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gothhabiba · 10 months ago

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🍉🇵🇸 eSims for Gaza masterpost 🇵🇸🍉

Which eSims are currently being called for?

Connecting Humanity is calling for:

Nomad (“regional Middle East” plan): code NOMADCNG

Simly (“Palestine” plan)

Gaza Online is calling for:

Holafly (“Israel” and “Egypt” plans): code HOLACNG

Nomad (“regional Middle East” plan): code NOMADCNG (can now be used multiple times from the same email)

Airalo (“Middle East and North Africa” plan)

Sparks (“Israel” plan)

Numero (“Egypt” plan)

For Connecting Humanity: if you sent an eSim more than two weeks ago and it is still valid and not yet activated, reply to the email in which you originally sent the eSim. To determine whether the eSim is still valid, scan the QR code with a smartphone; tap the yellow button that reads “Cellular plan”; when a screen comes up reading “Activate eSIM,” click the button that says “Continue.” If a message comes up reading “eSIM Cannot Be Added: This code is no longer valid. Contact your carrier for more information,” the eSim is activated, expired, or had an error in installation, and should not be sent. It is very important not to re-send invalid eSims, since people may walk several kilometers to access wifi to connect their eSims only to find out that they cannot be activated.

If a screen appears reading “Activate eSIM: An eSIM is ready to be activated” with a button asking you to “Continue,” do not click “Continue” to activate the eSim on your phone; exit out of the screen and reply to the email containing that QR code.

Be sure you're looking at the original post, as this will be continually updated. Any new instructions about replying to emails for specific types of unactivated plans will also appear here.

Check the notes of blackpearlblasts's eSim post, as well as fairuzfan's 'esim' tag, for referral and discount codes.

How do I purchase an eSim?

If you cannot download an app or manage an eSim yourself, send funds to Crips for eSims for Gaza (Visa; Mastercard; Paypal; AmEx; Canadian e-transfer), or to me (venmo @gothhabiba; paypal.me/Najia; cash app $NajiaK, with note “esims” or similar; check the notes of this post for updates on what I've purchased.)

You can purchase an eSim yourself using a mobile phone app, or on a desktop computer (with the exception of Simly, which does not have a desktop site). See this screenreader-accessible guide to purchasing an eSim through each of the five services that the Connecting Humanity team is calling for (Simly, Nomad, Mogo, Holafly, and Airalo).

Send a screenshot of the plan's QR code to [email protected]. Be sure to include the app used, the word "esim," the type of plan (when an app has more than one, aka "regional Middle East" versus "Palestine"), and the amount of data or time on the plan, in the subject line or body of your email.

Message me if you have any questions or if you need help purchasing an eSim through one of these apps.

If you’re going to be purchasing many eSims at once, see Jane Shi’s list of tips.

Which app should I use?

Try to buy an eSim from one of the apps that the team is currently calling for (see above).

If the team is calling for multiple apps:

Nomad is best in terms of data price, app navigability, and ability to top up when they are near expiry; but eSims must be stayed on top of, as you cannot top them up once the data has completely run out. Go into the app settings and make sure your "data usage" notifcations are turned on.

Simly Middle East plans cannot be topped up; Simly Palestine ones can. Unlike with Nomad, data can be topped up once it has completely run out.

Holafly has the most expensive data, and top-ups don't seem to work.

Mogo has the worst user interface in my opinion. It is difficult or impossible to see plan activation and usage.

How much data should I purchase?

Mirna el-Helbawi has been told that large families may all rely on the same plan for data (by setting up a hotspot). Some recipients of eSim plans may also be using them to upload video.

For those reasons I would recommend getting the largest plan you can afford for plans which cannot be topped up: namely, Simly "Middle East" plans, and Holafly plans (they say you can top them up, but I haven't heard of anyone who has gotten it to work yet).

For all other plans, get a relatively small amount of data (1-3 GB, a 3-day plan, etc.), and top up the plan with more data once it is activated. Go into the app’s settings and make sure low-data notifications are on, because a 1-GB eSIM can expire very quickly.

Is there anything else I need to do?

Check back regularly to see if the plan has been activated. Once it's been activated, check once a day to see if data is still being used, and how close the eSim is to running out of data or to expiring; make sure your notifications are on.

If the eSim hasn't been activated after three weeks or so, reply to the original email that you sent to Gaza eSims containing the QR code for that plan.

If you purchased the eSim through an app which has a policy of starting the countdown to auto-expiry a certain amount of time after the purchase of the eSim, rather than only upon activation (Nomad does this), then also reply to your original e-mail once you're within a few days of this date. If you're within 12 hours of that date, contact customer service and ask for a credit (not a refund) and use it to purchase and send another eSim.

How can I tell if my plan has been activated? How do I top up a plan?

The Connecting Humanity team recommends keeping your eSims topped up once they have been activated.

See this guide on how to tell if your plan has been activated, how to top up plans, and (for Nomad) how to tell when the auto-expiry will start. Keep topping up the eSim for as long as the data usage keeps ticking up. This keeps a person or family connected for longer, without the Connecting Humanity team having to go through another process of installing a new eSim.

If the data usage hasn't changed in a week or so, allow the plan to expire and purchase another one.

What if I can't afford a larger plan, or don't have time or money to keep topping up an eSim?

I have set up a pool of funds out of which to buy and top up eSims, which you can contribute to by sending funds to my venmo (@gothhabiba), PayPal (paypal.me/Najia), or cash app ($NajiaK) (with note “esims” or similar). Check the notes of this post for updates on what I've purchased, which plans are active, and how much data they've used.

Crips for eSims for Gaza also has a donation pool to purchase eSims and top them up.

Gaza Online (run by alumni of Gaza Sky Geeks) accepts monetary donations to purchase eSims as needed.

What if my eSim has not been activated, even after I replied to my email?

Make sure that the QR code you sent was a clear screenshot, and not a photo of a screen; and that you didn’t install the eSim on your own phone by scanning the QR code or clicking “install automatically."

Possible reasons for an eSim not having been activated include: it was given to a journalist as a back-up in case the plan they had activated expired or ran out of data; there was an error during installation or activation and the eSim could no longer be used; the eSim was installed, but not activated, and then Israeli bombings destroyed the phone, or forced someone to leave it behind.

An eSim that was sent but couldn’t be used is still part of an important effort and learning curve. Errors in installation, for example, are happening less often than they were in the beginning of the project.

Why should I purchase an eSim? Is there any proof that they work?

Israel is imposing near-constant communications blackouts on Gaza. The majority of the news that you are seeing come from Gaza is coming from people who are connected via eSim.

eSims also connect people to news. People are able to videochat with their family for the first time in months, to learn that their family members are still alive, to see their newborn children for the first time, and more, thanks to eSims.

Some of this sharing of news saves lives, as people have been able to flee or avoid areas under bombardment, or learn that they are on evacuation lists.

Why are different plans called for at different times?

Different eSims work in different areas of the Gaza Strip (and Egypt, where many refugees currently are). The team tries to keep a stockpile of each type of sim on hand.

Is there anything else I can do to help?

There is an urgent need for more eSims. Print out these posters and place them on bulletin boards, in local businesses, on telephone poles, or wherever people are likely to see them. Print out these foldable brochures to inform people about the initiative and distribute them at protests, cafes and restaurants, &c. Also feel free to make your own brochures using the wording from this post.

The Connecting Humanity team is very busy connecting people to eSims and don't often have time to answer questions. Check a few of Mirna El Helbawi's most recent tweets and see if anyone has commented with any questions that you can answer with the information in this post.

#esims #esims for gaza #palestine #gaza #action

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mangocityithjhg · 1 year ago

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https://mangocityit.com/service/buy-angies-list-reviews/

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starkeyisthelastname · 3 months ago

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like i said husband dilf!rafe spoils his kids 🤭😅

It was the sound of footsteps prancing in the living room, when your 15 year old daughter came plopping herself on the couch. The big eyes and pout on her lips already telling you both that she wanted something. Rafe titled his head back to meet her, taking a long breath. “What is it princess?” He asked, already knowing his daughter’s I want something face.

“Can I have your credit card information, daddy?” She asked, batting her lashes as she had always been a daddy’s girl and he knew he couldn’t say no to his little girl. Even if she could be a brat sometimes. Rafe let out an exasperated sigh and motioned for her to hand her the phone. The one rule he had for both of his kids was that he had to see what they were purchasing and he was the one who put his card info in.

