#its messy dev

[valgeristik]

Ничего не останется от нас, Нам останемся, в лучшем случае, мы

hi. hello. listen to this song

i have so many thoughts about these two. oh my god. maybe i will write it out some day, but for now drawing it out will do

translation will be under the cut! knowing the words does add to the work so i do recommend reading it. or just enjoy the art <3

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heres the translation, color coded according to how i broke it up for the art. just in casies

first page:

Love is scarier than war

Love strikes more true than steel

second page:

More true, because of your own volition

third page:

You run towards all the winds

Let there be pain and eternal battle

Not atmospheric, not earthly

fourth page:

But definitely with you

caption:

There will be nothing left of us,

we will be left with, in the best case, ourselves

[lethality-of-dual-strike]

favorite FOP characters part deux (this time with more of them)

[lordgeneralsix]

I can't remember who said this but there was this one dev who said that when making romanceable characters they have to be attractive in some way (personality, looks, not too morally fucked up etc). and since I read that, the statement hasn't left my mind and I'm very aware now of whenever outside influence and modern discourse get to me or other writers. like just yesterday I found myself rewriting a scene to be more "comfortable" to witness, even though the point was to be emotionally charged and face a difficult topic the character had been actively lying about. but some things can't be glossed over. sometimes it's good when media grabs you by the shoulders and makes you face horrible shit. it's good when media makes you uncomfortable even if it's coming from a ~romanceable companion~. that means it's working. if you remain comfortable forever you learn nothing.

I bring this up bc the veilguard companions are the perfect example and victims of the "romanceable characters need to be attractive" mindset. they don't have ugly sides, they don't fight with each other--and I mean really fight--they don't have controversial opinions or do problematic things. they don't ever question your authority over their lives and why you're the guy in charge. they are nice and perfect and their problems aren't really that serious and can be fixed by simply having a therapy session w rook (bc being possessed or gaining new magic isn't a big deal in a world where previously such events are Very distressing and hard to control). they are further proof that trying too hard to make something attractive has the complete opposite effect if your brain isn't the size of a pebble.

it's overall very frustrating that big game developers continue to be so spineless and I'm not giving anyone a pass for shallow writing, especially from a franchise that is known to have complex characters. none of this is impressive after the first three dragon age games, which were well loved and dissected and debated for years after their release. that isn't to say these games don't have kind characters, having that balance is why I personally like dark fantasy and liked what the dragon age games offered (whenever the writing was good..). it's not dark for the sake of being dark (see grimdark), there's a reason why these things are happening, and in this world no one is completely innocent even if they have good intentions. most people like when their characters aren't always kind or agreeable, bc it's extremely rewarding to finally find that middle ground (of course I have to bring up larian, who made bg3 and proved just how much people appreciate flawed characters, see astarion). conflict is the driving force of a story, no matter what it is. even the most sickeningly sweet cozy slice of life story will have some kind of conflict. it's unavoidable. that's life. taking that away is setting yourself up for failure and all that remains is a boring story full of boring people. no one cares about characters who have their lives together.

(the post is technically over but I wanted to put some final thoughts under the cut bc this got longer than I meant)

I want to go back to the statement real quick... like i do agree, it's true as writers we'll subconsciously (or consciously if you're insecure) try to make our characters appealing, but this is the common trap writers fall into by giving a shit about what others think and want from Their work (which btw I fully believe in writing what you want even if it's "bad" because something with genuine soul will never be as bad as soulless cashgrabs). romanceable characters can and should be as flawed as you'd make any other character, bc trust me there's an audience for everything. even a random npc with two lines will be attractive to someone.

the pressure of an imaginary audience is what pushes writers into a corner and prevents writers from writing and exploring what They want. it's the writer's story first, not the audience's. I think the romanceable companion trap can be easily avoided if writers just 1) grow a bit of a backbone and 2) ask themselves if this is even a necessary or insightful mechanic that will help develop a character further. ask themselves if this character even has the capacity to handle a romantic relationship bc everything else is subjective and it's impossible to appeal to everyone (which apparently this is a controversial take). I won't sit here and pretend that I don't appreciate a good romance, but sometimes all someone really needs is a friend.

obsidian is a good example of self aware devs. they tried to do romance for pillars of eternity 2 bc of fan demand, and it didn't work very well. now for avowed, they didn't explore romance bc they know it's not their strong suit and don't feel it's necessary for this story, instead that time and effort went to developing the characters in other meaningful ways. I have nothing but respect for such a decision bc they know what they want from their story instead of lying and trying to be everything at once. less is more as they say.

