#or at least it's the inquisitor's symbol

[galedekarios]

the map of dragon age: the veilguard

[source: x]

[pileofsith]

Nameless

Part Eleven - Boy Page 8/8

Tion Medon intends to offer comforting words; hits a nerve instead. The comic is also available here on AO3.

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[loredrinker]

Inflection, Context, and Elven: Lavellan’s Veilguard Ending (romance state)

Lately, I’ve seen quite a bit of criticism directed at a romanced Lavellan on my dash - particularly in the Veilguard ending, interpreting her as needy, egotistical, or entitled.

And I am wondering: Did we watch the same ending? (I find it fascinating how differently people interpret the same moments - such a reflection of the human experience.) And I couldn't help myself! I felt compelled to share my interpretations so I punched this out the last few days.

The sticking point seems to be Lavellan’s words, especially the ones spoken in Elven.

It seems like a common interpretation of Lavellan’s words here are: 

“It won’t be terrible if you’re with me.” (Implying possessiveness or entitlement - and that she alone will make it better.)

The game’s delivery offers no inflection on any word though. For me, it’s always been: 

“It won’t be terrible if you’re with me.” 

It’s subtle, but very different. This is just one micro-example of how much nuance is packed into the dialogue in the Veilguard ending. These lines shouldn’t be taken in isolation - especially not the Elven ones. They should be understood in the context of what Solas says to Lavellan in Elven just before, and beyond that, within the history established in Inquisition and Trespasser.

Indulgent Solas x Lavellan post ahead.

Still here? Excellent. (And sorry, it's another long post.)

"Elven is often a game of intents, not direct mapping of phonetic meaning." The language doesn’t rely on straightforward translations of sounds or words into specific meanings. Instead, it operates on a deeper level, where intent and context carry as much weight.

Earlier in the game, when Solas confronts Elgar’nan, he says: “I must speak to you in this tongue. It seems Elven is beyond your grasp.” This insult implies that Elgar’nan has lost the ability to understand the nuanced, metaphorical nature of the language. Elven relies on shared understanding, rhythm, intent, to convey its full meaning. By Lavellan and Solas choosing to speak Elven to each other it's an acknowledgement of their shared understanding - a connection rooted in their history going back to Inquisition.

Which is why I embrace it in my interpretations.

This is personal and expansive. On one level, she’s speaking as someone Solas has wronged, reminding him of the pain he’s caused her directly. But on another, she’s channeling the voices of countless others whose lives were affected by him and who will be shattered by his actions. It’s a challenge that blends her role as both an individual and the Inquisitor.

It’s also not a condemnation. Lavellan doesn’t lash out or accuse him of being irredeemable. Instead, she questions him, cutting through to reach the man beneath. She’s speaking to Solas (wisdom).

"Vhenan" is acknowledging his love for her but it’s also symbolic of his heart, the part of himself he’s buried and tried to ignore, suddenly reappearing. Solas has spent much of his journey detached and isolated, removing his heart metaphorically to push forward with his plans without the weight of emotional ties. Lavellan’s presence makes it impossible for him to keep it hidden. His heart is right there, exposed and speaking. And the ellipsis - so many words unsaid.

Immediately Solas looks down (I read it as shame). It’s a reaction back to what he said in Trespasser: that he would not have her see what he becomes. And yet, here she is. She sees him, the terrible path he has chosen, the blood on his hands, the awful things he has done, and what he’s about to do. In that moment, his shame is palpable - because Lavellan is one person he couldn’t bear to face in this state. 

And Lavellan doesn’t hesitate. Her next words are as much about holding him accountable as they are about reminding him that there is still another path. 

This isn’t some starry-eyed, naïve Inquisitor we’re dealing with (at least mine isn’t). Lavellan is fully aware at this point. But her stance is clear: no one is beyond redemption, not even the Dread Wolf himself. And she wasn’t the only one – this message is repeated throughout the game by others. 

Her words challenge the belief that has kept Solas shackled to his path. He’s convinced himself that his guilt and mistakes are too great, that there’s no turning back.

She doesn’t beg or demand or frame it in a way that’s grand and sweeping – she simply says “you’re wrong.”  

She’s not trying to erase his mistakes or pretend they don’t exist. She's saying, Yes, you’ve done terrible things, but that doesn’t mean you’re beyond the reach of change.

Lavellan’s journey as Inquisitor began with the Anchor - a mark born of Solas’s mistakes and choices. From the moment she touched his orb (yes, it sounds dirty), her path became entwined with his. This isn’t Lavellan selfishly claiming Solas’s path; it’s an acknowledgment that their journeys have run parallel.

Lavellan’s work to stabilize Southern Thedas mirrors Solas’s aim to restore a broken world, including the burdens of being forced to take on titles and labels. She is revealing her own struggles with devastating, blood-soaked choices - choices that, like his, have carried profound consequences.

Solas believes he’s been walking this path alone, but Lavellan shows him she's been walking alongside him this whole time. Now, as their paths converge again, this is a reminder of the power of connection and the burdens they’ve both borne. He's actually not alone.

Her words also carry an unspoken promise: she is ready to continue to bear the consequences with him. She knows the road ahead is painful and fraught with difficulty, but she is steadfast.

Why do I feel that people sometimes forget Lavellan’s role as Inquisitor? She wasn’t defined by Solas; she was the leader of a powerful military and political organization, forced to make horrible decisions. Whether you choose the mages or templars in Inquisition, you doom thousands to torment and death. The Empress of Orlais can live or die based on the Inquisitor’s choices. And if you’re like me and made the wrong calls on the Dalish clan war table operation, her own clan can be murdered and wiped out.  (Yes, I’m still haunted by that moment.) Her hands have blood on them too. This makes me wonder: does some criticism of the Solas/Lavellan romance stem from failing to see Lavellan as her own person? I love Lavellan for who she is as the Inquisitor - not because of Solas. Likewise, Solas is fascinating on his own. Their romance is one layer of the story, not the foundation of either character. Sometimes it feels like there are even some Solas/Lavellan lovers who have a tendency to overlook the depth and individuality of both characters outside of their romance.

Solas’s statement is a raw admission of all the guilt he carries for his deceptions and the pain he has caused her - lying to her about his identity, betraying her trust - not just as the Inquisitor, but as a person he loves.

His words are not an attempt to seek forgiveness but an acknowledgment of the truth - no matter how painful it is for them both. He knows his choices have caused devastation to the world and to her specifically. He's exposing the full weight of his dual burden: the grand, world-altering consequences of his plans and the personal betrayal of the woman he loves, who trusted him. 

Perhaps, on some level, he hopes that reminding Lavellan of his lies and treachery will convince her to abandon him, sparing her further pain. His guilt and self-loathing are so entrenched that the idea of being forgiven - or even supported – either confounds him or terrifies him.

But Solas’s confession is not just a shield to push her away. It’s also an invitation for her to see him - not the wise, compassionate companion she knew, but the flawed, broken man beneath.

This moment to me shows that Solas still values Lavellan’s understanding (we also saw it in his letter to her). He doesn’t diminish the weight of his actions but wants her to see the cost of his deception - not just for her, but for himself. To Solas, his betrayal is unforgivable. 

And yet - this "selfish" woman dares to forgive him anyway. 

Forgiveness is an act of wisdom because it requires understanding - and she reflects that wisdom right back at him.

"All you have to do is stop" is heavy with meaning. Yes, on the surface, it’s a plea to stop tearing down the Veil, to reconsider the destruction. But it’s also a plea for him to stop running, to stop isolating himself, and to stop punishing himself for his failures. She’s asking him to step out of the shadow of his self-loathing and see that there’s another way forward, not by demanding or commanding, but by offering him compassion (forgiveness). (Cole, I miss you.) 

But Solas’s guilt and self-loathing run deep.

With these words, Solas apologizes to his heart - hardening it once more. For a moment, it had softened, cracked open. But he shuts the door.

The bow that accompanies his words is loaded. A bow carries layers of meaning depending on context - reverence, respect, gratitude, apology, greeting or farewell, a spiritual act, acknowledgment, loyalty, mourning, or even a romantic gesture. Solas’s bow can mean all of these. 

He is physically reinforcing the gravity of his apology. It’s a solemn moment. He is bowing to her strength, to all she has endured because of him. And when he calls her "vhenan," it is personal. It's an apology to her and to his own heart for not choosing the life he wanted to have with her.  “...to stay by your side as Solas...as I wanted.”  

