#like ....that bioware is literally dead...

[miyku]

[lizzybeeee]

DATV Mini-Rant about the lack of Lyrium Potions in this Game

A small thing that immediately made my stomach drop when playing DATV was the fact that there are no lyrium potions.

I did an elective on game design in university and chose Origins as my game of choice for my final essay because I always loved how much the game incorporated the world/lore in its game mechanics! Call it pathetic or sad (I won't blame you lmao) but this series was the first video game that engaged me so deeply with its story-telling that I wanted to dissect it. That's why I'm focusing on the lack of magical cocaine in a fantasy game series.

Lyrium is a substance that serves as a game mechanic and a major lore/world-building element. It's use is essential if you play the game as a mage or have party members that are mages - it replenishes mana in game, its use is central to being a mage within the story (harrowing, rituals, etc...), and it's a major export/plot relevant resource that is important to the world at large.

So imagine my surprise when I boot up DATV for the first time and there's no lyrium potions as a mage character. My main interest in the game series was for its lore and story (RIP) so I didn't look too hard into developer interviews or videos about the combat itself - it would either be good or bad, but that wasn't my main draw to the game. I kept playing, wondering if I would ever unlock another slot for potions, perhaps, but then it was abundantly clear that it wasn't the case.

It's a small thing, but popping a lyrium potion mid-combat has the same effect that hearing people say 'Maker's breath' and 'Thank the Maker' does. It's this little bit of world-building that reminds me that I'm playing a Dragon Age game. It's not just a 'mana potion' or some other glowy blue magic vial...it's this substance that's important to the world and that has a reason to be there beyond rejuvenating my mage.

It's the major export of Orzammar -> the pillar of its economy.

It's the substance that allows waking mages to enter the Fade -> it allowed me to save Connor Guerrin with the aid of other mages.

It's the substance that the Chantry uses to leash it's templars through addiction -> an addiction I encouraged Cullen to overcome in DAI.

It's the substance used in the Rite of TRANQUILITY.

It's the substance that allows my warrior character to take on the templar specialization in each game -> Alistair and Ser both talk about lyrium and its relevance to training (in DA2 you just do it lmao)

It's the substance burned into Fenris's skin by Danarius.

It's the literal blood of the Titans -> lyrium veins are literal veins (such a cool design choice in DAI to make them look like blood capillaries!)

And all the time in DAO, DA2, and DAI my mage characters were downing this substance like there was no tomorrow.

Even though the combat changed in DA2 and DAI they still kept lyrium potions for mages. Even though they simplified herbalism from DAO in the next two games, they still required the player to interact with the world and find the ingredients for these potions. It was this gameplay mechanic that linked the player to the world -> I know that I need blood lotus to set shit on fire, elfroot for healing potions/lyrium potions, etc... It was cool game design, having game mechanics and lore interconnected like this.

(Not saying that picking up dozens of elfroots was fun or the best game design, btw -> but it's just an example of how they linked the world and game mechanics together, and I like the intent behind it! Cool design does not equal effective design lmao)

What do we get in DATV? No lyrium, whatsoever, just healing potions.

Potions we don't even have to work to find or get crafted! Just break some green shit and there it is! We don't pick up ingredients or discover unique flora to each of these Northern Areas for our own use. We don't loot potions or ingredients from corpses, sacks, boxes, chests (etc...) to replenish our own stock. A healing potion in this game is not a potion you craft, made from ingredients you found, it's a button I press on my controller. It's lost that immersive link - especially when your companions can toss another one at you while being effectively immortal in combat.

The only new flora we hear of is Broma's Bloom which I did like the lore behind! It's used in dye to colour the Warden's armour and its growth is a sign that the damage of the Blight is lessening. I love that! That's a cool bit of lore! Especially since it's named after Andraste's mother in a land that is supposed to be extremely religious. Geographically unique flora and fauna (biodiversity) is just as important as architectural design when designing an area - DAI did this amazingly well with the different creatures and plants we could run into in each area!

The first time we meaningfully talk about lyrium is when we go to Kal Sharok for the first time - a decent amount of game time since the beginning of the game, depending how fast you play. And then, when we get there, the lyrium looks like a bunch of crystals from a 'grow your own lyrium' kit. The absence of lyrium from the game world and mechanics is something that was very hard for me to overlook considering its importance to every previous entry. Especially since in this game we address the fucking Titan's and what the fuck happened to them.

Just...imagine playing a mage in Dragon Age and not using lyrium?

This game is a death of a thousand cuts - so many small, meaningful world-building elements and mechanics brushed off - before fucking godzilla comes along and nukes it all with the handling of the main story/lore.

