Currently working on a project, trying to paint a picture of Solas through the dialogue said about and to him in both games - the good and the bad. I love analyzing dialogue, so this has been a fun project, even if a bit daunting at times. The last few days I've been focusing on Cole’s lines specifically, and it’s interesting to see how much sympathy and emotional depth we get through Cole.
When we view Solas through the lens of spirits - beings of emotion - it's understandable why many players find Solas sympathetic. Cole especially is a powerful lens for this because of the nature of this character, he doesn’t recall facts - he feels what others feel.
Cole's dialogue after All New, Faded for Her, paints, I think, the most vivid emotional picture of Solas.
Cole: Bright and brilliant, he wanders the ways, walking unwaking, searching for wisdom...
Solas: I do not need you to do that, Cole.
Cole: Your friend wanted you to be happy, even though she knew you wouldn't be.
Solas: (Sighs.) Could you... if you would remember her, could you do it as I would?
Cole: He comes to me as though the Fade were just another wooded path to walk without a care in search of wisdom. We share the ancient mysteries, the feelings lost, forgotten dreams, unseen for ages, now beheld in wonder. In his own way, he knew wisdom, as no man or spirit had before.
Solas: Thank you.
As a man now and as time has gone by, Solas’ memories have become clouded by shame and regret. He can’t trust himself to remember his friend as it deserves to be remembered - without distortion.
So he turns to Cole, a being closer to that spiritual purity, and asks him to remember his friend as he would have.
But I love what happens instead.
Cole responds by sharing how the spirit remembers Solas. This is rare - a spirit’s insight on how they view Solas - a memory of him, untainted by the self-loathing Solas carries. Cole knows what Solas needs even if Solas doesn’t and I believe Cole knows that part of Solas’ hurt is that he’s grieving not just his friend, but the man/spirit he was.
“In his own way, he knew wisdom, as no man or spirit had before.”
This was likely a spirit who had known Solas throughout his entire existence - as both spirit and man. The way it describes him is in the present tense: “He comes to me...” tells me that Solas, even as a man, continued to visit this spirit in the Fade. So the spirit sees him not as something entirely changed. Solas may have taken a different form, but his nature - curious, seeking, attuned to the Fade - remains the same.
We don't know for sure, but this spirit likely witnessed his transformation from spirit to man, his part in the destruction of the Titans, his rebellion against the Evanuris, the death of Mythal, and the long path that led to the events of Inquisition. I wonder, how many times did he turn to this spirit when he’d lost his clarity, seeking the wisdom he once embodied? Would things have gone differently if this spirit was still alive in the events leading to, and of Veilguard? Outside of Mythal, it may be the only being we meet in the games who has seen the entirety of Solas.
This spirit understood that Solas was wounded. Of course it did - it was a spirit of Wisdom. And when we consider its final words to Solas alongside Cole’s later dialogue, we gain deeper insight into the pain he carries.
“I’m happy. I’m me again. You helped me. Now you must endure”.
Solas helped it return to it's purpose before it passed, and in return, it asks him to do the same: to endure. Not just physically, but spiritually - to live without losing himself and hold on to who he truly is beneath all the darkness and regret.
I think part of the pain Cole feels in Solas stems from Solas losing himself. The theme of longing to be seen runs throughout Inquisition and Veilguard - in the Memories of a Duet Codex, in Solas telling the Inquisitor, “Few in this world can see me…,” and in his confession to a hurt Inquisitor, “You saw more than most.” He even states it outright: “I was Solas first.” And Solas is being buried beneath centuries of war, shame, grief, and every name hurled at him as an insult and in hatred.
To me, this dialogue offers a rare window into who Solas is beneath the darkness, strangled by years of violence and making choices against his nature. His capacity for love, his longing for connection - it isn’t a lie. It’s the part of him that can endure, despite everything. If the atonement ending is chosen, we see the full expression of that endurance.
To feel compassion for someone isn’t to excuse their actions - but there is power in understanding the emotional root of those actions. And if we choose to see Solas through Cole’s eyes (and through the eyes of the Spirit of Wisdom) – well, maybe we’ll find that he’s not that kind of wolf.
He has always been what I most feared becoming. Callous and uncaring, his arrogance unchecked. To have that much power and no one to remind him that he could be wrong...
I want to speak about why the second part of the Best-True ending of Dragon Age Veilguard pierced me so deeply. The Flycam screenshots are from Aru/Elf botanist (YT linked at the bottom).
To set the tone, the music established the emotive themes of the scene. It speaks to the Lost Elf theme- however it is forever changed and lighter. This elf that was Lost for so many years is now Found. There is hope in the strings, there is redemption in each note. This also speaks to the specific codex from the lighthouse in Solas’ secret room. Not his office at the top of the building, extravagant, beautiful, overshadowing all others and looking down in godly benevolence - his private quarters on the main floor, where parts of his travel with the Inquisition surround him.
When Lavellan speaks to Solas, she is using a resolute voice, almost chastising him for thinking he has to do this alone. He has her, and she will keep reminding him.
*Edit: Please note she also speaks the common tongue in this instance.