The bow also carries guilt. He is acknowledging the pain he’s caused and humbling himself before her. And his eyes in the animation during this moment – I saw haunted, tormented, tired eyes – the eyes of a man grappling with the weight of his choices and the thought that he cannot accept redemption, even if it’s offered freely.

But, as I’ve said before, it takes a village to stop a Solas. Cue Morrigan and Mythal - but I’m not diving into that dialogue rabbit hole in this post.  

But this scene with Mythal is important. Lavellan has just watched the man she loves completely crumble in front of Mythal. He’s bent over in grief/pain, utterly vulnerable. She hears him say, in anguish, “The things that I have done.” She sees him lift the dagger - perhaps to surrender it, to shield himself from Mythal, or even as a plea to Mythal to end his torment. Whatever the intent, Lavellan is witnessing the rawest, most broken Solas. His guilt is overwhelming, and this is the first time she’s truly seeing the full weight of it laid bare (as is Rook). It’s a moment of heavy sadness for her – and for us as players. 

Solas is bent over with the emotional collapse of centuries of obligation and guilt coming to the surface. Mythal’s departure leaves Solas vulnerable, stripped of the purpose that has guided him for so long. He is alone in his pain.

For Lavellan, can you imagine the helplessness? All she can do is offer her presence, understanding, and faith in him afterward. That might feel like so little in the face of such immense pain, but it’s all she has to give. 

Where Mythal’s words, spoken in the common tongue, are authoritative and final, Lavellan’s are intimate and personal. Her choice to speak Elven reflects her desire to meet Solas where he is - connecting with him on an intimate level.

Only after Mythal has left him exposed - that Lavellan uses the Elven language. In this moment, stripped of his defenses, he is finally open to hearing and feeling the full significance of the words and their intent.

Lavellan’s words challenge the notion that fate is immutable or inevitable. When she says, “there is no fate...,” she isn’t diminishing everything else in favor of her love; she’s rejecting the tyranny of inevitability. Her words assert that choices - rooted in love, connection, and shared purpose - have the power to shape their path forward. She reframes love as a force just as powerful as fate, capable of creating meaning and direction where there once seemed to be none.

Atonement

And at this point? Lavellan has no idea what Solas will do next. None of them do. But the combined efforts of Rook, Lavellan and Morrigan get through to him. Because Solas makes a choice - a monumental choice. He binds himself to the veil, committing to atonement. Atonement is a powerful, active word. It evokes the gravity of recognizing wrongdoing and the courage to address it. His decision to seek restoration with the Titans, to deal with the Blight, to return to where it all began, reflects the depth of his remorse and his willingness to rebuild the balance he disrupted – from the beginning. 

Solas equates atonement with isolation, believing that his punishment must be borne alone. To him, atonement requires severing ties, including the possibility of love. He doesn’t ask Lavellan to join him because he cannot conceive of burdening her with the weight of his choices and the path he must walk.

But Lavellan’s words - once again - challenge that. She offers him the possibility that his actions, no matter how devastating, do not erase the love and faith others still have in him. This is an invitation.

She's also being vulnerable here. She’s offering herself to him, knowing full well that he still might say no. A risk she’s willing to take. 

He doesn’t try to shut her out or push her away this time. Instead, he shifts the focus - he needs her to understand the gravity of the path they are about to walk. His response reflects his own vulnerability as well, he wants her to know what she’s choosing, but he can’t bring himself to reject her offer outright. 

Solas responds in Elven - his acknowledgment of their shared understanding and their entire relationship and journey that has shaped them.

His words also mark a turning point: for the first time, Solas allows Lavellan her agency. Throughout their relationship, he has taken her choices away. He broke off their relationship in Inquisition. He vanished after Corypheus’s defeat, leaving her no say in it all.

Lavellan is asserting her choice. And this time, Solas doesn’t take it from her.

By framing his destination in such stark, "terrible" terms, Solas isn’t pushing her away out of cruelty. He’s laying bare the enormity of what lies ahead, warning her of the peril while giving her the freedom to choose for herself. It’s his way of ensuring she understands the stakes.

Solas is doing what she requested long ago - trusting her - and what a choice to place that trust in. He’s entrusting her to make an informed decision about stepping onto a path that could shape the future of Thedas. He is trusting Lavellan’s strength and resiliency. And in trusting her, Solas reveals a quiet, unspoken truth: he doesn’t want to face this journey alone. By even presenting the choice, he reveals a quiet hope that she might go with him, despite everything.

To me, what makes this moment so achingly beautiful is the duality in his expression. His eyes seem to plead two things at once: “I don’t want to put you in harm’s way,” and “I can’t deny wanting to be with you.” There’s a raw vulnerability in the way he looks at her.

“It won’t be terrible if you’re with me.” 

Lavellan’s response is a direct challenge to Solas’s warning. He tells her the path ahead will be awful - because of him. But she counters, saying that it’s because of him that it won’t be. This isn’t her forcing herself into his journey or suggesting that she alone will make it better. Instead, it’s her way of expressing that his presence will give her the strength to face whatever lies ahead - he's fucking worried about her! She’s trying to ease his mind, while also signaling her willingness to trust him again.

At the same time, her words acknowledge the weight of Solas’s suffering, offering herself as a partner to bear that burden together. She isn’t dismissing the risks or downplaying the severity of what’s to come - she’s choosing to stand beside him, fully aware of the challenges ahead.

It’s not about personal gain; it’s about shared resilience. Lavellan’s focus is on what they can endure together, not on what she might receive from the journey.

And since the Fade reflects emotions, as many have pointed out, their combined trust and love could manifest in ways neither of them can predict. Their bond has the power to shape not just their path but the very world around them.

This declaration is past, present and future; it’s a reaffirmation of their bond, a recognition that they’ve been walking the path of the dinan’shiral together all along. It’s future focused - she is offering to shoulder the burden with him going forward.  

She’s also telling him that she won't abandon him, no matter how hard the road ahead may be. 

And at the end of the day, she's a woman who still loves him. What does Prince Lir say in The Last Unicorn? "I love whom I love."

I've never interpreted Lavellan as someone sitting by a window for ten years, writing sad poetry and sighing into the wind, longing for Solas. She’s been busy - rebuilding a fractured world, navigating political fallout, and seeking understanding. Lavellan’s love for Solas isn’t blind devotion; she’s holding onto the possibility of redemption and the deep impact he had on her life. In my world state, Lavellan’s clan is wiped out. The people of the Inquisition have become her family, the ones she fights for and protects. And indirectly, Solas gave her that family. Despite the pain he’s caused, her love for him reflects the complexity of her journey - one defined not by a single relationship, but by hope, resilience, and the connections she’s forged along the way.

Lavellan then leans in to kiss him, and Solas allows himself to be drawn in. This moment is acceptance - a silent vow, a promise sealed in their shared vulnerability. It’s an intimate connection forged in front of those who have just witnessed the emotional storm that brought them to this point, as if to say, “This is where we stand, together.”

And then Solas turns to Rook and says, “Thank you.”

Solas doesn’t thank Rook when he hands them the dagger, nor when he’s preparing to walk into the Fade. He says it after the kiss.

In thanking Rook, Solas acknowledges not only their actions but also their understanding of the connection he shares with Lavellan. Rook, transformed by their own relationships and the bonds they’ve formed throughout their journey, embodies the themes that have always defined Dragon Age to me: connection, fellowship, community, love, and redemption. These games (again, for me) have always been about how people, despite their flaws and struggles, can come together to make the impossible possible.

Rook’s symbolism in the redemption ending feels like the culmination of this ethos. They represent how even those who begin on the periphery of great events can become central to forging bonds and creating change. Solas’s gratitude is for Rook's empathy, their recognition of the importance of connection, and their role in bringing these threads of love and redemption together. I'll go cry now.

And off they go into the Fade.

The Final Translation 

"With Elgar'nan and Ghilan'nain dead, and the Inquisitor finally reunited with her true love, it looked like one of the biggest stories the world had ever seen was finally drawing to a close."  

Varric’s narration ties the ending image back to the connection between Inquisition and Veilguard. Inquisition is the Inquisitor’s story; Veilguard is Rook’s. Solas serves as the thread linking them. Varric frames this moment through Lavellan’s perspective, narrating the story like one of his novels - not to diminish Solas, but to highlight the Inquisitor’s journey. After all, Veilguard wouldn’t exist without Inquisition. Rook wouldn’t be working with Varric or searching for Solas if not for the Inquisitor.

