Christian going, "well shit, that can't be good." WHAT?!

The same goes for Andraste and the Chant of Light, it took me 30 hours of playing before ONE character mentioned Andraste and the implications with the Chant and it was never brought up again. Our entire party is seemingly made up of unphased atheists. Now compare to something like Inquisition which explored this aspect HARD and was amazing for it. You'd get into great debates with religious figures and party members about the implications of Corypheus actually being a Tevinter Magister of old. And you'd talk about what it means towards the religious dogma preached and how much is true. And these intense political and religious discussions are present in every previous game, and not confined to a single conversation with one party member where it is seemingly resolved.

These conversations do not happen in DATV because there is no depth to the writing or engagement with the world. The Elven Gods are evil and need to be stopped. That's it. We don't need to think about the implications this has on Dalish customs and religion. Fuck it, all the Dalish are going to still wear their Vallaslin slave brand tattoos. Let's forget about Trespasser implying Solas was removing them from followers coming to join him. Let's even forget they were likely all told at this point that they are slave brands, nope still going to wear them yet speak blasphemy with every sentence against our Gods. No one cares about Andraste or The Maker or the Chant. Big deal if these Elven Gods contradict the overwhelming majority religion in Thedas. Not a single party member has religious or cultural objections to killing the Elven Gods; not a problem. Not one single elf wants to join Solas in tearing down The Veil and getting immortality again?

Again, let's forget about Trespasser setting up Solas gathering MANY Elven followers from Dalish clans who would be super inclined to join him after experiencing CENTURIES of discrimination and slavery by humans. The better question is what Elves wouldn't join Solas at the start? And what Elves wouldn't look at the other two Gods and go, "meh, maybe we should give them a try. They can't be worse than humans, right?" In DA2 you had elves joining The Qun to escape the discrimination of humans, but not ONE ELF wants to join Solas or Elgar'nan? Those Ancient Elves in the Temple of Mythal? I guess they all died, right?

This extends to EVERY single element of Dragon Age that previously had depth to it, it now has been completely removed. Those murdering Antivan Crows? Oh, they're just good Italian Mob Family that protect their city. Tevinter? Yes, it has poor people, but we're trying to do better. Oh, slavery? No, no we don't show that here. The Qun? The what now? No, they are all Antaam now, and so that means they are all generic evil warlords. No, they don't even attempt to follow their own hardcore view of The Qun like when Templars split from the Chantry, they're just warlords now that like plunder. Dwarves and their rigid Caste society? We don't do that here. Elves and racism across Thedas? Elves used to experience racism? News to me, what's a Shemlen? Never heard of that term, we like all humans. Pirates? That is insensitive, we are Lords of Fortune and we are sure to return any cultural artifacts found to their rightful owners; it belongs in a museum after all. The fucking Fade and spirits? Wait, you mean its different than generic fantasy spirit world? I'm sorry, that's too complicated here.

This either intentional disregard of the lore or plain ignorance also extends to environmental design. The asset reuse from Inquisition is particularly hilarious and must speak to the developers not having time after the switch from MP. Why are the same statues found in Val Royeaux in DAI also in Tevinter and Antiva? Why are those stupid Fen'Harel Wolf statues EVERYWHERE? Even in the catacombs of other Elven Gods! There are no statues of Elgar'nan or Ghilan'nain. Nothing for June or Anduril. Dirthamen. Falon'Din. Nothing. No, the only Gods that seem to get statues are coincidentally the ones who already had assets created for DAI or past titles that could be reused. Hmmm.

This continues into character designs too, why do the Veiljumpers and Shadow Dragons all dress richly? They are supposed to be poor as fuck. There's a codex entry about Veiljumpers finding a lost cache of old ancient elven armor and weapons and so boom they all get to dress like High Elven Lords and not the dirty, poor, wandering Dalish clans they are supposed to come from. Why do this? There isn't even an attempt to explaining why the Shadow Dragons, an organization supposed to be secretive, has branded clothing in bright rich colors and fabrics for all members. Naturally, it must be incredibly difficult for Tevinter authorities to not identify them.

