#veilguard critical perhaps

[bunabi]

I feel like I'm the odd man out but what i was actually most disappointed that Bioware has had every opportunity to bring back Sten as the Arishok but decided to put it in a codex instead. We get Varric for 3/4 games when he really doesn't need to be there but in the middle of all the very relevant Qunari drama you can't give us an Arishok Sten cameo? No? We're supposed to just read in a throw away codex that he got attacked off screen and is now serving with the Ben-Hassrath? Ok, guess I'll sit through tedious Solas monologue 987...thanks Bioware.

I wanted Sten very badly 🥲

Easily-thwarted villains and mindless mobs isn't the note I wanted to end on with the Qunari Invasion. It was one of my biggest disappointments too.

I makes me appreciate the DA2 presentation of the Qunari more. Is it perfect: no. But the Qunari being invaders doesn't detract from them being people with beliefs and thoughts worth investigating. They're 'problematic' but you look around Kirkwall and think damn what faction isn't in (Southern) Thedas. I liked that approach.

We get to know the Arishok's motivations and beliefs. We're introduced to the Tal-Vashoth and speak with one (Maraas). We learn about Seheron and the Fog Warriors through Fenris. We have a whole quest centered around a Saarebas where we learn how mages are treated under the Qun, how non-mages born from a mage-bearing womb are treated even. Ridiculous amount of depth. They didn't have to go that hard.

I finally read the Bioware portion of Blood Sweat And Pixels this morning after many years so I feel exceptionally out of my mind praising the hot hell that was DA2's development. But it really did hit all the right notes for storytelling. I hope it blows the tits clean off of new fans coming in from DAV.

[solasfenheral]

I am just. chewing over and over again the connotations to Taash alternating between ‘mother’ and ‘Tama’

[athenasdragon]

Also as long as I’m just making complaints related to my personal preferences. I’m sad Sandal wasn’t in this game.

[ambrosia-vinca]

Is this a safe place to say that I think they fumbled Illario's design in-game? He's supposed to be dashing and handsome and charming and all that and in the end he's a lot less hot than Lucanis and his outfit is ugly

[bees-bees-fear]

Leliana is voiced by an actual French actress, and is just speaking: wow this sounds so fake

Characters have actual real proportions, instead of hero proportions: wow this looks so weird

Characters converse like people with facets, instead of archetypes: wow this sounds so bad

Writers interact like actual human beings who make art and are inspired by feedback: wow this is so unprofessional

[i-m-not-a-penguin]

I find it incredibly irritating how companions don't even wait a full minute to tell you what to do in a puzzle. Bellara I do not need you to tell me every freaking step of the puzzle for the ritual, thank you. There's is no "Off: options in the settings, right? It's making me hate the companions actually

[wanderingibon]

may not be emo tonight. my rook, dalish born but raised in the city + circle turned crow reconnecting w his dalish roots. the shaky sigh then going 'here goes nothing.' then the spirit thanking them and telling them this. crying in the club tonight

[rosemary-bells]

honestly veilguard was rly good (peak even) and i enjoyed it a lot even w its many issues but like. of all the places to put the final romance scene why there

[acccursed]

after finishing veilguard i can say that im sad that, from what i noticed in my playthrough, the jennies were only referenced in a single equipment piece. i understand that southern thedas was not a big focus, but not letting us transfer over the choice from inquisition about the inquisitor becoming a jenny & putting the inquisitor in shadow dragon attire instead of something more unique, particularly something jenny-esque if they became a jenny, sucks! they put hawke's armour in the game, gave morrigan a new & unique outfit, but didn't bother making the inquisitor's attire more distinct beyond giving them a prosthetic arm? come on.

if i could add any origin faction to veilguard, it would be the red jennies. i just know that they're much more serious & organized than they seem with how they're portrayed & interpreted by characters in inquisition, especially with sera being so dodgy when she's getting needled about the details of the work & structure, & especially with the inquisitor becoming a red jenny in one of the epilogues of inquisition. really hoping that they have a more significant presence & role in veilguard.

[lithosaurus]

Not to vague at anyone but I've been seeing a lot of posts responding to Veilguard criticism that entirely miss the point of those criticisms.

No, my frustration with Rook's characterization isn't that there are limitations to a video games PC. It's that there are scant options to RP in the RPG and fewer options to make choices beyond 'do you want to do this quest y/n?' in a game series which previously bent over backwards to explore the idea of how far is too far for the greater good.

No, my frustration with the way the world seems to have changed is not that the there is a change or even that those changes are underexplained. It's that those changes feel more like reboots that don't want to continue the narrative of the previous games. Sure, the differences in the Crows could be chocked up to a differences in the Houses, or the change in how Circles are described could be because how the Mage-Templar war ended but A) that's never actually addressed or even lamp shaded B) the worldstate removal means that the changes can't be a consequence for past actions because it happened regardless of whatever occurred in the last three games!

No, the number of times the word 'okay' is used doesn't inherently make the game poorly written. The change in the writing voice, anachronist word choices, and flattening of characters into marvel quip speak is just best quantified by word choice.

Perhaps most frustratingly, No, my trans ass isn't somehow scandalized by the mere existence of a nonbinary person. There is plenty of transphobic bs being flung at the game, at Taash, and at the devs but acting like being critical of how Taash is written is exclusively due to transphobia just isn't true and it does boil my blood just a little when I see a post claiming that everyone critical of Taash's character is antitrans.