As much as I would have loved a deeper focus on Solas, Veilguard wasn’t his story. If Inquisition is the Inquisitor’s story and Veilguard is Rook’s, this ending is a shared culmination: for a romanced Lavellan, it’s the personal resolution of her journey; for Rook, it’s recognition of their critical role in saving Thedas.

Okay, indulgence over - whew, that was long! I really need to practice shorter posts.

In the end, those who dislike this romance or this ending probably always will. That’s fine; I just wanted to share my interpretations because I genuinely love this story for all its complexity.

To everyone who made it to the end of this post - thank you for joining me in my indulgence. May your own Solas ships continue to bring you joy and inspiration.

[blasphemousclaw]

What are your thoughts on Romina? Was she a Hornsent? We actually do see her in that story trailer without obvious horns.

I think Romina is indeed hornsent… when the story trailer is depicting the burning of hornsent lands, we see her holding the bud that became her weapon with her church burning around her:

the Church of the Bud is built in the same style as other hornsent architecture:

(Theatre of the Divine Beast, Divine Bird Warrior Ornis temple)

the Church of the Bud was not originally dedicated to the scarlet rot:

“There was a time when these buds were not touched by the scarlet rot's blight—when they were the symbol of the small church deep in the ancient ruins of Rauh.” (Scarlet Bud)

I think the church used to be dedicated to hornsent spirituality, as it overlooks Enir-Ilim and is located deep within the Ancient Ruins of Rauh, which was a very important place to the hornsent because it was perhaps the origin of the Crucible itself:

“It is said Devonia quested in search of the Crucible's origin, and departed from the lands of the Erdtree alone.” (Crucible Hammer-Helm)

“A record of crafting techniques left by the hornsent academics who studied the ancient ruins of Rauh.” (Antiquity Scholar’s Cookbook)

we find Devonia in the Ancient Ruins of Rauh, and the hornsent (who revered the Crucible above all) studied the place, so I think it’s fair to say that Rauh is the origin of the Crucible! I think it’s possible that the Church of the Bud might have originally been involved in Crucible worship!

the co-op summoning pools seem to confirm the Ancient Ruins of Rauh as a hornsent stronghold, because they are listed under the “Land of the Tower:”

there’s also some cute inquisitors near the Church of the Bud praying to the Tower:

and of course, there’s the deathblight Divine Beast Dancing Lion in the middle of Rauh!

so basically, it makes sense that the Church of the Bud was targeted by the Crusade… it’s a hornsent church involved in hornsent spirituality. Romina herself is most likely hornsent too; it isn’t super clear if she had horns or not under her hood in the trailer, but if she doesn’t, that doesn’t mean she can’t be hornsent. at the very least, she was involved in hornsent religious practices!

Romina also has cut voice lines! (at 0:31 in the video) she says, “Children of the Tower; butterflies take wing.” we don’t know the context, but “the Tower” obviously refers to the hornsent, so Romina is calling upon the hornsent here, which I think further suggests she was one of them!

[missriggie]

If Inquisitor Lavellan is Hope, Elf!Rook is Freedom

Forgive my rambling but I just wanted to share this, see if it inspires discussion/theories/new friends to reach out, and maybe cement myself in this fandom.

SPOILERS AHEAD!!!

I've given a sparing thought to some theories and headcanons I've seen circulating with the confirmation of elves once being spirits in Veilguard and all the clues sprinkled throughout Inquisition. One has popped up that I find intriguing and I agree with. Inquisitor Lavellan is a Spirit of Hope.

I think there is a very strong case for that, especially for those Solasmancers out there who love to pair them up as Wisdom and Hope. It's a very beautiful thought as they are without a doubt soulmates, at least in the cases where those two end up together.

Hope defines the Inquisitor's journey. They become the Herald of Andraste, a symbol to look to after a period of ruthless war, then into the ass-end of a demon apocalypse trying to mend a broken world. Deed after great deed they prove their capabilities, and become a formidable player in Thedas's history, keeping people looking up. They are the Dawn That Comes.

Now that Veilguard has since confirmed that Elves were spirits made flesh, I've started to wonder at what possible spirit Rook could be, should they be of Elven lineage. I've decided, either through evidence or delusion or trying to piece together the fanfic I've got brewing, that Rook could be a spirit of Freedom.

Every faction could have some way of a purpose toward liberation. A Veil Jumper would want to free their history and their people from ignorance. A Grey Warden would want to free Thedas from the Calling and the Blight. The strongest background, and most the likely canon faction for Rook would be a Shadow Dragon, putting pressure on the Imperium to abolish slavery.

Rook has a knack for freedom. We free Lucanis from the Ossuary, the Dalish Elves from the Venatori, the Kal Sharok dwarves from the Titan's anger, young griffons from the Gloomhowler. We even free ourselves from a prison of regret built specifically to lock up gods.

My first go round, I played a Lord of Fortune Spellsword, and it coincided very nicely with this theory. An ex-galley slave turned marauding treasure hunter with no masters to hold them back. She lived and breathed freedom so it made sense, at least for my Rook.

We also see the potential to corrupt that spirit of freedom. Into what you ask? CHAOS. Which also ties into the other thing that connects them to Solas; The Tower.

The big teaser for Rook as the protagonist back when it was still called Dreadwolf was the Tower/rook chess piece and floating head of a wolf. Solas's Arcana at the end of Inquisition is the Tower. This Major Arcana represents calamity, disruption, upheaval, unavoidable change, chaos.

Too much freedom leads to lawlessness, and Rook is never one to follow rules as far as we witness. In all backgrounds, no matter the faction, Rook's actions cause unrest, turmoil, disruption, often a total breakdown of authority, much like the spirit they are mistaken for when delving into Solas's memories in the Crossroads.

Rook cannot be caged or told what to do. But also, Freedom cannot go unchecked, to do so on either end of the spectrum just leads to untold mayhem. It needs a guiding hand. It needs Wisdom.

With this in mind, it just makes their dynamic with Solas so much more fascinating. Everything he has done is in the name of Freedom, and if he were to have a living embodiment of it move against him it would be so confronting. It would make him question his entire angle. Why is he really doing this, if not for freedom? But his pride would keep him in imprisoned in denial and regret. This denial is then reflected back to Rook in regards to the fate of Varric.

The case for each spirit, both Hope and Freedom, only intensifies if one chooses the Atonement ending.

Lavellan sees the Wisdom in Solas and tries to appeal to him through that. She gives him Hope, and joins him in the dream, forever protected from his fear of dying alone.

Rook holds a mirror to his Pride, his mistakes, his trauma and makes him confront it. They gather all the pieces needed to unravel his fear, allow him to let go and make his own choice to atone and return to his true self, opening a path to true Freedom to finally come home to the Fade. WHICH IS TWIN-FLAMEY AS FUCK

So yeah, I love this game. EDIT: I've expanded on this with a second part regarding Elgar'nan and will in the future take a look at Rook/Freedom in relation to Mythal as Benevolence and Retribution.

[housederiva]

If Fereldan and all the areas we've been to in the past are being run over with the Blight and entire cities like Denerim are being wiped, why didn't BioWare have a throwaway line about the Wardens of the Fifth Blight (ie us) returning to their homeland to defend it? Not only out of a pride/symbolism/hope to the people thing, but because they know the land and how to fight the dark spawn there better than anyone else? That could have wrapped up where our Warden/Alistair/Oghren/Nathaniel and everyone else from the Awakening Crew were in a sentence of ambient dialogue or a line of a codex entry

Our Warden Commander could have been mentioned as leading the wardens and the other half of Thedas in one of the Inquisitor's letters at the very least

And if that was too far of a reach, there could have been the same amount of effort put into them leaving for their calling since blights are known to speed it up

[shimylli]

So after some time to think about it, I will share my own though on Solavellan ending in Dragon Age The Veilguard, so SPOILER ahead.

ON ROOK AND SOLAS

First I would like to share a bit about them, because I really enjoyed their dynamics on the game.

« – Letting the veil collapse... – ... Is what you want. Making amend isn't about what you want. »

I wish so bad those words, and the whole cinematic would have been from my Inquisitor perspective. That she could be the one angry, and also saying the right word, she derseved it, after all this time.

