#Project-based learning vs conventional learning

[tapasschool]

The Future of Education: Tapas and the Power of Project-Based Learning

As the world of education evolves, one powerful approach is gaining global momentum — Project-Based Learning (PBL). At Tapas Education, we believe that nurturing curiosity, creativity, and critical thinking in learners is the key to future-ready education. That’s why our core methodology is built around a project-based learning focus, helping children go beyond textbooks to explore real-world problems in meaningful, hands-on ways.

What is Project-Based Learning?

Project-based learning in education is a dynamic teaching method where students gain knowledge and skills by actively investigating and responding to authentic, engaging, and complex questions or challenges. Instead of rote memorization or passive note-taking, learners become problem-solvers, researchers, and collaborators — essential roles in the 21st century.

Project-Based Learning vs Conventional Learning

When comparing project-based learning vs conventional learning, the differences are both fundamental and impactful. Traditional education often relies on textbooks, lectures, and assessments based on factual recall. While this method can build foundational knowledge, it may fall short in fostering deeper understanding or practical application.

In contrast, project-based learning immerses students in active learning processes. It encourages them to ask questions, research independently, collaborate with peers, and present their findings. This approach makes learning exciting, contextual, and memorable. Students don’t just learn what to think — they learn how to think.

Here’s a quick comparison:

AspectConventional LearningProject-Based LearningFocusMemorization and ExamsExploration and CreationLearning StylePassiveActive & ExperientialAssessmentTest-basedProject-based and ReflectiveOutcomeShort-term knowledgeLong-term understanding & skills

Why Tapas Prioritizes a Project-Based Learning Focus

At Tapas, our mission is to cultivate self-driven learners who are prepared for a fast-changing world. Our project-based learning focus equips children with:

Critical Thinking: They learn to analyze problems from multiple perspectives.

Collaboration: Group projects foster teamwork, communication, and empathy.

Creativity: Learners are encouraged to brainstorm and innovate.

Confidence: Presenting their ideas builds public speaking and leadership skills.

We integrate core subjects like math, science, and language into real-world projects so that learning feels relevant and exciting. Our facilitators guide students through inquiry-led exploration, providing support and direction without restricting creativity.

The Future is Project-Based

Education must evolve to meet the needs of a rapidly changing world. With automation, climate change, and globalization redefining careers and life paths, students need more than facts — they need adaptability, resilience, and a deep understanding of how the world works.

That’s why project-based learning in education is not just an alternative — it’s the future. And at Tapas, we’re proud to be pioneering this transformation.

Conclusion

Tapas Education is redefining learning through a strong project-based learning focus, helping students develop into confident, capable, and compassionate citizens. If you’re exploring schools that go beyond conventional learning, Tapas is where your child’s future begins — one project at a time.

[planckstorytime]

Dragon Age: The Veilguard: Strangled by Gentle Hands

*The following contains spoilers*

“You would risk everything you have in the hope that the future is better? What if it isn’t? What if you wake up to find the future you shaped is worse than what was?”

– Solas, Dragon Age: Inquisition (2014)

I. Whatever It Takes

My premium tickets for a local film festival crumpled and dissolved in my pants pocket, unredeemed as they swirled in the washing machine. Throughout that October weekend in 2015, I neglected my celebratory privileges, my social visits to friends, and even my brutal honors literary theory class. All because a golden opportunity stretched before me: a job opening for a writing position at the once-legendary BioWare, with an impending deadline.

The application process wasn’t like anything I’d seen before. Rather than copy+paste a cover letter and quickly swap out a couple of nouns here and there, this opening required me to demonstrate my proficiency in both words and characters – namely, BioWare’s characters. Fanfiction wasn’t normally in my wheelhouse – at the time, I had taken mainly to spinning love sonnets (with a miserable success rate). But I wouldn’t balk at this chance to work on one of my dream franchises – especially since the job prospects for fresh English BAs weren’t exactly promising. So, I got to work crafting a branching narrative based on the company’s most recent title: Dragon Age: Inquisition. Barely two months prior, I saw the conclusion of that cast’s story when the Inquisitor stabbed a knife into a map and swore to hunt her former ally, Solas, to the ends of the earth. Now it was my turn to puppeteer them, to replicate the distinct voice of each party member and account for how they’d react to the scenario I crafted. And if it went well, then maybe I’d be at the tip of the spear on that hunt for Solas. Finishing the writing sprint left me exhausted, but also proud of my work.

The folks at BioWare obviously felt differently, because I received a rejection letter less than a week later. Maybe they found my story trite and my characterization inaccurate, or maybe they just didn’t want to hire a student with no professional experience to his name. Regardless, I was devastated. It wouldn’t be until years later that I learned that, had my application been accepted, I likely would’ve been drafted into working on the studio’s ill-fated looter shooter, Anthem (2019), noteworthy for its crunch and mismanagement. My serendipitous rejection revealed that sometimes the future you strive to build was never meant to match your dreams. What seemed like an opportunity to strike oil actually turned out to be a catastrophic spill.

Still, my passion for the Dragon Age series (as well as Mass Effect) persisted in the face of BioWare’s apparent decline. I maintain that Inquisition is actually one of the studio’s best games, and my favorite in the series, to the point where I even dressed up as Cole for a convention one time. The game came to me at a very sensitive time in my life, and its themes of faith vs falsehood, the co-opting of movements in history, and the instability of power all spoke to me. But I will elaborate more on that at a later date. My point is, I held on to that hope that, in spite of everything, BioWare could eventually deliver a satisfactory resolution to the cliffhanger from their last title. Or perhaps it was less hope and more of a sunk cost fallacy, as an entire decade passed with nary a peep from Dragon Age.

As years wore on, news gradually surfaced about the troubled development of the fourth game. Beginning under the codename “Joplin” in 2015 with much of the same creative staff as its predecessors, this promising version of the game would be scrapped two years later for not being in line with Electronic Arts’s business model (i.e. not being a live-service scam). Thus, it was restarted as “Morrison”. The project cantered along in this borderline unrecognizable state for a few years until they decided to reorient it back into a single-player RPG, piling even more years of development time onto its shaky Jenga tower of production. Indeed, critical pieces were constantly being pulled out from the foundations during this ten year development cycle. Series regulars like producer Mark Darrah and director Mike Laidlaw made their departures, and the project would go on to have several more directors and producers come and go: Matthew Goldman, Christian Dailey, and Mac Walters, to name a few key figures. They eventually landed on John Epler as creative director, Corinne Busche as game director, and Benoit Houle as director of product development. Then came the massive layoffs of dozens of employees, including series-long writer Mary Kirby, whose work still made it into the final version of DA4. Finally, the game received a rebranding just four months before release, going from Dreadwolf (which it had been known as since 2022) to The Veilguard (2024) – a strange title with an even stranger article.

Needless to say, these production snags did not inspire confidence, especially considering BioWare’s been low on goodwill between a string of flops like Anthem and Mass Effect: Andromeda (2017) and, before that, controversial releases like Dragon Age II (2011) and Mass Effect 3 (2012). The tumult impacted The Veilguard’s shape, which scarcely resembles an RPG anymore, let alone a Dragon Age game. The party size is reduced from four to three, companions can no longer be directly controlled, the game has shifted to a focus on action over tactics a la God of War (2018), the number of available abilities has shrunk, and there’s been a noticeable aesthetic shift towards a more cartoonish style. While I was open to the idea of changing up the combat (the series was never incredible on that front), I can’t get over the sensation that these weren’t changes conceived out of genuine inspiration, but rather vestigial traces from the live-service multiplayer iteration. The digital fossil record implies a lot. Aspects like the tier-based gear system, the instanced and segmented missions, the vapid party approval system, the deficit of World State import options, and the fact that rarely does more than the single mandatory companion have anything unique to say on a quest – it all points to an initial design with a very different structure from your typical single-player RPG. The Veilguard resembles a Sonic Drive-In with a mysterious interior dining area – you can tell it was originally conceived as something else.1

That said, the product itself is functional. It contains fewer bugs than any previous game in the franchise, and maybe BioWare’s entire catalog for that matter. I wouldn’t say the combat soars, but it does glide. There’s a momentum and responsiveness to the battle system that makes it satisfying to pull off combos and takedowns against enemies, especially if you’re juggling multiple foes at once. Monotony sets in after about thirty or forty hours, largely due to the fact that you’re restricted to a single class’s moveset on account of the uncontrollable companions. Still, this design choice can encourage replay value, as it does in Mass Effect, and free respec options and generous skill point allocations offset the tedium somewhat.

While the character and creature designs elicit controversy – both for the exaggerated art direction and, in the case of demons and darkspawn, total redesign – the environmental art is nothing short of breathtaking. I worried that this title would look dated because of how long it had been in development and the age of the technology it was built upon. Those fears were swiftly banished when I saw the cityscapes of Minrathous, the cyclopean architecture of the Nevarran Grand Necropolis, or the overgrown ruins of Arlathan. But like everything in The Veilguard, it’s a double-edged sword. The neon-illuminated streets of Docktown, the floating citadel of the Archon’s Palace, and the whirring mechanisms of the elven ruins evoke a more fantastically futuristic setting that feels at odds with all three previous titles (even though all three exhibited a stylistic shift to some extent). It aggravates the feeling of discordance between this rendition of Thedas and the one returning players know.

All of these elements make The Veilguard a fine fantasy action-adventure game – even a good one, I’d say. But as both the culmination of fifteen years of storytelling and as a narrative-based roleplaying game – the two most important facets of its identity – it consistently falls short. Dragon Age began as a series with outdated visuals and often obtuse gameplay, but was borne aloft by its worldbuilding, characterization, and dialogue. Now, that paradigm is completely inverted. The more you compare it to the older entries, the more alien it appears. After all these years of anticipation, how did it end up this way? Was this the only path forward?

Throughout The Veilguard’s final act, characters utter the phrase “Whatever it takes,” multiple times. Some might say too many. I feel like this mantra applied to the development cycle. As more struggles mounted, the team made compromise after compromise to allow the game to exist at all, to give the overarching story some conclusion in the face of pressure from corporate shareholders, AAA market expectations, and impatient fans. Whatever it takes to get this product out the door and into people’s homes.

This resulted in a game that was frankensteined together, assembled out of spare parts and broken dreams. It doesn’t live up to either the comedic heights or dramatic gravity of Inquisition’s “Trespasser” DLC from 2015, despite boasting the same lead writer in Trick Weekes. Amid the disappointment, we’re left with an unfortunate ultimatum: It’s either this or nothing.

I don’t mean that as a way to shield The Veilguard from criticism, or to dismiss legitimate complaints as ungrateful gripes. Rather, I’m weighing the value of a disappointing reality vs an idealized fantasy. The “nothing”, in this sense, was the dream I had for the past decade of what a perfect Dragon Age 4 looked like. With the game finally released, every longtime fan has lost their individualized, imaginary perfection in the face of an authentic, imperfect text. Was the destruction of those fantasies a worthy trade? It doesn’t help that the official artbook showcases a separate reality that could’ve been, with a significant portion dedicated to the original concepts for Joplin that are, personally, a lot closer to my ideal vision. I think it would’ve done wonders to ground the game as more Dragon Age-y had they stuck with bringing back legacy characters, such as Cole, Calpernia, Imshael, and the qunari-formerly-known as Sten.

I don’t necessarily hate The Veilguard (I might actually prefer it to Dragon Age II), but I can’t help but notice a pattern in its many problems – a pattern that stems from a lack of faith in the audience and a smothering commitment to safety over boldness. As I examine its narrative and roleplaying nuances, I wish to avoid comparing it to groundbreaking RPGs such as Baldur’s Gate 3 (2023) or even Dragon Age: Origins (2009), as the series has long been diverging from that type of old-school CRPG. Rather, except when absolutely necessary, I will only qualitatively compare it to Inquisition, its closest relative.

