#dav negative

[yamisnuffles]

DATV negative under the cut. Shouldn't need to be said but all very much my opinion and tastes, etc etc etc

At the end of the day, my biggest problem with Veilguard is that it lacks real replayability for me. But Claire, you might say, you've played four Rooks. And, fair, but that has been putting it on the easiest difficulty (which is turn off your brain easy) and skipping at least 75% of the dialogue each replay.

But that actually brings me back to my main complaint. I might have made four Rooks but it feels, at best, like two and only with very heavy headcanon at that. I made the opposite choices my second playthrough for everything, big and small. On paper, those two characters should have felt significantly different. One was a snarky human mage from Tevinter and the other was a straight forward, serious elven warrior. But, aside from different faction flavor dialogue and other minor changes (a bit of mage stuff for one and elven for the other), they fundamentally felt like the same person. There are a few reasons for that.

Each prior game gave ways to make the protagonist feel like an individual each time. The origins in Origin have a strong staying place to conceptualize who your Warden would be. Although the game was, imo, not terribly reactive to that after, you at least had lots of personal dialogue choices and you could make very different choices through the story. Then, in DA2, you were always Hawke but who Hawke was could feel substantially different. The game had a still unmatched personality system that would even change your ambient dialogue based on that personality. As such, a red Hawke spoke and reacted very differently from a purple Hawke and you even had different opportunities to get through some quests depending on that. Then in DAI, your background opened up different dialogue choices and the world would react to you in different ways. A non mage human noble would have a much easier time in the Winter Palace than, say, a mage qunari.

The second point, which is true for every prior game, is that your relationships with your companions could be very different. On DAO you could kill your companions or they could try to kill you if they disagreed strongly enough. I personally don't like the option to kill companions for various reasons but my point is that your relationship could range from besties/lovers to outright murderous contempt. DA2 has the friendship/rivalry system which, while it had its flaws, resulted in very different paths with companions. The companions also started to ask after you more and you might even be integrated into some banter. DAI was less extreme than the prior two but you could still get different paths with companions based on how much they liked you. Cassandra might get drunk after you're named Inquisitor, you could punch Solas and Dorian, and so on. The companions also reacted a lot to things you went through in the story and even to your specialization.

Finally, every class feels kind of the same. They're all relatively enjoyable but it doesn't really feel substantially different to play a mage, rogue, or warrior. Each class has very limited amount of abilities and they've all been made to feel a bit magical. This isn't quite as big from an RP standpoint (though it is still a thing for me) but it does hurt replay since a fair part of the game is fighting.

How much any of these things worked for players sort of boiled down to personal preferences but they were at least there. Romances wouldn't trigger or might even be broken under certain circumstances in other games, while the only thing that matters in DATV is that you flirt with them. Approval is meaningless. The only major difference in how you interact with them is pretty much just whether or not you talk to them at all/do their side quests. Otherwise you're always on good terms with them and they with you. Also, aside from the choice between Minrathous and Treviso, there simply aren't big choices that can be played differently and the small choices don't much matter. Most of the companion choices have superficial changes at best for them, with the exception of Emmrich.

What was the only thing that made the game feel different? Very, very thorough headcanon. Playing as Kieran felt different not because of anything the game did but because of work I put into it. Which, if that's all you ever want, that's fine. For me, the only thing that kept me making other Rooks was a desire to see certain romances. When I replayed the other games, I never skipped dialogue but this time it all feels so samey that it feels like there's no point in playing through it.

At the end of the day, I feel like Veilguard works best if you're a one PC kind of person. I've liked all my Rooks but that's bc I like the general person Rook is. I like the character creator, which is also enough to get me making new characters. I still don't think it's a bad game but it found new ways to disappoint me in ways I didn't expect for a BW game. I very much understand there are reasons it is the way it is but it's still a bummer when it's very, very likely there will never be another DA game.

[pinkyjulien]

More than a week after finishing my first playthrough of DAV and reflecting on it, I think it boils down to; I had a good time playing, it's a good game, it's a cool action RPG, but to me it's a bad dragon age? If that makes sense

The whole "oh btw Viper is the black divine lol" reveal and everything that implies was kind of what made me realize that Yeahhh... I had a great time with it, loved the game, had a lot of fun, but. As others said, it feels a bit shallow and it misses a lot of what I loved in the previous games. If I sit and detach it from the trilogy, think of it as a spin off? It'd work GREAT! But that coping falls quick considering how many important lore we got from it and how it directly continues on Solas story - its just too bad it wasn't... explored deeper or idk. I feel really sad about the game I'm ngl, a lot of What Could've Been, but eh, as I said, still a great experience and I'll replay it ofc! I'm having fun modding it too

The only ones I'm blaming here is EA btw - the devs poured a lot of love in there and it shows, and I can only hope they'll be able to continue exploring this universe in the future 😞

[merrybandofmurderers]

"dragon age is a choice based game" and are the narrative choices players make in the room with us

[zombolouge]

it's 100% because the only way to give the character content after that was to delve into pretty harsh conflict, with them and the rest of the party. But DAV doesn't let you do that with ANY of the companions, so any time they run into an issue that would require it, it's just swept aside and ignored. Or so shallow it's barely there at all.

It makes complete sense (to my understanding of the character himself) that Lucanis shuts the fuck down after Treviso, makes perfect sense that he wouldn't trust you or the rest of the party after that. It even makes sense that his depression over it all would drive him deeper into conflict with Spite. What makes less sense (and where the narrative falls on its face) is that you never get to confront that or deal with it. In Inquisition, you usually got to confront each other about the shit that didn't sit well, but in DAV you get robbed of that chance. You make one choice and then nobody gets to process it or deal with it, except maybe one line or scene in passing that doesn't even scratch the surface of what it needed to be to reflect it accurately.

The whole game should have been high-stakes, high emotion conflicts that you had to navigate, but it's just...missing that part of it.

It's amazing how much of a non-entity Lucanis becomes if you don't save Treviso. You get cut off from his romance, there's no choice during his companion quest (for me it just automatically threw Illario in prison and I never saw or heard from him again, not even from Lucanis), and the whole thing with Spite - y'know, the thing his whole character arc revolves around - is "resolved" with one line of "oh btw I'm gonna split from Spite after this" and that's it, you can't ask him about it and Spite doesn't do anything for the rest of the game. This is the game's first major decision btw. Imagine if siding with the mages in Inquisition cut off the romance and story arcs for Iron Bull, Cassandra, Sera, Vivienne and Cullen? Your first major decision in a game that's supposedly full of them (if the devs weren't a bunch of liars) turns a major companion into a dead weight! 10/10 game design right there!

[zombolouge]

The thing is, it's not about the Therapy Speak. It's not that everyone who disliked DAV hates healthy communication as a dynamic in fiction. It's not even about only being allowed to be a good guy, really, because most of us did do that anyways (though the option not being there is a loss I grieve even if I never chose it myself, but that's another rant for another day).

It's that DAV does all that stuff at the expense of being believable. At the expense of characters being permitted to have personalities. At the expense of emotions behaving the way emotions actually work for people. At the expense of letting the plot build tension through the stakes we're forced to grapple with.

Half the fics out there take the conflicts between the characters in the previous games and resolve them. I do it myself ALL THE TIME because I like to find a path to resolution through just about any conflict, that's what fascinates me about telling these stories. But the higher the stakes, the harder a conflict is to resolve. You CAN resolve any conflict, you CAN communicate healthily through any emotion, but you can't skip the time it takes to process it all to even be able to communicate it. As someone whose got CPTSD and recovered from many Traumas, I can tell you that the TIME it takes to work through it is not something you can fast track, and the ups and downs of your emotions on that journey can't be skipped. It doesn't matter if you know exactly how to do it, exactly how it's going to feel, or exactly what the end state will be, you CAN'T speedrun it.

