hi i'm bee (she/they), i'm over 30 and have loved leliana/leliwarden for over half my life and won't stop now. currently you can find mostly dragon age, women, and femslash being shared here.
and as for my opinion on veilguard:
...i was not a fan. i write/reblog critical posts from time to time and you can blacklist the tags "veilguard/datv/bioware/dragon age critical", "[full dev name]/[last dev name] ie weekes/trick weekes critical", and/or "[character name] critical ie solas critical" to avoid seeing them if you want to follow me.
otherwise welcome! and feel free to like/reblog spam!
(uc) original posts: dragon age | leliana | leliwarden | tabris | toolset finds | collection
Dragon Age: Origins and Dragon Age 2 are unlikely to get a trilogy remaster, according to former BioWare executive producer Mark Darrah, because no one is left who understands the game engine they were built on.
"There's basically no one outside of BioWare anymore that understands the Aurora engine. So unlike Mass Effect, which is Unreal... there are basically no companies that could help you."
That doesn't mean that a Dragon Age trilogy remaster is impossible to make, but Darrah doesn't think that EA in its current state will want to form a "brand-new team" to tackle a project like this.
"EA doesn't like having employees so, if you're going to do that, you're going to do that within the umbrella of BioWare, which means those people are not working on something else."
I was drawn to play as Tabris because of the strong parallel between the city elves and the Jewish people. As I played, I was also really interested in the role of dogs and mabari and how Tabris would relate, culturally, to being around one and having one. I found significant ties to Jewish cultural understandings of dogs, connected back through elven monotheism and their narrative role in the alienage. I compiled some of this below, but there is plenty more, I'm certain. The iconic "Like dogs, Shianni" has more weight than I think people realize, both in-universe and in the real world.
Giant disclaimer that I am analyzing the city elves and Tabris through the analog of Judaism, that is, as a monotheistic minority culture living in segregated city quarters. This is not to diminish or remove the many other analogs to real life people and cultures that elves represent in Dragon Age. I just found the connections between them deeply rich in ways that I think people who are not familiar with Jewish context would find interesting! A general content warning for discussions of ethnic violence, pogroms, miscarriage, massacres, and dead bodies.
The Canticle of Shartan
In Dragon Age, it is established that the Canticle of Shartan is central to elves who believe in and worship the Maker; it is Dragon Age's Exodus parallel (the connections between which will have to be for another post). It is important enough to elves to have been vengefully de-canonized after the Exalted March on the Dales. Additionally, the Chantry has removed evidence that Shartan was an elf in art and literature. If Leliana becomes the Divine in Inquisition, she re-canonizes this Canticle.
What's interesting is that in the little actual text we have of the Canticle, dogs are one of the primary metaphors employed in the text through Shartan/the narrator's voice. In the first instance, Shartan tells the People who are considering returning to Tevinter:
"A dog might slink back to the hand it has bitten
And be forgiven, but a slave never.
If you would live, and live without fear, you must fight."
Dogs are used in the text to measure power, status, lowliness, and degeneracy. In the above, the condition of bondage is worse than being a dog.
In the next instance:
Darkness fell upon the Lonely One,
A night without moon or stars,
As the legion followed, like bloodhounds,
The trail of the rebels.
The narrator compares the Tevinter legion pursuing the elves to bloodhounds--a poignant deglorification of their Roman-adjacent military might. The elves are the strategic geniuses while the legion are mindless hunters; by lowering the status of the Tevinters to dogs, they legitimize themselves above them, as a free people.
The third instance is after the People kill the legion. They are frightened by the sound of Andraste's army marching into Tevinter, though they do not know it is her:
Seeing an army beyond counting gathered in the distance,
Shartan said to the People
"Let us not fall into the jaws of the wolf together..."
It is more than likely that polytheistic elven tradition seeped into the language of the Canticle, with Fen'Harel as a wolf-god associated with curses and exile. The change in metaphor is striking to me as it could foreshadow Andraste's power and dignity--while a dog is a low imitation, a wolf is it's more dangerous, more respected forebear. Wolves are, of course, associated with Fen'Harel, and even as a trickster, Fen'Harel is still acknowledged as a deity.
Regardless, danger, enslavement, mindlessness (a kind of enslavement) and death are associated with dogs, wolves, and canines.
Dogs in the Alienage
Throughout most major Jewish texts, similar to the above, dogs are equated with lowliness, uncleanliness, and evil. In the Hebrew Bible, dogs are associated with prostitution, and considered animals that maul people and eat corpses. Even Jewish law, halakha, describes in kosher guidelines food so unclean it is nifsal mei'achilat kelev, "something one would not feed to a dog." The Talmud records a case of a dog barking at a pregnant woman, and she miscarried; the dog's bark "caused the Divine Presence to depart from the Jewish people." (Bava Kamma 83a:7).
In the opening cutscene of the Tabris origin, we see a dog lying beside working and impoverished elves; we later see elven children playing with this dog during the wedding preparations. So there's not a general cultural dislike or removal of all dogs, and dogs can be pets. I believe, however, there are significant limits to this relationship. Historically, Jewish legal codes regulated that dogs must be chained and/or only let out at night because of their association with destruction and violence. When going around the alienage, there are no dogs out and about--we only see dogs loose after the purge. Notably, the dog seen is not a mabari. In Dragon Age, it could be that mabari specifically, war dogs, represent a new magnitude of violence and lowliness.
Mabari and the Orphanage
In Jewish mystic tradition, dogs symbolize demons and the presence of evil in the world. They are referred to as such in the Psalms: "Dogs surround me;/ a pack of evil ones closes in on me" (22.17) and later in the poem "Save my life from the sword,/ my precious life from the clutches of a dog" (22.21) [Translation from the Jewish Study Bible, Second Edition, Oxford University Press].