[lavellane]

things that are not technically canon but literally supersede the written text by how immeasurably canon they should be: spirit!cole was there the whole time and followed solas and lavellan into that portal

[gxldencity]

I'm not discounting that lucanis is just a wierdo and that's why he has spectral wings, a demonic aura and deals necrotic damage

[glitchlight]

actually to expand on that last post is there truly any more dire state of a genre than western traditional fantasy now.

the top end is dominated by genre tentpoles nobody likes anymore, all of which are stealing the same five ideas (four of them racist) from one another constantly. Amazon blew a billion dollars on a lotr show nobody watched -- WHILE ALSO making a wheel of time show for millions itself and ALSO nobody talks about it. Bioware's probably gonna be dead if DA4 flops; Bethesda might well be dead before even getting a chance to make TES6. DnD is even more of a cultural juggernaut than it ever has been even as everyone hates it more with each passing day. Hasbro needs a billion dollars man. Hasbro needs MONEY. And everywhere else we're stuck in the prequel timeloop of endless nostalgia recursion.

The base of the genre, long dominated by a litany of endless hacks and enthusiastic nobodies has been supplanted by a new generation of neophytes and the 2020s hack, cranking out interminable webnovels emulating anime and light novels or else hopping on new genre trends inspired by anime and light novels like isekai and/or litrpg. There's an entire subgenre that's just " boring Dungeon Keeper letsplays."

The most interesting thing to happen in western fantasy in years is the development of cozy fantasy, the least emotionally challenging genre experiment ever and one which is as creatively bankrupt as it is wildly successful. Just slap a found family sticker and a token queer romance on a small business in a fantasy world and you've got yourself a cozy fantasy. And when those writers truly try branching into fiction when they can't lean on cliche and fanfic formula they write something like rebecca thorn's This Gilded Abyss, a Bioshock rip off so poorly plotted the middle portion of the book becomes literally incoherent.

Genre's fucked man.

[dragon--sage]

i feel like bioware could have come up with a WAY better line than "clan lavellan. we try to be no one you've heard of", for a lavellan explaining their past to rook, especially after bioware wrote a war table operation in dai that could possibly result in the slaughter of lavellan's entire clan?????? like they could literally all be dead and in that case why the fuck would lavellan say this owiehgrowiehrogiewoigroeegog bioware it's trash writing and it makes my lyrium red with anger (don't get me started on that omfg)

[northern-passage]

just found one of my favorite pieces of writing advice when it comes to interactive fiction, i think if you've read literally any of my work, it will be pretty obvious how much i use this in my own writing. i actually couldn't remember where i read this for the first time and on a whim i went through my twitter likes and found it in a thread. i'm going to transcribe it for ease of reading, but this is all coming from Alexander Freed (@/AlexanderMFreed on twitter)

he has a website here with other compiled writing advice about branching narratives and game design, though he never posted this there and hasn't really updated recently (but still check it out. there's some specific entries about writing romance, branching and linear & other game writing advice)

original twitter thread here

It's Tuesday night and I feel like teaching some of what I've learned in 15 years of branching narrative video game writing. Let's go in-depth about one incredibly specific subject: neutral / fallthrough / catchall response options!

Player ownership of the protagonist in choice-based branching narrative games (a la BioWare, Telltale, mobile narrative games, etc) is a vital aspect of the form.

The ability for the audience to shape a Player Character, to develop that character's inner life in their own mind, is unmatched in any other medium.

The Player determines the character's actions and THE MOTIVATIONS for those actions. The character's psychology can literally be as complex as the Player can imagine. However, this works best when there's enough space for the Player to develop those motivations. No game can offer enough options to support every interpretation imaginable; much of the character has to live in the Player's head, without necessarily appearing on the screen.

That's complicated. We're going to unpack it.

Generally, when presenting choices to a Player, we want those choices to be as interesting and compelling as possible.

But compelling, dramatic choices tend to be revealing of character. And no game can support hundreds of options at every choice point for every possible character motivation a Player might imagine.

This sort of narrative CANNOT maintain its integrity if the Player is forced to constantly "rewrite" their characterization of the Player Character on the fly. You want your Player to feel like they have more than enough viable options at any given moment.

At the simplest level of writing, this is where "fallthrough" responses come in.

In the examples above, each moment contains a response which furthers the story but doesn't imply a huge emotional choice for the Player. The Player is asked to choose A or B, agree or disagree, but can sidestep the issue altogether if desired.

These "neutral" responses are vital if both A and B don't appeal to the Player... or if, perhaps, the Player likes A but not the WAY A is being expressed. Milquetoast option C works for anyone; thus, the Player is never forced to break character because of a lack of options.