But I am not angry at all, because like I said, I enjoy Rook and Solas relationship.

Solas treat Rook the way he would have never treated Lavellan. There is such a cruelty in trapping someone in an eternal and lonely prison, and Rook - specially if you play it as a supportive and forgiveful one - is one of the least to deserve it.

Rook see the manipulative, abusive and cruel side of the Trickser god. Solas never really let is guard down this time, He doesn't allow it considering how close he was to stop everything by the time of Inquisition.

Rook forgiving and believing in Solas, still, despite everything he has done to her, was also really impactful and satisfying. And for Solas, it was the first step through healing.

INQUISITOR INTERVENTION

As he still proceed on his plan, he hear the voice of the Inquisitor, and turn so fast.

It is so hearbeaking, and after all this time, he still calls her " Vhenan ".

And for her, he lets his guard down, again.

« – You think you've come too far to come back, but you're wrong. »

Lavellan plays a really mature and forgiving part, and I think it makes sense. In Inquisition, I played an angry Lavellan, the one who scream in elvish and then say " I would have had you trust me " while angrily entering his personal space. But it has been 10 years, and like us, she had time to think about it, to take distance and make peace about their relationship.

Solas is looking for every way to proove that he is undeserving of her forgiveness, give many excuses.

«– I forgive you ! »

I was so happy about the Voice Acting, when Lavellan assertively cut him and scream at him this sentence. She already failed 8 years ago to convince him to stay, and she will not let her second chance pass.

And then...

MYTHAL AND SOLAS

Ugh. Where to start.

I like what they did with Solas and Mythal relationship, seeing how abusive and manipulative Mythal was. In a way, it makes the time between Solas and Lavellan in Inquisition even softer, as she accepted him for the person he was and wanted to be. A person who gave advice and share his wisdom. An equal.

I also don't think that Mythal and Solas were romantically involved, and it would have been better to avoid the companions comment about it, making it moreconfusing. Actually, it would have been even better to not have the team reuniting to watch and comment the really personal memories of Solas like a TV Show.

Mythal is the third to offer forgiveness by sharing the weight of their mistakes, and even so I wish she would have been an optional intervention, I have to recognise that the scene is intense and painful - positevily - to watch.

This is the moment the Lost Elf theme start to play as the same time as the main DA TV theme with violin, they managed to make it even sader.

His body language. He is breaking, getting crushed by the weight from his pain. To see him, so vulnerable, so small, it was heartbreaking. And when Mythal release him, say the last word that finally free him, is like he can no longer stand, he fall crying.

Obviously, he was no longer bounded to Mythal since long, and every bad decision he took in the past were taken freely. Still, metaphorically, it was really symbolic. The guy has been suffering for thousand years.

SOLAS AND LAVELLAN

«– Banal Nadas Ar lath'ma Vhenan. »

And then Lavellan walks slowly towards him, and softly kneel to look him in the eyes. She is caring and supportive, and start saying reassuring words in elvhen. I feel like them speaking in elvhen makes so much sench, has it is kind of their tongue of truth and sincerity.

I love that Lavellan grew to be this person Solas could trust, and could be there for him, show compassion. She does not look submissive, but caring. She definitely is in control of the situation, and she chose to be here for him. Despite everything.

And again, the animation. The emotion in their looks. The tears in Solas' eyes.

The sadness of his gaze while he decide to take the hardest decision, and pay the consequences of his actions.

And while Rook and Morrigan look at him, proudly, there is this little frame.

Lavellan, smiling, lookind down. A bit of sadness in her eyes. I think it is the moment she realise that she have to take a decision. See him take his responsability, keeping him as dear memory, or leave everything to be by his side. And my head still remember what she said to him after the Well of Sorrow mission : " No matter what, you will be by my side. ".

I am not upsed by the ending. This is exactly what I had envision before the release of Veilguard.

Sure, Solas was the victime of Mythal abuse, but the pain and suffering he caused around him were all from decisions he took freely. He needed to make amend, and not a sacrificial reparation. The decision is even harder as it mirrors his fear that we know. Dying alone.

Every other ending is painful to watch when you remember that.

So for him to take his responsability, knowing that he would lead him to a life of solitude. Only, when he chose this path, with the end that awaits him, does it makes sens that the Inquisitor offer to follow him. The world is saved, she leave it in the good hands of people she trust, and she deserve to finally take a break.

And again, the game let you decide if you want to follow him, you can have a Lavellan who think that it was too much for her. But to me, it is the culminent point of their story taking a mythical level.

«– Ar ghilas vir banal. »

Solas speaking elvhen sounds so beautiful. Again, he rejects her, telling her that only terrible thing awaits her if she follow him. He wants to protect her, she doesn't have to face the same consequences as him, she has done nothing but trying to repare his mistakes. I think it shows that he still care, that he would not make her selfishly take the same burden as him.

I know, it is not a grand gesture, but the way he looks at her. I do believe she means everything to him.

And the kiss was so soft. I think us, solavellan fan are not use to it. And it bugged me also, as we had in the past more intimate scene. I think I would have prefere if he at least hugged her while kissing. Still, I think it goes well with the caring and softness of Lavellan, in this specific situation, who is in front of a bruised man.

I kind of count on the artist to make something more emotional.

So far, I enjoyed the ending, I just have a problem with the execution, and now that I am writting all of it, I realise that I even enjoyed the cinematic, I just think I was expecting more. A Trespasser level ending, that would feel more personal.

But I am also in peace with the ending, this is exactly what I wanted for them, and I am sure that they will make of this fade prison a special place for them to grow happy.

And again, thanks to the Solavellan fan to provide us with content that should be in the game. The way he looks at her :

I think this picture alone help me make peace with the end.

And I will just finish with my Lavellan and Rook smiling. I love them so much.

[gallifreyanhotfive]

Random Doctor Who Facts You Might Not Know, Part 41

Adric missed K9 and would write him letters. (Short story: A Boy's Tale)

Tegan missed Nyssa a lot and felt as though Turlough had a bond with the Doctor that she wasn't company to. (Short story: Qualia)

Early Gallifreyans worshipped one of their two moons (Pazithi Gallifreya) as a virgin goddess. (Novel: Cat's Cradle: Time's Crucible)

After Inquisitor Darkel dismissed the Sixth Doctor's charges from The Trial of a Time Lord, she had to go lie down in a dark room for a while because he and the Valeyard were too much for her. (Short story: The Inquisitor)

There are roughly one million versions of Clara Oswald according to the Encyclopaedia Gallifreya. (Short story: Citation Needed)

The Master tried to interfere with the Fifth Doctor’s regeneration into his Sixth, but the Doctor had psychically called out to his former companions (Nyssa, Tegan, Turlough, etc etc), who convinced him to ignore the Master and helped him regenerate. (Audio: Winter; Television: The Caves of Androzani)

The Doctor keeps a copy of Every Gallifreyan Child's Pop-Up Book of Nasty Creatures From Other Dimensions in the TARDIS library. It pops up in four dimensions. (Novel: All-Consuming Fire)

The Fifth Doctor talked so much about River Song after meeting and becoming absolutely enamored with her that Tegan pushed him against the wall and demanded that he stop. (Audio: Expiry Dating)

The Seventh Doctor met Katarina as a young girl. He gave her family enough gold to feed them for a year. (Short story: An Unfulfilled Dream)

In 1969, a journalist named Chrissie Allen did an article on Amelia Williams. Amy told her she wanted to write a story about a young girl lost in New York City, who is scared but will use her magic powers to take on the world. She was very confident when she said the girl was really out there in New York. (Short story: The Girl Who Never Grew Up)

The Eye of Harmony located in the TARDIS is only symbolic of the real Eye of Harmony on Gallifrey. (Novel: The Eight Doctors)

If someone accesses the Eye of Harmony without the Rod, Sash, or Great Key of Rassilon, they will be turned inside out and killed. (Audio: Insurgency)

A young Magnus, who would one day become the War Chief, once tried to drain Artron energy out of a sphere retrieved from the time vortex. He was opposed by the First Doctor, referred to as "Thete," who set the energy free after discovering it was alive. This was considered to be their "falling out" moment. (Comic: Flashback)

The Fifth Doctor has tried to sacrifice himself so often that Nyssa can recognize his blank face as an I'm-about-to-sacrifice-myself face. (Audio: The Darkening Eye)

Each incarnation of the Doctor thinks that they make their own identity, but in reality, the TARDIS knows that their travels are never "accidental." For example, she could have easily returned to 1960s London when the First Doctor was trying to drop off Barbara and Ian, but she said she thought it was more important that he have fun and learn from his human companions who the Doctor actually was. (Short story: What the TARDIS thought of "Time Lord Victorious")

The Doctor's TARDIS bedroom (at least at the time of his Fifth incarnation) had an original Jackson Pollock on the door. It had a four poster bed with awnings, silk sheets, and a toy rabbit. The Fifth Doctor would hang his coat up with a Mickey Mouse hanger and sleep in question mark patterned pajamas. (Novel: Divided Loyalties)

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[salted-bird]

Unique interactions aside I adore how Sinclair Who Shall Grip's character is reflected on the gameplay side, we are told through his Uptie story that he doesn't believe in Faust's cause as much as he *wants* to, and it shows, because he is just godawful at the job she gave him.