DAV has stakes that are astronomical, but nobody treats them that way. Nobody experiences denial - a common psychological reaction to being presented with information that shatters your worldview. Nobody expresses any distrust in the establishments handing out this information - something common among cultures that have at times been at war, even if those wars are "resolved" in the present. Nobody really ever breaks down - something that any person is capable of under extreme circumstances, especially when facing multiple crises of faith that challenge everything they thought they knew about themselves. Nobody blows their lid because they've been repressing the hell out of everything. Nobody grieves for southern Thedas, the entire thing dying off screen and giving you, the player, NO way to engage with it in any way.

Not to mention there are barely any inter-party conflicts, when there should be a lot more. Why is everyone (except Spite) fine with it if Emmrich sacrifices Manfred to become a lich? Why is everyone fine with Illario potentially being set free if he was working with the venatori and Elgar'nan, two sources that have actively attacked everyone in the party? Why doesn't Neve resent Lucanis if Treviso is picked? Why doesn't Harding get pissed off at Nevarra for having a secret society of liches that never helped during the Inquisition's war against the breach and corypheus? Why doesn't Harding feel ANYTHING about Ferelden and the rest of the south? Shouldn't Harding resent the fact that she's stuck in the north while her home dies?

All of these conflicts ARE resolvable, but not easily. And it's not believable that they're never brought up. It's not believable that these characters skip through everything that happens with like, barely a frowny face most of the time. In DAO, Alistair leaves if you don't treat his conflicts with respect. In DA2, your party members try to kill each other if you don't pay attention to their conflicts/emotional needs. In DAI, people can leave or betray you, Cassandra throws a chair at Varric and tries to body him out a window. ALL of these can be resolved but it takes effort, and the characters get to SHOW that they're bothered by them and struggling the way a person would when faced with those emotions.

The problem isn't the therapy speak, or that everyone is loyal and won't leave, or that they aren't mean to each other enough. It's that it's toxic positivity. It's toxic as fuck to imply that anger or grief should be smiled over or else you're giving up, and it's damaging to people to avoid engaging with their own negative emotional responses to extremely negative stimuli. It's pasting optimism over very real, very weighty issues, sweeping it all under the rug, and you keep waiting for the lid to blow off the pressure cooker that creates, but it never does. It never becomes anything that emulates real emotions, which is why the whole damn thing feels hollow. Everything's dying and nobody cares, not even about themselves, and that's NOT healthy communication.

It's bullshit, half-assed storytelling that didn't tell us the actual story, just the vague idea of what it could have been.

[pi-creates]

I can’t stop being upset about Veilguard’s writing, and apparently the only way I can get it out of my thoughts is to put it down in words, so here we go…

I’m frustrated, I’m upset, and the longer I think about the way this game was written, the more problems present themselves… and I bloody hate that. It feels like a first draft writing effort, and every time I’m reminded that this game was in development for so many years, I cannot fathom this being the end result. Dragon Age 2 had 16 months of development, and it feels more cohesive and put together writing-wise. I can see the years of polish in the visuals, but the spectacle of the game doesn’t blind me to all the problems in the writing.

Naturally, these are personal opinions, I am genuinely thrilled for people who have played the game and enjoyed it – I wish I could be there enjoying it with you – but clearly these things get under my skin more and spoil the experience for me when they aren’t problems for you. And I also acknowledge there are genuine good parts of the game which I enjoy, but those moments aren’t enough to overshadow the negative experiences that irk me.

And because this post has apparently gotten away from me… I’m gonna put some headings to summarise the problems I’m having, because otherwise this is just a massive rant with no structure.

Show me things, stop just telling it to me.

So much of the game feels like writer’s notes where they put “what the player should take away from this scene” and instead of being creative with how they do that, they just say it verbatim. My immersion in this game was being broken by the game reminding me it’s a video game – which yes, I know it is, but I want to be invested in this world and feel like I’m part of it.

Varric and the game’s own pop-up system is the main problem that’s consistent through the whole game – constantly dropping narration or mission summary where they have zero problem dropping exposition on us and/or spoiling future content. Forget letting me explore these things and reach my own conclusions, the game is going to make sure I know exactly the interpretation I’m meant to have for every moment.

And it’s so damn frequent, I feel like they don’t think I’m paying attention and therefore need to constantly poke me with reminders instead of trusting me to reach my own conclusions. Do they not trust me to have an attention span long enough to go on a walk with Davrin without reminding me at the end of the walk that I did that?

To add to that problem, I absolutely hate how the writing just has people know things – they shouldn’t know this, they shouldn’t be talking to us about this, all evidence points to them not being able to know or be ok discussing this, but for some reason they do.

The Veil Jumpers suddenly just know how to translate and interact with ancient elven artifacts, ignore how the Dalish have been trying to do that since the fall of the Dales (and realistically, even before that) and their efforts over those hundreds of years were a scrap, a pittance of what could be known. But I guess the Veil Jumpers are just better than those hundreds of years in the few years they’ve been active.

Oh, and the scary reputation of the Dalish is just gone? These people just go to the elves they have deemed “savages” because they simply know these ones have good intentions? This world has been established as very untrusting of the intentions of other groups, but that’s simply gone now for this one – I wish I was shown how this started in some way instead of just being told it’s chill now.

And don’t get me started on Strife and Irelin and their seemingly endless knowledge that they shouldn’t have. I read the comics, I get that they’d probably know about the Dreadwolf and have a vested interest in learning more once that particular bit of information was revealed to them – but they somehow also just know about the mask Cyrian is wearing? They know it will influence him but not control his will? Why do you know this with no doubt whatsoever?

Why can’t these things just be presented as theories? Or give us something to find and reference where that information comes from? I want to learn things without just having characters tell me things they know.

And overall, I hate how this game decides to just exposition dump information on us, then we sit around and talk about the exposition dump – it’s overwhelming in magnitude. It feels like such a passive way to have us engage with everything, and this is supposed to be an interactive experience. Instead of being force-fed exposition in big chunks, drip feed details, let us put the puzzle together, let us gather and discuss what we learn with multiple interpretations like the RPG this is meant to be.

And this exposition problem also ruins the stakes in the game for me. Personal interpretation, probably, but the stakes in this game feel artificially inflated to me via having characters constantly tell Rook they are going up against the biggest threat ever. We bring in past heroes of the series to reiterate that, how they think we’re up against worse things than they faced… and I don’t feel that. Telling me constantly how hopeless things are, but every obstacle ends up being overcome relatively easily and without great losses… no, I don’t feel the stakes are real.

Oh, and hearing the talk of how all of Thedas is in trouble, there is so much destruction and only Rook can save them… why don’t you find a way to show me that? Because I’m not feeling that, I’m not seeing it, and I’m starting to think the Inquisitor is making stuff up so Rook doesn’t ask them to get involved again when they’re so busy.

This is a lore problem in the series…

Plot holes and wonky lore can happen, it’s not surprising… especially when there are three games prior to this as well as several books, comics, and other branches of the universe. There have been inconsistencies since the start, and a lot of it doesn’t matter – I don’t care if the second moon is forgotten about, the moon not being there isn’t going to make a problem with the way the story is told since that moon is never something elaborated upon in the plot.

This game though… it has problem that are both related to information in this game not being consistent with previous games, and information within its own contained plot contradicting itself.