Questions work well for this sort of neutral option. Tacit agreement and dead silence also serve, in certain sorts of stories--as a Player, I know what's going on in my silent character's head and the game won't contradict it.

The important thing is that I'm never forced to take a path that's outright WRONG for my character. Even if other characters misinterpret the Player Character's motivation, my character's inner life remains internally consistent.

"Neutral" responses aren't the only ways to go, though. Some responses are appropriate for any character because they're tied to the base character concept.

Here, for example (from @/seankmckeever's X-Files), the Player is a marine on a mission. The Player can respond abrasively to her partner's fear or look into the issue (out of compassion or genuine belief), but our fallthrough is actually the TOP response.

There's no version of our marine who would absolutely break character by picking "Stay calm and on mission." It's not blandly neutral; rather, it reinforces aspects of the character we can be sure of and gives the Player an option if nothing else works.

Different sorts of narratives will use different sorts of fallthroughs. A comedy might treat the option to say something funny as a fallthrough, of sorts--it's entertaining and will never violate the characterization the Player has created.

In a quest-driven RPG, a fallthrough response can often boil down to "How do I move to the next step of this quest?"

That said, the strongest moments in a narrative will often have no "fallthrough" response at all. They'll work by creating multiple responses that, by overlapping, cover all reasonable Player Character actions while still leaving room for the Player to ascribe motivation.

[chelseareferenced]

BIOWARE WHEN I CATCH YOU-

MAJOR Spoilers for Dragon Age Veilguard, yee have been warned, below there be spoilers

WHAT DO YOU MEAN HE WAS DEAD THE WHOLE TIME AND A FIGMENT OF MY ROOK'S IMAGINATION THAT SOLAS HAD CREATED?!

No no no no no, I was supposed to romance Varric, brush his hair, kiss his forehead and fix Bianca for him.

HE WAS LITERALLY HAUNTING THE NARRATIVE

I cried for 20 minutes, like, ugly cried.

That's my comfort dwarf and he's just gone?

The crying started up again at the end when Rook took over narration

[soleminisanction]

The discussions of elements and factions being 'defanged' in Veilguard alternately annoy and amuse me for two reasons.

One, because this has always been a series about how almost everything and everyone has multiple sides and interpretations depending on who you are, what choices you make, and what your perspective is. Is Loghain a scheming traitor, a ruthless pragmatic doing what he believed was necessary to save his country, or a misunderstood hero unfairly condemned by the ignorant masses? Is the Qun tyrannical, or exactly what the people who choose to live under it need? Is Solas a rebellious hero, a traitorous trickster god, or a tragic victim? Is that woman Flemeth, Mythal, Tyrdda Bright-Axe or even Adraste?

It all depends on who you ask when. So of course you're seeing the Crows in a positive light -- circumstances position them as freedom fighters against the Antaam invasion, and for one of your teammates they're literally family. And even then they're still as strongly coded with mafia tropes as Neve is a noir detective. And of course you need to go poking around before you find the pile of dead bodies the Lords of Fortune are hiding behind their fighting ring. Pirates are all about branding, and Isabella's branding is clearly inclusion and good times; they keep the unpleasantness under the rug.

The second reason this amuses/annoys/interests me is it reminds me of Pathfinder. The Pathfinder Roleplaying Game came out in 2009, just like DA Origins, and like DA its setting tried to distinguish itself with "real-world" grit and grittiness. Slavery. Racial tensions. Religious persecution. Mass slaughter. Infestation and disease. Plus the occasional demonic invasion and a shitton of dragons.

But it's been 15 years since then, we live in a post-HBO's Game of Thrones world, and both sides of the game industry have made deliberate efforts to become more diverse. Some of those changes came with discussions to readdress and reconsider the nature of dark fantasy and whether it really needs to be a parade of potentially exploitive human misery.

So I know for a fact that Paizo's made deliberate efforts to pull back on some of those aspects to make things more welcoming for a diverse player base, doing things like outlawing slavery across the entire setting, reinterpreting 'evil' ancrestries like orcs and goblins into fully-developed cultures, and giving the exoticized "fantasy Asia/Africa/India/Americas" setting new, in-depth and cultural respectful re-examinations.

And people bitch about that, too.

So my read is Bioware's doing the same thing for similar reasons, and personally, I like it. Is it perfect? No of course not but we all know what a nightmare this game's development was. They did good with what they had.

[hydrangeapartridge]

My completely biased review and opinion about companions in Veilguard (major spoilers of course)

(Side note : english is not my first langage, I hope I can express myself clearly enough for you all to understand my points)

- Neve

I like Neve, she’s cool. I loved the detail of the noise her metal leg makes when she walks.

