#Tevinter objects

[lairofdragonagelore]

The Claws of Dumat and the Tevinter Bird/Dragon

The Claw of Dumat was introduced to us for the first time, visually, in DA2, and it was not until DAI that we got information about it via a note. However, it was not alone; a second artefact that lacks of any information appeared beside it: a metallic sculpture of a bird or a dragon that I called along this blog the Tevinter bird.

[This post belongs to the series “Analysis and speculation of Statues”]

[Index page of Dragon Age Lore]

The Claws of Dumat

Where does this artefact appear? We have seen it four times already: In the Valdasine Thaig in DA2, in different places within the Fade of DAI, in Fairel's tomb in the Hissing Wastes of DAI, and in the DLC The Descent, inside a chamber of the Heidrun Thaig.

In DA2 game

The claws of Dumat appear for the first time in DA2, in the Primeval Thaig's entrance, at the sides of the main corridor that will lead us to the Thaig filled with Red Lyrium. This implies that this Thaig, which has no typical Dwarven decoration of Paragons and the writing on its walls was not traditional Dwarvish, was deeply related to Tevinter. The Thaig was located below the Deep Roads and was built before the First Blight [exact same characteristics than the Heidrun Thaig] .

We learn later that the Dwarves than inhabit this Thaig had strong trade relationships with Tevinter [they gave them lyrium, according to the codex Valdasine], and it is not clear if they were involved in the construction of Emerius [former name of Kirkwall]. The configuration of the Thaig makes us suspect that Tevinter made experiments here. There is a constant pattern along these rooms: blue lyrium, Claws of Dumat, and red lyrium, that makes us speculate that these three elements are related one another: immense source of lyrium that must have been used to feed the Claws of Dumat until the magisters used slave blood, which in the end, corrupted the lyrium and turned it into red one.

As we continue exploring the Thaig we find an interesting and mysterious codex: The profane. We interpreted it in details in the post Primeval Thaig and Red Lyrium : we assumed that these profane may have been dwarven or humans who were abandoned in this Thaig when it was closed, and hungry, started to eat lyrium, the "blood of the gods", becoming through the aeons into the "profane" creatures, that only endure hunger. Hence, they brought the attention of Hunger demons in a place where the Veil was already thin due to the experiments performed with Claws of Dumat. These profane creatures don't look similar to the abominations of the Red Templars, so we could assume that they only consumed blue lyrium and the corruption of it into red lyrium happened later.

As we continue exploring the Thaig, Varric recognises the last chamber as a Dwarven “Vault”, filled with many Claws of Dumat from which the red lyrium grows.  Here, we find a staff called Valdasine, which codex says that before the First Blight,  the Dwarven House called Valdasine provided lyrium to all the Empire. However, one day, they closed the doors of their Thaig and blocked communication with everyone. When the doors opened after a time, it was empty, no bodies were found, and there were no clues of what happened. From a design point of view, clearly the profane and this event must be connected: This thaig is the Valdasine’s Thaig, and the profane are all those families that were trapped here and forced to eat Lyrium. The age seems to coincide roughly: both events happened before the darkspawn existed. It's also worth noting that the presence of a staff implies that this Thaig had mages, since dwarven were unable to use magic. This reinforces the idea that Tevinter had a deep relationship with this Thaig in particular, and Tevinter mages were present here with some purpose [most likely, an experiment that required big amounts of Lyrium]. We have to remember that dwarves and Tevinter mages had shown another similar situation where Tevinter Mages experimented within dwarven Thaigs in Golems of Amgarrak. In it, a Tevinter mage was trying to recreate a fleshy alternative to Caridin's golems, crafting the mysterious Harvester.

In DAI game: The Fade

The second time we see the Claws are in the Fade of DAI. They appear at different times and contexts: In The Raw Fade - Part 1 among statues of the Free Marches eagle, implying a strong relationship of this artefact with Kirkwall. This may reinforce the idea we explored in DA2 in Kirkwall history and design and in particular with the Enigma of Kirkwall : It is likely that Kirkwall was where the breach to the Fade was done centuries ago, through blood sacrifice. This is also reinforced by the codex Claw of Dumat, where we learn that Corypheus trusted that this artefact would allow him to bring back Tevinter to its former glory.

In the section of the Fade that I called "The Tevinter Path" in The Raw Fade - Part 2 we find more Claws, implying that they were used in the process of reaching the gods that had gone silent. This event can be interpreted as the Magisters breaking into the Black City in the Fade physically.

In Flemeth’s Fade – Part 1 , we find another Claw in an intersection, where a statue of the Free Marches is shown in front of some Avvar Keepers of Fear. Again, this seems to represent the tumultuous history of the region of Kirkwall: Tevinter invaded natives of this place to build Emerius with a hidden purpose beyond the mere extraction of stones for the construction of the Imperial Highway [more details in Kirkwall history and design]

In DAI game: Fairel’s tomb

In the Hissing Wastes: Fairel tomb we find a Claw in one of the tombs, implying that the whole story of Fairel may have been related to Tevinter and its magisters as well. This makes sense if we remember that the Fairel were a clan specialised on Runecraft, and this art was used in the construction of Kirkwall. There is also a mention of runes/sigils that can only be seen from the Fade in the Heidrun Thaig in The Descent – The Sacrificial Gates of Segrummar.

The tomb where the claw appears displays a specific fragment of the story of Fairel:

Fairel, Paragon, fled from the strife his brilliance created, the strife that destroyed thaigs, sundered houses, from weapons that clan used against clan. His own clan and his two sons followed Fairel to the pitiless surface, the surface where they would hide from the war that took their home.

As we see, it is related to the exodus of Fairel and its causes: a weapon he developed, which provoked strife and destroyed clans. During this quest in DAI, we learn that this secret weapon is a kind of rune, but the game doesn't give it more importance later [it feels more because the rush of ending the game, than something lore-related]. This is the main reason why I think Fairel’s house, as runecrafters, may have helped magisters to develop Emerius [which is built following glyphs and runes patterns, for more details check Kirkwall history and design]. As a clan alone on the surface, during a time when most dwarves were underground, they may have relied on Tevinter or accepted any deal in order to survive.

There is clearly a link between the Fairel ruins and Corypheus: Corypheus knew about these forgotten ruins when nobody knew they were there, thus he commanded the Venatori to dig them and look for Fairel's particular weapon: a rune.

Also, the presence of Tevinter elements in this tomb must have been brought in the past, during the times of Corypheus when he was a human magister, since these ruins where not known by anyone until now: it was Corypheus who informed the Venatori about them. The Shaperate, the only other institution that may have had this knowledge, never knew about them since they “recorded Fairel as dead” as soon as he left the underground. So I think it’s reasonable to keep supporting the idea that this clan and these ruins were involved with the ancient Tevinters quite deeply.

In DAI game: DLC, the Descent

In The Descent – The Deep Roads we start the exploration of this region with a big Claw in the main room. It is flanked by two elven rounded trees in the dwarven style. This is already telling us that this Thaig, which predates the Blights, had Tevinter presence not only for trade: their blood ritual instruments had been incorporated to the decoration of the chambers of the Thaig Heidrun, built on a lyrium mine and then destroyed by and earthquake caused by unknown reasons [the stir of a woken-up Titan by an unknown event].  .

In front of the claw, there is a table with a game and a Dwarven stone-paintings that belongs to these strange paintings we found in Hissing Wastes: Fairel tomb, where we speculated that maybe represented Kirkwall, or another city Kirkwall-like.

Later, we find more Claws in another room where they are exposed in a way that implies worship. Since it's in here where the Tevinter bird appears, i will talk about this room later, in the Tevinter Bird section down below.

What do we know about the Claws of Dumat?

In the DAI Fade [ The Raw Fade - Part 1] we find an extremely juicy codex explaining about this artefact. The codex is written by Corpyheus’ slave who was sacrificed later. What we learn here is:

It implies that Corypheus has been developing different altars to “bring Tevinter to Glory” [Would that mean that the Tevinter bird is a prototype?].

We are informed that the Old Gods have been silent for a while and that has caused the loss of followers. This has been a source of fear in Corypheus. [This info is confirmed by Corypheus as well during Orlais: Shrine of Dumat]

This slave knows that Corypheus has been meeting with other “priests” to try to find a solution to the decline of the cult to the Old Gods. 

Corypheus took his name around the time the Tevinter Magisters entered the Golden City. So we can assume this is a narration very close to the time in which the Sidereal Magisters stepped into the Fade physically.

Corypheus knew that the old elves were tied to the Fade, and the mortal elves have something of that power in their blood, hence he wanted to use their blood for the ritual of entering the Fade.

The Claw of Dumat supports the victim on its top, with shackles, and seems to drip blood along the statue to a pool with runes. [Could these runes be a creation of Fairel?]

It is implied that Corypheus used little blood magic before the silence of the Old Gods. The loss of god's voice made him fall in despair.

These words were written and reflected/preserved in the Fade at the base of one of these Claws of Dumat we find just after we pass by some Free Marches eagles. Again, the presence of the Free Marches eagles around the Claws of Dumat may be a representation of Kirkwall, but it could also represent another thing, maybe related to the Tevinter bird.