[kelocitta]

Tangentially related to some of the discussion i posted earlier but quiet literally the first RW Art Month i participated I did it completely on whim like, one day before it started. And I mostly did it because I hadn't drawn a ton of rain world and wanted to draw more. Fandom presence was a lot smaller than and I was one of a handful of artists who did the entire thing. Fast forward and I still do Art Month and I've gotten to work with VC directly. But it was quite literally something I decided to do completely on whim that set the ball rolling, and for something a lil more niche and certainly with a lot more dev/fandom art involvement than most. It's really random how and why you might get noticed more than usual, especially with the "toss it into the search and hope it pays out' mechanism of Socmed

[snowrosestudio]

I don’t usually share wips of my embroidered portraits but i wanted to take a pic before I start stitching on top of the painting because there’s a high chance I might stuff this one up I am NERVOUS

[ratxklng]

ummm. idk!

[lesbiangiratina]

Not very fond of people like waving off testament’s gender as just a Gear Thing but well at least it becomes funny when people apply it to gears as a whole. Like yeah i can agree with that. It has nothing to do with being a gear tho theyre all just transgender

[neon-zipperooni]

in light of the new costume implying some things.. boy howdy, here comes a hot take, the crk fandom needs to understand the prospect of shadow milk being redeemed is not the end of the world

cookie run rarely even does redemption stories, the only big example of villainous characters being redeemed is in ovenbreak with lotus dragon cookie's growth and lychee dragon cookie building up to a redemption, which while i think on lotus's end it was kinda rushed they've been handling lychee very well, so its not like redemption stories in cookie run are "overdone" (also im sick of the "nooo im tired of redemptions" argument when 1. not everyone is, i personally love a good redemption story and 2. there are plenty of villains out there who are plain evil with no redemption, it's not a dying genre)

also it would be way more interesting than the more obvious resolution to the beast storyline of just sealing them away again, i think finding a way to appeal to the shreds of.. humanity? cookiemanity? still within them is a much more interesting narrative and lends itself to more stories to potentially tell with these five very interesting characters. and there are implications that the cookies they used to be are still in there somewhere, especially with burning spice, given how he full on bluescreens for a moment when reminiscing on the first kingdom he [....] (my money's on watched over, but we dont know what he was gonna say) when talking w/ nutmeg tiger in the kingdom

i've seen a lot of people say they'll lose interest in shadow milk if he gets redeemed which baffles me because for me at least, while a decent chunk of the appeal of the beasts is how interesting and entertaining they are as villains, one of my favorite parts of them is the heroes they once were, what they could've been like during those days, and the tragedies that led to them falling so deep into villainy: witnessing the worst in cookiekind and becoming disillusioned and deciding nothing should exist, witnessing their denizens live grow and die over and over and to the point they get sick of it and end up embracing destruction to take control of the cycle, and.. whatever we end up learning about the other three and what corrupted them.

for me, i see it like this lmao

and like, don't get me wrong, i know all the beasts really aren't good people but a redemption story doesn't necessarily mean a slap on the wrist, a redemption story can be about atonement just as much as it is about changing for the better, it can be messy, a sobering moment realizing everything you've done and everything you need to do to make up for it, there is sooo much story potential in delving into their pasts and delving into a redemption story of the beasts atoning for their deeds and growing as people it's crazy.. and besides, they were heroes once before, who's to say the potential to be that again isn't still within them?