Her questline was however a bit bland. We had better portrayals of power hungry blood mages in previous games and Aelia wasn’t that good an antagonist. She lacks charisma and isn’t seen much before the last quest so you don’t really care about her. It could have been more dramatic, like if we had to fight people of Minrathos being controlled, idk. Also not much about slavery.

I get that Bioware tried to make Neve’s quest like detective work, searching for clues and stuff, but for me it wasn’t that exciting, and Venatori are the mobs I like the least, I don’t like the crystals you have to break in order mechanics and stuff.

I chose to make her the hero of Minrathos and it was satisfying.

- Harding

I can’t find it in myself to call her Lace damn it XD

Of course I was happy to see Harding again after Inquisition ! She is a ray of Ferelden sunshine. I really enjoyed her questline with the Titans ; it was mysterious and you really felt the danger in the deep roads, and the potential threat of her newly acquiered magic. I liked the giant oracle and the design of the lyrium caves. It was a nice throwback to the first games.

The end scene of her quest was nicely done, with Rook trying to reach her while the whole cave was collapsing and then a group hug.

I chose the path of compassion.

- Lucanis

His accent was more funny to me than endearing (as is his signature « Mierda ») and I was surprised to find that he was soft instead of suave. I didn’t save Treviso so I feel like I missed a lot of his quest (and the decision at the end) and in the end he was OK but not that interesting to me.

There was also the problem of Illario ; the second he was introduced I smelled the family treason nd so there was no suspense to this quest. It felt like a bad telenovella.

I like that Zara had a literal blood bath in the quest of the same name. It was a cool fight.

I didn’t bring him out much but I enjoyed that he ended up with Neve.

- Bellara

Bellara is adorable. I liked her quirkiness but her dialogues were sometimes terrible. When she talked I felt like she kept repeating the same things phrased differently and sometimes I felt the itch to skip (I usually never skip dialog!).

I had high hopes for her questline because of Anaris and finding that her brother wasn’t dead, but it all flopped in the end when Cyrian got killed by being sent flying away and Anaris didn’t turn out that scary. It felt stupide that Cyrian was not dead and then really dead…

I chose to keep the Archive but that choice felt like the less impactful of all the companion choices.

- Davrin

I didn’t expect Davrin to be so brash ! I enjoyed his banter a lot and the growth of his relationship with Assan. That griffin is an absolute cutie !

His quests were cute for the Arlathan ones and impactful for the one with the Gloom Howler. I enjoyed Isseya’s story and saving the griffins.

I still felt Davrin to be a little too « jock » coded, but his banter with Emmrich and Manfred was perfect ! I enjoyed seeing the wardens again (Antoine and Evka <3) and am glad he was a true Warden this one.

I chose to release the griffin in Arlathan because my Rook was an elven veil jumper.

- Taash

In real life, Taash is the kind of person I would have trouble connecting with. They’re obtuse and a bit rude. I felt like I was intruding during the parts with her mother (it is probably the goal of those moments but it made me uneasy). I wanted to be supportive so I was but I didn’t feel like my Rook and them ended up great friends. The identity crisis wasn’t handled that well I think, but it wasn’t as bad as people make it out to be and maybe I’ll get hate for that but they come out at first more Trans than non binary given their problem is being misgendered as a girl mostly or expected to do girly things? They even say it feels right to be called a man I think I remember? (but I respect whatever pronouns she chose in the end)

I really enjoyed the dragon hunt quests however and their last quest was cool too. Their mother’s death was a sacrifice that made sense and it pained me.

Their romance with Harding was cute (mostly because of Harding’s reactions and that height difference XD)

I chose to push them towards embracing the Rivein life, even if I think they could have made peace with both ?

- Emmrich

Of course my favourite. And not only because he is the handsome older man who swept my Rook off her feet.

To give us a scholar necromancer that was the antithesis of the cliché : a man poised but a tad insecure, nerdy, gentle, kind, a bit posh, extremly elegant and whose favourite colour is lilac ! Genius !

The Necropolis had such a distinct ambiance that every quest there felt special, with amazing details and wonders of finding a wisp, a spirit or hearing a dead’s last words.

To me his personnal quests are the ones with the best handled rythm. The first one in the peace and quiet of the beautiful garden sets the tone : serious but poetic, sad but hopeful, and dares to tackle very real and grave subjects. Death and regret but also life and love are perfectly handled in his story and brought me lots and lots of feels.