[ir-abelas-vhenan]

I've been thinking a lot today about how easily people condemn Solas for making the choices he did or for so regularly refusing the help and love his friends or a romanced Lavellan extended to him and how that's a very easy thing to do from behind a screen in a fictional game where you are able to (with very few exceptions) curate a world in which your allies are loyal and your decisions will go the way you'd like them to.

And yeah, it's a game and that's kind of the point, but if I were to look at it a little more deeply (and who am I kidding, I got back on this website exclusively to process the aftermath of Veilguard) I'd say that there's so much to be found in wondering if the protagonists in any of the other games would have fared better in similar conditions.

Apparently I can't stop making long posts, so buckle in.

What would Morrigan have become in a world where the Warden never stumbled upon her cottage with Flemeth, if she never got the chance to see more of the world and decide what she wanted out of it? With just her mother (who, coincidentally in this Solas-y discussion is also kind of Mythal) and no support, who is to say what she would have unleashed upon the Korcari Wilds one day when the confines of her cage became too much?

What about Leliana? She, too, suffered at the hands of a very controlling abuser who tried to convince her that one lifestyle was all that her future held. What do we think she would have become if not for a chance meeting in Lothering with someone who could help her face down the woman that molded her?

Fenris, a character MANY people are just fine with was incredibly ready to kill a mage on sight if need be, no questions asked. Where do we think his story goes if he doesn't have someone in his corner early on enough in the game? If he doesn't get caught by Danarius, he's almost certainly going to end up on a murder spree, and he doesn't even have Justice whispering in his head to do it.

Cullen. Just all of him. It's an absolute miracle he hasn't snapped by the time you encounter him in Inquistion, and even then you get the benefit of intervening at a critical point in his story several times over.

Almost every other character could face this analysis and I think we'd reach a result that suggests perhaps the only thing keeping them lovable is your playable character's investment in their well-being.

Enter Solas. We don't meet him when he's twenty to thirty something and on the precipice of falling down a dark path. He's been there for literal millennia already, and with the exception of one close friend he's been alone. And not even Felassan is enough because of the years Mythal had prior to that friendship to make Solas exactly who she needed him to be.

I've had shit friends before that aren't just good at isolating people, they're naturals. I barely made it through high school with my mental health in place (in fact, looking back, it almost certainly wasn't). When you think you've got a true friend and they need something of you, it's so easy to blindly follow them because you think your love is enough to mark someone's soul as trustworthy. Solas doesn't learn that lesson until it's too late, and even when he does he can't turn back: the spirit that was once Wisdom has been exposed to several of the worst ancient elves to ever exist and now he has to stand his ground rather than let it all fall, because that is what Pride would dictate. Admitting that the person you gave your love and labor and time to is a monster is hard. And he was alone.

Give me Morrigan after centuries with her mother. Show me Leliana after the years have become a blur and the only voice whispering in her ear is Marjolaine's. Show me the innocent mages that don't make it through if all Fenris has for years and years and years are the scars Danaris left him and the means to make more. Show me Cullen if he stays in a chain of command under a Knight Commander who knows exactly what he fears and holds it over his head for so long he forgets what it was like to be an excited kid begging the templars for training because he just wants to keep people safe.

We get companions in these games who are broken by the time they're twenty. Solas has spent thousands of years in servitude to a cause of a woman he believed to be his only friend. He doesn't know who he is without her influence, anymore, only exists physically in the first place because she asked it of him and then asked again and again and again. He doesn't have a witty band of merry fools to pull him out of that cycle. He has Felassan, but he has him during war after war after war in the hopes of freeing others from the very situation that torments him.

Trauma from war affects everyone touched by it, nevermind the fact that Solas is actively responsible for saving the lives of thousands and feels each life like a weight around his neck because maybe he can save them like he cannot save himself. We should always be worried about the people trying to do the most good. Who is looking out for them? Why are they so determined to help others? Could it be that it's something they wish others had done for them?

Solas certainly feels comradery with Felassan from working together to free slaves from the very people he helped put in power because Mythal told him it would be okay only to leave him with the pieces, but even the Solas that Felassan knows has been turned into an attack dog shying away from the touch of the very person it desires to be near above all others by the time their relationship forms.

The fact that Solas is able to try and show the Inquisitor who he is at all is a miracle as far as I'm concerned, a sign of a peaceful spirit of Wisdom who loves knowledge for the sake of it finally sensing that there might be a chance to embrace its nature again.

Yeah, if you give him what he has come to expect from people with power, if you let near-absolute power over the masses corrupt you, he's going to bristle and try to shut your inquisitor down.

But if you show him even the smallest bit of kindness? If you treat him like the starving wolf he talks about and feed him instead of fighting him? God, it shatters his entire existence.

It's called a cycle of abuse for a reason. Finding friendship, finding the love of your long-ass life can be the first step in realizing there's better out there. But the time it takes to learn that? When you're too weary to even reach out for help in the first place and afraid of every kind word or gesture because you've never known such tenderness (on a platonic OR romantic level, both matter so so much) before?

Part of the compelling tragedy of Solas is that it's almost Orpheus-like how he knows what he has been made into and still cannot stop himself from yearning for more, from turning around to see if just this once something has changed. You can't convince me that he hasn't spent years hoping that someone will hear the legend of the Dread Wolf and see it for what it is, a leash the Evanuris created for Mythal's whipping boy to ensure that even if he ever escapes them, the people he fought to save will hate him. And I cannot blame him for the shock and terror that consumes him when he realizes someone finally has.