i personally really wanna see a beast redemption and i'll never fathom why so many people are so against it when it's so much better of a way to conclude their story as the current main threat than just sealing them away again, i just hope that if this really is the route the devs go they'll handle it well because it can just as easily be done wrong, i have faith though

also i've seen a lot of people say the shadow milk costume looks ugly and they're WRONG it looks amazing i love blue and gold as a color combo

[manikas-whims]

Xavier — No Restraint 🚫⛓️ | thoughts

First of all, let's take a moment to appreciate how FINE Xavier is 😩 this man is a perfect blend of gorgeous, beautiful, sexy and cute ♡

from the perfectly messy hair, to the shape of his eyes, to how they darken at you, to the pretty jawline, to the collarbones i’d lick and kiss 💋 to the broad shoulders and that impeccable chest.. HE'S SO FINE!

As I said before, his cards are all about intimacy. They just feel so tender yet sensual and intimate.

The way he puts that lotion on your knee, admires your skin, is literally mesmerized by it! And the way he slowly n sensually runs his hand along it, fingers slipping beneath your dress with a purpose. He's on a mission to make you feel just as down bad as he is for you..

So when you touch him in return, playfully put a bit of lotion on his nose, his gaze is feral. It's like he's literally frustrated that you don't even understand the effect you have on him..the things your mere touch does to him 😩

I AM SO SURE THIS EXPRESSION IS A RESULT OF MC’s FOOT WORKING ITS MAGIC ON HIS DICK DOWN THERE 🤭

He bites back (literally) in retaliation, and it's one of the sexiest things a man can do to turn you on. But even the bite is slow and deliberate..

He's barely holding himself together at this point.

And then you go ahead and do this.

Crumble his resolve with a whisper of his name.

It's the most attractive thing you can do. Take his name in ways you wouldn't for anyone else..

YOU ARE HIS UNDOING 😩

His expression is so full of want and betrayal, his eyes literally expressing “how could you do this to me? you'll be the one who's responsible for the consequences!”

“something broke”

Yes gurl! HIS SELF RESTRAINT BROKE!

Do you realize he's been waiting for 214 Springs!? Do you realize how much he's been “restraining” himself from straight up devouring you!?

He's unrestrained now.

He isn't mad. His expression is about conflict. It's like he's telling you wordlessly, with his darkened gaze that..

“YOU BROUGHT THIS UPON YOURSELF”

yep he's about to wreck that pussy 🤭

From angy bunny to agitated predator.

You're in for a long night..🥵

And lastly..

Xavier said “composure is overrated. lets be horny together and fuck like rabbits in heat” 🥵

i really wish the card didn't black out on this moment and continued on a little further but the devs and story team are already teetering around that 12+ age rating so its understandable 😆

AMAZING CARD ✨ TOTALLY WORTH THE GEMS SPENT 🔥

[mourn-and-watch]

in all seriousness, dragon age being almost officially dead to me is, like, whatever. i'm used to hanging out in dead fandoms because i'm usually extremely late to the party so i think i'll manage. i was excited for veilguard but even if it was bad bad for me (which it wasn't. i have my problems with it but they didn't ruin the franchise for me) i would also manage because dragon age to me always was extremely flawed but had an enormous potential for fan content. at some point i started to treat it like my favourite fantasy playground where i can smash pre-existing barbie dolls with the ones i made myself. all my barbie dolls are in place and i still can do whatever i want (and i plan to continue to do so) and, i guess, i shouldn't be upset.

i am upset, however. for all the devs affected by laid-offs, but especially the writers. these people created dragon age as we know it, and it's been a messy series in every aspect, including the writing, it's been insensitive at times, at times dumb and undercooked, but there was always an immense amount of potential that's been inspiring fans for years, and also a feeling that all, or at least the most of it was created with genuine passion. and realizing that there is no one left from the team that made dragon age what it is, every installment of it, is just. genuinely sad. and it's not a theseus ship dilemma, because it's not like they were slowly replaced one by one. they were just fired. this ship is destined to sink, it's falling apart in front of our eyes because neither ea nor bioware cares about writing. not many companies do nowadays, to be honest. and it's kinda devastating. grifters will celebrate that like a "downfall of woke slop", but they'll get only more ai slop instead, lol, because good writing doesn't guarantee good sells. best selling games of 2024 are shooters and sports games. and elden ring which is a nice exception, but an exception nevertheless.

