Veilguard and the Failures of Surface-Level Liberalism
Strap in pals of all genders and creeds, this is long.
Despite presenting itself as a progressive and inclusive RPG, Dragon Age: Veilguard is not a leftist game. It reflects the superficial politics of contemporary Western liberalism: visually diverse, rhetorically inclusive, but politically hollow. Like the modern Democratic Party in the U.S., it trades radical or transformative ideals for shallow representation, and in doing so, it reveals an underlying conservatism that both limits its storytelling and leads to unintentional ideological harm.
Before we begin, a brief note: a materialist analysis, rooted in Marxist thought, focuses on the concrete, material conditions that shape social life—such as class structure, labor, power relations, and access to resources. It asks who holds power, who produces value, and how inequality is maintained or challenged. In media, this means looking beyond what stories say and analyzing how they reflect or obscure real systems of oppression and change.
It's useful to briefly define neoliberalism. Neoliberalism is an economic and political philosophy that rose to dominance in the late 20th century. It emphasizes deregulated markets, privatization, and individual responsibility over collective solutions. Under neoliberalism, social problems are reinterpreted as personal failures, and political engagement is reduced to consumer choice. In media, neoliberal storytelling often replaces systemic critique with personal empowerment, turning collective oppression into individualized struggle and positioning social justice as a matter of branding or taste rather than structural change.
On its face, Veilguard looks like the product of progressive ideals: you can customize your character's gender presentation, choose from a visibly diverse party lineup, and engage with themes of identity and belonging. But these elements stop at the surface. The game offers no deeper vision of social change, economic transformation, or solidarity.
This mirrors the liberal fixation on identity politics without class analysis. Like the Democratic Party, Veilguard wants applause for "looking inclusive" while sidestepping the harder work of interrogating systems. It does not question who holds power, how that power reproduces itself, or what solidarity across difference might look like in practice. There is no structural critique—only aesthetic gestures. There is no vision of solidarity. It's similar to how the Democrats have been running on a platform of "vote for us or else" for decades, because their politics largely agree with the basic material premises of the other party, that being neoliberalism, and the only thing they have to offer is the "or else".
And, just so you don't brush me off as some chud, I am not American, and I cannot vote in the elections. If I were American, I would vote
Democrat, not third party candidates, for obvious reasons. It's just, from where I stand, the US has a party on the right, and a party on the far right, and leftist options aren't genuinely on the table.
Veilguard has no meaningful conception of class struggle. The party members do not grapple with class dynamics between themselves. There is no collective vision for how to reshape the world. NPCs and factions are individualized; systemic analysis is nowhere to be found.
Compare this to Final Fantasy VII Remake or Disco Elysium, which offer actual political theories, explore the costs of extraction and labor exploitation, and question the player's place in systems of oppression. Veilguard instead takes the safer path: personal identity as the only axis of oppression worth mentioning.
This isn't progressive. It's neoliberalism.
One of the clearest examples of this failure is how Veilguard handles Tevinter. In previous games, Tevinter was known for brutal class hierarchies, magical oligarchy, and chattel slavery. This should have been fertile ground for a materialist critique: a fantasy setting where the costs of empire, elite rule, and oppression could be examined.
Instead, Veilguard sanitizes Tevinter. The anti-slavery detective Neve is stripped of her struggle's stakes, because slavery is nearly invisible. Her political engagement becomes personal branding. Her character reads like a consultant's PowerPoint slide on "gritty female rep," not a fighter in a living system of exploitation.
While Tevinter should be the perfect setting to interrogate labor, class, and entrenched hierarchies, Veilguard flattens the issue of slavery into a stylized backdrop. One of the most politically loaded questions—how to dismantle slavery—is presented as a choice between two NPCs: the moderate reformer Maevaris Tilani, and the more radical Dorian Pavus. If the player saves Minrathous, they can choose between Dorian's immediate upheaval at the cost of stability, or Maevaris's slow institutional reform, which keeps Tevinter structurally weaker but more diplomatically stable. If Minrathous is not saved, Dorian simply becomes Archon by default. Mechanically, this choice only affects the ending credits and a few party member reactions, not that party member opinions actually come with consequences like in DAO or DA2.
