#actual dragon age quote

[nimthirielrinon]

When I grow up, I want to be Flemeth.

“Such manners! Always in the last place you look. Like stockings!”

[feykrorovaan]

Solas:"So...you found me at last. I suspect you have questions."

Me:"Yeah, I have a lot of questions, number one:How dare you?"

[dell-amor-te]

Lucanis and Nöa are so funny to me in the inner workings of the Veilguard team already. Like, yeah, we let the career assassin in the kitchen and we let him handle our food without a second thought. We want him in the kitchen, actually. Also, no, the reputable but eccentric scientist is permanently banned from the kitchen because she keeps accidentally switching around her poisons for sauces. She gave Neve food poisoning last month.

She also keeps stealing knives to add to her personal collection.

[flashhwing]

I’m having a great time reading criticisms of the trailer. I’m not sure exactly what these people expected but every single criticism I’ve seen in the tag so far is just like. you people do not know what a trailer is

[crows-of-buckets]

For some reason whenever I brainstorm for my eventual solasmance Lavellan I always imagine her leaving on bad terms with him and swearing to stop him no matter what it takes. However. Just had the idea of Lavellan solas and Varric being in a weird love triangle. during inquisiton only Solas and Lavellan would happen, then They break up and Lavellan is with Varric within a year. Queen of moving on or whatever. Cole gets dropped right in the middle of whatever the fuck they've got going on. Rest of the inquisiton is immensely intrigued by them

[squidproquoclarice]

She would believe he’d been fighting for much of the two days Leliana had said had passed, to judge from the sweat-damp blond hair in rather untidy curls that his helmet probably hadn’t helped, the growth of stubble on his jaw, and the dark smudges that he, like far too many people she’d seen today, had beneath their eyes. His fair skin made them seem even more prominent, but his amber-golden gaze was still intense and inquisitive as he looked at her. “This is her, Lady Cassandra?”

“Yes, Commander.”

So this was the Commander she’d spoken of. “Then it seems she can indeed close the rifts.” He gave a low sigh of relief, shoulders relaxing a little. “Maker be praised for that.”

“Ser Cullen, you’ve cleared the path as asked, you should go with your people–”

“With all due respect, Seeker, we had to abandon the temple soon after the explosion, and so nobody knows precisely what’s waiting. I’m sending Corporal Terrance back down with the recruits to cover behind us, but I’m coming with you, as are Briony and Rylen. Templars are the best force available to send against demons.” He looked back at Clerra. “I already had to launch the assault sooner than expected to keep the forward camp from being overrun. We’ve lost a lot of people getting you here already. I am in no mood to lose more due to hesitancy and half-measures. More rifts will continue to spawn, and all the efforts we’ve made will quickly be lost. I hope you came here ready.”

“I’m as in the dark about what this all involves as you. But I’m willing to do my best.”

He gave a brief nod. “That’s all we can ask, and it’s enough that you would try.” He gestured up the path. “The way to the temple is clear.”

“Then let us make haste,” Cassandra said. “Leliana and her scouts will meet us there.”

[sapphim]

Monstrous Wardens Masterpost

A great big collection of text from the Dragon Age games and novels about darkspawn, Grey Wardens, and the Calling, to fuel everyone's monstrous wardens headcanons.

This has actually been sitting in my drafts for like half a year now bc I thought I really should scrounge around for more quotes from Last Flight, Awakening, and Legacy. That... didn't happen, and there's really no sense in holding off longer. If I ever do get around to it, I'll pull more quotes to add. But I consider this complete as is. enjoy~

—

The Song

The Old Gods will call to you, From their ancient prisons they will sing. Dragons with wicked eyes and wicked hearts, On blacken'd wings does deceit take flight, The First of My children, lost to night.

—Canticle of Silence 3:6, Dissonant Verse

     “The Old Gods beckon, as they always have.” The Architect turned and paced to the other side of the cell. The shadows cast on the walls by the glowstone danced ominously. “That is what you hear. To my people, it is a call that we cannot ignore. It whispers to our blood and compels us to seek the Old Gods out. We search and search for their prisons, and when we find one, we touch the face of perfection and thus desecrate it forever.”

—Dragon Age: The Calling, chapter 6

     So close. We nearly reached him. Made it down to what looked like a dwarven thaig where the song was actually audible, real and thrumming through the air, not just in our heads. It rattled through the lyrium pillars and shook the earth beneath our feet to its dreadful tempo.

—[DAI] Note: Ancient Warden Logbook

     There were creatures in that land. Dark things that lurked in the corners. Cole couldn’t see them, and didn’t want to. He worried that they could see him, however. […]      And worse, there was the music. He didn’t know what it was, but it seemed to come from far, far off. It called to him, but not in a pleasant way— it had an urgency that sped his heart and made his blood burn. The dark creatures, the lurkers, they listened to it. He didn’t know how he knew that, but he could feel them out there, craning their necks, raising taloned hands toward that call.

—Dragon Age: Asunder, chapter 9

     As the griffon began to climb through the clouds that followed the Blight, Isseya heard a faint, strange melody seep into her mind. She had no sense of it as actual sound; rather, it seemed to come from within, almost as if she were humming the tune to herself.      She could never have imagined such a song, though. It was the most beautiful thing she’d ever heard. Aching and ethereal, it seemed to pull her toward a memory of nostalgic bliss that she had somehow lost—but that she would do anything to recover. Anything at all. […]      “What was it?” the elf asked, shaken. […]      “The Archdemon.” […]      For the rest of their ride back to Antiva City, Isseya sat small and quiet on Blacktalon’s back, unable to reconcile the horrors of the darkspawn with the sweetness of their song.