This lack of depth and verisimilitude, naturally, affects all the characters. Because in this game you cannot roleplay and you cannot ask questions. In Dragon Age Inquisition, once you started the game, you could immediately interrogate Varric about what happened to every DA2 character despite the Inquisitor never meeting them, you know because it respects its players. You could speak to shop keepers, blacksmiths, your horse master. You could interrogate every single person to learn more about them and the world. The same goes for your player character in DA2 and Origins. You show in Denermin and find yourself knee deep in a quest to help Wade the Blacksmith craft the perfect armor. Here you can't actually speak to a single shopkeeper to ask questions and get some lore bits. You can't ask party members questions about their background, religious beliefs, upbringing, their factions, etc. You can't ask any returning characters any questions either about what they've been doing. Enter a brand new area? Great, you're not asking anyone questions about this never before seen place.

How does a lost Dwarven thaig survive every single blight? How are their immortal lichs in Neverra? How long has that been a thing? Why haven't they told anyone about the Elven gods or any other knowledge they've accumulated in an immortal lifespan? If immortality is so "easy" why can't Solas just do that to restore the Elves? Why are the Venatori, Tevinter Supremacists, following Elven Gods? Wouldn't that be a major identity crisis? Why would Antaam, who still preach the Qun, follow an Elven God that speaks blasphemy with ever breadth? Sshhhh, no questions. You get what is directly told to you and that's it, no follow-up questions.

Party members do not conflict with each other or interrogate each other's beliefs which is why their banter feels inconsequential and meaningless. Lucanis is a assassin, he kills people for money. The same organization that marked Zevran for death for failing a contract. The same one that took him as a kid and trained him to murder, often brutally, for coin. And yet no one really seems to care. He's just a nice Italian assassin from a nice assassin organization. Who cares. Let's instead talk about cooking, at length. Harding, a devout follower of Andraste, has no qualms with Elven Gods wreaking havoc on known religion. We get one conversation you can tell her to believe what she wants, and that's the end of that debate. Bellara also gets about two whole conversations about the conflict concerning her Gods wreaking havoc, both easily resolved. We don't need to think about any larger implications or doubt her loyalty when the Elven pantheon are seeking to restore her people that have been discriminated against since forever. Emmerich, a necromancer of Neverra, apparently has no religious belief. A codex entry even states that those of the Mourn Watch don't know where the soul goes after death. They don't like to think about it. Buddy, Mortalitasi belief is literally that our souls return to the Void alongside The Maker, but to keep balance a exchange must be wrought with The Fade to allow a spirit to house the now empty vessel. How do you not know the religion and customs of your own faction and land? This man has a whole quest line about funerary rights, yet not ONCE mentions religion and what he believes happens after death?! Sshhhh, no questions. No thinking.

Hey, remember The Fade? Remember how mages go to dream there every night. Remember how The Black City is always visible there? No? Well, we don't either. You won't see The Black City in The Fade. You might see it in The Crossroads in a closed off section, even though it is NOT The Fade. Oh, we're going to have you physically enter The Fade in multiple quest lines and no one will think it's a big deal. No, you still can't see The Black City. Now, The Fade is reduced to nothing more than your generic fantasy spirit world. It has none of the previous rules and lore that bound it before. Demons can bind to non-mages and we won't attempt to explain it. Solas fucks with The Veil and not a single mage notices a change in their dreams when they sleep at night. No biggie.

Lastly, let's return at last to the actual minutiae of writing. I stated at the start the writing isn't bad because of Marvel quippiness, which the series has always had. I was partly lying. Yes, the series has always had anachronistic dialogue. It has had meme language in its own previous titles. But, it was just that, a small joke here and there. For the most part the series actually tried to use it's own sort of "older" speech patterns. I think a perfect example has to do with Taash, she eventually finds her own identity and declares she is proudly "non-binary." Literally stating, "so, I'm non-binary." I have no issue with this sort of inclusivity in Dragon Age, it's what the series is known for. Yet, why does that sound wrong? Simple, it's far too anachronistic. It doesn't belong in Dragon Age. In Inquisition, Dorian let's us know he's gay. But he doesn't say, "I'm gay!" or "I'm a homosexual" those terms would not exist in his world. Instead he says, "I prefer the company of men."