You give me any of dragon age companions after the amount of time Solas spent under Mythal's thumb without your character's intervention and you tell me how that looks.

You tell me if they're able to change at the first sign of something that feels too good to be true.

And then, I want you to tell me they're any less worthy of trying to save, especially when you know how good their best can be.

Solas might be hard for some fans to love, but it's only because he serves as the perfect representation of the beast we are all capable of becoming when the love that sustains us, assuming we receive any at all, is laced with poison.

The journey out of that place, out of a literal prison of regret, is brutal, and I'm thrilled that even with the many things about Veilguard I'm still struggling with, we have the chance to let Solas try again with the help of those who love him not because he never fell down, but because they believe in the beauty of a future where he gets back up again.

[the-rebel-archivist]

Finally finished Veilguard a few days ago and took some time to process and put my thoughts in order. In brief: 8/10 game as a whole, a really fantastic gaming experience, but 5 or even 4/10 as a dragon age game since it does no meaningful exploration of any nuance or moral complexity and seems to have forgotten what made Thedas distinct. My thoughts, critical and positive, coming from a place of love for the series with little to no spoilers:

Thedas has always been special to me because it was a nuanced world. Different groups had different opinions based on their pasts. City elves and the dalish had divergent histories. Injustice against magic was common, but you could understand the justification for it even when you didn’t agree. Now, the worldbuilding is flattened. A mageocracy is fine, it’s only bad apples. Slavery is never addressed. City and dalish elves are basically the same but one lives in the forest. There’s no conflict about what’s best from each individuals’ perception, all groups are monoliths.

“Elves won’t follow the gods just because they’re elves,” yes they would, in past lore. Perhaps not all but some would - these are their Creators. The game refuses to deal with religious belief in any meaningful way, to the point that I don't know if its impact is fully understood. Dalish religion is as much about cultural preservation as religion and it would be CRUSHING to lose that connection to the past when it had been all you could cling to for thousands of years.

And no, seeking out relics of Arlathan would not make up for the foundation of your society shattering and what that would mean to the dalish. Bellara being guilty that her gods are evil is not the takeaway I expected when I thought the dalish would explore that everything they believed was a lie. I'd also like to briefly comment on how an elf can comment that they weren’t raised dalish but adopted their tattoos. Their closed practice tattoos. Closed even to city elves unless they fully joined a clan. Removing cultural boundaries didn’t make the material less 'problematic', it just created a new blind spot.

“They’d never sanitize the Crows” I said before release. Assassins who walked the line between murderer and hero depending on perspective. But in this game they give you absolute truth: they’re freedom fighters. Responsible government who, the mob is benevolent and that is never subverted. They see themselves as the 'good guys' and so they are.

“They wouldn’t put powerful mages in charge of the shadow dragons” I said. “Surely they will explore the nuance of Neve having the privilege of magic in a mageocracy even when she comes from a lower class beyond ‘everyone is welcome in the shadow dragons’.” “Surely if Maevaris is connected her intersectionality as a magister and altus and trans woman will come up - not what Tevinter expects, helping with change, but still privileged and upper class. Surely low class non mages and slaves would be leading the Shadow Dragons, not the powerful being benevolent.”

But no. All factions in the game are black and white, good and evil, no moral complexity. The bad people want power and collect bad people who want power and only bad people do bad things. The antagonists I liked most were the ones with a motivation beyond simply power and they were few.

And that’s setting aside the fact that all of the mystery and fantasy was removed from the setting by the end. The things that mattered before, the religious conflicts, the approaches to history? All false or meaningless now that we know absolute truth. Everything that set Dragon Age apart from generic fantasy was flattened. All of the lore for the world that I had spent hours, days, years in and creating fanfic for became simple groups of good and bad, subjectivity replaced by objective truth. It’s not a world I want to unravel and explore anymore.

That hurts more than the slap in the face that was every cameo and past reference. If they wanted a soft reboot, why include them at all? Every time I saw or heard about a past character or event I felt hurt and angry and it actively harmed my experience of the game. When the choices are pared down to only do something "meaningful" with them and then that meaningful thing is a codex that had been so disdained in dev comments? I do feel pretty let down. Especially when that codex isn’t even personalized.

They never use Rook or the inquisitor’s first name in text once. Vocal I get, but no codex? The Inquisitor, a person depersonalized into a symbol, signing off “Yrs. The Inquisitor” when we input their name in CC was a twist of the knife I didn’t expect. It’s like every time I lower my expectations to grant grace they need to be lowered yet again.

Similarly, the romances in the “most romantic game yet” are paper thin throughout the game depending on your choice, with few chances to truly connect on an emotional level and have deep conversations in some routes. It’s not all about kissing but having the chance to say how you feel, or try to.

But that’s part of a larger problem, that this is a “found family” but Rook is the outsider in it. Rook isn’t asked how they’re handling things or about who they are or what they want except by Solas. The team needs them to fix problems but has little interest in giving back. The companions are lovely, but I can’t help wishing they were friends with me and not just each other. Or wanted to romance me and not just each other, as they begin to flirt before I can and have more banter comments than the player romance. At least if no one got me I know Davrin got me.

These last comments are the reason it’s 8/10 as a game rather than 10/10 for me - the lore I care about but others won’t. The lack of connection is a genuine issue, along with how unbalanced it is depending on romance. I just feel sad at the lost potential to reflect and gain support from companions.