—Dragon Age: Last Flight, chapter 3

The Chorus

     The faint sounds of movement ahead got more frequent, and along with them, they began to hear a strange humming. It was deep and alien, a reverberating sound that they felt in their chests and that made their skin crawl. […]      The deep humming was coming from [the creature. It] was moaning softly, almost chanting, and this moan built upon the sounds of many others behind it in the shadows. They hummed in unison, a hushed and deadly whisper the creatures spoke as one. […]      All of them walked as calmly as the first, shambling toward them while moaning and hissing softly. The sound was loud now, reverberating around them like a physical force. […]      They watched the darkspawn advance, their weapons held at the ready. Even with their prey cornered, the creatures did not accelerate. Their hum became louder, reached a hungry, fever pitch.

—Dragon Age: The Stolen Throne, chapter 14

     Were they digging? He had the impression that the masses of them were all engaged in some sort of industry, all united in moving great portions of the rock out of the cavern and expanding it even further. Yet there were no sounds of tools crashing against stone, no hammering sounds or grunts of exertion. All he could hear was a rhythmic groan, a keening pitch that it seemed each of the darkspawn contributed to. The sound of it made his skin crawl, and he realized that the chorus in the distance responded to it. Like a cat that arched its back to meet a brushing hand it became ecstatic; it surged and almost overwhelmed his senses.

—Dragon Age: The Calling, chapter 6

The Senses

     They were more than simply skilled at fighting darkspawn; they knew them intimately. They sensed their presence, sometimes even gleaned their intent.

—Dragon Age: The Calling, chapter 4

     He could feel the darkspawn out there now. Genevieve was right. It just took some time to become acclimated. They were at the edge of his consciousness, lurking in the shadows far out of sight. It was that same feeling when someone was standing behind you, and you didn’t hear them or sense them in any way; you just knew.

—Dragon Age: The Calling, chapter 5

     Bregan closed his eyes and carefully reached out with his senses. There were darkspawn all around him. Not in the same room, perhaps, but nearby. He could feel them tickling at the edge of his mind. As always, the sensation came with a feeling of foulness, as if a poison had seeped under his skin.

—Dragon Age: The Calling, chapter 2

     “There is a taint that is within the darkspawn […] A darkness that pervades us, compels us, drives us to rail against the light. It is in our blood and corrupts the very world around us.” The creature gestured toward Bregan with a withered, taloned hand. “It is also within your blood. It is what makes you what you are, what you sense in us and we in you.”

—Dragon Age: The Calling, chapter 2

Anders: Hmm. Hawke: What's wrong? Anders: I think [the Grey Wardens are] nearby. Anders: Or it could be darkspawn.

—Dragon Age II

     The hunter had a sensitivity to the taint that went far beyond any tracking ability he might have learned during his time with the Ash Warriors. He was always the first to sense the approach of darkspawn, and he could discern between the various breeds by their scent alone. Some of the Grey Wardens even used to claim that Kell could do the same with them, sense who was who from afar just as if they were darkspawn. If so, the hunter never commented on it.

—Dragon Age: The Calling, chapter 11

     She felt Bregan out there, felt him just the same as she felt the darkspawn. Every now and again she would turn a corner in the tunnels and would feel her brother’s presence on the edge of her senses, almost as if his scent had been carried to her somehow on an invisible wind.

—Dragon Age: The Calling, chapter 15

The Dreams

Alistair: Oh… and then there were the nightmares. Duncan said it was part of how we sense the darkspawn. We tap into their… well, I don't know what you'd call it. Their “group mind.” Alistair: And when we sleep, it's even worse. You learn to block it out after a while, but at first it's hard. It's supposed to be worse for those who Join during a Blight. How is it for you? Warden: Nightmares… yes, I know what you mean. Alistair: Some people never have much trouble, but that's rare. Others have trouble sleeping their entire life. They're just more sensitive, I suppose. Alistair: Everyone ends up the same, though. Once you reach a certain age, the real nightmares come. That's how a Grey Warden knows his time has come.

—Dragon Age: Origins

     The dream, when it came, was similar to the hundreds of dreams Fiona had suffered since she’d become a Grey Warden. Before, however, it had always felt as if she was looking on the dream from afar, hazy and easy to forget. Now it was crystal clear.      Fiona stood on a battlefield littered with dead men. All of them were soldiers in heavy armor, knights wearing the griffon standard of the order. Each had been brutally slaughtered. The smell of blood and decay hung thick and cloying in the air, the buzzing sound of flies nipping at her senses.      Overhead, the sky filled with an endless, roiling black cloud. It looked like ink spreading slowly in water, a great stain that blotted out the horizon. She had been told about this. The first sign of the Blight, said the Grey Wardens, is found in the clouds. When the mighty dragon rises, its corruption touches the world and spreads.      She was alone on that field of corpses. All alone. The wind picked up, a sickly breeze that carried with it the stench of carrion. A gloom fell upon her, and she stumbled as she watched something rise from out of the field of bodies nearby. It was enormous. A great, black thing that was as cold and terrible as anything she could have imagined.      Fear pulsed through her. Her heart raced, and she looked away. She didn’t want to see it. She threw her hands up in front of her eyes not to see it. Yet still she felt it coming. Her foot caught between two corpses and made her fall back on top of them. Dead flesh pressed against her and still she covered her eyes. Still she felt the darkness surging ever closer to her.      It was coming. And it was coming for her.