The Tevinter Bird/Dragon

It is a metal statue of something that looks like a bird or a dragon. It could be the “Tevinter” style of the usual Kirkwall eagle, or something else that escapes me completely. If one is careless, these draconic-bird-like statues can be mistakes for Claws of Dumat, but they are not. They share the same style than the Claws: they are Tevinter, made of dark metal, in an angular and pointy shape.

When we compare it with the statue of Mythal dragon shape, we can see some similitude, as if it were the same one but in the pointy “Tevinter” style. Of course, if this were the case, this metallic representation of Mythal lacks of its iconic spike. 

In DA2 game

The first time we see this statue is in DA2, in the Primeval Thaig [read Primeval Thaig and Red Lyrium ], in a Chamber that Varric refers to as a Dwarven Vault but its key claims it to be a crypt. There are veins of red lyrium around these statues and around the Claws of Dumat.

In DAI game: Crestwood Caves

The next appearance is in Crestwood: Flooded Caves, at the entrance of a chamber of a Dwarven ruin.

This place seemed to be important, since it is decorated in this fashion. This entrance even has an illustration in the Book of Inquisition [image above], showing that these statues are placed at the side of the entrance completely on purpose. The position seems to be similar to Mythal statues we find in the elvhenan ruins or Temples.

In that illustration, however, we also see a big mask-face over them, reminding us those faces we saw in dwarven Thaigs in DAO, or in the Avril of Void. These faces always gave me the impression of being unconcious representations of the Titans within the dwarven culture.

Later on, I found a plaque close to this place, in a locked room, that seemed to imply this whole dwarven ruin was a route that connected Aeducan Thaig with Gundaar Thaig [another famous Thaig, and one of the first in falling under the darkspawn threat]. It’s interesting that the name Gundaar appears here, since it’s one of the three Thaigs that the lore considered lost and have been hiding curious developments [the other two are Kal-Sharok and Hormak, for more details read Orzammar, Witch Hunt, and The Horror of Hormak ].

In DAI game: Heidrun Thaig

The last appearance of the Tevinter bird was in DLC: The Descent – The Deep Roads where, despite the lack of information in a codex, we find a curious chamber in the Heidrun Thaig that may provide some insight.

The chamber in question seems to honour four statues: two Claws of Dumat and two Tevinter birds. This could have been a chamber of summoning or enhancing magic, since we know the Claws of Dumat were used with blood sacrifices to empower magic. So even though we don’t know what the Tevinter bird’s function could have been, the presence of the claws makes us infer that it may have been related to blood sacrifices and the process of breaching the Fade.

Another detail that supports this hypothesis is that, in this Thaig, blood magic has been performed long time ago: we meet an Arcane Horror in The Uncharted Abbys, Bastion of the Pure, who still performs blood magic with animal bodies [we find some dead animals that are still warm]. The curious detail is that this chamber has a lot of elvhenan objects: several inukshuk, an eluvian with the same frame that Merril's, and a statue of Humanoid Mythal. In the same chamber we also find one of the Tevinter sacrificial altars, which makes us suspect that Tevinter and Elvhenan knowledge have been fused in this place. That these elements appear in this part of the underground may be related to the fact that the Bastion of the Pure it's where we find the densest amount of lyrium [important component to cast powerful magic].

However, I'm not sure if we can assume this Arcane Horror is an ancient magister of that time. I’m more inclined to think that it is the father of the builder of The Sacrificial Gates of Segrummar, who needed to be in the Fade in order to see the sigil that is present in all this Thaig, apparently. 

Speculations about the Tevinter bird/dragon

The information we have collected in here is rather scarce. We can have a good understanding of the Claws of Dumat, but it's hard to extrapolate all that to the Tevinter bird. So, I developed several hypothesis:

It's a prototype of a Claw of Dumat

According to the codex of the Claws of Dumat, Corypheus had been working on different prototypes, so we can assume this Tevinter bird may have been one of those: a mere prototype. However, if it was so, why would it be present in Valdasine's Thaig? You don't use failed prototypes. Unless its presence, in combination with the Claws, is what makes the claws work.

It's something related to Emerius

Kirkwall always had an iconic metallic statue of an eagle [1, 2]. We can even say that the geometrical symbol of Kirkwall [7] looks like an eagle extending its wings [7] even though the origin of that symbol has a strong resemblance with the original symbol of Emerius: a raising dragon [7].

In the Viscount's Keep, we see different other representations of the eagle [2, 3, 5, 6]. The origin of [3] seems to be [4] which is a symbol closer to the Emerius style than the current, geometrical one, so this design detail tells me that this symbol may have belonged to the time of Emerius. The fact that the claws of Dumat appear in the Fade close to the [1] eagle statues may represent something. Maybe the original rising dragon represented in the Emerius symbol was hidden later in a bird-like figure?

Since the dark metallic eagle represents Kirkwall [or Emerius if we are talking about old times], this draconic/bird statue may be the representation of another city with similar characteristics than Emerius, maybe less important during the time of the Tevinter Empire glory.

This idea is also suggested when we find a Claw of Dumat in the first chamber of DLC: The Descent – The Deep Roads , where we see one of those Dwarven stone-paintings, which is neither the usual painting we saw along DAO, nor the usual one representing Kirkwall in DA2.

There is also a weird "bird" statue that we only see in DA2, that I talked about it in Xenon and his Black Emporium, depicted as a humanoid bird with chains that holds a mask on it. I can't bring a decent, non-conspiracy relationship between them, but it's the only bird-like statue I can think of through all the games. This weird statue appears in many houses of Kirkwall in DA2 [specially noticeable in Danarius house].

It's a Forgotten One which, as a dragon, was taken by the Tevinter interpretation as Dumat [or any other Old God]

In the way it is presented in the Vault of DA2, and considering it has a draconic shape to it, we can even speculate that this statue is a small representation of Dumat himself.

Hence, this statue is attached to big chunks of metal and close to the Claws of Dumat in that Vault as a mere decoration.

I like to play with the thought that it may be Myhtal [as I did in the beginning of this Tevinter Bird section]: I already talked about the speculation of Mythal being of double nature [Evanuris and Forgotten One, that the unreliable oral tradition of the Dalish lore twisted to give it to Fen'Harel, details in Speculations about the Vinyl Art or Dragon Age Iconic Patterns: The Sun], and the Forgotten Ones being dragons that were worshipped by the Elvhenan until they claimed their divinity [read more in Attempt to rebuild Ancient Elvhenan History]. In that moment on, they may have erased the ancient gods turning them into the forgotten ones, who escaped to the Abyss [which is related to the underground, where we know many dragons hibernate]. Therefore, there is a possibility that these forgotten dragons were taken later by the newly arrived humans [the Neomerians] who developed the cult of the Dragons, aka The Old Gods, being completely oblivious of the relationship that these creatures had with the Elvhenan, a civilisation they hated and despised. So that, they took the image of Mythal and considered it Dumat, and for that reason, they used this statue as a decoration to place around the Claws of Dumat.

The con of this interpretation is that it's not clear what kind of Dragon was the real Dumat-Archdemon which desolated the lands during the First Blight: was it truly Mythal? Another fragment of her? or was another Dragon? We already made a lot of speculations about the true Mythal being trapped in the Black City in the post Speculations about the Vinyl Art that makes this current speculation to falter.

Considering this horrible counter-argument, we could assume that maybe this is another Forgotten One that we have no name at all, but again, why would you put it close to the Claws of "Dumat" then?

Conclusion

It's clear that all speculations are pretty weak and lack of consistency to be considered seriously. For the moment, we know this statue exists, and may have some relationship with Tevinter, the Dwarves, and Emerius, even though we can't detail how that relationship is. Let's hope that future games, if they are not meant to destroy the DA lore, may give us some enlightenment on this matter.