On a positive note, this is the most fun Dragon Age game I’ve ever played. The gameplay is top notch and combat is so fluid and fun. I felt excited to fight rather than dreading the next battle. Really getting into the roleplay of a slippery rogue

The environments are so gorgeous. Lighting, animation, level design, sound design, all spectacular. I’m bad with maps and yet I never got lost and always managed to find my way around. Secret passages to treasure were just the right length to be satisfying. The puzzles were exactly the right amount of investment for the reward. I never felt frustrated by them but also not disappointed by the simple ones, there was a good balance. I had a lot of fun uncovering them. So many areas looked like a perfect representation of thedosian places I had never been to and wanted to visit.

Every time I was in the necropolis it felt like coming home. Maybe it’s because the lore was the most similar to past lore, maybe it’s just because it was cool, but I loved being there. I loved the wisps most of all. And I loved Emmrich’s journey and sympathetic exploration of death. The Hossberg Wetlands were also a standout area. Absolutely horrible (complimentary). Evka and Antoine my beloveds and the environment storytelling was fantastic. Like a hideous combination of the Fallow Mire and Chateau d’Onterre and I was so there for it. Davrin’s story broke my last flight loving heart.

The set pieces and narrative flow in the major battles and main story missions is really wonderful. I also did enjoy the faction reactivity, even if there were few chances to explore the intersectionality of being a particular lineage with a particular faction. I’ll make our House proud Viago!

It’s such a fun game that when I play I can almost forget all of the things that I dislike until a codex or cameo punches me in the face. It has such great gameplay that I can finally discuss DA with my partner who refused to play the other games in the series. But what a monkey’s paw. I know from their previous work that they can foster nuance. From the art book that their instincts were there from the beginning. But somewhere after multiple reboots they made a world with contradiction and complexity removed, more reactive to fan discourse than to telling a complex narrative.

It kills me because if the nuance and subjectivity and moral complexity had been there, I would have considered this the best Dragon Age game ever made. It will always be the most fun. But it is legitimately more fun for people who don’t know lore than people who do, and that is soul-crushing. It's the most beautiful Thedas has ever been, and the least like Thedas it has ever felt.

I’ve played it once. I already started a replay. I enjoy the game a lot when I am playing it, overall. But I miss Thedas, and I miss that the “world worth saving” that I cared for is a slate wiped clean and this new world is a more simplistic place.

[rooksolas]

An Analysis and Reinterpretaion of Veilguard Solas, as a Man, Broken

I have been through many stages of grief with Solas' character as portrayed in Veilguard. I have bargained, I have argued, and I have finally reached acceptance, through much thought and consideration, by coming to an understanding that the Solas we see in Veilguard is completely different from the one we see at the end of Trespasser: I'd like to analyze Veilguard Solas from a different perspective, and discuss an interpretation of this Solas, as a man who has already given up on his journey, but is bound to continue, fueled by his regrets and pride.

(Please note, I am fully aware this essay is fueled by a fair amount of copium, but I am taking the writing in Veilguard at face value and in good faith. While I have my criticisms with the writing, I have made peace with the story the devs have provided to us with the resources they were given, and I'll be engaging with it accordingly, filling in gaps where I can. Will I be reaching, at times? Yes, but sometimes we need to reach to find closure.)

Truly, many thoughts, and an unbelievable amount of spoilers under the cut:

I'd like to consider, for this reinterpretation, at the end of Trespasser, Solas regrets leaving the Inquisitor, and not allowing himself to stop his path of destruction there, almost immediately. For all the masking he does, putting forward that he has the strength to betray them and destroy the world, once he is alone, he regrets it so deeply it breaks him, fully. HERE is when he actually decides to stop his quest to tear down the Veil- though he cannot admit that to himself, or anyone. He is still too proud to stray from his path, but his mind has already been changed, based on his time in the Inquisition, and his re-connection with the Inquisitor.

Solas continues through the next 10 years, too prideful to stray from his path, but unable to fully commit or put effort into his plans. He gains the respect of the Agents of Fen'harel, but walks away from them. He completes the lyrium dagger, as the Evanuris do need to be moved to a different prison , but he delays and delays and delays the moment of his ritual. He visits the Inquisitor in dreams, mournfully. He eats alone in the Crossroads. He writes the Inquisitor a letter, but cannot even muster the strength to send it.

In previous versions of the game, we can find concept art that depicts Solas manipulating Tevinter and the Qunari into an all-out war so he can perform a blood magic ritual as a last resort. Veilguard Solas is not that Solas. He's simply not willing to go that far for his goal, anymore. He walks forward, each trudging step taking him towards the inevitable end.

He learns that his friend Varric is currently searching for him, and that he's connected with someone named Rook. He learns about this "Rook", but does nothing to stop them from approaching his ritual. No wards to protect him, no traps, save for the demons spilling out. He left a perfect Eluvian path from Minrathous straight to his ritual site in Arlathan.

Perhaps a part of Solas wants to be destroyed, wants a hero to come fell him. Perhaps he feels that is the way out. Not consciously, not fully, but perhaps that's why he leaves himself so open.

When Varric approaches him, Solas does not use his power to turn him to stone. He also does not let him convince him, however- after all, he's already resigned to this fate. He's told the love of his life that even their words cannot stray him from his path, so he does not stop his actions here. He begins his ritual, and the fight with Varric ensues. He kills Varric, his friend, and it feels inevitable: just another murder in the path of blood the Dread Wolf walks. Mythal, Felassan, Varric.