For starters, Nails, the thing that defines the faction; Shall Grip Sinclair can't inflict any stacks of it.

All other N-corp IDs we have so far can apply at least one Nails, and we are informed in N-corp Don's Uptie story that the nails possess a symbolic importance for them because "the reason we pierce evil with nails beeth to utilize them as tools so the One Who Grips may enact justice". It's all about the One Who Grips, and even at his worst Sinclair is unable to aid her beyond the surface level, quite literally he can't help Faust carry out her Execution because the skill requires Nails and he can't give them.

Though it doesn't end there, the more you use them the clearer it becomes that the Faust Who Grips and Sinclair Who Shall Grip IDs don't mesh together at all. Faust's nails inflict Bleed count, Sinclair needs Burn Count, Faust's passives heal SP, Sinclair needs to stay at low SP, Whistle gives Fanatic to two allies, Sinclair hogs one stack due to always being the lowest SP ally by kit-design, but then there's how he can't make proper use of the Fanatic buff because of the SP heal ruining his tails flips, so rather than helping it's like trying to put a torn band-aid over a wound when that Fanatic could be going to someone actually capable of benefiting from it.

Sure, his skills include effects that involve other N-corp units, but first, it's a selfish interaction, they can help Sinclair but the most he will give them is a pathetic 2 Bleed on the last hit from Amoral Enactment, and second, what little ways they have to help Sinclair pale in comparison to letting him fight alongside IDs from other faction, what's a 15% damage increase compared to rolling 30 on each one of Self-destructive Purge's coins, and what's 5 Burn Potency compared the obscene amounts of Burn Count Liu Hong Lu can provide for his second skill and E.G.O? The N-corp effects are pretty much just there as lip-service, which applies to Sinclair's half-baked belief in their cause too, he shines the most when going against Nails and Hammer, and that keeps being the case even for the ID that's supposed to be on their side.

I find it funny how the closest to a synergy you can find between Faust and Sinclair is Faustie's Gaze buff, which sums up their relationship perfectly. She points to something and Sinclair kills stuff, Sinclair's core personality remains unchanged just like how the only thing that Gaze does is provide a crude damage-buff that doesn't help with any of Sinclair Who Shall Grip's obtuse mechanics, but the 'Sinclair kills stuff' part is enough for Faust.

Lastly, another point that I love is Sinclair's physical types and resistances.

All his skills deal Blunt damage, which is exactly what the N-corp Inquisitors are weak to.

Other N-corp units deal Blunt damage too, but they also have Pierce skills that the Inquisitors endure, Sinclair on the other hand doesn't waste a single bit of damage when it comes to killing them ASAP, and unlike the rest of N-corp Units, Sinclair Who Shall Grip has an Ineffective resistance for Blunt, at the same time his resistance against Pierce is normal rather than fatal, meaning he can go against the Inquisitor enemies without worrying about dying in a blink because they simply can't strike his weakness.

But of course, there's one N-corp character who Sinclair can't deal with, and it isn't Kromer, you must have seen already how she gets staggered if you bring Sinclair against her.

No, the one Nails and Hammer member who can claim the title of best counter against Sinclair Who Shall Grip is funnily enough, Faust Who Shall Grip.

Emitter is weak to Lust but it doesn't matter because Faust resists the physical type of all her skills, her passive ruins Sinclair's rolls to the point he can hit 0 as a coin value, and guess what, Sinclair's base E.G.O, Branch of Knowledge, has a fatal weakness to Pride, the element of Faust's Execution skill.

There's something so twisted yet beautiful about the fact that even in gameplay terms, Sinclair can't hope to go against Faust, while she could easily get rid of him if she ever felt like it.

But of course, what I find even more beautiful is that Sinclair Who Shall Grip has one small means of rebellion left, one last tool that can he could use to hurt Faust if he ever dares go against her: Branch of Knowledge, the E.G.O that encapsulates Sinclair's sin.

Emitter also has a fatal weakness to Gluttony, and unlike Sinclair Who Shall Grip's own skills, its physical type matches Faust Who Grips fatal weakness to Slash, making it the ideal tool for killing her.

Given how turning a blind eye to everything as a way to cope is a big part of Sinclair Who Shall Grip's character, I like how the one thing he could theoretically use to break free from his dependence on Faust is a manifestation of his inner psyche literally called Branch of *Knowledge*, I would assume these are all coincidences if it were any other game but PM has put crazier details on their works before.

[felassan]

Just poring over some of the new images. ◕‿◕

Docktown, Minrathous (in the daytime, in contrast with the gameplay reveal video), reminding us that Minrathous is built on an island. maybe the magic-monorail-looking bridge here is actually the single bridge that goes to Minrathous, like in the lore?

Docktown is the home of Neve. the distinctive floating building is in the distance again. compared to Ferelden, the buildings in Minrathous are like another planet entirely! Tevene architecture/design is so hostile - spikes on chairs, spikes on the sides of buildings.. I wonder if the doorway here is the entrance to the tavern/bar here [second image]. if you look in the window to the left of the door, the figure on the right could be the 'bouncer' at the top of the steps in the bar image. also, outside of here are tables and barrels, like you might expect outside a tavern establishment.

I'm curious about the heraldry of the boat in the harbor with the blue unfurled flags. it reminds me a bit of this Fereldan heraldry, but the animals are the wrong way round and it isn't quite right. either way, the heraldic animal is also present as the prow of that boat and one other.

Elf Rook (either City or Dalish but without vallaslin applied in CC), Emmrich and Harding. Rook is a sword-and-shield warrior here, Veilguard symbol on their chest plate, Warden symbol on their shield. Maybe this Rook has the Grey Warden background? anyways, looking closely at Rook's chest plate here, with the gray metal armor, the purple Veilguard symbol on the left, the 'bandolier' of three brown leather pouches across their chest, and the diagonal lines on the plate going the other way, it looks like maybe this Rook is wearing the same 'iconic[?] Rook outfit' as in the key art, or at least the torso piece. They both also have the metal shoulder plates, purple fabric over the elbow area, brown leather gauntlet etc. It's just that in this screenshot Rook isn't wearing a helmet/hood (or has them toggled off in the Options menu? ^^). anyways, I love that purple seems to be the 'iconic[?]' color for Rook, and also look at how this long-haired Rook's hair flows and sits around their neck and shoulders! and again the detailing is cool, like scratches on the shield and stuff.

Harding's arrow is glowing. Is her bow or arrow enchanted or have some kind of stat buff, or could this be an example of her magical powers in action, like her tarot card art might suggest? also, we can see from the tall skeleton/undead statues in the background and the skull-lid vases in the foreground that this shot is from the Necropolis.

The groupshot at HQ is so [cat crying screaming].. 🥺🥺 I love it so much, with the round table it has like Knights of the Round Table vibes or something and it's so nice to see everyone together and in their casual outfits too. I hope there are lots of moments like this in the game. ^^ Davrin is whittling wood, something that reminds me of Halsin and my Inquisitor (who is Dalish, and also had that hobby). Did some people.. bring their chair of choice to the meeting room hh? Davrin's looks like it was carved from a tree stump. Harding and Neve have a comfy sofa. Emmrich's looks kind of gothic and Nevarran. Taash's stool [?] is gold and practical-looking.