I’m not going to beat the dead horse of “this isn’t how the previous games did it/explained it”, people who played the previous games are aware, I don’t see a point of elaborating in detail all the instances of this. Just take some dot points of the one’s I noticed:

The Crows are a horrifying organisation that are suddenly presented wholesome

The Qun offering to rehabilitate Karash is horrifying and it’s presented wholesome

Slaves are meant to be everywhere in Tevinter, but we don’t see that

Racism is supposed to be rampant in Tevinter (and other nations, but particularly here for any non-human), and we also don’t see that

Handling pure lyrium is fine now (unless you’re Harding)

Adult Dalish without vallaslin (Elgar’nan’s captives)

Fenharel’s agents are just gone now – as are all signs of mass elven exodus from cities

Solas’ opinion on blood magic is suddenly negative instead of neutral

Spirits dying is given the same weight as people dying

Flemeth…….just everything about Flemeth and Morrigan

Re-write of the after credits scene in Inquisition to recontextualise the Flemeth and Solas interaction

Isabela’s attitude towards Shathann sending Taash away without their knowledge (the comics make me doubt she’d be cool with this)

Non-Dalish elves knowing things about ancient elves and elven language

Blight sickness and how darkspawn are “born” (some leeway for this one since the blight is overall just different in this one, but it does feel less interesting this way)

Morrigan naming the Crossroads in lieu of the true name being lost to time, but everyone uses the term now

Crossroads looking different through elven eyes

You can’t just make people be magic/not magic (me side-eyeing Illario and his random ability to do magic now)

This is a contained problem in this game…

What troubles me more is the inconsistencies within the same game… that isn’t just deciding “this is how it works now in this iteration”, this is a problem that they wrote into existing, then either didn’t notice or didn’t resolve appropriately. And granted, some of these things aren’t inherently plot holes, but when you put certain aspects under inspection, it doesn’t make things look good.

For starters… I have to talk about Varric. Or more accurately, not-Varric.

I’m under the impression that not-Varric is simply Rook’s memory of Varric being projected for them. I personally don’t think there’s some extra level of Solas interference in what Rook is seeing moment to moment… and I feel the need to state that because Rook’s memory cannot conjure up information that Rook doesn’t know.

So why does not-Varric point out that the ritual dagger is the dagger from DA2?

Rook could not recognise it, there is absolutely no reason for Rook to even theorise that – so not-Varric should not be able to impart this knowledge to Rook. And what makes this worse for me, aside from being an impossible situation as the plot presents it, is that this observation doesn’t matter in the slightest. They put this backstory to the McGuffin Dagger and I don’t know why since all it does is create a plot hole. The only purpose I can see for this moment existing at all is to bolster the illusion that not-Varric is real and trying to help with the cause in whatever way possible.

Then there are other issues with Varric not being alive which makes other character’s lack of talking about him feel awful. Like, it’s not natural the way people avoid mentioning him when it would be very appropriate to do so – and I understand that to an extent, the game’s gotta game – they want to surprise us and therefore the characters aren’t going to blatantly give the surprise away early. But the Inquisitor doesn’t ask after him at all? Doesn’t mention how Kirkwall is coping now that the viscount is dead? Dorian doesn’t say anything after learning Varric found Solas in his city and then died? Isabela has nothing to say about Varric until after the illusion is broken for Rook?

It makes it feel like Varric’s friends (aside from Harding, the only person who seems to actively mourn him at the start of the game) don’t give two shits that he’s gone.

That’s not even accounting for how characters don’t bother to check in with Rook who is constantly talking with the companions about their various issues of mourning, hearing voices or apparitions, and just checking in with them overall – but none of that is seemingly reciprocated.

Frankly, this makes me feel awful. I feel awful for Varric being seen as so disposable that his friends don’t mention him or his absence. I feel awful for Rook who is apparently not worth the direct effort that they offer others.

And I try to think of how a new player to this series would feel about all of this – because Varric was just some guy who walked us through a tutorial in this game. Most of our time with him is fake, any connection I saw form between Rook and Varric in this game isn’t real – but then Rook mourns Varric more than he mourns the companions we have spent most of the game with.

I don’t like it.

And I don’t like the utilisation of returning characters. Morrigan, or as she’s utilised in this game deus-ex-Morrigan, has a new view of Flemeth and therefore she will take on Mythal’s soul fragment so she can again swoop in and save the day by handing us the means to get a reconciliation type ending… it couldn’t be something that characters in this game figure out, just have a returning character provide us with the magic solution. Also ignore how the whole reason Morrigan was afraid of her mother in the DAO and DAI was that her body would get taken over by her spirit… but I guess that doesn’t happen now. We can just create new rules for this iteration because it’s easier to tell the story this way.

Solas is also just… I’m so upset by what was done with him. He was a character in DAI who told half-truths or lied by omission, leaving others to assume false information without him actually saying it – it was never just blatant lies to take advantage of others. And his motivations were about restoration of something he felt he had robbed the world, it was about righting what he viewed as a mistake which lead to such a cascade of problems that he needed to somehow rectify it. Whether you agree with his point of view or his desires doesn’t matter, his principles remain the same in terms of what motivates him.

Then this game happens and he’s just a liar constantly, and not even a clever one if you can apparently just trick him up with a “woopsie, this isn’t the real dagger”, and he also apparently has no insight into the idea that Rook would anticipate that.

They make him act like the worst interpretation someone could have of him, the thing he actively was trying to tell us was a false interpretation in DAI and the comics. But history was written and remembered by those who experienced the negative outcomes of his choices, and they remembered that as the greatest evil in comparison to what else could have been. But apparently in this game, that’s the truth now. His motivation is about his desires and he cares nothing for the people who has hurt or will be hurt. But it’s ok, because just as easily as his motivation changed between DAI and Veilguard, it will be changed again at end game if you listen to deus-ex-Morrigan.

Then there are smaller things, but things that really would have been caught if someone was just paying a little bit of attention…

Like Harding and Emmrich going camping in Fereldan… which if we’re to believe the things the Inquisitor was saying about Southern Thedas, I don’t think you’re going to have a fun trip. But I’m glad they’re able to find some time for a vacation while the refugees are getting blighted all over.

Or Rook actively saying “I should talk to Varric” directly in front of characters in the lead up to end-game, and those characters choosing to completely ignore that.

Or in Neve’s companion story, Aelia deciding to interrogate the witness to the red lyrium deal right next to where it happened. She didn’t need to be in the area, she was puppetting the smuggler, and she clearly has insight into what the person is seeing and doing while puppetting them. So I guess she’s just there so we can figure out she was involved.

Or the game telling us that Anaris need Cyrian to perform rituals for him since Anaris doesn’t have a physical body to do them himself… except he apparently doesn’t because he can kill Cyrian when he disobeys. I still would like to know if Cyrian ever died originally, by the way, and if so how he’s back and seemingly normal – this game likes to answer big lore questions like it’s nothing, but they just gloss over details like this.

Or how in Emmrich’s missions, Manfred’s spirit dies and can just be brought back to life… so I guess spirits dying means nothing if they can be brought back with their memory and personality intact. So that Solas flashback where we were supposed to be appalled that spirits died? Apparently there was nothing lost there, someone just needs to revive them and they can carry on as normal.

Or how the rewrite of DAI’s ending cutscene implies that Solas killed Flemeth/Mythal… before he had the power to do so since the whole reason he has been able to do anything in this game is because he absorbed her amassed power. So Flemeth/Mythal would have to let her power go willingly since Solas should not be able to forcibly take it, but clearly, she didn’t since the dialogue we’re given is her being reluctant. Solas apparently has the power he needs to do things when the plot demands it, but also no power when the plot demands it (aka, when Rook needs to prove they’re better than him).