[sorry-i-forgot]

Despite my love hate relationship with this game, Lucanis has won mine (and my rook's) heart. The brainrot is so real and so is my writing degree have some tidbits and screenshots for free. Rook is Hanina Mercer (Hanina meaning 'your glory') a dalish foundling sold into "adoption" to a insignificant military family trying to get a one-up by adding new mage blood into the mix. Was briefly an abomination herself when possessed by a rage demon (I stg I didn't even know Lucanis had a demon I'd purposefully avoided spoilers before launch) with fire now being her expertise. She's gregarious, sarcastic (purple rook my beloved), and deadly in a fight. The orb & blade combo is so hot both literally and figuratively. The playful headstrong mage switching to unabashed concern and care on a dime -- Lucanis did not stand a chance. And honestly neither did she because NO ONE has ever offered Hanina 'Rook' Mercar anything without wanting something in return and they certainly have never cooked a fucking meal for her. Anyway I just think the moral dilemma of an elven child being taken from her original parents and facing a terrible fate only to be given quality housing, food, education, etc all with the understanding it's only because of her blood is mind-bending -- especially when she joins the Shadow Dragons with the purpose of freeing more of her "true people" only to be faced with the choice of saving her "home" or Treviso; a choice that will end up hurting her more than she cares to admit no matter what she decides. All while she's tasked with saving all of Thedas from the ancient gods of the people she was forcibly disconnected from so many years before.

i swear half his idle animation is leaning against objects, not that i'm complaining... also i could not turn off ui dont come for me

[mabaris]

ok but what happens when an OGB dies. i know it’s a popular theory andraste was one because she was born around the end of the first blight. but what happened to that soul when she was killed? being reborn in a mortal cleansed it of the blight, so it wouldn’t have to jump into the nearest tainted body (darkspawn/warden), but is the jumping a feature of the blight (possible, since corypheus does the same) or a feature of the inherent Divinity of the soul? would it have died there, or gone into hessarian, or instead gone to the nearest pregnant woman lol. and then from that kid on down the ages. what’s the endgame here

[rangerdoubt]

it’s late and i don’t know how to put it but ngl with veilguard coming out with the option to be an elf shadow dragon (? i don’t see why not anyway) i’ve got my hopes up to see like. City Elf Culture

like i adore tabris and the city elf origin, they’re fascinating!! but so much of what i’ve seen is like. extremely depressing/enraging What Has Been Lost type things and like. if we’re going to be going around minrathous and freeing people PLEASE say we get to see people adapting and being creative and resilient and growing around their circumstances

DAI took pains to establish that the dalish don’t know everything there is to know about culture and history!! i’m excited to see it what other kinds of regionalism there is, where you HAVE to set aside any claims to authenticity

[vault81]

torn between the grey warden background and mourn watch... would be nice to play a warden again... or I could be a little freak found in a tomb as a baby by undead then raised by necromancers..

[dragonbabes]

Imagine Solas and Lavellan accidentally bumping into each other during those eight years between Trespasser and Veilguard.

Just so you know, I wanted this to be like two paragraphs max. Wanted to sprinkle a little angst dust on your head, but ended up pouring the whole jar (sorry, but also not sorry?) I hope you enjoy spiraling with me… <3

She sits on a fine couch tucked in a corner, behind sheer curtains that obscure her from most of the prying eyes trying to catch a glimpse of the elvish woman that wielded the very power of the fade; or the hand that had housed it. She isn’t blind to the disappointment that flitters across faces when her hand is found void of any milky glow, and only a shiny white gold prosthetic clinking against her glass of wine.

Wine. She hates it. Most the time. She’ll drink it at events, if only to make the night pass by a little smoother. The wine, however bitter it is, makes every minute packed with questions poking and prodding at her most painful scars sound a little less like stone grating against itself. Usually, Dorian sticks close to her side to fend off the especially insensitive and the racist assholes that like to hover around her as flies hang around shit.

Lavellan grew up among trees and flowers and sweet silence. The petticoats, snide remarks, and hidden meanings that stink up the air here gives her a headache. It's hot, it's crowded, and she feels like a tiger chained and locked in a cage. Despite hiding - or trying to, at least - Lavellan still catches people looking her way and then whispering behind their hand. Someone is always talking here. The one thing that she and Solas disagreed on is the 'pleasure' of court intrigue. The court makes her feel like a pretty little piece to be won by the highest bidder. When she attends, she’s surrounded by men with one drink too many in their bellies, saying things like—

“I’ve lost you to your thoughts again, Herald.” His words roll off his tongue thickly; he’s Orlesian, that much she’s gathered from his accent. He, who is a scholar and wiseman, ever searching for answers of the fade. And she — oh, joy — is an object of curiosity to him (those were his exact words). “I’ve heard such talk always clams you up. These are the things the others who have sought you have said. You are from the Free Marches, a Dalish, so I imagine you are hesitant to leave your people.” Lavellan hides her snort with her glass by taking another drink. Is he going to pretend that she hadn’t left her clan to travel across Thedas and attend the Conclave? Has this scholar yet asked himself, 'How can she fear leaving her people, yet be here, in Tevinter, at this ball?'

Her eyes, now housing unnatural specks of green that really fascinates the pompous magisters roving about, trail away from the human, along with her thoughts, to meet with the eyes of an elven servant just entering the room.

In his hands is a tray of balanced glasses of champagne — a drink much kinder to her tastebuds — that shine the same shade of gold as the servants' widening eyes. She blinks at the panic that washes through them. He spins around (not losing a drop of the champagne, she notes), shoves at the other servant entering just behind him - who bears a tray of yummy little sandwiches in their hand - back into the shroud of the hall and begins hissing at them.

Her gaze falls down to her hands, clasping her drink in her lap. Since the events of the Inquisition, she’s been held above most everyone. Revered as untouchable, someone to be worshipped. To be bowed to. Even by her own people.

She is lonely.

“Surely, I cannot be so unworthy of your company, Inquisitor.” The man concludes his rant at her side. A rant full of reasons of why she should stay at his estate and become his mistress, to put it bluntly. It's all wrapped up in passionate and poetic words he wants to use to tie her up. Like a dog, not like a lover. For she is an elf, she is a trophy to be won! The Inquisitor! Herald of Andraste, she has been touched by the Maker and sent to them. For them. But... She is an elf, and they'll do everything they can to gloss over it. Sometimes she wonders, hundreds - thousands, maybe - of years from now, will she still be remembered as the elven woman she is? Or will they remake her into what they want?

“My lord, my silence is not an insult to your character.” Lavellan watches as the elven servants fully enter the room now, the taller one behind now with a covered face and lowered eyes. Curious... They move around the room, offering refreshments with lowered heads and sagged shoulders; it makes her tongue thick in her mouth. She trails their movements. “I am flattered by your… Fascination with me.”

Glass empty, she sets it down and turns her hand over, eying the pretty designs etched into the prosthetic. Dagna designed it for her, with the help of Dorian; she wasn't surprised when they gave it to her to be blinded by the sunlight reflecting off the gold, but she was also surprised to love it so much. A simple thing, with the eye of the inquisition on her palm - where the mark was - and vines with small, intricate leaves twisting out from it... “The magic I wielded is a curious phenomenon, no?”

“Absolutely! No one has had such a close connection to the fade! Imagine what we could achieve with your ability, and my intelligence.” She grinds her teeth, jaw flexing; of course, she’s not intelligent enough to understand it on her own.

The vines, Dorian explained, wasn't just because she's Dalish or loves botany, but rather because she 'has a habit of making even the most desolate places blossom.' She closes her palm and holds it over her heart. This human next to her is ignorant to that; she shouldn't let it bother her...

“I’m sure it would’ve been extraordinary.” She lowly replies, her irritation barely covered by the smile she forces into her lips, “Unfortunately, I cannot wield it anymore.”

“Ah, yes, your adversary.” The man leans back in his chair, one arm resting on the couch behind her. Lavellan slowly inches away. “What was his name?” The lord taps his chin as he hums to himself. Lavellan doesn’t bother to offer him the answer, though it’s blanketed over her tongue, drying her mouth and casting her eyes out the window. “The Dread Wolf?” The elven servants stop in front of them.

“My lord.” He offers out the tray to them and lowers his honeyed eyes. Lavellan watches him steadily, the taught lines between her brow melting off her unnaturally sharp features. “Inquisitor.” He dares a glance at her, and she takes that second to smile at him. The lord grabs a glass and continues. As if they don’t exist.

“That is how your people refer to him, yes? The Dread Wolf. Fen’Harel.” There’s cheer flashing through the lord's eyes. He takes a taste of his drink and swishes it around his mouth with a smile barely contained. Her eyes sharpen, but she forces herself to look away before the look kills him. It would’ve, she imagines, and she’s almost ashamed to say it would bring her joy. Just a tad. But that’s not very Inquisitorial of her…

“Thank you.” She quietly says as she removes the last glass from the tray. “Yes, my lord. That’s what they call him.” He cackles, head thrown back, and drawing the rooms attention. Lavellan doesn’t share his elation.

“To think that you had one of your own gods under your nose for the better part of the year!” He puts his hand to his stomach and laughs some more. The Inquisitor rolls her eyes and takes a large gulp of her champagne. “And you never noticed, m’lady? That your feared Dread Wolf dined at the same table as you?” Lavellan’s hand tightens over her drink.

“His name…” Lavellan flinches at the break in her voice and takes a deep breath to steady herself. There’s a burning to her eye. One that tells her she may be one drink too deep herself. She downs what's left in her glass and clears her throat. “His name is Solas.” She flicks her eyes, newly hardened, back to the lord. “And he was there to help. Just like the rest of us. He is a good man… I had no reason to doubt him. Ever.”

“You sound rather affectionate in your address.” He comments.

“Yes.” Her words are quiet as a smile ghosts over her lips. “So, you will understand me when I say I cannot accept your offer.”

“Come, I can change your mind. You can merely visit for a while, things may progress naturally.”

“They will not, my lord.”

“You cannot know that.” He leans in closer to her, drawing a nervous laugh from her.

“I know myself well enough. It will not happen.”

“Surely you will not waste yourself on-“

“Would you like a treat, my lord?” The unmasked servants question is sudden and frantic at first but falling quiet toward the end. Lavellan raises her eye at the nervous shift of his feet, and glances to his friend behind him; what has them so on edge? She catches grey-blue eyes for merely a second before they’re obscured by his brunette hair as he bowed and offered the tray with steady hands. Familiarity instantly breathes down her neck at the shade of blue she saw. Then it begins to burn in her gut.

