#thing then? we know its about the veil not about the humans coming into the picture so WHYYYY did some last and others not

[maythedreadwolftakeyou]

mentallyyyyy lately i keep coming back to Solas and Felassan.

like i know that their relationship is the way it is mostly because the writers came up with the end of The Masked Empire before they even considered the beginning/what happened in Arlathan. like... it was always doomed because the doom in fact came before the rest of the story. but beyond that if we actually LOOK at it all together like we can now to fill in those gaps...

From Felassan's perspective, he didn't know what exactly Solas was going to do, just that he was planning Something Big. when the Veil went up he didn't know what part of it was his generals intention or not, what even happened to him, and how they're going to deal with the result now. Only that in some way it worked (the gods are gone) but also clearly couldn't have gone exactly right, because they're cut off from the fade and Solas just never comes back--he fell into Uthenera after creating the prison/veil used up all his magic and strength. So Felassan as far as we know just... goes it alone? For thousands of years?? After shepherding the others in the rebellion out of the lighthouse and into the world it's possible he went into his own Uthenera at some point in the middle for part of the time that we don't hear about, but at least as of The Masked Empire he seemed pretty cognizant of all the politics, history, etc of Thedas. So he's either been personally around for all of it or enough of it to make sense + get caught up on whatever he missed. Probably a good chunk of those early years was spent looking for Solas' body or where he'd fallen into slumber... I imagine if he'd actually managed to find him during that time he would have done something to help him wake if possible. So probably he didn't, and eventually would have just... stopped looking probably. He spent his time existing in the world in a very real way, even if he kept some emotional/physical distance from it. Thousands of years growing and becoming a different person, not a general in a war but a bit of a loner who eats tree bark but nevertheless actually seems to have enjoyed the people he's gotten to know over the years, and found his own kind of peace.

And on Solas' end. He does this giant, cataclysmic thing, passes out, and when he wakes up the world is just utterly unrecognizable. He didn't get to see any of the in between, hence telling himself it wasn't (couldn't be) real, it didn't count, he could still fix it, etc. And so he starts desperately looking for ways to go back and who does he manage to find--Felassan. His second in command, his advisor, and from DAV clearly someone he trusted and relied on. And so he thinks ok, just like before, we can do this, we can make things right again. And for a little while it seems like that's how things are going.

Until... Felassan says no. He straight up tells him he's wrong about people and the world and just refuses to comply when Solas asks for the Eluvian password, the thing that would essentially let him "fix" it all. Despite EVERYTHING, all their history, all the work they'd done together--Felassan says "I will not do this for you." And i think that's how Solas can do it. The moment he lashes out, he's not seeing Felassan anymore, he's just seeing yet another stranger, and yet another thing his big mistake back then tore away from him. He kills Felassan becuase he's not the Felassan Solas knew. The world isn't real and neither is this mockery of his old friend and it's just one more thing he'd already lost eons ago. And it's worse to have to see this new version and reminder of everything he fucked up than it is to believe the real Felassan was gone the whole time. The real Felassan is something he could keep mourning in his memory versus having to confront all the changes they made and the fact that. He didn't have to see this new version of him, and then he could keep compartmentalizing how "this was NOT the Felassan I knew" the same way he does "modern elves are NOT my people".

and so of course he can't get to the actual grieving until he does accept that the world might be real. and another reason he pushes back so hard against this because it means admitting not just his ancient mistakes but the recent ones too. or at least this is how i've been able to mentally reconcile what we get about their history in DAV and the ending of The Masked Empire. ouurrgh. chewing on it.

[rayroseu]

I really appreciate the beauty of Malleus New Year's card. But most importantly, other than its gorgeousness, I also appreciate how it pays so much homage to his status and character, from the flowers, the clothes, and the setting. 🥹

We know that wisterias were prevalent in his Dorm Groovy SSR, this time its another flower which is the red plum blossom here😭❤️

In Chinese philosophy, the Plum tree’s blossom is a symbol of winter ending and a herald of spring. The tree’s pale pink blossoms are cherished because they bloom vibrantly and so bravely amidst the winter chill. They symbolise perseverance and hope, as well as, beauty thriving in adverse circumstances.

The way this flower's meaning is so matched with Malleus' character is so precious. We know he's "the herald of spring" because his birth brought forth a hope that the Draconias(or the faes in general) won't die out just yet (the ending of winter) and the fact that this flower blooms even in winter probably symbolizes the fact that when he was an egg, he was still perservering to live. This also applies to his life as he grows up. With the way even if his life is riddled with loneliness and exclusion, he makes an effort to go out and adjust himself with others, he doesn't give up even if his reality consistently places him in situation where his goals can never be achieved (that is, him being accepted socially and him being ignorant of human culture but still makes an effort to understand it), he just continues to be hopeful that someone/ some place will invite him, therefore his ability to thrive in adverse circumstances.

The way he slowly rises in this card makes me feel like it symbolizes how slow paced Malleus is "in going out/getting used to outside of his comfort zone", actually lol. He described his admission to NRC as him being nervous because its an unknown place but still hopeful for the experiences that he might get(acccording to the vignette of his GloMas SSR), just like him here rising from the snow and the way he lifts the veil which makes me think he wants to see the world outside of his country's point of view with his own eyes.

Japanese tradition holds that the Plum (or ‘ume’) is celebrated as a protective charm against evil, so the ume is traditionally planted in the northeast of the garden, the direction from which evil is believed to come.

I also read this symbolism which makes me tear up lmaooo 😭Because we know in Book 7, Briarland was invaded from northeast where the Silver Owls originated from 💀 The fact that the plum blossom is a protection flower and he's surrounded with it in this card makes me think that it symbolizes how protected he was during Briarland's era 😭and another thing to dissect from his slow rise from the snow with the fact the plum blossom signifies protection is probably the fact that he took so long to hatch despite many people caring for him.

Side note that in Malleus Bloom Birthday Groovy, it implied that he was born in daytime during a snowfall, and he was happy experiencing the winter, just like in this New Years card where he's smiling against the heavy snowfall 🥹

In Japan, plum blossoms symbolize good fortune, an auspicious flower, along with pine and bamboo, and the arrival of early spring. They are often used as the design for New Year’s greeting cards and other celebratory occasions. (And maybe this is just the likely reason why this flower is here in Malleus' card and I'm overthinking it above lol

Next thing I want to mention is his clothes, that attire reminds me of the formal outfit of a Japanese Emperor (From what I searched, its called sokutai, but what Malleus wears is much more simpler I guess, its a outfit derived from it which is called ikan.) This post is a great overview about these two outfits.

Ikan is the work clothes of nobles and government officials in the Imperial Court after the Heian period. Sokutai is a formal costume for those from the Emperor to the court nobles in and after Heian period (Heian costume). Ikan is called 'tonoi (nighttime) costume', whereas sokutai is called 'hino (daytime) costume'. (which probably references the fact that he's a night fae)

The point is, what Malleus wears in this card is a very traditional garment that only high ranking Japanese officials can wear. But what he wears isn't the clothes of an emperor yet, but just for a high ranking official, which is accurate to his status that he's still a crown prince not yet the king, because only Maleficia truly rules Briar Valley right now.

I love the decision that they made him wear such a prestigious outfit because the story of the New Years event is the characters working on customer service lol Its like his clothes is a reminder that he is still highly distinguished even if temporarily he's a worker.

Lastly the VEIL !!!!!! That's the thing that catched my eyes the most in this card lol I KNOW they're not referencing a wedding here because the veil don't look the same, but its so good not to mention that the one of the headress of a Japanese bride is called tsunokakushi and its description can be related with Malleus a lot lol.

The term is a compound of 角 (tsuno, "horn") + 隠し (kakushi, "hiding"). This derivation is listed in some sources as a reference to hiding a bride's "horns" of anger, jealousy, or other negative qualities, in order to present a more virtuous image for the wedding. However, this interpretation might be a folk etymology resulting from a shift in the reading and meaning.

The headdress and the veil aren't the same thing but I kinda feel like this is the idea they're going for considering the veil is 1) hiding his horns, 2) he's a character associated with being jealous, and most importantly, 3) only the person he is looking at can see his face (which is the point of most wedding veils/headdress, to hide the bride's face so that only her partner can see it).

But long veils, like the one Malleus is holding is also just a garment for a noble to hide their nobility. Which is this is probably the likely reason, considering he's using that veil to cover up his horns and his clothes, the most obvious features of his status.

Also, it could be just a fun reference to the fact that Maleficent in live action wore a long veil to hide her horns so that she wouldn't scare the humans lol

[senseandaccountability]

the narrative that could have been

Having mulled over the game for a couple of days I have realised that the main problem for me is that Veilguard is good based on the premises they ultimately choose, but not based on the set up and promise of what was there before. I know this isn’t a unique take by any means and yes it’s all about the Evanuris and the Veil and Solas. 

Replaying really emphasises how incredibly little the game convinces me of its original main quest - to prevent Solas from doing his ritual. This is a problem as a long-term player because for three games we’ve had build up for a great crescendo tackling the overarching themes of the (restrictions and oppression of) magic, of tears in the Veil, of religious tyranny and oppression based on myths about the Black City and the temptations of flawed humans, we’ve seen and deconstructed the elves quite a bit, we got started on the dwarves and in DAI your Inquisitor can openly ask Solas if it wouldn’t be better if the Veil came down because then spirits wouldn’t be separated from the living and risk becoming demons. Cole, whose function is to reflect the plot, talks endlessly about the old songs wanting to be sung again, about how it hurts to be cut off from part of yourself, how the templars feel it, how the mages feel it, how the elves and the dwarves feel it. The Veil as a prerequisite for life has been deconstructed, the Fade demystified, the gods have mostly fallen. The Veil as an actual wound inflicted on this earth has been presented as a theory and not been convincingly rejected by the narrative. 