i don't think mass effect will save bioware at this point. even if it's an absolute banger it still has to meet ea's expectations. which are unrealistic, to say the least. also people who wrote characters like mordin, tali, legion, thane, garrus and liara are all gone. either they left themselves or were laid off. like, if you want "old bioware magic" to return, there is none. the same people who wrote your favourite characters and storylines in da/me were also working on veilguard. i may be wrong, but somehow i think they didn't all lose their ability to write here because they went woke or whatever. i think the inconsistent quality of datv writing that can only be described as 'we're so back/it's so over' pic is a consequence of multiple rewrites, constant director changes and shitty decisions, both internal and coming from bioware/ea higher-ups. i also may be wrong, but it wouldn't be such a big problem if writing wasn't at the bottom of priority list.

if i recall correctly, when gaider left willingly, he highlighted that bioware didn't treat its writers seriously at that point. and i'd say that tracks. like, from countless veilguard rewrites and scrapped ideas to lay-offs of every single studio veteran.

idk what else there is to say. i'll cheer for every studio that value its writers and i hope all ex-bioware devs will be able to do something new and exciting. i also doubt bioware is the last studio that will experience such a decline in the years to come. the narrative of this shitshow will also be twisted into 'go woke go broke' and it already slightly draws me insane. fuck ea fuck bioware fuck grifters. also i beg everyone to start appreciating writing as a craft because otherwise it's only going to get worse!

[treatsformeeko]

This dialogue has always baffled me. It is locked behind a 30 cunning check, which I think may be impossible to reach without cheats at this early stage in the game (?) but its implications are INSANE. Entirely too long tirade below the cut:

How could the darkspawn possibly know the plan? Does it have anything to do with darkspawn showing greater signs of intelligence (re: the Architect, the Messenger)? Awakening was being written before DAO came out — was this meant to tie into that?

Many people online have discussed that it may be a remnant of abandoned plot threads that paint loghain as more of a mustache-twirling villain, working with the darkspawn (either willingly or perhaps under their influence?) to make sure the signal fire doesn’t get lit. David Gaider explained at length that the Ostagar plotline and the Cailan/Loghain conflict were subject to numerous rewrites. And while it is true that there is no further dialogue to suggest that Loghain was working with the darkspawn as this dialogue implies, my next question is what were his men doing in the tunnels underneath the Tower of Ishal?

Even before I had seen this exact line, in my first playthrough I operated under the assumption that Loghain had purposefully sabotaged the Tower in order to place blame on the Grey Wardens (an already easy scapegoat given their very recent return from exile) once he inevitably quit the field. I never once thought that his decision to retreat from Ostagar was made in the heat of the moment — after all, why would Howe already be making moves on Highever if he thought that Cailan would be alive after the battle to punish him for it? And if it were the case that Loghain planned for Cailan to die at Ostagar, why would he allow the signal fire to be lit on time and still quit the field knowing that some of his men would see this as betraying the King, regardless of how good he was at being a leader? Was it just a very happy accident that the darkspawn overwhelming the Tower and delaying made him look less villainous to his own army? Why would he leave this up to chance when so much of his plan before this seems to be so carefully crafted?

Frankly speaking, much of the deeper DAO lore seems to be happy accidents — constant rewrites and abandoned plot threads coming together to create a genuinely interesting story where the truth is not easily identified. And honestly, I think it benefited greatly from this! The truth is messy, especially when there are this many players vying for power in some way or another.

Personally, I’m of the mind that dev-lore comes secondary to what actually makes it into the game, even when the devs had better ideas than what we got. Which is why it is so fascinating that this line still exists in game and yet is nearly impossible to obtain! Why does it still exist? Why is it so hard to obtain? What implications does it have on the greater plot?