—Dragon Age: The Calling, chapter 14

The Calling

Hawke: You don't look well, Bethany. Are you injured? Bethany: Injured? I have the darkspawn taint forever in my veins, barely held in check by the Wardens' rituals. Bethany: I will never be well again.

—Dragon Age II

     At first, it was just a whisper. A creak in the door hinge I could put off oiling. But soon, all I could hear was the music. It was there when I swung my staff and wiped the sweat from my brow. It lingered in Lyam's laughter and stalked my dreams. I can't explain the sound—the song—but I knew. It's a poison that grows in the mind, then consumes the body.

—[DAI: The Descent] Codex Entry: Warden Ailsa's Diary

     It scratches at my thoughts, the music almost a voice, at once unearthly and beautiful. I found myself humming it aloud a few days past. Where once it intruded, it now feels a natural part of my mind's course. It coils around memories I hold dear—training with Ser Keller, riding in the moonlight, my mother's face the last time I saw her—and inserts itself into them, so that I could almost swear that music, that sense of a presence watching and calling, had always been a part of what I remember.

—[DAI] Codex Entry: Regarding the Calling

     She had seen enough of the corruption to last a lifetime, and somewhere off in the far distance was that strange sound, the beautiful whispering.      She didn’t want to listen to it, but couldn’t help herself. She closed her eyes and tried to pick out what the whisper was saying. Was it a song? Was it a name? It almost seemed that it was calling out to her, stroking her soul ever so softly. . . .

—Dragon Age: The Calling, chapter 14

     The humming sound, however, was stronger even than before. It was no longer something muted and distant; it was everywhere. It was behind the walls and under the floor; it filled the shadows and caressed his skin. There was a terrible beauty to it now, an awful yearning that pulsated within the sound, a tugging that pulled at the edge of his consciousness and yet frightened and nauseated him at the same time.      The humming had eclipsed any sense he had of the darkspawn. Any attempt he made to reach out with his mind to sense where the creatures were found only a wall of beautiful sound instead. Like a weed, it had insinuated itself into his consciousness, blocking out anything useful.

—Dragon Age: The Calling, chapter 6

     The far-off chorus had become a powerful symphony, a great swell of beautiful music that no longer pounded to get inside his head but instead tickled at the edges of his thoughts. It was far easier to ignore, but now he found it distracting. He found himself losing his train of thought whenever he listened.

—Dragon Age: The Calling, chapter 10

     The taint fogged her thoughts a little more with each passing morning. Her diary, once a detailed chronicle of every day’s thoughts, went neglected for weeks, sometimes months. She was losing her mind.      She wasn’t the only one, of course. It had gotten harder to tell the reality of the Blight from the horrors of her dreams. Sometimes she wasn’t sure which one she walked through, or which one she fought in. The elf had learned to recognize the confusion that sometimes passed over other senior Wardens’ faces. They, too, heard the Archdemon’s song echoing through their heads, a trifle louder every night. They, too, fought to block it out and to hide the signs from their comrades…

—Dragon Age: Last Flight, chapter 21

     My body is breaking down. The fingernails were the first to go. I started to itch all over, and when I scratched, they peeled back. Clumps of hair fell away. Then clumps of flesh.      I hear a song in my head. It's deafening. The most beautiful thing I've ever heard. But I don't hear it with my ears. It's in my brain. A blissful sound. This must be the call for which the darkspawn yearn, what causes them to dig so feverishly.      I'd still rather die. Suppose that's something.

—[DAI] Codex Entry: To Be Corrupted

     His skin itched terribly underneath those bandages, but he resisted the urge to peel them off. The pain throughout his body was dull but insistent, as if his body protested against this unfamiliar movement. The sluggishness made him wary. There was a thickness to his blood, a deliberateness to his heartbeat that made him feel like something alien was crawling inside of him and sapping his strength.      […His arms] were half covered in dark blotches. At first, he wondered if that was some kind of injury, or perhaps a bloodstain. But then he noticed the texture of the skin within those discolored areas: rough and withered, just as darkspawn flesh was. […]      Every part of his skin that wasn’t covered by the greyed cloth bandages was corrupted. It was like a network of black mold working its way across his entire body, and everywhere it touched he could feel a hot buzzing underneath the flesh. It was difficult to look at.

—Dragon Age: The Calling, chapter 6

     The Architect stared into Utha’s eyes and nothing happened at first. Then black veins began to appear along her hand where the darkspawn touched her. They became darker and darker, the veins branching until her entire hand was criss-crossed with them. […]      Her flesh withered and curled, the air filling with the foul stench of decay. […]      The stain on her skin spread, crawling up her neck and covering her face. Her coppery hair began to grey, and then it became white. Her long braid twisted and curled behind her, like a match that was burning itself into a cinder. Her eyes shot open, blood red, and she opened her mouth in a soundless scream... and what wisps remained of her hair simply fell out.      And then it was done.