The worst possible thing for Solas to experience in this moment, I would say, would be to be stuck in a place where he is incapable of action, and is forced to face monuments of his past failures with every passing, endless second, without even the escape of sleep to give him respite. Does he see the faces of those he loved? The people he knew, before the Veil was created: the ones he feels he has failed, yet again, by wishing to give up the fight? Does he see Felassan, desperately trying to convince him that the elves of today are people, and deserve a world to live in? Does he slowly come to realize he believes him, now?

As Ghilan'nain and Elgarnan have escaped, however, Solas is forced to change. When he and Rook share the Fade, he does what he is very practiced in doing: he puts on a mask. He becomes the trickster god Rook expects, and is startled by them matching his wit and passion.

He, effectively, Locks In, because he knows what the Evanuris will do to this world. On one hand, there's the element of Solas not wanting people to suffer, even if he's going to destroy their world (as seen in his handling of the Qunari invasion in Trespasser, etc.) But for this reading, I think there is another, unconcious reason for him to help: he expects this world to remain, and does not Want it destroyed. (There's also a secret, third reason: fuck the Evanuris we need to Get those guys) (and FUCK Elgarnan in particular).

So he helps Rook on their journey, all the while planning for a way out of this hell-prison, where he has to face everything he's ever done in every moment Rook is not present. While Solas presents the Varric hallucination as manipulation, and I believe it is, I also interpret it as a half-baked apology on Solas' end. Regret that he took Varric from this world, and from Rook, and letting him live on in this strange, twisted way, for both himself and Rook. Funny that Varric tells Solas that none of his plans work out, and even his plan to recreate Varric fails because of his regret and love for his friend.

So, Solas helps Rook. He guides them through their path, he encourages when necessary, he prods when Rook needs to show commitment. While we don't know how much Solas can see through Rook's eyes, he is at least aware of their party, and watches them grow, along with Rook. Does their connection with their teammates remind him of anyone? Does he see their friendship, their passion to save the world, and is forced to face the question of his commitment to destroying this world one more time?

While Solas does, on occasion, try to let Rook in on his thought process, the idea of joining Solas or completely seeing his point in tearing down the Veil is absent from the game. Again, if we're just interpreting what's in the game, I think that perhaps, Solas does not offer that option or insight to his path because he does not Want to convince Rook. It is possible, in Trespasser, for the Inquisitor to ask to join him, but he denies them. This is a similar denial, though we can interpret his complete absence of this choice as Solas' true unwillingness to tear down the Veil. If this Solas was ruthless? Would he not worm his way into Rook's head, and find a way to pull them closer to his side? But he does not- doesn't even try. Perhaps, yes, because he knows Rook would say no- but also, perhaps, because he does not want to give them that option, for fear he would succeed.

He helps them rescue the Dalish, and faces off against Elgarnan, all while Rook continues on their path, learning more about Solas through the Crossroads. While I won't go into too much detail of the murals, as many people have discussed Solas' past and his relationships, I think Mythal and his relationship to her is very important. I think sometimes, interpretations of her relationship with him are very one-sided, and I think an important aspect of Solas' character is that his choices are his own. He can be manipulated into them, especially when he is younger, but Solas is not capable of viewing those choices as coerced. He is Wisdom, he is Pride, and he believes that everything he does is of his accord: that's why he holds every action as his own regret. He regrets joining the world in physical form, he regrets stealing the Titan's dreams from them, but he lets the burden of guilt fall on him, even if the blame lies jointly with someone else. This is part of his Pride, the part of him that he cannot see is acting god-like, that his actions are worthy and correct because he feels their consequences so deeply. It is of course, not grounded in reality, but he is so deep in his regrets that he cannot see that his burden does not make him any more righteous than any other. That is, of course, until his burden breaks him, collapses on top of him.

All throughout the game, Solas plots to exit the Fade Prison, and succeeds after Rook kills Ghilan'nain. He throws them in his place, and adds that life to his list of regrets once more. But I think it's interesting what Solas does directly after this- he goes to the Shadow Dragons and provides aid. He HAS the lyrium dagger. The world is in chaos! Even with the threat of Elgarnan, I think it's fascinating that Solas does not take the chance to tear down the Veil, then, and instead goes directly to being the Fen'harel we all know and love: helping people harmed by Elgarnan's tyranny. I'll admit this is a bit of a weaker argument: you could fully say that Solas would not tear down the Veil while Elgarnan is still alive (or is physically unable to, due to Elgarnan's life force sustaining the Veil, though he tries the same thing at the beginning of the game), but I find it fascinating.

I also find it fascinating that in Solas' conversation with Rook, he does frame his actions as 'trying to save the world'- not HIS world, no reference to the world pre-Veil, the world he currently finds himself in. Could this be more manipulation tactics on Rook? Yes, and it probably is! But it is fascinating.

He continues to lie to Rook, and goes so far to swears above all else, very emphatically, that the Veil will not come down by his hand. We learn later that he is lying, that this is one more betrayal, but it does make me wonder if, for just a moment, he believed it. Maybe, in that moment, there was a small part of him that exhaled, that accepted that he could finally give up this path, to stop Elgarnan. Perhaps, even in that moment, he considered a world where he was free, even if he knew it was a lie, that Elgarnan's death would bring forth what the Dread Wolf desired anyway.

In the final scene, Rook defeats Elgarnan, and Solas reveals his betrayal. I have watched this sequence so many times, and I am going to mainly be discussing the redeem ending (and of course, the Inquisitor joining him in the Fade).