She cannot seem to escape him no matter where she is...

It’s quiet, Lavellan realizes, and she begins to blink herself back to the present. All humor leaves the lord as he finally turns to acknowledge the two standing before them. His eyes have somehow become a darker shade of black, and his lips turned down with a silent snarl. Lavellan shudders at the sudden change, goosebumps rising into her arms. She watches the look in his eye sharpen into a knife, and her heart jumps into a throat. Inhuman. He’s inhuman, she thinks.

“You can see that the Inquisitor and I are having a conversation, yet you would interrupt us?” Lavellan straightens. This will go badly, and quickly. She places her hand atop the lords, and levels him with a stare that she had been masking all night; pupils blown a little wide, hard, and a slight sense of bloodlust. It was men like this that took her clan from her. She can barely conceal the shake numbing her limbs.

She has to reel it in. For Dorian's sake.

“He has done nothing wrong, my lord. Please, there is no need to use such a tone.” His hand grasps back at her own, and he plants a slobbery kiss to the back of it. Horror parts her lips.

“You jump even to the defense of those who are below you. You are exquisite.” Her skin runs cold, as if she stepped out into a winter night with no cloak. Below her? Below her?

“You would sit next to me on this couch and say such a thing?”

“Ah, Inquisitor. You must be upset with my scolding. Forgive me for such unsightly behavior. I do not make a habit of disciplining the help in front of my guests, be sure. But sometimes you must act immediately, to teach them that some behaviors simply will not be tole-“

“Enough. You misunderstand me.” Her voice is low. Her tone is that of the Inquisitor, not Lavellan, and it makes her heart shiver and ache a little. “They are my people.” Her words are, despite being quiet, heavy, hard, and final. “They are not below me. They are my people.” Gods, she’s had too much to drink. She should hold her tongue. Dorian will have another mess to clean up if she loses her cool again. “Do not think that I have been blind to the disrespect you pay to me and my people. You think you have hidden them so cleverly them behind your little compliments. You have crossed the line. You disgust me, and you will never lay a finger on me, my lord.”

The lord is silent. So are the servants. She removes her tight grip from his hand and scoots herself to the other side of the couch. “Leave me. Before I lose the rest of my patience and become the savage you expect me to be.”

Joy, her first taste of it tonight, blankets over her chest at the wide-eyed, open-mouthed look that's taken up his paling face. Without a word, he scurries away. The Inquisitor steadies herself with a deep breath.

“I’m sorry to provoke him. I know my place.” Lavellan’s brow pinches, and her attention is back on the two before her. The other servant remains with his head bowed and tray outstretched.

“Thank you.” She gingerly removes a sandwich. “You must not apologize to me. And,” her eyes trace the lines of his pale face, and the messy curl of his blond locks… She stops herself. He knows his place, he says… But she fears he doesn’t. He is not below the nobles here, not below the human servants, but how can she convince him. In a room full of people that see him as a mouse scurrying between their boots. “Truly, you’ve nothing to apologize for.”

A sense of shame burrows in her cheeks as she looks away from them. She should help them. There won't be any consquences to her, but the lord will run and tattle, and these two will still be to blame. She should help them escape. But… How? Perhaps Dorian will know.

“You’re as kind as they say.” He bows his head to her, and she shifts in her seat. “We are in your debt.” Her eyes dart to the other elf, but his eyes remain downturned.

“Is your friend okay?” She asks. He jumps as his attention returns to the quiet form at his side.

“Oh, yes. He’s mute.”

“Oh?” She takes in the tall, masked man before her. “Why do you wear…” She catches herself, “Why the mask?”

“He has a nasty scar. Wouldn’t want to offend you, my lady.” Her brows pinch, but a laugh plays on her lips.

“People say I’m kind, yet you fear showing me your scars?” She looks to the other, wishing he’d bring his eyes to hers, but he doesn’t. She wants to see that blue again. “Well… I take no offense to yours. I’ve my own to hide as well.” She addresses him, and his eyes return to meet her own. Again, her stomach churns and her heart flutters. She wishes she could see Solas again, to know if she truly remembers his face, or how he looked at her. If the blue of his eye truly is so similar to the ones staring back at her.

Lavellan takes in the straight brow above the masked elf's eye and returns to searching the depths of them. They seem to suck her in, and she's helpless to pull herself away; they felt like wells full of an emotion she couldn’t place. She leans forward before she can think better of it. Why is her heart stirring so much? She felt she could drown in the warmth radiating out of those blue orbs.

Why is he looking at her like that? As if she were the only thing in this room? As if he knew her, as if he understood-

“Lady Inquisitor?” The servant asks quickly, another nervous shift in his stance.

“Ah, sorry.” A sheepish smile plays on her lips as she leans back against the couch. “Your eyes are quite beautiful. They remind me of a friend.” Her own gaze falls, returning to watch the city splayed out before her, and dulls to a melancholy glisten. “Thank you for the sandwich. Take care.” They bow to her, and stalk off.

She’s foolish. She wanted him back so badly she can see him in any set of pretty blue eyes, it seems. Her eyes redden, tears building until they threatened to fall, and all the drinks she’s had begins to burn in her stomach. She’d like to leave soon.

She hates the court. He loved it.

And that’s all she can think about when she comes to these things.

XXX

She hates the court.

Why is she even here?

Where is Dorian? Why would he ever leave her side in a place like this?

Those are the sort of things whirring around Solas’ head. He stares severely at the marble floor and takes deep breaths to ground the uproar within him. His body is buzzing, like every nerve within him is coming to life simply by being so near her. Years have passed, yet she is as beautiful as ever. More so.

Perched on a couch just behind the shifting curtains, the mage casts her several glances as they work their way around the room, and shudders each time she’s revealed to him. Beautiful. Ethereal. Her hair shifting with the breeze, tapping against her jaw, and plump, painted lips caressing the curve of her wine glass.

She hates wine.

He just needs information of who the idol was sold to. It’s a simple mission that any agent could carry out. Therin wasted no time trying to dissuade him. He even suggested Solas take a walk in Treviso, visit a cafe, and take a day to himself. But the mage didn't want to wander, he wanted to focus. There's a reason he insisted to come himself...

That reason is on the couch a few paces behind him. Solas hadn’t wanted to be haunted with the thought of her, torturing himself over the words she would say to him if she knew that he is one step closer to finishing the ritual… A ritual that would ruin the world she fought and bled for…

Therin insisted that he doesn’t follow him in, but she’d already seen Solas following him and she would have questions; the observant, smart, curious creature she is. So here he is, heart hammering so hard in his chest the closer he steps to her that he worries he might pass out.

When her voice finally reaches his ear, he almost let's out an audible whimper, but manages to strangle it with a quiet cough. How he missed hearing her voice. If he could, he’d give everything to spend another night pouring over books with her in the Skyhold library. What wouldn’t he do to hear her voice free of the weight of his betrayal and back to the warm, lilting cadence she used only with him.

“The Dread Wolf?” Solas stills at that name. The lord who is draped across the couch with Lavellan, leaning closer to her, as she leans farther away, hums with amusement. "Fen'Harel..." Solas can barely breathe, this close to her; yet unable to speak to her, to touch or hold her…

It’s nearly more painful to him to be unknown to her, as he is now, than to bare himself before her again.

His tongue swells after he steps past the curtain and beholds her entirely. Clad in a detailed dress clinging to her waist, pushing up her breasts, and resting happily on her wide hips. Solas burns her image into his mind, noting every little detail of her that has changed. His eyes linger on the golden hand that reaches out and plucks a drink from Therin's tray.

He could fall to his knees now and beg her forgiveness. She could tell him he is nothing and he would be grateful she even allowed him to kneel before her… His chest constricts painfully.

“Thank you.” Her voice is warm, softened. “Yes, my lord. That’s what they call him.” Her civility is forced, he can hear it in the flatness of her words. The human begins to cackle, and Solas’ eyes narrow dangerously onto him.

“To think that you had one of your own gods under your nose for the better part of the year!” The mage's hands tighten over the silver tray until they are white knuckled. He would laugh at Lavellan? The woman who saved his sorry ass from the tyranny of Corypheus? “And you never noticed, m’lady? That your feared Dread Wolf dined at the same table as you?”

And he would ignore vhenan's clear discomfort? The shade cast over her eye, the frown on her lips, and her hand tightening over her glass. The expression on her face, sure to fall unnoticed by everyone else, is one of desolation while she looks out to the city. He wanted to reach out and touch her temple, relieve her of what he knows is banging around in her chest; the exact thing that is trying to claw its own way out of his chest and to her. Solas’ mind is narrowing, his willpower dwindling; he’d damn all of his efforts soon if he didn’t leave. He needs to back away or he will blow their cover. The elf manages a weak step backwards.

“His name…” Her voice breaks, and he does the same. Her eyes are slightly irritated, a redness climbing up into her cheeks, and he can see her collecting herself with deep breaths. She’s always been in control of herself. He admires her for it. “His name is Solas.” She brings her eyes back to the lord, keeping them steadily on the shifting fool. “And he was there to help. Just like the restof us. He is a good man… I had no reason to doubt him. Ever.”