Solas implores her to think of the dangers the journey he is going on will have, his head is down to show the residual shame and his plea for her safety. But also a part of him hopes. The reason all he says is that “there will be danger” is a statement of warning but not fully entreating her to stay. His heart has a pause, he is prioritising her safety and wants her aware of the dangers.
Note, that he also speaks in Elven in response to her, his first language and mother tongue. As a trilingual, one usually reverts to their more natural tongue during a heightened emotional situation - in this case, Solas' warning statement is also a subconcious plea for her to understand him and join him despite the danger. He will never push her further than she wants to go like he was pushed by Mythal.
This is the shot normally, the downward and side tilt are clear making the imploring effect of his words resonate further. Unlike before where he only looked at her for small spans of time his attention is fully focused since being absolved of his duty. After she responds that she will be with him, forever no matter what, he shifts. This is akin to when making vows “I stay with you in sickness and in death” but they are crossing the boundaries of mortality. This is “I stay with you in any plight, any condition, any reality. I commit my eternity to you”
Her response is an amalgamation of the following:
1) You are not alone in it emotionally and mentally as I am with you
2) Physically I am with you to endure it with you
3) Our joined manifestations will make it a better place quite literally, so the bleak darkness that could have encroached will not exist when we are together
This is also validated a bit by Trick Weekes QA:
She then states their love is eternal, and she chooses to walk on any path with him fully and wholly. A love that transcends time, mortal barriers, immortality, the different realms of existence. This combined with their standing pose as if at the altar of a wedding is the final part of her vows. Said in the same hallelujah pattern and in elven as he would speak - she commits to his language (mentally and emotionally) so he best will understand her declaration. (This is confirmed by @northgalis on Twitter).
This, in front of the witnesses who are the allies who helped them unite in their union, Rook and Morrigan whilst overseen by the Veil itself in the position of holiness. His blood is the bond they now share, the new blood magic in a way that ties them to a new fate of their own making. The veil that brought them together in the beginning of the journey they now tread into together.
Then they confirm their vows with a kiss, she pulls him in first, similarly to their first kiss in the fade and he reciprocates. Solas is weakened, hurting, feeling unworthy of the brightest soul in the universe but she chooses him and he finally submits to his desire and need for her. His duty now to himself, atonement and the woman who chose him with it all in mind.
Aru’s flycam footage also shows the kiss being deeper and him actively
After the kiss, he SMILES. The ending is now so much less bleak it is tender, it is soft it is comfort, it is peace.
A smiling glance. meeting at a crescendo; a shared moment of understanding;
Screenshot from Daoithe on Tumblr.
He then proceeds to thank Rook, for helping him see when he allowed himself to be so plagued by grief and guilt and not giving up on him as it could have turned to despair, revenge and anger, like all the other endings which I hate because they go against his very nature. The other endings spit in the face of his complexity the story keeps explicitly imploring you to see and have empathy. Solas is a spirit of wisdom, when guilt festers that wisdom manifests in the worst possible ways. And with no one to listen and read between the lines, the fate he is subjected too is far too unkind. But here, he not only is freed of his guilt but also, just as importantly and very implicitly, his fear of dying alone.
If you have played inquisition you will recall there is a moment near the climax of Here Lies the Abyss where Inquisitor and their chosen companions go into the Fade. Solas is easily one of the most fascinating and best companions to take with you as he from the onset has been a “Fade expert” and his lines throughout are intriguing and educational. During the quest you come across graves embodying the different characters biggest fears. And Solas? Dying alone. The god who went against everyone he knew for a better world, whose empathy only continued to hurt him and freed others with hopes to better the world is the most lonely man. And he is terrified and within himself brought low by his loneliness in his commitment to the path he feels he must take. This is why the next part transcends the scene.
After the kiss which confirmed their bond and pact - binding them together with love and empathy, wisdom and curiosity married - he thanks rook and looks back at Lavellan, his Vhenan. And it is a *micro second* shot that completely defeats me. His head held high, the concerned imploring tilt gone as he holds his chin higher in appreciation, respect and awe for the woman who chose him. The love of his life, his eternal companion. The only one to truly fully see him, respect him, and love him wholly. Who has forgiven him and chooses a path which only leads to him. He is honoured to be loved by her, and will work to be the better man he feels she deserves, but also beginning to accept that her love for him is in any form he takes. The one he prizes above all others, chose him, and he will never be alone - and that is everything.
Seeing completely, and being wholly seen.
This scene literally destroyed me in the best way. I am left hollow with love and adoration for this character and his relationship to his love Lavellan and no other romance will meet the threshold they have created for me. It is not Solavellan hell no longer, they have transcended to Solavellan heaven.
My playthrough video of the second half of the ending sequence.
Here is Arus Flycam YT video for reference:
Arus Flycam Lavellan POV of the True - Best ending
I genuinely think Lavellan is the first relationship Solas has had. Especially an explicitly romantic one.
Veilguard Spoilers ahead. But regardless of what the primary nature of his relationship with Mythal was. There clearly was an infatuation. A dedication so raw back then that I genuinely don't think Solas was looking at anyone else but Mythal. Either because he longed for her in some (arguably unrequited) capacity or the loyalty he had for her trumped any other distractions.
But then. She dies. And he grieves, and he ultimately destroys the world in that grief. And he's spent thousands of years away from Mythal. And while he's still obviously dedicated to her, the rawness of that bond has simmered.