Or the crew making a fake Ritual dagger near end game. For no reason whatsoever. They just decided to do that knowing it would only be a prop, but they had no plans that even involved a prop at that point – so they just did this because the plot told them they had to.

And speaking of that Ritual dagger… all the old elves want that dagger for one reason of another, but they never seem to try to get it when they can, or they don’t seem too concerned when it’s not in their grip anymore. Solas doesn’t try to hold onto it after Varric gets stabbed. Elgar’nan doesn’t try to pick it up after it kills Ghilan’nain, in spite of him knowing it’s the one thing that can kill him… nope, just leave it there and peace out.

Or my personal most hated thing – Isseya and her stupid motivation making no sense.

I cannot fathom the logic of having Isseya, a warden who was forced to blight griffons, who came to resent this order as she watched the griffons go mad, made it her mission to safeguard a clutch of eggs, takes the blight from the eggs into herself while using magic to put the eggs into status, then goes off to her calling which doesn’t actually end in her death… and somehow, 400 years later, she’s decided that since those eggs have hatched and the griffons are healthy and unblighted, the thing she wanted, but they’re in the hands of wardens which she doesn’t really like, so now she’s gonna go get those griffons to blight them.

Literally doing the thing that made her so mad at the wardens. Because she wants to save the griffons from the wardens and their cruelty… by repeating it… I just… this is nonsense.

If she’s capable of articulating that she’s mad at the wardens for their cruelty to the griffons, then she shouldn’t be repeating it thinking she’s saving the griffons. If she was just keeping the griffons captive to keep them away from the wardens, then I could buy that, but adding the element of her wanting to blight them just makes this nonsensical.

Oh and never talk the First Warden down – it will make the final scenes with Isseya even worse if he tells you about the feather from her griffon and show it to her. Because I don’t even think Isseya dies in that variant of the cutscene, she just says sorry and rolls on the floor while I guess Rook and Davrin let the griffons out…

Who is Rook?

Usually, in a game like this, choices are what make us feel like an active participant in the world. It helps us build up our own character and determine how/why they behave the way they do, and also how the world around them is shaped by the consequences of those moments.

But this game feels so stripped of choice, especially choice which is any way related to morality or priorities that aren’t standard ‘Hero traits’. Rook will always do the right thing, they can’t be motivated by personal desires, excitement, monetary gain, fame, etc…. and when Rook is forced to make a choice, there is no option which would be looked at as unreasonable by companions. They might give us an approval/disapproval pop up, but it never really feels like Rook is capable of being incompatible with anyone, they will always be seen as justified in companion’s eyes. And to me, this makes Rook as the game presents them incredibly bland.

Most of Rook’s unique characterisation happens in the character creator – the game gives us minimal chances to expand or form a personality for Rook that is significantly different from any other person who plays the game. We do the heavy lifting here, we transpose qualities on Rook because the game won’t give us meaningful opportunities to do that.

And not only do I feel like the game lacks choices that would help us define Rook, it lacks decisions that make me feel like I’m having any impact on the world overall. I can defend Minrathous or I can defend Treviso… this is the one choice we make which seems to actually shape the world we play in.

And it doesn’t even come up as something Rook can regret in the sequence about regrets… Rook apparently is faced with only regrets that are the result of other people’s decisions to volunteer to do something. But the one thing where Rook actually has to actively choose something, something they are actually responsible for the suffering on the side they don’t defend… that isn’t something they can regret.

What the hell is that supposed to mean? Surely, if Rook should regret anything it should be the thing they feel direct responsibility for, no? But Rook doesn’t. Because Rook doesn’t regret anything they do, because they aren’t written with choices that they can regret since they aren’t seen as responsible for negative outcomes.

Honestly, that sequence might as well have been about mourning or sadness rather than regret, because Rook has to be upset at the loss of companions, we don’t get to influence that. But Rook isn’t regretful – that’s how they get out – but I can’t help but wonder why they didn’t then make us able to actively regret the legitimate choices we make, rather than feeling regret for our companions deciding to risk themselves.

Rook feels like an outside observer to everything that happens around them. They are the mediator, the sounding board, the magic-8-ball for decision making when companions need a push because they’re stuck. Sure, they do things, but for an RPG the way they go about things feels so linear.

And on another note… why is Rook seen as important? They start championing Varric’s cause in his absence, they want to stop the veil coming down and that starts with stopping Solas, then stopping Elgar’nan and Ghilan’nain. But to the outside observer, Rook is just some guy who says they are on an important missions, and they really need to speak with all these important leaders of factions – just trust them, I’m sure the First Warden is happy to make time for a meeting. And also the First Talon of the Crows, I’m sure they are fine with just some foreign person saying they need to meet your leader.

What I’m trying to get at is that Rook has no title, your group isn’t given any proper title or status which these people can look at and assume Rook is being truthful, trustworthy, or even worth their time. No one has any reason to hear Rook out, but in this game, they either just do, or they don’t and it’s because they’re actually a bad guy.

But Rook is no one special. They realistically shouldn’t be trusted like they are, they should absolutely be struggling to be taken seriously by others but it’s portrayed as unfair when that does happen. But they’re the protagonist, and it’s like everyone in the world simply knows that. I want Rook to struggle, I want them to grow and prove themselves, but it feels like we skip passed that to get straight to the fantasy of being in charge and considered fit for that role. 

Pacing and feeling like something was missing…

The start and ending throw a lot at us and expect us to keep on running – but then the middle portion of the game suffers due to the companions putting a stop sign on the plot so you can do their companion quests. And they aren’t shy about telling you “you need to stop and do our quests or we’ll be distracted at end game”… and again, thank you game for explaining game mechanics to me.

I was going to complete character quests, because if I care about the characters of course I’m going to do that. Having to actually pause the plot and have the characters explain to you that you have to care… I don’t know how to explain this, but it immediately took me out of the fragile immersion I was trying to get into. It makes me upset with the companions for reasons I can’t put into words. Maybe it’s because in one fell swoop it made me see them as checklists to be completed instead of people I wanted to know? I’m not sure, if someone had a similar reaction to this moment and has a better explanation, I would love to be enlightened on what it is that makes me so uncomfortable about this.

But I digress, the problem here is that the plot grinds to a halt. We stop doing things which feel like we’re advancing our plan of stopping the big baddies, we just kind of patter around and make sure our companions feel ok. And most of those missions to help our companions aren’t connected to the enemy we’re facing… Aelia, Anaris, Hezenkoss, Illario, The Dragon King, Isseya – they aren’t agents of the big baddies, they are just enemies that pop up at the same time as the big baddies are around, and are therefore making the situation worse.

So yes, we’re still doing stuff, but it feels like fluff. It feels like a detour while we just hope the world doesn’t burn while we stop to go on another picnic.

This is something that happens in a lot of games, the urgency isn’t real because you can stop progressing plot to go for a long walk if you want to – but in none of the other games did it feel so blatant to me. I still felt like most of the little tasks in the interim of plot advancement were at least advancing the cause in little ways… I don’t feel that with a lot of the things that happen in the middle of the game. It just becomes about companion missions; the bad guys will wait until we sort that out, the blight will stop advancing so we can have family dinners and go for walks.

And I really don’t know how to explain this, but it feels like something is missing in how the story progresses. Like extra things were meant to be happening and they are just not there. Maybe this is another part of how the game often just tells me things that happen in scene transitions, or it’s me really wishing there were more actual plot advancing missions in the middle of the game.