There is a great antagonist whose motives are simple but dangerous ; a friend turned rival, similar but so different from dear Emmrich. Johanna is simply iconic (her hand gosh and the fact that you keep her skull in the end, brillant). The fights are well balanced, the cutscenes and dialogues perfect for immersion. And don’t get me started on Manfred… I love this little guy to bits.

I chose to revive Manfred and for Emmrich and Rook to live the rest of his mortality together. In Undying Love

[grandpasauce]

"bioware's doing the best they can" "they have to trim the fat SOMEWHERE" "they have to move on from the previous games EVENTUALLY" "they ALWAYS have disregarded things from past games" guys........... (ramblings under the cut)

my man on earth....... morrigan is literally claimed By The Devs to be a prevalent character in datv and ur telling me NOTHING that happned to her is worth putting into the background of datv?

you can claim bioware is just doing their job and have all the excuses in the world for them but when u get down to it.... they really just didnt want to deal with anything from the past three games... they didnt want to put the work in to add even CODEXES (one the the easiest cheapest forms of implementing background lore) to this game... the literal game director barely even knows who ZEVRAN is (a MAIN CHARACTER from the FIRST of the series) because they didnt bother going back to replay or research dragon age as a series beyond dai... like... i understand the devs wanting to simplify their jobs and i actually totally agree, they needed to get rid of the keep, that was too much info for them to keep up with.

But they cut back SO MUCH, like an unnecessary amount. Three? THREE choices? AND ALL OF THEM ARE SOMEHOW RELATED TO SOLAS? NOTHING the inquisitor did was notable beyond their relationship to Solas? Nothing??

people are using leliana as an example of something bioware has retconned before because shes alive regardless of if u killed her in dao or not. except the problem with that is that the games DOES address the fact that she's supposed to be dead. like it very much does that??? hello?? id rather they bring her back and address it than just totally retcon it and never explain it

this is such a horrible, disrespectful decision on bioware's part and making excuses for them is WILD. like. the devs are fine i promise u. stopppp telling people to **touch grass** and **take some deep breaths** after I myself have invested over half my life into playing these games just to get slapped with "lol actually none of that matters now hehe" jfc

like i understand fandom can get a lil crazy but im telling u this isnt an overreaction lmao let people be upset about things that theyve poured their lives into for 15+ years

im still buying the game, im still playing it, ill still love it, but MAN this has kind of totally ruined my trust in the devs and im back to being nervous about how they will address things in this game and beyond because it really feels like a big fuck u to long time fans and idk how they wouldnt think it would be perceived as such.

[lizzybeeee]

Calling it now:

If there's ever any future installments of Dragon Age there will be no mention of the differentiation between the Dalish or City Elves.

Like in DATV they will simply all be 'elves' and the vallaslin will be reduced to 'cool looking tattoo's that some veil jumpers have' - no mention of the elven pantheon either, because why bother! They're all dead now!

They're all dead and responsible for every lore plot point in Thedas, and there's nothing of mystery or substance left in the world now.

No mention of the culture in the alienage, of the vhenadahl tree, of the horrific racism and systematic abuse the elves have been through...now its just elves. With the way the Veil Jumpers have been set up, and the fact that the elven gods were the enemy in DATV, I find it extremely unlikely that the Dalish will even exist as a group either. Why would they? Their Gods returned and blighted the world - not that the fact is even truly discussed in the game. Elves are just elves, and the notable elves are Veil Jumpers.

Maybe you'll walk in a city, pick up a codex, and get a copy and pasted explanation of history from a DAO codex - a reminder of what we used to have and what BioWare absolutely demolished in their attempt to build a new IP on the bones of Dragon Age. The absolute whiplash in writing, story, and character between DAI and DATV is staggering. How on earth could the studio that made such a gorgeous, rich world of lore surrounding the elves in one game end up utterly bastardizing and reducing it to nothing?

How can you look at a place like the Temple of Mythal and go from those gorgeous golden murals and emerald tiled roofs that reached to the heavens to a place like the Lighthouse? From the Emerald Graves to the ruins of Arlathan - devoid of halls that reach to the heavens and golden murals replaced with stained glass? The entirety of the Trespasser DLC had more character and reverence for what the elven empire once was, and DATV feels as though it's approaching it with the perspective of 'generic elven bullshit with triangles everywhere'. All that unique architecture has been obliterated by adding in World of Warcraft focus crystals and automatons.

How can you go from the atmospheric/environmental storytelling of the Lost Temple of Dirthamen to Solas just blurting everything out? No weight, no double truths or hidden meanings - just blurting it out, getting it said and done with no gravitas? That was Solas' entire thing! People have made threads literally dissecting what Solas says and does not say - now he spits lore out as though it were common, everyday knowledge.