This choice is not interrogated. It becomes a matter of player flavor, not political vision. It reduces the end of slavery—a deeply systemic issue that could have spanned quests, moral tension, and class engagement—to a question of who should be the next enlightened ruler, as though the system will simply fix itself with the right person in charge.
It's a Superman fantasy dressed in moral earnestness.
Let's have a few examples of how the lack of thinking hampers the narrative and messages of the game.
The same lack of structural thinking undermines Taash’s storyline as well. Taash is a character navigating a nonbinary identity in a supposedly transphobic and sexist society—but Veilguard never convincingly builds that society. Every major character except Shathann affirms Taash's identity without question. The arc is framed around whether the working immigrant mom will use the correct pronouns, which might be emotionally resonant if Veilguard actually depicted transphobia or gender norms in a systemic way. It doesn’t.
The setting’s supposed prejudices are surface-level inventions with no institutional or cultural weight. The Chantry is matriarchal. Women serve in every political and martial role, and conversely, men in the setting have been portrayed as caretakers, mages, academics, or healers. Transition is possible, and even accepted in Qunari society. Unlike Dorian's story—where his father's attempt to use literal blood magic to "fix" his son's sexuality comes with real stakes, taboos, and danger, or Maevaris's story of coming out and starting to live as a trans woman, to great scandal in the aristocratic society of Tevinter—Taash’s conflict lacks material consequences.
The result is that Taash’s arc feels both emotionally weightless and politically incoherent both inside the world and at a meta level. Remember, Veilguard presents a cast full of women, but often does not treat them as full people. Maternal characters are punished. And only women are expected to perfom allyship and be sexually available, whereas the male characters are exempted from caretaking beyond having quirky pets. And so on.
And while the choice between Dorian and Maevaris makes sense on a story level and I like both characters, it just underlines the lack of critical lenses in the editing room that the end result is that the new top leadership for Tevinter will always be the AMAB scion of an aristocratic family.
It's such a missed opportunity honestly, I would have loved to see a Calpernia-as-the-wildcard-newcomer-from-the-working-classes and Maevaris-as-the-aristocratic-mentor-behind-the-scenes girlboss teamup.
The treatment of the Dalish elves provides yet another example of how Veilguard lacks the empathy and complexity needed to write real diversity. Despite being a displaced diaspora with a long, storied spiritual tradition, the Dalish as a group suddenly and near-unanimously turn away from their gods once it's revealed that those gods were corrupted or false. None of them seriously grapple with the emotional or cultural weight of this loss. There is no spectrum of belief. No internal conflict. Even Bellara's brother is portrayed as mind-manipulated and corrupted by evil forces and then killed off, conveniently removing any need to engage with his ideological position.
In real-world diasporas and cultural groups, the opposite is true. Disagreement and ideological diversity are the norm. Cultural traditions, even those with flaws or dark histories, remain emotionally potent and hotly debated. Some members cling harder to old beliefs in times of crisis; others reform or reinterpret. But Veilguard sidesteps this entirely. It reduces a displaced people to a monoculture with a conveniently aligned opinion.
Based on the content in Veilguard, I am fairly sure the authors would describe themselves as feminists, and would, if asked, reject sexism or inequality between men and women, classism, racism, and so on. This failure I'm describing doesn't happen because of agreeing with the wrong ideology or support for a party or whatever.
The ultimate problem is that Veilguard is trapped inside a specific liberal worldview: one that fears complexity, refuses solidarity, and replaces structural critique with PR-friendly inclusion. It treats oppression as a set of aesthetic signifiers rather than a system. It treats politics as something that happens through identity choices, not collective action or transformation.