Solas, at this point, is on the verge of collapse: beaten and broken, and, almost apologetically, reveals his final betrayal to Rook. The way his lines are delivered in this scene are so exhausted, as if he is compelled to do this final, terrible act. As if, despite his regrets, fate has brought him so close to his goal that he cannot bear to stop now. His arguments are weak. He cannot even bring himself to finish justifying his actions. Compared to his detailed explanations he provided the Inquisitor, all Rook gets is "When you see the old world restored…" He can't even bring himself to finish his sentence. He must simply act, because that is what the Dread Wolf has wanted, for so long, and he is finally here, and there is nothing else for him to do.

When Rook freely gives him the Lyrium dagger, and asks him to stop… I truly believe he almost does. He stares at the dagger, holds it gingerly, fiddles with it. Walks towards the steps alone, slowly, thinking. Considering. Weighing his arguments. For a moment, Rook has him. Then, his next line.

"To stop those would dishonor those I have wronged to come this far."

This line solidifies Veilguard Solas for me. It is directly referencing the Inquisitor. This Solas is changed- he is no longer doing this for his people. He understands this world is worth saving, but cannot bring himself to stop. He has lied, and cheated, and betrayed again and again and again. This is the path he chose- to stop now would mean it was useless. Pointless. More regret for him to settle deep within himself. He cannot bring himself to stop, even when he agrees with Rook- because of his pride, and his regret.

But the Inquisitor is there, to staunch his pride. They forgive him, completely and fully. They look at him, and say the time he spent, the people he harmed: they matter. Of course they mattered. But it is not too late to revert to mortality. You do not have to act as a god, any longer. I forgive you as a man. I am here, and I see through your pride, and I forgive you. Let the world forgive you, too.

And this does affect him. This does bring him closer, but it is not enough. His pride has fallen, but his regrets, his endless regrets, will not let him escape. There is simply too much pain in his heart, for the elven people, for what they have lost, and for Mythal, his oldest friend, who betrayed him in turn, who was killed by the Evanuris and killed by him. In this section, she represents everything lost: he is speaking both of literal Mythal, and of the Elven world in general.

When Mythal appears, it breaks him. I'd like to propose a different interpretation to this scene than its face meaning. Mythal is literally his god, his creator, his friend, all of these things, and she is before him, and he weeps. He offers her the Lyrium dagger to kill him, but she stays her hand. Instead, she offers to share the blame with Solas, and releases him from her service. I think there's another element to be discussed here. I don't think it's a literal 'release of service', but, an absolution for Solas' regrets.

Solas has never been part of the Evanuris, or the Forgotten Ones. He has always been a man among gods, and a god among men. Mythal's speech to Solas reads to me as her encouraging Solas to move forward, that what happened in the past is past, and that he is not bound to his sins any more. Mythal, Solas' goddess, who he literally killed, tells Solas that he is released from her service, released from the service of the Elven people, and that he can move forward, without regret. She, a god, forgives him, a man, and tells him he is free.

Immediately, the Inquisitor reinforces this statment:

"There is no fate but the love we share"

The fate that was writ for Solas: the need to tear down the Veil, to make up for all of his regrets, has been broken. "The love we share" can be, literally, the love Solas and Lavellan share, but can also be read as love for the world, that he discovered through his journeys and his experiences with the Inquisitor and Rook. They and he both know that love is real, and is the first step forward to his future.

When he cuts his hand, he almost cannot believe it himself. He turns to the Veil tear, and to those around him, and, so quickly it almost reads as impulsive, he cuts himself. As if he knows: if he does not do it now, he will not have the strength to. As if he is scared that he will fall into his pride and his regrets again. But he succeeds: he cuts himself willingly, he makes his final choice, and he accepts it, finally.

He makes the choice to atone: not bound by his regrets, but for the love for this world, a world he is finally choosing. And when the Inquisitor joins him, he is not too proud to deny them again. He is a man, once again, a man capable of change, of love, and of a new fate.

Veilguard Solas is not Trespasser Solas. While I will always be sad we did not get that version, the regretful but cuthroat, sentimental yet steady Solas that we expected and deserved, I have come to an understanding with Veilguard Solas. I see him as a man that has already resigned to his failure, but is pushed forward by his pride and regret, searching for a way to stop. And I am glad he does, and I am glad that he gets a happy ending. I am glad we have an ending to his story, even if the story is different than what we expected.

[linka-from-captain-planet]

what's killing me is that there's plenty of good and valid criticism about narrative choices and whatnot in Veilguard but it's mixed in with complaints by people who need to heed the sage wisdom of "before i accuse a story of being bad i must ask myself one crucial question first: am i perhaps fucking stupid"

the Minrathous-Treviso decision is especially like a lint trap for dumb ass takes by people who play the game with eyes AND ears closed

[utilitycaster]

anyway this is obviously a wild shift in the topic of conversation, but I was talking about it in the group chat last night as a distraction and would like to continue the distraction if I am being honest, so, with the caveat that this is based off of Fandom Osmosis Observations and a few reads of reviews and I have at this time played neither of these games, some thoughts about BG3 vs. Veilguard and what I've seen. many thanks to @captainofthetidesbreath for actually knowing things about video games and answering my many questions.

also just putting this up front with all said caveats: if you disagree that is great, I am very open that this is an outside observation and I could be very wrong but I am going to block people who get hostile without warning, and make this nonrebloggable if too many people get hostile. You are always permitted to disagree but like, I don't really care about your opinion if you're not someone with whom I have a pre-existing rapport unless idk you're like, actually a BG3 or Veilguard official story writer who happens to be on Tumblr. If you're a player? You have all of your own biases and they are not mine. Save it for someone who wants to get in a fight about this; I am not that person.