The game actually gives no explanation whatsoever as to why the Veil coming down would be worse than what Rook causes in the beginning and what the escaped gods then do to the entire Thedas. The entire south falls to the Blight because Elgar’nan and Ghilan'nain are let loose. The Wardens are more or less wiped out. There’s enormous political turmoil. The game gives us Solas saying “thousands” would die when he brought the Veil down, but that he had a host of spirits there to help. (Yes, I know, his sole function in this game is to Trick and Deceive so who is to say if he’s lying, HUH, but even so, THE ENTIRE SOUTH FALLS TO THE BLIGHT IN ROOK’S VERSION OF THINGS.)

The game puts emphasis on Solas's questionable methods and past horrors but it doesn't ever explain why his goals are despicable here and now. It doesn't convince us that tearing down the Veil with lots of safety measures in place and after considerations is a bad result, all things considered - save for Varric’s initial yelling about demons. (We even learned in DAI that the Veil itself creates demons because it restricts the passage of spirits, come on.) Because three games have suggested it's not, not ultimately. Trespasser especially nuances this, just as it nuances Solas’s view of this current world state. Right after his long nap he would have nuked it all, I’m sure, but the whole point of character arcs is that things happen in them and what happened to him is that he was shown layers and angles he had not considered and adjusted his mindset and ultimately his plan accordingly. That is where DAV should have picked it up. That's where the build up was headed. But, now he must serve the narrative solely as the God of Treachery and Lies which means that previous build up is washed away for the most part. (In no way do I think he is OOC in DAV, I just want to point that out so nobody thinks I’m a sappy fangirl or whatever. I think he is perfectly in tune with his inner Dread Wolf, but that is also all he gets to be, because of the narrative, and I’m always much more interested in when roles and personas clash.) Again. The main problem is that the narrative cannot explain why bringing down the Veil would be the worse option than the shit we see unfold on screen. Instead it gets a bit lost in the past.  And I have Issues with that, as well.  Like, the dumbing down of the war against the Evanuris. The war that started because the leaders of the rebellion - who previously had to carry out terrible orders so the Evanuris, the upper crust of the Elvhenan, could play gods - decided that the Evanuris was a threat to them all. And the game gives us what, a depiction of how the rebellion ended up crossing lines, too? No shit.

Like, I am fully on board with the individual theme of regret on Solas’s part and he ought to be wrecked with guilt but I wish the game could be less all over the place with what sort of things he ought to be wrecked with guilt over. Saying fuck you to the Evanuris is the best and brightest of his character, I suppose I just don't want it dragged down to the same level as him breaking the Titans. I suppose I would have wished for a narrative that also worked on a systemic level when depicting things like, you know, war and revolutions and subjugation. But we don't have that, because DAV is only about personal choices. The Lighthouse crew flippantly writing the hierarchical and violent power struggle off as being about love and betrayal is on my shitlist forever. 

No, Taash et al, it was not about pussy, it was about feeling compelled by superiors to commit heinous war crimes and being lied to about the actual purposes of your damn war in the first place. The elves shouting at Elgar’nan and Mythal in this painting aren’t driven by love and sex they have been lied to by their ruling class. It was never about freedom or ending the wars, it was always about Elgar’nan jerking off to ultimate godhood. The writing even suggests betrayal here is to be understood as Netflix drama betrayal, maybe some juicy porny plot but it’s ABOUT THE BETRAYAL OF THE ELVES BY THEIR OWN KIN.  ((ETA: I would have wanted my Dalish mage to be allowed to be furious, NOT WITH SOLAS, but with the fucking Evanuris for betraying her people and being so fucking vile that the only option that remained was to create a world where she's a second-class citizen. I would have wanted the game to recognize that not all causes are equal and that Elgar'nan's cause for godhood was objectively more vile than Solas's cause for freedom because as it stands now, there are some really iffy vibes of "both sides are equally bad" and other things authorities tend to say when comparing destructive regimes with uprisings.)) I’m sorry, this shit hits me on a personal and political rage level. 

I also can’t help but mourn a game where the Trickster God fulfilled his trope’s duty and shook the stagnation apart with his actions - for good or ill, the way trickster gods are wont to do - and where Rook was tricked into helping and then, a more complex game about its consequences could have unfolded. The Evanuris could still have been the bad guys, if they wanted big villains frothing at the mouth. There could still have been numerous unplanned consequences, like all of Solas's plans have. Maybe other ancients awake as well. Maybe ancient evils who aren’t elves, who knows. Point is - the Veil should have come down, at least in some form, at least in some outcome. THAT is what they've been building up to. In this game that never was, Rook could be an actual interesting character where we could mold her as either accepting of this trickster role (which fits perfectly for a blank slate with no ties) or set to overturn it and enforce status quo, with some vanilla option in the middle. Maybe the Veil doesn’t come down until the very end of the game, ancient magic takes time after all, maybe a lot has happened by then. But ultimately, Rook’s choice in the end should not have been about siding against Solas because he’s lying to you or because he did horrible things in the past or siding with him because you want him redeemed. The narrative should have provided those options either way. The narrative should have been brave enough to suggest that hey, maybe Solas isn't wrong at all - his methods maybe, but his goal, no. If they truly wanted mirrors between Rook and Solas, Rook should have tackled the issue of actively bringing down the Veil herself, not because it's a roses and sunshine-outcome but because it might very well be the lesser of two evils. Gods, that would have been interesting. It should have been a choice about what sort of world Rook and the Veilguard wants to see in the future. It should have been about the people, the world, not how angry Rook is that an ancient elf has tricked her. 

That would have been the game I wanted to play.  This story doesn't really give anything new to the world of Thedas, which a world without the Veil would have. It accomplishes closure for our favourite trickster god and bless them for that, but as for the plot and the world-building it ends on a meh because the narrative isn't about the people unless they're brought up as being endangered. This is why I can feel satisfaction regarding the thematic conclusion to certain character arcs, the trickster becomes the healer with the bloodiest hands, the wolf submits willingly to his trap and so on and so forth, and I can have fun with the characters and their arcs but also really mourn the game that was there, in subtext and build up over three previous games and in several tie-ins.

[thebramblewood]

Who knew window shopping could lead to so many revelations?

Previous / Next

All credit to @moonwoodhollow for Exerzierplatz, where you can find the bookstore, and @its-opheliasgarden for Umbra Boulevard, where you can find the antique shop, both of which are only one small part of these incredible builds!

Caleb: You’ve grown awfully comfortable with her.

Helena: First of all, you have no room to judge. [mockingly] Oh, she’s my sister and I loathe her! But I’m too much of a coward to move out.

Caleb: I’ve certainly never uttered those-

Helena: Secondly, being angry is exhausting. Holding an eternal grudge requires too much energy. And she can be fun — in her own way.

Caleb: You mean the way that’s fun until it isn’t? Not long ago, she had you on the verge of murder. Your memory can’t be that short.

Helena: We have our differences. But she respects my limits now.

Caleb: She’s being careful, but I know her too well to believe it’s for anyone’s benefit but her own. She’s only biding her time until you let your guard down.

Helena: God, you’re cynical.

Caleb: I’m realistic. For a long time, I held out hope she would turn back into the Lilith I knew. But there’s a point of no return, and she’s far past it. I just think you should tread carefully.

-

Helena: Why do you really stay? Is she holding something over you? Are you a masochist?

Caleb: I’ve told you. It’s complicated.

Helena: Have you ever even tried to leave?

Caleb: Helena-

Helena: Who’s Morgyn?

Caleb: [uncomfortably abrupt silent]

Helena: I heard that name in your head just now, not for the first time. I didn’t want to pry, but it must be someone who means a lot to you.

Caleb: Meant.

Helena: Did you have a falling out or-

Caleb: [flatly] They’re dead.

Helena: Oh. I’m sorry. [softly] Caleb, were you in love with them?

Caleb: Something like that.

Helena: What happened? Don’t tell me Lilith-

Caleb: [insistently] It had nothing to do with her. They were a spellcaster, a very powerful one. They wielded influence. They had detractors. One of those detractors killed them.

Helena: Oh my god. That’s awful. Could you tell me what they were like sometime — when you’re ready?

Caleb: [faintly] I wouldn’t even know where to begin.

Helena: Caleb, look! I haven’t used one of these since I was a kid. Do you think they’ve got film for it?

-

Caleb: Come on. Don’t waste it on a picture that won’t even turn out.

Helena: What’s the deal with that anyway? I saw something about silver online, but-

Caleb: Anything you read on the Internet is conjecture and myth.

Helena: Is it because we don’t have souls?

Caleb: [bemused] What does that even mean? Do you feel as though you’ve lost yours?

Helena: Yes. No. I don’t know. I guess I feel the same… mostly.

Caleb: Countess Flores has a theory that we innately shroud our physical selves in images, just as we veil human minds, that we could appear if we willed it. But that remains pure hypothesis as far as I know.

Helena: I think I’ve attempted enough desperate selfies to safely debunk that one. You know, I wonder… [trails off distractedly]

Caleb: Helena?

Helena: Maybe it’s not such a bad thing. I used to want to capture every moment, but now the pictures make it impossible to forget.

Caleb: We both know it’s not the pictures that keep the memories alive.

[felassan]

Dragon Age: The Veilguard info compilation Post 2

[Link to Part 1]

Post is under a cut due to length.