Really, beneath its inclusive surface, Veilguard treats its core cast not as members of a collective, but as exceptional individuals who matter more than the world around them.
In this way, the game echoes Ayn Rand's ideology: the exceptional few are the only ones worth saving, empathizing with, or narratively prioritizing.
This explains how characters like Emmrich and Harding can plan a whimsical picnic trip to the Blighted South with zero social consequence. The world is dying, half the continent has been consumed by a magical cataclysm, yet somehow the party has access to luxury food items like expensive coffee beans. There is no material scarcity or logistical tension. This also explains why the player is never allowed to tell Taash to set aside the identity struggles until after the apocalyptic threat is dealt with—because in Veilguard, individual emotional arcs matter more than shared survival. The elite chosen few still deserve their personal resolutions, no matter what collapses around them.
Nowhere is this clearer than in the Minrathous vs. Treviso decision. Mechanically, the choice has no meaningful effect on the larger world. Minrathous is doomed either way. Treviso's destruction matters only in terms of whether the male romance option, Lucanis, will date the player or not. The female option, Neve, of course, remains romantically available no matter what.
The stakes are not moral, structural, or material. They're personal and transactional.
The Blight can spread, cities can fall, but your companions still host book clubs and have access to fresh fruit. This isn't solidarity. It's elite individualism dressed in inclusive costume.
Veilguard may look inclusive, but it’s deeply status-quo. Its treatment of women, its sanitized view of systemic oppression, its Randian elevation of the elite cast over the world, and its absence of class consciousness are not just narrative flaws—they’re ideological ones. The game mirrors a liberal worldview that wants to feel like progress without doing the hard work of justice—one that smugly assumes its values are universally shared, regardless of players’ and characters' backgrounds, cultures, or material realities. As a result, it doesn't meaningfully explore what building real solidarity or inclusive political futures might require.
If we want better games—and better futures—we need to move beyond representation as window dressing. We need stories that see power, challenge structure, and believe in something greater than optics.
And we need games that don’t just let women, or black people, or sexual minorities exist.
We need games that ask why the world tries to erase them in the first place.
Hope-based spirits are rare entities within the Fade that embody optimism, trust, and belief in higher purposes or ideals. They exist to inspire mortals and other spirits alike, acting as beacons of light in times of uncertainty and despair. These spirits are often drawn to moments of devotion, perseverance, or unwavering belief, whether in a divine power, a cause, or even in oneself.
Spirits: Faith and Hope
Note: There is very little information about Hope-Based Spirits in the DA lore. Below are theories surmised from the lore, not necessarily confirmed as canon.
Spirit of Faith
Essence: A Spirit of Faith represents trust, devotion, and belief in higher purposes or ideals. It does not necessarily represent faith in a specific god or religion but rather the act of placing trust in something greater than oneself—be it a cause, destiny, or higher being.
Behavior: These spirits exude an aura of calm and assurance. They often appear in moments of deep doubt, offering silent reassurance or subtle guidance. They are drawn to acts of devotion and unwavering commitment to ideals.
Interactions with Mortals: A Spirit of Faith may visit a mortal in dreams, offering a sense of peace or clarity in moments of crisis. They often encourage perseverance and reinforce belief in a chosen path, even when the outcome is uncertain.
Potential Danger: If corrupted, a Spirit of Faith might become a Pride Demon, its certainty twisting into arrogance, believing itself the sole arbiter of truth and demanding unquestioning devotion from others.
In Practice:
These spirits might be drawn to clerics, devout mages, or individuals facing moments of extreme doubt.
They could manifest in moments of self-sacrifice or acts of unwavering dedication to a cause.
An example of a Spirit of Faith being drawn to mortals are Wynne from Dragon Age: Origins (confirmed) and possibly the spirit representing Divine Justinia in Dragon Age: Inquisition (speculative)
Spirit of Hope
Essence: A Spirit of Hope embodies optimism, resilience, and the belief in a better future. It thrives on the idea that things can improve, no matter how dire the circumstances may seem.