Essentially, what I've seen in terms of criticism from Veilguard that isn't just rampant transphobia comes down to the following:

why am I not playing my previous character from Inquisition again

why am I limited to a fairly consistent through line for the story

But first, I'm going to talk about BG3. What's funny is I seem like a much more obvious candidate for playing BG3, as a longtime D&D player who has come around on Forgotten Realms as a setting. However, while I looked at it for a while, I eventually lost interest for a couple of reasons. One is that apparently all the characters are WAY too eager to romance you which is like, a fun fantasy for 10 minutes but would probably annoy me in the long run. Another is that everyone who watched early reviews and kept abreast with the game told me that there was a clear favorite companion (Astarion) and that many of the characters had most of their interesting flaws sanded down (eg: Wyll was apparently much cockier originally; Shadowheart even more petulant; and as these are perhaps the two characters I was most intrigued by, reducing them to something blander destroyed much of the appeal). But perhaps the most interesting one is that as a boring goodie two shoes sort of person, my thought back when I was like "yeah, perhaps I will play this" was "oh, I do not want to have a murderous urge within me."

It became very apparent, through watching people play through and post on my dash, that if you didn't specifically play as the Dark Urge, and didn't specifically resist that urge, the story didn't really cohere. I have to admit, I know the premise of BG3 very well (tadpoles), and I know a lot of shipping trends (put a pin in that), and I know some of the more obvious points within it (Astarion is a vampire, Gale and Karlach both have bombs in their chests somehow, Shadowheart bleaches her hair) but I don't really have a great sense of the ending, and I did not avoid spoilers.

It feels like BG3 is designed for people who have one of those massive spreadsheets of D&D characters they haven't had a chance to play that are meticulously kept and thoroughly realized...and don't really leave room for modifying to fit the campaign you will actually be playing in. It feels like an OC sandbox simulator unless you do actually pick the choice the writers actually wrote for (Durge), and while it's not technically playersexual...it kinda is. I mean, I am a big fan of the trend in video games towards making it possible to romance anyone because it conjures up the idea of a world of high-powered bisexuals running around, which is very enjoyable for me, but the criticism of the Mary Sue archetype originally was never "how dare you fantasize about being cool." It was "wow, the characterizations are all warped beyond recognition solely so that everyone is in love with this character, and that makes for a dull and unsatisfying story." If you're everyone's type, and it's for romance and not just sheer lust, then either everyone around you is boring and wants the same thing, or you are sort of bland and inoffensive, or else the story is bashing characters together without a good basis for a compelling romance. This is also compounded by the fact that the companions can't get together with each other if you're playing your own character and not an Origins character.

None of this is to say it's bad to like BG3 and again, I didn't play it; but it is why I ultimately said "you know, given the effort involved to play it for me, a person without a gaming system, it's not worth it."

Veilguard has specifically intrigued me for going against a lot of this. You have a lot of choices in your character build, but they're all fairly thematically consistent: you did something within your faction that was well-intentioned but upset higher-ups and so you need to step away for a while. This establishes a personality for you! We know why you're part of a faction but also something of a free agent at the moment. We know why you're here and why you might be a good candidate for the current mission.

I'm not going to go into detail for the choices because while I'm not avoiding spoilers I don't want to spoil a relatively new game for others, but a lot of choices are fairly parallel, not in an "illusion of choice" way - they have consequences - but in terms of hitting similar themes. You can only save one city and both are places you have seen and places your companions have connections to; while the exact details may differ you are telling a consistent story.

I also think the fact that the companions can romance each other in your absence is important too! They exist even when you're not there. They are not just here to woo you, and indeed, they might be a better match for each other. I've been informed this is true in Inquisition as well, and I think it's a much more rich world if you, as the player, as the person who can ultimately decide the fates of your companions, aren't the center of their personal life. I also think it prevents the ability to sand down companions to be more agreeable to you as a player if you have to make an NPC/NPC romance compelling (and I will freely admit that, in a move that is not at all like me, I was pretty well sold by a potential in-game NPC/NPC romance, which is usually not the thing that gets me into works of fiction).

I'm not the right person to speak to the Inquisitor not being a significant character because I did not play DA:I, and I get that 'well, this is a new game with a new protagonist, as there has been for every Dragon Age game' is still not necessarily an adequate explanation. Nor is "hey, maybe it's good to attract new players" even though as someone who is highly attracted as a new player that is my opinion. However, I want to go back to the point about Resist Durge being the strongest option in BG3 in terms of story by a long shot. When I was trying to learn more, I said "ok, so just like how you're Tav in BG3 and Rook in Veilguard, you're Lavellan in Inquisition, right?" and was told that you are not - that's just the elvish Inquisitor option. Obviously this is anecdotal, but the fact that one option was far and away the most popular and thematically resonant is an indication that perhaps bringing forth the Inquisitor is carrying over some of the limitations of that game, whatever they may be. The true argument is "they are trying to tell a specific story here, and it is about a different POV than the one you previously had."