There is a lot of information coming out right now about DA:TV from many different sources. This post is just an effort to compile as much as I can in one place, in case that helps anyone. Sources for where the information came from have been included. Where I am linking to a social media user’s post, the person is either a dev, a Dragon Age community council member or other person who has had a sneak peek at and played the game. nb, this post is more of a ‘info that came out in snippets from articles and social media posts’ collection rather than a 'regurgitating the information on the official website or writing out what happened in the trailer/gameplay reveal’ post. The post is broken down into headings on various topics. A few points are repeated under multiple headings where relevant. Where I am speculating without a source, I have clearly demarcated this.

Character Creation

It is the best CC BioWare has ever made in a game [source]

The faction we choose will determine who we as protagonist Rook were before they were recruited to put a stop to Solas [source]

Certain conversation options are only available to Rooks of certain factions. For example, Grey Wardens get conversation options that are focused on the Blight, as they know more about it from other people. It also impacts how people talk to Rook (reactivity from characters and then faction reactivity from plots relating to that faction) [source]

Faction choice affects a lot of things [source]

There aren't unique missions (I think this means like the playable Origins in DA:O), but faction choice does set the course for Rook for the rest of the game [source]

"body customization and morphing. From more muscular characters, to curvier builds, and just about any shape you want to give your character, there are all sorts of toggles to adjust so you can give them any figure you want". "There's even features that let you choose proportions, so you can alter their height, give them wider shoulders, and much more" [source]

There are makeup options [source]

There are tattoo options [source]

The hair uses a "Strand system" to "make them behave and move in a believable way for the different races" [source]. (Fel note/speculation: I think "race" here refers to irl, as opposed to like human vs qunari or something, as the language they are using for human/elf/dwarf/qunari is "Lineage")

There are 4 voices to choose from for Rook: two feminine and tow masculine (one American, one British for each) [source]

In CC, 'Lineage' is the game's parlance for race i.e. human, elf, dwarf, qunari [source]

We can pick Rook's name, but the dialogue calls them 'Rook' [source]

In CC we can "make a few key decisions that will impact how The Veilguard begins" [source]

"I really do think its our most feature-ful character creator ever." [source]

Story and lore

In the opening segment of the game (see more on the story's opening moments here), we're too late and Solas' ritual worsens, so Rook and the companions go to stop him. When travelling to the next location (Arlathan Forest) in the chase after Solas, the characters travel through an eluvian [source]. The Forest is where his ritual is taking place. Varric then asks the player if he should confront Solas, and players then work to take down the surrounding statues in order to stop the ritual. "I won’t spoil what happens next, but I’ll just say the player and Veilguard have a tall task ahead of them if they want to save Thedas." [source]

Four of the 6 faction options for Rook (Mourn Watch, Lords of Fortune, Veil Jumpers, Shadow Dragons) are "rooted in northern Thedas" [source]

Certain conversation options are only available to Rooks of certain factions. For example, Grey Wardens get conversation options that are focused on the Blight, as they know more about it from other people. It also impacts how people talk to Rook (reactivity from characters and then faction reactivity from plots relating to that faction) [source]

There aren't unique missions (I think this means like the playable Origins in DA:O), but faction choice does set the course for Rook for the rest of the game [source]

A line of dialogue Dorian had at the Winter Palace in DA:I about what Tevinter is like informed the devs' approach to bringing to life the setting of Tevinter: ""There's a line in Dragon Age Inquisition that we always like to call back to," Epler says. "Dorian goes to the Winter Palace, which, up to that point, is probably the most impressive thing you've seen [as the Inquisitor], and [he] says something like, 'Oh, this is cute.' And we had to ask, what does it look like? What is Tevinter if Dorian sees that [the Winter Palace] and thinks that?"" [source]

The fact that Minrathous used to be the land of the elves was factored into the location's design. John Epler: "You can see the architecture has changed. It's become a lot more elven focused. And something that we've kind of hinted at, but we've never really shown explicitly, is the idea that Tevinter is built on the bones of the ancient elven empire. Tevinter itself, Minrathous itself, all the magic you see, that's just a pale imitation of what the elves are capable of. So you'll start to see as you get deeper into the game, the elves, for example, worked Lyrium into their building materials. Tevinter can't quite figure out how to do that. So instead, you'll see more gold and gems, kind of imitating it, but not ever quite approaching what the elves are able to do, and really creating that continuity of the space. Obviously, Solas isn't too thrilled that this world is the way it is, because he lived in a time of miracles and magic, and even the most magical place in Thedas isn't magic like the elven people used to be able to do" [source]

At the end of the opening portion of the game there is a "jaw-dropping title card cliffhanger" [source]

On the opening sequence: ""One of the things we wanted to do with this game is make the prolog feel like the final mission of a different game," John Epler says. "We really needed to get the stakes, the spectacle, right off the bat. Obviously, players who had been waiting to confront Solas have been waiting for just this moment."" [source]

Each companion has their own storyline that runs parallel to the main story [source]

You cannot succeed without the companions. Each of them has a reason why they need to be part of your party, why they need to help you stop the end of the world [source]

All 7 companions are recruited in the game's first act [source]

The firey demon looking guys shown near the start of the Gameplay Reveal are Rage Demons. Demons in general got a revamp in this game "to more closely align their look", this can be seen with the shades and the Pride demons as well. "they’re creatures of emotion so they have a spectral nervous system look" [source]

The Pride demon the group fight at the Solas face-off in the Gameplay Reveal video "was more a direct tie to Solas than anything else, but it didn't escape us how much it echoed the beginning of DA:I". they wanted to show the stakes and the scale of Solas' power [source]

Characters, companions, romance

Harding was one of the earliest characters that the devs wanted to bring into DA4, because she was such a fan favorite. She is this game's 'traditional returning' character [source]

Each character's romance flavor or style is different. They don't want every character for the romance to feel the same. They want everyone to have their own flavor that's appropriate to them as a character [source] [two]

"We found as we were building a story, more than ever before, it's a story about the people around you; a story about building this team, and working with them." [source]

Each companion has their own storyline that runs parallel to the main story [source]

You cannot succeed without the companions. Each of them has a reason why they need to be part of your party, why they need to help you stop the end of the world [source]

All companions are pansexual (specifically pansexual, not playersexual) [source]

Their pansexuality may come through in what we learn about their backstories [source]

No companion romance is race-locked [source]

Companions reference their past experiences or partners, and they reference who they'll become romantic with. [source]

If you don't romance a character, they may find a different partner for themselves. This could be within the companion roster itself or outside of it in the broader world. [source] For example, if the player does not romance Harding, she may get together with Taash [source]

The game is rated M [source]

The game contains nudity [source]

We can start flirting with the companions pretty early [source]

All 7 companions are recruited in the game's first act [source]

It is not until later parts of the game that you really commit to romance and things get pretty spicy [source]

The nudity, spicy things etc is more towards the end of the game [source]

The devs want the companions to be relatable and fully realized. So things get spicy, but in a more relatable way for people than e.g. some of the more shocking and comical scenes of this nature in Baldur's Gate 3 [source]

How sexually explicit the scenes are varies between characters. Some are more spicy than others. They have diverse personalities like in real life. "Some of them are more physical, more aggressive, and some of them are more... we have a gentleman necromancer [Emmrich], for instance, that is more intimate and sensual." [source] "some characters may be a little more steamy while some characters maybe a little bit more innocent" [source]

The romance and relationship system is more fleshed out than in previous BioWare games. A character's romance will be better woven into their personal story arc and into their involvement in the core questline of the game [source]

"BioWare has also worked to ensure that getting to know your characters as friends feels just as satisfying - and that just because you're not banging your buddy, their (platonic) relationship with you will still continue." ""One of the things we tried to do with The Veilguard is it's not just romantic relationship building," Epler continued. "You need to get to know a person before you can really build that kind of relationship with them, and if you choose not to build a [romantic] relationship, we never want to feel like you're being cut off. There's no 'okay, well, their arc isn't progressing, I'm done'." We want to make sure the non-romantic relationships are deep as well, with friendships not just for companions and yourself, but also between companions across the party."" [source]

GDL reprises his role as Solas [source]

Gameplay, presentation, performance etc

The game has a photo mode [source]

Combat is fast-paced [source]

If you pause the game using the ability wheel you can scan enemies to learn more information about them [source]

Each of the 3 main classes is distinguished by how it generates and spends energy for abilities [source]

Each of the 3 subclasses for each 3 main class promise to offer some meaningful distinctions from each other [source]

for this, rogues have momentum. You build momentum by attacking, by dodging, by parrying, and you lose it by being hit, so there's really a focus with rogues on avoiding damage, avoiding attacks. They build momentum quickly, but they lose it quickly. Warriors have rage, which they build a little bit more slowly, but they don't lose [source]

Attacks can be cancelled [source]

Regarding enemy weaknesses, some of these are elemental. In other cases their defenses are more vulnerable to specific types of abilities [source]

Combat seems to be a matter of managing our abilities as best we can to whittle down enemy defenses and take advantage of their weaknesses [source]

Over the course of the game we get access to three abilities per companion as well as an additional two abilities we can slot, and an additional ability that coms off of items that the devs will not talk about for now [source]

Fully offline single player, no EA account linking, no micro-transactions [source]

The game uses advanced rendering tech in Frostbite, nice subsurface scattering, high quality meshes, while having a striking pseudo-painterly look [source]

There are blood spatters in the game [source]

Production values on the game have gone through the roof. It looks like a big improvement on what came before [source]

On the music: "lots of foreboding tunes mixed with epic flair" [source]

Good voice acting, great facial animations, good hair tech, busy-looking environments and worlds [source]

It's not open world. "There are open areas you can explore around in, but it's mostly structured/mission based, sort of like Mass Effect." [source]

There are difficulty options [source]

They will talk about PC spec stuff at a later time [source]

There is probably an option to see damage numbers [source]

There are many reasons why the game is M-rated [source]

There are lots of abilities, with 3 swapped in on the wheel at any one time [source]

There are a bunch of accessibility options and they will talk about these soon [source]

The ability wheel gives you flexibility to enhance your playstyle. If you don't want to use it at all, you don't have to and that's no issue as shortcuts are available [source]

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[brekkie-e]

Thinking a lot about how the devs basically said there is no conflict in the team or between historically opposed people in Thedas in this game because "the stakes are too high, everyone has to work together." When the stakes are very very similar to Inquisitions?? Albeit we as a player know it's "real" this time. The big one.