And nowhere does it come up shorter to Inquisition than in the agency (or lack thereof) bestowed to the player to influence their character and World State.

II. Damnatio Memoriae

No, that’s not the name of an Antivan Crow (though I wouldn’t blame you for thinking so, since we have a character named “Lucanis Dellamorte”). It’s a Latin phrase meaning “condemnation of memory”, applied to a reviled person by destroying records of their existence and defacing objects of their legacy. In this case, it refers to the player. When it comes to their influence over the world and their in-game avatar, The Veilguard deigns to limit or outright eliminate it.

Save transfers that allow for the transmission of World States (the carrying over of choices from the previous games) have been a staple of the Dragon Age and Mass Effect franchises. Even when their consequences are slight, the psychological effect that this personalization has on players is profound, and one of many reasons why fans grow so attached to the characters and world. At its core, it’s an illusion, but one that’s of similar importance to the illusion that an arbitrary collection of 1s and 0s can create an entire digital world. Player co-authorship guarantees a level of emotional investment that eclipses pre-built backgrounds.

However, The Veilguard limits the scope to just three choices, a dramatic decrease from the former standard. All import options come from Inquisition, with two just from the “Trespasser” expansion. One variable potentially impacts the ending, while the other two, in most cases, add one or two lines of dialogue and a single codex entry. Inquisition, by contrast, imported a bevy of choices from both previous games. Some of them had major consequences to quests such as “Here Lies the Abyss” and “The Final Piece”, both of which incorporated data from two games prior. The Veilguard is decidedly less ambitious. Conspicuously absent options include: whether Morrigan has a child or not, the fate of Hawke, the status of the Hero of Fereldan, the current monarchs of Fereldan and Orlais, the current Divine of the southern Chantry, and the individual outcomes of more than two dozen beloved party members across the series. Consequently, the fourth installment awkwardly writes around these subjects – Varric avoids mentioning his best friend, Hawke, as does Isabela ignore her potential lover. Fereldan, Orlais, and the Chantry are headed by Nobody in Particular. Morrigan, a prominent figure in the latest game, makes no mention of her potential son or even her former traveling companions. And the absence of many previous heroes, even ones with personal stakes in the story, feels palpably unnatural. I suspect this flattening of World States into a uniform mold served, in addition to cutting costs, to create parity between multiple cooperative players during the initial live-service version of Morrison. Again, the compromises of the troubled production become apparent, except this time, they’re taking a bite out of the core narrative.

Moreover, the game’s unwillingness to acknowledge quantum character states means that it’s obliged to omit several important cast members. At this point, I would’ve rather had them establish an official canon for the series rather than leaving everything as nebulous and undefined as possible. That way at least the world would’ve felt more alive, and we could’ve gotten more action out of relevant figures like Cassandra, Alistair, Fenris, Merrill, Cole, and Iron Bull. Not to mention that The Veilguard’s half-measure of respectful non-intereference in past World States ultimately fails. Certain conversations unintentionally canonize specific events, including references to Thom Rainier and Sera, both of whom could go unrecruited in Inquisition, as well as Morrigan’s transformation into a dragon in the battle with Corypheus in that game’s finale. But whatever personal history the player had with them doesn’t matter. The entire Dragon Age setting now drifts in a sea of ambiguity, its history obfuscated. It feels as gray and purgatorial as Solas’s prison for the gods.

Beyond obscuring the past, The Veilguard restrains the player’s agency over the present. When publications first announced that the game would allow audiences to roleplay transgender identities and have that acknowledged by the party, I grew very excited – both at the encouraging representation, and at the depth of roleplaying mechanics that such an inclusion suggested. Unfortunately, The Veilguard offers little in roleplaying beyond this. The player character, Rook, always manifests as an altruistic, determined, friendly hero, no matter what the player chooses (if they’re offered choices at all). The selections of gender identity and romantic partner constitute the totality of how Rook defines themselves, post-character creation – exceptions that prove the rule of vacancy. Everything else is set in stone. The options presented are good, and should remain as standard, but in the absence of other substantive roleplaying experiences, their inclusion starts to feel frustratingly disingenuous and hollow, as if they were the only aspects the developers were willing to implement, and only out of obligation to meet the bare minimum for player agency. In my opinion, it sours the feature and exudes a miasma of cynicism.

Actual decisions that impact the plot are few and far between, but at least we have plenty of dialogue trees. In this type of game, dialogue options might usually lead to diverging paths that eventually converge to progress the plot. You might be choosing between three different flavors of saying “yes”, but as with the World States, that illusion of agency is imperative for the roleplaying experience. The Veilguard doesn’t even give you the three flavors – the encouraging, humorous, and stern dialogue options are frequently interchangeable, and rarely does it ever feel like the player is allowed to influence Rook’s reactions. Relationships with companions feel predetermined, as the approval system has no bearing on your interactions anymore. There are so few moments for you to ask your companions questions and dig in deep compared to Inquisition. Combined together, these issues make me question why we even have dialogue with our party at all. Rook adopts the same parental affect with each grown adult under their command, and it feels like every conversation ends the same way irrespective of the player’s input. With the exception of the flirting opportunities, they might as well be non-interactive cutscenes.

Rook’s weak characterization drags the game down significantly. With such limited authorship afforded to the player, it’s difficult to regard them as anything more than their eponymous chess piece – a straightfoward tool, locked on a grid, and moving flatly along the surface as directed.

III. Dull in Docktown

On paper, a plot summary of The Veilguard sounds somewhere between serviceable and phenomenal: Rook and Varric track down Solas to stop him from tearing down the Veil and destroying the world. In the process, they accidentally unleash Elgar’nan and Ghilan’nain, two of the wicked Evanuris who once ruled over the elven people millenia ago. With Solas advising them from an astral prison, Rook gathers a party together to defeat the risen gods, along with their servants and sycophants. Over the course of the adventure, they uncover dark truths about the origins of the elves, the mysterious Titans, and the malevolent Blight that’s served as an overarching antagonistic force. Eventually, Rook and friends join forces with Morrigan and the Inquisitor, rally armies to face off with their foes, and slay both the gods and their Archdemon thralls before they can conjure the full terror of the Blight. As Solas once again betrays the group, Rook and company have to put a decisive stop to his plans, which could potentially involve finally showing him the error of his ways.

The bones of The Veilguard’s story are sturdier than a calcium golem. Problems arise when you look at the actual writing, dialogue, and characterization – the flesh, blood, and organs of the work.

I’ve seen others chide the writing as overly quippy, but that better describes previous titles. Rather, I think The Veilguard’s dialogue is excessively utilitarian and preliminary, like a first draft awaiting refinement. Characters describe precisely what’s happening on screen as it’s happening, dryly exposit upon present circumstances, and repeat the same information ad nauseum. This infuriating repetition does little to reveal hidden components of their personalities, or their unique responses to situations. You won’t hear anything like Cole’s cerebral magnetic poetry or Vivienne’s dismissive arrogance. Many exchanges could’ve been uttered by Nobody in Particular, as it’s just dry recitation after recitation. It almost feels like watching an English second language instructional video, or a demonstration on workplace safety precautions. Clarity and coherence come at the cost of characterization and charisma.

Words alone fail to make them interesting. Most companions lack the subtlety and depth I had come to expect from the franchise, with many conversations amounting to them just plainly stating how they’re feeling. Most rap sessions sound like they’re happening in a therapist’s office with how gentle, open, and uncomplicated they feel. Compare this to Inquisition, where every character has a distinct voice (I should know, I had to try to copy them for that stupid application), as well as their own personal demons that it betrays: Sera’s internalized racism, hints of Blackwall’s stolen valor, Iron Bull’s espionage masked by bluster, or Solas’s lingering guilt and yearning for a bygone age. These aspects of their characters aren’t front and center, but things the audience can delve into that gives every moment with them more texture. The Veilguard’s companions lay out all their baggage carefullly and respectfully upfront, whether it’s Taash’s multiculturalism and gender identity issues or Neve’s brooding cynicism towards Tevinter’s underbelly. You’ve plumbed the depths of their personas within the first few minutes of meeting most of them.

Small exceptions exist. Professor Emmerich Volkarin stands out from the rest of the cast as a particularly inspired character: a charming, Vincent Price-like necromancer. His attachment to tombs and necromancy as a way to cope with his crippling fear of death makes for curiously compelling melodrama. The way in which he ultimately has to face his fear – either by foregoing his opportunity for immortality to save his beloved skeletal ward, Manfred, or by allowing his friend to pass on so that he can transcend into a new type existence – rises above the other binary choices in the game by being both narratively interesting and legitimately difficult to judge. Still, I feel Emmerich’s whole “lawful good gentleman necromancer” conceit, while a unique and clever subversion of tropes, would’ve worked better if it actually contrasted with anyone else in the party. Instead, the whole crew is full of unproblematic do-gooders who are forbidden by the game to nurture any meaningful interpersonal conflict. While I’d appreciate this lack of toxicity in my real-life relationships, fictional chemistry demands more reactive ingredients.

The Veilguard’s developers frequently positioned the game as “cozy” and about a “found family”, but I can guarantee you that there’s more tension at my Thanksgiving dinners than there is anywhere in this title. This family would get along swimmingly even during a presidential election. The thing about the “found family” trope is that it’s more satisfying when it’s earned. Here, it represents the default state, the starting point, and the status quo that they will always return to. Any minor squabbles (Harding wanting to sleep in the dirt, Emmerich taking too many books on a camping trip, Taash not liking necromancy) are introduced and squashed within the same scene. They all feel so extraneous. There’s so little friction among the companions here that you’d think it disproves Newton’s Third Law. The previous games never struggled in this regard, which makes the choices here all the more baffling.

Beyond the intra-party dynamics, characters lack grit or darkness to them – even when the narrative absolutely calls for it. Remember how I described the necromancer as lawful good (to use traditional Dungeons and Dragons alignments)? Yeah, that’s every character. Even the demonic assassin. Lucanis is a notorious hitman possessed by a demon of Spite, and possibly the weakest character of the game. This may or may not be due to the fact that his writer, Mary Kirby, was laid off mid-development. Regardless, he has noticeably less content than the other party members and generally feels unfinished. The demonic possession storyline goes nowhere; he doesn’t exorcise Spite, nor does he learn more about it or how to live with it. Instead, Spite is just an excuse to give Lucanis cool spectral wings (which he will use to fail several assassination attempts). The demon itself mostly just comes across as rude rather than threatening. The biggest issue, however, stems from the absence of any edge to Lucanis. When confronting his traitorous cousin, Ilario – the man who sold out Lucanis’s family to an enemy faction, kidnapped his grandmother, and made multiple attempts on his life – our grizzled, hardened assassin, pushed to the brink, demands… due process. Seriously, if your choices have led Lucanis to have a hardened heart, his method for dealing with the grievous traitor is sending him to jail. That’s The Veilguard’s idea of vindictive brutality among a clan of unforgiving murderers-for-hire. By contrast, Inquisition features Sera insubordinately murdering a stuck-up nobleman for talking too much. I believe that if modern BioWare had written The Godfather (1972), it would’ve ended with Michael Corleone recommending his brother-in-law to attend confession and seek a marriage counselor.

The writers seem intent on making the cast wholly unproblematic, with no way that the audience could ever question their morality or taste the delicious nuance of seeing someone you like do something bad. Measures were taken to child-proof every aspect of the good guys so that they couldn’t possibly be construed as anything else – even if it constricts them to the point of numbness and eventual atrophy.

To make things as palatable and accessible as possible, the language itself was dumbed down. Characters make frequent use of neologisms and bark phrases like “Suit up,” or “These guys go hard.” It emulates popular blockbuster superhero stuff rather than staying true to the diction the series traditionally employed. It’s all about the team, and the entire Dragon Age world has been stripped down into simplistic conflicts and recognizable stock characters.