Behavior: These spirits are warm and luminous presences in the Fade, exuding an aura of light and gentle reassurance. They often appear in dreams or moments of despair, reminding mortals or other spirits that hope endures even in the darkest of times.
Interactions with Mortals: A Spirit of Hope may offer visions of a brighter future or inspire individuals to keep fighting against overwhelming odds. They are drawn to leaders, healers, or anyone holding onto hope in impossible situations.
Potential Danger: If corrupted, a Spirit of Hope might become a Despair Demon, its optimism twisting into hopelessness. Instead of lifting spirits, it could spread feelings of inevitability and defeat.
In Practice:
They might appear during moments of war, famine, or catastrophe, urging individuals to persevere.
A healer overwhelmed by grief might be visited by a Spirit of Hope in their dreams, helping them find the strength to continue.
Role in the Fade
Faith-based spirits are often found in regions of the Fade shaped by moments of devotion, perseverance, or emotional resilience. These areas might glow with soft light, have a tranquil atmosphere, or feature echoes of prayers and affirmations whispered through the ethereal mists. They are naturally drawn to mortal thoughts and dreams shaped by belief, loyalty, or unyielding hope.
Corruption and Demonic Transformation
When corrupted, faith-based spirits are among the most tragic transformations:
Spirit of Faith → Pride Demon: The spirit's trust and certainty turn into arrogance and self-importance, demanding worship and unquestioning loyalty.
Spirit of Faith -> Despair Demon: Faith that is abandoned or repeatedly proven false. Belief turns into hopelessness.
Spirit of Faith -> Fear Demon: Faith that becomes consumed by terror of its failure. Devotion turns into paranoia.
Spirit of Faith -> Hunger Demon: Faith that is never satisfied, always demanding more. Belief turns into fanatic greed.
Spirit of Hope → Despair Demon: Its light fades into darkness, spreading feelings of inevitable loss and crushing hopelessness.
Spirit of Hope -> Fear Demon: Hope consumed by anxiety about the future.
Spirit of Hope -> Hunger Demon: Hope turned into an insatiable drive for validation.
Spirit of Hope -> Envy Demon: Hope twisted by resentment toward others' successes.
Mortals' Perspective
The Chantry: Might view Spirits of Faith as divine messengers or manifestations of the Maker’s will. However, the fear of corruption means even these spirits are approached with caution.
The Dalish: Could interpret these spirits as envoys of specific gods, guiding individuals on paths aligned with their chosen deity.
I'll start by saying that I have played all 3 of the previous games repeatedly, I've loved the series for 15 years, more than half my life. These games inspired me to become a writer and they've shaped a lot of my tastes and interests in shows and writing -- to say they were formative is kind of an understatement. Don't want to go on and on about how much I loved them, that's not the point here.
I didn't care for Veilguard for pretty much all of the reasons people have already discussed at length on Reddit and Tumblr. The writing is comprehensively bad, the romances are easily the worst Bioware has written by pure virtue of having the most cookie-cutter pacing and shallow characterization I've seen across their games, the lore has been shafted in every direction, and the nuanced storytelling and roleplay I came to expect from the series has been taken out back and shot in the head.
All, apparently, in the name of a "clean slate". It seems to me that, rather than familiarizing himself with the existing lore of the game he took the creative reins on, Epler clearly had a vision for Dragon Age (or perhaps a different IP entirely) in his head that he decided to transplant into the game (and possibly Trick? But they've said so little beyond defending their work that I can hardly theorize what direction they were coming from). That being a sanitized, wildly self-contradicting, morally absolute shitshow focused on distancing itself from the previous games as much as possible. Now, I know it's unrealistic to blame one person entirely, and I don't blame him entirely. Corinne was there. Trick was there.