This problem I think also is most evident in the romances. Veilguard seems to take its romance pacing more from the Mass Effect games than the previous Dragon Age games – and while it was acceptable in Mass Effect to have very few romance scenes, and predominantly only having one big scene which culminates at end game, but suddenly introducing it in this series makes it feel like a huge downgrade from previous instalments.

It feels like we’re missing things, we’re given banters by companions commenting on the progress of our relationship and our partner can talk about how close they feel to our Rook – we’re given the impression our relationship is strong and established midway through the game. But with how strong the characters talk, it feels like we should have experienced so many more interactions with our partner to substantiate that.

For comparisons sake, in DAI if you enter a romance prior to going to the Winter Palace, you get romantic dialogue with your partner if they’re present, you get a dance, you get to feel like you’re in a relationship as it’s developing into something deeper. You get more interactions as the game goes on, moving from spoken interest, kisses, and intimacy (in most cases). It’s a slow build, and let’s you feel the build up by giving you glimpses of each step as the relationship develops, and then letting you just experience being in the relationship.

This game feels like it gives us the bare minimum in actual content, but has characters talk about how established the relationship is. The heavy lifting is again left to us to interpret all these blank spaces and fill in how this relationship is developing. The problem isn’t inherently with what the game gives us, it's what it doesn’t.

It lets us choose a relationship in the middle of the game, then it doesn’t give us all the progression – rather it gives us the minimal amount of snippets to meet the checklist of “they express interest, they mutually agree to be in a relationship, the relationship is consummated physically”. Sure, we can continue to pick flirt/love based dialogues, but it doesn’t feel nearly as strong as the banters seem to be telling us it is. And over all, we can go a very long time between each progression point.

I love this franchise, and I so desperately wanted to like this instalment… and instead I feel hollow.

[mohntilyet]

actually sorry dav reads like a game that was written by people who think da2 is about found family. in every other game my ending feels earned and my choices are my own and then veilguard asks the bold question what if we could bring the hr mandatory team bonding experience into a video game?

[imperator-kahlo]

OK what even is happening with the Crows

I’ve just been trawling through the wiki and World of Thedas for a few hours trying to figure out what we (a) know, (b) can guess, (c) can speculate wildly about the inner workings of the Crows during the Dragon age.

(I am by no means an expert on the lore so please let me know where I have wildly missed the mark).

I'm definitely not trying to propose any kind of fanon consensus, where's the fun in that?! Just trying to figure out a timeline that makes sense to me. Possibly also toying around with a pre-canon Rookanis fic.

Loooong and probably insanely disorganised text post under the cut. I should have been in bed hours ago but I am hyperfixating on this and will not sleep until I hit post.

Spoilers, so many spoilers below: Veilguard, Tevinter Nights, The Silent Grove, Origins, Awakenings, the entire franchise basically.

So, a speculative timeline. Events in black are fairly or very well supported by the lore; events in blue are inconsistent/uncertain in the lore; events in purple are guesses that I can sort of back up; events in red are me throwing a dartboard at the wall.

Note: The wiki puts the events of "Eight Little Talons" in 9:44 Dragon, but I can't find any source for that. I would have guessed a little later, but let's roll with 9:44.

Also, I'm pretty unclear on the guildmaster/grandmaster distinction. I'm just going to say 'head of house' for whoever is in charge of a Crow house, or Talon if they're head of one of the eight Talon Houses.

Blessed Age

8:70 Blessed - Caterina born (she's described as well into her 70s during Eight Little Talons and as around 80 in the data-mined character descriptions for Veilguard, so give or take a couple years this seems right).

9:00 to 9:29 Dragon: House Arainai Shenanigans

9:00 Dragon - Antivan civil war, beginning of the "much maligned" Three Queens era (Codex, History of Kirkwall - Chapter 4). Unclear exactly what happens or over what period of time, but seems like the Crows would be in the thick of things.

9:05 - 9:10 - Caterina maybe reaches Talon status (not First, though). Around 8:98 Blessed would be the absolute earliest she could get there given Teia's holds the record (youngest Talon at 28). But I think Teia was at least three or four years younger than any previous Talon so I'd put it somewhere around here, if not a few years later.

9:12 Dragon - Zevran, aged 7, is purchased from a Rialto brothel by House Arainai. The House is led by First Talon Talav Arainai and described as rolling in coin after the "Three Brides" contract - they purchase 17 other slaves that year, including Taliesen (World of Thedas, vol 2, p. 96). I think based purely on vibes that House Arainai is fairly secure in First Talon position and has been there at least a couple years, probably longer.

9:15ish Dragon - Teia born (she's described as 28 in the data-mined descriptions, but she's already a Talon in 'Eight Little Talons', which says she was the youngest ever to reach the rank at age 28. I'm assuming she got there a year or two before the events of the story. See 9:17.

9:16 Dragon - whoops, sometime over the last four years it all went to shit for Talav Arainai! The House dropped to Second Talon, and he was executed in 9:16 after trying to take back the seat of First. Isadora Arainai takes over, and the House hangs on as Second Talon... for now. Rinna joins House Arainai and immediately works well with Zevran and Taliesen under the mentorship of Eoman Arainai (World of Thedas, vol 2, p. 96). This would be the earliest that Caterina could reach First Talon, but I'm not sure I'd put it this early. I think the latest she could possible reach First would be 9:25ish based on my guesses about House Velardo (see below).

9:17 Dragon - Lucanis born (described as 36 in the data-mined character descriptions. I know I threw out those descriptions for Teia, but I think we can be pretty certain Lucanis is mid thirties).

9:17 Dragon - Teia born. I was going back through Eight Little Talons and my initial read was wrong. Teia is 28 during the events of the story.

9:24 Dragon - House Arainai, having the sort of shitty luck they absolutely deserve, falls entirely out of the rank of Talons when Second Talon Isadora dies. They wallow amongst the cuchillos (minor houses) for a few years (World of Thedas, vol 2, p. 96).

9:22 - 9:27 - House Velardo attempts to usurp First Talon from House Dellamorte? The resulting war kills all of Caterina's children and grandchildren, save Lucanis and Illario. My reasoning here is this: Lucanis says he and Illario would have ended up with Caterina to train, but being orphaned sent them to her younger than anticipated. Zevran was purchased at age 7, so we know Crow training, at least for House Arainai slaves, begins very young. Perhaps the non-slave children of influential house leaders start later, but I would guess not much. So I'm assuming they end up with Caterina sometime between ages 5 and 10?

9:25 Dragon - King Maric is thought lost at sea, but is in reality being held by Third Talon Claudio Valisti in a Crow prison on behalf of a Tevinter Magister, Aurielion Titus.

Side note: I had the same reaction to finding out the Crows have a super-fun torture prison as I did to finding out Weisshaupt has dungeons. Just... why? That feels like mission creep? Does the assassin skill set at all overlap with the prison guard skill set?

9:26 - 9:28 - Eoman takes over as head of House Arainai. He eliminates House Ferragani, which was Eighth Talon, thus clearing the way for Arainai to claw its way back into power. Unfortunately, he needs the support of Third Talon Claudio Valisti to take over the position. Valisti wants Rinna Arainai dead (cult / royal bastard reasons) and Eoman tricks Zevran and Taliesen, her lovers, into doing it. This was a very stupid decision (WoT vol 2, p. 96).

9:30 to 9:43 Dragon: Zevran's Revenge

9:30 Dragon - Zevran, depressed and angry about Rinna's death, bids for the contract on the Warden's life. House Arainai is said to have accepted this contract because they believed Loghain to be the best person to defeat the blight (WoT vol 2, p. 96).