When investigating the horrors of the orphanage, two of the major signs of demonic activity are dogs. One dog is dead, and has been for some time; the other is alive and feral. It is the same dog that was playing with the elven children that has gone feral, while the mabari lies dead.
When you enter into the orphanage, mabari have taken over the rooms alongside the restless spirits and demons. Considering the Talmudic story about dogs and children above, it is significant that dogs replace the elven children that were once there. They are the remnant of the pogrom.
A survivor says this about the dogs in the orphanage:
"The dogs hear the bad men too. They make the dogs so confused, so angry. Poor little pups barking at the noise. Make them stop!"
What's interesting is the elven woman shows a lot of sympathy for the dogs. If the "bad men" are both the violent humans and the demons, then the "poor animals" and "pups," are reacting with and like the restless spirits of the elven children and adults massacred. There are literal dogs inside the orphanage, just as outside, but they are the physical manifestation of a corrupted weakness in the veil, the death and violence. If elves believe dogs are demonically connected, perhaps dogs are drawn to such belief wherever elven spirits rage. Their angered and grieving souls have been corrupted, and their being stuck, frightened, and haunting that place is equal to the lowliness of doghood.
A major role for dogs in the story of Exodus is during the tenth plague, the Death of the Firstborn, which also connects dogs and noise:
"And there shall be a large cry in all the land of Egypt, such as has never been or will ever be again; but not a dog shall snarl [or bark, or move its tongue]..." (Exodus 11.6-7).
The silence of the dogs enabled and recognized the ancient Jewish people as a free people. The elven woman is also asking for the silence of the dogs, the quieting of spirits through justice and the expulsion of the demons. She is asking, in a way, for the restoration of their dignity.
We see in the Canticle of Shartan and the way in which restless spirits who died violent deaths become equated with mabari, the violent acts of humans degrade themselves into demons and dogs, and degrade others to a status even beneath that. The silence and absence of dogs represent the dignity of elves as a free people, and justice in their memory.
So, when Tabris tells Shianni she killed them "like dogs," it is a kind of redemption, a denigration of humans because of their violence and a recognition of elven dignity. Just as the People in the Canticle of Shartan slaughtered the "bloodhounds," and how the dogs in Exodus were silent during the last, violent plague for liberation.
In Conclusion
I think this provides an interesting angle into Tabris' relationship with mabari, Fereldan culture, and the differences in monotheism between humans and elves. I also think it can add new weight to the Nature of the Beast, with elves cursing humans after racial violence to be half-dog, half-man (this is deeply grounded in Dalish perspectives related to Fen'Harel, though I think there is important cultural bleed-through) and how an elven warden might respond. I hope it sheds light on what I feel is significant Jewish symbolism, and the metaphorical thread of dogs as it relates to monotheistic city elves found in the game and in-game sacred text. I hope it was an interesting read, and can add to whatever storytelling you'd like to do with your Tabris or city elf characters!
[ID: A digital comic of characters from Dragon Age Inquisition. The first panel shows a masked orlesian noble lady talking judgementally behind a large fan at OP's inquisitor Lavellan, an elf woman who's wearing a more simple dress with her hair up and a necklace. The noble lady says: "We like your necklace, inquisitor!" To which she replies: "Thanks, it's glass." Lady: "How... quaint..." Inquisitor: "Yeah, I felt it fitting-"
She continues in the next panel that's zoomed in on her severe and tired expression: "since it's brittle and completely worthless, just like the ego of an Orlesian noble!"
The last panel shows the Inquisitor running away from Josephine who's spraying water at her, and towards an enthusiastic Leliana. Josephine shouts: "Inquisitor! I told you to insult people discreetly!" The inquisitor: "Spray me if you want, I'll just go drip water on someone's shoes!" Leliana points and says: "Yes! Yes! That lady over there, her shoes are so ugly!" End ID]
ah. a nuanced story that allows for imperfect victims and portrays the confusing and contradictory nature of being human – particularly in a context that explores abuse, harassment and trauma. i wonder what people on the internet make of it... oh. oh no. oh no no no no no
(In reference to me saying the two outcomes are chainsaw man and homestuck)
No, no, those two form a dichotomy:
Chainsaw Man: vast majority of the fanbase seems wholly unaware of themes of abuse and trauma. Complains about “lack of character development” when the main character doesn’t go through a hero’s journey and become more perfectly realized as their ideal self and instead all the traumatizing events make them worse.
Homestuck: fanbase is hyper-critical of abused and traumatized characters. Complains about “lack of accountability”, referring to the fact that the character has not received a verbal dressing-down and been beaten to a pulp by their friends (something they believe would be the only proper catalyst for said character’s ’redemption’).
Not an ask exactly but following your account so often makes me forget how focused the rest of fandom tends to be on male characters LMAO this is compliment more than anything. AND I also appreciate that you also embrace how much of a freak Leliana and some of the other female characters in the games truly are. Leliana, Morrigan, Merril, Isabela, Justinia, even Aveline, all of them have something deeply wrong going on!
Thank u...I aim to please the enlightened masses with Leliana and Other Assorted Women posting. Every woman can have something deeply wrong with them if you have eyes to see and are pure of heart. Sometimes multiple things.
adding onto my never ending list of essays i totally will write and am not just deluding myself: lace and her weakness as the "returning" companion. like compared to the previous ones (oghren, anders, varric) she...didn't really have a lot going on in her previous game? which is perfectly fine, not every character needs to be in-depth or anything, but when you're giving this character these massive loredrops and motivations that weren't really. Present previously, it kinda falls completely flat? it makes it even more glaring comparing her to the intended returning companion with proper build up and a relevant backstory (calpernia) or another small side character with a similar history that ties more directly to the events of the later game (dagna). i like lace fine but man.