But if it wasn't already evident from the numerous interviews Epler's given on the game as well as his participation in the Q&A's (while the actual lead writer of the game has been completely absent in not just the marketing, but in most fan-related interaction pre and post-launch outside of BSKY), this AMA seems to have confirmed, more than anything else, that Epler doesn't understand the game nor does he understand its audience. Neither does Corinne Busche, who despite being Game Director for only the last two years of development, has been answering lore questions a) like she has any fucking clue and b) like she thinks Dragon Age is a cozy-gamer IP, meant to appeal to people that want uplifting stories with uncontroversial characters, morally upright heroes, and unquestionably evil villains.
So as of today's AMA, I think I've finally had enough. We're just outright retconning the lore in Reddit AMA's now, I guess. Among other things. I'll provide a few examples, just so we're all on the same page.
This was part of Epler's response to why Solas didn't have his cult following in the game (insert "We Kind of Forgot" meme here):
Solas' experience leading the rebellion against the Evanuris turned him against the idea of being a leader. You see it in the memories - the entire experience of being in charge ate at him and, ultimately, convinced him he needed to do this on his own. And his own motivations were very different from the motivations of those who wanted to follow him - he had no real regard for their lives or their goals. So at some point between Trespasser and DATV, he severed that connection with his 'followers' and went back to being a lone wolf.
The fact that this (the not caring bit) directly contradicts the writing in the actual game is absolutely INSANE to me, moreso than the lack of Solas's spy network (which he apparently carried with him for 10 years only to conveniently drop right before the ritual? Because he clearly had them research Rook?). But in regards to the not caring -- here's a line from Solas's memory of killing Mythal in Veilguard, which. I'll get to Mythal in a minute:
Why should I not tear down the Veil, and bring back immortality to all the elven people? They deserve it!
Which is it? Does Solas care about the people he's saving (the venn diagram of people he's saving vs. the people following him is surely a circle, i.e. elves) or not? Does he even care about the spirits trapped behind the Veil anymore or is it just convenient to abandon them and have him only care about elves, now? What happened to saving The People? What happened to him not identifying as an elf in his conversations with a Dalish Inquisitor? And what the absolute fuck happened to him wanting to bring back the magical marvels (that the ancient elves did in fact achieve) that were greater than anything we see in Thedas today? Here's what Epler has to say about elven magic, now:
I do agree that the elves have had their place in the sun at this point. [...] The thing about the Evanuris is that, ultimately, they were able to take a very specific type of magic and shape it into doing what they wanted. But even their understanding of magic was only skin deep [...] Even the magic that Tevinter wields, the magic of the Southern mages, is different from what the Evanuris used. The magic of the Evanuris is powerful but it's sterile, and it's constrained. So while the Evanuris have made magic work in a way that's more predictable and understandable, it's not the only kind of magic out there, and even then, I'd say they understood it at a very surface level. People were confidently describing how the natural world worked back in the 16th century. Very few of them were right.
First of all, Tevinter has been stated in previous games to have clumsily adapted ancient elven magic for their own, but they did adapt it. To the point where even Solas is surprised that Corypheus achieved effective immortality -- by binding himself to a dragon the same way the Evanuris did. So, cool, more contradicting the lore here. "They understood it at a very surface level" you mean when all of the magic of the Fade wasn't locked behind the Veil? You mean when magic flowed freely through the world? What do you mean, Surface Fucking Level? The entire point of the Dalish elf culture is what they lost; this wasn't the ancient elves thinking the sun revolved around the earth, the Veil was their fucking Library of Alexandria burning. Oh my god. I still cannot believe he said this.