And it's these little subtle changes in writing that makes it feel all the more different. We went from "I once ventured in to The Fade to serve the Old Gods of Tevinter in person. I found there only chaos and corruption. Dead whispers. Now I shall return under no name but my own, to champion withered Tevinter and correct this blighted world gone wrong. Pray that I succeed, for I have seen the throne of the Gods. And it was empty."

To: "Well, shit. That can't be good."

So, what do we have when all is said and done? Well, we have a decent generic fantasy action game. An intentional attempt by the developers to remove every edge from the world of Dragon Age in place of a very simple, easy to understand world with not much depth beyond what you see. You don't need to think, just play and have fun. This is beyond turning a MP game into a SP game, which so blatantly obvious in this game. DA2 was developed in 16 months, but is carried strong by its writing. You see, nothing prevented them from just acknowledging their own world they created. It costs very little to write around what already exists. Even if you can't make no assets or redesign the world. Writing is cheap and having characters voice these elements is not as costly as a redesign. No, they chose to remove the edge in every element because this was design intentionally for the masses with easy to understand world and zero depth.

But I wanted to play Dragon Age. I wanted to get into intense religious debates with party members as known lore is completely upended. I wanted to debate Elvish clans deciding to join Solas or the other Gods due to their treatment by human society. I wanted to debate the ethics of necromancy with the Mortalitasi of Neverra's Crypts. I wanted to engage in intense debating with Solas on the ethics of his goal. I wanted to see Tevinter react to a real push for anti-slavery and actually see the slavery in the slave capital of the world. I wanted to butt heads with the Antivan Crows and call them out for the murderers they are. I wanted to see the Black Divine and debate the Chant of Light with them. I wanted to speak to the Archon of Tevinter and see how he felt about the Venatori's past efforts in Inquisition. Hey, what happened to Meredith Reborn in Kirkwall and her idol and Red Templar worshipers? Forget about it.

We got none of this. I got a game that is pretty much disrespectful of its own world. I waited 10 years for this? Why even bother if this is the result? They may as well have just killed every previous character we ever knew, including Solas, offscreen and started anew with this game. Because as a Dragon Age game and sequel, it's terrible and no returning character is how they should be.

And when we get to the ending, that's pretty much what they did. Everything you did in all the past games? Well, that was pointless. Everyone is probably dead. King Alistair. Gaspard. Celene. King Bhelen. The Arl of Redcliffe. The Divine. The Circle of Magi. The Templars. The Seekers. Everything, everyone, and every organization that existed in the South is likely dead and destroyed. And now Dragon Age can become what they wanted, a generic fantasy IP.

But I just wanted to play Dragon Age.

[unidentified-moe-object]

Fuck it, it's late, and I wanna go to sleep, but I probably won't be able to until I've properly articulated this somewhat batshit gender social theory I've been rotating in my mind for a while now - I think that the current "crisis of masculinity" in the western world was catalysed by the invention of the nuclear bomb. Note that this post is unfiltered, unedited brain noise and bullshit

So, essentially, traditionally masculine personality traits are good for being a hunter or a soldier, but they kinda suck for anything else. If you want to, like, function in modern society, traditonally feminine personality traits are much better for that. This is why we see, for example, girls consistently outperforming boys in schools these days.

Now, in ye olde days(tm), society actually needed to have 50% of the population as potential soldiers to throw into a meatgrinder for a few square miles of dirt every 20 or so years. But at the end of WW2, the nuclear bomb was invented, and suddenly great power conflicts are something that no-one can win and are to absolutely be avoided at all costs.

So, given that a proper great power conflict will probably cause the extinction of humanity, society doesn't really need to have that many soldiers anymore. But people still haven't gotten the memo yet, and are still conditioning half of the population into soldiers from birth. And what do soldiers do when they don't have a war to fight? The recurring historical problem is that a lot of them become bandits.

The only real solution to this is *wesker voice* complete global feminisation. That is to say, the abandonment of traditionally masculine personality traits and the embrace of traditionally feminine ones. So long as we remain shackled to the corpse of masculinity, we'll never be able to move forward. This will likely be a very slow process, taking place over the course of hundreds of years and not being complete until long after anyone reading this post is dead, because frankly like 95% of people - man or woman - do not want this to happen, they want men to continue being traditionally masculine. There's a lot of societal inertia that has gotten us into this mess. This change will only happen as, gradually, over the course of many generations, people stop wanting that.