Taking the glittery phone in hand, his blue eyes ran over the screen to see the extensive online shopping cart filled with items from Sephora. He let out a scoff, reading the total. “You need $400.00 dollars worth of makeup for what?” He asked, looking back up at her. Yeah.. she definitely got your beauty habits that were gonna cause him to go broke.

“It’s not just makeup dad. There’s skin care stuff and I ran out of my favorite perfume and I need a new one.” She said, trying to reason with him. She watched as he rolled his eyes, nodding his head in the direction of the kitchen. “Go get my wallet off the counter.” He said, clicking the checkout button before she added anymore stuff.

The teen happily jumped from her space and into the kitchen where she grabbed the leather wallet Rafe was referring to. Handing it to him, he adjusted his hold onto you and pulled out one of his cards to type the numbers of the black amex onto the phone screen. “There. Now go upstairs and get ready for bed. You got school tomorrow.” He said firmly, already watching the smile spread on her face he handed her back the phone. Hopping up, she came over and planted a kiss on his cheek. “Thanks dad! You’re the best! I love you both!” She said, running back towards her room.

“I spoil her way too damn much.” He mumbled, before focusing his attention back on you. “And don’t even get me started on you.” His tone raspy as he reached back underneath the blanket to squeeze your thigh. You hummed, trailing your hand up his t-shirt and ran your expensive manicure across his toned stomach.

“What about me?” You asked, tone playful as you ran your hand further down until it hit the waistband of his sweatpants. You watched as he sucked in a breath, blue eyes staring at you with a look you knew very well. “That you’re fuckin’ spoiled too..” He said, his voice a littler lower as your hand slipped in the boxers he was wearing.

#rafe cameron #rafe cameron x reader #dilf!rafe #husband!rafe #rafe cameron prompt #rafe cameron blurb #rafe cameron concepts #rafe cameron smut #outerbanks rafe #rafe outer banks #drew starkey #drew starkey x reader #drew starkey smut #obx #obx smut #outer banks

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treasure-mimic · 1 year ago

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So, let me try and put everything together here, because I really do think it needs to be talked about.

Today, Unity announced that it intends to apply a fee to use its software. Then it got worse.

For those not in the know, Unity is the most popular free to use video game development tool, offering a basic version for individuals who want to learn how to create games or create independently alongside paid versions for corporations or people who want more features. It's decent enough at this job, has issues but for the price point I can't complain, and is the idea entry point into creating in this medium, it's a very important piece of software.

But speaking of tools, the CEO is a massive one. When he was the COO of EA, he advocated for using, what out and out sounds like emotional manipulation to coerce players into microtransactions.

"A consumer gets engaged in a property, they might spend 10, 20, 30, 50 hours on the game and then when they're deep into the game they're well invested in it. We're not gouging, but we're charging and at that point in time the commitment can be pretty high."

He also called game developers who don't discuss monetization early in the planning stages of development, quote, "fucking idiots".

So that sets the stage for what might be one of the most bald-faced greediest moves I've seen from a corporation in a minute. Most at least have the sense of self-preservation to hide it.

A few hours ago, Unity posted this announcement on the official blog.

Effective January 1, 2024, we will introduce a new Unity Runtime Fee that’s based on game installs. We will also add cloud-based asset storage, Unity DevOps tools, and AI at runtime at no extra cost to Unity subscription plans this November. We are introducing a Unity Runtime Fee that is based upon each time a qualifying game is downloaded by an end user. We chose this because each time a game is downloaded, the Unity Runtime is also installed. Also we believe that an initial install-based fee allows creators to keep the ongoing financial gains from player engagement, unlike a revenue share.

Now there are a few red flags to note in this pitch immediately.

Unity is planning on charging a fee on all games which use its engine.

This is a flat fee per number of installs.

They are using an always online runtime function to determine whether a game is downloaded.

There is just so many things wrong with this that it's hard to know where to start, not helped by this FAQ which doubled down on a lot of the major issues people had.

I guess let's start with what people noticed first. Because it's using a system baked into the software itself, Unity would not be differentiating between a "purchase" and a "download". If someone uninstalls and reinstalls a game, that's two downloads. If someone gets a new computer or a new console and downloads a game already purchased from their account, that's two download. If someone pirates the game, the studio will be asked to pay for that download.

Q: How are you going to collect installs? A: We leverage our own proprietary data model. We believe it gives an accurate determination of the number of times the runtime is distributed for a given project. Q: Is software made in unity going to be calling home to unity whenever it's ran, even for enterprice licenses? A: We use a composite model for counting runtime installs that collects data from numerous sources. The Unity Runtime Fee will use data in compliance with GDPR and CCPA. The data being requested is aggregated and is being used for billing purposes. Q: If a user reinstalls/redownloads a game / changes their hardware, will that count as multiple installs? A: Yes. The creator will need to pay for all future installs. The reason is that Unity doesn’t receive end-player information, just aggregate data. Q: What's going to stop us being charged for pirated copies of our games? A: We do already have fraud detection practices in our Ads technology which is solving a similar problem, so we will leverage that know-how as a starting point. We recognize that users will have concerns about this and we will make available a process for them to submit their concerns to our fraud compliance team.

This is potentially related to a new system that will require Unity Personal developers to go online at least once every three days.

Starting in November, Unity Personal users will get a new sign-in and online user experience. Users will need to be signed into the Hub with their Unity ID and connect to the internet to use Unity. If the internet connection is lost, users can continue using Unity for up to 3 days while offline. More details to come, when this change takes effect.

It's unclear whether this requirement will be attached to any and all Unity games, though it would explain how they're theoretically able to track "the number of installs", and why the methodology for tracking these installs is so shit, as we'll discuss later.

Unity claims that it will only leverage this fee to games which surpass a certain threshold of downloads and yearly revenue.

Only games that meet the following thresholds qualify for the Unity Runtime Fee: Unity Personal and Unity Plus: Those that have made $200,000 USD or more in the last 12 months AND have at least 200,000 lifetime game installs. Unity Pro and Unity Enterprise: Those that have made $1,000,000 USD or more in the last 12 months AND have at least 1,000,000 lifetime game installs.

They don't say how they're going to collect information on a game's revenue, likely this is just to say that they're only interested in squeezing larger products (games like Genshin Impact and Honkai: Star Rail, Fate Grand Order, Among Us, and Fall Guys) and not every 2 dollar puzzle platformer that drops on Steam. But also, these larger products have the easiest time porting off of Unity and the most incentives to, meaning realistically those heaviest impacted are going to be the ones who just barely meet this threshold, most of them indie developers.

Aggro Crab Games, one of the first to properly break this story, points out that systems like the Xbox Game Pass, which is already pretty predatory towards smaller developers, will quickly inflate their "lifetime game installs" meaning even skimming the threshold of that 200k revenue, will be asked to pay a fee per install, not a percentage on said revenue.

[IMAGE DESCRIPTION: Hey Gamers!

Today, Unity (the engine we use to make our games) announced that they'll soon be taking a fee from developers for every copy of the game installed over a certain threshold - regardless of how that copy was obtained.

Guess who has a somewhat highly anticipated game coming to Xbox Game Pass in 2024? That's right, it's us and a lot of other developers.

That means Another Crab's Treasure will be free to install for the 25 million Game Pass subscribers. If a fraction of those users download our game, Unity could take a fee that puts an enormous dent in our income and threatens the sustainability of our business.

And that's before we even think about sales on other platforms, or pirated installs of our game, or even multiple installs by the same user!!!

This decision puts us and countless other studios in a position where we might not be able to justify using Unity for our future titles. If these changes aren't rolled back, we'll be heavily considering abandoning our wealth of Unity expertise we've accumulated over the years and starting from scratch in a new engine. Which is really something we'd rather not do.

On behalf of the dev community, we're calling on Unity to reverse the latest in a string of shortsighted decisions that seem to prioritize shareholders over their product's actual users.

I fucking hate it here.

-Aggro Crab - END DESCRIPTION]

That fee, by the way, is a flat fee. Not a percentage, not a royalty. This means that any games made in Unity expecting any kind of success are heavily incentivized to cost as much as possible.