This is why The Veilguard’s story largely fails. Despite being ostensibly being about the characters, they come off as an afterthought. Most of the time, only the sole requisite follower has anything to say on a given mission. Even in combat, their wholeness as fully-implemented party members falls short of expectations. Their damage output pales in comparison to the Rook’s, they have no health and cannot be downed in battle, and they mainly exist to give the player three extra ability slots. That’s the game’s true ethos for the companions, whether in combat or dialogue – utility, tools to make things happen rather than elegantly crafted identities. We end up with the largest amount of content per companion among any game in the franchise, only to have the weakest roster.

I know these writers can do better, because I’ve seen them do better. Trick Weekes wrote Iron Bull, Cole, and Solas in Inquisition, as well as Mordin Solus and Tali’Zorah in Mass Effect 2 (2010) and Mass Effect 3. Mary Kirby wrote Varric throughout the series, as well as Sten and Loghain in Origins. Plenty of other experienced writers, such as Sylvia Feketekuty and John Dombrow also contributed, so I can’t put any of the blame on a lack of skill. I don’t know if the mistake was trying to appeal to a wider audience, or if the constant reorientations of the DA4 project drained the crew’s passion and left them lacking in time to polish things.

I personally suspect that the writers had to rush out a script for all of the voiced dialogue. A video from August of 2020 showed off the voice actors for Davrin and Bellara, more than four years before the final game’s release. I think the codex entries, letters, and missives that you find throughout the game, which consist of only text, are much better written than the dialogue. My theory is that the writers had more time to revise and spruce up these tidbits, where edits were minimally invasive, as far as production is concerned. But my knowledge is limited; after all, BioWare rejected my application almost a decade ago.

Still, there are aspects of The Veilguard’s plot that I enjoy. The lore reveals were particularly satisfying2, and many felt rewarding after a decade of speculation. I called that elves were originally spirits, as well as the connection between the Archdemons and the Evanuris, but I wouldn’t have guessed that the Blight formed out of the smoldering rage of the Titans’ severed dreams. I’d concisely describe The Veilguard’s story as the opposite of Mass Effect 3: Whereas ME3 did excellent character work, the characterization in The Veilguard leaves much to be desired. Whereas ME3’s tone was overwhelmingly grim, The Veilguard feels inappropriately positive. Whereas ME3’s lore reveals ruined much about the series’s mystique, The Veilguard’s helped tie the setting’s history together. And whereas ME3 fumbled the ending about as much as it possibly could, The Veilguard actually coalesces into a spectacular third act.

While I think the twist with Varric’s death is weak (outright pitiful compared to the Dread Wolf twist of Inquisition), the actual events that make up the finale carry a momentum and urgency that the rest of the game severely lacked. Everything from the sacrifice and kidnapping of Rook’s companions to the slaying of Ghilan’nain to the awe-inspiring battle between the Dread Wolf and Archdemon Lusacan – the whole affair takes the best parts of Mass Effect 2’s Suicide Mission and elevates it to the scale of an apocalyptic series finale. Ultimately, Solas takes center stage as the final antagonist, and the drama crescendos to a height the rest of the game desperately needed. He remains the most interesting character in the game and perhaps the franchise, and thankfully, the resolution to his story did not disappoint me (though I would’ve preferred the option for a boss battle against his Dread Wolf form if the player’s negotiations broke down). So in that sense, I think the worst possible scenario was avoided.

But is that really worth celebrating? Averting complete disaster? Exceeding the lowest standards? In many regards, The Veilguard still could have been – should have been – more.

IV. A World of Tranquil

In my essay on Final Fantasy VII: Rebirth (2024), I briefly discussed a trend in media to sand off the edges so as not to upset the audience in any way. The encroachment of this media sanitization seems to be an over-correction to the brimming grimness of late 2000s and early 2010s fiction (to which the first two Dragon Age titles belong), which earned comparable levels of criticism. Like Solas, I occasionally feel trapped in a cycle of regret, where it feels like our previous yearning for less aggressive, mean-spirited content led to a media landscape that prioritized patronizingly positive art. Now it’s clear to me that, in order to have a point, you need to have an edge.

Dragon Age historically drew a very progressive audience, and many of them congregated around Tumblr in that website’s heyday. Tumblr has garnered something of a reputation for overzealous discourse and sensitivity among its userbase, and I think that the developers of The Veilguard, in an attempt to cater to one of their core audiences, may have misunderstood both that passion and the fundamental appeal of their products. They became so concerned about optics, about avoiding politically charged criticism, that they kneecapped their world-building, rendering it as inoffensive and sterile as possible. It’s not so much “PC culture” as it is “PG culture.”

To that end, the various governments, factions, and societies of Thedas lost their edge. Dragon Age previously presented itself as anti-authoritarian by showcasing the rampant abuses of power across all cultures. Whether it was the incarceration of mages under the Chantry, the slavery practiced by the Tevinter Imperium, the expansionist anti-individualism of the Qun, the restrictive dwarven caste system, or the rampant racism against elves, social strife abounded in this world. I think that’s one thing that drew so many marginalized fans to the series. But the correlation of fictional atrocities with those of real life frequently prompted volatile discourse, with many concerned about how allegedly allegorized groups were being represented. You began to see countless essays pop up by folks who use the phrase “blood quantum” more than any healthy person should for a setting about wizards. BioWare responded to this by making Thedosian society wholly pleasant and the people in power responsible and cool and the disparate cultures tolerant and cooperative. If nothing’s portrayed negatively (outside of the cartoonishly evil gods), nobody can take offense, right?

For starters, the Antivan Crows have gone from an amoral group of assassins to basically Batman. These figures, which previously purchased children off slave markets to train them into killers, are now the “true rulers” of Antiva, by which the official government derives its authority. The Crows in The Veilguard stand against the insurgent qunari army as heroes of the common folk. They’re not an unscrupulous faction that Rook is reluctantly forced to ally with for the greater good; no, the Crows are simply good guys now. When the pompous governor of Treviso rails against them, with such audacious claims as “assassins and thugs should not represent the citizenry,” we’re meant to laugh at the governor’s foolishness. The unintentional implication this sends is that lethal vigilantism and unchecked power are cool because the people who use it are cool and stylish. The slave trade goes unacknoweldged; Antivan children want to grow up to be assassins now. The Crows never do anything wrong in The Veilguard – the governor is later revealed to be cooperating with the invaders for their own power. BioWare avoids the unpleasantness inherent in the Crows’ concept by pretending it never existed.

Perhaps more ridiculous is the Lords of Fortune, a new faction of pirates and treasure hunters based out of Rivain. Except they don’t really do piracy or treasure hunting. The game goes to lengths to ensure that the audience knows that the Lords don’t steal important cultural artifacts from any of the tombs and ruins they raid. What do they steal, then? There is no such thing as an ethical treasure hunter – plundering indigenous sites for souvenirs is inherently problematic – but the writers wanted to reap the appeal of adventurous swashbucklers without any of the baggage, regardless of whether it makes sense or not3. It comes across as a child’s idea of a pirate: they’re not thinking about the murder and looting, just the funny men with eye-patches who say “ARRR!” The developers want us to like the Lords of Fortune, and to that end, they can’t do anything culturally insensitive – even fictional disrespect toward a made-up culture. This is doubly amusing because the Lords are represented by Isabela from Dragon Age II. The same Isabela that kicked off a war with the qunari by stealing their holy book, the Tome of Koslun. This irony goes unacknowledged by the game.4

When these rogue buccaneers aren’t busy giving land acknowledgments to displaced Dalish elves or whatever, they’re enjoying their nonviolent coliseum. Pirates revel in bloodsport, but only so long as no actual blood is spilled. The Lords refuse to fight prisoners or animals in their arena, as they find such acts too cruel. I guess they’re all big Peter Singer readers. Instead, they summon spirits to adopt the visages of common enemies so that the player can kill them with a clean conscience. It’s another example of wanting to have your cake and eat it too – they wanted to create a glory hunter/gladiator faction, but couldn’t stand the underlying implications of such. So they twisted and bent them to fit into their unproblematic paradigm, leaving the Lords flavorless and lame. They barely even contribute to the main story, and they’re practically the only look we get into Rivaini society (which remains criminally underdeveloped).

More tragic is the handling of the qunari, once one of the most unique and nuanced civilizations in the Dragon Age setting. The Qun, as portrayed in the first three installments, is a society that demands all of its composite parts work in harmony. Thus, they have predetermined vocations for their children, rigid gender roles, strict codes of conduct, and an ambition to “enlighten” the rest of the world. While the Qun has often been presented as antagonistic toward the heroes, the series has commonly balanced its portrayal by showing how seductive its absolutism can be for people without hope. In some cases, life under the Qun is preferable, as is the case with former Tevinter slaves. Conformity becomes comfort when the world is regularly threatening to split apart.

The Veilguard opts for a different approach. See, Rook’s not fighting members of the Qun in this game – they’re fighting the Antaam, the former qunari military. The Veilguard constantly reiterates that the Antaam, which makes up one of the three branches of the Qun, has broken off and decided to invade, pillage, and stoke chaos. BioWare didn’t want the questionable morality and complexity of fighting an invading people from a humanized, multi-faceted culture, so they removed their culture. Their efforts to turn the non-Western-coded qunari into something digestible for their mistaken conception of a modern audience instead results in two caricatures: one being a fetishized, perfect society where there are no perceivable social ills; and the other a bunch of rampaging brutes.

Contending with a realized conception of Plato’s Republic mixed with the Ottoman Empire makes for more compelling drama than a horde of murderous giants. Again, BioWare wanted to have it both ways, and they still needed nameless, faceless orcs to kill. So every bit about the qunari’s militancy, imperialism, and repression coexisting alongside some of their more progressive ideas and communal unity is stripped of its context and meaning. Blame is placed solely on the Antaam, who no longer represent (and retroactively, never represented) the Qun’s ideology. It’s a cowardly compromise, attempting to pin the blame of all the Qun’s failings on a renegade military and seeking to exonerate the political and social apparatuses of their culpability.

At one point, a minor character named Seer Rowan lectures to an ignorant human (a proxy for the audience absorbing these retcons) that qunari society has always been egalitarian in practice, with mages enjoying freedom there. Previous games showed that the qunari shackle their “saarebas” mages, stitch their mouths, cut out their tongues, and teach them to commit suicide if they ever stray from their masters. However, we’re now assured that this is only practiced under the Antaam, and No True Qunari would ever do such a thing. Ignore the fact that, in Inquisition, we witness the enslaved saarebas under the supervision of the Ben-Hasserath, a subdivision of the Ariqun (i.e. not part of the Antaam). In fact, the Antaam that Rook fights in The Veilguard never command saarebas at all. They’re completely absent from the game (likely because the image of the bound, mutilated minority was too much for The Veilguard’s sensibilities). Seer Rowan’s weak, conciliatory retcon can’t even justify itself in its own game. The scolding diatribe communicates an intrinsic misunderstanding of the Qun by the writers – namely, it continues the pattern established with the Antivan Crows that the mechanics of power in society are fundamentally good as long as aberrant forces aren’t in charge. While I understand the desire to be conscientious about the portrayal of fictional cultures that draw upon non-Western traditions and iconography (which have historically been demonized in media), glamorizing the Qun and stripping it of its realistic nuance does little to alleviate any problems with representation. If anything, it creates new ones.

But hey, now we have our faceless orcs to guiltlessly slaughter. That’s what the Antaam’s been reduced to, bereft of the ideology that made them people. We kill them because they’re strange and scary and foreign and seeking to destroy our cities for fun. They remain the most prominent representation of the qunari in-game, barring our party member Taash. BioWare’s attempts to reverse what they viewed as problematic components to the qunari instead devolved into the very tropes they wished to avoid.