But correct me if I'm wrong here (I'm not) the previous antagonist was a blighted OP mage with a knock off Archdemon trying to tear down the veil and ascend to godhood? And we are currently trying to *checks notes* defeat a blighted OP mage with an Archdemon trying to fuck up the veil and ascend to godhood? Oh sorry. Two.

Yes, the Blight. But it's hardly as though there weren't Blight concerns in Inquisition. Adamant, anyone?

Anyways, my point being is that the characters of Inquisition have no reason to see the stakes of that story as any less dire than the characters of Veilgaurd. And bless their hearts, those kids have Issues™️. They're all in on petty conflict. That was part of the genius, that the stakes were so high these deeply different people had to find a way to work together despite butting heads.

And the rest of the world didn't suddenly forget it's drama as well? Halamshiral's underlying elven rebellion. Orlesian civil war. The Mages vs the Templars. Chantry infighting. Seeker infighting. Tranquility. They didn't all go, "wait! there's a hole in the sky! we should put aside hundreds of years of systemic issues in the name of togetherness." Excluding the Inquisition that is.

Okay, Blight. Let's talk about the Blight. The Fifth one. You have the most rag tag group thrown together to stop the spread. This is literally the game that founded the series. Its defining features were political conflict. The king was betrayed! In a battle against Darkspawn! During a Blight! What a time to not stand as a united front, Loghain. In your own party, you're trying desperately to prevent Morrigan from emotionally assasinating Alistair. Oh! More conflict. While we are here, let's murder her mom real quick because *checks notes* Blights are when we all come together to hold hands.

If you play as an elf, you're putting up with human nonsense. If you play as a mage, you put up with mage nonsense. If you play as a woman- oh boy. I would make the argument that the realness of that setting, the way it highlighted human nature's best and worst qualities- is why it sunk it's claws into so many fans hearts.

It just.... whatever they've got going in Veilgaurd on only works for a YA novel. Which Dragon Age has never tried to be before. And, frankly, is a weird thing for it to aim for.

[lizzybeeee]

Personal take: One of the weirdest things Veilguard did, outright baffling, in fact, is how it feels like they reset the status quo of the world to Origins - even further back, if anything.

The game avoids (at all costs) meaningfully delving into exploring what these events/lore reveals mean to the world and characters at large. But the entire time I was thinking: holy shit this is bad.

What happens in game has very, very bad implications for the rest of Thedas and how they're going to look at groups like the Elves and Mages. I'm looking at this from the perspective of someone whose played all three previous games, not from the perspective of datv which really brushes over all moral complexity and sociopolitical issues. Of course, it's just my interpretation but its based off what happened in previous games.

Elves

The Elvish Gods of legend came back, blighted, and ended up wiping out the majority of the South - I find it hard to believe that the elves would not be 'roped in' as being responsible somehow.

Elves could sneeze in a previous game and people would blame them for causing a plague and purge the alienage -> life is shit for an elf and the events of datv would have absolutely made life a thousand times worse.

Would there be purges of alienages? Are there groups like the chavaliers or mobs of humans going about an killing elves because 'It's your Gods. It's your fault.'

Obviously, it isn't. But there are plenty of examples in Thedas' history of people acting rashly/cruelly out of terror and anger - and it's the most vulnerable people, like the Elves and Mages, who are targeted.

The Dalish Elves, what remains of them, would likely be perceived as 'Blight/Old God worshipers' - people would chase them off for the 'crime' of living too close to them in the woods in DAO.

Terrified, angry people would not care if the Dalish said they had nothing to do with what's happening - there would be bloodshed.

If anything improved for the elves from the time of Origins -> Mahariel, Tabris, Lavellan, or Briala...it's likely back to ground one as the best possible outcome, and closer to the Exalted March on the Dales at it's worst.

Mages

Mages could, potentially, have been living a life of unprecedented acceptance if Leliana was Divine -> along come the Evanuris, mages, who are allied with the Venatori who are causing devastation in Orlais and the Free Marches specifically.

Missive - Message from the Front -> The Tide Turns "The Venatori and the Orlesian royal armies clash daily in Orlais. Val Royeaux is now under control of the rebels, and from there the Venatori launch attacks as far east as Kirkwall."

The original magisters (evanuris) wielding the Blight and Old Gods 2.0 x2.

Any templars who remained, who had the old mindset and outlook of how mages should be treated, absolutely would be pointing at the venatori and saying "we warned you what would happen without the Order."

Normal people wouldn't give a shit that it's only a 'few' mages -> their entire home is gone, their families are dead, and the people responsible are wielding magic.

Fear of magic would likely be at an all time high - If the Order doesn't exist people would likely be demanding for them to come back.

The mages - whatever goodwill they earned - are likely being faced with suspicion and terror because this is proof of what magic can do in the hands of power-hungry douchebags.

Maybe they help to fight and people don't get so suspicious of them - who knows! This game doesn't want to address the previous games so it's in limbo.

Spirits

Other people have done great posts about how the spirits were completely tossed aside in this game. Three games worth of humanizing spirits, with Justice and Cole, only to go back on it with Solas reinforcing the Veil and...maintaining the status quo?

He so earnestly discussed with us his perspective on spirits and how they're just as 'real' as those on this side of the Veil - we saw it with Cole firsthand. But I guess they can all chill in the Fade till Solas dies or whatever.

I'd argue that the elves and mages are in an even worse position than they were in Origins. It's just not fulfilling, to me at least, to see the World I got so invested in just regress to the status quo after three games of challenging it. For it to not be meaningfully discussed or spoken about in-game, just brushed aside...I may not have liked the decision to do this but it could have been interesting (at least) if they actually discussed it.

Also, people don't just 'band together' because of the Blight - Origins showed us very well that in times of strife and pressure peoples petty/deeply ingrained beliefs, prejudices, and values come to the forefront. Alistair's comment about “You know, one good thing about the Blight is how it brings people together" -> was him being snarky about how everybody as Ostagar was on the verge of throwing hands with each other. They were united in cause not in belief - the cause being to eradicate the darkspawn.

It's just so grim, and with how they handled sociopolitical issues and moral complexity in datv (not at all) I have no hope that they'll be able to address this at all, if they even bother to and don't just...ignore it, I guess.

Maybe this is what the devs meant when they said that the 'tone' was similar to Origins - just straight up erasing whatever strides was made in the previous games and setting it back to square one lmao

[raymurata]

Just scroll (or go ahead and block my #dav critical tag) if you don't wanna read me whining abt Bellara's Archive choice again, but I'm not done with the salt.

What bugs me isn't that the choice to destroy the archive exists, it's that the game frames it, through its UI (which is the closest thing we have to a nonbiased narrator in this medium), as equally weighted against the opposite choice.

If they had worded it like this:

"Free the archive (the knowledge will be lost)" x "Keep the archive (the knowledge will be kept)"

With no extra commentary, then that would be better. If you got to be openly racist against the Dalish or openly in favor of the Dalish, period. Just like in previous games.

Bellara says "(the archive would help us) get back what made us who we were," and "With it, we could be that again."

Which is funny because... People don't study history to return to the past. It's fine if Bellara is idealistic and saying whatever unrealistic, grandiose dreams she and Cyrian had, but the Dalish would never (could never) become like the ancient elves again. For starters there is a Veil now. So what it would in fact do is help them understand where they come from, what they've been through, and trace the changes in their culture.

Of course our modern historians and scientists have tried to reclaim lost technology, too. They've figured out how the Romans made their extra sturdy concrete, and scientists in Brazil have long been trying to replicate the extra fertile Terra Preta from indigenous peoples that lived in the Amazon basin, and several South American historians would love to know how exactly the Inca used the quipu as a writing system aside from counting tool, etc... And that's super cool!!! And maybe (but that's a big maybe) the Archive could give the Dalish a technological edge to carve a corner of the world for themselves without the constant struggle with Tevinter trying to enslave them or Andrastians trying to subjugate them.

But I personally don't think anyone's reading Aztec accounts of human sacrifices to replicate the same practices in modern cults, or that there is an army out there utilizing Roman decimation as a method of discipline. We're using different horrific methods of control now, lol.

But let's say a modern general does decide that the best way to punish a battalion for one man's insurgence is to force every group of ten soldiers to violently murder the 10th man.... Do you really think that the fault would lie with the historian who unearthed that information and put it on Wikipedia? Or the insane general that decided to do this? Would modern morality and laws allow for that punishment to be executed? Do you think that the existence of that article online is inherently dangerous and controversial, and that it should be taken down? Do you think this general would have been a good and non-violent general if he hadn't ever read about Decimation? Or is it clear to you that violence and ingenuity are both inherent to mortals as a whole and can't be so easily blamed on the spread of knowledge?