And then he meets Lavellan.
"It's been a long time," he says when you tease him about him using fade tongue. And while yes, you could see this as Solas confirming he has had prior romantic relationships. I actually think it refers to Mythal, to the fact it's been a long time since he's felt so close to somebody.
We know ancient elves felt operated differently than modern-day elves when it came to expression in a relationship. What we think is romantic might not have been as such back then. So I'm NOT saying Solas is inexperienced, but rather, I do think the only bond he's had that consumed him completely, that was loving, was Mythal. Until he meets Lavellan.
There is a genuine...newness to the relationship. There are so many instances where Solas seems so mildly surprised by Lavellan's actions. For the care she puts into their relationship. My favourite being when Lavellan promises to protect him in Haven from anyone looking to hurt him because he's an apostate elf. The way his eyes widen and he says "...thank you," like he's never experienced someone looking out for him so...outwardly. So willing to put his safety as a priority. (And that makes me sob cause oh my god I wonder if anyone cared about Solas's safety ever)
And I genuinely think his bond to Mythal coloured Solas's expectations when it comes to any relationship, especially a romantic one. It's like Solas isn't used to someone reciprocating HIS feelings lmao. And that's doubly apparent in the Solavellan ending, I think. Lavellan and Solas's interactions are so interesting because Solas GENUINELY has not let himself believe for nearly 10 years that Lavellan forgave him. Cannot believes she is even there, willing and wanting to save him from himself.
This does not strike me as someone who's used to relationships. To the give and take. The safety. The sustainability....
I think Solas spent so long yearning for the reciprocation he never received from Mythal only to get it finally with Lavellan. He longed for Mythal to reciprocate, and she didn't. Not until she finally shared the burden of their actions at the end. And there is no comfort in that burden now being acknowledged by her. She releases him from her service and vanishes as he's left to double over by himself.
At least he would be, but lavellan is there to lower herself to his level and comfort him. They're equals where Solas and Mythal were not. Solas is not Lavellan's lapdog. And she is not warped and changed by him as she offered to do so back in Trespasser. He didn't let her come with him to avoid the fate that befell him when he followed Mythal. They're Partners. Lovers.
And even THEN. EVEN THEN. Solas is shocked Lavellan wants to go with him to the Fade. To the point his eyes tear up, he CRIES. Warning her away but you can see in his face he is fucking DESPERATE for her to follow. Because he wants to love and have that love returned at long last.
Castles in the Fade, or What Was the Point of the Veil Anyway
Something that will now haunt me until the end of time is why was the concept of the Veil ever introduced into this series.
We’ve been hearing about it since the very first game. There’s a codex entry about tears in the Veil in Origins. Tamlen mentions a thin spot in the Veil if you play a Dalish elf. Sandal has a prophecy in Dragon Age 2: “One day the magic will come back—all of it. Everyone will be just like they were. The shadows will part and the skies will open wide. When he rises, everyone will see.” Admittedly, this is just one line said by a character who often says odd things, but it hinted to the fact they were planning to do something with the Veil from the very beginning. The state of the Veil is repeatedly brought up. It all had to mean something! Or so I thought.
When I saw “The Dread Wolf Rises” quest in Veilguard, I said, “Oh, here we go!” The Veil is coming down, magic is coming back, and it’s going to set up such an interesting story for the next game.
Alas, no.
I hadn’t really enjoyed my time playing Veilguard up until this point. It felt like the game was ducking and dodging every bit of world building and lore that could possibly bring nuance or complexity to the story. Every returning character or faction was a cardboard cutout of themself. They shoved Solas is a time-out box and gave him nothing to do. They refused to let him have any impact or influence on the story when he had been set up to be our main antagonist back in Trespasser. This game used to be called Dreadwolf! And while we learn about his past… we never talk to him about it. In the present, he’s in stasis.
Elgar’nan and Ghilan’nain are our villains. And they are your typical evil for evil’s sake villains. They are mad, bad, and only as dangerous as the narrative will allow as to not give Rook and co too much trouble. They are surprisingly patient while Rook fixes all their companions’ problems… until Elgar’nan moves the moon to cause an eclipse. A vital component in making his own lyrium dagger. For some reason. This guy can move a satellite!? And he just let Rook walk away in previous encounters… twice. Ok. Sure.
The Evil Duo need their own dagger ostensibly to tear down the Veil, because they want to unleash the full force of the Blight onto the world. Because they are evil. And they were thwarted last time they tried to Blight the entire world. Why do they think Blighting the world is a good idea? What’s the point of ruling a world if everyone is dead? I guess they haven’t thought that through, because of the madness and the evilness.
Ok, I thought. Perhaps the gods will be the one to tear down the Veil. Or maybe we’ll have a choice to let Solas do it his way before they can, which will be less chaotic and less full of Blight. Because the Veil has to be coming down one way or another? Why introduce the concept of the Veil, especially a Veil that has been thinning and failing since the series began, if it’s just going to… stay.
There is a principle in storytelling called Chekov’s gun. If something is mentioned in a story, it must have a purpose. If you keeping mentioning that gun hanging on the wall over the fireplace, it’s because at some point in the story, someone is going to take it down and use it. The Veil felt like Chekov’s gun to me. Chekov’s Veil, if you will. It’s been here from the beginning of our tale, the spectre hanging over our protagonists’ heads for multiple games.