[IMAGE DESCRIPTION: A table listing the various fees by number of Installs over the Install Threshold vs. version of Unity used, ranging from $0.01 to $0.20 per install. END DESCRIPTION]

Basic elementary school math tells us that if a game comes out for $1.99, they will be paying, at maximum, 10% of their revenue to Unity, whereas jacking the price up to $59.99 lowers that percentage to something closer to 0.3%. Obviously any company, especially any company in financial desperation, which a sudden anchor on all your revenue is going to create, is going to choose the latter.

Furthermore, and following the trend of "fuck anyone who doesn't ask for money", Unity helpfully defines what an install is on their main site.

While I'm looking at this page as it exists now, it currently says

The installation and initialization of a game or app on an end user’s device as well as distribution via streaming is considered an “install.” Games or apps with substantially similar content may be counted as one project, with installs then aggregated to calculate the Unity Runtime Fee.

However, I saw a screenshot saying something different, and utilizing the Wayback Machine we can see that this phrasing was changed at some point in the few hours since this announcement went up. Instead, it reads:

The installation and initialization of a game or app on an end user’s device as well as distribution via streaming or web browser is considered an “install.” Games or apps with substantially similar content may be counted as one project, with installs then aggregated to calculate the Unity Runtime Fee.

Screenshot for posterity:

That would mean web browser games made in Unity would count towards this install threshold. You could legitimately drive the count up simply by continuously refreshing the page. The FAQ, again, doubles down.

Q: Does this affect WebGL and streamed games? A: Games on all platforms are eligible for the fee but will only incur costs if both the install and revenue thresholds are crossed. Installs - which involves initialization of the runtime on a client device - are counted on all platforms the same way (WebGL and streaming included).

And, what I personally consider to be the most suspect claim in this entire debacle, they claim that "lifetime installs" includes installs prior to this change going into effect.

Will this fee apply to games using Unity Runtime that are already on the market on January 1, 2024? Yes, the fee applies to eligible games currently in market that continue to distribute the runtime. We look at a game's lifetime installs to determine eligibility for the runtime fee. Then we bill the runtime fee based on all new installs that occur after January 1, 2024.

Again, again, doubled down in the FAQ.

Q: Are these fees going to apply to games which have been out for years already? If you met the threshold 2 years ago, you'll start owing for any installs monthly from January, no? (in theory). It says they'll use previous installs to determine threshold eligibility & then you'll start owing them for the new ones. A: Yes, assuming the game is eligible and distributing the Unity Runtime then runtime fees will apply. We look at a game's lifetime installs to determine eligibility for the runtime fee. Then we bill the runtime fee based on all new installs that occur after January 1, 2024.

That would involve billing companies for using their software before telling them of the existence of a bill. Holding their actions to a contract that they performed before the contract existed!

Okay. I think that's everything. So far.

There is one thing that I want to mention before ending this post, unfortunately it's a little conspiratorial, but it's so hard to believe that anyone genuinely thought this was a good idea that it's stuck in my brain as a significant possibility.

A few days ago it was reported that Unity's CEO sold 2,000 shares of his own company.

On September 6, 2023, John Riccitiello, President and CEO of Unity Software Inc (NYSE:U), sold 2,000 shares of the company. This move is part of a larger trend for the insider, who over the past year has sold a total of 50,610 shares and purchased none.

I would not be surprised if this decision gets reversed tomorrow, that it was literally only made for the CEO to short his own goddamn company, because I would sooner believe that this whole thing is some idiotic attempt at committing fraud than a real monetization strategy, even knowing how unfathomably greedy these people can be.

So, with all that said, what do we do now?

Well, in all likelihood you won't need to do anything. As I said, some of the biggest names in the industry would be directly affected by this change, and you can bet your bottom dollar that they're not just going to take it lying down. After all, the only way to stop a greedy CEO is with a greedier CEO, right?

(I fucking hate it here.)

And that's not mentioning the indie devs who are already talking about abandoning the engine.

[Links display tweets from the lead developer of Among Us saying it'd be less costly to hire people to move the game off of Unity and Cult of the Lamb's official twitter saying the game won't be available after January 1st in response to the news.]

That being said, I'm still shaken by all this. The fact that Unity is openly willing to go back and punish its developers for ever having used the engine in the past makes me question my relationship to it.

The news has given rise to the visibility of free, open source alternative Godot, which, if you're interested, is likely a better option than Unity at this point. Mostly, though, I just hope we can get out of this whole, fucking, environment where creatives are treated as an endless mill of free profits that's going to be continuously ratcheted up and up to drive unsustainable infinite corporate growth that our entire economy is based on for some fuckin reason.

Anyways, that's that, I find having these big posts that break everything down to be helpful.

#Unity #Unity3D #Video Games #Game Development #Game Developers #fuckshit #I don't know what to tag news like this

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hassibah · 8 months ago

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https://archive.ph/9PT8S

Israel Has Bought a Mass Online Influence System to Counter Antisemitism, Hamas Atrocity Denial

Defense, intelligence and civilian bodies realized soon after October 7 they were losing the online battle to what sources call Hamas' 'well-oiled psychological and information warfare machine.' So they quietly purchased digital tools to fight disinformation, despite fears of future political misuse

Israel has responded to its "clear loss" to Hamas on the digital battlefield by making its first-ever purchase of a technological system capable of conducting mass online influence campaigns, according to numerous sources with knowledge of the matter.

The system can, among other things, automatically create content tailored to specific audiences. The technology was purchased as part of a wider attempt by Israeli bodies, both civilian and military, to address what sources termed "Israel's public diplomacy failure" following the Hamas massacre on October 7 and subsequent war.

Basically they are using AI to generate online arguments.

#hasbara

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biteyoubiteme · 5 months ago

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redlightdesign

fem!reader x hyunjin

synopsis: you get tattooed by your favorite tattoo artist.

warnings: !!!🔞!!! tattooartist!hyunjin, tattooing, needles, pain, oral (f!rec), use of teeth, overstim, multiple orgasms (f!rec), squirting, fingering, pussydrunkvibes, subspace kinda, prob forgot some sorry

wc: 5.2k

an: I want a new tattoo </3 feedback appreciated! [m.list] not proof read sorry ;-;

You didn’t think you would ever get a consolation let alone an appointment with redlightdesign. For over three years you have been submitting a request anytime their books were open. You set timers for when the form dropped to make sure you were one of the first to be seen but everyone was doing the exact same thing.

redlightdesign would make an announcement that the submissions were closed an hour later saying they were booked solid for the next three months. The process repeats itself and every time you pray you get a response.

Thirteen forms later and you finally got an answer. Your dream tattoo will be underway in a matter of weeks. You made sure to keep the perfect space open for the piece. Not a single artist is the right fit to do your idea justice the way Redlightdesign could.

Before you read the email you didn’t even think you would ever be picked, your thigh would just always be bare for the possibility that never would come to fruition. But sitting in a coffee shop on a Sunday morning avoiding finishing your homework for Monday's class you jump on the opportunity to check your phone when it dings. Post notifications for redlightdesign on since you started following them. Every time they announced open books or a dropped appointment you jumped to put yourself up for the running. You remember the magazine article Redlightdsign had been featured in that started your obsession. The anonymous tattoo artist is based in Seattle and New York, traveling across the states to get a wider audience. Not that they needed the help, they were globally known, with people submitting forms all around the world, purchasing plane tickets after they confirmed an appointment.

It was stiff competition and the anonymity of the artist was sacred to each client. There was barely any information about Redlightdesign on the internet besides the finished product, and the address to their studios was only given out just before your appointment. Once the details of the New York studio had been doxxed online and redlightdesign had stopped working for a year, packing up and shutting down in well deserved retaliation. When they came back to their socials they made it clear the next time they wouldn't stop for a year but quit entirely. No one shared any information after, only stating that Redlightdesign was one of the nicest people they have ever been tattooed by and a photo of the beautiful work after.

But there sipping on an almost empty drink avoiding work that needed to be done you felt your pulse race just like every other time you've submitted a form. Only this time your stomach bottomed out seeing the email that popped up in your inbox a few minutes later.

h.rldesign/gmail.com Hi, I love your idea and sketches. I think this would transfer perfectly in my style. If we are to do the piece on the thigh at the size you want I think it's best we split the work into two appointments. My open slots for this would be January 9th and 10th. Let me know if these dates work for you and then I can get started on designing and cleaning up your idea. -redlightdesign

even just knowing their email address was shocking enough, seeing a response could have sent you into a coma. If Redlightdesign needed you on the 9th and 10th you would do everything in your power to be right at their door. You didn't care if you had to call in sick, you would put on the most convincing fake cough known to man; you would sell out stadiums with the performance if need be.