Which leads us to the elves. Much of the series’s discourse has surrounded the portrayal of the long-suffering elven people, who endure slavery under Tevinter, expulsion from their homeland in the Dales, confinement in ghettos, and the general disdain from other races. The games’ stories use symbolic shorthand of real-life oppressed peoples to communicate these tragedies, and this has led to a variety of intense, emotional interpretations over the years. The unending misery of the systematically marginalized elves hasn’t gone unnoticed by the fanbase – and their criticisms haven’t gone unnoticed by the developers. To quote The Veilguard’s creative director, John Epler, in an interview with Polygon:

“Dragon Age has not always been the kindest to the Dalish [elves]. Somebody once made a joke to me, and it’s not untrue, that it’s possible to wipe out a Dalish clan in all three of the games in some way.”

He and others on the development team must’ve thought elves needed a break, because the omnipresent racism against them vanishes completely in The Veilguard. Tevinter, an empire built on the back of chattel slavery, doesn’t show any of that. Consequently, it feels like players in the know still haven’t seen the true face of Tevinter, despite spending half a game there. The notion that the capital of Minrathous gives now is one of a prosperous city that’s centuries ahead of the countries down south, rather than a cruel regime cracking the whip at every opportunity. Perhaps the writers weren’t comfortable portraying this, or felt that their audience might not be amenable to it after years of incendiary argumentation. Nevertheless, it castrates their established world-building and robs us of the opportunity to witness true elven liberation in the climax. With both the fall of Minrathous and the toppling of the tyrannical elven gods, we could have delivered a much needed catharsis after four games of oppression, but The Veilguard forgoes this storytelling opportunity to play it safe.

I worry that this hesitancy originated from anxieties about the sensitivity of depicting marginalized peoples in brutal, dehumanizing conditions, and how that might look to more fragile viewers. But I think it’s important for all players, watchers, and readers to know that, though there might be aspects shared between them, fictional minorities are distinct from real ones.

Dragon Age’s elves are aesthetically Celtic. Their residency in alienages evokes images of Disapora Jews in Europe. Their Long Walk after being driven from the Dales calls back to the Trail of Tears, sharing an experience with Native Americans. Their subsequent migratory nature is reminiscent of the Romani people. And their ancient empire of Arlathan, with its large columns and temples of worship, headed by ascended humanoid (for lack of a better term) deities that cast down an enemy called the Titans, and which has since had its religion and culture co-opted and renamed by Roman-inspired Tevinter invites comparisons to classical Greece.

My point is, the elves of Dragon Age don’t represent one group of people, because fictional cultures are constructs drawing from countless inspirations. If they represent anything beyond themselves, it’s the idea of a proud people that’s fallen under the yoke of conquering powers – a supervictim to embody all. The idea that one must be limited in their storytelling options based on how the portrayal might reflect upon or disrespect an existing culture is flawed, in my opinion. In the overwhelming majority of cases, coding cannot be read as a 1:1 allegory, especially in speculative fiction like science-fiction and fantasy. I believe the most mature way to evaluate a story isn’t to try to pigeonhole what it’s trying to say say about who, as if there’s some insidious encrypted message in the text. Rather, it’s to see the forest through the trees and interpret the work as a complete whole in itself.

On that basis, I ask: would it have been so bad to see some of those enslaved elves, praying for salvation, side with their manipulative, nefarious gods? To add some nuance to the conflict with Elgar’nan and Ghilan’nain, would the story of elven liberation not have been better if the game actually engaged with it? Could we actually have a moral quandary with those whom Rook ends up fighting, even if the content might be seemingly problematic?

Epler might respond in the negative, per the Polygon interview, claiming that the gods “simply don’t care” about the elves.

“Those blighted, decrepit gods, they’re not bothering with the soft pitch. Their pitch is, We’re going to make a horrible world. We’re going to give you a lot of power, and maybe you’ll be OK.”

Like a chess board, the core conflict of The Veilguard is black and white. BioWare abandoned the chance to make Elgar’nan and Ghilan’nain more interesting villains because it was too risky.

Similarly risky was Solas’s role as an antagonist, since his motivations, as explained in “Trespasser”, are deeply sympathetic. Perhaps too much so for the developers’ comfort. Unlike the Evanuris and their disinterest in the elves, Solas wants to restore the elven people to their former glory. At least, that seemed to be his pitch in the last game. Frustratingly absent from The Veilguard are the Agents of Fen’Harel – elves who swore fealty to Solas’s cause. They infiltrated and compromised the Inquisition, effectively precipitating the final decision to end the organization in its current form. The idea that Solas had amassed an army of common folk who found the idea of a renewed elven empire appealing made him appear formidable and intimidating. “Trespasser” implies that a mass uprising of elves under Solas’s leadership was imminent, and anyone could be in on it.

None of this happens in The Veilguard. Not only does Solas lack an army, but their absence isn’t explained or even acknowledged. As a result, Solas remains a passive antagonist until near the end, since the player has no disciples of his to contend with (either physically or ideologically) along the way. It wastes a side of his character that had been foreshadowed in a decade-long cliffhanger – that of a charismatic leader, capable of coordinating a rebellion that could spell disaster for its own followers.

In a Reddit AMA after the latest game’s release, Epler answered where the Agents of Fen’Harel disappeared to:

“Solas’ experience leading the rebellion against the Evanuris turned him against the idea of being a leader. You see it in the memories – the entire experience of being in charge ate at him and, ultimately, convinced him he needed to do this on his own. And his own motivations were very different from the motivations of those who wanted to follow him – he had no real regard for their lives or their goals. So at some point between Trespasser and DATV, he severed that connection with his ‘followers’ and went back to being a lone wolf. There are Dalish clans who are sympathetic to his goals, but even there, there’s an understanding that he’s too dangerous to have a more formal connection with, and that he will, ultimately, sacrifice them to his own ends if necessary.”

I find this explanation unsatisfying, not the least bit because the narrative offers next to nothing to imply this. The disappearance of Solas’s agents represents my biggest bugbear with the game, depriving it of the full potential of its highly anticipated antagonist in favor of the more generically villainous Evanuris. Moreover, this omission fits into the aggravating blueprint for The Veilguard’s inoffensive direction. The motivations, emotions, and backgrounds of the Agents of Fen’Harel would be sympathetic, and therefore might problematize the otherwise cut-and-dry conflicts. Epler seemed concerned that audiences might think Solas was “a little too sympathetic in his goals,” according to an interview with GamesRadar+.

But that’s the thing: sympathy isn’t endorsement, and portrayal of sympathetic characters isn’t endorsement either. But neither does that invalidate the emotions and experiences that generate that sympathy, even if the character’s actions ultimately turn toward evil. I’ve noticed a trend (especially in symptomatic criticism, which I generally dislike5) to view art as propaganda, and to evaluate it from a moralizing, top-down perspective. Antagonists with complex or understandable motivations (in this case, revolutionary villains) are often judged by this framework as tools for stories wishing to champion the status quo. Common arguments that I’ve seen imply that the relatability that we often find in villains is not a strength of the writing, but a devilish trick of ideology by which writers can reinforce conservative doctrine, to scold us away from certain beliefs. Any decent writer knows this isn’t the case, and that people don’t write morally or emotionally complex antagonists for didactic purposes. Instead, characters such as these embody the anxieties of their creators – the fear of losing yourself to your passions, the fear of going about things the wrong way, the fear of sacrificing too much to achieve your desired ends. The concepts and feelings that compel these characters remain authentic to the writer’s heart and the connection they established with the audience.

Art isn’t propaganda. To read it as such reduces it and promotes intellectual dishonesty and foolhardy myopia. Stories are irreducible (otherwise, we would not waste our time with them), and so I believe interpretations should be formed from the bottom-up, rooted in the text as much as possible. The “message” cannot be imposed from the top-down, but symptomatic readings, in their focus on tropes and cultural context, frequently condemn without a trial. Hindering your story in order to future-proof it for the sake of optics is a safeguard against this, and one that leads to bad stories. Artists should have confidence that their text will hold its ground on its own. To quote Ursula K. Le Guin’s essay “A Message about Messages”:

“The complex meanings of a serious story or novel can be understood only by participation in the language of the story itself. To translate them into a message or reduce them to a sermon distorts, betrays, and destroys them… Any reduction of that language into intellectual messages is radically, destructively incomplete.” (67-68)

BioWare’s doctrine of passive writing violates this wisdom by surrendering to their fear of (bad) criticism. The Veilguard lacks punch, stakes, and empathy and becomes incongruous with its established lore because it’s not willing to take risks that might alienate or upset players. They’re more concerned with making sure their work is inoffensive than they are with conveying a moving story.

I believe all of this was inherited from an incestuous feedback loop between a vocal minority of critics, of which I might’ve once counted myself among the blameworthy, and the apprehensiveness of out-of-touch corporate board room decision-making. Dragon Age’s genome mutated, and it slowly lost its teeth.

Over the course of a decade, we bred the Dread Wolf into a Dread Pug.

V. What It Took

The Veilguard’s lack of confidence in itself and lack of faith in its audience contribute to its capitulatory nature. In many respects, it feels like the developers lost their passion for it over the course of the ten year hellish production and just wanted to be done with it. This resulted in a decent game that nonetheless feels divorced from what came before it. It tries to juggle being a soft reboot while also trying to close out the series’s biggest and longest running story arcs, but inevitably fumbles.

Nearly everything done by The Veilguard was handled better by Inquisition. And Inquisition was certainly the more ambitious title. Perhaps more returning characters would have established a sense of continuity between the two, or at least made it less awkward by having them present for the story’s grand finale. For as strong as the endgame is, it could’ve benefited from the presence of slave liberator Fenris, elven history aficionado Merrill, possible Evanuris soul vessel Sera, or Divine Victoria (any of them). The core pillar of Dragon Age is the characters, and The Veilguard’s under-performance (and in some cases, outright dismissal) in that regard sabotages its integrity. Without this to anchor it, the changes to gameplay, visuals, and roleplaying depth become more alienating.

Personally, what do I take away from this? The Veilguard is far from the game I dreamed about for ten years, and not the one that loyal fans deserved either. I’m no stranger to disappointment at this point in my life, and yet this still leaves me with a hollow feeling. Will I still be able to return to Inquisition, a game I truly adore, and see it the same way as before, knowing now where all this is leading? The true cost of The Veilguard, for me, has nothing to do with the price tag: it’s the loss of that perfectly tailored dream, now that the possibilities of the future have shut their gates.

Where do those dreams go? Are they doomed to fester in their lonely, incommunicable agony? Will they be twisted by their enmity, like the blighted dreams of the Titans, and spread their corruption into those important happy memories?

In 2014, I was depressed as fuck, and Dragon Age: Inquisition helped me to see the light and come out of it. In 2024, I was depressed as fuck, and Dragon Age: The Veilguard made me feel nothing. There’s no less favorable comparison in my eyes. It’s disheartening to behold something that once meant so much to me and be greeted with numbness. I have to wonder if that affection will ever return, or if I’ve just grown out of it.

But as I wandered the streets of Minrathous as Rook, I heard a familiar song. It was one of the tavern songs from Inquisition, its nostalgic chords filling me with wistful sentiment. I know, deep down, there’s still something there. Maybe I just need to dig it up. Maybe it’s time to look back…

To be continued…

– Hunter Galbraith

Further Reading

Le Guin, Ursula K. “A Message about Messages.” Wonderbook: The Illustrated Guide to Creating Imaginative Fiction, Abrams Image, 2018, pp. 67–68.