Solas’ heart falls into his stomach, where it begins to churn into a nausea that threatened to bring him to his knees. Her words are lodged in his chest.

“You sound rather affectionate in your address.”

“Yes.” It comes from her in a whisper. It comes with a smile. “So you will understand me when I say I cannot accept your offer.” Offer? His eyes flick back up to the two on the couch, trying to decipher the look shared between the two.

“Come, I can change your mind. You can merely visit for a while, things may progress naturally.” Is he asking her to, what, marry him? Be his mistress? Her unease and his insistence leads Solas to believe it’s exactly that; likely the latter, considering. There’s a pang in his chest.

Of course others will want her. Look at her. More than that, she is good. She’s kind, strong, intelligent- he could go on forever. She is everything. What creature could not crave her?

“They will not, my lord.”

“You cannot know that.” The bastard begins to lean closer to vhenan. The panic that shuddered over her expression is enough to send the elven god over the edge. She moves away with a nervous laugh. Solas stiffens, and he hears a sharp breath from Therin; the agent could tell when the Dread Wolf was getting prickly.

“I know myself well enough. It will not happen.” Solas’ eyes are smoldering.

“Surely you will not waste yourself on-“ That’s it. He can take it no more. He takes a step forward, the tray beginning to loosen in his hands.

“Would you like a treat, my lord?” Therin’s voice calls him back to himself. The mage swallows thickly. His eyes instinctively return to Lavellan. She locks him in his place with her gaze, every muscle in his body tensing, and his heart flopping from his stomach up into his throat. He could not get control over himself.

His eyes lower, and he holds out the tray. She would know his voice if he made even a noise, that he was sure of. So he’s silent in his regard to her and the piece of shit next to her. There’s an uncomfortable silence, but Solas doesn’t bother to ascertain why it’s fallen over the four of them.

“You can see that the Inquisitor and I are having a conversation, yet you would interrupt us?” Solas clenches his jaw. Would that the lord knew what beast was barely keeping himself in check a feet away… What would his words be if he knew that the Dread Wolf — the wolf that loved the woman he is so blatantly propositioning — had his fangs positioned at his throat; how Solas salivates at the thought of crushing the man’s windpipe.

“He has done nothing wrong, my lord. Please, there is no need to use such a tone.” The Dread Wolf’s blue eyes cool even further as he watches her hand fall atop the humans. Her skin has paled, her eyes darting between Therin and the lord with a disarming smile trying to stick on her lips.

“You jump even to the defense of those who are below you. You are exquisite.” She is exquis-

He will kill him. Before Solas leaves this ball tonight, he’ll see this man’s heart removed from his chest. The lord thinks he deserves to press his lips to her skin? Skin that Solas himself did not have the pleasure of tasting? This little human believes himself worthy of vhenan? His vhenan?

The lord even pays no mind to the look of terror that breaks through her mask for a second. He would ignore her rejections, belittle her, and touch her so carelessly? Death is almost too good for him.

“You would sit next to me on this couch and say such a thing?”

“Ah, Inquisitor. Forgive me for such unsightly behavior. I do not make a habit of disciplining the help in front of my guests, be sure. But sometimes you must act immediately, to teach them that some behaviors simply will not be tole-“

“Enough. You misunderstand me.” Lavellan’s voice is unnaturally hard and low. He imagines he’d die right then and there if she were to ever addresses him with such a cold voice. Solas waits impatiently for the lord to do the same. “They are my people.” She keeps her voice low so that the others in the room wouldn’t catch whiff of the commotion. “They are not below me. They are my people.” She has not changed so much, it seems. To endure the insults he wrapped up in his compliments, until they were directed at others. Often, she didn’t bother to defend herself from the sharp words of others, but the moment she heard someone mumble under their breath after him — or anyone, really — she was nearly feral. He would pull her away with a smile playing on his lips, and wrap his hand around her waist, plant a gentle kiss to the top of her head.

“It’s ok, vhenan.” He’d say. “Their words do not bother me.”

“But they bother me!” She’d cry back with this same look in her eyes. A direct stare, sparkling with ire, and a promise to fulfill every warning coming off her lips. His hands threatened to tremble knowing that they could not soothe her as they did before...

“Do not think that I have been blind to the disrespect you pay to me and my people. You think you have so cleverly hidden them behind your compliments. You have crossed the line. You disgust me, and you will never lay a finger on me, my lord.”

What is it raging about in his chest? Dying jealousy clashing with his ire, now being smothered by a cool wave of pride.

“Leave me. Before I loose the rest of my patience and become the savage you expect me to be.” The lord scurries away. Lavellan’s chest rises with a deep breath, and falls with her steadying exhale.

“I’m sorry to provoke him. I know my place.”

“Thank you. You must not apologize to me. And,” She bites her lip as she catches her words. His eyes return to her as soon as he feels her gaze slip to her hands. The crease between her brow, and the worry of her lip; she has something she wants to tell them… She returns with only a warm smile and, “Truly, you’ve nothing to apologize for.”

“You’re as kind as they say.” Lavellan shuffles as Therin bows his head to her, and Solas does the same. “We are in your debt.”

“Is your friend okay?” He’s suffocating under her gaze. He’s nearly forgotten how thrilling her attention was.

“Oh, yes. He’s mute.” She hums back a response, and asks about his mask. Maybe he should’ve just turned around and let Therin handle it all. Of course she’d be suspicious of the one elven servant wearing a mask. “He has a nasty scar. Wouldn’t want to offend you, my lady.” She laughs.

Gods his knees are weak. A smile blossoms into his own lips before he can think. Then his brow pinches; he’s smiling, while feeling like he might throw up, or worse, start sobbing in her lap.

“People say I’m kind yet you fear showing me your scars? Well… I take no offense to yours. I’ve my own to hide as well.” In a moment of weakness — pure stupidity —, despite the whispers in his mind that doing it is a terrible mistake, he trails his eyes up to her own. He is all too aware of the love she has for him.

She will know him. Even if it’s just from a short meeting of their eyes. What’s worse is he almost wants her to recognize him.

If she did, what would she do? His eyes search hers for an answer. Would she allow him to apologize? Would she forgive him? Would she run into his arms? Or would she give him that same icy stare that she gave the lord? Could there be even the slightest hope that someday he could hold her again?

But hope is all he’s ever seen in her eyes. This time is no different. He sucks in an audible breath as vhenan leans forward; he sees the familiarity sparking in her beautiful eye, in the part of her lips.

“Lady Inquisitor?” Solas lowers his gaze as her attention is pulled away from him again. He lets out the breath he didn’t realize he was holding.

“Ah, sorry.” She gives a short smile. “Your eyes are quite beautiful. They remind me of a friend.” The world is spinning, until he catches sight of how her eyes have fallen. “Thank you for the sandwich. Take care.”

He bows again, trying to somehow say “I love you eternally, vhenan” with the gesture, but he knows it won’t reach her. He knows it by the far off look taking over the shine in her eye.

His own heart shudders as he gives her one last glance from the shadows of the hall, pulling his mask down and revealing the heavy frown over his lips. The redness of her eye a warning of the tears brimming them, is a cool reminder to the chaos that she’d stirred up in his chest.

All those smoldering emotions that had been warring in his chest, cooled by his pride, are now extinguished with his regret. Regret that he’s ever made her wear such an expression. Regret that he cannot kiss it off of her.

“Let’s continue.” Solas says with a hardened jaw and furrowed brow, turning and walking away with his hands clasped behind his back. “Oh, and try to figure out that lords name.”

“You cant be serious!” Therin exclaims. Solas merely turns to him with a raised brow. “Right… On it.”

[raviollies]

"You are the bane of my existence… and the object of all my desires"

-----

My favourite part of the Tresspasser epilogue is when Inquisitor and Dorian ran away and got married and no one ever went back to Tevinter :)

[felassan]

The Slightest Ones bard song:

Arlathan fell so deep onto the ocean floor

Dalish elven lore:

"It is said that the Tevinter magisters used their great destructive power to force the very ground to swallow Arlathan whole"

The Adventures of the Black Fox by Gaston Gerrault:

"The stories all agree that, at some point, the Black Fox disappeared: He and his fellow adventurers voyaged into the heart of the Arlathan forest seeking the sunken city of the elves and never returned"

Solas dialogue:

"Imagine [...] palaces floating among the clouds."

Codex entry: Vir Dirthara: Homecoming

"a city of glass spires so deeply blue they ache. The city's outskirts are wrapped in lakes of mist, and figures stroll along the pearly, glowing strips as if they walked on solid ground [...] other elves walk below a river churning along an invisible shoal in the air."

Tevinter tries to mimic some ancient elvhen magic and Minrathous has a floating castle.