—Dragon Age: The Calling, chapter 16

Bonus entry that made me go "hey what the fuck"

     What I remember most is its tongue flapping against a row of spiky teeth. I'd heard emissaries possessed the ability to speak, but the words were unnatural. They twisted and lurched as they left the creature's mouth, accompanied with a spray of saliva.      "Have you ever experienced living flesh ground between your teeth?" it asked Mila before biting through her throat.

—[DAI: The Descent] Codex Entry: Darkspawn Emissary

[felassan]

July 17th DA:TV Game Informer article on returning to Dragon Age 10 years after DA:I - cliff notes:

At one point BW considered making DA:TV a multiplayer game. They did a "hard look" at this

With DA:TV BW want to get back to their roots: storytelling, characters, influencing the world

Gary McKay quote: "And we really felt multiplayer wouldn't do that. But single-player RPG is really where we wanted to spend our time, so after spending that time in pre-production, really honing in on what the vision of this game is, and [being] afforded the opportunity to deliver on the creative promise of this game, [now] we're really excited about what's coming out."

DA:TV's dev team contains both seasoned vets' decades of experiences and new talent with fresh perspectives

Gary McKay quote: "[You] want to have different perspectives, different backgrounds. If you bring a bunch of people together that have only known one thing, that's not where you see creativity. That's not where innovation comes from. Innovation comes when you have [...] that past history and blend it with some new voices and perspectives." 

DA:TV is the game where BW finally said out loud that their greatest strength is storytelling through characters, with intentionality. The game is built around those character moments

In DA:TV BW is doing "storytelling through animation" -

Mark Darrah quote: "If you put on a suit of armor [in previous games wherein each char moves exactly the same way], and you put it on Alistair, you looked exactly the same standing right beside each other. Now, we're able to keep the character coming through in the visuals and the motion, even as you're customizing them, which just wasn't possible in the past."

BW are more confident in and have a better understanding of Frostbite this time

Current game hardware tech is also able to do a lot more and execute it visually to an improved degree

BW worked hard to ensure DA:TV is respectful and referential to previous games while still being understandable by new players

John Epler quote: "So while there are references, there are moments that we have callbacks, it really is its own story, its own continuation with a different cast, with different characters. Historically, Dragon Age has always had a different cast per game, so that gives us a lot of freedom in terms of what we want to lean on in the past and what we want to really bring in that’s new and forward-facing."

Events in DA:TV play out with a storytelling goal for the future of the series. It takes the ball from DA:I, puts its own spin on it in its own direction, and continues the path forward into the future (emphasis mine)

Mark quote: "Dragon Age has always been about change. Every game has had a new protagonist, and it's been exploring its own space all the time, and this game is no different. [Veilguard] does a good job of bridging that gap. The really super fans of Dragon Age have actually made a lot of really educated guesses, and some of them are pretty right about where the franchise is going. The thing we need to make sure is that people who may have only played Inquisition are understanding what the franchise is really about – it's about a new protagonist, it's about change, it's about evolution – and don't come in expecting a direct sequel to a game they played and then are disappointed. This game is something new, something that evolves, something that is greater than what came before, the same as each game [...] before it." [emphasis mine]

Corinne: "For our new players, we're not assuming you know anything about [the DA locations or characters in DA:TV]"

BW took great care in how they introduce each companion and major story figure in the game with that in mind

DA:TV is John Epler's favorite DA game that he's worked on (he has worked on them all)

John Epler quote: "Dragon Age has always been about characters but to some degree, it's almost felt like we've lucked into that," he says. "Inquisition is a story that ultimately, you, the main character [...] have the biggest part to play. We wanted to tell a story this time where you literally cannot save the world without these characters. Beyond that, though, we also wanted to give them their own arcs that can run parallel to the main story and really give them that kind of deep storytelling our fans really enjoy." 

John Epler quote: "They have their friendships, they have their rivalries, and lean into that concept. You're not just pulling together a bunch of people who will do whatever you say. You're assembling a family, and that becomes the core of what the Veilguard is all about. It's about taking this group, this found family, and saving the world, side by side with them." 

[source]

[oediex]

The Big Dragon Age Survey! 🎮 ✍️

Hello everyone!

May I present to you a labour of blood, sweat, tears, and love:

The Big Dragon Age Survey!

This is a survey for all lovers of Dragon Age, whether you have played the games yourself, or have watched others play them! I don't care how you engage with the series, if you love Dragon Age, then this survey is for you.

If you know someone who loves Dragon Age, whether on Tumblr or elsewhere, please do tag them and/or send them a link to the survey. The more the merrier!

The survey will be open through the month of May 2024. I will close it once we roll into June. I will publish the results of the survey as quickly as possible, so I imagine that will also be in June, but please be patient, since it's a lot of information!

The survey should take about 15-20 minutes to complete. (But please don't quote me on that.) (In fact, if your experience is different, please let me know and I will adjust this information!)

There are four main sections to the survey:

A section on the Dragon Age series in general, and BioWare.

A section on the three main Dragon Age games, covering many of the choices you make in the game - this, as you can imagine, is the biggest section

A section on Dragon Age and fandom

A section on the Dragon Age fandom demographic.

I want to make clear that no one but me (Oedie) will see the raw data of this survey. Any information that will be shared publicly will be statistics/generalised. I will never share any information that can be easily identified. If you have any questions or concerns, feel free to message me on discord (oedie) or Tumblr (@oediex) and I will try to help you in any way I can.