Notes:

This is one of the things that frustrates me about reactionary masculine gender influencers. By trying to bring about a great masculine revival and encouraging men to be more masculine, they are harming the very people they claim to represent, they are encouraging people to become more maladapted to the society they live in, whereas becoming more feminine would be becoming better-adapted

Japan might be a bit ahead of us here. Feminine traits in men are depicted as positive and even romantically desirable in a way you just don't see in English-language works. I suspect that if an English-language writer were to try to do that it'd come off as kinda preachy, as if they were trying to convince *themselves* to be attracted to those traits. Whereas Japanese-language writers don't need to do that because they genuinely do find it attractive.

Alright, actually going to bed now

[thenationofzaun]

Fans can come up with a million analysis posts, interpretations, metas, and theories as to why a character acts the way they do. But if none of those things are ever explored within the story itself, what the hell is the point? It's great that fans can come with their own interpretations but there comes a point when the writers have to actually put in the work and not expect the audience to fill in every single blank for them lol. You could pull a thousand and one reasons for Vi's decisions out of your ass, at the end of the day, every single one of those would be headcanon if there's not an inkling of it in the show.

Again, Vi is a main character and one of the two leads of the show. Her relationship with Jinx is at the heart of the narrative. Their mirror arcs of one becoming a fighter for Zaun and one becoming a fighter for Piltover should balance each other and be equally explored in depth. Vi's reason for joining the enforcers is driven by a complete rando side character giving her an ego boost. It is over and done with in one episode. The effect long-term prison as a child has had on her goes unexplored. Vi forgets about Ekko, her childhood friend whom she just reunited with, and never mentions him in 5 episodes. Vi wants to murder her own little sister whom she raised for reasons also unexplored. This is not a "flawed gray human character". This is a nonsensical mess.

"You just want characters to be Good and Nice", no I want characters to make sense. "Vi is just a bad person", almost every single fucking character in this show is a bad person. You don't see me complaining about how they're not believable as characters. "Of course it makes sense! Vi actually did this thing because xyz and abc and bla bla bla", are those reasons shown in the show? No? Then it's your own personal interpretation. I don't have to accept it and I expect the writers to actually put in the effort to. You know. Write their show.

This is actually pretty pathetic writing for a main character. It's insane to me that so many people have no problem with it. These are the standards we have for character writing?

[velvetvexations]

a trend i've noticed when it comes to discussions around transandrophobia, specifically people's reactions to it, is that anti-transphobia people are very prone to cherrypicking

i almost never see the well thought out and reasoned posts discussing transandrophobia responded to at all by self-identified tmes who are transandrophobes and transradfems/TIRFs. the only posts they put up on their blogs as evidence of "the real nature of transandrophobia truthers" are ridiculously bad faith posts they found randomly that have like 2 notes and no one in the greater discussion takes seriously or backs up. in fact trans men discussing transandrophobia frequently do call out transmisogyny that does crop up.

but suspiciously they have NOTHING to say in response to the posts that actually talk about the theory, or evidence of transandrophobia and transandrophobic violence, none of that. they actively erase those discussions either by refusing to engage with them or by cropping out most of the post to completely misrepresent what's being said, because they probably know doing so will reveal to their circle, their followers, and themselves just how bigoted they are actually being. so instead they go hunting for the worst posts they can find to support confirmation bias and propagandize people against trans men

i think a lot of people have a strong vested in interest in ensuring that trans men can continue to be treated in this way, broadly and within these more niche queer and trans discussion circles. because i think a lot of people have gotten very used to and attached to the fact they have someone they can punch at with little to no consequence (or in fact be cheered on for it). furthermore, a lot of the support structures of their platforms rely on transandrophobia because a lot of their blogging is in response to a manufactured enemy in trans men. and also because people feel good having someone they can punch and feel powerful over. and i know at the end of the day these people are probably hurting in a myriad of ways as well and are lashing out but i only have so much patience and compassion for them when it has become as bad as it has

anyway i know this is kind of rambly so i hope it made sense. i just see so many great posts by trans men participating in the discussion and every time i look at the notes to see how people are engaging with what is being said, none of those big names you mentioned ever do. they never have any thing to say to those posts. and you can't tell me they aren't aware of them because i know they often stalk the blogs of the trans men in question. they're more interested in erasure and a manufactured image that they cultivate and control of trans men. if the word of those trans men's posts actually gets out to their audiences, said audiences might realize just how much they really are just transphobic frauds. i hope people will wake up and smell the coffee some day.