The Veil has been a character unto itself. It was the central focus of the third game, and its dissolution was set up to be the core conflict of the fourth game. We learn everything we thought we knew about the Veil was a lie. It was not created by the Maker to separate the Fade from this world because of jealous spirits, it was created by a guy named Solas to trap the elven gods and the Blight from destroying the world. Also, the elven gods were never gods, and they are also evil.
This reveal will surely throw the Andrastian religion into chaos! This puts the very existence of the Maker into question! The Evanuris are a lie; it’s only fair Catholicism—oh, I mean—the Chantry is a lie too. We briefly touch on that in Veilguard… then it is quietly discarded. Religious crisis averted.
But I digress.
When the title of the fourth game was changed from Dreadwolf to Veilguard, I started to see the writing on the wall. Still, I held out hope the Veil would have some greater purpose in the story. That its introduction as a concept was for a reason. That something in this world would change.
Instead, from the get-go, the question of the Veil is no question at all. We only get Solas and Varric making oblique or catastrophizing statements about it. Solas says little beyond he has a plan. If I ever wanted to hear a villain monologue about their plan, it was now! Varric, on the other hand, decries Solas’s plan. He warns that should the Veil fall, it will destroy the world and drown it in demons. And that’s that.
We never really learn why Solas wants to tear the Veil down, or why he thinks it will help anyone. “The Veil is a wound inflicted upon this world. It must be healed,” he says. And that’s basically all he says about it in Veilguard. In Inquisition and Trespasser, we learn it took the immortality from the elves. It cut most of magic off from the world. Spirits are trapped and are being corrupted into demons, and most of what we know about spirits and demons is wrong. There are ancient elves possibly asleep? That part is left vague, but ancient elves are still about. We meet some in Mythal’s temple. There seems to have been some merit in bringing it down, because elves were flocking to Solas’s cause at the end of Trespasser. He had agents working for him already. What do they know that we don’t know?
Apparently nothing, because by the time Veilguard rolls around, there are no mention of agents. He is working alone. His only motivation now seems to be he’s too deep in his sunk-cost fallacy. The Veil is unnatural, so it must be removed—consequences be damned. We are never given any reason to think Solas has a leg to stand on in his pursuit of tearing down the Veil. We never hear any kind of counter argument from anyone, not even Solas, as to why the Veil should come down. We are only told it will destroy the world. It will drown the world in demons. This is all Solas’s fault.
There is no nuance. No complexity. No moral quandary to mull over. The game gives us vague warnings with no explanation as to what exactly is so world-annihilating about the Veil coming down. We must take Varric’s word at face value. We’re the heroes; Solas is the villain. Stop him.
It makes me wonder why Solas was ever a companion in Inquisition, let alone a romance option. Solas was presented to us as a complicated character in Inquisition. We had the potential throughout the game to make him see the value of this world, to help him realize he was wrong about it. “We aren’t even people to you,” the Inquisitor says in Trespasser. Solas replies, “Not at first. You showed me that I was wrong...again.” He began the third game viewing the world as tranquil, seeing the people in it as nothing more than figments in a nightmare, just as we saw our companions in the In Hushed Whispers quest. He ends the game having made friends, having recognized he was mistaken. He might have even fallen in love. (Or he may still seen no merit in this world if the Inquisitor antagonized him the entirety of their time together.) But something makes him continue with his plan to tear down the Veil, despite recognizing this world is real. He must know something we don’t. Something we’ll learn about in the next game.
We’ve been hearing about the Veil for three games now. We’ve set up our complex antivillain for the next installment, and he’s going to tear the Veil down. We swear to stop him or save him. But it has to be more complex than that. It can’t be so straightforward. Uncomplicated. Simple. Boring. Right? Right?
Nope. He really is just the villain, mustache-twirling and all. He apparently had no greater motivation, no as of yet unrevealed knowledge that would put this whole Veil thing into a new context. It was really as simple as the Veil falling will destroy the world, so Solas must be stopped. There is no new information that is revealed which makes us question what we are doing. Solas is never given any nuance or complexity to his actions. Nuance and complexity have actively been taken away. Both him and the Veil are looking like they are the worst things to be in a story: pointless. Why introduce the Veil if it’s just going to remain unchanged? Why introduce a character like Solas, bother humanizing him (for lack of a better term), giving us his backstory, setting him up as a cunning antagonist, only to make him look stupid, then put him on a shelf until the last ten minutes of your game?
Solas was the trickster archetype of this tale. He was our version of Loki from Norse mythology. What is the role of the trickster archetype? To challenge the status quo. To bring about events of extreme change, like say, the tearing down of a Veil that holds back all of magic. Loki is a huge contributing factor in Ragnarök. Through his manipulation, he causes the death of the beloved god, Baldr. This ushers in a long winter, which signifies the beginning of the end. Loki is imprisoned for this crime. When the final battle between gods and giants begins, the sun and moon are swallowed, plunging the earth into darkness. The earth shakes and Loki is freed to fight on the side of the giants. The world burns in raw chaos, falls beneath the sea, and is reborn. The world is remade, and a new realm of the gods and a new, better earth is formed.