Location in Dragon Age: The Veilguard -

Arlathan Crater: one, two, three

Definitions of "crater":

- a landform consisting of a hole or depression on a planetary surface, usually caused either by an object hitting the surface, or by geological activity on the planet - a bowl-shaped pit that is formed by a volcano, an explosion, or a meteorite impact

Was the city of Arlathan a floating city kept aloft by ancient elvhen magic in a way that was intrinsically dependent on the presence of the Fade, and when the Veil was erected, with that tie severed it crashed to the ground like an asteroid? Did the ground swallow it whole? When Solas created the Veil, in that reshaping of reality was it physically spacetime-displaced deep into the heart of the Fade? When he made the Veil, did it "fall" (warp) into the Deep Roads like the elven library found by Genitivi in Genitivi Dies in the End? Did it fall to the bottom of the ocean? Did it fall into the other ocean, the Fade (the "Waters of the Fade", "the sea of dreams", the "emerald waters", "vast oceans, containing not water, but memories")? The Fade sort've reflects reality and is shaped by dreams, so is The City [by this I mean The Golden/Black City] the Fade-mirror-image or echo of Arlathan as opposed to literally physically it? the wild and fun thing about Dragon Age is that more than one of these things could be true at once.

ᕕ( ᐛ )ᕗ

[the-warmest-machine]

Neve Gallus - Character Design Analysis

Neve knows how an outfit builds character, whether it's to project a genuine or false perception of the wearer. All her clothes are designed to convey "wealthy and powerful mage" as a safeguard. In this analysis, we'll take a look at Neve's Dragon Coat and point out details, symbolism, and intention with design—all under the cut.

Asymmetry

The first aspect to cover is the asymmetry in Neve's overall design. Not pictured, her bun is uncentered. Pictured, her coat is raised higher above the left thigh, and her hat sits at an angle while the veil creates a dividing line across her face. Her bangs act like a veil of their own as well.

Asymmetry in a character suggests they're dynamic, unconventional, nonconformist in some capacity, willing to behave outside of the box, etc. You can see that reflected through Neve's willingness to work with the Threads, to skip ritual protocol (re: her conversation with Emmerich), her work-life imbalance, and how she's open and teasing with the companions despite her archetype. You'd expect a jaded and cynical detective to be more gritty and detached, but Neve is soft and engaging once she's beyond her initial assessment of each companion.

Returning to the coat's left side: I would guess the raised adjustment's purpose is visual compensation, to bring attention away from her prosthetic. It's easy to notice the length difference with a still, but when she's walking and in motion, it's not something you pay attention to. The devs mentioned they wanted her prosthetic to be treated like an average part of her, and they succeeded.

Thematic Imagery

The major imagery shown above is a butterfly. Butterflies represent metamorphosis. Change. And that's exactly what Neve endeavors to enact for Dock Town. Her scarf's knots create the head, around her neck are the antennae, and the braided tails form the body. Her collar and lapels shape the wings, while the curving leather and embroidered gold are reminiscent of a monarch's pattern.

The secondary major image are the wings, created from her shoulder pads with unfurled feathers beneath them. Wings typically represent freedom. In Neve’s case, this freedom relates to her city.

Combined, the butterfly and wing visuals symbolize transformation taking flight and paving a course for a better Dock Town.

Tevinter Symbols

Recurring motifs include snakes (belt, cobra prosthetic, scaled earring) and diamonds, both symbols heavily used by the Tevinter Imperium. They serve as provocative and centering design elements at face value.

The diamond adorning her back reminds me of a coiled snake; the end curl would be a tapering tail. Scales are embossed in the leather for a tasteful touch. Or maybe the shape represents a dragon, because the crowns adjacent from the diamond look like feet? It is called the Dragon Coat, so maybe it's a dragon's butt.

I've debated about whether the tiny, gold diamonds with tails are of significance, but they could very well be simple elements to break up monotony. Theories on what they could represent include the Wall of Light, architecture, fangs, or scales. Perhaps they're pins for case notes? Girl is on point and also kind of a disaster. I can imagine her pinning random notes and categorizing them by what layer they're pinned to.

Utility

Neve has options to choose from when it comes to keeping detective gear on her person, which shows her practicality. It pays to look good, and it pays even more to have fashion be useful.

The Dragon Coat's description itself mentions many pockets to stash case notes. The pockets are likely on the inside of her sleeves. Attached to her waist is a compact pouch with two objects slotted into the adjacent holders (could be writing utensils).

Again, if those diamond tears are pins... you can see the potential for stashing even more notes.

Neve's cobra prosthetic is part of every outfit, but I wanted to showcase its degree of function under utility. The ankle was designed as a hinge. This gives her improved mobility, which of course includes stretching. It most likely becomes uncomfortable after long durations of use; you can often see her weight shifted to her left leg and checking on her right leg. The entire prosthetic design is on point, and the extra attention to detail is exquisite.

Color

Turqoise.* In every companion outfit available, there is turqoise. I would say she "just likes turqoise," but that doesn't align with how she searches for deeper meaning in the subtle things. So for analysis' sake.... The color itself compliments Neve's playfulness and creates contrast to Dock Town's more or less neutral palette. It's a fun, vibrant color that makes a statement. It's also shared by the Shadow Dragons.

While Neve can be intimidating and is a badass, she's light and idealistic at heart—if you dig deep enough. All cynics at one point held hope in high esteem, before they were proven wrong one too many times, or maybe in one heinous letdown.

(*As a disclaimer, the color may not actually be turqoise. The symbolism as a vibrant and saturated color stays the same though, whatever the case.)

And… that brings us to the end of examining Neve’s Dragon Coat and what it shows us about her character. Any other thoughts, please share!

[vigilskeep]

various and sundry artbook tidbits i found interesting (SPOILERS AHEAD FOR THE VEILGUARD ARTBOOK. obviously)

faction & location stuff:

a sketch page from the very early days exploring shape languages for factions like elves, dwarves, wardens, the necropolis, tevinter, and rivain, also includes concepts for the mages’ college and the ben-hassrath

early rivain concept arts have npcs with a similar armour patterning to duncan’s, suggesting it’s a mark of his rivaini heritage like i always thought!

the depiction of the ““creation story”” suggests elves were mimicking the bodies of dwarves when they formed their own, not humans like i think mythal says in game flashbacks, which would make more sense timeline wise

there’s concept art of the city of ventus, which i believe is of particular relevance to mercar players? it’s right on the border of arlathan forest, and surrounded by magical statues holding out raised hands forming a ward along the tree line to keep it from encroaching

the home base was going to be a lovable fixer-upper of a ship given to us by isabela, named the dumat. this didn’t fit the spy theme they were originally going for, so they tried really really hard to make it a submarine without feeling anachronistic by making it sort of sea monster shaped. there are a lot of cutaways and schematics. they were going to give it a mystery engine that you would get light fetch quests to feed random objects: “ten dried lavender flowers, five quail’s eggs, three brass belt buckles, etc.....” the submarine then turned into an undersea mansion on the back of some giant shambling sea creature you would never get a good look at

later on there were some funny takes on the lighthouse specifically, like bringing back the sea creature theme to put it on the back of an interdimensional veil whale, or having it be the true location of the black emporium with a collection of eluvians that xenon the antiquarian lets you use

there’s a tiny concept art for a “high-speed aravel chase” in a canyon like a western

tevinter gladiators are mentioned a couple times. we WEREEE going to get to see the minrathous proving grounds :( there’s also a dwarven embassy concept art somebody take me out back and shoot me

there are a lot of ghilan’nain creature designs that didn’t make it into the game which is a shame but i can see why they would have been resource heavy

the antiva concept arts are so gorgeous. a lot of it got through! and definitely the overall Vibe made it. at some point it seems to have been antiva city itself; they don’t call it treviso and they mention the circle of magi as a major landmark

“The entrance to the Necropolis is like an inverted Tower of Babel. They seek knowledge in the grave instead of heaven.” <- this just rules as a line

for arlathan: “To differentiate it from previous forest and jungle locations in Dragon Age, we went with an autumnal colour palette. It has the benefit to feeling ominously like the end.”

the veil jumpers have a “skull halla” symbol that “implies their willingness to risk death”. did that end up in the game?

“With each faction, we explored a range of aspirational fantasies. For the Wardens, this ranged from knights in shining armour to butal tanks to a Nietzche quote: ‘Beware that, when fighting monsters, you yourself do not become a monster.’”

there’s this concept among the warden armours for an insane orlesian noblewoman look with the winter palace morrigan corset and a piled high wig, but the skirts torn knee length and a serrated fan in hand. i’m kind of obsessed

“To bring more life to the world, we thought about what industries would keep the Anderfels afloat. We took the prominent Warden blue colour and envisioned an industry harvesting flowers, creating dye, and then weaving copious amounts of blue fabric.” this is probably where the flower quests in the hossberg wetlands started off conceptually? v cute

character stuff:

in completely different early versions of the game, solas had a “bad cop” right hand woman called reva

imshael the desire demon/choice spirit from the masked empire and inquisition was going to be a two-handed weapon warrior companion, and also sexualised now while in largely feminine form, which would have been a Choice. there is one art of him in masculine form, also sexy but still not showing as much skin as the feminine one

as i said, neve was going to be calpernia

taash was a rogue. (they’re still a light-armoured dual wielder so that checks out.) it seems like davrin was briefly a mage. at some points harding seems to have inherited bianca

saarbrak, another qunari companion, seems to have lastest the longest of the abandoned concepts. he’s the only non-canon one who got as far as having a place for him sketched into designs of the lighthouse: “saarbrak’s planning room”. mentions and sightings of what might be him are sporadic and i think you only see his name on that sketch, but i’m connecting it to the description “a potential qunari companion evolved from saarebas to dapper qunari spy, offering a deeper look into qunari culture”

the embroidery on harding’s clothes is how she passes the time while “waiting for days in a sniper perch” on missions. i just thought that was cute

[dalishious]

(I can’t believe I finished this so fast… I basically blacked out and then it was done lol… Anyway, please remember that this is all just my personal opinion, and if you feel differently, that’s fine!)