Some arguments rely entirely on keeping your audience from seeing what's being said. They know I've never harassed anyone or directed my followers to but but I was getting instantly blocked well before those accusations sprung up entirely because I left one disagreeing comment.

[notfeelingthyaster]

we've gone through raphael, lucifer, and now baraquiel for names to pre-fall/angel crowley, BUT WHAT IF, what if the J in his "middle name" that "doesn't stand for anything" actually stands for his angel name as an indication of Something™

[giantkillerjack]

One of the things I love about Glass Onion is the way that the camera and music work together to tell nonverbal jokes.

Like when Benoit basically has to hold Miles' hand to get him to the conclusion that someone reset the puzzle box Benoit lies about receiving:

Benoit asks if it's possible that someone reset the box, and Miles then declares that someone must have reset the box like it is this huge reveal - and the camera zooms out while the music subtly swells as though he really has figured out something smart, when actually he literally restated what Benoit just said.

[fruityassumptions]

Just getting into Tgaa and holy fuck holy shit what the fuck

[sysig]

Giving nicknames, testing boundaries (Patreon)

[pumpkinsouppe]

It breaks my heart that people think the hero of time’s story is just a tragedy

Ocarina of time is absolutely a tragedy, but Majora’s Mask is not

Majora’s Mask is one of the most hopeful pieces of media I’ve ever consumed. It has a bittersweet end, but you finish the game knowing that link will be okay, that he can and will survive on his own. Sure he had to leave his friends behind again, but he CHOSE to do that this time. He knew he couldn’t stay in Termina and he made the choice to be a child again.

I do not for a second believe his entire life is a tragedy, NOT after all of Majora’s Mask. The game specifically designed to be about healing and love. Idk where the theories that link died or became a child soldier (?????) came from but I feel like the entire message of Majora’s Mask was just completely lost on a ton of people 😭

[stuffedsand]

There's something interesting to be said about the opinions of different fanbases based on culture and how it affects the votes but it's late and I can't write it out too much so only one example for today: amane

Down under the cut so if it gets too long it won't affect anyone's scrollin

Also warning the tags are long on this one

- <- this indicates a new talking point

Basically I think the jp/more asian parts of the fandom tend to lean towards greater good (amane guilty to protect shidou/mahiru/fuuta because if shidous incapacitated in any way someone's dying, mahiru is prone to dying any moment, fuuta is prone to cult mindset rn). Despite my non japanese speaking ass not being able to gather direct evidence for this, I use those surrounding me (asian in asian country) as evidence; namely, how they're mostly amane guilty voters

-Now I'm not saying my personal take but the reason given for guilting her is well. As much as it will cause her more woe it's one way of guaranteeing the safety of the prison. Shidou is the only medical professional after all, and she's "completely hostile" towards him, acc to jackalope. And she doesn't need to overpower him; shes smart, and could sabotage his equipment or just like. Go for his hands to incapacitate him. I doubt he'd fight back.

-Alternatively, it's because it would cause her to fall back on believing she's right. Telling her she's forgiven with how she's acting would cause her to believe her persistance and dedication to this (harmful) mindset is what got her forgiven in the first place

-Meanwhile more western? English fanbase ig I'm not too sure of demographic, but the English speaking side tends to focus on how it affects her. Because of the belief that another guilty verdict will cause more harm to her, an innocent verdict is the obvious solution. What I've seen is the greater focus on what caused the murder over the murder itself and the effects of an innocent verdict on others and then her beliefs. A focus on the past over what she's promised to do in the present and future perhaps. Idk.