Side note: This sort of, if you squint, reconciles the contract on the Warden's life in 9:30 with the memento found in Veilguard that says the Crows had treaties with the Wardens to fight the "next blight". But also they tried to kill the Warden-Commander in Awakenings, too. I guess one could argue a new blight was unlikely so soon but like. Come on, guys. Is your word to the Wardens worth anything or not?

9:31 - 9:34 - If Zevran survived, he comes back from Ferelden with a spring in his step and murder in his heart (and possibly a Warden on his arm) and wreaks absolute havoc on House Arainai. Eoman is first to go, then like half a dozen more of their top people. The House loses Eighth Talon and falls once more into obscurity. The Crows call Zevran (or an unnamed assassin if Zevran is dead) the "Black Shadow" and speculate that he has allies among the cuchillos (WoT vol 2, p. 96).

9:34 - 9:43 - Where the fuck is Zevran?

9:37 Dragon - Corypheus is freed (Legacy DLC). The Venatori will start to be a thing in the next few years, so Lucanis is going to pick up his nickname between now and, say 9:50 Dragon. I'd put it between 9:45 and 9:49 because of vibes (and because he talks about not immediately specialising in mages. Crows get started very young, but I dunno. I see him starting on mages in his mid twenties because, again, vibes.)

9:38 - 9:40 - Events of The Silent Grove (comic - I haven't read it in a while but I'm throwing it in here for complete-ish-ness). Alistair, Varric and Isabela break into the Crow archive and Velabanchel prison (which side note is a totally heinous operation). Isabela kills Claudio Valisti (Third Talon passes to Ezio Valisti). This, for me, raises the question again: Where the fuck is Zevran (sob). Valisti was implicated in Rinna's death, so either Zevran never found out or he couldn't get to Valisti while he was cleaning house.

9:44 Dragon - Ongoing: We're Entering Our Freedom-Fighter Era

9:44 Dragon - The events of 'Eight Little Talons'. Briefly: Caterina calls all the Talons together to plan for the imminent invasion of the Antaam, but a whole bunch of murder happens. Turns out that Fourth Talon Emil Kortez made deal with the Antaam and was trying to wipe out the Crows' leadership. He was killed by the survivors and Viago suggests--correctly, I think--that Caterina will wipe out the whole house.

The following Talons are killed but it seems like their houses will probably retain their status, with somebody else taking over as Talon:

Dante Balazar, Second

Lera Valisti, Third

Giuli Arainai, Eighth (having only just managed to lift that fucking house back up to Talonship, shame lol)

In addition to Caterina, Viago, and Teia, Sixth Talon Nero Bolivar survives, but he um, isn't much help. I would guess that Caterina, in a pretty strong alliance with Viago and Teia and with all the other Talons being new, might fuck his shit up and try to get someone more solid in before the Antaam invade?

9:44 - ongoing - WHERE THE FUCK IS ZEVRAN???? He can't have taken control of any of the eight Talon houses, because he's not at the summit in 'Eight Little Talons'-- and however much he damaged House Arainai, they've clawed back some power by 9:44. Is there a breakaway faction of cuchillo houses that Caterina won't even dignify with an acknowledgment? Is he not interested in any kind of Crow power and is just fucking shit up for them - we can assume House Valisti has had a lock on Third Talon since at least 9:28 (Claudio or Ezio Valisti pop up periodically in this position), and my guess is House de Riva have held Fifth a decent period of time, but as far as I can tell we know nothing about Second, Fourth, Sixth and Seventh Talon Houses in this period. So maybe Zev is toppling houses left, right and centre? Seems like that sort of instability might have changed Caterina's approach in 'Eight Little Talons', though...

9:51 - Lucanis imprisoned in the Ossuary.

9:51 - Antaam invasion of Antiva, starting with Treviso. The Antaam rebellion begins in 9:44 and is ongoing; the failure of Kortez in 9:44 delayed the invasion somewhat. I wouldn't have thought it would delay it this much, but I'm pretty sure that it happened while Lucanis was imprisoned, right? So since we free him in 9:52 after a year in the Ossuary, the invasion must have been delayed until 9:51? Maybe very late 9:50?

"Conclusions"

(I haven't read the comics in a bit and I know there's some Crow stuff that goes down in there beyond the Silent Grove... but as best I recall its just Teia and Viago running into Varric and Harding, and some stuff setting up Solas and the Antaam. Please let me know if I'm mistaken!)

I think it's safe to say the Crows are in chaos for pretty much the entire first half of the Dragon age: Arainai are causing chaos from 9:16 to 9:25, then they pass the torch to Velardo, whose war against House Dellamorte must have lasted a few years if it wiped out almost all of Caterina's family. Zevran is on a murder spree at least between 9:31 and 9:34, and possibly (much) longer depending on your headcanon.

After, at very best, a decade's peace, 9:44 sees the plot to wipe out the Crow leadership, which fails but does kill half the Talons and lead to the elimination of at least one, maybe two of the Talon Houses. Half a decade after that the Antaam invades.

I've been completely on board with the critiques of Veilguard's portrayal of the Crows, but I think writing it all out like this has helped me reconcile things a little bit? This is a deeply chaotic network of feuding families, and no single Talon is going to have the secure political power to make sweeping changes. Which isn't to say the child abuse that was definitely still occuring in Houses Dellamorte and de Riva during Rook and Lucanis' childhoods is just fine. But it makes more sense to me now that Houses Dellamorte, de Riva and Cantori could have wildly different ideas about slavery and torture prisons than, say Houses Arainai and Valisti--and have extremely limited power to shift the culture of competing Houses. Even the First Talon's position is deeply precarious.

Whew. Good night!

(Just realised as I was tagging that I haven't slotted The Wigmaker Job in anywhere. I thiiiiink Viago mentions in 'Eight Little Talons' that Lucanis is currently in Tevinter for a job, maybe a sly reference to Wigmaker? But I cannot possibly get sucked in any deeper, my dog is losing her entire mind at me STILL being at the computer.)

***

Waking up and editing to add: At some point in her time as a Talon (probably First but I guess maybe not?), Caterina wiped out another house so completely that Teia doesn't even recognise the name, Gaspari, when Viago mentions it in 'Eight Little Talons'. Given House Velardo was the one that made a play for First Talon, this is a whole 'nother big intra-Crows conflict that slots in somewhere on this timeline. Caterina is ruthless, y'all.

***

Editing again a few days later to report that I was flicking through WoT and spotted a WHOLE-ASS ENTRY on Claudio Valisti that I’d managed to miss. I was… not happy. I’m begging you BioWare, no more information. I cannot reconcile it.

Anyway. World of Thedas, vol 2, p 44, has Claudio Valisti taking over from his father as Eighth Talon in 9:34, quickly getting the house to Sixth Talon and appearing to be going places. This appears to contradict p. 96 of the same, which has a Third Talon Claudio Valisti helping House Arainai in 9:28, as described above.

I thought very carefully about tearing the page out, burning it, and forgetting I ever knew this particular piece of lore.

Instead I have decided fuck it, we have a father-son pair here. Senior helped out Arainai in 9:28. His house later fell to Eighth (in my incredibly unwieldy and underdeveloped headcanon this is partly because helping Arainai really pissed off Caterina). Claudio Senior dies in 9:34, Claudio Junior inherits. By the time Junior dies to Isabela in 9:38-40 he’s got the house properly back on track, so the loss of a leader doesn’t destabilise them too badly.

Ezio Valisti is Third Talon in 9:41, according to the Winter Palace announcer in Inquisition, and the house still holds the third seat in 9:44.