Taash looks so bored hhh. here we can see Bellara without her magical gauntlet. Do you think Manfred and Assan come to the team meetings..? :D Lucanis has impeccable tailoring, with lil bird-skull looking buttons at his collar. he's buttoned right up and professional looking even in his casual downtime, even when some of the others are the opposite. unsurprisingly his casual clothes have that blue-black corvid feather sheen. surely he has coffee in his mug. ^^ I wonder what Neve's drink of choice is though? from the way Lucanis leans here, do you think Lucanis and Emmrich is one of the companion-companion relationships that might develop like Taash and Harding?

Harding looks so cute and cozy on the couch with the cushion and her slippers, I can't take it. and I really love Neve's casual look with her scarf and hair like that!!

I think this scene is probably from the Lighthouse. Game Informer mentioned that it had a library, which is the central area of the The Lighthouse, and that it's there the party will often regroup and prepare for what’s next. Could this be one of those moments in there? ^^ in the background are stacks of books, and books on shelves, like a library would have. on the table is an assortment of scrolls, maps, papers. you can see a feather quill pen and red wax seals. having the maps in front of Davrin, a Warden and monster-hunter who has probably travelled far and quite a lot, is a nice touch. some of the books look quite ornate and arcane-ish, and are there a few of the 'Bellara'-style triangles on the table as well? and what do you suppose is the blue diamond-looking thing with white veins on the table?

(I'm also curious what the golden thing in the top right is.)

we can tell from the way it looks but we also know from a file name that this is the Rivain Coast. it's beautiful, it looks so bright and hot, the water is so blue. we first saw this locale in the Thedas Calls trailer from Dragon Age Day 2023. again, in the distance, we can see that statue.

From a file name, this is Arlathan Forest. everything is suffused in soft golden light, almost whimsical and Fable-like the Game Informer piece said. this shot is framed with those familiar trees with orange foliage e.g one, two, three. this place reminds me of some of the elvhen ruins we got to see in Trespasser. in the top right is green Veil/Fade shenanigans. a place where the Veil is weak, or the edge of this particular Veil bubble? past the wall of green it looks like some of the buildings are broken thanks to the warping, and there are floating rocks.

and look closely at some of the assets -

there's an owl, which are associated with Falon'Din and Andruil. lots of those howling Fen'Harel wolf statues. they look just like they do in DA:I (I don't mean that they look bad graphically or old or anything, just that the details are the same!!) which is awesome for consistency (also cool to see these return, so many of the art assets in DA:I were rly cool), and might even be the same assets being re-used (which is sensible and sensical for game design, something Mark Darrah talked about before). nb, just in case, I'm not saying this as a comment against asset re-use, it makes sense to do and I was excited to see these DA:I or DA:I-style ones in these caps!

[wardensantoineandevka]

I keep thinking about like, this post-game idea I had of Evka and Antoine at Halamshiral before the Orlesian loyalist court because it's, like, actually not a totally nuts concept and super interesting to work with politically as an idea the more I think about the state of Thedas.

Orlais is in a weak position at the end of the game. Even with the Blight fading and less of a peril and not as much of an immediate death sentence, it still exists in the interim and will likely need some managing in the short-term.

Orlais is going through a bit of a second civil war and refused to cooperate with anyone, leaving them out of the newly arising relationships throughout the continent. Ferelden allied with the Chasind and Avvar (at least during this crisis). The Free Marches unified. Eastern ships are protected from the Antaam by the Felicisima Armada. Though it is unclear how long it'll last, there's a spirit of cooperation between influential groups in the north, including between the Shadow Dragons and the Archon, the Crow Talons, Isabela and the Lords of Fortune, and the Wardens.

The Wardens are a major part of the reclamation of Minrathous, and they're a crucial part of the overall morale of Thedas. The Inquisitor's missives notes the way that the fall of Weisshaupt and the Warden's victory over the Blighted dragons have massive impact on the morale and emotional state of Thedas overall. Even as they remain few, and even as the First Warden alienated a lot of countries over the past decades, they remain influential as symbols.

Further, Evka and Antoine are consistently concerned about what is happening throughout Thedas. They choose to help Lavendel, a politically inconsequential village, because it needs their help, and they muster there. They send Wardens to the Free Marches and to Ferelden. They keep correspondence with Wardens in the catacombs of Minrathous about research and participate in the recovery of the city. Whether it is Treviso or Minrathous that falls to the dragon, they send Wardens and write extensively to the Crows or the Shadow Dragons, freely offering their knowledge and help. Evka and Antoine have laid groundwork to opening the door to rebuilding good faith with the people of Thedas that the Order lost over time in its secrecy and isolation. Despite their losses, in some areas, the Wardens are on better footing coming out of the game than they were going into it. And, under Evka and Antoine's leadership, the Order is moving toward a more hopeful and renewed purpose, especially if Antoine was supported in his research.

Evka and Antoine are not political creatures, and they seem largely uninterested in politicking. They're dedicated to their work and to their duties and responsibilities to serve the people and landscapes of Thedas, without preference for any above others. It's easy to imagine that the extent of their political maneuvering is solely in trying to facilitate that work. And, certainly, in accordance with that duty, they'd offer help to Orlais as freely and compassionately and in good faith as they do any and all other places.

Orlais does not wish to cooperate with others during this crisis. Obviously, for the purposes of this idea, they'd need to be open to working with the Wardens after rejecting all other cooperation. Perhaps it is the Wardens' role in the recovery of Minrathous and wanting that for themselves. Perhaps it is the Wardens beginning to establish themselves as well-connected in the new emerging situation. Perhaps it is that the throne of the Anderfels is weak, and leadership in the region de facto falls to the Wardens, and that does not seem to have changed. From the court's perspective, it might seem attractive to try to overlook Adamant and rebuild a working relationship with the Wardens and maybe attempt for an alliance in the west. Such a relationship might even indirectly reposition Orlais a little more favorably within the rest of the continent, given the Wardens' improving footing overall. It poses for the court an attempt to save their crumbling Empire without having to directly rely on another national power.

Evka and Antoine are not really people who care about official approval (see: their fraught relationship with the First Warden), and they will likely carry out their work around the court, if necessary. The court has little to offer them politically within the larger landscape of Thedas. The best they can offer, and why the Order generally bothers with politics at all, is the promise to NOT impede the Wardens' work within Orlais and allow them free movement within the country (see: the Fifth Bilght). That's something that might be useful to even less politically interested leadership like Evka and Antoine, however, this is dependent on the loyalist court reliably controlling movement within Orlais—which they do not at present. The benefits between both parties here is asymmetrical. Where the Wardens, specifically Evka and Antoine, have growing connections, and the ears of a lot of interesting persons of interest, the Orlesian court can't really even promise the little that Evka and Antoine would be interested in.

Socially, there is a little interesting tangle here in that Antoine, acting as second-in-command, is elven. Orlesian too, on top of it. Even under various states where Briala's influence in rule pushes for more progressive social rights for elves, the situation in Orlais surrounding that remains deeply fraught—and potentially one of the reasons a rebel faction broke away to ally with the Venatori. Courting the Wardens for larger goals with regard to political alliances and doorways to them to reposition Orlais within Thedas will require playing nice with Antoine, which might prove difficult for some, even among the loyalists. (Orlais will have the Wardens' help about the Blight regardless, due to Warden duty and all.) Add to that the fraught sociopolitical dimensions of meeting at Halamshiral itself, given that is where the court is sheltering.

Anyway, with all of these considerations in the minds of all players on the field, with the Wardens' strengthening footing and Orlais' weakening one, I think it'd be interesting and fun for me if Evka let Antoine, as her advisement, cheerfully—and purposefully—play the Game with all the direct bluntness of her warhammer. For how much longer is the Game going to serve you, anyway? It's what got you into this mess, non?