Also, please note that none of the questions are required, although you are encouraged to complete them all. All answers are anonymous and no e-mail addresses are collected for this survey. If you're still concerned, you can always complete this survey in an incognito window!

Alright, so now for the actual link - here it is!

Thank you so much for contributing to this survey and for sharing with people who also love Dragon Age! ❤️🎮

[nimthirielrinon]

Oh, Alistair. Oh, sweetheart…

Do you really know what's going on here? The Blight, the civil war. I really wonder how much of it you understand.

(He wags tail happily.)

wete all special... big parts to play. Even you. Especially you, in some ways.

You are the mabari. You guard one of the most important people-

(Excited bark!)

what?

(Excited barking!)

You... you want to play? But I'm talking, Why doesn't anyone want to hear me talk?

[Dog appears to lean in toward Alistair]

[beelijah4894]

I want to examine Chilcuck's change in relationship with Marcille

Quite frankly, I want to discuss the way his general trust changes and how it affects him.

Marcille and Chilcuck are good coworkers, especially at the start of the show. They respect boundaries and share a teasingly platonic relationship. Beyond that, they are fairly good friends; not extremely close but still good. For lack of a better explanation, they are close enough to be able to show genuine concern for the others comfortability rather than just their safety. For example, when Marcille is attack by the slime, Chilchuck offers his hanky to blow out the excess. Or when Marcille helped Chilchuck stitch up his neck wrap.

This show does a tremendous job of showing how these characters have already gotten to know each other and that they know each other well. When Chilchuck is trapped with the mimic, he trusts Marcille would be concerned enough to get help, but also knows her well enough to know she probably fell back asleep. Still, Chilchuck does trust these people. Enough even to share his age and very minor details about his life outside the dungeon.

A scene that really shows Chilchuck's trust in the group is right before the Undine attack when he is laying out the plan for the rest of the trip. It shows just how well they work together and Chil doesn't have to worry about too many details. He knows he is with a strong group. In fact, I'd say they are at their strongest right before and during the dragon attack. They make a plan together and work out each others strengths, in which Chil is able to help in the actual fight. (another less important fact, but when Laios is mentioning how they used to fight dragons, children isn't even named).

Then, the resurrection happens. Chilchuck is the number one person against it. So why does he stay? Why doesn't he stop it or leave the party? There are quite a few reasons. He can't go home without his party, he'd never survive. But he also doesn't want them to die and I think deep down, he does trust their judgement. They've stayed alive this long doing things he wasn't comfortable with and, while this is an extreme, he does have some form of trust there.

Chilchuck is such a follower of what is ethically right and he obviously doesn't agree with this. While, on the other side, Marcille thinks that "there is no morality in magic." It drives a stake through that bond because they both feel so strongly about it. And all of those adventures they had before almost don't matter when Chilchuck is talking to Laios about how, "[He] always found it strange. A well off elf girl wanting to explore the dungeon." (quote may not be exactly correct). Chil doesn't trust "that Marcille" anymore, at least, not as much as he used to. It doesn't help that she is frightening when she is walking the mini dragons away.

When Chil is complaining about his group to the orc (I can't remember her name, forgive me), he admits that they are consistently near death and how his party is reckless and stupid. We know now that he is afraid of losing them and was generally projecting his own feelings of fear. Marcille is included in this, as he complains about her. He, however, mentions her life after the dungeon. "How is she going to live a normal life after this?" He does care for her, but I believe he is projecting here also. How would he live a normal life after witnessing that. What would he do if they're found out?

And this is projected onto Marcille after a while. When Marcille is teaching Laios healing magic and Marcille and Chilchuck discuss party relationships. He implies that she shouldn't have even been let into the group. "I wish he had a better judge of character. That way he'd never find himself in a situation involving black magic." Not to mention in this episode, This being the shot after he says this. They are metaphorically further apart than they have been up until this point and Laios is right in the middle of it.

That friendship is still there. We can see it in places like when Marcille is just holding Chilchuck during the cleaners episode and he's not really angry. But that trust and fear is still there. We see in the Chimera episode, Chilchuck trying to let Marcille know about Shuro and a few others knowing what happened; he is still unhappy to be in this situation and wants to find a way out, but there really isn't a way out.

"I knew it. I had a feeling it would turn out like this. Dammit!"

"Sorry, guys…"

followed by Chilchucks defeated expression. No reassurance, but no fighting either.

This wasn't my best analysis but I am putting my one year of college to use!

I can't wait to see how this changes and expands. I am still only on anime right now, bc my manga are on back order but I'll get there soon enough! @burnazog

[bloedewir]

Incorrect Dragon Age: The Veilguard quotes

Solavellan tw

Rook: So.. You and Him, huh?

Inquisitor: Hm?

Rook: You. And. Him. Huh?

Inquisitor: Is that supposed to be a question I'd want to answer? Long staying in a place like this affects your mind woefully, as I see.

Rook: Argh.

Inquisitor: I thought so. Maybe you need to ask professor Volcarin help you to strengthen your mental barriers?

Rook: Conversation is over.

Inquisitor: It hasn't even begun.

* * *

Rook: Is this so hard to answer a simple question?

Inquisitor: Yes.

Rook: Unbelievable. How could you deal with the whole Inquisition if your social skills are so shitty it-

Inquisitor: You wanted the answer. It is the answer.