How can anyone justify the sudden emergence of magical automatons everywhere in old elven ruins? As if Dragon Age didn't have a host of enemies/creatures available to use in their stead - or the ability to create something unique to the forest of Arlathan. What happened to the spirit guardians? What happened to the lingering echoes of the elves slaughtered by humans in wars ages past like in DAO? Magic was their very existence - spells taking years or centuries to cast, weaving in and about each other - and you're telling me the ancient elves spent their time creating magical transformers?! It feels/looks so utterly seperate from everything we know of the elves from Dragon Age.

Or look at the Crossroads - listen to how Morrigan speaks of it - the reverence for the past, the misty atmosphere, and the heaviness of this pocket of the world that carries the fading memories of a world and people that no longer exists...now it's reduced to a hub world! People are just popping in and out of it at will!

In Trespasser, the few eluvians that we were available to travel to led to the most lonely, desolate spots of Thedas, which ensured their survival over the past millennia. The mirror in the Deep Roads, the mirror in the ancient stronghold in Ferelden...now they're everywhere!The 'few surviving' eluvians are in every major settlement of Thedas and all are in operating order! More than that, everyone who sees an eluvian knows what it is - this ancient marvel of a world long gone has lost all worth and is reduced to a 'world building' justification for fast travel.

Poor Merrill, slaving for a near decade to try and restore a small sliver of her history, only to have all gravitas and wonder of her discovery utterly made void. All that accomplishment wasted, especially when Bellara can wave her magic omni-tool and fix an eluvian in a matter of hours.

If you took every specific Dragon Age terminology out of the Veilguard and replaced it with generic fantasy bullshit you would never be able to tell the difference. The world of DATV is so divorced from its predecessors its astounding.

[lavellane]

so is it actually confirmed that datv will not bring up the vir'abelassan choice ? lol ?

[colorisbyshe]

List of my Veilguard Complaints... just all together... getting it out of my system and then making it reddit's problem:

This game felt so emotionally flat. I think... the reviewers calling out the game for "therapy speak" weren't entirely wrong. It's more exposition speak and the fact that EVERY SINGLE feeling EVERY SINGLE trauma EVERY SINGLE event needs to be processed, out loud. It's not "too woke," it's just emotionally... spacious. Because you're forced to explore EVERYONE'S interiority... it feels like they have none left, does that make sense? No one has hidden depths because they announce and process every thing they go through, often immediately after it happens. It's hard to imagine any additional depth

It's also hard because... no one... has that much depth. Everyone has weaknesses and bad things that happened to them but it feels like there was a lack of... real character arcs? People had character sub plots. "Accept this thing about myself" was the main one. Which... doesn't help the therapy speak accusation.

No one is a bad person. The crows? The human trafficking, child soldiering, murderous gang? They're the good guys and we should be happy they rule Treviso! Lucanis is just a good guy doing good work. Neve works with Magisters and Templars and some of them are bad... but not her friends. She only works with the good ones! The dalish form a group with Qunari and human members and they're just a diverse coalition who... love mages now (despite having kicked them out last game?? okay). Literally NO ONE is allowed to be EVEN A LITTLE morally dubious unless they'er a Bad Guy or they're fucking solas

I MISS BIOWARE GREY MORALITY! THATS HOW BAD IT IS! I FUCKING MISS IT I MISS IT I DO BRING BACK ANDERS BRING BACK ZEVRAN BRING BACK MORRIGAN AND FUCKING CULLEN AND FUCKING BLACKWALL BRING BACK ISABELA BRING BACK MERRILL AND HER DEMON SHIT! BRING IT BACK

"Oh, we're treasure hunters but we're not COLONIZERS! We don't steal cultural artifacts! We return them to the real owners, we're pirates but we're NICE AND RESPECT PRONOUNS!" CHRIST ALIVE!!!

EVERYONE WE MEET IN TEVINTER IS NICE??? EVEN THE GANG??? THE THREADS GANG IS NICE!! THEYRE SCAMMRES BUT THEYRE SO GOOD ITS A HAPPY ENEDING IF ONE OF OUR COMPANIONS RUNS THEIR GANG??? WHAT???

It was... a little bit awesome to have dorian become a violent revolution man but like????? Then Minrathous gets nuked so the game is too cowardly to even do that shit

AND THATS THE OTHER THING! This game made sure NOTHING matters choice wise! Oh, you chose to save Minranthous? It gets nuked at teh end. Oh, your choices fro previous games? Only matters if you romanced Solas but Dorian might call your Inquisitor "Amatus" in a non-cut scene dialogue. FUck you if you romanced anyone else. Southern Thedas is just.... all dead now... it's over... so any choices you mad ether eare NEVER going to be relevant. The companion personal quest choices really don'tmatter and won't matter next game.