[prophetries]

some canon intricacies that i want to expound upon bc miss trevelyan has been alive for a decade now and. i've taken liberties.

the anchor: it is parasitic, semi-sentient, and highly unstable. it “feeds” from the demons it sends back into the fade. when those demons no longer exist for her to “feed” it, it begins to “feed” on evelyn herself, slowly taking up more and more of her arm until she has to have it completely covered at all times. 

recurring dreams: haven is a very symbolic place for her, and she frequently dreams of returning there, before it was destroyed. it's always empty, and she always ends up in the same cabin she woke up in after the events at the temple of sacred ashes. 

fade-touched dreams: after she defeats corypheus and solas disappears, the anchor starts to destabilize. it grows bigger and bigger over the next two years, and soon evelyn cannot control when and where she walks in the fade. it's hard for her to distinguish the difference between a regular dream in which she has no control, and walking the fade, where she has some control. 

recurring nightmares: just like she has the same dreams over and over, she tends to have the same nightmares. they tend to involve a scene in which she sits at the head of a great table, with everyone she knows in attendance. she pours her blood from her chest into a great golden goblet, and everyone passes it around to drink. 

fear of fire: in seeing herself as andraste's ‘chosen’, and by some metric, her avatar on earth, she is terrified of being burned alive like her prophet. it features heavily in her recurring nightmares during the events of inquisition. 

religious delusions: evelyn's religious fervor is spurned on by a deep childhood loneliness (treating the maker/andraste as imaginary friends), wishful thinking, politically-advantageous posturing, and a desire to be a bringer of hope to her people. she cannot comprehend a reality in which 'evelyn trevelyan' could lead the inquisition. however, the herald of andraste / the inquisitor can.

crisis of faith: after the events at adamant fortress, her faith is somewhat shaken, but she maintains the facade until at least the events of trespasser. then, learning that the elven gods are the ones who created the golden city, etc, she falls headlong into deconstruction. she still holds many of the mores and norms of the andrastian church, but she does not believe there is a maker to pray to anymore. she believes andraste was a real historical figure, but was someone who, much like herself, used religious fervor to succeed in her mission.

scars: during her final fight with @coryphcus, right before she sent him through the fade with the anchor, he gouged three ragged scars across her chest in an attempt to drag her in with him. they heal very poorly, the red never fades, and the edges are jagged, likely due to the effects of the blight and/or red lyrium. she covers her chest constantly, and has a great amount of self-consciousness around them. where she might have been more liberal with her attire or her own nudity, after she receives these scars, she starts to dress much more conservatively. they ache periodically, as well.

identity: i very, VERY rarely refer to evelyn as "evelyn" inside of threads/drabbles, because that is not how she perceives herself from the point she is nominated inquisitor. the attack at haven, and the dawn will come thing, changed her in a very profound way. that's when she realized that she needed to BE more if anyone was going to believe she could stand against a woud-be god. likewise, she doesn't care for people referring to her by her first name and (maker forbid) any diminuative (other than cousins [other trev pcs], romantic partners, or @fatescarred's amariel). however, after disbanding the inquisition, she will shed some of that mindset and, for example, introduce herself as 'evelyn' to the veilguard.

[scaryanneee]

VEILPUNK 9:52 ⚡️

Narrative parallels between [and MAJOR SPOILERS for] Dragon Age: The Veilguard and Cyberpunk 2077

Wake up, Samurai, we have a Thedas to burn. Let’s play a game:

Meet [V]/[Rook]. She is living her life as a [nomad/streetkid/corpo]/[Dragon/Crow/Lord/Watcher/Warden] when circumstances (aka, some kind of fuck-up) lead her to begin a new adventure with her friend [Jackie Welles]/[Varric Tethras]. 

The pair embark on a mission that involves a history lesson about a mercurial and rebellious [rockerboy]/[ancient elven mage] who made a questionable choice [50]/[8000] years ago when he [detonated a nuclear bomb]/[created the Veil]. That decision had dire consequences, but was done with good intentions: to take down a corrupt and powerful group – the [Arasakas]/[Evanuris]. 

Anyway, the job that [V]/[Rook] is on goes really, really bad: needless to say, we won't be working with [Jackie]/[Varric] anymore. [V]/[Rook] finds herself injured but alive… and the previously mentioned grumpy old [rockerboy]/[elven god] is now living in her head, somehow?! 

[Jackie]/[Varric]’s fate is not the only consequence of [V]/[Rook]’s actions. In fact, the clock is ticking: if [V]/[Rook] does not find a way to fix her mistake soon, she faces certain death. Not to mention, she promised [Jackie]/[Varric] that she would take care of the [biochip]/[team] for him. 

As she works to undo what she has done, [V]/[Rook] either bonds with the [Johnny Silverhand]/[Solas] living in her head, or hates him, or something in between. There’s lots of snarky jabs traded between mind-resident and host, but also moments of genuine understanding that build over time. 

It is kind of weird walking around the world, though, because you see symbols of [Johnny]/[Solas]’s legacy in the form of [Samurai memorabilia]/[Fen’Harel statues] pretty much everywhere... anyway.

In an optional questline, [V]/[Rook] can watch some of [Johnny]/[Solas]’s memories. She learns that his [nuclear bomb]/[creating the Veil] was about more than just fighting [corpo]/[godly] corruption. It was also about avenging the death of a woman he cared for deeply: [Alt]/[Mythal], who was killed by the [Arasakas]/[Evanuris]. [Alt]/[Mythal] and [Johnny]/[Solas] may have had a complicated and at times turbulent relationship, but there was no doubt he loved her. There’s also no doubt that [Johnny]/[Solas] feels, in part, personally responsible for her death.

[V]/[Rook] also gets to meet some of [Johnny]/[Solas]’s old friends: [Kerry]/[Dorian] and [Nancy]/[Morrigan], who both worked alongside him in [Samurai]/[the Inquisition], and [Rogue]/[Inquisitor Lavellan], a highly competent woman who [Johnny]/[Solas] had a romantic relationship with at one point (and who [Johnny]/[Solas] regrets not having treated better). [V]/[Rook] also meets some of [Johnny]/[Solas]’s greatest enemies from his past – like [Adam Smasher]/[Elgar’nan] – and gets to make [Johnny]/[Solas] proud by kicking their asses on his behalf. 

Finally, at the very end of the game, [V]/[Rook] can choose to either redeem [Johnny]/[Solas] or condemn him. They can even get help from a version of [Alt]/[Mythal] to do so!

Roll credits.

This is all to say: I love both of these franchises very much and, so it is very delightful to find all of these parallels between them. To be very clear, this is not an accusation of stealing or anything – stories echo, history rhymes, etc. – just an affectionate observation.

BUT.

It also highlights, for me at least, a few things Cyberpunk did well that Veilguard would have benefitted from incorporating. Namely:

A prologue based on character origin, where Rook meets/bonds with Varric, like V does with Jackie

More interaction between Protagonist and Guy Living in the Protagonist’s Head

Deeper engagement with the universe’s lore, particularly the setting and its impact on our protagonist. Night City feels like another character in Cyberpunk in a way that Veilguard's Thedas really does not.

The protagonist having a smaller scale, more personal investment in the outcome of events – V’s race against the biochip is instantly understandable, and her tenacity and strong will to survive make her very easy to relate to and like. I never quite felt the same level of investment in Rook, and I think that’s in part because her fight against the gods is so enormous in scale that it feels quite impersonal at times. 

Story parallels aside, these two games are also both examples of games that were rushed through development and suffered for it. For Cyberpunk, that meant infamous technical failures; for Veilguard, that apparently means writing that is inconsistent at best and baffling at worst.

Fortunately, CD Projekt Red was able to add tons of post-release updates (and the excellent Phantom Liberty DLC) to Cyberpunk, that really helped it ultimately evolve into the game it was intended to be. 

Unfortunately, I think it is extremely unlikely that EA/Bioware will ever give Veilguard the same treatment.

But if I’m looking for something to hope for about this franchise (despite the long odds)... I think that would be it. 

Anyway, if you read this far: thanks, [chooms]/[lethallen]! 🖤

[cawyden-gaming]

"A moment passes, and the rosette vanishes in the folds of his cloak"

We are so used to see Heinrix with his golden chain and pendant clearly visible on his model and official art - but here it sounds like he usually hides his rosette and only shows it if necessary.

Which is understandable, although his red cloak clearly shows the Inquisitions symbol (if I am not mistaken), so not really hiding who he is (of course, it would show he belongs to the Inquisition but not his actual rank).

But as a rosette is not just like a badge but can also contain tools (e.g. for decryption etc.) it would make sense to keep it out of view and hands of people (I assume that is a sturdy chain so it doesn't tear easily).

I do assume his golden pendant is meant to be his rosette, although it looks like the symbol of the Ecclesiarchy which might be a simple error or maybe it was even intentional - at least the lexicanum says that rosettes are usually "personally stylized and designed" , some Inquisitors even have a electoo instead.