You couldn't type a response fast enough, needing to send in a confirmation just to know it was solidified. Within seconds you got a link for a deposit to hold the dates and a promise that Redlightdesign would be working on your piece asap. You were too excited to even think about your work anymore, sitting in the coffee shop staring down at your phone in disbelief.

It was only a few days later when the first drafts of the tattoo you would be getting were sent over for you to approve. You could tell the work had been drawn in a sketchbook and scanned to send in an email, the charcoal lines and highlights showing the detailed work. It was everything you could have hoped for, redlightdesign taking the amateur rendering of your idea and turning it into the masterpiece sitting in your inbox. They promised to have perfected versions ready when you arrived early on the ninth, reminding you that they would transfer it into the stencil and use a pen to finish drawing the finishing touches to make sure it flowed with your body just right. Make sure to eat before the appointment and don't wear any lotions on the tattoo area. Take care to remember we can take as many breaks as you want you have the day booked up with me so no need to rush through just to get it over with.

You made sure to dress appropriately. A pair of shorts you didn’t mind getting ink on in case any decided to ruin them. It was cold the morning of the ninth, a drizzle setting in as you made your way towards the address you had been sent before you had woken up. Even just seeing the street name and knowing this whole time you’ve been a fifteen-minute walk away from Redlights studio was bizarre. How many times have you driven by the building without ever knowing?

The email with the address had said the door would be open and to take the stairs up to the loft. The separate space on the ground level was a bakery, the sign flipped to closed. But as you felt the first droplets of rain you pulled on the handle for the door only for it to not budge. You check the address again to make sure it is right, you can see the windows to the studio above but the curtains are pulled shut. You were running over the email you could send to redlightdesign, reading it over once more when someone reached past you making you jump. “holy shit you almost gave me a heart attack,” you breathe your phone pressed to your chest.

The soft laugh of the person beside you is muffled behind the black medical mask they wear, long dark hair hanging on their brow leaving only smiling eyes glancing over you. “I'm sorry I was running late and didn't make it in time to beat you here,” they push their key into the lock twisting until it clicks, painted nails wrapping around the handle to hold the door open for you.

You give a weak thanks stepping into the little hallway leading to the stairs waiting for them to step in and follow.

You're trying hard not to make it seem like you're staring at them but it's almost impossible not to. Right in front of you is the person whose identity has been hidden from the public for years. You've tried to imagine what redlightdesign looked like since you read that magazine article. Now with the early morning mist still stuck to their hair you were seconds away from knowing exactly what they were like. Watching how their long fingers flipped over the keys looking for the one to unlock the loft door, how they used their shoulder to push open the door turning back to give you smiling eyes, waving you in.

They moved around to pull open the long cream-colored curtains, the gray light pouring in revealing the space. The walls have tacked up charcoal drawings, painted landscapes, and oil pastel flowers. A worn brown leather couch pushed to one side, heavy white blanket pushed back like someone had taken a nap there against the throw pillows. Tattoo bed next to rows of inks and past designs. On another wall a cluster of polaroids, stepping closer you can see its every tattoo that redlightdesign has done here. You're excited to see ones they haven't posted on their socials, so distracted you don't hear a closet door opening and the wheeling of a cart behind you. “I wanted to be set up so we could get started right away but,” when you turn you see them shrug. The view outside of the waterfront off in the distance matches some of the paintings done during different times of the day.

“It's okay I can wait, we're booked all day right?”

“yes that's right,” they go through their bag pulling out a large sketchbook, “here take a seat and we can go over some of these together,”

they sink into the couch pushing back the blanket to make room for you to follow. Your thighs touching before they hand over the sketchbook. You're amazed by the craftsmanship, and the detail put into each variety of the tattoo idea you have given them. No other artist has given you so many possibilities, maybe one of two but a whole spread dedicated to small details was never on the table. redlightdesign had taken time working through this with passion. “Wow,” you breathe not knowing where to look first.

“do you like it? It's a big thing, a tattoo of this size, and I wanted to make sure it really had all the elements you wanted in it while also not being too chaotic and messy. You see this one has less shading and seems more open but this one is heavy-handed if you're into that kinda style. I see you have other work done on your arms and if you want to go that way style-wise I think this one would be perfect,” they point at the one you've been focused on knowing that it was exactly what you wanted.

“It's amazing, they all are, I'm so impressed redli-“

“Hyunjin, you can call me Hyunjin,” they chuckle, “I should have introduced myself earlier but I was late and it slipped my mind I'm sorry,”

“no, it's okay thank you hyunjin,” you try the name in your mouth, “I think this is exactly what I want, better than what I could have imagined,”

“great I'm happy to impress let me get this printed in a stencil and we can add anything else after we find the right placement,” you watch as they stand moving to the corner with a desk, you can't see their face but know they've taken their mask off as they turn on the printer. “Do you live around here or was it a commute?”

“oh I live right up the street, I was surprised to see how close it was to my place actually,” you say over the sound of the scanner.

“that's good, sometimes I have people coming from all over it's fun to finally have a local visit,”

“I would have come out to New York if that's where you would have been,” you admit.

“I haven't been out there in a while, they are doing construction on the street the studio is on so I've been located here for a while now,” he states pulling out the stencil sheet. “I did a few different sizes to start with,”

he turns around and you're shocked at how beautiful Hyunjin is. In all the time you've thought about redlightdesign never did it cross your mind to account for prettiness but if you did your scale would be broken. You're still seated when he comes over and kneels in front of you.

“Can I?” he asks looking up at you, your hands in your lap covering your thighs.

“oh yeah sure,” you're flustered lifting your hands away.

“left or right?” he asks, holding two of the stencils over each leg.

“right,” your hands sinking into the couch as Hyunjin wipes his thumb over your bare thigh. He shows you the three different sizes and you decide on one before he asks you to stand in front of the mirror so he can place the stencil on.

“Here,” he mutters, being gentle to get the placement right in the first go. “We can always print more if you don't like it here,” he blows cool air over the purple lines traced on to make sure it's dry enough for you to move. He slides his hand behind the pit of your knee tugging your leg. You reach out to steady yourself with his shoulders, the backs of your hands feeling the tickle of his long hair hanging past his ears. He lifts your leg enough so that your foot is resting on his thigh, his hands slipping over your skin checking it looks good.

You love the way he's found the perfect spot on your thigh so that it flows with your body, “I think you got it first try,”

“Look in the mirror first just to make sure,” he lets you go, pulling himself to stand behind you so that you can see yourself.

“yes it's perfect,” and he nods, grabbing a purple pen.

“finishing touches then,” he gets back down in front of you lifting your foot back to his knee so that he can steady you. The marker is cold on your skin as he draws, adding lines and shading in spots to make the work blend better. When he blows on the wet lines of ink you shiver especially when he draws on your inner thigh, your skin so sensitive you swear you could imagine his fingers tracing shapes instead of the pen. “Perfect,” he states, giving your knee a tap letting you know he's done. “Let me set up and if you need the bathroom before we start I'd go now. I have water and a kettle for coffee over under the desk, and we can stop for lunch around let's say twelve or one-ish?”

You nod, taking your seat on the tattoo bed. He's set it up so that you're slightly leaned back but still sitting up. You watch him pull on black gloves and get all of the inks and needles ready, following a system you've seen done before. He clicks on a stereo the soft song playing in the background just loud enough for us to talk if we wanted to or just to listen. you adjust in your seat when you hear the sound of the tattoo gun whirring, hyunjins free hand stretching your skin in preparation, “The hard part will be around the knee so let's get that area out of the way,”

you nod watching as he starts, the familiar burn of the needle digging in but not too painfully. He was right that it was worse than some of your other tattoos but not unbearable. What distracts you is how concentrated he looks leaning over your leg, hair pushed back behind his ears but one strand hangs across his forehead, the corner of his lip between his teeth.