And that's really my point. I know I'm not an expert here - in fact I'm usually quite hesitant to write meta about things in which I'm not highly steeped, and very critical of those people who do - but I think an outsider perspective is useful here. The thing that is drawing me to video games is a new way to experience a fictional narrative (the other game I have been meaning to play - and even own on Steam- is Disco Elysium). That's not what everyone wants! But it is what I want. And so I want to be put into a developed, thoughtful narrative, and I don't mind if my choices are restricted in order to support it, and if I am playing a person I did not entirely choose. In tech, there is a saying of "make it easy to make the right choice (and hard to make the wrong one)" and so if you need your protagonist to hit certain beats, you should make that the required protagonist.

I think a story is stronger if your choices matter but if there is something of a foregone conclusion because it gives the writers thematic throughlines. This might sound a little silly given that this blog is largely dedicated to Actual Play but the thing is, most actual play does have, if not a foregone conclusion, at least a strongly intended conclusion of "work towards uncovering this mystery and achieving this goal", though the success of said goal is not guaranteed. I would argue that when a campaign lacks that, it tends to suffer in all aspects. RPG video games almost always have a foregone conclusion, but that's its own liability. In actual play, lacking a forgone conclusion means you spin off in any direction and it's anyone's guess if it's coherent. In an RPG, having this conclusion but not supporting it through the rest of the game will make it feel contrived. I feel a lot of Veilguard criticism is focusing on small contrivances early on that really mostly matter to a highly specific subset of potential players that prevent much larger and less forgiveable contrivances later on.

Anyway. Again, I am an outsider here, and I'm not here to say that it's bad to have a more open-world, sandboxy game with a self-insert-y OC type; but I have to be honest, I'd rather explore that in a true sandbox of fanfiction or original fiction, which is significantly cheaper and in which I can actually tell the entire story I want to tell. I don't want to be given more choices if a lot of them will be profoundly unsatisfying as a narrative. I don't want to cut through the world like a hot knife through butter. I want to be affected by it, and that's very hard to do with a character whose only trait is "self-insert whom everyone wants to fuck" or "guy that already carries the baggage of years of personal headcanons and highly variable choices that are hard to account for for every single person who ever played the previous game."

[sirenthegalaxycollector]

Criticisms of Veilguard

After playing the series for most of my adult life, I can confidently say that this is one of the few games where I could feel how much the leads did not want to be making this game and simply didn't respect or enjoy the world they were working within. I strongly believe that both these things contributed to the lack of understanding of the societal intricacies of the world and the disdain with which they consider their consumers. Its a miss on so many levels, but for me, personally, its the obvious corporate propaganda.

In a time where our real world is experiencing fascist ideals spreading like a wildfire fed by the fear of disrupting the status quo, anything claiming to be art media has a responsibility to try and give people a way to explore their fears. To try and open their perspectives to a different viewpoint, or to model options other than staying the course simply because of fear. This could have been a game about different informal organizations coming together to ease the world through a drastic change, and exploring the consequences of that change. It could have examined Tevinter's relationship with the Evanuris. Could have explored the ways in which they have historically profited off hiding the origins of their magical and technological advancement by building a society that marginalizes the very races who's pasts they plunder for their successes. Could have shown organizations like the Lucerni, supported by unions and guilds, of which the shadow dragons could have been one, working together to reform Tevinter culture over the last decade, setting the stage for them to be better situated to handle a situation like the Veil coming down. Or perhaps making massive gains in the aftermath, because it would be pretty hard for a mageocracy to continue to maintain status quo when magic is more accessible. On the subject of the Shadow Dragons, I strongly dislike that they named this anti-slavery organization that, because its just too close to the hierarchical titles of a certain racist cult in the u.s.a. Snakes Serpents would have been a better choice, there's the alliteration with shadows and, more importantly, it would have been a cool little nod to indigenous American cultures (and maybe others but I am most familiar with the mythologies of the Americas). Not to mention, Fenris should have been in this organization, he is alive in canon and would absolutely help organize slave rebellions. There is no justice when the Veil remains. Mythal and Solas made the Titans tranquil. That is where the Rite of Tranquility must come from, taking the lore from prior games into account. No wonder he disapproves so greatly in DAI when you use that option. With the Veil left standing, we still have the Titan/Dwarven souls trapped in the Fade. There is no way that Harding, the Inquisitor, or Rook would find that an acceptable solution after everything they have learned. I do not think anyone in the Veilguard would consider that acceptable. Yet, Veilguard completely avoids the topic of tranquility, it isn't even in the game's glossary. It is hard to not see that as a way of denying new players full knowledge of the atrocity committed against the Titans so they consider the Veil remaining just. Considering the real world parallels between the dwarves and elves of Thedas, and various ethnic groups of our world, the decision is, at best, poorly considered in its implications. In what world would being offered the chance to reunite these peoples with the soul of their cultures and choosing to keep them divided be considered just or right? Thedas, I guess.

This game had the potential to dig in and explore the biases present not only in the teams working on them, but also our world at large, something they were already primed to do with the set up of the previous games. Instead we got a game that reinforced the status quo, that framed societal change as a mistake, and reparations of any kind as the responsibility of the past, divorced from the people who continue to profit from the atrocities. I do not think that this messaging is coincidental. It is too much aligned with the interests of the corporate class that has eroded our societies so quickly. I don't know if less apathy would have changed the ultimate message. Perhaps the biases of society were too overwhelming to confront in the face of all that is happening around us. Or perhaps decision makers were unable to recognize the biases they held. Whatever the case, the game did not capitalize on the potential offered by the stories that came before it and that is disappointing.