I don’t necessarily have an interesting conclusion beyond the fact that I am still in awe at the reactivity of this game that is objectively pretty clunky and ugly by today’s standards. I love Loghain as a villain in part because he is so human, and as much as I enjoy the sequels I really think that he is one of the best antagonists of the entire series. I find it really interesting that his reputation is not entirely shredded to pieces by Inquisition, as some Ostagar vets still sing his praises, which just further drives home the point that he has the capacity for good AND evil! I mean hell, the whole game is about making sacrifices for the greater good. Couldn’t you still argue that that was what Loghain was doing (or at least thought he was doing)?

All of this being an entirely too-long wind up to say: fuck you Quartermaster Threnn. I know what I saw.

[viibo]

(I'm @ilovethisrebootsm my main is kinda messy lol-) CAN WE POSSIBLY SEE YOUR VERZION OF VED AND LEZAH INTERACTING RAHHHHHHHH (pretty pls :3)

u dont know What uve done to my psyche….. im so obsessed w ved now… (my vers prefers to be called Nived for silly reasons :3 idk i thought itd be fitting)

more info n doodles below

nived puts on a shy nerdy nice guy to lower ppls guards down around him so he can discreetly figure out their vulnerabilities and what makes them tick. mostly for bullying and teasing purposes. if hes ever talking to you at All its either to make fun of you or pickpocket you. usually both

to contrast devs slicked back hair, veds hair is brushed down into bangs to cover most pf his face along with his glasses. they represent himself the same way as with dev’s shades (wearing them/hiding their eyes = hiding their true self)

i wish there was a better way to make a starker contrast in his shoes to parallel dev and lezahs Big silly platforms but unfortunately flat shoes are just Normal Shoes. maybe he purposefully hunches his back to appear shorter and more pathetic

[loredrinker]

Framing Forgiveness - Solas Atonement Ending (Romance)

There are a few things that stand out for me around Lavellan’s forgiveness of Solas in the Atonement ending. 

1) Only a romanced Inquisitor speaks words of forgiveness to Solas specifically 2) Lavellan’s forgiveness comes before Mythal speaks  3) Mythal does not ask for forgiveness 

Lavellan Forgives 

Forgiveness is not comfortable; it is controversial because it can be viewed as weak or foolish. However, it is an incredibly strong act of free will and when given in truth, it offers spiritual, emotional and psychological healing. It liberates the forgiver and the forgiven.  

I’m actually impressed that the devs made this choice in the game and chose to tie it to love, framing it as an intimate and emotional act - an act of love.  

Forgiveness is about choosing to let go of resentment, it breaks cycles of guilt and vengeance, it helps to shift beliefs rooted in self-loathing. It does not erase what has been done. But it grants Lavellan agency. To forgive is to refuse to be defined by suffering. She is not the victim of his betrayal but takes ownership of how this story ends.

And what makes forgiveness powerful is that it forces the forgiven to see themselves through the eyes of the forgiver. For a man who has spent so long seeing himself as the betrayer, the destroyer - what must it be like to be met, instead, with grace – from the woman he admits he betrayed? 

One of the more difficult aspects of forgiveness, and why some may struggle with it, is that it isn’t always earned. Some don’t like that Solas could be forgiven before he has earned it. But the game doesn’t present forgiveness as a reward – it presents it as a gift. And that is when forgiveness is at its most powerful, when it can change a person, when it offers healing.  

Limiting the forgiveness to a romance is interesting. To have all characters forgive Solas would have made forgiveness feel like a general moral principle, rather than the personal act of emotional transformation I think Veilguard was going for in the Atonement ending. It also offers the idea that true redemption begins with love, not with punishment. If we only forgive someone when we feel they have fully atoned, then forgiveness is not about grace, it’s a transaction.  And that’s the messy thing about forgiveness, it comes first, when there is no guarantee that the forgiven will atone.   

I think for Solas’ arc, that gift of forgiveness is highly symbolic and impactful considering his history.  

And I love that the devs chose to position her forgiveness ahead of Mythal.  