Because it's not clear to DAV. The game (not Bellara, not Varric) words it very unambiguously as a dichotomy: The only safe way to deal with this Archive is to destroy it. Keeping it is inherently dangerous because the knowledge could fall in "the wrong hands."

What Bellara says is "Cyrian is gone because of what that thing knew," and "what about the bad side, the other things we did?" and "We stole the dwarves' dreams."

Again, she gets to say whatever she wants because she's a character and she's an anxious, idealistic mess. Love her for it. I like that she feels guilt here too because she has been established (through her way of dealing with Cyrian's first death) as someone who takes the blame for mistakes she didn't even commit (She certainly isn't responsible for Solas' actions). She's someone who drives herself sick cooking up the most horrific scenarios in her mind, and she's so compassionate she can't stand the thought of being the one perpetrating violence against innocents. Her misplaced guilt and dread are the emotions that lead her to consider destroying the Archive.

But no matter how guilty a young german may feel about the holocaust, destroying knowledge about gas chambers is not what will prevent other genocides from happening around the world. Individual guilt is barely productive.

Furthermore, Corinne Bursche says that DAV gives you a choice between "destroying" or "sharing" elven knowledge, which is not how the game worded it. But the point still stands even if the Veil Jumpers, for some condescending plot reason, completely lost control of this knowledge, or were so flippant as to put everything on Thedas' wikipedia without curing it at all.

Let's accept, too, that the Archive contains knowledge of how to build something equivalent to nuclear weapons, which one could argue is in fact truly dangerous, but... Well. Do you think it's fair that the countries that have nuclear arsenals are some of the most vocal about the dangers of other countries ever developing their own?

Because that's what it feels like, to me, when the game calls elven knowledge dangerous without ever allowing you to question -- what about Tevinter rituals and magic? Tevinter's millennium of slavery, still in practice at present day? Should we destroy all their libraries too to keep the world safe from dangerous magics? Why do we only get to tell the Dalish, the nomad nations severely subjugated in present Thedas (If you ever played the previous games and have the context, at least, since this game that happens in Tevinter somehow manages to completely gloss over racism against elves as if it never existed) to destroy a one-of-a-kind, ancient trove of knowledge? And have it be framed as good and safe? As "moving forward"?

If you choose to free the archive, Rook says "The elves deserve the chance to chart their own course" to which Bellara answers "Right. Define ourselves by who we are, not who we were," but once again that writing just makes me question Bioware -- Do they not understand the point of history at all? Do they think indigenous peoples are monoliths stuck in the past if they choose to study the history they lost to colonialism? What purpose do they think that keeping that history and culture extinct serves? Who do they think it benefits?

If you step outside of what the game is telling you as fact and think for yourself, with the context of the other DA games in mind, do you still agree that it's inherently dangerous to keep the Archive? Do you still think these are equally morally weighted choices?

Or would you agree that DAV has to subtly convince you, out of character, that keeping this knowledge is inherently dangerous to make this dichotomy make sense?

Again. This wouldn't bug me if they just owned up to the fact your protagonist can, once again, genocide elves/their culture, just like in previous games. And scapegoat present elves too for the sins of their thousand-years-old tyrants, now suddenly returned (it would make so much sense for characters in the narrative to scapegoat the elves, and for us as heroes to fight against that. But no, they don't even go there except through Bellara's guilt.). It's just bizarre to have an elven historian guiltily agreeing with destroying the Archive and then telling us "The Evanuris broke us and kept us broken" without anyone, either Rook or her, ever mentioning a thousand years of Tevinter slavery and several centuries of Andrastian persecution and subjugation.

No. The Evanuris are the be-all and end-all of evil and everything bad that ever happened in Thedas, ever, can be traced back to them.

[a-d-nox]

astro hypothesis: why i think the astro community is the way it is?

ever notice how a lot of us can't let go of grudges/drama in this community? what about the supposed cyberstalking? the fake accounts? the bullying?

i've come to blame our individual placements instead of our shared synastry. gathered in one place online there is likely an usually high amount of 8h/12h people. its a spiritual community after all - 8h loves taboo things, the occult, the unknown, dark aspects of the self, etc. 12h loves spirituality, hypotheticals, learning about karmic cycles and fate, etc. neither one is a fan of secrets and prefers to look behind the veil. myself included in that - i have 8h sun, moon, and mercury AND 12h uranus.

but 8h people are often obsessive and struggle to let things go if they aren't working with their placement(s). 12h placements are our "hidden enemies" - i realize a lot of us know who is who behind the "fake account" but often we only have another username to connect to the secondary (tertiary, etc) account and no actual real life names. neither can stand not knowing what someone is likely saying about them, so they peak at those who blocked them or who they blocked with another account.

we (humanity) hate not having control - that's why a lot of us are on here in this community to begin with. we seek understanding and making the unconscious conscious. the hunger for control is what drives a lot of people, but often 8h/12h people seek it the most. we seek it because at some point we lacked it (in terms of "trauma responses"). these placements are well known in the community for going through hardships and struggles in life - that's why a lot of us react the way we do. personally, i withdraw. i am someone who struggles to say no. i will shut down and say/do whatever i must just to survive fallout - survive the day or weekend and not get yelled at or bullied. i'm not a fan of sides - i'll pick myself if i must, as imperfect, immature, etc as i can be.

social media gives this illusion that we know each other more than we do. even when it seems like someone here has it more together than another person that doesn't make it true. we have all gone through something - we all have personal stuff going on outside of this community. no one is going to always have a perfect and mature response - it's just not how life is.

no one is perfect; we are all learning as we go. at some point, if we can't forgive and grow together, i have to wonder why we are here to begin with. this community doesn't get bigger it only gets smaller when we are picking sides, blocking each other, etc. do what you have to do to protect your peace, but let's stop perpetuating hatred with anons and multiple accounts. give grace. be kind.

thanks for listening to me ramble.

-a.d.

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[stra-tek]

Random spoilerific reasons to read Star Trek novels, with little to no context:

Ro/Quark is a thing

A Jem'Hadar joins DS9, tries to fit in but eventually snaps and tries to kill everybody

You learn the origins and final fate of the Borg

A thinly-veiled Dr. House clone joins the Voyager crew

Geordi briefly has 2 girlfriends at once (due to different writers not co-ordinating enough, but still)

There's a TOS book that's a musical

There are YA stories about Jake and Nog making mischief on DS9

YA stories about Worf, Geordi, Picard, Beverly, Kirk, Spock and McCoy at SFA

YA series about the Kelvinverse gang (including Gaila!) as cadets, taking on a drug problem at SFA and a very unique Borg scout in San Francisco

We very briefly meet the people who are to Q what the Q are to humanity

Janeway/Chakotay is a thing

Kirk's first mission in command of the Enterprise! Erm, at least twice.

Kirk was married between TOS and TMP

Her name was Lori

In the future, you have yearly marriage contracts that you either update or you don't and I think that's amazing

Trip didn't die! He faked his death to join Section 31 and go undercover as a Romulan

It's not great, tbh

The ENT books get better after the Romulan wars though, it's proper founding of the Federation stuff

We meet Jack Crusher (erm, the OG) when 4 timelines start overlapping and he's a bit unhinged

Teenage Kirk stole a car and his choice was go to jail or join Starfleet

What happened when Voyager got home? Seven broke up with Chakotay like 30 pages in

Kirk gets cloned, and his clone becomes the sub of an evil invincible super genius and its all very gay

George Kirk was Robert April's first officer on the first ever mission of the unnamed starship with the Naval Construction Contract 1701

Robert is a hard-core pacifist and has to turn command over to George whenever it's time to fire weapons

Data becomes fully human for a couple of days and it's really sweet

They never say "wristwatch" or "phone", it's always "wrist chrono" or "personal comm"

There are gays but they don't say that word because it's the 1990's and Rick Berman runs the franchise

Spock has a son in the past with Zarabeth

Everyone in the post-Nemesis era does spy missions all the time non stop, as if Starfleet has abandoned exploring the cosmos for doing Space Mission: Impossible

Bashir does it better than anyone else, he takes on Section 31 from the inside

Remember Control? It's from the novels, except the novels do it SO MUCH BETTER.

Remember how we never found out who Future Guy was? We do.

It's very underwhelming, nobody we know

We find out how the Romulans and Vulcans split

Surak was a Vulcan internet blogger

A Borg Cube eats Pluto

Janeway dies

Janeway gets better

At least one TOS book features a wizard

There's a Star Trek TOS/Here Come the Brides crossover novel

It had cameos from The Doctor (as in, Who), Han Solo, Starbuck and others

Whole book series about Section 31

Whole book series about the Department of Temporal Investigations

One time they do the Bill and Ted thing to escape confinement and it works

Wanna know how Riker and Troi met?

Wanna know what Picard got up to on the Stargazer?

Andorians have 4 sexes and it's very complicated

Data comes back from the dead as Data 2.0, and it was fresh and exciting because it happened long before ST: Picard did it twice.

Lal comes back too and we get father/daughter android stuff! They have a home and everything but keep having to save the universe

One time Mirror Seven is led around on a leash naked on Terok Nor

Geordi becomes captain of the USS Challenger, decides it's not for him because plot, and goes back to engineering on the Enterprise

Kirk is shot on the bridge and dies

Kirk gets better

They watch 3D holos of old Doctor Who episodes in the Enterprise rec room

The Enterprise also has an AI named Moira, which was Zora long before Zora

The TOS crew get together for one last mission. About three times.