Incidentally, this was an anomaly my friends and I pondered over and eventually solved. It turned out to be a former Wienerschnitzel. ↩︎

You could argue that this credit goes more to Inquisition and the previous games for laying the groundwork for said reveals, which were obviously planned out ahead of time, as confirmed by the aforementioned official artbook. Regardless, the payoff satisfied me and gave me proper closure. ↩︎

I’ve been informed that there is a hidden conversation that explains that the Lords of Fortune do, in fact, sell cultural artifacts at times, but only to the rightful owners. This just makes me wonder what they do with the artifacts if the prospective clients can’t pay. Do they shove them back in the ruins and re-arm all the booby traps? ↩︎

I would argue that this does not represent character progression on Isabela’s part, as her (possible, depending on the player’s choices) return of the Tome of Koslun in Dragon Age II was a pragmatic sacrifice she made to save her friends and the city, rather than an acknowledgment of the qunari’s inviolable ownership. In fact, in many continuities, she never returns the Tome at all. ↩︎

I prefer more formalist criticism because it allows the text to lead the dance, not the critique. I think it’s only fair, given that the creators likely spent more effort crafting the piece than I spent consuming it. Symptomatic criticism mandates that the reader consider everything around the text, typically at the text’s expense. In the worst cases, symptomatic critics make their arguments about seemingly everything besides the text in question. ↩︎ Link to article: https://planckstorytime.wordpress.com/2025/01/01/dragon-age-the-veilguard-strangled-by-gentle-hands/

[pteraphylax]

I personally don’t hc Gale as autistic, because to me he comes across very neurotypical? I think a lot of people hc him as autistic just because he’s an academic type who exposits a lot. But for me and my brand of autism, he doesn’t resonate like that. He reminds me of my husband who is neurotypical.

I can see why a lot of people hc that though, and a lot of the reasons people ‘hate Gale’ end up being things that autistic people get bullied and punished for in real life.

I don’t hc Gale as autistic, but I take it personally when I see people hating on him for what could be considered ‘autistic-coded traits’.

You know who I DO hc as autistic?

Lae’zel.

Black and white thinking (whether she’s stanning Vlaakith or Orpheus, it’s with the same all-in fervour)

Blunt and abrasive mannerisms. She doesn’t follow societal conventions. She’s aware of them and thinks they’re a waste of time. She doesn’t react or express her feelings in conventional ways. She is often insulting and brutally honest because she always tells the truth as default.

She takes people at face value and is always earnest. For example when Gale compliments her fighting style, she immediately offers to teach him with 100% sincerity. It often catches people off guard. She doesn’t realise when people are asking rhetorical questions vs. actually wanting to know or do something (same, Queen).

Special interests. The way she talks about her insane training regime, maintains her gear, her learning and memorisation of the Gith slates. It’s very intense.

She gets her mind set on doing something a certain way (go straight to the crèche) and finds it hard to understand why the others want to sidetrack from that.

LOVES rules. She has those protocols memorised and it’s very difficult for her to imagine a reality that is not dictated by them. Even comparing her to other Gith at the creche, Lae’zel is so much more rigid. If she turns from Vlaakith she is equally rigid about her new destiny with Orpheus/ fighting Vlaakith.

Toes are out in her starting armour. For my autism shoes are the devil so I am applying this to her too lol.

Sometimes her complaints about Faerun/ the material plane come across as being overstimulated in a sensory way. At least they do to me.

Other sensory stuff: she has as much bare skin as possible in her default outfits. For my autism, tight and covering clothes are also the devil, so I’m projecting this on her as well.

You could also definitely interpret her idling with her weapons/ using the grindstone as stimming. If that’s the case this is NOT my flavour of autism. Lae’zel stimming on her grindstone makes my ears bleed and makes me want to scream. Sometimes other people’s stims are your sensory hell.

She is ride or die for the party. At first it’s a mutual goal based thing, but as she gains respect for the other party members a switch flips and she’s All In. This sort of black and white approach to relationships feels very neurodivergent to me.

I LOVE LAE’ZEL.

[bestworstcase]

I'm curious to know how would you fix/rewrite Eugene and Cassandra's relationship dynamic in TTS, y'know give it some more dept.

…well

the less facetious answer is: like in canon except we don’t pretend that eugene isn’t kind of an asshole, and i have actual narrative plans for him that are not just “he’s…there” bfhrgjfjk

the dynamic they have with each other in canon is actually really interesting to me, because i think eugene truly does, by the end of s1, feel as if they’ve become close buddies in a she’s-like-a-sister-to-me way—whereas cassandra is at “well his asshole behavior has decreased very slightly and he’s the princess’s boyfriend so. i guess. i can tolerate him.”—and this disconnect exists because eugene really does not know how to interact with people in a way that is not 1. imitating the superficial charm and devil may care attitude of the fictional dashing rogue he based his entire personality on, 2. worshipping the ground rapunzel walks on, or 3. picking on anyone who isn’t impressed by the first option.

and then you have rapunzel and the abysmal burning dumpster fire that is “i learned all of my social skills from mother gothel and a chameleon and am now the second most powerful person in an absolute monarchy” trying to… mediate between her boyfriend (who is an asshole to everyone except her, and firmly believes that she can do no wrong) and her lady-in-waiting (who is not of noble birth and lives in constant fear of being sent to a convent should upset the king or her father, and whom the boyfriend constantly antagonizes) by going “but why can’t they be friends 🥺” because she literally, due to the circumstances of her upbringing and her power over cassandra, cannot see the problem that has everybody else in the vicinity going “dude 😬” at eugene.

like thats awesome. oh my god. it’s such a disaster! the narrative of tts is always sitting firmly in rapunzel’s point of view because: disney princess cartoon, so the train wreck of it all gets obfuscated and cass is at every turn framed as the unreasonable one, but if you’re willing to step away from that filter and just look at what eugene says and does and what cassandra says and does, there’s honestly a lot of meat on the bones as it is. and then the bitter snow approach is to just present that through a variety of POVs specifically to play with the contrast between what rapunzel sees vs what cassandra experiences.

[archsarmedadvice]

What Is War?

Welcome to the introductory Article of Setting Conditions. Today, we shall attempt to answer one of humanity's most ancient questions; what is war? It might seem a trivial question to answer, but we suggest, dear reader, that understanding the varied forms and characteristics that war can take might help you develop and understand the role 'war' and conflict at large could play in a fictional setting.

But First, Why 'War'?

A question both for ourselves at Arch's Armed Advice, and, surely, for you who read it. Conflict and those organisations, people, technology, and impacts associated with it have appeared in literature and writing throughout history, but the specific role that War can play in one's own works can obviously vary. Some might anchor their whole project on a conflict, exploring it in minute detail from every angle; for others, military imagery and associations may simply serve to provide an interesting background for stories focused on other subjects. While the position a work finds itself on within such a spectrum will affect how much effort its writer will likely put into developing this portion of their setting, we here at AAA hope to provide a resource that all writers can learn something from, even with our own proclivity for the more in-depth examples. 'Getting it right', even for works which do not center on war or the military, adds credibility to those stories and their writers, and eases the reader's task of suspending disbelief and immersing themselves within the story and its setting.

What is War... In General?

A situation in which two or more countries or groups of people fight against each other over a period of time - The Oxford English Dictionary

The definition above and others like it both useful and generally accurate, covering most of what might spring up in one's mind when one thinks of 'war' in fiction. While AAA will certainly seek to help our readers develop believable, plausible military conflicts and the entities engaged in them within their Settings, we believe that a crucial step in doing so is to expand our understanding of 'war' beyond the most overt acts of violence and combat.

One Way, Or Another

One of our missions in producing this blog was to open Writers' eyes to the diverse ways that war and its associated topics can play a role in their setting and works, and part and parcel with this is expanding writers' perspectives on the forms that this subject can take. To do this, we must venture beyond 'Great Power Conflicts' and 'Plucky Rebels VS. Evil Empire', into conflicts bearing more resemblance to the Pig War of 1959, the Cod Wars, and others of a less conventional nature which nonetheless may open our eyes to the base principles of War. To understand what connects these varied manifestations of warfare, and to develop your own unique take on conflict which best suits your own work, it helps to know some of the most basic terms and theories behind War. The most cliche example, and thus the one we at AAA will use anyways, is to quote the famed military theorist Clausewitz's old maxim; "War is the continuation of policy with other means..." Countries, demonic cults, and other groups besides may, for one reason or another, find that their interests would be best served by undermining those of another group; war, thus, doesn't exist for its own sake, but only comes about because actors choose to engage in it. Developing the political machinations that underly the competition which, in some but not all cases, may escalate to conflict, is a subject all its own and one deserving of great attention. Plainly obvious disconnects between the interests and stakes of the (fictional parties involved, and the conflicts that us as writers force them to engage in, are among the most glaring weaknesses in any work which might have them. To fix such an issue, we suggest that a writer might take one of two courses; they may decrease the 'intensity' of their existing conflict or competition to something more reasonable, or they may develop these warring parties and their relationships to the point that such intense conflict is not just reasonable, but practically inevitable. In reality, one will likely have to commit a little bit both.

Conflict Vs. Competition

While it might seem strange for Arch's Armed Advice to advocate for the inclusion of non-violent conflicts and competitions in our readers' writing, we believe that their presence can only add value to any open wars that may occur in the same works, even without considering how interesting they can be on their own. To add nuance and believability to a conflict, it can be helpful to develop the pre-existing tensions between the parties about to embark on it, presenting specific instances where their interests had previously been in opposition. What, precisely, those interests will be, is entirely up to writers themselves, and we at AAA will likely not be able to provide so much aid in that highly contextually dependent field. We will, however, attempt to provide what advice we can when it comes to developing some of the actions and decisions that these competing actors might make, and the myriad factors they might have to consider in making them.

Conclusion

War is many things, but for us at AAA it is a subject that we hope many more writers might turn to exploring and developing on their own terms within their works and settings. Having done our best to define that most complex topic, we hope that over the course of our future publications we will be able to impart some useful, applicable knowledge on our readers on their creative journeys.

The_Archmagos

[biological-catastrophe]

its My Blog i answer all the asks if i want

honestly im doing this bc im mildly bored DFLSKJDF and dont have much time before band

1. Art programs you have but don't use

I draw using Procreate 99.9% of the time. But I also have Sketchbook, Pixel Studio, Rough Animator, and FlipaClip on my iPad. On my computer I have Paint Tool SAI and Krita.

2. Is it easier to draw someone facing left or right (or forward even)

Forward 100%, but left is easier then right.

3. What ideas come from when you were little

Animations, of any kind. I was really into animation memes back when I really was drawing and drew a shit ton, and I got a lot of inspo from that!

4. Fav character/subject that's a bitch to draw

My Avali character, she's so pretty and smol but she is a PAIN to draw...

5. Estimate of how much of your art you post online vs. the art you keep for yourself

On here I only really post stuff with Zee I think ? But I usually post all serious art (so excluding doodles unless I'm really proud of them)

6. Anything that might inspire you subconsciously (i.e. this horse wasn't supposed to look like the Last Unicorn but I see it)

I don't know, I guess my dreams? Well I don't dream a lot, it's mostly nightmares, but sometimes I'll still get inspo. Also a lot of my older characters were based on my issues, such as self esteem issues, imposters syndrome, depression, etc etc.

7. A medium of art you don't work in but appreciate

Painting. I sometimes paint, only really for crafts though. It's not really my thing, but god some people are FANTASTIC.

8. What's an old project idea that you've lost interest in

I've planned lots of little games I wanted to do with my OCs. I wouldn't really say I lost interest in the long term. I'd like to still do them someday, but right now I don't know. But I have a whole game with a mechanic thats based on karma and doing right and wrong..? I'm kinda excited, maybe in the future it will be good!

9. What are your file name conventions

I don't draw on my computer often, but usually its just '(character name)' and then a number, or a quick thing of the scene. But I have most OC art on my computer, properly sorted into files.

10. Favorite piece of clothing to draw

Scarves, which I only really learned drawing Zee (and one fanart I drew of Shin ljkdf). Also earrings if that counts

11. Do you listen to anything while drawing? If so, what

Youtube is usually what I listen to. My favorite is horror games.

12. Easiest part of body to draw

Head and hair (not the face lol just the head) and legs. I don't know why SDLKJ

13. A creator who you admire but whose work isn't your thing

I used to really admire Roxxie (@ RoxxieKitsune on twitter), and I've kinda fallen out but I still really admire her work and style

14. Any favorite motifs

I don't draw near enough to have one LJKDSF

15. *Where* do you draw (don't drop your ip address this just means do you doodle at a park or smth)

Desk, home or at my dorm. Or in class if I'm that bored LDSKJDS but no I can't lay in bed and draw...