THEY KILLED THE DNA OF A DRAGON AGE GAME! No grey morality, no meaningful choices, fuck... barely any romance once you flirt (NO POST-ENDING ROMANCE SCENE!!! EVEN MORE SHY ABOUT NUDITY!), AND NO FUCKING THEMES!

What was the theme of this game? Following Solas' story, it might be redemption or letting go of the past, I guess, but?? Do the main stories tie into that? Not really. We have ONE part of a hcapter be about Rook letting go of regrets... for deaths that jUST happened not even anything lingering.

Plots around OPPRESSION ANTI-ELF AND ANTI-MAGE DISCRIMINATION?? Gone... IN A STORY ABOUT TAKING DOWN SLAVERS... LIKE THE OG SLAVERS??? Yeah, it doesn't matter. We have idle talk about slave revolutions and that's... it?? I'm an elf in Tevniter and no one cared. What? Qunari and Elves and humans are all besties except the Antaam (some of which still become besties)... what? How do yo drop the single strongest through-line in the series?

"Oh, well it takes place in the north, it's different rfrom the south!" OKAY BUT THE FALL OUT IN THE NORTH LITERALLY NUKED THE SOUTH OUT OF EXISTENCE, I CAN'T GET SOME LINES ABOUT CULTURAL DIFFERENCES! Or like... a line referencing what happned to the southern wardens after... y'unno... the whole betrayal thing last game? That's all chill?

Varric's plot twist was fucking stupid. See: this post.

The romance with Neve was sooo promising btu felt passionless towards the end. Maybe there are better choices but... the lack ofreal closure burns. No final kiss, just a wobbling "I love you" that sounded like it came after pulling teeth like... no passion for real?

Taash's nonbinary plotline sucked. I'm sorry. It did. As a nonbinary person I can say that.

Harding was so OOC it fucking hurt.

I chose her for the mandatory death because that wasn't my harding. It's absurd that that limited the mandatory death thing to two potential characters?

Larger casts are always hard but it feel slike they rly struggled to make all characters relevant to the main plot. Taash's mom/gender struggle could've been skipped. Emmrich was amazing but felt like he was a part of an entirely separate game. Bellara's archive plot felt close-ish to teh main plot of letting go of the past but the fact that you can choose to keep it going kinda... makes it less relevant. Idk.

Besides... Lucanis... and sometimes Bellara and sometimes Harding no one feels like they're reacting to the plot. The fact that a character can die but it's skimmed over after a scene and some chats is insane. The pacing is terribleeeee like oh I can watch Harding and Taash's terrible romance (I'll say it!! Harding acts liek a doting mom and NOT in a sexy way) in dialogue across several missions in the Lighthouse but we zoom past companions dying? THe world ending??

The world was beautiful BUT THE WORLD BUILDING SUCKED! Sorry but SOOO many locations make NO sense construction wise. Why is a chest in the middle of street? Why does this bridge only appear when I have a quest? It's hard to tell when an area is inaccessible because you haven't figured out how to get there vs you literally aren't allowed to go there yet. It makes the world feel more like Oh I'm playing a game rather than you're exploring a real place. They did not navigate inaccessible areas well as a concept.

CHARACTER MOTIVATION EQUALLY AS FUCKING MESSY! I still don't know what Elgar'nan/Ghilan'nain's plan rly was even though Ghilan'nain literally wails about them. They wanted to rule, they were blight addled so I guess they're insane, but... why did they have to do it this way? What were they gonna do as rules?

Solas wanted to tear the veil down ti imprison them even harder except tearing the veil down lets out the blight except letting them out of prison also lets out the blight and don't worry when he tears the veil down he'll imprison/kill them again and make sure the blight isn't too bad even tho the veil was the only thing keeping the blight in?? And oh haha killing them lets down the veil. Also, AFTER killing htem, the veil takes a while to be torn and actually stays in place long enough for Solas to feel bad and patch it up with his own essence... okay?

The Butcher Antaam dude looooves Treviso so he accepts the blight into his body to rule it but you have to fight him.. to prove you're worthy of keeping him... from destroying Treviso? He loves it and also wants it destroyed. Again, he's blighted so he's CRAAAZY but... what?

Even with Emmrich! He's scared of becoming immortal because he's a afraid of death. So you resolve that by either pressuring him to never die by being immortal... or by not letting his friend die? Huh? We conquer fear of death by just... not letting things die?What?