It really felt like this was the setup they were going for. Solas causes the death of Mythal, and this is his catalyst for creating the Veil, which ushers in a world without magic. This could be seen as equivalent to the long winter. Solas falls asleep, trapped in dreams. He wakes and sets in motion bringing about the apocalypse. It’s not a perfect one to one, but it’s there if you squint. We have a war against the gods in Veilguard. I was expecting a few remaining Titans to wake and join the fight. But we don’t get any of that. There is a final battle, but it does not end in the end of the world. Or a better world. It just ends, and everything is the same.
It seems our trickster god caused his apocalypse thousands of years before our story started, when he created the Veil. His role in this tale was over before ours began, and he really is just some relic from a long-past age. He has no role, no purpose in this story. He is here to be thwarted. He is no Loki at all.
If you can’t tell, I wanted the Veil to come down. Did I think the Veil coming down would be painless? Have no negative consequences? No. Of course not. But keeping it up has negative consequences too. And it made for an interesting story. Or at least it could have. But we never explore that. The game presents no counter argument to having the Veil stay up, which, again, begs the question: what was the point of introducing the concept of the Veil at all?
Did I think the Veil coming down was actually the best solution to help Thedas become a better place? I don’t know, and I never will, because the game never argues for it one way or another. It just tells you to want it in place and to stop asking questions. In real life, a catastrophic event is not the best way to solve any of the world’s problems. But this is the realm of fiction. We have gods and monsters, magic and myth. We have introduced the status quo of Thedas, recognized it needs to change, then our trickster god appears ready to fulfill his role in the narrative.
Instead, it all comes to nothing.
I got to the end of Veilguard… and everything was more or less the same as it was at the start of Origins. Veilguard actually tries its hardest to pretend any previously mentioned problems don’t exist, so of course the Veil coming down has no merit. There are no problems to solve in this world, apparently. Solas is just stuck in the past and can’t get with the times. Silly Solas.
The Veil isn’t even a permanent solution. It wasn’t to begin with. It was some duct tape wrapped around a broken pipe, and we’ve just slapped an extra piece of tape on it. It’s still leaking. It is still unnatural, and will fall eventually one way or another. Large amounts of bloodshed weaken it, so I guess Thedas better achieve world peace real quick to avoid any battles. There were seven super-powered mages holding it together… now there is just one. Ironically, the Veil was going to fall after two more Blights anyway. The Wardens were doing Solas’s work for him! It would also have released the full force of the Blight at that time… which Solas was trying to avoid, I presume.
It feels like keeping the Veil up just pushed a big problem onto Thedas’ future generations. We’ll keep slapping bandaids on it until it all falls apart. Someone else can deal with the fallout, but we’ll be dead by then, so who cares.
Primarily, I wanted the Veil to come down from a storytelling perspective. The Veil was an interesting concept and I wanted the story to do something interesting with it. Conflict is what makes stories stories and the Veil coming down could create so much compelling and complex conflict. And the Fade is weird, and I like weird. Stories are also about change, and I wanted to see Thedas change. Yet, Veilguard is over, and barely anything has changed. Instead of magic coming back being a conflict for the next game, they went with Fantasy Illuminati. Oh.
The Veil turned out to be a nothing-burger, and no problems in this world are even close to being solved. Slavery is still rampant in Tevinter. The elven people are still oppressed everywhere. Mages have no more rights in the South than they did in Origins. Spirits are still trapped and being corrupted. The Calling still exists, though might be different somehow now? They don’t really get into that. The Chantry’s validity is still not allowed to be questioned. The Blight still exists in some form, but again it’s vague. Oh, and we learn the dwarves have been gravely wronged, and the Titans are still tranquil. At least if you redeem Solas and a romanced Lavellan joins him, they can work together on healing the Blight and helping the Titans. Oh, good. One problem is being acknowledged and some action will be taken. Offscreen. Hurray? Solas doesn’t have a really great track record of fixing problems, so Lavellan is definitely going to need to be there to make sure he doesn’t fuck it up.
For some reason, this game seemed terrified of letting us think about anything for more than two seconds. It shied away from complexity or nuance at every turn. The game is called The Veilguard—ironically, that word is never uttered in the game—but we are given no real motive for guarding the Veil. We’re unquestionably the hero. The villains are uncomplicatedly evil. Save the world… never wonder what you are doing or why.
I wanted the game to make me question if the Veil staying up or coming down was the right choice. I needed to be given a real counter argument. Convince me the alternative would actually be better or worse, because as I mentioned… things suck quite a bit in Thedas already for a lot of people right now. Let the Veil’s fate be a difficult choice to make. If the conflict cannot be what to do about the Veil, it should be am I doing the right thing about the Veil. If the heart of your game is so thin on motive, everything else falls apart around it.
I hoped they were setting up a complex, Thedas-sized existential conflict for this game in Trespasser, but no. I wanted something to happen, but nothing did.
I want to feel challenged and changed by a story, not left feeling empty. I’m tired of superficial entertainment. I want to sink my teeth into a narrative that doesn’t paint the world in broad strokes of black and white, good and evil, heroes and villains.