Lavellan’s Forgiveness Before Mythal’s Release 

Sola's life has been dominated by Mythal – a bond as profound as it was painful.  With Lavellan offering forgiveness before Mythal speaks, she is standing independently from Solas’ legacy of entanglement with Mythal, away from all that pain and regret. 

Lavellan’s forgiveness is not divine or bestowed like a ruler pardoning a crime – her forgiveness is mortal, intimate and human.  By positioning this before Mythal, we are reminded of his humanity, but also of his personal connection to Lavellan, that she symbolizes a place for him to belong as himself – as Solas. He was Solas first, after all.  

Solas’ turning point isn't dictated by Mythal’s authority alone, but also by this personal moment.  If we, the player were only given Mythal’s voice at the end without the voices of Rook and Lavellan before her, it might have felt like a convenient way to absolve Solas of his guilt.  Instead, this gradual approach – Rook’s appeal, Lavellans’ forgiveness and then Mythal’s release – make this emotional shift feel earned rather than a deus ex machina moment.  

Mythal Does Not Seek Forgiveness Nor Offer An Apology 

If Mythal had asked Solas for his forgiveness, it would have acknowledged that Solas had power over her in that moment.  By having Mythal not seek forgiveness, the game reinforces that their relationship was never truly equal, that Mythal always dictated the terms.  Mythal had to be the one to dictate the terms of their parting.  It is also a fascinating exploration of their differences – Solas carries guilt, Mythal carries responsibility. She acknowledges they did many wrongs together, made terrible choices together, but she does not seek emotional resolution for it. 

If Mythal had apologized it would suggest that the past can be undone, old wounds closed.  But Mythal doesn’t give Solas any of that. This is very fitting – Solas' entire story has been about trying to fix his past mistakes.  Mythal’s lack of apology forces him to accept that some things cannot be undone and she denies him an easy emotional resolution. Instead, he must find his own way forward, despite the wrongs he did.   

Lavellan’s Forgiveness – Mythal's Release 

Mythal releases Solas as a leader releases a soldier. Lavellan stays as a lover choosing to stand beside him. Mythal says “I release you.”, Lavellan says “There is no fate but the love we share.” Mythal’s statement is about a duty ending.  Lavellan’s is about love enduring.   

But Solas’ fate is in his own hands now – and that moment where he looks back at the tear in the Veil, he is choosing.   

I feel like I need to add that this isn’t about diminishing Rook here. Rook offers a chance to atone - tied to duty. Returning the dagger to Solas is a gesture of trust, an acknowledgment that he still has a choice - but it comes with an expectation: bind yourself to the Veil. Set things right. Like Mythal, Rook does not release Solas from consequence.  

But this post is focused on forgiveness - its power, and that Lavellan offers the personal, emotional resolution that Mythal withholds.

I really appreciate the game having the courage to incorporate forgiveness into this world state. To offer grace as an aspect of this story’s ending is beautiful and fitting in the Veilguard setting, a game where many of the companions have to walk through their own forms of forgiveness and letting go.  

Forgiveness can be uncomfortable because it challenges the idea that justice is solely about punishment. It forces us to reckon with the full complexity of a person - not just their worst actions. In Solas’ case, it requires seeing him as more than the sum of his crimes - it demands acknowledging that he was not only a destroyer but also someone who cared, who loved, and who suffered. And by contrast, it demands viewing Lavellan and her forgiveness in the same light - not as naive or weak, but as someone making a deliberate, choice of strength to see beyond her own pain and shape what comes next.  

[monbons]

WIP Wednesday

Thanks for the tags @artsyunderstudy, @bookishbroadwayandblind, and @bachusekart. It was lovely to get your updates today.

Honestly, I probably shouldn't be posting because I have so little to show for my efforts recently, but I thought perhaps putting out "please cheer me on" vibes into the universe would help motivate me.

STITCHES After what I think is almost three weeks now, I have finally (mostly) finished tooth-fairy Baz, and he is lovely. I just need to add some earrings when they arrive in the mail and then stitch his head on.

I've also cut out all the pieces I need for this Baz's Simon, but I haven't started sewing because my hands have been giving me trouble. So, he's just on hold until it doesn't feel like I'm being stabbed in the wrist whenever I pick up a needle and thread.