He starts to ask you small questions about yourself, the conversation leading to learning about him and how he got into tattooing. He talks about his art and the little things he likes. Both of you are so invested in one another that you don't even notice how far you've come in the day, lunch already rolling around before you know it. He's gotten through more than half the outline when he starts the loose wrap to keep it clean while you go out for lunch. The bakery is just downstairs offering lunch deals you can't refuse and when you get back upstairs both of you sit on the couch and continue your conversation. Giggling over nothing much but being comfortable in each other's company more than what you could have asked for.

redlightdesign could have been a total dick but you were blessed enough to get someone so genuinely kind and talented. And when you got back in the chair to finish the day's session you were sad to know that tomorrow would be the last time you saw Hyunjin unless you somehow got another appointment. The idea in it of itself was making you dread leaving.

“Could you tie my hair up?” he asks lifting his wrist up to you, a hair band waiting for you to take off. You lean over taking the tie from him and running your fingers through the dark strands. He hums as you brush the hair from his face gathering it all to tie into a ponytail. “thank you,” he nods letting the end bob up and down, a sweet smile teasing his lips before he goes back to the linework.

When he finally declares you done for the day you sigh, his thumb smoothing over the ends of the tape he's put to hold the wrap he put over your thigh. His finger slips across your inner thigh making you jolt harder than when the needle was to your skin. “sensitive?” he asks and you nod, not wanting to think too much into it. You were definitely sensitive but not from the pain, watching his long fingers work over your skin didn't put the cleanest image in your head.

He starts to break down his workstation, cleaning up and wiping everything to disinfect. While you put on your coat he asks, “Do you want to get dinner?” you turn to make sure he is not on the phone but he is in fact asking you, “I know this great spot a block over it's not that far a walk if you're up for it?”

“Sure,” you nod and he rubs the back of his neck.

“You know if you're not busy or anything I don't usually ask clients out for dinner but we were having a good chat and you know if you don't want to,” he drags on his ears pink, it was cute to watch him flustered.

“I'd love to go to dinner with you hyunjin,” you smile following him out.

You share an umbrella as you make your way to the small cafe-style restaurant, outdoor seating covered with a canopy so you won't get hit by any rain. Sitting across from one another, Hyunjin asks to see your other tattoos. You lay one arm down on the table, hyunjins fingertips ghosting over your skin as he traces the lines of all your other work. “I think I've seen this one before, did you get it from Felix? Or what's his username…”

“youg.ink?” you nod, “I actually got it because I saw you mentioned them before and it introduced me to their work. instantly fell in love with this when he offered it up,”

hyunjins not even paying attention to the tattoos anymore as he lets his fingers glide over your smooth skin. Most times after a client was done for the day in his chair he walked them to the door, waved goodbye, and worked in the studio on the next person's design. Most times he had people who he didn't mind not seeing again but you and your laugh, your gentle conversation, made him want to break his own rules for once. He walks you home after dinner and promises to see you tomorrow at the same time.

When you show up for your second session you're double fisting two iced coffees; the door is already unlocked as you make your way up the stairs. Hyunjin is sitting at the desk with headphones on sketching away before he sees the movement in the corner of his eye. He gives you a big smile, all teeth and is so cute. He tugs his headphones off letting them hang around his neck, “you got me a coffee?”

“Maybe or maybe I have a caffeine addiction,” you joke, handing over his cup. You look over to see what he's working on and he leans back to give you a better view.

“The next client wants their back done, it will be spaced out over the next four months. first sessions tomorrow,”

“I wouldn't even know where to start on something that big,”

“the same way I started yours,” he looks down at your legs, the wrap still in place only today you're wearing a skirt instead of shorts. The only other clothing item you felt would give him space to work today. Hyunjin looks back to his sketchbook, shutting it and standing. “let's get you up on the chair and get started,”

you follow his instructions, sinking back into the chair and letting your skirt bunch between your legs to expose your thigh. Hyunjin starts to set up his station, pulling on his gloves after flipping to the sketch of your design to have to glance at while he works. “might hurt today with all the shading if you need any breaks let me know we can go as slow as you need,” he peels away the tape before cleaning your leg with a towel and watered down soap. “It already looks good,” he nods, pressing around the tattoo.

“I think I can handle it,”

“Okay, we can work the bottom to the top again today, get the area closest to the knee and get the most painful bit first,”

and you think you can handle it and you can for the most part but the dragging of the needle over the still red outline from yesterday is painful today. Your hand bunching in your skirt as you remind yourself to breathe. You let your head roll back in the chair not able to watch anymore, focusing on the music playing, the dull hum of the tattoo gun usually comforting you but now a reminder that you're here for a while.

hyunjin is trying to concentrate, he's great at what he does, but what's testing him is how you're flashing your panties at him. he was going to say something, bring up a conversation about anything but when he looked up, a simple glance he was face to face with the dark grey fabric, the outline of you silencing him. You didn't even notice, your neck exposed as your free hand not holding your skirt gripped the armrest.

Tattooing people made nudity and almost nudity normal. It was why Hyunjin preferred his private studio so that he could make people feel comfortable, it was better than having someone who wanted a hip tattoo strip in a shop where anyone could watch. But with you sitting in front of him he forgot that he shouldn't look so close. Because instead of ignoring the view he was imagining ways that he could make your pain more bearable. Imagining how if he reached over and brushed where he knew your clit would be waiting you wouldn't be moaning in pain.

It's not until lunch that your skirt is let go but it's done the work of keeping Hyunjin hard for the entirety of the progress he's made toward the tattoo. When he sprays the tattoo down with the soapy water beads roll back up your leg because of the way the chairs are angled. The cold water feels great against your hot skin and Hyunjin apologizes for the mess passing you a paper towel to wipe any that got too far. You slightly lift your leg to wipe your inner thighs, the movement flashing Hyunjin again only this time the droplets of water had dampened your panties. The gray fabric was dark where he had been fantasizing they would be.

He doesn't even want to think about standing from his stool knowing that the second he does he will have to adjust himself only drawing attention to the fact he is very hard. He tries to make a list of things in his head as he wraps your thigh. To think about how it's almost over, that you will be gone in the next hour or two but that only makes it worse. You would be gone when he was this needy? He wanted to make an excuse to have you come back for another session. But it was quite obvious he would be dragging out the appointment when he only needed to do a small section when the two of you were done with lunch. He could have waited and finished, pushed your lunch back, and waved goodbye but no.

He swiveled his chair away from you, taking a sip from his almost empty cup of coffee as you slid down the bed to stand. Hyunjin takes a breath and prays you don't notice but it's the first thing you see when he turns, the strained outline not very well hidden. You pretend to look out the window, feeling your cheeks get hot. All you can think about is if it was your noises that did it, all the whimpering wasn't usually how you handled tattoos but this one was the biggest piece you've gotten, and didn't know two sessions would make your usually composed self break so easily. it would explain the silence compared to yesterday. So you toy with the idea, how far would he go if you made yourself available?

You grabbed lunch together, hyunjin putting a pillow over his lap to steady his plate of food but both of you knew that wasn't the real reason. And when you were back in the chair you intentionally let your skirt roll up this time. It doesn't help that he's now working on the part of the tattoo closest to your center, how he wraps his hand around your thigh, pushing your legs further apart to reach a spot on your inner thigh. Gloved fingers brushing over your panties for the smallest second, your hips sinking into the seat to keep yourself from moving. Hyunjin noticed but needed to get through the rest of the tattoo, if he stopped now he wouldn't know when he would start again. Your lip between your teeth he watched as you tried to close your legs again to block your exposed panties, now wet with your slick and nothing else. He could see the spot and almost ripped his gloves off as soon as he finished his work. But now he was teasing you. Cleaning the tattoo down and wiping it down. He doesn't even bother with the normal photos he would take right away instead putting on the second skin to protect the tattoo. As he smooths the thin film over your inner thigh he lets his fingers slip up brushing against your center to see your reaction.

Your head rolls to your shoulder watching him through your lashes as he takes off his gloves and tosses them on the cart. He lifts the armrest on the tattoo chair before reaching behind your knees to pull you to the edge of the seat so your legs are dangling off the side. “how is it someone can make the prettiest sounds and sit so still for me?” he leans down and plants a kiss on your tattooless thigh, “because all I could think about was how I wanted to see your legs shaking for me while you whined like that,”

you tried to draw your knees together but he was in the way, kissing up your inner thigh, nipping at your skin with his teeth. When he reached your skirt he flipped it up with a lazy hand giving you no time before his thumb was over your clit rubbing a harsh circle over the fabric. You felt the shock run up to your stomach, your voice breathy as you whimpered his name. He followed the wet line down the front of your panties before hooking his finger along the seam to pull them back. He wanted one taste, needed one taste but knew he wouldn't stop at just one, not when you looked this edible and ready for him.