Ultimately, I think my issue is why even introduce a concept like The Veil if you’re not going to do anything interesting with it. Or anything at all. What I thought was Chekov’s Veil turned out to just be a MacGuffin. And that’s disappointing.
So, full disclosure, I haven't been a Solas fan before.
I am now.
And that's because of Veilguard and the many, many ways in which I felt let down by this game.
The aspect that bothers me most is the reduction of nuance and complexity.
Rook's hero's cakewalk (because “journey” really isn't the right word) is a ready-made path that offers no deviation at all and never challenges the player in any meaningful way.
Sure, you can spend some time pondering the pros and cons of saving Treviso or Minrathous. Ultimately, it makes no difference. Rook does their best, they just can’t be in two places at once.
Same with the companion character arcs. What does it mean if you decide to you turn Emmrich into a lich? For the most part, it's idle musing. Indulgence. He’ll be happy either way, there are no real stakes. Yeah, your actions do have consequences, just not the sort of consequences that make a substantial difference. It’s the illusion of choice – reduced to cosmetics.
The problems with decisions that cost nothing is that they don’t feel like an accomplishment. They also don’t allow for character growth. Rook doesn’t change, they remain static. Even the section in the Fade where Rooks faces their regrets is easy and comparatively lightweight. Varric was killed by Solas, Harding resp. Davrin died in combat and either Bellara or Neve was abducted by Elgar’nan. It’s not like Rook’s decisions actually caused these events, it’s not like Rook actually failed through a choice they had to make that turned out to be the wrong one. Everyone was there willingly and volunteered to fight the good fight. Rook’s regrets are not about real guilt, they are about feeling sad and guilty. And that – it needs to be said – is not the same thing. At all.
At the same time, the story carefully avoids any kind of true ethical dilemma.
It's not even about the lack of mean or edgy dialogue options; that’s just a symptom. The cause is the writers’ unwillingness to let realism intrude in Rook’s fairytale – the lack of anything that would require Rook to compromise on morals, or fight temptation. Rook is never faced with any sort of moral conundrum, or allowed to act out any kind of vice that realistic characters have. In its straight-path simplicity, Rook's story is apparently written for children and people who remain child-like in their yearning for simple, uncontested truths.
Of all the sorts of conflicts that a story can offer, Veilguard carefully avoids the most realistic and (in my opinion) interesting ones: Character vs. self and character vs. society, aka, politics. The game firmly refuses to go there. To the point where it creates a completely unrealistic consensus on all sides that eliminates yet another sort of conflict: character vs. character.
If Rook and their companions would talk politics, they’d all be on the exact same side. In a two party state, they’d all cast the same vote.
I am sure that there are many players who feel comforted and reassured by that fact, who sincerely believe that this is how stories should be written. That stories should reflect the world not as it is but as they think it should be. But for everyone who likes their stories a little more realistic, that lack of meaningful interpersonal conflict, that lack of real diversity which comes not from appearance but from different cultures and opposing viewpoints amounts to a frankly cringe-worthy, artificial and juvenile surface-level interaction between characters. Or, to phrase it differently: the diversity remains skin-deep and doesn’t extend to the philosophical, and even in the few instances where it does, it shies away from the political.
Which means that the only conflicts that remain are the most boring and stereotypical ones: character vs. monsters resp. the supernatural, where all foes are evil in the blandest way (Supremacist Venatori! Fascist renegade qunari! Power-hungry necromancers!). These conflicts are resolved through exploring maps and endless, repetitive combat.
The only thing that brings a bit of nuance to the game is Solas’s story. And there is an element of character vs. character in Rook’s and Solas’s relationship, but the sad truth is that what could have been a fascinating mirrored character journey falls flat for all the reasons already explained – because where Solas is a character as layered and controversial as it gets, Rook is anything but.
Solas’s story shows how even people with the best intentions and the greatest integrity are ultimately broken by what life throws at them, both by the decisions that are forced upon them and the choices they make on their own. It shows how a prolonged war is always a sunk cost fallacy: I’ve gone this far, if I stop now, it was all for nothing.
Rook’s victories, on the other hand, come without a cost – both in terms of moral corruption and in accountability. The guilt Solas bears is real. The fight against the titans, followed by his war against the Evanuris, requires compromising his own morals, one day at a time, one century after another, he’s trying to save the world yet doomed to fail. Sacrificing the spirits to win a battle after the war has gone this far? Every single war leader around the globe would make the same decision. In fact, all of them do: They do sacrifice the lives of others if it will help them win, they do send soldies into the trenches to die, whether these soldiers want to or not, and they are rarely, if ever, truthful about the reasons why.
In a certain way, the story of the spirit of wisdom turned flesh is reminiscent of the biblical Fall of Man: the original sin. Solas has fallen, and he’s broken. In trying to heal the world, he’s trying to heal himself. The burden is too heavy, the responsibility to great, the knowledge that he is responsible for all of it too devastating. Solas’s greatest conflict is character vs. self. It has the potential to be great. In a way, it is. It’s the single redeeming quality that, depending on your interpretation of what went on behind the scenes, the writers managed to salvage from the original concept of Dreadwolf or the lone pillar that withstood all their attempts to bring it down.
Only sadly, infuriatingly, in the end, that fallen hero’s ending is put into the hands of a protagonist who judges him from the perspective of someone who has never even stumbled – not because they are wiser, braver, or kinder. No, just because the writers were gracious – or cowardly? – enough to never let them fail.