Dragon Age: The Veilguard Review

Objectively speaking, Dragon Age: The Veilguard is a fun game that the average player is going to enjoy, especially if that average player is coming in without any prior knowledge to the Dragon Age franchise. I believe this is a good jumping-in spot for people who are curious about the world of Thedas. But in contrast, I have seen a lot of criticism from other hard-core fans that I largely agree with. However, it just so happens that most of the criticism I have is not enough to prevent me from overall enjoying the game. That is to say, for pretty much everything I did not like, there was also something I thought was great… Unfortunately, that makes it a little difficult to give a review. So, I’m going to do my best to keep things as clear and concise as possible by splitting up the “good” and the “bad” aspects of DATV.

The Positive

The best thing to come out of DATV is the new cast of characters that make up your companions and supporting associates. While I do think that some of them could have benefitted from more development time to flesh things out further, just judging what we ended up with, is mostly great. I especially found Emmrich and Bellara to be stand-out examples of strong personalities to grasp onto, whose personal stories really touched me in an emotional way.

DATV also has fun with some returning characters. For example, now that Solas is no longer hiding his identity, we get to see a character that both believably honours his part in Inquisition, while also providing a new, refreshing side to him. There are also a number of characters introduced in Dragon Age: Tevinter Nights that appear in the game, like my personal favourites Teia and Viago, who are an absolute delight to interact with!

I think the three act structure is good, albeit with act three being quite short. There are a few sequences that are an absolutely phenomenal mixture of storytelling and engaging gameplay, like all of Weisshaupt! I also really enjoyed stepping out of the main story every once and a while, and into Solas’s backstory through the Crossroads memories – what ended up being extra special about these is how they mirror Rook’s struggle so well, by the end. They are a nice touch.

The locations are beautifully constructed with smooth interactions of climbing, zip-lining, and essentially parkouring your way around, making them fun to explore! They also came with such distinct flavours and character in themselves that influenced a sense of truly experiencing different parts of Thedas, with different cultures.

The mechanic of building up strength with the different factions, and that actually having a huge impact with the ultimate showdown in the end of the game, makes side quests feel far less inconsequential than in Dragon Age: Inquisition by comparison. That, and they number far less.

I like that the story mode actually feels like a story mode; there were only a couple instances where I really had to worry about death, and even then, I was able to just toggle off the death with the customizable gameplay mechanics and continue on.

Finally, it would be remiss not to say that the character creator for DATV is the best BioWare has ever put out. I’d go as far as saying it’s one of the best in any RPG I’ve ever personally experienced. From the flexibility in morphing a character’s head and body between custom shapes, to the little details like sclera colour, vitiligo, and top surgery scars, makes it a shining example of what RPG’s should strive for. (My only critique here is that it would have been nice to have more skin colours.)

The Neutral

I hated the combat for pretty much the entire first act of the game. I found it too hard to keep up with, and too much like Mass Effect bullshit. I can’t say that it’s completely grown on me yet, but I don’t hate it anymore. It’s fine. So, I’m giving this a special little spot before I get into what I didn’t like all the way to the end.

The Negative

As mentioned above, I do think that there is more that could be done with some of the characters to really achieve their full potential. Davrin and Lucanis—while to be clear I still really enjoy as they are—come to mind first, in terms of those who would have benefited from more development time. Most of Davrin’s screen time just revolves around Assan rather than Davrin himself, and Lucanis is so restrained that it takes a while to really crack him open. Both of these characters have intentional personalities that make them harder to get to know, I understand that, but I feel that it would have been all the more rewarding to have more time dedicated to their company after earning their trust and possibly endearment. Instead, it feels like their romance and friendship with Rook are only half-complete, and then rushed to finish.

There are some companion interactions that are just… cringe. There is no other word for it. Now, this is nothing new for BioWare games, but I feel like the “pulling a Bharv” scene for example, was hitting an entirely new low. (If someone misgendered me and then just started doing push-ups instead of just saying “hey sorry about that, I’ll try to do better” I’d be annoyed, not satisfied.) I also felt like most of the temporary rivalries between companions were artificial in nature, rather than organically part of their characters that actually served a purpose. We already knew Emmrich likes books and Harding likes nature; we did not need a whole cutscene with them bickering about camping. (The exception to this is Davrin and Lucanis, who genuinely had room to grow as people out of their multiple confrontations, not just a one-off scene.)

The music in DATV is, for the most part, forgettable and bland. There is one piece that really stands out, and that’s “Where the Dead Must Go”, which is a real banger. I am not a fan of Hans Zimmer’s OST otherwise; I think it is phoned in, just like most of his work. I deeply wish BioWare would have just stuck with Trevor Morris. The best parts musically in this game are just Morris’s work re-used from Dragon Age: Inquisition.

There are certain parts of disjointedness that separates DATV from the past games that are just… bizarre. This is especially the case when it comes to elven lore. For example, Bellara saying she is afraid that elves will be harshly judged for the Evanrus, or Harding saying that elves are “thriving”… as if modern elves are not deeply persecuted across most of Thedas. It made me question more than once if there just was not time in development to do a proper canon-compliancy check with everything, perhaps?

I want finish this part by bringing up again that the biggest flaw in DATV is that it feels very corporate. To repeat what I said in this post: It is as if a computer ran through the game’s script and got rid of anything with “too much” political substance, in an overcorrection to be “safe”. But now that the edges have been so smoothed down to make a block into a ball, it can no longer support anything.

Conclusion

It’s easy to see a lot of creativity went into the creation of this game… but it is also easy to make assumptions on how that creativity was constrained by development hell and corporate oversight. In the end though, Dragon Age: The Veilguard succeeded in being an overall good time, one that I will no doubt be putting just as many countless hours into as the previous installments in the franchise. 7/10.

[rookinthecrownest]

Pictured here, one Master Dellamorte who has learned precisely nothing about seducing hot Tevinter mages.

Also pictured here, said Tevinter mage about to be swindled in the Treviso marketplace.

Some info about Pompeiia:

She comes from a very old Tevinter family, who are virtually all involved with the Venatori. They saw her as nothing more than a pretty face, a socialite, and a thing to be sold off to the highest bidder with the best pedigree. Pompeiia started spying on her family for the shadow dragons when they were about to marry her off to a magister, in exchange for digging up dirt on him and publicly disgracing him. She continued to spy for the shadow dragons until the events of the game. Eventually she was found out and disowned by her family. She decides to start over in Antiva (post game), but finds starting over in a new country where you dont know anyone and only sort of speak the language, and without access your family’s wealth is a bit harder than she thought.

In comes a certain Illario, who although forgiven and allowed to remain in Treviso, is under the watchful eyes of the Crows and sees an opportunity.

Something something two people who are used to charming the pants off everyone they meet and becoming social chameleons are forced to abandon that when they clock each other’s motives almost instantly. Immovable object v Unstoppable force.

Im disgustingly obsessed with them. This is what happens when @juneiper-art and @teawithshakespeare enable me 😩

[the-rebel-archivist]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

[mortalitasi-nevarra-lore]

Facts about the Necropolis & Nevarra gathered from Emmrich's banters

This post has gotten away from me. I originally started with @flowersforthemachines's banter facts from this post, specifically facts about Nevarra and other non-Emmrich specific things for purposes of this blog. I then took a re-listen to party banter (as compiled by DanaDuchy) and entered many more facts, to the point that I'm not sure what all is from the original post anymore. I've also split this into two parts. This is Part 2.

On Life in the Necropolis: 

Watchers occasionally tutor students in the Necropolis.

Watchers live in "upper mortuary" of the Necropolis. Emmrich describes it as "quite pleasant."

The Watchers keep wine in a tomb. Emmrich mentions it shouldn't be hard to convince "the late Lord Vander to spare one bottle." It's unclear if Lord Vander is undead.

Something about the kitchen of the Lighthouse reminds Emmrich of the mortuary. "Perhaps it's all the preparation knives."

On the Necropolis:

Most of the undead within the Necropolis are "model citizens."

Necropolis background magic is tidy and quiet (according to Bellara) in comparison to the magic of Arlathan Forest.

Chambers in the Necropolis move around and can go missing (they turn up, eventually)

Even after the despair demon is banished from the Necropolis, the halls remain cold. However, the effects will abate with time.

There's something called “The Deep Necropolis” featuring sections like “The Unspoken Valley” and “The Charnel Bridge” (which has something called “nightmare fog”) that hosts all kinds of entities.