He ravages your clit, your hands shooting to his head burying your fingers in his hair as he sucks. He's careful of your tattoo but your other thigh is fair game for him to wrap his arm around and push you open, fingers bruising with how he spreads you. His free hand prodded your entrance, circling in your wetness before slipping in knuckle deep. “Hyunjin,” you whine, your hips rocking against his lips, feeling the build up of your orgasm. He curls his fingers pressing up into you enough to make your legs jerk from the new angle.

You're seeing spot before too long, hips stuttering as he gives a final hard suck, fingers still as you clench around them. You're moaning so loud you're sure someone will hear but you don't even care. Hyunjin doesn't stop the flick of his tongue against your clit making you cry out, “I said I wanted to see them shake,” devilish smile covered in your slick before he latches on to your clit again. Fingers pumping in and out of you before he presses deeper into you. You can feel tears at the corners of your eyes, and when he pulls away slightly to let his teeth brush your clit you're done for, legs trembling as you cum. He is persistent and you have to tug his head away, a slight smile stuck on his wet lips as he watches your body shake from the overstimulation. “once more?”

“I can't- I can't do it,” you shake your head but he drags his fingers out slowly before inching them back in, your hips jumping.

“I know you can, you've been doing so good for me already, one more time won't hurt,” he hums, dipping his nose down to brush over your nub. Jolting at the feeling he turns his head to kiss your inner thigh, slowly building up speed with his fingers, “can't you do just one more?” it's the way he asks so softly, the heavy gaze under heavier eyelids that makes you nod.

You're so sensitive that one lick has you shaking, your orgasm feeling so far and yet so close all at once. His tongue laps through your folds circling your clit. Hyunjin is obsessed with the taste of you, completely under the spell of your pussy and how it responds to his touch. He could go all night eating you out, watching as you fell apart again and again before him. Your cries are getting louder and before you know it your back is arching into him almost coming off the seat, your orgasm so intense you don't expect the clear fluid to squirt out of you until it has.

You're breathing so labored you place a hand over your chest to try and calm yourself. hyunjins pleased grin is the only thing you see before he pulls his fingers out of you and sticks them in his mouth to clean them. Every once in a while your legs jerk from an aftershock, the delight in his eyes worth how tired you feel. Your thighs are sticking to the leather seat under you as Hyunjin pulls your underwear back into place leaning down to leave a ghost of a kiss over your clothed clit. “next time I want you to cry this pretty for my cock okay?”

#hyunjin #hyunjin x reader #seungmin #kpop smut #bang chan #lee felix #lee know #han jisung #i.n skz #changbin #stray kids smut #stray kids #stray kids hyunjin #skz #skz smut #hyunjin stray kids #hyunjin smut #Hyunjin smut #hyunjin skz

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felassan · 4 months ago

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Edge – The Future of Interactive Entertainment magazine, issue #401 (October 2024 issue) – Dragon Age: The Veilguard story

The rest of this post is under a cut for length.

Update: this issue of this magazine is now available to buy from UK retailers today. it can be purchased online at [this link]. [Tweet from Edge Online] also, Kala found that a digital version of the magazine can be read at [this link].

This post is a word-for-word transcription of the full article on DA:TV in this issue of this magazine. DA:TV is the cover story of this issue. When transcribing, I tried to preserve as much of the formatting from the magazine as possible. Edge talked to BioWare devs for the creation of this article, so the article contains new quotes from the devs. the article is written by Jeremy Peel. There were no new screenshots or images from the game in the article. I also think that it contains a few lil bits of information that are new, like the bits on companions' availability and stumbling across the companions out and about on their own in the world e.g. finding Neve investigating an abduction case in Docktown.

tysm to @simpforsolas and their friend for kindly telling me about the article!!

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[image source]

Article introduction segment:

"[anecdote about Edge] We were reminded of this minuscule episode in Edge's history during the creation of this issue's cover story, in which we discuss the inspiration behind Dragon Age: The Veilguard with its creators at BioWare. Notably, director John Epler remembers the studio experimenting with a number of approaches during the early phase of development before eventually locking in to what the game was supposed to be all along, above all else: 'a single-player, story-focused RPG'. As you'd expect from BioWare, though, that was really just a starting point, as we discovered on p54." BioWare draws back the Veil and ushers us into a new Dragon Age

"BEHIND THE CURTAIN BioWare's first true RPG in age age is as streamlined and pacey as a dragon in flight. By Jeremy Peel Game Dragon Age: The Veilguard Developer BioWare Publisher EA Format PC, PS5, Xbox Series Origin Canada Release Autumn

The Dragon Age universe wasn't born from a big bang or the palm of an ancient god. Instead, it was created to solve a problem. BioWare was tired of battling Hasbro during the making of Baldur's Gate and Neverwinter Nights, and wanted a Dungeons & Dragons-like setting of its own. A small team was instructed to invent a new fantasy world in which the studio could continue its groundbreaking work in the field of western RPGs, free of constraints.

Well, almost free. BioWare's leaders mandated that the makers of this new world stick to Eurocentric fantasy, and include a fireball spell - since studio co-founder Ray Muzyka had a weakness for offensive magic.

Beyond that, BioWare’s storytellers were empowered to infuse Dragon Age with their own voices and influences, leaning away from D&D’s alignment chart and towards a moral grayness that left fans of A Song Of Ice And Fire feeling warm and cozy.

In the two decades since, the world of Thedas – rather infamously and amusingly, a shortening of ‘the Dragon Age setting’ that stuck – has taken on a distinct flavor. It’s something director John Epler believes is rooted in characters.

“There’s definitely some standard fantasy stuff in Dragon Age, but everything in the world, every force, is because of someone,” he says. “The idea is that every group and faction needs to be represented by a person – someone you can relate to. Big political forces are fine as background, but they don’t provide you with those interesting story moments.”

Dragon Age: The Veilguard bears out that philosophy. The long-awaited sequel was first announced with the subtitle Dreadwolf, in reference to its antagonist, Solas – an ancient elf who once stripped his people of immortality as punishment for betraying one of their own. In doing so, Solas created the Veil, the thin barrier through which wizards pull spirits and demons invade the waking world. In other words, many of Dragon Age’s defining features, from its downtrodden elves to the uneasy relationship between mages and a fearful church, can be traced right back to one character’s decision.

“The world exists as it does because of Solas,” Epler says. “He shaped the world because of the kind of character he was. That’s, to me, what makes Dragon Age so interesting. Everything can tie back to a person who to some degree thought they were doing the right thing.”

Perhaps BioWare’s greatest achievement in slowburn character development, Solas is a former companion, an unexploded bomb who sat in the starting party of Dragon Age: Inquisition, introverted and useful enough to get by without suspicion. Yet by the time credits rolled around on the Trespasser DLC, players were left in no doubt as to the threat he presented.

Determined to reverse the damage he once caused, the Dreadwolf intends to pull down the Veil, destroying Thedas as we know it in the process. The next Dragon Age game was always intended to be his story.

“We set that up at the end of Trespasser,” Epler says. “There was no world where we were ever going to say, ‘And now let’s go to something completely different.’ We wanted to pay off that promise.”

Yet almost everything else about the fourth Dragon Age appears to have been in flux at one time. In 2019, reporter Jason Schreier revealed that an early version, starring a group of spies pulling off heists in the Tevinter Imperium, had been cancelled two years prior. Most of its staff were apparently moved onto BioWare’s struggling Anthem, while a tiny team rebooted Dragon Age from scratch. That new game was said to experiment with live-service components.

“We tried a bunch of different ideas early on,” Epler says. “But the form The Veilguard has taken is, in a lot of ways, the form that we were always pushing towards. We were just trying different ways to get there. There was that moment where we really settled on, ‘This is a singleplayer, story-focused RPG – and that’s all it needs to be’”.