And how have the elves had their day in the sun? I'm sorry, was Arlathan not given to... the Veil Jumpers? Instead of the Dalish? What happened to all the Dalish clans in the south, who had no infrastructure when the world was apparently blighted to hell? I guess they're just gone now! They've had their day! The story of the Dalish and the Evanuris is over (also confirmed in this AMA), and it apparently ends with the final snuff of the candle that is their culture. Congratulations, Chantry, you've won! Only took two genocides and a double blight, but we're done with the Dalish now! We get your mind-numbingly superficial factions instead!
What happened to Mythal, by the way? What happened to "She was betrayed as I was betrayed, as the world was betrayed! Mythal clawed and crawled her way through the ages to me, and I will see her avenged!" What happened to the reckoning that will shake the very heavens? John's answer to this:
People grow and change over time. Mythal's essence - and in particular, the fragment of her spirit that Morrigan carries, that she got from Flemeth - is not the same Mythal who he knew millennia ago. Centuries of living in this world and being around the kinds of people Flemeth found herself around - the Hero of Ferelden, Hawke, the Inquisitor - changed her views, and made her realize her own culpability in turning Solas into the kind of person he is now.
Oh, right, okay. So she was pissed for like a thousand years, got her big speech about the impending "reckoning" out 10 years ago, and then she just chilled out because the last 3 heroes were neat people. What a fucking joke. And yes, here is the confirmation that the Evanuris story is over --
The story of the Evanuris is done - the gods are dead (or imprisoned) and Thedas is in a state of flux and uncertainty. I imagine that whatever happens next is going to be a surprise to everyone, including the people of Thedas."
So I guess Mythal's reckoning is never coming. One of the most fascinating characters in the series, shrouded in mystery for those first 3 games, PROMISING US a blaze of glory, only to fizzle out in this one. Again, and I can't emphasize this enough, for Epler's clean fucking slate. And we've not just tied up her story, but also the Veil and the Blight:
When Solas bound himself (or, depending on your ending, was forcibly bound) to the Veil, it severed the connection that the Blight had to the waking world. The reality is that the Veil has been leaking ever since the Magisters first entered the Black City, and the dreams of the Titans gave it its terrible and awesome power. Now that the Veil is fully repaired, the Blight lacks that motive force, and being so close to the epicenter of that change has stripped the Blight in Minrathous of its vitality. It's calcified now - dead - and Bellara/Neve no longer suffer its effects. If they'd been anywhere else, further from that epicenter, it would've likely been different and they still would be looking for a cure.
So the Veil is permanently fixed now because our half-dead Dread Wolf bound himself to it (a decision I still don't understand) and that somehow fixed every single hole ever poked in it. Fully repaired. No more holes, no more "Veil is thin here" because tons of people died in the same spot, nope, we're washing our hands and leaving it (and the spirits) behind us because we've wrapped up both the series-long Veil storyline and the blight storyline in a big red bow.
And Epler tells us Solas not only bound himself to the Veil but fixed it entirely in one fell swoop, no ritual required, just a little slice to the hand. Again, all in the name of a clean slate, so any future installments or media centered around Thedas can turn away from this story.
Then there's this. What we can expect from future installments, I freaking guess. The aforementioned roleplay getting taken out back and shot:
Q: "What lead you to the decision to step away from active conversations with the companions as in previous Bioware games, where you can initiate them at any moment and ask exhaustive questions?"
John: "For us, because of tech limitations, it became a choice between exhaustive investigate conversations, or letting the companions move more freely around the Lighthouse. With the kind of experience we were going for, one where seeing the team grow around you is paramount, we felt that seeing them interact in common spaces (and in each other's rooms) made more sense."
Literally confirmed that they chose companions moving freely about the cabin over ... interacting with them outside the handful of cutscenes we got. Who in their right mind would think this was a good call in a Dragon Age game? A series that quite literally prides itself on complex character interactions and storytelling? So they could... sit in different places? Are you kidding me?
They don't see an issue with the game's reception. They don't have any interest in addressing or responding to criticism. They're either happy with their choices or EA's got a gun pointed at their heads, I'm honestly not sure anymore. I used to believe the latter was true, but looking at both Epler's and Busche's responses today, I'm inclined to believe the former.