Rook: Oh. So, it's true.

Inquisitor: It is. But next time you can bother Varric with questions. Or "Him".

Rook: He doesn't answer my questions about you.

Inquisitor: How thoughtful. Or indifferent. Pick any you like, as I did.

Rook: And what did you pick?

Inquisitor: It's not your concern.

Rook: Hm. Well, now I see how you two got along.

* * *

Inquisitor: You said, you see now. What does it mean?

Rook: I started to think you don't care. Am I finally getting your attention? Wow. Such an honor.

Inquisitor: Forget I asked.

Rook: Hey! Let me have a moment of harmless gloat.

Inquisitor: Have fun.

Rook: Oh, I am. And about your question... "It's not your concern", He answered when I asked him about you. I get it now. I see, what's all about. You were together because you two are the most arrogant beings in whole Thedas. Perfect match. And a real threat for me to die of migraine.

* * *

Inquisitor: He is not arrogant.

Rook: He is not.. wait, what? What are we talking about right now?

Inquisitor: You said He is arrogant. He isn't.

Rook: Well, maybe I was wrong? Give me a moment, I'll check again. Hm. Hey, are you there, what do you say?

Rook: ...

Rook: No, I'm still sure.

Inquisitor: You bother him just to.. check? Such a foolish use of unique connection that can actually help in time of need.

Rook: Yeah, I was right about you too.

Rook: ...

Rook: No, don't you even try this on me or, I swear, I'll start to imagine something so disgusting that you'll vomit!

Inquisitor: ...what did he say?

Rook: He said I'm wrong about you. And then something on elven, I can't translate. Fen-dis asa or kind of.

Inquisitor: Fenedhis lasa.

Rook: That one, yes! What does it mean?

Inquisitor: Fuck you.

Rook: Hey! Or.. Wait. Really? Ha! Maybe he's not that boring after all.

* * *

1. technically, fenedhis lasa is more like giving to smb a wolf's dick = "go suck a wolf's dick". I suppose, a more common "fuck you" is also fits.

2. Inquisitor isn't a total bitch. it's ten years old bitterness.

[ansheofthevalley]

Cersei and Dany have more parallels than Cersei and Sansa yet Sansa always gets compared to Cersei whilst Dany gets to stand on her own :/

(Sorry for taking ages to answer this.)

The way I see it, GRRM actually wants us to see and compare the three. To see them, in a way, as a triad:

It's no secret that George loves to use the rule of three (I talk about it a little bit here.) The way I see it when it comes to Cersei/Dæny/Sansa is to compare their ruling styles, especially since they're the strongest candidates to wield power by the end of the series (I'm talking exclusively about book canon, but we can take show canon into consideration since they are the last three big female characters wielding power by the final season.)

At first, Cersei and Dæny are foils, in a way. Cersei calls herself Queen (which she is, first Queen Regent/Dowager Queen, by being Robert's wife, then Queen Mother by being Joffrey and Tommen's mother). Dæny, however, in the beginning, rejects the title of Queen, saying that she's a Khaleesi. As the series progresses (specifically since she's -at least to her knowledge- the last Targaryen), she uses both titles: rightful Queen of the Seven Kingdoms and Khaleesi. So, this would be where the contrast stops working when it comes to these two ladies: they both call themselves Queen, but most importantly, they seek that title because they're motivated by power and the desire to have the Iron Throne. Sure, their motivations are not exactly the same, but they can be boiled down to one word: survival.

(I've spoken about characters motivated by power in the quest for the Iron Throne and what the narrative does to them in show canon, but I can't find the posts, so I'm sorry.)

Now, what part does Sansa play in all of this? Well, we're told in the first book that she's meant to be Queen. After all, she was promised to the prince of the Seven Kingdoms. And she wants to be Queen... until Joffrey orders the execution of Ned. Then, we notice a change in Sansa: she's not interested in the games of intrigue, in the subterfuge. It can all be encapsulated in this quote: "If I am ever Queen, I'll make them love me."

Cersei thinks the best way to rule is to make the people fear you more than they could ever fear the enemy. And that's precisely what she does during her time in power. So, she rules by fear.

Dæny is benevolent to those suffering injustice. But she's also severe regarding those she disagrees with or thinks have interests that go against hers. She is not forgiving. In my eyes, she also has a fatal flaw - she's not interested in the day-to-day tasks that come with being a ruler, as shown in her stint in Meereen. She also relies on her dragons and the Targaryen legacy to instill fear in those who don't want to submit to her. She rules by good faith when it comes to the marginalized and outpowering the powerful with her dragons and armies. So, she rules by power and, to some extent, fear.

Sansa is benevolent with people. She knows what is expected of her as a Lady while in King's Landing. In the Eyrie, she learns to run a household and the day-to-day tasks that come with running a Great Keep like the Eyrie. But that's not all she learns throughout the series. She understands the importance of politics and how to exercise that power. She also understands people's importance; let them be Lords, Ladies, Common Folk, or bastards. She sees their value regarding of station. Also, since the end of the first book, she doesn't get fooled by the nobility; she's more distrustful of their true intentions, and that distrust makes her read each person she encounters more carefully, which, in time, will make her a keen politician (all in all, and this is what sets her apart from Cersei and Dæny, she's not actively seeking to rule. And, when it comes to the rule of three, the last link is the one that differs from the other two and, for that reason, is the successful one.) Sansa is compassionate with those deserving of compassion and sometimes with those who are not, but she's never cruel like Dæny can be or vengeful like Cersei is. This is not to say that she bends to the will of others because she doesn't. She stopped doing it back in King's Landing, starting with small acts of defiance. In the Eyrie, she's on a journey to finding her voice. So, she rules by compassion and observation.