(Also edited Teia’s birth year from 9:15 to 9:17; I misread Eight Little Talons. She’s 28 during the events of the story.)

[kiivg]

I love Farid x Davrin they’re so good. Ngl I followed your tumblr for them 😭

.TYSM AHHHHH obsessed lmao people actually like my OCs like woag girlie!! My inbox is always open if anyone wants to know more about Farid, I really need to draw him all piratey, which I am going to do soon because that has something to do with something else 🫵😘 someone out there knows what I'm talking about.

.They're still marauding around in my brain, DO NOT WORRY, I'm just on my occasional Vampyr binge, please, people the game is lovely, heartbreaking 😩🙌 Also ngl I've been playing BG3 again so I'm running around with Wyll (he has literally never left my party lmaooo) and doing our gay little dances after every fight.

[baejax-the-great]

I love how Rook can magically eavesdrop on the gods having personal conversations with each other, and they ever so kindly choose to speak in the common tongue of this era rather than their native elvhen, which would be both natural and comfortable for them as well as protect them from any kind of magical or commonplace eavesdropping.

It's really so kind of the villains to consider Rook like that.

[zundely]

Sorry for a little petty and not a very positive post but it gets on my nerves a little when I see people being like "My RPG choice/romance is in the Bioware CANON WORLDSTATE we won!" like I dunno what to tell you man, congrats your singleplayer game choices were approved by the corporate or whatever but it's a little weird you want to use it to make your, again, singleplayer RPG game choices feel more valid then other ones.

And while in plot choices it's bad because it feels unecessary discourse about which choices are the 'correct ones', it really rubs me the wrong way when it is about romance options. Because first- there obviously shouldn't be a right and wrong romance choice. There shouldn't be secret winning romance. And second- if it is a thing that there is a romance option that gets loads of attention from creators because they chose it as more canon then others... yall realise why this is actually a bad thing right? Especially when usually it's a straight locked romance? And how it's especially bad when there is no alternative with comparable plot relevance? Like I dunno if that's winning guys when all but one choice in the game with multiplechoices don't get any followup in the narrative.

[lords-of-fortune]

Me, months ago: oooo I hope we see isabela as one of the lords of fortune contacts in veilguard!

The sinister monkey's paw: [curls another finger so that it is flipping me off]

[treesinspace]

A big reason why the Minrathos vs Treviso "choice" feels so weird to me is because I sent 3 people to Minrathos and 3 people to Treviso. So really I didn't make a choice at all except to choose where Rook specifically should go. Why is Rook singled out as the reason the fight in one city went better than in the other, and not one of the other companions?

And that got me thinking.

Why are half the companions always just sitting around doing nothing anyway? (in-universe i mean. I know the reason is gameplay.)

In the Minrathos vs the Treviso choice, we have 2 teams working at the same time in different locations, so it is possible.

Admittedly, none of these kinds of game ever give a reason a team can only have 3-4 people in it, so we take this as a given. But like. In the previous Dragon Age games it didn't feel weird that only the PC can do these quests, and the other companions just tag along.

In Origins, the PC is the only Grey Warden willing to lead a team.

In DA2, they aren't even saving the world! Hawke is just doing that stuff as a hobby and asking their friends for help. And the friends don't sit around doing nothing when they aren't with Hawke, they have their own lives!

In Inquisition, the Inquisitor is the only one who can seal the breaches, and they even put in a gameplay mechanic where certain tasks are delegated via the War Table. (Though, as I did complain about at the time, some more tasks could have been delegated. Looking at you, collect 10 elfroot)

But in DAtV? Why the hell aren't we dividing up all that work, all those quests? The companions in the Lighthouse have fuckall to do except cook and read! They could be out there!

Now, I'm not saying they SHOULD be out there, that would be ridiculous, gameplay-wise. But uhhh I WOULD appreciate it if the writing gave me a reason why they aren't. What makes Rook so special anyway??

[possessedopossum]

The Veilguard: my full review [positive, long post, less about game mechanics and more about meta, spoilers]

The thing that makes Veilguard special to me is how self aware the game is. In every dialogue, plot twist or quest I can feel the presence of somebody who wanted to share something with me. Be it personal experience, message, pain or joy. As of 2024, many games have lost their creative spark. Video game industry is no longer a nerd only zone, it's a business no different than others. Many studios utilize AI to write their plots, chase after current trends or simply make decisions that would create the biggest audience possible at the expense of something people love the franchise for. Veilguard did well, because it showed me something I haven't seen in a very long time: the human soul.

Perhaps you have noticed it on your own. The world has gone completely nuts after the covid. Or maybe it has always been this way and I only noticed it now. It is not a surprise to me that players want their game to be darker, to have more aggressive dialogue and to have a morally grey or even evil protagonist. For the past few years I've been feeling like someone had turned the lights off. And the game gave me an impression that someone at bioware feels this way too.

Only negativity gives content creators views and money these days. Open any social media, read any post or watch any video. If something is on top, it's almost always a hate post. What was the last movie most reviewers enjoyed? The last game? Perhaps the one that was released 10 years ago? What was the last time, you, my dear reader, have smiled? Not bitterly or sardonically, but out of genuine joy?

It is extremely fitting that Rook's mentor figure is Varric. Varric is somebody who always sees the best in people. He grew up in one hell of a city but he still loves it. He can find something to laugh about no matter how dire the situation is. He is a people person who can build friendship with anybody. Varric is very charismatic and tends to avoid conflict. He is a chronic liar but that doesn't make him bad because he never lies with malicious intentions. And in some ways, Rook is similar to him.

Yes, Rook can't be a complete asshole. Because the game is not about being an asshole. One of our antagonists, Solas, considers the world to be sick. Modern Thedas is a grave mistake that haunts him. He can't forget and move on because even the elves themselves wear his mistakes on their faces. Many things that are normal to the player character aren't normal to Solas. The world is so wrong and disgusting to Solas that he is willing to sacrifice things and people who are dear to him just to make the twisted world better.

Rook is nice because they are supposed to represent what is good in modern Thedas. They are supposed to be somebody who thinks the world is worth fighting for. And to a certain extent, their factions as well. The crows are contract killers and the lords of fortune are thiefs. Grey wardens are very concerned with politics and all the secrets they refuse to share constantly get people killed. Mourn watch has their immoral power hungry politicians as well and veil jumpers are sometimes willing to trade people for ancient secrets. They all aren't without sin but that's not the point. The point is, even with all the ugliness and darkness, there is still a place for light. And the light in the darkness is the exact message bioware tried to convey. The crows not being comically evil is not bad writing. It is a conscious writing choice to give us a human face for something we consider ugly and not worth fighting for. The player is metaphorically Solas, who needs to be persuaded that the world is worth at least something. The writers didn't need to bare the souls of player factions in all their mistakes, imperfections and cruelty. Because they showed us the factions' humanity. Some cruelty is still there, on the background, but it doesn't overshadow what is good. The crows, no matter how terrible, are a family. Viago may call Rook an idiot and while Rook considers their training literal torture, they sure love Viago back.

In fact, familial love is one of the core themes of the Veilguard. We have Emmrich and Manfred, Davrin and Assan and uncle Endrin, Lucanis and Caterina and Illario, Taash and Shathann, Bellara and Cyrian. It's a bit less direct with Neve and Harding. Neve has a lot of love for her city which is almost like a person to her, and Harding...I'll explain with a quote. "You're Lace Harding! You're more than this rage! You believe that the world is beautiful! That people are good! Hold onto it, hold on to who you are!".