For Heinrix and the Koronus conclave members we know it was/is formed from a dagger:

So maybe a devout Heinrix would have liked to have his rosette formed like the symbol of the Imperial cult (of course, maybe it was a game mistake, but this would kind of make sense of it unless one wants to completely ignore it and pretend it looks different).

Why am I posting this? Just because I stumbled upon the text and noticed I have Heinrix in my mind running around with his rosette clearly visible (like in the game/artwork) while it acutally isn't and thought it was maybe the same for you.

[augustiinee]

My Dragon Age protagonists as Epic: The Musical Songs

Please keep in mind these are all based off my own DA protagonists, honestly you could use any song from the musical for each of them! I also interpret the songs a little differently then how they actually are in the musical, but it's all for fun!

The Warden- Would You Fall In Love With Me Again

Okay so this one was probably the most difficult. In fact I actually almost went with 'Six Hundred Strike', but I felt that was more an Alistair song. Went with this in the end because well... 20 years... My cannon Warden romanced Zevran, and with the length of a Warden's life span I felt it fit in a lot of ways. While I know the real context for the song. I like to think that even after 20 years, and possibly being separated countless times within those years. The Warden and Zevran still choose to fall in love over and over.

Male Dalish Elf Rouge: Zevran

Hawke- Just a Man

I mean like, come on. No matter who your Hawke is this song fits so well. Honestly any of Odysseus' crash out songs would fit. But in the end Hawke goes through so much and has an insane weight put on his shoulders. They really were just a person from a small village. Who had tragedy, after tragedy thrust upon them. My Hawke romanced Fenris, and had a small (rebound) fling with Anders. He held everyone in his life so close to his heart. While the whole of the song doesn't fit, the brokenness of Odysseus in 'Would You Fall In Love With Me Again' is about how I imagine the mental state of Hawke by the end of DA2 and a little into inquisition.

Male Mage Purple Hawke: Fenris

The Inquisitor- No Longer You

My Inquisitor went through A LOT, even before the events of the game took place. And like Varric mentions in the early, early game as well as later. The inquisitor is no longer a person, not really. They become this unreachable symbol. This beacon of hope, justice, and salvation for Thedas. Who they were, who they wanted to be. None of that matters anymore. One could argue it was when they took up the title of Inquisitor, others when you stepped out of the fade after the the conclave explosion. But it all ends in the same spot. The Inquisitor, again at least for me, can no longer and is no longer able to remain/go back to who he was.

Male Elf Rouge: Dorian

Rook- Legendary

My cannon Rook, while not wanting to be a hero per say. Does see the injustice in the world and wish to help in any way he can. It could be big like helping the people of Dock Town or small like helping a farmer bring in their harvest. The relationship between Telemachus and Odysseus fits perfectly. And being a Crow he's constantly fighting an unwanted guest in his home. Getting into a fight bad enough, as we know, he has to leave for a while. Would say Varric swooped in like Athena, but ya know... We sorta saved him in this background lol.

Male Elf Mage de Riva: Lucanis

Feel free to make your own list of what songs you think fit your protag's best!

[blackcatsnest]

Memories of Titan War

This is research NO.3 for my fanfic, if you interest, you can find my fanfic here. I haven't finished piecing everything together yet, but I did complete writing the chapter preceding this research. (If I dive into research first, I’ll never finish writing!) Upon revisiting my speculations about the war, I realized they weren’t entirely accurate, so I’ll need to amend the chapter.

First of all, while I suspect that all the Evanuris participated in the war, the spotlight likely falls on Mythal and Elgar’nan for bearing the brunt of the fighting. Solas also plays a critical role, particularly in creating the lyrium dagger and tranquilizing the Titans.

Elgar'nan

A description of Elgar'nan Enaste

A common theme across these codex is the recurring notion of “taming the earth” through “fire” and “lightning.” This suggests the destructive method employed during the war. The Titans themselves seem to retaliate with massive earthquakes, rippling across the elven kingdoms.

This is another interesting element to consider. I wonder what the “sun” represents in this story. I used to think he might have faced other enemies in the past, like the forgoten ones? But perhaps it wasn’t a celestial body but rather some kind of devastating weapon. It could have the ability to summon massive fireballs or even meteors to rain destruction upon Titans. "Lifted himself into the sky and wrestled the sun" could be a decription of the act of wielding such weapon.

Speaking of weapons, the light connected to a Titan's heart might be another significant one. This mysterious energy stuck the Titans' heat, it could be the "sun" in the story or somthing else different.

On the mural, many believe the elf on the right represents Solas.The identity of the elf on the left, however, remains uncertain. The two horn-like shadows extending from their head have sparked debate among fans. Some analyses connect this figure to Mythal or Andruil due to their symbolism in Tarot cards and mythological ties. Read here.

However, I believe it might actually represent Jun. If you examine his mosaic closely, you can see two pointy shapes on his head—possibly the same "horn-like" features depicted in the mural.

Mythal

I used to believe Mythal wouldn’t actively participate in the war, but here it states she "struck down" Titans and acted as "Adjudicator and Savior." I now assume that she (or at least her troops under her command) likely organized numerous rescue missions during the war, living up to her title as a protector of her people. Such a role may have inevitably led to direct conflict with the Titans.

13/01/25: On second thought, "elves sealing the deep roads" could be an attempt to seal the Blight?

Third figures of the red lyrium idol

Many believe that the two figures at the forefront of the idols represent Solas and Mythal, and the Tevinter Nights story lends credence to this theory. The foremost figure appears to be embracing the one in the middle in a manner reminiscent of lovers. However, there's a third figure positioned behind Mythal. I came across an interesting theory suggesting that this figure represents the Inquisitor, as it is depicted missing an arm.

But let’s think about it—what causes lyrium to twist? It’s driven by hatred and the nightmares of the Titans. Why would a Titan dream specifically about the Inquisitor? That seems unlikely. Instead, I propose that the third figure might be Elgar’nan, considering his pivotal role in the war against the Titans.

But the idol can also represent Solas's guilt. We'll never know for sure.

After the war

After the war, with all Titans left defenseless, the Evanuris continued to hunt them—no doubt seeking to claim their lyrium for power and domination. It also seems to coincide with the dwarves being driven underground, possibly by the Evanuris.

As for Mythal’s role, it’s difficult to say. Could she have opposed this exploitation but been unable to stop it? Or did she, in her pragmatism, permit it, believing the benefits outweighed the cost? The codex say Mythal giving the "little stones" (the dwarves) "dreams." No idea what she was doing.

Notes from Harding

Interestingly, while Orzammar has removed all official records of the Titans, the memory of them hasn’t been entirely erased.As we can see in Descent and Veilguard.

Location of Titans

Near orzammar : Anvil of the Void 

I think this place is connected to Titan. Look all the lyrium veins! This place could be near the heart of a Titan. Perhaps that explains how Caridin successful in creating golems.

Also Caridin's journey

The phrase "It speaks" seems to be a distinct expression of "They groan," . "They," without a doubt, refers to the unfortunate dwarves bound within the golems. "It," on the other hand, must refer to the Titan.

2. Near Kirkwall: Primeval Thaig

There’s almost no doubt that a Titan is present in this area; the signs are unmistakable. But uncertain whether we are near its heart or merely on the periphery of its vast form. T

We encounter a stone demon that bears a striking resemblance to The Guardians.

3. Under Storm Coast mountains — Decendent DLC

4. Isana Negat - Harding personal quest

5. Under Minrathous?

Concept art, say they once planned for Solas to summon a Titan in the middle of Minrathous. Can't take it too seriously. But hitting a possiblity to re-attach Titan to their dreams?

The Future

"One day the magic will come back - all of it. Everyone will be just like they were. The shadows will part and the skies will open wide. When he rises, everyone will see. - Sandal"

Some believe this refers to Solas tearing down the Veil, especially with the phrase "the Dread Wolf rises," but I’m not so sure. The line "everyone will see" seems to point to something far more colossal. I believe it’s referring to the Titans.

It’s intriguing that the awakening of a Titan is associated with the idea that "magic will come back." This could be interpreted in two ways: either the return of magic—perhaps through the tearing of the Veil—causes the Titans to stir, or the Titans themselves awaken first, bringing magic back with them (Hey, Solas, have you explored this way? Could it be a safer option? ) Either way, it suggests a profound connection between the Titans and the flow of magic in Thedas.

Dear Bioware, can we please have a mini Titan companions in the future?