There's a Perry Mason book except it's about Kirk's lawyer from that TOS episode

Data 2.0 owns and runs a massive gambling empire on Orion

Spock keeps randomly showing up everywhere in the TNG era

Scotty keeps randomly showing up everywhere in the TNG era

Bones keeps randomly showing up everywhere in the TNG era

You're on Tumblr so you already know about Killing Time

There's a guy named McKenzie Calhoun and he's a total badass and captains a ship of weirdos and misfits

Kirk comes back from the dead, saves the galaxy repeatedly, has an intersex child (who identifies as male) with a Romulan/Klingon hybrid

Kirk beats up Worf

Kirk's child has superpowers

Kirk's child saves the galaxy at age 6

The Kirk stuff is 100% ignored in the other novels

About 50% of the novels are ignored in the other 50%, and the ones that are meant to be in direct continuity with each other aren't always quite

Just like the TV shows and movies, then

Lwaxana Troi meets Q, and it goes as well as you'd expect

Someone tells Data, yes you idiot you had emotions all along and he's like, oh shit you're right

McCoy is left in command of the Enterprise as a joke by Kirk, who is then immediately kidnapped

Ro Laren is captain of Deep Space Nine

Picard/Beverly is a thing, they get married and have a child named Rene. No running away and raising your kid in secret here

Riker and Troi are married, serve on the Titan together with a bunch of adorable weirdos and have a daughter named Tasha

You get to watch all the 24th century characters die horribly in the end along with their entire universe. Holy fuck it's a bleak horror show. Personally, I love it. But if that's not your cup of tea I'd skip the Coda trilogy

[gorbalsvampire]

On Humanity, Tenets and Convictions

The V5 corebook does an appalling job of explaining how these mechanics fit together and what they represent; I don't think even the Players' Guide really hits it in the terms that are needed. I don't want to jack the excellent post by @vixensdungeon but nevertheless, the urge to explain things on Tumblr dot Com, the App and Website, is very strong in me this morning.

Humanity itself is objective. Each notch on the scale has defined, concrete mechanical impact on what the character can and cannot do, and these are consistent no matter what the character thinks or believes or feels, and these are universally applicable, no matter who your character and my character and her character might be. At one end of the scale your character is Literally Unplayable; at the other, they are more human than most humans, certainly than most RPG protagonists, and might as well be unplayable considering the role of the TTRPG as societally unacceptable behaviour simulator (cf. Power Kill, as usual).

Tenets are subjective but shared. They are the ethical rules on which our story operates: the things that we have agreed should provoke a moral crisis in our vampire protagonists. For Humanity loss to occur, you need these cues and triggers, these "thou shalt not" rules, and for that central fact of the game - that unlife isn't life and living it makes you less of a person - to come up in play, they need to be rules your character is going to break.

Without Tenets you have no idea what makes Humanity vulnerable and precious and worth saving; there are not many universal, objective, "doing this always gives you a Stain" rules in V5. You have to do the work here. The game needs you to decide what's horrific in order for its personal and political horror to exist at all. You cannot skip this. You cannot rely on a universal morality that isn't there and isn't shared to dictate Humanity loss. The game needs you to think about these things.

Convictions are subjective, and entirely personal. They are the "but thou must!" imperatives which allow your character (and only your character) to justify breaking the Tenets and retain a grip on their Humanity. They create the opportunity for your character to resolve their moral and ethical qualms in their own favour every so often; to stop the process of play being a nihilistic rush down the Humanity scale. VtM works if you all speedrun down to Humanity 4 and act like the usual "chaotic evil until proven otherwise" TTRPG protagonists but it aspires to make you think and feel things about that and the rules are set up to demand you meet that aspiration.

If you want a vampire game where the state of being a vampire isn't a moral issue, can I recommend Vampire: the Requiem Second Edition? A game with an objective, universal definition of Humanity and the threats to it as "experiences that remind you you are not a human being any more," and the more fundamental that reality check is, the less likely it is a character will retain Humanity when confronted with it? It's extremely tidy and doesn't demand that you establish and interrogate any of your own principles. It's not moral "degeneration," it's experiential "detachment," and that hits very differently.

Also, none of this is to do with Lines and Veils. Tenets are rules you want your characters to break. They are the substance of your morality play. They will come up in play and they will do so often. Lines and Veils are rules about what you as a player do not want to have to experience at the gaming table and they are not supposed to come up/be directly narrated. One of these things is part of a core gameplay function and one is a safety tool. Know the difference.

[ckret2]

Is Zanthar to the other gods similar to if a criminal joined a terrorist's group ? Another super important question is does Bill grow to appreciate Ford's moth collection.

It's iffy. I headcanon Xanthar as a god that brings about the apocalypse*; but like, is causing the apocalypse a crime? It depends on the circumstances.

(*I headcanon that this is why he's "the being whose name must never be said"—mythology, possibly true, from his home world that if you say his name, it will bring about (or hasten) the end of the world. WHICH MEANS THAT when Bill goes "ah what the heck, it's Xanthar!" he's tacitly admitting that yes, Weirdmageddon WILL destroy the world, and yes, he knows it—even if he never directly admits it, even to himself.)

In my worldbuilding, destroying a whole dimension without authorization is about the single most illegal thing someone can do; but like, gods probably destroy dimensions with authorization all the time. Like if it reaches heat death and they have to clear it out.

Plus I don't think Xanthar caused a universal apocalypse, just a global apocalypse. And if burning down a dimension is like nuking a whole country, then in comparison destroying a single planet is, like... setting one park bench on fire. Unless Xanthar's planet was part of some interplanetary government, probably the only people who'd have beef with him for destroying the planet would be any other gods that lived on the same planet.

And even the idea that the other gods on his world would be mad is a maybe. Lots of human mythologies say the world periodically dies then restarts on a pretty regular cycle. If Xanthar did cause the apocalypse, it's possible that was, like, his job.

We only have one piece of canonical lore about Xanthar: in TBOB, Bill describes him as a "Lovecraftian god/getaway vehicle." And the hallmark of a Lovecraftian god isn't "oh it looks so freaky that seeing it will make you go crazy"; rather, it's "when you look upon this god and its indifference, you realize that its goals are not hostile to humanity, but rather completely apathetic to humanity, and humanity is completely irrelevant in the grand scheme of things; and realizing that will make you go crazy."

Which would imply that, if Xanthar's destroying a world or two, it's not out of sadism, but because he's got some kind of legitimate priorities in which mortal concerns are irrelevant.

So there's a high chance that, to whatever gods he associated with, their priorities were similar Lovecraftian, and so him destroying planets was just, like, normal.

So from their perspective it might be less "a criminal joined a terrorist group" and more "that gardener from down the street joined a terrorist group." To the leaves on the hedges he trims, his arrival heralds great calamity; but like to the neighbors he was such a nice guy, what went wrong?

And to your second question:

No, Bill will never grow to appreciate Ford's moth collection. He might could grudgingly come to see it as cute that Ford has it, since that just says so much about what Ford's like as a person, doesn't it? (<- hard to tell whether Bill intends that as veiled insult or if he's being sincere in a way that sounds insulting.) But appreciating the collection itself? God no, most boring thing Bill's ever seen.

[saintsenara]

on ghosts

this question was a postscript to an ask i got about some crack ships:

JK Rowling kind of presents ghosts as pathetic. Is this another indication of her lack of empathy and compassion?

and the answer would have been a bit out of place in a post which was otherwise about whether it's plausible to ship hermione and moaning myrtle... so it's here instead, being my least favourite type of meta, because it requires me to do jkr defending...

the presentation of ghosts in canon - as unhappy, unimpressive, petty, cowardly, annoying, and forever in a state of arrested development - is inextricable from the fact that the harry potter series is for children. there's literally no way to think about them without this being front and centre.

children's literature is inherently didactic - that is, it teaches its readers how to understand and conduct themselves within the world. children's literature therefore has a duty of care towards its audiences that literature written for adults doesn't.

[let me be very clear though that this lack of responsibility only applies to the texts, to the stories themselves. authors writing for adults have plenty of responsibilities to their audience when it comes to their personal conduct around their relationship with fame and with fans. a little topical addendum there...]

above all, when they're coming up with plots and discussing characters' motivations, children's authors need to think about what their audience might be going through in their everyday lives. and they are then obliged to approach these things in their writing in a way which helps their audience make sense of their experiences in a way which supports, encourages, and comforts them.

this doesn't mean that children's literature can't or shouldn't approach hard topics, not in the slightest. but responsible children's literature has to do this in a way that doesn't cause a child reading to incur any additional harm.

and one of humanity's defining childhood milestones is coming to understand what it means when somebody dies.

it was jkr's job to assume that any child reading the series might have recently experienced or face imminently experiencing the death of someone they loved. it was also her job to assume that there were children reading the series who were facing the prospect of dying themselves.

it would have been breathtakingly irresponsible for her to present the act of dying as anything other than natural, neutral [not something which only happens to bad people, for example], unavoidable, and irreversible. it would have been similarly irresponsible for her to present accepting one's own death as anything other than the right choice - a reasonable and rational decision - which is made by people who are brave, clever, curious, loving, and adventurous.

and since her story has ghosts - which is an entirely reasonable worldbuilding decision for someone writing children's fantasy to make - it would have been similarly irresponsible for her to portray those ghosts' relationship with their deaths as anything other than pathetic.

let's imagine, for a second, that sirius had chosen to become a ghost at the end of order of the phoenix. it's not implausible from a watsonian characterisation standpoint, we all know that sirius would have done pretty much anything if it meant not abandoning harry...

but it would have been inexcusable from a doylist one. what would it do to a child who'd just lost their own [god]father to be told that someone who really loved them would have stayed behind?