Now, how does the rule of three apply in this instance? Let's first define what the "rule of three" is:

The rule of threes is a writing principle that suggests that three elements, such as events or characters, are more humorous, satisfying, and effective than other numbers. Audiences of texts in this format are also more likely to retain the information conveyed to them. This is because having three entities minimizes the amount of information needed to create the pattern, combining both brevity and rhythm.

By giving us different styles of ruling/approaches to power in threes, GRRM is making sure those ways stick with the readers. He's making it known that the approaches to power and ruling are important for the endgame: this factor will contribute to who ends up in power at the end of the story.

One could argue that the use of the rule of three in comparing Cersei, Dæny, and Sansa is rhetoric: he's comparing three different ruling styles, and we, as the readers, can decide who might be better suited for the title of Queen based on the rhetoric the characters present. (I speak about the difference between Dæny and Sansa - and Jon - as figures of authority here and here. Keep in mind that those metas explore the dynamics of the characters in the show.)

Cersei doesn't give a shit about anyone but herself and her family. She rules with an iron fist and doesn't hesitate to annihilate anyone threatening her power. She rules alone.

Dæny cares about people and uses her power (her dragons) to achieve some of her more altruistic goals, but at the end of the day, those goals are not entirely altruistic since they also serve her. She also uses that power to intimidate and cause fear. To top it all off, she relies heavily on the power that her dragons represent, even though she tries to use politics as a more subtle way to solve problems, but she realizes that if she wants to change the world as she wishes, she needs brute force. She needs her dragons. She uses both power and fear in any situation, whether it is good or bad. She, too, rules alone, even though she has people giving her counsel. (Though that can be explained with Targaryen exceptionalism, in a way. But that's a whole other thing, and this has gotten too long already)

Sansa, on the other hand, is more surgical in her approach. She sees the value in relationships and working together. She sees the value of people and the importance of day-to-day tasks. She relies on her powers of observation and what she's learned in court to solve problems. She rules by understanding: by understanding that she has to work together with people in areas she's lacking and by understanding the potential of each person around her. She rules by working together with those around her.

In conclusion, Cersei and Sansa have always been foils to each other, and that's been set from the get-go. You could say the same about Cersei and Dæny, too. But, as the series progresses, the lines dividing Cersei's style of ruling from Dæny's start to blur, leaving this triad somewhat like this:

[fangs-trait]

The New Kid from South Park games. i got really attached to my new kid in my very own The Fractured But Whole playthrough so i decided to recreate them. i use they/them pronouns for them but any pronouns are fine. more info below the cut. and costumes are:

The Amazing Butthole (Superhero) -- From Dusk till Casa Bonita The Almighty King (aka The Dragon Slayer) -- Casual -- Winter

info:

doesn't have a name, just gets called the new kid (dovahkiin is a code name by the government)

canonically 9 y.o. but i've made them as 17 y.o.

AMAB

selective mutism (doesn't talk at all, can speak on rare occasions)

on the autism spectrum

has freckles, got more of them as they aged up

started wearing makeup in teens ("you look pretty for a boy" - real quote from butters in TFBW)

actually likes mexican food, though there is some weird attachment to it due to TFBW events. still likes it

rather shitty eyesight in teens, it was better in childhood

main class is Blaster, also uses Netherborn class during the events of From Dusk till Casa Bonita DLC

old people is their kryptonite

black russian (TFBW character sheet)

pansexual genderless person (TFBW character sheet)

chaotic agnostic (TFBW character sheet)

also here is them in a character generator:

[mah-o-daryaa]

For a show that's progressive, one-of-a-kind, ground-breaking for its time, and relies on "Show, don't Tell" a lot throughout the series, it bugs me how ATLA (or, more specifically, Bryke) preferred to tell the audience that Aang is a master airbender without showing us why. I mean, Toph, Zuko, Azula, and Katara are all shown practicing and improving their mastery in bending (although Katara has become rather overpowered), so why can't Aang have the same treatment?

Yes, Aang may be a child prodigy, and he did get airbending tattoos from inventing the air scooter, but I personally think that inventing an airbending technique (which demonstrates impressive ability and skill) is a way to gain the arrows prematurely, but isn't a requirement. Nothing in the show ever suggests just how far he's mastered his native element, let alone the other three. In the beginning of Sozin's Comet, Part 1: The Phoenix King (3:18), Aang says he thinks he still needs to practice his firebending more (which in hindsight makes sense, as he's just started relearning it from the dragons five episodes ago), and Toph notes that his earthbending could use more work too. Right off the bat, Aang is two elements away from complete mastery of all four, but later on he's seen practicing waterbending with Katara, implying he hasn't mastered it either.