Epler imagines a block of marble, from which BioWare was attempting to carve an elephant – a character- and story-driven game. “We were chipping away, and sometimes it looked more like an elephant and sometimes it didn’t”, he says. “And then we eventually realized: ‘Just make an elephant’. When we got to that, it almost just took shape by itself.”

2014’s Dragon Age: Inquisition was an open-world game commonly criticized for a slow-paced starting area which distracted players from the thrust of the plot. The Veilguard, in contrast, is mission-based, constructed with tighter, bespoke environments designed around its main story and cast. “We wanted to build a crafted, curated experience for the player,” Epler says. “Pacing is important to us, and making sure that the story stays front and center.”

Epler is very proud of Inquisition, the game on which he graduated from cinematic designer to a lead role (for its DLC). “But one of the things that we ran into on that project was an absentee antagonist,” he says. “Corypheus showed up and then disappeared. You spent ten hours in the Hinterland doing sidequests, and there wasn’t that sense of urgency.”

This time, The Veilguard team wants you to constantly feel the sword of Damocles dangling above your head as you play – a sense that the end of the world is coming if you don’t act. “There’s still exploration – there’s still the ability to go into some of these larger spaces and go off the beaten path to do sidequests,” Epler says. “But there’s always something in the story propelling you and the action forward, and allowing you to make decisions with these characters where the stakes feel a lot more immediate and present. And also, honestly, more real.”

No sooner have you finished character creation than Dragon Age: The Veilguard thrusts you into a choice. As your protagonist, Rook, steps into focus on the doorstep of the seediest bar in town, you decide whether to threaten the owner for information or make a deal. Brawl or no, you’ll walk out minutes later with a lead: the location of a private investigator named Neve Gallus, who can help you track down Solas.

You proceed into Minrathous, the largest city in Thedas and capital of the Tevinter Imperium – a region only alluded to in other Dragon Age games. It’s a place built on the backs of slaves and great mages, resulting in tiered palaces and floating spires – a kind of architecture unimaginable to those in the southern nations.

“When your Dragon Age: Inquisition companion Dorian joins you in Orlais, in one of the biggest cities in Thedas, he mentions that it’s quaint and cute compared to Minrathous,” Corinne Busche, game director on The Veilguard, says. “That one bit of dialogue was our guiding principle on how to realize this city. It is sprawling. It is lived-in. Sometimes it’s grimy, sometimes it’s bougie. But it is expansive.”

Immediately, you can see the impact of BioWare’s decision to tighten its focus. Around every other corner in Minrathous is an exquisitely framed view, a level of spectacle you would never see in Inquisition, where resources were spread much more thinly. “When you know that you’re gonna be heading down a canyon or into this plaza where the buildings open up, you have those perfect spots to put a nice big temple of Andraste or a mage tower,” art director Matthew Rhodes says. “You get those opportunities to really hit that hard.”

BioWare’s intention is to make strong visual statements that deliver on decades of worldbuilding. “People who have a history with Dragon Age have thought about what Minrathous might be like,” Rhodes says. “We can never compete with their imagination, but we can aim for it like we’re shooting for the Moon.”

The people of Tevinter use magic as it if were electricity, as evidenced by the glowing sigils that adorn the dark buildings – street signs evoking Osaka’s riverfront or the LA of Blade Runner. They’re just one of the tricks BioWare’s art team uses to invite you to stop and take in the scene. “A lot of what you start to notice when you’re the artist who’s been working on these big, beautiful vistas and neat murals on the walls is how few players look up,” Rhodes says. “We design props and architecture that help lead the eyes.”

For the really dedicated shoegazers, BioWare has invested in ray-traced reflections, so that the neon signage can be appreciated in the puddles. There are also metal grates through which you can see the storm drains below. “The idea behind that is purely just to remind the player often of how stacked the city is,” Rhodes says. “Wherever you’re standing, there’s guaranteed to be more below you and above you.”

One of BioWare’s core creative principles for The Veilguard is to create a world that’s actually worth saving – somewhere you can imagine wanting to stick around in, once the crises of the main quest are over. To that end, the team has looked to ground its outlandish environments with elements of mundanity.

“A guy’s normal everyday life walking down the streets of this city is more spectacular than what the queen of Orlais is seeing, at least in terms of sheer scale," Rhodes says. “One of the things we’ve tried to strike a balance with is that this is actually still a place where people have to go to the market and buy bread, raise their kids, and try to make it. It’s a grand and magical city, but how do you get your horses from one place to the next? Where do you load the barrels for the tavern? It’s really fun to think of those things simultaneously.”

Normal life in Minrathous is not yours to behold for long, however. Within a couple of minutes of your arrival, the very air is ripped open like cheap drapes, and flaming demons clatter through the merchant carts that line the city streets. A terrible magical ritual, through which Solas intends to stitch together a new reality, has begun.

“We wanted the prologue to feel like the finale of any other game we’ve done,” Busche explains. “Where it puts you right into this media-res attack on a city and gets you really invested in the action and the story right away. When I think back to Inquisition, how the sky was literally tearing open – the impact of this ritual really makes that look like a minor inconvenience.”

Our hero is confronted by a Pride demon, imposing and armored as in previous games, yet accented by exposed, bright lines that seem to burst from its ribcage. “They are a creature of raw negative emotion,” Busche says. “So we wanted to actually incorporate that into their visual design with this glowing nervous system.”

When a pack of smaller demons blocks Rook’s route to the plaza where Neve was last seen, battle breaks out, and The Veilguard’s greatest divergence from previous Dragon Age games becomes apparent. Our rogue protagonist flits between targets up close and evades individual sword swings with precision. In the chaos, he swaps back and forth between blades and a bow. He blends light and heavy attacks, and takes advantage of any gap in the melee to charge up even bigger blows.

“Responsiveness was our first-and-foremost goal with this baseline layer of the combat system,” Busche says. Unless you’re activating a high-risk, high-reward ability such as a charged attack, any action can be animation-cancelled, allowing you to abort a sword swing and dive away if an enemy lunges too close. “We very much wanted you to feel like you exist in this space, as you’re going through these really crafted, hand-touched worlds,” Busche says. “That you’re on the ground in control of every action, every block, every dodge.” Anyone who’s ever bounced off a Soulslike needn’t worry: The Veilguard’s highly customizable difficulty settings enable you to loosen up parry windows if they prove too demanding.

Gone is the overhead tactical camera which, for some players, was a crucial point of connection between Dragon Age and the Baldur’s Gate games that came before, tapping into a lineage of thoughtful, tabletop-inspired combat. Epler points out that the camera’s prior inclusion had an enormous impact on where the game’s battles took place. “We actually had a mandate on Inquisition, which was, ‘Don’t fight inside,’” he says. “The amount of extra work on getting that tactical camera to work in a lot of those internal environments, it was very challenging.”

Gone, too, is the ability to steer your comrades directly. “On the experiential side, we wanted you to feel like you are Rook – you’re in this world, you’re really focused on your actions,” Busche says. “We very much wanted the companions to feel like they, as fully realized characters, are in control of their own actions. They make their own decisions. You, as the leader of this crew, can influence and direct and command them, but they are their own people.”

It's an idea with merit, albeit one that could be read as spin. “It’s not lost on me,” Busche says. “I will admit that, on paper, if you just read that you have no ability to control your companions, it might feel like something was taken away. But in our testing and validating with players, what we find is they’re more engaged than ever.”

There may be a couple of reasons for that. One is that Dragon Age’s newly dynamic action leaves little room for seconds spent swapping between perspectives. “This is a much higher actions-per-minute game,” Busche says. “It is more technically demanding on the player. So when we tried allowing you full control of your companions as well, what we’ve found is it wasn’t actually adding to the experience. In fact, in some ways it was detrimental, given the demanding nature of just controlling your own character.”

Then there’s The Veilguard’s own tactical layer, as described by BioWare. Though the fighting might be faster and lower, like a mana-fuelled sports scar, the studio is keen to stress that the pause button remains as important to the action as ever. This is, according to Busche, where the RPG depth shines through, as you evaluate the targets you’re facing and take their buffs into account: “Matching elemental types against weaknesses and resistances is a big key to success in this game.”

You pick between rogue, warrior and mage – each role later splitting again into deeper specialisms – and draw from a class-specific resource during fights. A rogue relies on Momentum, which is built up by avoiding damage and being highly aggressive, whereas a warrior is rewarded for blocking, parrying, and mitigating damage.