So I think that's it for the series. Not that I thought it was going to get another game after this, but on the absolute off chance it did, what would be the point? The best stories were ruined. Anything left they have to tell is going to read a lot like Veilguard -- superficial, morally absolute, flagrantly disrespectful to the lore, and delivered in a very poorly written package.
Dragon Age Day 2024 – Developer Reddit AMA (Q&A session) – compilation post
Introduction: “Happy Dragon Age Day! John Epler and Corinne Busche are here to answer your questions for the next ~2 hours. Looking forward to chatting with everyone. We won't be able to get to all questions, but hoping to get to a good mix!”
I gathered the questions and answers from the AMA together in this post, as the AMA has now concluded. The rest of this post is under a cut due to spoilers and length.
Q: "If you could’ve developed DLC, what — and/or where — would you have wanted to explore? Would it have been a new locale with a complementary, self-contained story or something that adds to the main plot and teases the future?"
Corinne Busche: "On the gameplay side, I had a thought about adding a new class option, which is directly related to the environments and story. I've always wanted to revisit the Bard, and I've long felt in the context of Veilguard the best way to handle player-controlled blood magic would have been to build a unique 'Blood Mage' class for it."
Q: "Can we look forward to more lore-supplementary material, for example World of Thedas vol.3?"
John Epler: "With all of the lore reveals in DATV, another World of Thedas is something we'd absolutely love to do. That said, they're complex beasts and require a lot of work from a lot of people, so I can't really promise anything, but it's something we're interested in, at least."
Q: "1. How exactly did Solas's blood magic manipulation of Rook work? Did he only alter Rook's perception to make them think that Varric was still around, or did the blood magic actively prevent Rook from reacting to Varric in a way that would have given up the ruse to the other characters? 2. What is the state of Southern Thedas after the events of DAV?"
John: "Solas' magic caused Rook to see Varric when he wasn't there. Originally, of course, Solas wanted Varric to keep Rook more off-balance - but the thing about the Fade is that things don't always work the way you expect or want them to. As for the state of Southern Thedas - it's been pretty radically altered. The balance of power has shifted, but even those who rode out the storm of the Gods' blight better than others are still reluctant to start anything as the whole place is in rough shape."
Q: "When looking back on DAV, is there any part you wish that you could have spent more time on?"
John: "For me, it's about the Antaam and their split from the rest of the Qunari. There are elements of that story in both the Crows content and in Taash's personal quest, but in a dream world, having the Ben Hassrath as an additional faction (albeit, one you don't know if you can trust) would've been nice."
Corinne: "And for myself, I certainly share some of the desires the community has. Going deeper on romances, and more choices to import. I love our choices and consequences in the game already and maybe we could've added a few more on the scale of the Minrathous/Treviso choice, that significantly alter the remainder of the game. I think we learned how to make that work within our gameflow and content structure, so I look forward to being able to lean in on these beats more heavily. That said, no artist or creator is ever going to be completely content with their work, and even so when I take a step back and look at the game as a whole, I'm extremely proud of what were able to accomplish."
Q: "Can we get confirmation on what happened to the other Evanuris? Will we get any more lore? Shame we didn't hear a whole lot about them besides essentially being behind the previous Blights."
John: "We haven't been SUPER specific about this, but at best the other Evanuris are a shadow of their former selves, and at worst they're dead. The death of their Archdemons, particularly when they were still trapped in the Fade, caused enough magical feedback that it broke their minds and bodies. A couple may have survived as shells, but they aren't in the same state as Ghilan'nain and Elgar'nan."
Q: "Will we get at least anything post launch that via free updates that further expands some story elements? Will rook continue to be the main protagonist going further??"