-Another reason for the difference could. Possibly be how punishment is viewed? Western countries have much more stigma over any form of punishment but in Asian countries it's normal. Now while I'd say physical punishment isn't the way to go, the refusal of punishment shouldn't be rewarded (imo) but that's all I'll say on it.

-The English fanbase also focuses a lot on how young amane is and how her circumstances were terrible and all that. Those around me tend to focus more on her thoughts around the crime, what she believes the crime was for and how in the right she thinks she is. This may also be the cause of the moral grandstanding I see so often (ie. If you vote amane guilty you're a baaad person) (I don't agree with this btw. That's stupid this is fiction don't insult others over an opinion)

What I will say is the English speaking side is more sympathetic towards amane. They (y'all?) Take her situation into a lot of consideration, and focus on her age as a large factor. Whereas those around me and I assume might be close to the views of the japanese fanbase are more objective, looking at what harm she could cause and what's the greater of the two evils, as well as what she's going to do with the verdict (ie. Use the inno verdict as her doctrines are correct and very right).

There's slight thought given to her age and circumstance of course, by it that's not the main concern rn. Given the current situation, most of my milgram voting friends stay certain that an innocent verdict will not end well, hence the guilty vote. I mean I have a couple friends that feel bad for guiltying her because of her circumstance, but do it anyway cuz it's for the better. My opinion is that she should've been innocent trial one, since we wouldn't have known the concequences, but it's too late now and an innocent will cause more harm overall

tldr asian fanbase from experience focus on the crime itself + what they're gonna do with that experience whereas eng speaking fanbase focus on the circumstances surrounding the crime and on judging only the crime

In myyy opinion. Judging only the crime based on your interpretation isn't how the system should be working, it should take into consideration the prisoners' attitudes and how the prisoner perceives the crime as well.

I hope this was coherent I typed it out at 11pm and went to bed immediately after and I've barely edited anything cuz awake me is less coherent than half asleep me

Also hope this was an interesting post? This topic is interesting to me but I explain better in speaking over typing so it's probably hard to read but I hope this topic scritches y'all's brains like it does mine :)

[soggypotatoes]

so I've been saving up for a while to get myself this art kit for my bday present to myself, it's not huge but yeah anyway it came in stock so I bought it!!

it's multimedia and an artist teaches you through a workbook how they use the mediums together. ive started it, it's weird cause I'm pretty staunchly self taught, I never look up tutorials ever so I feel weird reading about how something works lol (even tho the tutorial part is barely a tute, it's mostly guiding you through messing around with the materials and how they work together)

anyway. point of this is im being tricked into using watercolour, my biggest fear in art, and it's going okay! I feel nervous with it though. esp since I'm still trying to just figure it out myself and the booklet doesn't teach you how to actually use it, so I'm playing it by ear. but part of why I avoided it was bc it seemed like a medium very resistant to like, just fucking around until you get something that works. but whatever. I'm gonna fuck around! and I'm having fun with it!

[wabblebees]

never never never in my life gonna be able to beat the weirdo theatre nerd allegations. its midnight and for the last few hours ive been (voluntarily of my own free will At No-One's Behest) doing some character research for the show we're working on (which at a certain level is Absolutely Necessary!! but at *this* level is Absolutely Not. lmfao)(and so... ik for a fact if i mention this in rehearsal tomorrow im gonna get a whole lotta blank stares ((or TERRIFIED looks from the freshmen wondering if they should be doing this much work lmao))

but anyway so about 10 minutes ago i found a fucking essay (just 9 pages out of this philological collection from the 60s) that just the idea behind the Very Simple title made me so excited i had to stand up at my desk to start reading it and fully forgot to sit back down until i realized i wanted to start TAKING NOTES..... WHICH I GENERALLY HATE DOING WHILE READING........ BUT IM TOO EXCITED AND DONT WANNA FORGET ANY OF IT.................. SO IM TAKING FUCKING NOTES

but anyway beyond tHAT the thing that actually made me pause to start typing this post though is the fact that just now, four pages in, this essay finally put something into place that ive been puzzling over in my head since i very first read the play which... made me happystim so hard i almost knocked myself out of my fucking chair. hdkdgsjfkfhdgskdgwrdjfk.

so yeah. never beating the nerd allegations. lmao