We don't even see Aang practicing his airbending by himself post-iceberg, preferring to show off to random girls (like in Kyoshi Island). He just learns the elements, but doesn't really learn the philosophies behind each element. In this regard, he makes Kuruk and Roku look venerated in contrast. (To be fair to Aang, he had a specific deadline to master the four elements before Sozin's Comet that no other Avatar besides Wan had to deal with, but couldn't he try to make an effort to learn from the other nations?) Additionally, compared to Tenzin and Zaheer, Aang doesn't stand a chance against either of them (even though Tenzin is his son, but since Tenzin wasn't the Avatar, he could focus on upholding the Air Nomad culture and legacy). Even Jinora could go toe-to-toe with him at similar ages. He isn't really that impressive in any of the elements, to be honest; we've seen what a master of any specific element can do in both ATLA and LOK, as well as in the novels.

The main thing people often get wrong is that mastery isn't a final goal; it's a specific mindset. As in Pai Sho, what separates true masters from everyone else is that true masters always look for improvement in their strategy or skills. That's why Aang isn't a real master of the four elements: He always takes the easy way out, never trying to better himself or improve what he can already do.

I think this quote from Zaheer perfectly sums up what I've been saying: When you base your expectations on what you see, you blind yourself to the possibilities of a new reality. Even though it stems from his anarchist beliefs, it is genuinely one of the more insightful pieces of wisdom in the franchise because it promotes progress, a constant theme in life. Toph was able to invent metalbending because she wanted to "see" a reality where she could be recognized for her own talent in spite of her blindness; Zuko could learn firebending from the dragons because he could see a reality where he would regain his honor and fight alongside the Avatar, and so on. By contrast, Aang only takes things from surface-level, not putting any effort into understanding the true meaning of being the Avatar.

Speaking of Pai Sho, guess which Avatar constantly improved his/her abilities? Kuruk. Unlike Aang, Kuruk readily asked his companions, Jianzhu, Hei-Ran, and Kelsang, to continue teaching him, ever after he mastered the four elements that he was required to do, saying they would all benefit from the experience (the "true master" quote I mentioned above was actually said by him). Not only that, it was even inverted; sometimes they taught Kuruk, other times he taught them (which technically makes him the first known Avatar to teach bending to others). He was right, as during their lifetimes, they were the most powerful benders of their respective elements in the world!

Kuruk also had an intuitive connection to each of the four bending philosophies, which to this day remains unrivaled by any other Avatar, and was also one of the first people to suggest the idea that the four elements are connected (homeboy's literally a younger Water Tribe Avatar version of proto-Iroh, I'm honestly not going to be surprised if Iroh actually learned his belief from Kuruk during the former's visits to the Spirit World over tea and Pai Sho matches). If you ask me, Mone, learning the cultures and philosophies of the four nations is way more important than mastering the four elements, because the Avatar isn't just the bridge between the four nations; he/she is also the symbol of a unified world, and the franchise is saying that only one Avatar even bothered to do that? In my opinion, if we go by this rule, that easily cements Kuruk as the greatest Avatar in history!

Aang, on the other hand, never does this. Instead, he puts the Air Nomads on a high pedestal (which in turn causes him to place Katara on a high pedestal), and doesn't respect or learn from other nations' philosophies. He openly disrespects SWT culture and actively makes sure Tenzin doesn't have any exposure to the culture that Tenzin still belongs too, and worse, he pushes his own culture on other people's throats (remember the time he forced a homeless couple to "give up on hope because it's a big waste of time"? Or the time he forced Katara to not murder Yon Rha?) and values his own nation and values above the rest of the world (like the time he refused to kill Firelord Ozai because "all life is sacred", even though he has actually killed before, but if he doesn't kill Ozai, the latter's going to burn the entire Earth Kingdom to the ground!). That doesn't sound like something the Avatar is allowed to do, but Aang gets away with it anyway because ... hero?

There's actually another Avatar who focused on his/her own nation above the rest of the world. Avatar Szeto, Yangchen's predecessor, became a government official in his homeland, the Fire Nation. Under his tenure, the Fire Nation transformed from a fragmented, disaster-stricken state to the centralized, technologically-advanced nation we know of today. Unfortunately, this led him to neglect the other nations and, shortly after his death, the four nations were caught in a political event known as the Platinum Affair, which Yangchen had to deal with, eventually kick-starting the cycle of the current Avatar fixing their past lives' mistakes, while leaving problems for their future selves to fix. This problem might have even led to the growing ambition of Firelords Zoryu and Sozin as dictators, with the latter starting the Hundred Years War.

Aang not only valued his own nation's values above the others, he also forced said values on his non-Air Nomad companions; signed anti-miscegenation laws and tried to forcefully deport Fire Nationals from the colonies to return the land to the Earth Kingdom, even though they had already blended in with Earth Kingdom citizens, didn't wan to be separated from their families, and Zuko perceived the citizens of mixed heritage as his own subjects; refused to let his family practice SWT culture, even though his children could benefit from being members of both cultures, not just one or the other, and set an example for mixed-race families around the world; refused to teach Kya and Bumi Air Nomad culture because he thought they weren't airbenders and therefore "not real Air Nomads", even though they were just as Air Nomad as Tenzin was, if not more; and forced Tenzin to uphold the legacy of an entire nation on his shoulders. The fact that this was all written by complete accident is the cherry on top, representing just how badly Bryke screwed up.

... On a completely unrelated note, The Other Side of Paradise by Glass Animals (which is also one of my favorite songs) is definitely a Kuruk song. The last third of the song in particular sums up his tragic journey as the Avatar so well, and I always think of him while listening to it.