SENTENCES In fic news, I have two WIPS currently. The first is a very messy friends to lovers AU with cheerleader Simon and soccer player Baz. My Simons tend to be lovely and sweet and my Bazs are always angsty vampires. Neither is true in this fic, and it's been harder to make progress than I expected as a result. But, here are some sentences anyway, Baz POV talking to Dev.

“Seriously, what did you see?” I strain to peer around him, but nothing seems out of the ordinary. Agatha and Penny are standing next to a couple of milk crates filled with purple and white cheer poms. Trixie is wrestling with the portable speaker—a chunky black cube the squad rolls with them everywhere. Keris has a clipboard and she seems to be taking attendance amidst all the girls I don’t recognize. Then, my eyes finally spot the one anomaly. The one person wildly out of place. Amidst the sea of skirts is a singular boy. A boy with bronze curls and blue eyes and billions of freckles. More freckles than he had the last time I saw him. An impossible number of freckles.

My second WIP, a Dark Rise AU-ish thing, is in the colorful post-its planning stage still. I have a very rough outline of the main plot, but there is an incredible amount of backstory to reveal and I am currently trying to figure out where and how to do so. I think I may need dual timelines and several POVs I've never written before, including the CO adults. Find some Malcolm below.

MALCOLM I wish you could see him, Natasha. Your son. He is bold and brilliant. Top of his class. A fine magician.  The best of you. The best of me.  I tried to protect him. To hide him in plain sight.  I taught him to be cautious. Stoic. Discreet.  I insisted he never reveal the inner workings of his heart. I provided a template for him—a guide he could follow—with my own.  One cannot be vulnerable when one remains indecipherable, Basil. Be unreadable.  Unknowable. Or be undone. He is a magnificent student, Natasha. The very best. He didn’t just learn; he excelled. He kept everyone at arm’s length. (Including me.)  I tried, Nat. I tried.  To keep him healthy. To keep him safe. I failed all the same.

(If you have read C.S. Pacat's Dark Rise series and the unicorn horn scene has been branded into your brain the way it was in mine, then please know that this fic is me attempting an AU just for that scene. The brain rot is SO real.)

Anyway, head pats are appreciated. Hellos and high-fives.

@alexalexinii, @argumentativeantitheticalg, @aristocratic-otter, @arthurkko, @artsyunderstudy

@best--dress, @blackberrysummerblog, @brilla-brilla-estrellita, @bookish-bogwitch,

@confused-bi-queer, @cutestkilla, @drowninginships, @emeryhall, @facewithoutheart

@harrie-leithillustration, @hushed-chorus, @iamamythologicalcreature, @ic3que3n, @ileadacharmedlife

@katatsumuli, @larkral, @letraspal, @martsonmars, @messofthejess

@mooncello, @noblecorgi, @orange-peony, @prettygoododds, @raenestee

@rbkzz, @rimeswithpurple, @roomwithanopenfire, @run-for-chamo-miles, @shrekgogurt

@skeedelvee, @stitchyqueer, @supercutedinosaurs, @talentpiper11, @technetiumai

@the-beard-of-edward-teach, @twinkle-twinkle-up-above, @theimpossibledemon, @thewholelemon, @valeffelees

@whatevertheweather, @you-remind-me-of-the-babe, @youarenevertooold

[knuckleblaster]

On some level I understand the rejection or outright denial of V2's death: it was jarring and brutal, especially for a character who, at least in laws of traditional video game rivals and the rule of thirds, seemed like it'd stick around for longer. This said, inferring from in-game lore as well as dev statements, I believe V2's death, tragic that it is, is not unwarranted; and that it is commonly pigeonholed into a characterization it does not fit into due to its assumed role within the game.

This is long, so it's going under the cut.