Even the evanuris share the theme of family. Rook can compare Elgar'nan and Solas to relatives who can't get along. Elgar'nan calls Ghilan'nain his sister. Both shards of Mythal consider modern elves her children. Different but no less beloved, as Morrigan puts it.

Veilguard shows family without rose-tinted glasses. It shows that sometimes to love your children is to sacrifice something else you love (Lichdom for Emmrich), that parents have their own problems that may harm their children no matter how much parents wish to protect them (Shathann understands she is not the best mother and has complicated relationships with the Qun that harmed Taash), that sometimes parents do not understand their children at all and it's only up to children themselves to close the gap in understanding (Mythal, Solas and Rook), that familial love and desire to protect your family may turn into something ugly (Caterina being cruel to her grandchildren to prepare them for harsh realities of the antivan crows).

There is conflict in Veilguard, of intergenerational nature. Companions and their families, Rook and their faction leader, elves ancient and modern. It's up to the player how to deal with the last one. Humans, dwarves and qunari may not share blood ties with ancient elves but they still live in the world ancient elves created. As Rook, you're allowed to lash out in anger at Mythal and Solas. You can call Mythal guilty of all modern problems and fight her. You can bind Solas to the veil by force, call him asshole and express your frustrations with him multiple times throughout the game. You can also express sympathy and forgive them both. Because forgiving is neither condoning nor condemning, it's understanding and letting go. Being understood and allowed to peacefully let go of his mistakes is the exact thing that Solas needs to change his mind.

I believe that the Veilguard companions are one of the very best I've ever seen in a video game. They may not have as many different fates as for example Alistair has but is goodness measured with the amount of ways a character can be killed? I love the Veilguard crew because they all feel very real. Their personal problems are universal and very close to the player. Taash's story is not about being non-binary. It's about growing up, finding your place in the world, separating from your family and learning to appreciate it despite the mistakes your parents did while parenting you.

It's hard to decide who is my favorite. Taash's story made me cry but so did Harding's and Bellara's. The last scenes of Lucanis romance made me feral. I can't stomach the scene where Davrin and Assan die. The consequences of destruction of Minrathous/Treviso were hard to look at. I felt guilt, and if a game makes me feel something, it's a good game. I laughed, I cried, I was afraid and I felt joy, I was angry, I felt shame, I felt love. The game made me feel alive, I played through Rook's story like it was my own, what not to love about it?

The double blight wreaking havoc in Southern Thedas is sad but beautifully symbolic. Almost like a love letter from a long lost lover, It felt like bioware's meta commentary to me. "Yes, a whole lot of time has passed. We are no longer as young as we used to be, and so are you, not only the player, but our treasured friend as well. We have changed, you have changed and so did the world around us. Gaming and the video game industry are not what they used to be. We will never be able to go back no matter how much we want it because the only path that is left is the path forward. It doesn't mean that we no longer remember our shared past, no. We may not be able to go back but we promise to remember it fondly. We are still capable of creating beauty and the past will serve as a foundation for something new. We still have hope, and so should you".

The Veilguard to me is about nostalgia as well. I don't want to feed my inner Solas who sees the current world as sick. I want to make space for my inner Rook who is hopeful about the world just enought to fight for its future.

[lairofdragonagelore]

Will you be doing anything with the lore Veilguard provided?

Hi there,

short answer: no.

I was thinking about it during all this time, and I came to the conclusion that… there is barely anything to rescue. The lore has been oversimplified in ways that, sometimes, contradicts deeply all what the previous games and supplementary media had been trying to keep consistent [with its mistakes and all], but the intention was clear. With DAV, what I see is a total disinterest in the lore, a deep hatred for the History of this fantasy world, and between the "lore" provided by the game and the disgraceful AMA, honestly, I only could see a deep resentment to DA lore. In part, confirmed later by David Gaider's bluesky post about how DA and ME teams were always in a silent war, and EA had a clear preference for ME over DA.

I'm deeply disappointed with the game, it's not a secret for anyone who has read me a bit or knows me a bit. And it's a disappointment that hurts me, because it's there, unfixable, no matter how many times I played the cursed game which even with dev hell, had more time to develop than DA2 did. And yet, DA2 has higher quality in terms of writing, story, lore, and characters--sure, with mistakes here and there because they did an entire game in 18 months, unlike DAV which had 3 years in the worst case scenario. Yes, you kill spiders 50 million times in DA2, in the same dungeon, over and over, but we never played DA games for combat or for its dungeon crawler. An obvious truth totally forgotten or purposely ignored by the DAV team.

It's awful, shallow characters, obvious “symbolism” for 4 y/o players, zero logic in most plots [illario, for example], and zero interest in environmental telling and lore [we never have a codex that is not a fucking whatsup message between the companions, we don't read fragments from books of any kind as we did in previous games, it's always a person speaking like in a journal, or in a post-it... so stupid]. Ugh, I dislike it viscerally, indeed.

Like I said to some fellows, we were offered a toy that was broken, smeared with shit, and then it was given to us telling us to be happy for it. "Dragon age is yours now :D" is the most annoying and cynic thing to read after all the destruction of the lore they did. Andromeda had the benefit that it was almost considered a "spin-off", the galaxy was another, it was another setting, if you didnt like it, you still had all ME intact. Here? they destroyed not only the current and future of Thedas, but also all the previous games between the massive wipe of the South and the stupid concept of the Executioners as the "Thedas Illuminati". For what? to have the most generic, boring, bland setting ever. Great job in capturing new audiences. Clearly it was not worthy, according EA.

I can be all day ranting about all the lore they totally ignored [for example, all about the concept of divinity with dragons and mythal's particular interest in dragons, and the dragon blood drinkers], about all the lore they oversimplified to the most inert thing [red lyrium] or the creation of bullshit concepts like Solas now turns into a hyena because "generic symbolism"! What I can say is that, to heal myself, and to try to mourn and also “rescue” DA lore the best I can [for my own parameters, that's it] is to dedicate my free time to Lore-crafting. Using all the canon materials we had up to DAV, I craft what I think it should have been more suitable for the status of the story after Tresspasser. Again, it's all personal-crafted lore [non-canon even though it's based heavily on it], so I'm doing it in my personal tumblr. You can see the index of it in this page. When I explore a topic or an aspect of the lore that is 100% canon with speculations but without crafted lore, I will post it here [as I did recently with the post of Dates and months in Thedas]. That will be the dynamics of both tumblrs.

I'm basically a scavenger: I'm building and crafting lore as I write my personal story of DA:Dreadwolf, which of course it will be bad and flawed as hell since I'm not an english native speaker, and I'm not a professional writer, but it will have love of Thedas and its complexity even though sometimes it's overwhelming. That's for granted.

As you can see in the link, at this moment I'm working heavily on the context of Tevinter, building its complexity and how it works with their particular templars [things we did not truly see in any previous game]. Or the immense complexity that slaves have as race and magical condition intersect in privileges that can be exploited and how this produces inner frictions even among the slaves [nothing better for a system like this one than to have all your slaves very fragmented and resented one another to never truly become a challenge against the magocracy]. I ignore completely DAV "lore", even though I rescued some characters and concepts that I considered interesting to explore but they were so blandly presented in the game, that meant nothing. Most of my "personal Dreadwolf" will be based on what I can infer from all the content we had from post-inquisition and Joplin projects present in the artbook.

It's a hell of a project, it will have a mediocrity proper of a fan, and will take me a loooot of time, since I'm only one person, who also works in a demanding job. But at least I found myself liking Thedas again, and not hating it as I did every second in that sitcom, marvel-like product called DAV. We'll see how that progress.