Emmrich and others once fought a beast within the Necropolis that was twice as tall as Davrin "with limbs of a spider that strode like a man." It was undead, its body prepared "with great care. It whispered in a language no one recognized. Except when it spoke our names."

Another undead monster Emmrich encountered within the Necropolis: "A thing of spined and fused bones sprung from a spring that couldn't have contained it." It could have been a mage's experiment or some other "entity" that slipped in, "drawn by sympathy of the dead."

On Nevarran Culture:

Possession rarely happens in Nevarra thanks to the special wards of the Necropolis and because the necromancers already provide spirits with bodies, so they don't need to possess anyone by force.

Many great Nevarran artefacts have been lost to time, including the Skull of Sabinar, the Key of Dead Dreamers, and the Crown of the Moon

A Tevinter poem “Faustina's Song”, a romantic epic from the Steel Age, is very popular in Nevarra, and its quotes are used on ‘more than one’ epitaph in the Necropolis. Neve is surprised people even read it outside Tevinter. Emmrich says the epic captures all shades and forms of love or "the measure at which we hold things dear against [death]."

Pineapples don’t grow in Nevarra

“Volkarin” is a commoner’s name.

Emmrich grew up hearing that all dragons were so hostile they had to be slain and is surprised that Taash has found ways to deal with them peacefully 

It’s Nevarran custom to wear precious objects one would like to take to their grave called "grave-dowry" or "grave gold."

Nevarran weather apparently doesn't change quickly, and it's climate is drier.

The Necropolis keep Nevarra afloat fiscally.

The crows have taken 20 contracts against King Markus, and it's starting to become a problem. Lucanis mentions Markus has been poisoned seven times.

Thieves do not go after grave gold in Nevarra.

On Nevarran Mages:

The Nevarran people respect their mages for keeping them safe from malign spirits and tending to the dead.

Emmrich always thought he'd get married some day, implying that mages in Nevarra have more freedoms than the rest of Thedas.

There are strict rules about selling enchantments in Nevarra. Charms can’t be sold without a license and an inspection from the mage Circles (as such, Emmrich is shocked when a merchant in Minrathous sells him faulty charms and Neve tells him Tevinter doesn't regulate such things).

Mages who cause trouble for their own profit in Nevarra are "sought out and seen to." Neve finds this "too good to be true" (in comparison to Tevinter).

When Neve asks who is keeping an eye on Nevarran mages, Emmrich replies, "Those who came before us."

Nevarra and Tevinter hear boasts and rumors about each other regarding "particular [magical] methods and so on."

Emmrich is surprised Neve's friend Rana left the templars. When Neve asks if it "happens much" in Nevarra, he replies, "not at all."

Emmrich finds the level of enchantment (the quality and duration) for the lights in the city of Minrathous impressive. Neve says it's just parlor tricks. Emmrich says the rest of Thedas would disagree.

[kcwriter-blog]

Solas and the Orb

I was playing through Trespasser again and something Solas said finally percolated through my brain. I had never thought about it before but found it interesting.

Solas tells the Inquisitor that if he had retrieved the Orb, he "would have "entered the Fade using the Mark you now bear. Then I would have torn down the Veil."

In other words, he would have torn the Veil down from the Fade side, not the waking world side.

Dagna says the Anchor reminds her of a key. We know the Inquisitor can open rifts as well as close them. They open rifts in the prologue and in the Fallow Mire. We also know they can open a rift to physically enter the Fade.

We know the Orb gave Corypheus a lot of power but he couldn't use it to enter the Fade. That is why he looked for magic objects. Which means Solas couldn't use the Orb to enter the Fade. The Anchor is necessary.

So what seems to be going on here? I'm putting the rest of this under the cut due to length and possible spoilers for Veilguard.

I would argue that the Orb creating the Breach was the result of Cory doing a similar ritual to the one he and the other Magisters Sidereal did to enter the Fade the first time.

Solas' agents may have let the Venatori find the Orb but I doubt it came with an instruction manual. We know from Dorian that there are pictures of similar orbs in Tevinter. So maybe Cory thought he knew what he was doing.

Solas' plan was for Cory to unlock the Orb and be destroyed. It would have worked if Cory hadn't had the Archdemon ability to jump into tainted bodies - which he had access to since there were plenty of Grey Wardens around.

As an aside, there was no way Solas or his agents could have known Cory could do this because only the highest level Wardens knew Cory even existed. It's never made clear if they knew he could body hop. We also know that rifts occasionally open on their own or can be opened with magic - Telana's rift in Jaws of Hakkon and the rift in the Still Ruins. Both pre-date the Breach and obviously an Orb wasn't needed to do that. So Solas could have opened a rift, using the Mark, without creating a Breach.

So what are the implications? The first is that Solas didn't realize the ritual Cory was going to perform (if he even knew the details) would blow a hole in the sky. He may have thought he would gain the Mark and absorb the power of the Orb. The Breach may have been a side effect of Cory's ritual. Solas understands how the Orb works so his idea was to take the magic, go into the Fade and do whatever he had to do. In other words, Solas would not have created a Breach, although he realized what had happened as soon as he saw it.

Tearing down the Veil would have had consequences for both sides but we don't know how it would have worked if the Veil was torn down in the Fade. We don't even know why Solas felt he had to do it from the Fade side.

In Veilguard we see Solas opening the Veil from the waking world side. There is a hole in the sky and rifts but it seems to be more contained. I suspect that without the Mark, Solas had to do what Cory was doing - gather magic objects to open the door. The only way to open the door from the waking world side would be to open a hole with the accompanying rifts.

When Solas gets pulled into the Fade, The hole vanishes. Which indicates Solas had more control over things than we give him credit for. No Breach and no reason for Rook to close rifts like the Inquisitor. Which adds credence to my theory that Cory's ritual plus the power of the Orb created the Breach.

Okay, so now what? Well Solas may be in prison but he is also where he needs to be to tear down the Veil like he planned. Which is going to make things very interesting if we manage to spring him from jail.

[commanderofthegrey]

zevran + andrastianism

(statue of Maferath) "This is Maferath, husband of Andraste and her betrayer. What? I went to the chantry as a child."

(statue of Hessarian) "Ah! Hessarian, magister and Archon of the Tevinter Imperium. It was he who ordered Andraste burned, if I remember."

(entering the urn room) "Mother of Mercy! It... it is real!"

(approaching the urn) "Nice vase, I should get one for my house."

Zevran: So are you a very religious man, Alistair? I am curious. I believe I heard you say you were raised in an abbey?

Alistair: I was raised in a castle. I was schooled in the abbey. As far as being religious... I don't know. Not especially. What about you? Not in your line of work, I expect.

Zevran: Why do you say that? I happen to be quite devoted, in my way, as most Antivans are.

Alistair: Truly? But you kill people. For money.

Zevran: And I ask forgiveness for my sins from the Maker every chance I get. What manner of monster do you think I am?

Alistair: But... you ask forgiveness and then you go right on with your sinning!

Zevran: The Maker has never objected. Why should you?

Alistair: I... have no idea.

Zevran: Well there you go. Perhaps you ought to think about asking for a little forgiveness yourself, hm?

———

Zevran: So what is it, exactly, that the sisters of the Chantry do for amusement?

Leliana: Do they not have sisters in Antiva, Zevran?

Zevran; Naturally. Yet we are... hesitant to speak to the sisters back home. They are "atiya nagrano"... how do you say it? Pure. Not to be spoiled.

Leliana: And you would spoil them just by speaking to them?

Zevran: You really have no idea, do you?

Leliana: I wasn't born in the Chantry, Zevran. Sisters... we had many ways to pass the time. Work, for instance. And prayer.

Zevran: No time for leisure at all?

Leliana: I was not there for idle pursuits and pleasure, Zevran. I was there to contemplate my relationship to the Maker.

Zevran: And that's it? Sounds bloody boring.

Leliana: What did you imagine your Antivan sisters did, exactly?

Zevran: Well, in Antiva the chantries make much of the wine, so I suppose I assumed they... drank it?

Leliana: I... doubt that very much.

Zevran: And there goes one childhood dream. To think I once longed to be a brother.

———

Zevran: How long were you in that cloister, my dear woman?

Leliana: Just over two years. Why do you ask?

Zevran: And... and all the brothers and sisters there, they had taken vows?

Leliana: Most of them, yes.

Zevran: For two years you had no contact with anyone but men and women who... who are promised to some uncaring god?

Leliana: What are you getting at?

Zevran: Didn't you... didn't you desire companionship, during those two years? Two years! The very thought makes me weak.

Leliana: My time in the cloister was a time of contemplation. I occupied myself with thoughts of the Maker, and other... worthy pursuits.

Leliana: But like I said, most of the brothers and sisters had taken vows. Not all of them. Some were just affirmed, like me.

Zevran: A-ha! That is not so bad then.

Leliana: Nothing happened, Zevran. It would not be right to engage in that behavior in a house devoted to the Maker.

Zevran: Why? The Maker made us who we are. He made our urges; He gave us these parts. You think He made them for looks?