Considering its name, it's easy to assume V2 is a new and improved version of its predecessor; but it is more heavily implied that it's simply a version of V1 with thicker plating, and nothing more. [1] V2 was an attempt at salvaging V1's design after war became irrelevant, to capitalize on the resources wasted on a highly advanced war machine by rebranding it as an adaptable worker, for security and (theoretically) other peacetime activities (...not an innuendo). This was a failure; there's no reason to invest in something so refined when a handful of lesser machines could do the same job [2].

If V2 is contextualized within its backstory, it makes a lot more sense why it ate shit so quickly. It is, out of any in-game machine so far, one of the least suited for survival in Hell. Sentries and Streetcleaners were created for war. Swordsmachine(s) and Mindflayers are scrapheads, constantly adapting to create (and protect) their perfect, lethal body. [3] If anything, it's on the same level as a Drone, able to defend itself in a limited capacity, but not intentionally programmed or built for combat. Faced with V1, something built for perfect, swift destruction, a machine made for peace would stand even less of a chance than normal, even with an equal level of mobility and build.

V2 is also doomed, in a very literal sense, by the narrative. In a meta sense, it does not matter to the game story whatsoever [4]. V1 is the butterfly whose wing flaps set Gabriel's story in motion, but V2 has no such connection to his story, and is thus irrelevant. Even its lore entry is overshadowed by information about V1/its connection to V1. A third fight, as well, was never in the running, not necessarily due to anything in the game lore, but because its first and second encounters are all it needs: a third rematch would be repetitive and messy [5]. The reason for its extremely violent death sequence is to ensure there was no question as to its fate [6].

In regards to its personality; it is oft-headcanoned as loud, irritable, and competitive, but this characterization is more likely due to its color as well as its assumed role as a "rival" to V1; rather than based upon its in-game actions. Although its initial intentions are up to interpretation [7], comparing its actions and mechanics to other enemies fully rationalizes its anger. Although it's fairly easy to enrage in-fight, the criteria for its enrage state is much more specific than other enemies, and it's quite easy to not trigger it at all. Cerberi will enrage after one of its kind dies, Malicious Faces and Mindflayers after a certain amount of damage has been dealt (on Violent). Most notably, as the only other character with a rematch, Gabriel begins his second fight enraged after his first defeat [3], which can imply by extension that even though V2 is taking its second fight more seriously [8], it is still not outwardly angry. Its enrage state is only triggered when its patience is depleted (the player avoids it for too long), or in its second fight when it has been punched with the Knuckleblaster. These can be interpreted as indicators that V2 likes it when the fight is "fair": when it's not being avoided and picked at from a distance, or being hit with its own arm; which is frankly pretty fucking mean. A side note: Returning to its creation, it can also potentially be inferred that V2 was intentionally programmed with a rational, controlled, and even marketable personality, easily suppressed or overwritten for ease of use.

In another game, or if V1 was the protagonist, perhaps V2 would not be dead. Instead, V2 is doomed by its creators, both in-game and in reality. It mirrors V1 in action and Gabriel in mind, but unlike them, it has no place in this story beyond a truly fantastic duo of fights. Although its story has any number of potential rewritings or epilogues [9], its doom was always intended. It's easy to mourn lost potential, and its end is intensely tragic; but I believe it is a tragedy that meshes nicely with the rest of the game's story. V2 is dead, and not a second too soon.

Footnotes:

1.

Along with the lore entry for V2:

V1’s planned production was cancelled and an updated model, V2, was developed instead, using the standardized plating, since durability was far more important during times of peace when no bloodshed was necessary.

2.

twitter.com/HakitaDev/status/1538313328715513857

3. in-game lore entries, can be read on ultrakill.miraheze.org or here in one document: steamcommunity.com/sharedfiles/filedetails/?id=2245904838

4.

5.

twitter.com/HakitaDev/status/1538336055681863680

6. "And then V2 dies as hard as anyone could possibly die to make sure people understand he's fucking dead and is not coming back" - dev commentary, 05:08:09 (youtu.be/kaImho5JioI?si=v4_m90nfLOY-DyEZ&t=18489)

7.

8.

9. Notably, Dream's End Come True / v2isdead.com.

[yes-these-obsessions-are-healthy]

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

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

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

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

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

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

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

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

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