instead, if we keep the child-reader's welfare in mind, the immediate aftermath of sirius' death is handled really well:

harry explicitly states that sirius would have left the veil if that were possible, and the fact that he doesn't isn't because he doesn't want to, but because he's dead and therefore can't.

harry veers between being distraught, angry, confused, and apathetic. he lashes out. he breaks things. he wants to die. he struggles to find enjoyment in things. he doesn't want to be around other people, except for the times when he does. he doesn't want to talk about sirius. he blames himself for his death.

hagrid acknowledges that sirius didn't want to die, but recognises this doesn't change the fact that he still did.

harry tries to talk to sirius through the mirror and is unable to, because he's dead.

harry asks nearly-headless nick if sirius will come back as a ghost. nick says no, and praises sirius for that decision, saying emphatically that he chose to remain behind because he was a coward, that he regrets his decision, and that those who accept death are happier than those who choose a ghost's half-life.

luna tells harry that grief becomes more manageable as it gets older - even though it doesn't vanish, that it doesn't have to be endured alone, that talking about it with other people is comforting, that the dead are never truly gone [whether the reader wishes to interpret that as meaning the dead are never gone if they're remembered, or as meaning the living and the dead will be reunited in the afterlife], and that it's fine to still take pleasure in things even when you're grieving.

the series also emphasises again and again that not progressing in grief - not learning how to integrate it into everyday life, not growing alongside it, letting it consume you and keep you stuck and stop you enjoying things - is dangerous. which is also a really responsible message for children to receive.

from an adult's perspective, i think it's fine for readers to quibble with the way that the series presents accepting death as obvious and rational. it - like every other example of choice in the series - is presented as an individual one between two binary options - one which is good and correct, one which is bad and wrong - in which broader societal or institutional forces are irrelevant.

for example, voldemort's fear of death, which the series is clear is inextricable from his enormous, corrosive grief over his mother, is presented as something he just decides to do, a wrong, bad, and unsympathetic choice he deliberately makes, rather than a choice influenced by the circumstances of his early life.

this is - unsurprisingly - a genre thing again [children's literature villains have to be the embodiment of evil, they're not supposed to be particularly complex] but jkr does seem to be someone who thinks in this individualistic, binary way about quite a lot of things, gender very much included, and i do think that's worth adult readers bearing in mind.

and so we can certainly decide to examine the decisions made by the series' ghosts through these more nuanced lenses, and to consider the decision not to move on as something which - yes - clearly does have an element of cowardice to it [why else would you accept eternity in a liminal state rather than moving on to something definite?], but which is broader and more messy and more complex and contradictory than canon presents it as.

but we can only do this if we acknowledge that the doylist text did its job properly. the child-reader needed to be left in no doubt that it's good there are no ghosts in their life. and they are.

[seeker-ophelia]

Ophelia’s Review, Part Three: The Lore

Man. Thank you to @senseandaccountability ’s post for sparking this brainwyrm because I was at a loss for words on how to start this post, and I could not put my finger on what was actually bothering me.

Again, let me just say, emotionally, this game wrecked me. I enjoyed it. I (am probably one of the few who) liked the combat. I liked the companions (basic as they are). And I liked the story. I liked the locations. I liked the quests and the loot system and the companion banter. But.

The Lore.

[Part 1:Emotion]   [Part 2:The Dragon Age System]

If you’ve read my Part 2 Review, you know the end of it is actually its own little fic-let on the Veilguard realizing the veil needs to come down.

And I’m just going to straight up copy a paragraph from @SenseAndAccountability ‘s post (I strongly recommend you go read it, its fantastic).

Replaying really emphasizes how incredibly little the game convinces me of its original main quest - to prevent Solas from doing his ritual. This is a problem as a long-term player because for three games we’ve had build up for a great crescendo tackling the overarching themes of the (restrictions and oppression of) magic, of tears in the Veil, of religious tyranny and oppression based on myths about the Black City and the temptations of flawed humans, we’ve seen and deconstructed the elves quite a bit, we got started on the dwarves and in DAI your Inquisitor can openly ask Solas if it wouldn’t be better if the Veil came down because then spirits wouldn’t be separated from the living and risk becoming demons. Cole, whose function is to reflect the plot, talks endlessly about the old songs wanting to be sung again, about how it hurts to be cut off from part of yourself, how the templars feel it, how the mages feel it, how the elves and the dwarves feel it. The Veil as a prerequisite for life has been deconstructed, the Fade demystified, the gods have mostly fallen. The Veil as an actual wound inflicted on this earth has been presented as a theory and not been convincingly rejected by the narrative. 

Let’s recap, just a little bit.

In Origins, we are introduced to the Dragon Age World. Its politics, its magic physics, the races, and its religion. We are introduced to the concept of the Chantry and the Templars and the Circles (*wiggles my eyebrows at you). We learn about demon possession, and about spirits in the fade. And maybe most importantly, we are introduced to the concept of The Blight.

The unstoppable, indiscriminate zombie-plague that sweeps Thedas once a century or so. And maybe more importantly, thanks to the sacrifice of the Grey Wardens, how to stop it.

In 2, the Thedas lore is even subtler. We were introduced to Dalish Gods in Origins, but because of Merrill we get a little more. We start to become curious about the Gods of the race that has been subjugated and enslaved throughout the common Ages. We learn the tense political atmosphere surrounding the Templars and the Mages, and the Chantry’s weakening hold on the politics and structure of Southern Thedas as a whole. We learn about slavery in the north, about the basics of the Qunari, and we have a Terrorist (potentially our lover), hit the religious organization in our city.

In Inquisition, we learn all about the magic. We learn about the fade, about the veil, we learn all about the Elvhen. We pick a side in the Mage/Templar war, we learn about this strange process of Tranquility, the only power templars have to control mages (thanks to Cassandra), and we also learn what that control costs (thanks to Cullen).

And because of Solas, and Cole, we learn about spirits. About how the Veil turns them to demons on their passing into the real world. About how all they want is to stay true to their purpose. They are simple, pure things, and while there are demons, of course, its not all bad in the fade as maybe we might have believed before. After all, Solavellan’s first kiss happens in the fade.

In Descent, we learn about titans, about memories, about songs, about lyrium, about isatunoll.

In Trespasser we learn about why the Titans even matter. Orbs. Power. Greed. The creation of the Veil, and what it really means.

*Insert Kronk Oh-Yeah-Its-All-Coming-Together.gif*

We had 10 years to scheme. 10 years for theories. 10 years to datamine.

So what did we learn in Veilguard?

Well, in the grand scheme of things, nothing.

We have theories confirmed. Which Evanuris hat belongs to who, how the blight was created, how the blight is spread, and how the blight is controlled (kinda-not-really). At least, we learn how the Evanuris are doing it.

What did we learn that was NEW?

We learned about the Morn Watch (but I mean, did we really?) Emmerich has a good relationship with wisps and spirits. We learn about his distinction between a spirit and a soul.

We learned *a little* more about Qunari culture.

We learned it was a blood magic ritual that was holding the veil up, tied to the life force of the Evanuris, now tied to Solas.

We learned about the Evanuris’ Dragon-Thralls and the strong connection between the two, a connection strong enough to get their souls out of Solas’ Fade Jail.

We learned that the Evanuris could not only control The Blight, but had relics to give to others (the Venatori) to control blighted things. We learned their greed for power was so vast, so consuming, they were willing to Blight the world to achieve it.

But we fought an archdemon, in Origins and in Veilguard. We see and know the terror and horror of the Blight.

This makes any action Solas commits understandable, and even necessary. Would we have done anything different? If my leaders were bent on blighting the world, wouldn’t I go to extreme lengths to stop them? Compromising my own morals, dignity, and values to do so?

I think I would.

Having such a terrible evil, having such an indiscriminately bad thing, The Blight, leaves absolutely no room for nuance. No room for complexity. Just good versus bad. Destroy the bad thing at all costs.

So we do. Wham, bam, Evanuris dead.

And the only thing stopping us from tearing down the Veil, is the Blight.

Because Solas tells us that the Blight is in there too.

But, he made a new Prison for the Evanuris, one without a veil, before Rook & Co. interrupted his ritual. Why can’t we move the blight into there and still tear down the Veil?

What is stopping us at this point?

Solas says: Thousands would die

(You’re trapped in your regrets)

This is why you had to use me to escape the prison. It’s made from regrets. And you’re trapped in yours.

You cannot understand -  

Destroying everything won’t erase your mistakes.

You have a chance right now to save the world. Bind yourself to the Veil and stop it from falling.

2. (Do this the right way)

You’re right, you do need to make up for the damage you’ve done, but breaking the world again is the wrong way to do it.

Letting the veil collapse –

Is what YOU want. Making amends isn’t about what YOU want.

You have a chance right now to save the world. Bind yourself to the Veil and stop it from falling.

3. (This won’t help anyone)

Who does this help? A lot of people are going to die… So you can fix something they don’t even see as wrong.

It is not just people, spirits –

Will be destroyed when you do this, too. Won’t they?

You have a chance right now to save the world. Bind yourself to the Veil and stop it from falling.

Listen. I can't believe I'm about to say this, but there's more to Dragon Age than Solavellan.

This, in the end, was an emotional decision. The decision to leave the veil up was tied to emotion, and not logic.

So, what does all this mean?

Well, for players new to the series, nothing. They were always fighting for the Veil to stay up. The opposite of what the antagonist wants, pretty much. Easy enough to follow along.

But for returning players? Lavellans who stood in Fade-Haven? Players who walked Vir Dirthara? Mages who made the Descent, and saw how horrible it was for the dwarves to be sundered from their dreams, and made the horrifying connection that the Veil did the same to them?