Those resources are then used on the ability wheel, which pauses the game and allows you to consider your options. The bottom quadrant of the wheel belongs to your character, and is where three primary abilities will be housed. “Rook will also have access to runes, which function as an ability, and a special ultimate ability,” Busche says. “So you’re bringing five distinct abilities with you into combat.”

The sections to the left and right of the wheel, meanwhile, are dedicated to your companions. Busche points to Lace Harding, the returning rogue from Inquisition, who is currently frozen mid-jump. “She is her own realized individual in this game. She’s got her own behaviors: how she prioritizes targets, whether she gets up close and draws aggro or stays farther back at range. But you’ll be able to direct her in combat by activating her abilities from the wheel.”

These abilities are complemented by positional options at the top of the wheel, where you can instruct your companions to focus their efforts on specific targets, either together or individually. Doing so will activate the various buffs, debuffs and damage enhancements inherent in their weapons and gear. “So,” Busche explains, “as you progress through the first two hours of the game, this full ability wheel is completely populated with a variety of options and different tactics that you can then string together.”

BioWare has leaned into combos. You might tell one companion to unleash a gravity-well effect that gathers enemies together, then have another slow time. Finally, you could drop an AOE attack on your clustered and slowed opponents, dealing maximum damage. The interface will let you know when an opportunity to blend two companion abilities emerges – moments BioWare has dubbed ‘combo detonations’.

“I like to think about this strategic layer to combat as a huddle,” Busche says, “where you’re figuring out how you want to handle the situation, based on the information you have on the encounter, and how you and your companions synergize together.”

Deeper into the game, as encounters get more challenging, Epler says we’ll be spending a lot of time making “very specific and very focused tactical decisions”. The proof will be in eating the Fereldan fluffy mackerel pudding, of course, but Busche insists this shift to fast action isn’t a simplification. “What really makes the combat system and indeed the extension into the progression system work is that pause-and-play tactical element that we know our players expect.”

The autonomy of The Veilguard’s companions doesn’t end with combat. BioWare’s data shows that in previous games players tended to stick with the same two or three beloved comrades during a playthrough. This time, however, you’ll be forced to mix your squad up at regular intervals.

“We do expect that players will have favorites they typically want to adventure with,” Busche says, “but sometimes certain companions will be mandatory.” Others may not always be available – part of the studio’s effort to convince with three-dimensional characters. “They do have a life outside of Rook, the main character,” Busche says.

"They'll fall in love with people in this world. They’ve had past experiences they’ll share with you if you allow them in and get close to them.”

Being separated from your companions, rather than collecting them all in a kind of stasis at camp, allows you to stumble across them unexpectedly. Busche describes an instance in which, while exploring the Docktown section of Minrathous, you might bump into Neve as she investigates an abduction case. “If I go and interact with her, I can actually stop what I’m doing, pick up her arc and adventure with her throughout her part of the story,” Busche says. “What’s interesting is that all of the companion arcs do ultimately tie back to the themes of the main critical path, but they also have their own unique challenges and villains, and take place over the course of many different intimate moments.”

Some parts of a companion’s quest arc involve combat, while others don’t. Some are made up of large and meaningful missions – as lavish and involved as those along the critical path. “While they are optional, I would be hesitant to call them side content in this game,” Busche says. If you choose not to engage with some of these companion-centered events, they’ll resolve on their own. “And it might have interesting implications.”

The Veilguard promises plenty of change, then, even as it picks up the threads of fan-favorite characters and deepens them, honoring the decades of worldbuilding that came before it. This is perhaps the enduring and alluring paradox of Dragon Age: a beloved series which has never had a direct and immediate sequel, nor a recurring protagonist. Instead, it’s been reinvented with each new entry.

“It’s a mixed blessing to some degree,” Epler says. “The upside is always that it gives us more room to experiment and to try new things. There are parts of the series that are common to every game: it’s always an RPG, it’s always about characters, and we always want to have that strategic tactical combat where you’re forced to make challenging decisions. But at the end of the day, I think what makes Dragon Age Dragon Age is that each one feels a little bit different.”"

Q&A Matthew Rhodes Art director

Q. Early BioWare RPGs were literary, with the emotions and detail mostly happening in dialogue boxes. How have you seen the studio's approach to visual storytelling evolve? A. This has been my entire career. When I first showed up at BioWare, it was at the tail end of Jade Empire, and then I was working on Dragon Age: Origins and early Mass Effect. The games had taken that next step out of sprites and 2D models, and it was like: 'How do we say more? How do we communicate more clearly?' During those early days, a lot of games depended on words to fix everything for you. As long as your character was talking bombastically, you could lend them everything that they needed. But as time went on it also became a visual medium, and it's been this long journey of trying to establish art's seat at the table. I've worked with some great writers over the years, and art is also an essential part of the storytelling. From Dragon Age: Inquisition on, I've been trying to stress with my teams that we are a story department.

Q. Is part of that also letting writers know that your storytelling assistance is available, to help them show rather than tell? A. On The Veilguard, that principle has been operating the best I've seen it. Where you would need a paragraph of dialogue in one of those exposition moments where a character just talks to you, we could sell that with a broken statue or a skeleton overgrown with vines. We've had more opportunities to do that on The Veilguard than most of the projects I've ever worked on combined.

To a hammer, every problem looks like a nail, and so in every department, writing will try to solve it with more words, and art will try to solve it with more art. I've bumped up against moments where it's like, 'As much as we could keep hammering on this design, I think this is actually an audio solution.' And then you take it to audio, and you don't get that overcooked feeling where each team is just trying to solve it in their silo. It's a really creatively charged kind of environment.

[main body of article ends here]

Additional from throughout the article --

Image caption: “Spotlights shine down from the city guards’ base as they pursue you through the streets of Minrathous.”

Image caption: “While most of your companions can be sorted into comfortingly familiar RPG classes, The Veilguard introduces two new varieties: a Veil Jumper and a private investigator.”"

Image caption [on this Solas ritual concept art specifically]: “The name previously given to the game – Dreadwolf – was a direct reference to Solas. Your former companion, now on his own destructive mission, still features, despite the name change.”

Text in a side box:

"RATIONAL ANTHEM The hard lesson BioWare drew from Anthem was to play to its strengths. “We’re a studio that has always been built around digging deep on storytelling and roleplaying,” Epler says. “I’m proud of a lot of things on Anthem – I was on that project for a year and a half. But at the end of the day we were building a game focused on something we were not necessarily as proficient at. For me and for the team, the biggest lesson was to know what you’re good at and then double down on it. Don’t spread yourselves too thin. Don’t try to do a bunch of different things you don’t have the expertise to do. A lot of the people on this team came here to build a story-focused, singleplayer RPG."

Image caption: “In combat you no longer control your companions directly – this is a faster-paced form of fighting – but you are able to direct them in combat, and can even blend their abilities in ‘combo detonations’.”

Image caption: “You’ll be exploring new regions across Tevinter and beyond – Rivain is a certainty, and that’s only accessible via Antiva travelling overland.”

Image caption: “There are three specializations per character class; on the way to unlocking them you’ll acquire a range of abilities.”

Text in a side box:

"MEET YOUR MAKER “Full disclosure: Dragon Age has traditionally not done skin tones well, especially for people of color,” Busche says. “We wanted to do a make-good here.” In The Veilguard’s character creator, you can adjust the amount of melanin that comes through in the skin, as well as test various lighting scenarios to ensure your protagonist looks exactly as you intend in cutscenes. “Speaking of our first creative principle – be who you want to be – we really feel these are the kinds of features that unlock that for our players,” Busche says. “We want everyone to be able to see themselves in this game.” For the first time in the series, your body type is fully customizable too, with animations, armor and even romantic scenes reflecting your choices."

Image caption: “Your companions are a mix of old and new – Lace Harding is a familiar face. Veil Jumper Bellara is new, with a new occupation, while Davrin is a new face with a familiar profession – he’s a Warden.”

Image caption: "Arlathan Forest is home to the ruined city of the elves, now a place of wild magic, Veil Jumpers and (allegedly) spirits".

Image caption: "Bellara is driven by a desire to learn more about the elves, rediscovering the shattered history and magic of her people."

[source: Edge – The Future of Interactive Entertainment magazine, issue #401 (October 2024 issue) - it can be purchased online at [this link].]

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