Solas/Lavellan Body Language Analysis: Fade Kiss and Balcony Scene
In the Solas relationship, body language is very important. The body language between Solas and his Lavellan, while limited, is careful and rife with implication for their sexual dynamic, and this, despite its scarcity, is key to understanding Solas as, not only a god, but a man as well. Unlike we’ve seen in other, comparative romances—mainly Blackwall and Cullen—the Inquisitor’s body language (and demeanor in general) in the Solas romance is both playful and aggressive. In both the Cullen and Blackwall romances (which I plan to post about more at some point), when faced with a partner who is either self-loathing or lacking confidence, she is careful, self-assured, and thoughtful. But in the Solas romance, faced with a routinely confident but deeply guarded partner, she is impulsive, persistent, and thoughtless. Of these three romances, the Solasmance is the only one in which the Inquisitor can be seen veritably calling her beloved out on his shit. She pushes back when he denigrates the Dalish at Haven, and, in their earliest exchanges, points openly to his, perhaps unintentional flirtation in ways that keep him off balance, forcing him to acknowledge their connection, to relent, if you will.
Examples: Once at Skyhold, on their unwitting Fade date, Lavellan calls Solas a “sweet talker” after he poetically recounts everything he’s learned from her so far. Certainly, he means nothing by this, or, if he does, it is a moment of weakness. But she sneaks closer to him anyway, and when he’s not prepared, kisses him spontaneously, forcing him to act, ie: to make a choice. Later, on the balcony, Lavellan moves seductively in Solas’s presence, almost like a dare, and when, again, he attempts to walk away, she begs him not to, bringing him into another kiss. These are hugely telling choices, and they set up a relationship in which Solas has a great deal of power, despite Lavellan’s aggressive advances upon him. It is a chase, and the chase is fun.
Here’s a close reading of some specific examples (screenshots are my own and based on the originally intended shot composition only) so you can see what I mean. First, the Fade date, ie: their first kiss—
In this moment, after Solas finishes monologuing about how, after he met Lavellan, he felt “the whole world change,” (“…sweet talker”) Lavellan unexpectedly grabs Solas’s face to kiss him as he’s looking off into the distance.
Here, we’re positioned behind Lavellan. The kiss is impulsive, but it is her choice, and she ends up pulling away in embarrassment. In any case, Solas soon realizes what’s just happened and pulls her back.
Later, in the balcony scene, the same dynamic plays out, albeit more pronounced, and far more aggressively, even as the camera angles remain consistent with those in the Fade kiss. Lavellan poses toward Solas seductively, hands behind her back, after finally getting him to admit that he has not forgotten about the Fade kiss—she communicates here that she is open to him, physically. The camera angle places her at an advantage as well. The sun sets behind the mountains in the distance, creating an aura of heat around Solas while connoting, ironically, the end of something.
Solas, who stands tall and imposing (as per usual), shakes his head at first, just like in the Fade kiss scene, and tries to walk away. More chasing! But the chase is getting tiresome. She wants more, and having spent more time with him at this point, has the confidence to grab his arm in protest. “Don’t go,” she says. Here is where the dynamic shifts (in the scene and, once and for all).
The dialogue here is important.
Solas: It would be kinder in the long run. But losing you would—[kisses her]
At this point, Solas relents—hard. He gives in. He turns around takes her into another passionate kiss, the camera angle again shifting, his body again engulfing hers and taking over the frame, just like in the Fade kiss, though certainly longer and more aggressive, I think.
The entire Solavellan courtship dynamic runs parallel to this body language analysis. Solas initiates the relationship, unwittingly at Haven, by complimenting Lavellan on her grace and “side benefits.” As they go on, he sweet talks her, perhaps unintentionally at times, though I tend to believe he at least senses the fact that he’s playing with fire. Even still, it is Lavellan who first initiates “physical” intimacy between them in the Fade, and though Solas tries to defuse the kiss afterward, he eventually admits he’s not forgotten it. Then, when she, again, initiates physical intimacy, he again tries to walk away, only to relent quickly and then take full control—of both the kiss and the relationship. After the balcony scene, a “soft lock” is put on the Solas romance, meaning you cannot romance anyone else, and he’ll ask you to dance at the Winter Palace. This is a major turn, ie: You’ve got him! But Solas is noncommittal. Always turning away and shaking his head. These things are not incidental. They are symbolic of his nature.
IN THE END: For Lavellan, courtship with Solas is a chase. Like anything of high value, Solas is difficult to achieve. But once she finally catches him, she is fully at his mercy. The Dread Wolf takes her, if you will. Notice that power exchange, ie: Who is in charge here? Solas holds nearly all the power of agency in this relationship. He decides when and how it will proceed. HOWEVER, relationships are wrought with all kinds of power. The power to act is entirely separate from the power of will, which lies with her. Thanks to Joseph Campbell and the Hero’s Journey archetype, the power of will in a story like this is often oversimplified as the power of temptation, but this would assume the male point of view only, and since Solas is NOT the hero of this story, and Lavellan is, we must recalibrate.
I look at it more as the dichotomy of brawn and heart: Solas has the power to act, but Lavellan has the power to compel him. While she may be at his mercy when it comes to the when and the where of their entanglement, the truth is that his heart lies with her. This is why, even at the end of Trespasser when he breaks her heart once more, he still calls her vhenan, and he still calls her “my love,” and he will never forget her. He loves her, which gives her more power over him than he realizes back in Skyhold. Of course, he does realize eventually. In Crestwood. Which I’ll write about more soon. For now, some continuation on this dynamic can be found in my post Deconstructing Fen’Harel #1: The Removal of the Vallaslin.
My posts tend to be long. If you made it this far, thanks for reading! <3
**Quick Edit: I’ve expanded the analysis of the balcony scene quite a bit in a new post! here it is if you like.
jacobvanloon
janainaart
titsay
izzy806
origamiaround