Not the same thing but why would dorian stay up in the north to become an archon if he romanced an inquisitor who is fighting for their life in teh soutH? again this continuity SUCKS

[vigilskeep]

putting briala miriam fiona and katriel in media outside the games and then giving them all the worst love interests when i could literally treat them right. it’s like bioware wants me dead

[sampirism]

talkn bout my opinions on rook and varric and roleplay and feeling disconnected (roleplay in a game sense not the freaky sense. sorry) - SPOILERS FOR ENTIRE GAME, BEWARE. this post is WAY too long. sorry about that too.

it's very evident that bioware/EA wanted an action/adventure game first and an RPG second, but let me type at you.

i hate to say that i didn't feel particularly sad about varric's fate, due to the structure of the game. it is, in hindsight, completely obvious that he was not alive! i just hadn't been thinking about varric much at all the entire game because you have limited opportunity to talk to him in the infirmary or when he plops around barefoot when everyone decides to sit at a table and talk about how fucked we are. i genuinely forgot he was there otherwise.

he barely feels like a guy himself. because there's no personalized worldstate, any specific mentions to events or characters might be jarring to the player who may have made a different choice along the way.

no one talks about how sorry they are about varric because they CAN'T or the twist is completely revealed. even with another DA2 character in the game (who my hawke romanced. who is now dead in the fade. glad to see you're LIVING IT UP ISABELA!!! (I'm jk. a little.))

there's no response rook can say to condolences outside of "oh, thanks" without the game fully revealing its Twist, because "I'll tell him you said hi" and "he'll be up and walking in no time!" are only reasonable responses from a Mourn Watcher, and even then, should still cause your companions to be a little alarmed. the closest we get to this is the inquisitor making reference to lost friends, and rook visually registers it, but its swept under the rug and moved on from immediately.

(i know we're all mentally unwell in this lighthouse repressing our feelings but jesus christ)

despite spending two games with him and enjoying him as a character, I struggle with feeling much for his loss AS my rook, because i found there to be no meaningful connection between him and rook. i was only told i was supposed to have one.

the game wanted so badly get the ball rolling with an immediate threat, its at the expense of roleplay. you could argue that da2 and inq also started with Immediate Threats but you are also very limited in the choosing of your backstory in those games.

rook was deliberately designed to be more open-ended, with more similarity to origins, but still gave you a prequel where you felt what your life was before The World Began To End.

there's this conversation you can walk in on with lucanis and davrin, where they're talking about their worst jobs. there are three dialogue for rook I think and i can only remember two but they were "I don't want to talk about it" or "man I have the dreadwolf in my head". (I... honestly think the third option was very similar to the second one but I have a very bad memory. sorry)

i played a mourn watcher mage. i had to have done some messed up spirit stuff. some bone shenanigans. not able to mention my Down With Nobles rebellion at all. i halfway expected it to be revealed that my rook was just like a shitty pawn (haha) and actually all her memories are fake and not real. but obviously you meet people from your shared backstory and they do know OF you but they don't really know you

in mass effect 1, there were some unique missions related to both the backstory and psychological profile you picked for shepard. they were short, and nothing happens like that in 2+3 that i remember, but they are unique to your character and are something at least.

no one really asks you much more about yourself! mourn watcher rook is literally Found In The Crypts as an Infant, an incredible mystery that you have to fill in the blanks yourself, which could be something someone wants-- but i personally like my characters a little more predefined in a game such as dragon age. vague history worked for me in games like skyrim and fallout new vegas, even baldurs gate! but makes me feel wholly disconnected from the story and group here.

there was a fair amount of dialogue choices for mourn watcher, especially with Emmrich-- talking with emmrich was one of the few times my rook felt like A Person-- but there were other times that my companions seemed to think emmrich was the only necromancer/watcher on the team. (i even specialized in death caller!)

by containing all the dialogue with companions to ! markers and outings, it's weird to be unable to have any conversations without being able to provide personal insight, whereas some NPCs in inquisition actively asked you about your past.

its particularly noticeable because of lucanis, whom my rook romanced. the dude has a lot to say about nevarran culture and the necropolis and such, and we can have zero conversations on the matter lol.

maybe this is like, really a mourn watcher thing? maybe it feels better as a crow or a warden. but if you offer me the choice to be a freak crawling around in a tomb. i am going to be.

TLDR: i really feel that a prequel mission, a recruitment by varric then a timeskip, a personal quest tied to the consequences of your backstory, something, anything, to make rook feel like an actual part of the world, was a necessity and sincerely a missed opportunity. if you actually read this far, thanks!