The game gives Rook a moral high ground which isn’t earned in the slightest because Rook never had to walk even a quarter of a mile in Solas’s shoes. They don’t know what they would have done in his stead, they have no idea what it actually means to see the sorry shape the world is in and know that it was your hands that shaped it. And even where Rook might actually be culpable – the interruption of Solas’s ritual that freed the remaining Evanuris – anyone is quick to assure Rook that it wasn’t their fault.
Whatever regrets Rook carries, they’re born from self-doubt and trauma response. Survivor’s guilt, mostly. When compared to Solas’s immense guilt, Rook’s regrets are, for lack of a better term, insignificant. That Rook manages to face them doesn’t mean that they are more truthful or emotionally mature, it just means that Rook’s story is a tale for children and Solas’s is not.
It’s not that I’m necessarily opposed to the idea that the player decides Solas’s fate through their actions. It’s the injustice of it all that bothers me: The player is led through a game that provides a safe space for their character, one that is devoid of any interpersonal conflict and any ethical quandary. Rooks succeeds through kindness and heroism and taking their companions on team bonding exercises.
As if Solas could have won the war against the Evanuris if he’d taken the time to take his companions on coffee dates.
The juxtaposition – Rook vs. Solas – fails, simply because of this deep divide. Rook’s story is detached from reality and yet Rook gets to be Solas’s judge, jury, and executioner. On what grounds?
As I said, right in the beginning, I haven’t been a Solas fan before. But by the end of Veilguard, I was firmly, irrevocably, Team Solas, just because I was so annoyed that the narrative put Rook in a position of moral superiority. I detested my own character. Jesus, what a goody two-shoes! I was rooting for Solas simply because his story was so much more: a genuine tragedy, a study in complexity. Rook, on the other hand, remains bland, snotty, unchanged. Untried.
The thing is, I don’t believe that my reaction was one the writers had intended. I strongly feel that they didn’t mean for me to pick up on their double standard, that they expected me to walk away fully satisfied, convinced that Rook and The Team were the Good Guys because they went on picnics and petted the griffon, their final victory well-earned and just. If only Solas had had a Team and taken care of their emotional needs – he could have taken down the Evanuris with nary a scratch!
It’s all so very disingenuous.
Rook and, by extension, the player exist in a bubble of sanitized content. That is clearly deliberate. The player is meant to like it there. (In that sense, it’s only logical that they changed the title from Dreadwolf to Veilguard.) And clearly, it does resonate with a certain kind of their player base: mostly with people, I think, who would like their real life to be a bubble too and whose only experience with moral corruption is when they find it in others.
Ellana Lavellan is an investigative journalist assigned to cover an excavation in the Arbor Wilds. Her editors have received a tip that the dig may uncover new information about the “Final Inquisitor,” a mysterious figure from the Dragon Age about whom almost nothing is known. Ellana teams up with a museum docent to investigate the story.
Solas x Lavellan || Modern AU || Read on AO3 || Read from the beginning
Excerpt:
Dorian leaned across the table, suddenly grasping her free hand in his own. Ellana, taken aback by the gesture, snapped to attention.
“We have a find here, Ellana. A real find. And if all goes as I hope it does, you and Solas will be the ones to bring it to light. Ah!” Dorian released her as he directed his gaze above her head. “And here’s the man of the hour.”
Ellana was still trying to process Dorian’s words when she felt the unmistakable sensation of a kiss being placed on the top of her head just as casually as if it were something that happened every day of her life. It was a completely foreign and lovely idea, and one that made her freeze entirely, her eyes wide.
She could feel Solas hovering behind her and realized that he was similarly motionless. Dorian, his gaze darting between the two of them, wore a smile that stretched across his whole face and seemed to Ellana to be practically screaming “I knew it!”
Feeling as though Rook is secondary to Neve? You shouldn’t, not really at least because Rook is irreplaceable for the same reasons people are holding animosity towards Neve.
‘Neve gets him without doing any of the hard work.’ Rook is the only person alive who could even be able to. That’s the whole point.
Saving Minrathous results in the Inner Demons quest never happening.
Meaning an unhealed Lucanis never makes peace with Spite.
Meaning he goes on to enter a relationship with a woman (to no fault of her own) who could never, and would never, force him to face his fears and give him the unyielding encouragement needed to live without compartmentalizing every important thing to ever happen to him.
Without Rook completing that quest— Lucanis remains chained down by his debilitating fear of disappointing Caterina, the shame of being made into an abomination against his will, the guilt of being the one who got off easier than Neve and the pain and anger Illario’s betrayal brought onto him.
“Thoughts live here. Ideas. Feelings.” Disappointment. Shame. Guilt. Betrayal. All of which Lucanis felt were too big, too messy to face.
Solavellan is Rookanis’ foil. Except Rook is if Lavellan had succeeded in persuading Solas to face his regrets.
And what was the crux of the replacement Fade prison Solas crafted for the Evanuris? It was a prison built on regret, and the only way to leave would be to face them. Which Ghilan’nan and Elgar’nan would never be able to do.
Spite says “Lucanis is here. Behind locked doors. I can’t break through.” But Rook can.