16. Something you are good at but don't really have fun doing

Uh I don't know...? I don't really think I'm good at anything LKJDSF

17. Do you eat/drink when drawing? if so, what

Not usually, but sometimes I'll have a snack like chips or some soda/water.

18. An estimate of how much art supplies you've broken

Ahahaha uh well. I mostly draw digital now, my drawing tablet for my computer has a bent charger but I fixed it enough to work LSDKJ. Also my iPad recently got a crack on the screen (it fell off the music stand at band D: ) and when I took art class last semester I broke a bit of smaller stuff like charcoal and pastels...

19. Favorite inanimate objects to draw (food, nature, etc.)

Flowers. I suck at them, but they're fun to draw! And galaxies, I've painted them before and they were fun.

20. Something everyone else finds hard to draw but you enjoy

I kinda enjoy backgrounds? I'm picky and lazy but when I have the motivation I do enjoy it, and trying to make the actual focus of the art fit in the background.

21. Art styles nothing like your own but you like anyways

I love how San Giorgio Maggiore at Dusk by Monet looks. In fact, I recreated it for an art project (we had to use pastels and only 3 colors plus black and white to recreate a famous painting. It was a lot of fun) and I just love the texture on it.

22. What physical exercises do you do before drawing, if any

I stretch all my fingers and wrists. I don't know, I do the same thing before playing clarinet lkdjf

23. Do you use different layer modes

Oh all the god damn time. I LIVE for them. Overlay and Add are some of my favorites, but I tend to use Multiply the most

24. Do your references include stock images

Sometimes. Most of the time its like official photos taken for reference, or drawn references.

25. Something your art has been compared to that you were NOT inspired by

I don't know, I don't think my art has been compared to a lot..?

26. What's a piece that got a wildly different interpretation from what you intended

I mean once I drew the antagonist of my story and everyone I showed it to simped for them. Which, valid I guess, but damnljkdksl

27. Do you warm up before getting to the good stuff? If so, what is it you draw to warm up with

Haha no I don't warm up... I don't draw enough anyways for it DSKLJ

28. Any art events you have participated in the past (like zines)

I participated in artfight a few years ago! But thats about it... I think once I develop my art more I'd like to participate in zines

29. Media you love, but doesn't inspire you artistically

Honestly I get inspired from everything but I would say edits? Even if they may be seen as 'cringe' sometimes, I love the effort put into them. I've done similar things before and damn is it DIFFICULT, you have to appreciate it.

30. What piece of yours do you think is underrated

A few years ago I drew two pieces for goretober and honestly? I'm still really proud of them. One was for dissection and the other was for burn or something and the second one is really simple but I love it so much.

Weirdly Specific Artist Ask Game

Didn't see a lot of artist ask games, wanted to make a silly one.

(I wrote this while sick out of my mind last year and it's been collecting dust in my drafts, I might as well let it run free) 1. Art programs you have but don't use

2. Is it easier to draw someone facing left or right (or forward even)

3. What ideas come from when you were little

4. Fav character/subject that's a bitch to draw

5. Estimate of how much of your art you post online vs. the art you keep for yourself

6. Anything that might inspire you subconsciously (i.e. this horse wasn't supposed to look like the Last Unicorn but I see it)

7. A medium of art you don't work in but appreciate

8. What's an old project idea that you've lost interest in

9. What are your file name conventions

10. Favorite piece of clothing to draw

11. Do you listen to anything while drawing? If so, what

12. Easiest part of body to draw

13. A creator who you admire but whose work isn't your thing

14. Any favorite motifs

15. *Where* do you draw (don't drop your ip address this just means do you doodle at a park or smth)

16. Something you are good at but don't really have fun doing

17. Do you eat/drink when drawing? if so, what

18. An estimate of how much art supplies you've broken

19. Favorite inanimate objects to draw (food, nature, etc.)

20. Something everyone else finds hard to draw but you enjoy

21. Art styles nothing like your own but you like anyways

22. What physical exercises do you do before drawing, if any

23. Do you use different layer modes

24. Do your references include stock images

25. Something your art has been compared to that you were NOT inspired by

26. What's a piece that got a wildly different interpretation from what you intended

27. Do you warm up before getting to the good stuff? If so, what is it you draw to warm up with

28. Any art events you have participated in the past (like zines)

29. Media you love, but doesn't inspire you artistically

30. What piece of yours do you think is underrated

[hvacengineering1]

The Future of HVAC: 10 Breakthrough Technologies Changing the Industry

The HVAC industry is evolving rapidly, with cutting-edge innovations reshaping how we heat, cool, and ventilate spaces. From AI-driven smart systems to magnetic cooling, these breakthroughs promise higher efficiency, lower costs, and reduced environmental impact. In this article, we explore 10 game-changing HVAC Engineering that will define the future of climate control.

1. AI-Powered Smart HVAC Systems

Artificial Intelligence is transforming HVAC by optimizing performance in real-time.

How AI Enhances HVAC Efficiency

Learns usage patterns to adjust temperatures automatically.

Detects inefficiencies and predicts maintenance needs.

Integrates with smart home systems like Google Nest & Ecobee.

Impact: Reduces energy waste by up to 30%, lowering utility bills.

2. Magnetic Refrigeration (No Compressor Needed!)

This revolutionary cooling tech uses magnets instead of harmful refrigerants.

Why It’s a Game-Changer

Zero greenhouse gas emissions (eco-friendly).

40% more efficient than traditional compressors.

Expected to replace Freon-based systems by 2030.

3. 3D-Printed HVAC Components

Additive manufacturing is cutting costs and speeding up production.

Benefits of 3D-Printed Ducts & Parts

Custom designs for complex installations.

Faster repairs with on-demand part printing.

Lighter, stronger materials improving airflow efficiency.

4. Geothermal Heat Pumps (The Ultimate Renewable Solution)

Harnessing Earth’s stable underground temps for ultra-efficient heating & cooling.

Why Businesses Are Switching

70% less energy than conventional HVAC.

50+ year lifespan with minimal maintenance.

Eligible for tax credits & green incentives.

5. Solar-Powered Air Conditioning

Solar panels + HVAC = Zero-energy cooling.

How It Works

Uses PV panels to run compressors.

Off-grid capability for remote locations.

Cuts electricity costs by 50-90%.

6. Ice-Powered Air Conditioning

Storing energy at night to cool buildings during peak hours.

Key Advantages

Reduces peak demand charges.

30% lower energy use in commercial buildings.

Already used in Walmart, Target, and universities.

7. Self-Healing Smart Ducts

Nanotech-coated ducts that detect and seal leaks automatically.

Why This Matters

Prevents 20% energy loss from leaks.

AI monitors air quality in real-time.

Lower maintenance costs for large facilities.

8. Hydrogen-Powered Heating Systems

The next-gen alternative to natural gas.

Hydrogen’s Potential

Zero carbon emissions when burned.

Compatible with existing gas pipelines.

Pilot projects in Europe & Japan��show promise.

9. IoT-Connected HVAC for Smart Cities

Real-time city-wide climate control optimization.

Applications

Dynamic zoning based on occupancy sensors.

Predictive maintenance for public buildings.

Energy-sharing grids between structures.

10. Thermally Active Building Systems (TABS)

Using building structures (walls/floors) for heating & cooling.

Why Architects Love TABS

Silent operation (no noisy ducts).

30% energy savings vs. traditional HVAC.

Perfect for hospitals & offices.

Final Thoughts: The HVAC Industry’s Next Decade

From AI-driven automation to hydrogen-powered heating, these 10 breakthrough HVAC Engineering technologies will redefine energy efficiency, sustainability, and comfort. Early adopters will gain a competitive edge, while consumers benefit from lower costs and smarter systems.

[hrtechpub]

Impact of the Gig Economy on Traditional HR Practices

The rise of the gig economy has fundamentally reshaped how businesses engage with talent. Unlike the conventional 9-to-5 employment model, the gig economy thrives on flexibility, autonomy, and short-term contracts. Platforms like Uber, Upwork, and Fiverr have accelerated this shift, leading to a growing pool of freelance, contract, and on-demand workers.

As organizations increasingly tap into this flexible workforce, traditional HR practices are being forced to evolve. From recruitment and onboarding to performance management and legal compliance, HR departments are rethinking their strategies to stay aligned with this new world of work.

Here are five key ways in which the gig economy is transforming traditional HR practices:

1. Redefining Talent Acquisition and Workforce Planning

Traditionally, HR teams focused on sourcing full-time employees with long-term growth trajectories. With the gig economy, the emphasis is shifting toward sourcing skills on demand.

Dynamic talent sourcing: HR now has to maintain a mixed workforce strategy, combining permanent staff with a fluid pool of gig workers.

On-demand hiring platforms: Instead of lengthy hiring cycles, businesses are turning to digital platforms that match talent to projects instantly.

Skills-based recruitment: The focus is less on educational pedigree and more on real-world deliverables and verified skills.

Workforce planning has become agile, with HR aligning hiring needs with project timelines rather than headcount forecasts.

2. Revamping Onboarding and Integration Processes

Traditional onboarding processes, which often take weeks and involve deep organizational immersion, are being streamlined for gig workers.

Rapid onboarding: Companies are designing shorter, modular onboarding experiences that deliver key information quickly — think 48-hour ramp-ups instead of 30-day programs.

Digital-first orientation: Online tutorials, chatbots, and mobile apps are replacing lengthy orientation meetings.

Project-specific integration: Instead of broad company immersion, onboarding is tailored to specific teams or projects the gig worker is supporting.

This shift demands a new HR toolkit to ensure that even short-term contributors are aligned with brand values, security protocols, and performance expectations.

3. Performance Management and Evaluation Models Are Evolving

Traditional performance reviews, often annual and manager-led, do not suit the fast-paced, project-based nature of gig work.

Real-time feedback: Continuous performance tracking and peer reviews are replacing yearly evaluations.

Outcome-focused metrics: Performance is measured on deliverables, timelines, and client satisfaction rather than tenure or process adherence.

Platform-driven ratings: Many gig workers arrive with a digital reputation — HR must learn to interpret platform-based scores, testimonials, and work samples.

HR teams are building more flexible, data-driven approaches to assess and improve gig worker contributions while ensuring accountability.

4. Legal Compliance and Workforce Classification Challenges

One of the most complex challenges the gig economy introduces is ensuring compliance with labor laws, especially concerning worker classification.

Employee vs. independent contractor: HR must clearly define roles to avoid misclassification lawsuits, which can lead to penalties and back payments.

Benefits and protections: While full-time employees receive health insurance, paid leave, and retirement benefits, gig workers often do not. HR must decide whether to offer limited benefits or perks to attract top-tier freelancers.

Cross-border compliance: With remote gig workers, HR has to navigate international tax laws, currency exchange, and labor regulations.

Legal compliance now requires closer collaboration between HR, legal, and finance teams — especially when scaling gig engagements globally.

5. Shifting Focus on Culture and Engagement

One of HR’s key roles is nurturing organizational culture — but this becomes more complex when part of the workforce is transient.

Inclusive culture for gig workers: HR needs to create systems that help gig workers feel part of the team, even if they’re not on the payroll.

Engagement beyond employment: Virtual team meetings, feedback loops, recognition programs, and social platforms are being extended to gig contributors.

Knowledge management: HR must ensure that knowledge from gig workers is retained, documented, and accessible to the organization after contracts end.

Balancing engagement and inclusion for both full-time employees and gig workers is an emerging HR frontier.

Conclusion

The gig economy is more than a passing trend — it represents a fundamental change in how talent and work intersect. As this new model gains traction, HR departments must transition from rigid, long-term employment frameworks to agile, skills-based strategies that embrace flexibility and diversity.