Trespasser Solas: You must understand, I awoke in a world where the Veil had blocked most people’s conscious connection to the Fade. It was like walking through a world of Tranquil. (We aren’t even people to you?) Not at first. You showed me that I was wrong… again. That does not make what must come next any easier.

When I learned about the rite of Tranquility in Origins, I was disgusted. The first thing that popped into my head was lobotomization. They are one and the same to me. Turning a person into a husk of what they were. Separating them from their emotions. From hard emotions, yes, from things that are not easy, even painful, but at the cost of themselves.

We walk with Harding through her decision to, although the Titans are angry, and what was taken from her people was great, not reunite Titan and Dwarf because…

Lace: The story of their end is the story of our beginning.

Mythal releases Solas from his journey to reunite Elvhen with the Fade.

Harding releases angry Titans from their quest to reunite with the Dwarvhen.

And so the Veil stays up. The Titans stay sundered.

But… at what cost?

Lest we forget, it was the sundering of the Titans from the Dwarves that CREATED THE BLIGHT. The Titans created the blight as a weapon to infect the Elvhen as punishment for their death, their tranquility.

This Tranquility Ritual, be it in the form of keeping Mages from the fade, be it of Titans or of Elvhen, is WRONG.

I’m a Blue-Collar Journeyman, and we have a turn of phrase we use with old fellers who don’t want to change the way they do things.

Just because you’ve been doing something for a long time, doesn’t mean you’ve been doing it right.

You can do something for years, and still be doing it wrong.

And both Lace and Rook decide that this is the way things have been done, for AGES. We’re not going to change now.

And I’m just… Solas. As John Travolta playing Vincent Vega in Pulp Fiction, confusingly standing there, looking around with my arms out.

Did we learn nothing from the Lessons of Origins? Nothing from the Lessons of Inquisition?

Maintain the Status Quo? That’s the answer?

At what cost?

One of my favourite lines in in my Part 2 Post is this;

Veilguard, is shallow. The essence is there, beneath it's Veil, pressing and bursting at the seams to escape, but is being held back by a gentrification of Thedas.

This decision, the decision to keep the veil up, is shallow. Its basic. Its Easy. It is pre-masticated, lunchable drivel. It was spoon fed to us in easy dialogue and groupthink.

What about every other thing we learned in the other games of Dragon Age?

If Weekes et al. want me to forget about how horrible the Rite of Tranquility is, they’re going to have to come out with a hell of a companion novel between now and DA5, because this makes no sense to me.

I ask you. If sundering Titans created The Blight, what did sundering the Fade create?

Or should I say,

If separating Dwarvhen from their Memories created the Blight (out of Titan anger),

What did separating Elvhen from the Fade create?????

Lets talk about Ser Dave.

If you read my part 2, you’ll know that Ser Dave is my name for the ‘?????’

Not only is it so insulting to my intelligence to call something ‘?????,’ because of course then I’m going to pay more attention to it, but its so lazy. Let it introduce itself to Rook and say “call me the wicked witch of the west,’ ‘a concerned party,’ ‘I am the Batman,’ ‘I am No One,’ ‘I am Daivd Gaider,’ ffs.

An I excited at a new villain? Yes. Am I happy to learn there was a shadow organization pulling the strings behind all of my villains throughout The Dragon Age? Abso-fucking-lutely not. Am I happy Southern Thedas, Treviso, and Minrathous are essentially razed after the rise of the Evanuris? No.

Nothing we did in any of our previous games mattered. Nothing I did mattered. Ser Dave was there the whole time, controlling, balancing, guiding, whispering.

I was doomed to fail from the start.

The moral of the story in Veilguard is to not assume the burden of others actions:

And yet its Ser Dave and the Nazgul Band that assumes responsibility for my villains?

What in the Actual Fuck?

So what is going to happen in 5? I don't know. Will I find true agency? How do we have a villain worse than a God? How do we live in a Tranquil’d world, knowing the alternative? How do you bring back the dark, heavy, realness of Thedas, after the gentrification of Veilguard? After blanding Thedas, making it easier for more palates, needing to feed the EA Machine.

For the record, I have yet to complete my second playthrough. I have yet to find all the codices. I have yet to get all the companion banter. I have yet to play as every race. I have yet to make every decision. And if Inquisition taught me anything, its how one little piece of information can change everything. So, for the record, this whole post could be wrong.

In fact, I hope, and pray, that I am missing a big piece of something in Veilguard. That I just haven’t found it yet. That one little thing that’s going to shift my worldview. And I’m going to play until I find it.

Because these messages Veilguard is sending? They’re too contradictory. Too opposite to be coincidence. Too Different to simply be Bad Writing™. I said that Veilguard is a Tranquilized Version of what DA4 could have been. Inquisition, 2, and Origins, were too deep, for Veilguard to be this shallow.

And… Maybe its copium, but I’m kind of hoping that it was on purpose.

[daitranscripts]

Trespasser Conversation

Cole

Trespasser Masterpost Cole Masterpost

Cole: Hello.

Cole made more human Cole: Being this, being me… it’s harder, but better. I like me. Maryden laughs at things I say.

Cole made more spirit Cole: When this is done, I will slip back safely, a spirit. Someone is hurting. He needs me to remember who he is.

Blackwall freed/made Warden Cole: Rainier. Rainier. Rainier. It still hurts, but you helped make it better. He can mend it now.

??? Cole: “The bone must be broken to set.” She wants a wall to keep the dreams away. Ignorance is a disease. She is the cure.

General

Cole: Sometimes the cow takes your gold.

Cole: It was the same boy. His mother on the ship, his father in their homeland. He grew up lonely, or didn't.

Cole: She killed the girl to save herself. She thinks about the eyes going black. A weapon is an order, not a gift.

Cole: It always had a soul. The question is the answer.

Cole: He died in the darkness so a blue rose could bloom.

Cole: Bare-faced but free, frolicking, fighting, fierce. He wants to give wisdom, not orders.

Cole: They made bodies from the earth, and the earth was afraid. It fought back, but they made it forget.

Cole: He did not want a body, but she asked him to come. He left a scar when he burned her off his face.

Cole: Her name is different now. Victoria. The old name slips away, further each time. She’s glad you’re here.

Cole: He broke the dreams to stop the old dreams from waking. The wolf chews its leg off to escape the trap.

Cole: His friend had to die, because he thought they were people. A slow arrow breaks in the sad wolf’s jaws.

Cole: If you leave and come back, the chest gives you another. That’s how we know too much.

Cole: The guardian spirits stayed, not bound but biding, because he asked. He knows how to speak so spirits listen.

Cole: The spirits have fled, flying, fluttering, fast to the farthest Fade. They’re afraid of the Veil tearing again.

Cole: Your hand hurts. A heartbeat, not yours, hammering the beat of a song in its final verse. I’m sorry.

[sea-lanterns]

Wait, but you know how there's a ton of stories of young women being given as sacrificial offerings to dragons? What if that is how our dragon ladies meet their Reader's?

Like imagine if they have full like beeg dragon forms, and then their human forms, plus mayhaps a third in-between. So Ningguang just enjoys going for walks through the harbor under the guise of a human. And when looking over a relatively new merchant's goods, she meets you, the daughter of this new merchant, bright smile and friendly beautiful besides.

Suddenly Ningguang is taking more walks, visiting this new merchant regularly, just to see you. To have you smile at her, to hear the sound of you laughing at her rather stale attempts at humor. Its not long before her walks are no longer alone, she soon has you chattering away at her side, and any and all on lookers can see how absolutely smitten she is the entire time.

But the time for the sacrifice comes near. Ningguang is unable to take her walks to see you with all the dealing with the humans in charge. They want their perfect sacrifice to guarantee her satisfaction. And not focused enough, Ningguang accidentally describes you perfectly.

Soon you're being delivered to Ningguang, wrapped in delicate silks and small gold chains hanging from your limbs more for decoration then restraint, a light veil drawn over your features. An offering made in the hopes of maintaining the prosperity of the harbor.

Imagine Ningguang's surprise when such an adorable little thing walked into her den. Dressed to be a sacrifice, the humans who brought you have long left, and expect to never see you again. Shaking like a leave, looking so nervous, but when she finally pulls your attention to her golden gaze, she is surprised to see no real fear at all. More so however, to see you of all people standing there as her newest sacrifice.

It's seconds before the woman that you'd grown so fond up stands before you, the same one who you've fostered a massive crush on, but had no idea how to approach. Now holding your face delicately in golden claws, looking at you with glowing serpentine eyes filled with worry. Massive tail swishing behind her, both scared and pleased to see you here.

Soon gold chains are changed for bejeweled jewelry, the revealing silk wrappings now changed for the finest clothing the harbor has to offer.

And the Harbor has never known a greater peace then this. When their guardian dragon walks in all her glory, for all to see, smiling like a love sick fool down at you clinging to her arm.

I am totally in love with this idea :0

Something about the Reader being a sacrificial maiden for the Dragon! Women is just scratching my brain in all the right places. Maybe if we write this with some lore, it could be like…every 12 years on the year of the dragon, the different nations of Teyvat must offer a sacrifice to the Dragon Women so that they could bless their nation with good fortune.

Usually these sacrifices are stuff like jewelry, riches, expensive food, etc. but one year, the sacrifice is a bit different as the nations have offered a bride to the Dragon Women as the sacrifice for this particular year. That bride being you so that you could please the Dragon Women for another 12 years of good fortune 💕

Ahhhhh you guys are gonna make me write a whole Dragon! AU at this point 😅