In his mind’s eye, Lucanis makes Caterina, Harding, Neve and Illario his jailers of negative emotions in a prison of his own creation.
And in all that inner turmoil, his idea of Illario says, “Rook, you’re too good to be here.”
Rook isn’t one of his jailers, not because they don’t matter enough compared to the others, but because Lucanis’ thoughts, ideas and feelings for Rook are too good.
Rook opens doors, they’re not a jailer who throws away the key. In Lucanis and Spite’s eyes, Rook is the key. They are a liberator, a hero, the only one he’ll listen to.
Love, understanding, the unwavering promise of companionship (platonic or romantic) despite the risk to themselves sets Lucanis free.
I’ve seen people who are disappointed in his storyline complain that it feels as though ‘Rook strong arms him into a committed relationship’ that he somehow ‘feels obligated to indulge’ and engage in as a result of saving Treviso. I believe these claims just end up ignoring the really good diamonds in the rough we’re given in terms of Rookanis relationship development.
A romanced!Lucanis gives way to lines like “I don’t know what Rook sees in me. I’m happy to just be around them.”
And paralleling scenes like when Caterina chastises a kneeling Illario with “A Dellamorte never kneels.” Only for Lucanis to later walk over to a post-Fade trapped Rook and literally kneel at their feet like they’re the only deity he cares to worship like this is Take Me To Church by Hozier.
And what is Rookanis as a ship, if not Rook teaching him it’s okay to assert himself, which leads to Lucanis reclaiming his humanity through an act of love? Just saying. Given time, and love, he turns into a Gomez Addams sort of romantic figure.
If Rook were associated as any feeling to Lucanis then they’d be love. Affection. A state of understanding. Purpose? Freedom?
Better yet, Rook could be determination. After all, Rook’s defining characteristic is that they ‘just can’t seem to quit’— in the face of the man they care about saying ‘give up on me, i’m damaged goods’ why wouldn’t they win him over in the end?
One part I really enjoyed was realizing Solas and Lavellan each get to express their feelings and regrets about each other in two verses of Hallelujah before the end of the game.
This was always the cadence that Solas slipped into whenever he remembered something ancient that affected him in the Fade. In Inquisition, Lavellan only joined this cadence occasionally, when on the same page as Solas in conversation.
10 years later, not only is Lavellan mildly on the same page as Solas - now she has somehow fully and completely on the same page as him. Lavellan has become closer to Solas, after thinking of him so long. She is now “singing” the same song that he sang, fluently, in full verses. Lavellan has one foot in the world he loves, the world he had to leave behind, the world he longs for. The world she is fully prepared to enter with him, because she can speak his language and sing the song fluently.
I call this cadence a “song” because it makes me think of the Cole banter about Solas - “he hurts, an old pain from before, when everything sang the same.”
Is this cadence really how the ancient elves used to speak to each other? For example, all of the mural memories are in this Hallelujah cadence, and Elgar’nan, Ghilan’nain and Mythal are all perfectly in the cadence when they speak:
A very telling detail to me in this cadence is the memory with Elgar’nan and Mythal so on the same page, so of perfect accord and of the same mind, that they are finishing each other’s lines.
In that memory, Solas is relegated to his own private segments that neither of the others join. He is exiled within his own Hallelujah cadence.
It is also interesting to note that Solas and Mythal never share this entwining that Mythal and Elgar’nan have. (The only times Mythal shares Solas’ line is to interrupt him with “Impossible,” and the moment they are apologizing while he kills her.)
Now, maybe this cadence is not an Ancient Elf Spirit Thing, and the cadence appears this way because it is filtered through Solas’ memories. After all, he painted these.
(And also, characters like Felassan do not speak in this cadence even once. So it’s not how all Ancient elves spoke all the time.)
But there is the use of Hallelujah between Solas, Mythal and Lavellan during Solas’ finale scene, and also one more example that makes me think the ancient elves may have at least occasionally spoke like this, and that this way of speaking, this song, is something that Solas is longing to hear again:
It’s this - it’s also in Solas’ conversation with Elgar’nan!
Solas is mocking Elgar’nan for being so blighted and corrupted, he can no longer speak in Hallelujah cadence. Solas seems to equate the cadence to “speaking elven,” speaking the language they should both speak. And I checked, neither Elgar’nan nor Ghilan’nain speak this way in dialogue.
So, it leaves me with this image of Solas as the last of his kind. Everyone who spoke his language is dead. The blighted monsters and ghosts can no longer hear or understand the music, they can no longer speak elven.
But Lavellan, half a world away, DOES.
Lavellan speaks this lost language of the gods.
Solas’ heart speaks Solas’ language. She has thought of Solas for so many years, she has endured her trials, and she has come to understand him even more than she had before. She has somehow, knowing the truth, become even closer to him, able to see both the good and the bad with open eyes.
Lavellan knows how to speak in elven, she can hear the hidden, mysterious currents that he can. Lavellan is his still-living family, his heart, the other part of the duet that Solas so clearly longs for.
Finally, at the end of the story, Lavellan is the one who pronounces, in elven, the final Hallelujah with Solas, when they have both finally passed their long trials, just before they marry and step together into the land of the gods, a duet in perfect accord.
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