From recruitment and onboarding to compliance and culture, every facet of HR is being reimagined to accommodate the hybrid workforce of today and tomorrow. Organizations that adapt quickly will not only attract top-tier gig talent but also stay competitive in a rapidly evolving labor market.

To learn more, visit HR Tech Pub.

[tapasschool]

The Future of Education: Tapas and the Power of Project Based Learning

Explore how Tapas is redefining learning with a strong project-based learning focus. This blog dives into the future of education, highlighting the benefits of project-based learning in education and how it empowers students with real-world skills, creativity, and critical thinking. Discover why project-based learning vs conventional learning is not just a debate but a shift towards meaningful education.

[mounianjali]

SAP PPM Training – Real-Time Scenarios & Hands-On Practice

In these days’s rapid-paced enterprise international, powerful mission and portfolio management is important for corporations to align their operations with strategic goals. SAP PPM (Project and Portfolio Management) is a effective module inside the SAP atmosphere designed to assist groups effectively control complicated initiatives, assets, and portfolios. As the call for for skilled SAP PPM specialists continues to develop, arms-on and sensible schooling has grow to be important for career development. That’s wherein SAP PPM Training with real-time eventualities and palms-on exercise comes into play.

Why SAP PPM?

SAP PPM allows agencies manipulate assignment lifecycles from start to complete—right from planning and budgeting to execution and analysis. It presents strong gear for:

Portfolio structuring and prioritization

Project tracking and scheduling

Resource allocation and ability making plans

Budget and fee control

Risk and issue monitoring

Integration with modules like SAP PS, FICO, HCM, and extra

SAP PPM allows records-pushed selection-making, ensuring that the right projects get funded and brought on time with maximum performance.

What Makes Real-Time Training So Valuable?

While theoretical expertise is vital, it’s the actual-time application of SAP PPM that gives experts a aggressive facet. Employers are seeking out applicants who now not only understand the ideas but can also implement them in stay environments.

That’s why exceptional SAP PPM schooling includes live scenarios, business use cases, and system-based totally sporting activities. These practical additives assist you increase trouble-fixing competencies and benefit confidence in real-global SAP PPM implementation.

Core Topics Covered in SAP PPM Hands-On Training

A structured education path targeted on real-time exercise commonly covers:

Portfolio Management

Portfolio hierarchy and bucket configuration

Item management and scoring fashions

Capacity planning and approvals

Integration with monetary planning

Project Management

Creating and structuring tasks

Scheduling and milestone tracking

Time and attempt tracking

Integration with SAP PS and HR modules

Resource Management

Resource pool creation and skill mapping

Demand vs potential evaluation

Role-based totally resource project

Reporting & Analytics

KPI dashboards

Progress monitoring and variance reviews

Custom reporting with SAP BI integration

Key Benefits of Hands-On SAP PPM Training

Practical Experience: Learn by doing through a live SAP device. Practice every concept without delay, from portfolio setup to challenge execution.

Real-World Use Cases: Training based on industry-precise case research enables you recognize how SAP PPM is used in real corporations.

Scenario-Based Learning: You’ll address usual business challenges and learn how to resolve them the use of SAP functionalities.

Certification & Career Support: Good training packages offer assist with SAP PPM certification coaching and activity interview steerage.

Confidence to Implement: Hands-on mastering ensures you’re ready to take part in purchaser tasks or internal SAP rollouts optimistically.

Who Should Take This Training?

SAP Beginners or Freshers inquisitive about a career in task control or SAP consulting

Functional Consultants who need to extend their capabilities to project and portfolio management

Project Managers and Team Leads searching for to digitize and streamline assignment monitoring

IT Professionals and System Analysts worried in SAP implementations or support

Conclusion

If you're aiming to focus on undertaking and portfolio management within the SAP panorama, SAP PPM schooling with actual-time eventualities and fingers-on exercise is your gateway to achievement. It goes past conventional getting to know through placing you in the driver’s seat of practical, outcomes-oriented training.

With the proper path, you may advantage not just theoretical understanding, but additionally the self belief and competence to use SAP PPM in real commercial enterprise environments. From managing worldwide venture portfolios to optimizing resources and expenses, SAP PPM abilities can elevate your professional profile and open doorways to excessive-value roles in top agencies.

info@proexcellency.com, +91-9148251978,+91-9008906809use this Promocode you have discount PROROJA

[relianceacademy]

Reliance Animation Academy Andheri – The Future of Design Starts with a BSc Degree in Animation

1. Choosing the Right Direction After 12th: Why Animation Makes More Sense in 2025

Today’s students are no longer confined to traditional career paths. As the digital economy expands, industries are actively seeking professionals skilled in animation, VFX, and visual design. Reliance Animation Academy Andheri has designed its BSc Degree in Animation to answer that call.

If you’re considering your next step after 12th, now is the time to explore a career that blends creativity, storytelling, and cutting-edge technology—making animation one of the most future-proof career choices in 2025.

2. Why Traditional Degrees May No Longer Guarantee Career Success

B.A., B.Com, and other traditional degrees are still popular, but they’re often centered around academic theory, outdated curriculum, and minimal job market readiness. They don’t teach:

Practical digital tools

Storytelling techniques

Industry production workflows

Portfolio development

On the other hand, animation courses in Andheri now provide a job-oriented, skill-driven alternative tailored to today’s content-heavy world.

3. What Makes the BSc Degree in Animation Different?

The BSc Degree in Animation is more than a course—it’s a creative experience. At Reliance Animation Academy Andheri, students learn how to:

Create animation from concept to screen

Design and develop characters and environments

Build immersive AR/VR experiences

Master VFX, 3D modeling, and storytelling

Work on games, films, and marketing content

Tools such as Maya, Blender, Adobe Creative Suite, and Unreal Engine are part of the curriculum—setting the course apart from conventional animation classes in Andheri.

4. Curriculum Comparison: Conventional Courses vs Studio-Driven Learning

CategoryTraditional DegreeBSc Degree in AnimationStructureTheoreticalProject-Based, PracticalToolsNot includedPhotoshop, Blender, Unreal, MayaOutcomesExamsShowreels, PortfoliosIndustry ExposureMinimalReal-World Studio Experience

The focus here is not just passing exams but building a body of work that gets noticed. That’s why the program is also highly rated among graphic courses in Andheri.

5. Real-World Training with Studio-Like Environments

Reliance Animation Academy brings the studio to the classroom. Every student gets hands-on experience with:

Storyboarding

Cinematography techniques

Editing and compositing

Character animation

Game design

This setup simulates professional production houses and offers an experience unmatched by typical college classrooms.

6. Career Opportunities That Start Immediately

Graduates of this program don’t wait to “figure things out.” They’re already ready to work in positions such as:

Animator (2D/3D)

VFX Technician

AR/VR Developer

Game Artist

Digital Storyboarder

Motion Designer

Graphic Designer

With a focus on execution and not just theory, it aligns perfectly with expectations from film studios, ad agencies, and game companies. The course also complements modern vfx courses in Andheri.

7. Internship Opportunities That Prepare You for the Industry

This course doesn’t stop at classroom learning. Every student at Reliance Animation Academy Andheri works on live client-based projects, real briefs, and tight deadlines. The internship model helps students:

Build project management skills

Work collaboratively in production teams

Present work for feedback and iteration

Enhance their portfolios with real content

It’s this blend of creativity and professionalism that makes students career-ready from day one.

8. A Global Skillset: Work from Anywhere, with Anyone

Animation and digital content creation are globally transferable skills. With freelancing platforms and remote work, Reliance Animation Academy students can:

Collaborate with agencies in the US, UK, and Japan

Animate for YouTube content creators

Contribute to international game development projects

Deliver visual campaigns for startups and global brands

It’s a career that starts local but expands worldwide.

9. Why Reliance Animation Academy Andheri Is the Smartest Choice

Located in the creative heart of Mumbai

Offers specialized animation courses in Andheri, vfx courses in Andheri, and graphic courses in Andheri

Production-ready studio environment

Curriculum designed by active industry professionals

Portfolio and placement support included

Access to advanced software and real tools

This isn’t just a course—it’s a launchpad for the next generation of animators and creators.

10. Get Started: Build the Creative Career You Deserve

Reliance Animation Academy Andheri Center Unit No. 14, 2nd Floor, Shri Alankar CHS Ltd, Nadco Shopping Centre, SV Road, Near Andheri Railway Station, Mumbai – 400058 Phone: +91 9326591557 / +91 7400400795 / +91 9920678816 Email: andheri@ravaglobal.in Website: relianceacademyandheri.com Google Maps: Click to Navigate

Start building your career in animation and design today. Apply for the BSc Degree in Animation and be part of the new creative workforce.

[odminternationalschoolgurugram]

CBSE vs Other Boards: Why Top CBSE Secondary Schools in Gurugram Are a Smart Choice for Your Child

When it comes to your child’s future, every decision matters—especially the one about their education board. In a city like Gurugram, where numerous prestigious schools cater to different boards, parents often find themselves comparing options like CBSE, ICSE, IB, and state boards. While each has its merits, a growing number of parents are leaning towards CBSE for its balanced, future-ready approach. At the heart of this shift are institutions like ODM International School, known for setting benchmarks among the top CBSE secondary schools in Gurugram.

Let’s take a closer look at why choosing a CBSE curriculum—especially at one of the best schools in Gurugram—could be one of the smartest educational decisions you make for your child.

Understanding the CBSE Edge

The Central Board of Secondary Education (CBSE) is one of India’s most trusted and widespread education boards. Governed by the Union Government, its curriculum is aligned with national academic standards and with competitive exams like JEE, NEET, and CUET. This makes it particularly advantageous for students aiming for higher studies in India’s top universities.

The CBSE approach balances conceptual understanding with practical application. It encourages inquiry-based learning, focuses on core subjects, and offers flexibility in choosing academic streams in secondary and senior secondary levels. This flexibility and forward-thinking design give CBSE students an edge not just academically, but also in personality development.

CBSE vs Other Boards: A Clear Comparison

India has several education boards, each offering unique curricula and teaching approaches. While IB (International Baccalaureate) and ICSE (Indian Certificate of Secondary Education) offer international exposure and state boards focus on regional content, CBSE strikes a strong middle ground. Here’s how CBSE compares with other boards:

ICSE is academically rigorous, especially in English and Humanities. However, it can sometimes feel overwhelming due to its vast syllabus.

IB offers a global perspective and project-based learning but is not aligned with Indian competitive exams.

State Boards are more affordable and region-specific, but often lack the consistency and broader recognition that CBSE provides.

On the other hand, top CBSE secondary schools in Gurugram like ODM International School blend the national curriculum with innovative teaching methods and a global mindset—creating a well-rounded learning experience.

ODM International School: A CBSE Pioneer in Gurugram

At ODM International School, our vision goes beyond conventional learning. As one of the top CBSE secondary schools in Gurugram, we believe in nurturing students who are not just academically proficient but also emotionally intelligent, socially aware, and globally competent.

Our CBSE-aligned curriculum is delivered through innovative teaching strategies, expert faculty, and a learner-centric environment. From smart classrooms and career counselling to Olympiad training and leadership programs, every element is designed to empower students with confidence and clarity about their future.

ODM’s emphasis on skill development, moral education, and personality grooming ensures that our students don’t just prepare for board exams—they prepare for life. Whether it’s excelling in national-level competitions or gaining admission to prestigious institutions, our students are well-equipped to shine.

Career Readiness Through CBSE

Another major reason why CBSE is winning the confidence of parents and educators is its close alignment with India’s major competitive exams. The curriculum of CBSE naturally integrates foundational concepts required for entrance exams like JEE (Engineering), NEET (Medical), CUET (Undergrad programs), NTSE (scholarships), and more.

Top CBSE schools in Gurugram, like ODM International School, leverage this alignment by offering exam-oriented support, foundation courses, and regular mock assessments. This early focus on career readiness gives students a strategic advantage during one of the most critical phases of their academic journey.

