#Deathloop

[eiramew]

HARRIET MORSE // MOODBOARD

[stealingpotatoes]

im still having too much fun on MS paint so here's some MS paint dishonorloop studies

[sigilmint]

You're not the only one with other 'me's, you know.

[aliciadessendre]

Julianna Blake DEATHLOOP (2021) dev. Arkane Studios

[lesbianshadowheart]

where do YOU place on the Arkane daughterhood scale

[barrymccaulkinem]

you could get up to a lot of crazy shit on Blackreef but necrophiles are shit outta luck huh?

[valeriapryanikova]

i recently played deathloop for the first time! ^_^

if you do not wish to exercise your neck here's an upside down version:

[irkedisaac]

need to get back into writing so i can do my one deathloop fanfic. gabe chadjavich and sacha tesfaye you WILL be realized by me in writing one day. bomb squad lovers, split up one day before first day. eternal mourning. i don't usually ship straight but that situation is just too good. and i will never, ever EVER get over the display gabe puts together in sacha's memory.

fuck man.

[pedroam-bang]

Julianna Blake - Deathloop (2021)

[coffeeastronaut]

DEATHLOOP FREE ON EPIC RIGHT NOW

GO GO GO GO GO

[reflectionspace]

Let's talk about this.

“It’s Just a Game” Isn’t a Shield from Critique—Especially in a Series Like Dragon Age

The idea that Veilguard should be immune to political critique because it’s a “video game” is historically inaccurate—and intellectually lazy. The Dragon Age series has always used fantasy to explore sociopolitical dynamics: Chantry control, class divides between mages and templars, Qunari imperialism, elven diaspora, Tevinter slavery, and more. So when Veilguard invites players into a world supposedly about revolution, anti-slavery, and queer identity, it should be expected to have something meaningful to say about power.

And if it doesn’t? That’s a legitimate—and necessary—critique.

More to the point: many games, even those from large publishers, handle sociopolitics more carefully than Veilguard does.

Cyberpunk 2077 gives us a protagonist who becomes a living legend and can kill Adam Smasher—but is still structurally powerless in the face of corpo systems. Even the elites are trapped by the machine.

Cyberpunk 2077 really deserves its own post, because hot damn, it's the Schwartzwald cake of embedded sociopolitics and careful writing with intention, amidst a sea of cupcakes.

No, seriously. Cyberpunk 2077 is so good. Writing-wise, it was good on release - all it really needed was technical polish.

Skyrim, for all its fantasy tropes, embeds debates about religious freedom, colonization, and nationalism—conversations so compelling that people still argue Stormcloaks vs. Empire over a decade later.

The Witcher 3 examines war, poverty, racial violence, pogroms, and political manipulation. Geralt is “neutral,” but the world is not, and the player is always brushing up against the consequences of that.

Dishonored is about restoring monarchy—but it’s also about class, state violence, surveillance, political power, and systemic rot. Even its mechanics reflect power: the more violence you unleash as Corvo, Emily, or Daud, the more chaos the world spirals into. And in Death of the Outsider, Billie Lurk—the least privileged of them all—breaks the system without causing Chaos, because she lacks the same embedded power.

Deathloop continues that thread by parodying elite escapism. The AEON techbros and scientists, ahem, "Visionaries", try to create a sealed world of permanent consequence-free comfort, looping the same day endlessly so they never have to face history. Sound familiar?

In contrast, Veilguard offers a post-apocalyptic world where the party still has book clubs and picnics, coffee beans are miraculously stocked, and revolutionary, world-ending struggles are background noise to the main cast’s personal growth arcs.

And finally, let’s talk about Baldur’s Gate 3.

It’s not even trying to be a political manifesto. Its setting is rooted in high-fantasy adventuring, not grounded political struggle. The actual politics of Faerûn are often laughably simple���good guys, bad cults, ancient gods, mind flayers.

And yet, despite (mostly) sidelining overt sociopolitical commentary in favor of focusing on trauma and cycles of abuse, BG3 still manages to say more about power, identity, and morality than Veilguard does.

Why? Because it invests deeply in character writing, layered interpersonal conflict, and meaningful player choice. Its companions have rich internal contradictions, complex loyalties, and personal histories that don’t always align with tidy messaging. It doesn’t flatten queerness or trauma into checkbox representation. It lets you screw up. It lets people be angry. And where socioplitical questions come up, it shows that the writers have thought about it.

And crucially, it respects the player’s ability to make difficult, morally complicated decisions—including decisions that affect systems, people, and outcomes. Including evil decisions. It doesn't accidentally sprinkle misogyny all over itself. It's not perfect (where's that Gortash kiss Larian, where's more Wyll content), but compared to Veilguard, it's chef's kiss.

Baldur’s Gate 3 succeeds where Veilguard fails not because it’s more radical or politically correct—but because it’s better written. It doesn’t posture. It just tells a story worth engaging with, with intention and awareness.

No one’s saying Veilguard needed to be Disco Elysium—but it positioned itself as a political, inclusive, transformative game, and in doing so, invited political analysis. That’s not “whining,” and it’s not clicktivism. It’s critical literacy. It’s what thoughtful fans do.

[butchsquatch]

Fristrad Rock - Underground Bar

[macbethz]

Yes. Gay sex. Obviously

[fromfarlands]

Harriet "come join my cult" Morse and Aleksis "partyboy" Dorsey

[sigilmint]

Julianna asks Eternalists if they've fulfilled their Colt-Killing Quota, which is 'a million kills' total, or ~2,217/person. Doing that math back should give you the pop. of Blackreef, right? Well, 451 people would give you that lol

[eiramew]

September Illustration : Wenjie Evans