Final Thoughts

Choosing the right school board is more than just comparing syllabi—it’s about identifying an educational system that nurtures your child’s potential and prepares them for tomorrow. With its forward-looking approach, structured curriculum, and emphasis on both academic and personal growth, CBSE stands out as a dependable and dynamic choice.

When delivered through visionary institutions like ODM International School, the CBSE curriculum transforms into more than just academics—it becomes a launchpad for a successful, meaningful life.

[kotirocks]

The Role of AI-Driven Learning Recommendations at GrittyTech

Introduction

Artificial Intelligence (AI) has transformed various industries, and education is no exception. Nirmal Das, a leader in the edutech space, has leveraged AI to revolutionize personalized learning through GrittyTech. The integration of AI-driven learning recommendations at GrittyTech ensures that students receive customized learning experiences tailored to their individual needs. Unlike traditional education models, which follow a rigid structure, AI helps identify learning patterns, strengths, and weaknesses, enabling students to achieve better results.

The Need for AI in Edutech

For years, the edutech industry has struggled with generic learning solutions. Nirmal Das recognized this gap and sought to create a platform that adapts to student needs rather than forcing students to fit into pre-existing structures. GrittyTech integrates AI algorithms to analyze student performance, recommend tailored study plans, and provide real-time feedback, ensuring a more effective learning process.

How AI-Driven Learning Recommendations Work at GrittyTech

1. Personalized Learning Paths

One of the key features of GrittyTech is its ability to create customized learning paths for each student. AI-driven recommendations analyze past performance, learning habits, and areas of improvement to curate a personalized curriculum. Nirmal Das ensured that these AI tools provide:

Adaptive assessments that modify difficulty levels based on performance.

Customized study schedules that align with a student’s pace and learning preferences.

Content recommendations that focus on strengthening weak areas while reinforcing strong ones.

2. Real-Time Progress Tracking

Unlike traditional edutech models that rely on periodic testing, GrittyTech uses AI to track student progress in real-time. Nirmal Das implemented this system to ensure:

Instant feedback on quizzes and assignments.

AI-powered insights that highlight improvement areas.

Performance-based recommendations for additional learning resources.

3. Interactive AI-Based Tutoring

AI chatbots and virtual assistants at GrittyTech provide 24/7 support, making learning accessible at any time. Nirmal Das believes that AI tutoring enhances learning by:

Offering instant doubt resolution.

Providing AI-generated explanations and step-by-step solutions.

Encouraging interactive discussions through AI-driven Q&A sessions.

GrittyTech vs. Traditional Edutech Models

Traditional edutech platforms often focus on pre-recorded lectures and standardized courses. Nirmal Das redefined this approach by introducing AI-powered customization at GrittyTech. Here’s how it stands out:

AI-Powered Skill Development at GrittyTech

Nirmal Das understands that education goes beyond just theoretical knowledge. GrittyTech utilizes AI to bridge the gap between academic learning and skill development by:

Recommending industry-relevant skills based on career aspirations.

Connecting students with AI-matched mentors and expert tutors.

Offering real-world project simulations to enhance practical knowledge.

Enhancing Engagement with AI-Driven Insights

Many students struggle with motivation when using conventional edutech platforms. GrittyTech ensures engagement through:

Gamification: AI-driven rewards and progress tracking keep students motivated.

Behavior Analysis: AI monitors learning behaviors and suggests productivity hacks.

Customized Notifications: Reminders and study prompts based on learning habits.

The Vision of Nirmal Das: Making AI the Future of Edutech

Nirmal Das envisions AI as the backbone of modern education. His mission with GrittyTech is to democratize quality education through technology. He believes that AI-driven learning recommendations can:

Improve student retention rates.

Make education more accessible worldwide.

Reduce the learning curve for complex subjects.

Challenges and the Road Ahead

Despite its advantages, AI in edutech faces challenges such as data privacy concerns and the need for continuous algorithm improvements. Nirmal Das and his team at GrittyTech are actively working to refine AI models, ensuring ethical AI usage and enhanced personalization.

Conclusion

The role of AI-driven learning recommendations at GrittyTech is transforming how students engage with education. Nirmal Das has positioned GrittyTech at the forefront of this revolution, ensuring that students receive adaptive, interactive, and effective learning experiences. As AI continues to evolve, GrittyTech will remain committed to making education more personalized, engaging, and impactful for learners worldwide.

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Post Graduate Program vs. Master’s Degree: Which Is Right for You?

How to decide between a PG program and a Master’s degree? This question indeed forms an important strategy for those contemplating between a post graduate program (PGP) and a Master’s degree with respect to individual career aspirations, time and money. Thus, they are rather different from each other and serve different needs regarding one’s professional plans, so they should be compared analyzing their features. Take a look into this blog for further insights!

What exactly are post graduate programs?

A postgraduate programme, sometimes called a PGP, is generally a brief professional course as a way to improve certain capability or information in a selected field. They cut across industries and are professional, thus being highly suitable for learners with a view aspiring to advance or change their careers. The courses last anywhere between six months to two years in most fields and institutions.

PGPs are applicable in areas such as management, data analytics and risk management where student centred approaches such as internships are embraced. Many of these programs incorporate advice from such professionals allowing for a curriculum that meets the needs of the market. More so, they are ideal for anyone wishing to gain knowledge but lacks adequate time for a conventional degree program.

What is a Master’s Degree?

The master’s degree, in contrast, is a complex program of study provided by universities and other institutions. About two to three years long, master’s degrees specialise in theoretical and research based approaches and thus provide a good academic groundwork. They are suitable for persons who have the intention of building a career in institutions of higher learning teaching or research or in specialized disciplines that demand further education.

Master’s programs are usually regarded as a continuation of undergraduate education and means the individual gets an in-depth study of some topic. These degrees are recognized internationally and are useful for diagnóstico or for postgraduate studies or highly academic positions.

The debate of PGP or Master’s

This is why it is important that candidates decide what their goals are when it comes to the acquisition of a PGP or a master’s degree. But if you are aiming for a short term career boost, a career change or to fill certain immediate industry gaps, then the PGP is for you. But if you want to improve your knowledge in a specific subject or intend to work in a profession that demands academic credentials a master’s degree would do better.

About Global Risk Management Institute (GRMI).

Institutions such as the Global Risk Management Institute (GRMI) should provide excellent postgraduate programmes that meet the requirements of the industry. GRMI is focused on PG training of practitioners for employment in the risk management industry, which is one of the most steadily developing industries in the present day economy. The courses integrate theoretical principles with best practices and have a take on practical aspects of understanding through their case studies, live projects and simulations. GRMI’s programme has a 97% placement track record and median CTC of INR 9.25 LPA with a stellar 95% of their alumni working in the top consulting firms of the country. If you see yourself working in roles such as internal audit, consulting, strategy, risk assurance services, due diligence, ESG reporting, fraud investigation and more call 09910939240 to connect with GRMI’s team. 

Conclusion

In essence, between a postgraduate program and a master’s degree, the decision would rely heavily on the need, time, or money in equal measure. PGPs are concise, affordable and very useful, while master’s degrees are comprehensive, recognized internationally and academic. Other organizations such as GRMI demonstrate how postgraduate courses may meet particular market requirements and promote the relationship between learning and work. By very closely analyzing your dreams and the advantages and disadvantages of a particular choice then, you will be in a very good position to make the best choices for the future. To delve into the world of risk management call 09910939240 today! 

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How To Raise $640,000 In Private Money with Willie and Haruna Oyola

Private Money Academy Conference:

Free Report:

Willie and Haruna are real estate professionals based out of the Emerald Coast in Florida, specializing in property investments since 2015. They’ve grown their portfolio to include 8 single-family homes, 3 duplexes, and several development projects across NW and Central Florida. Willie, a USMC veteran, met Haruna while working in Okinawa, Japan.

When they’re not managing their real estate ventures, they’re busy raising their three energetic children. At the heart of their mission is a desire to assist community members who find themselves struggling with property-related challenges. Whether it's the burden of unmanageable repairs, difficulty in keeping up with mortgage payments, or the stress of owning a property that has become a financial strain, they are there to help.

Their extensive experience in real estate enables them to offer tailored solutions to fit your needs. They are more than just a business; they are part of the community. They understand the local landscape intimately and are dedicated to enhancing their neighborhood one property at a time.

Timestamps

00:01 Raising Private Money Without Asking For It

05:01 Conventional Real Estate Investment Path

08:06 Private Money Conference Overview

10:31 Private vs. Institutional Lending

14:21 “Private Money Teacher” T-Shirt Explained

19:13 Motivation Behind Distressed Property Sale

21:05 Distressed Property Sale Analysis

24:05 Secure Loan-to-Value Strategy

27:11 Rent-by-Room Strategy for Profit

31:46 Self-Directed IRA Investment Advice

32:46 Connect with Willie and Haruna Oyola:

https://www.instagram.com/willieoyola/ 

34:12 Jay’s Free Money Guide: https://www.JayConner.com/MoneyGuide

Have you read Jay’s new book: Where to Get The Money Now?

It is available FREE (all you pay is the shipping and handling) at

What is Private Money? Real Estate Investing with Jay Conner

Jay Conner is a proven real estate investment leader. He maximizes creative methods to buy and sell properties with profits averaging $67,000 per deal without using his own money or credit.

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Solar Power Plants vs. Traditional Energy Sources: A Sustainable Future

Comparing Solar Power Plants and Traditional Energy Sources:

Solar Power Plants vs. Traditional Energy Sources A Sustainable Future

In today’s world, the growing demand for energy has led to a critical evaluation of different energy sources. Two major categories dominate the landscape: solar power plants and traditional energy sources such as coal, natural gas, and oil.

As sustainability becomes a priority, it’s essential to understand how these energy options compare in terms of environmental impact, cost, and long-term benefits.

1. Environmental Impact

Traditional energy sources are notorious for their adverse environmental effects. Fossil fuel-based energy production emits high levels of carbon dioxide and other pollutants, leading to air quality degradation and global warming.

On the other hand, solar power plants generate electricity from sunlight, producing no harmful emissions. By harnessing renewable solar energy, we significantly reduce our carbon footprint and contribute to a cleaner planet.

2. Cost Efficiency

At first glance, traditional energy sources may seem cost-effective due to established infrastructure and lower initial costs. However, these sources come with ongoing fuel and maintenance expenses.

Solar power plants, while having higher upfront costs, offer long-term financial benefits. Once installed, solar panels require minimal maintenance, and sunlight—being free—results in significant savings over time.

3. Energy Security and Independence

Traditional energy sources are finite, and their availability is tied to geopolitical factors, making prices volatile. Solar energy, on the other hand, is abundant and freely available in most parts of the world.

By investing in solar power plants, nations and businesses can secure a stable, self-sufficient energy supply, reducing their dependence on imported fossil fuels.

4. Sustainability and Resource Availability

Fossil fuels are depleting at an alarming rate, which poses a threat to future energy security. In contrast, solar energy is renewable and inexhaustible. With the world moving towards greener energy alternatives, solar power is a sustainable solution that can be relied on indefinitely.

5. Scalability and Flexibility

One of the biggest advantages of solar power plants is their scalability. They can be deployed in small residential systems or large-scale industrial projects.

Unlike traditional energy plants, which require large tracts of land and extensive infrastructure, solar installations can be built on rooftops, open fields, or even integrated into urban landscapes.

Conclusion

As the world grapples with the environmental and economic challenges of fossil fuels, solar power plants present a clear path toward a cleaner, more sustainable energy future.

With their environmental benefits, cost efficiency, and scalability, solar energy is fast becoming a viable alternative to traditional energy sources. The transition from conventional energy to solar is not just a choice—it’s a necessity for a sustainable tomorrow. Get in touch to learn more! Contact +912612244757 | +912612234757 Email info@kpgroup.co Visit site