Corinne: "We've been continuing to improve upon the game post-launch through various bug fixes, balance updates, and quality-of-life improvements. Notably new character creator options and armors for DA Day and N7 Day, and some cool features like Photo Mode filters. Beyond this focus however, we largely view this story as complete and are not planning for further story content. Whether Rook will return in the future, well it's just too early to say :)"
Q: "The marketing for the game claimed that choices not imported from prior games wouldn't be overridden. However, certain dialogue from characters like Harding seemed to establish certain canon events from previous games that were not locked in. Is the intention that a hard canon is being established from DATV forward?"
John: "Ultimately, there's still no intention for there to be a hard canon going forward. These games have been going on for 15 years, though, and with all of the previous games to remember, as well as developing this one, there are absolutely places where we unintentionally suggested there was a hard canon (the one I've seen specifically is that Isabela is always assumed to have joined Hawke's party). I'd say those are oversights and not part of a deliberate strategy. While there are definitely some smaller decisions we will likely never revisit, I want to keep those other choices alive and relevant in the future, and with the state of Thedas the way it is at the end of DATV, I don't really think there's a way forward that DOESN'T involve bringing some of those bigger choices back to the forefront."
Q: "Was there anything at risk of being cut from the game that you fought tooth and nail to keep in?"
Corinne: "Oh, absolutely. There are always those things in game dev that are at risk due to scope and deadlines. There were 3 big ones that immeadiately come to mind: The Transmog feature, the Lords of Fortune Hall of Valor, and Haunts questline. I'll throw in Photo Mode as well, but that was one that we always knew we'd like to do, and had to dig deep to find the time and resources for it."
Q: "Is it set in stone that we will not be getting DLC?"
Corinne: "Correct, our focus was to tell a complete story with the release of Veilguard. Beyond the quality of life improvements and a couple new armor sets we're doing to support the game, we won't have any new story or gameplay content coming to the game."
Q: "Are there any plans to try and increase character saves on console to more than 3?"
Corinne: "This is something we've investigated, but because this touches our save file architecture there are no plans at this time to increase the limit."
Q: "Are you planning to make another Dragon Age after this one ?"
Corinne: "There are so many more stories yet to be told, and threats to defend against, within Thedas, but that's all we can say for now as we don't have anything new to announce."
Q: "With the polarizing nature of this iteration of Dragon Age, how did the media attention affect the team as a whole and the morale leading into and post launch?"
Corinne: "This is a tough one to answer, because it's so personal and specific to each member of the team. So let me say this, we've seen that with each Dragon Age release there has been a passionate, and sometimes polarized, response. When you consider how invested the players are, the nature of reinvention in the franchise, and the commitment to inclusivity, it makes a lot of sense to see the broad array of reactions. What I can say is that the team is really proud of what they have built, and the positive critical reception it's received. Within the team, we've been sharing all of the wonderful letters, fan art, and anecdotes from the players, and listening closely to the constructive criticism. That's really where we focus our attention."
Q: "Could you comment on current logic of Lucanis romance? Him leaving PC because of a certain choice does not make sense, because right after that he picks up the romance arc with Neve, who did exactly same choice. Was it intentional, or are we dealing with a broken plot flag or oversight?"
Corinne: "Lucanis is a deeply passionate individual, and rightly or wrongly, can't overlook that it was Rook's decision as the leader of the Veilguard to support Minrathous, when so many lives were bound to be lost in Treviso. It hasn't dimmed his passions, which is why he ultimately still pursues Neve, but it does come at the cost of the fledgling romance with Rook. As with all people, Lucanis is complex in the way he internalizes his experiences, and this is one he couldn't look past."
Q: "Are there any comics or books planned that are set after the events of DAV?"
John: "Ancilliary media is always tricky but personally I'd love to do more in that space. I think the ending of DATV leaves the world pretty well open to a number of different stories and exploring how the dynamics of Thedas have changed after the events of DATV is, IMO, a really fun path to go down."
Q: "Can we see Sandal in the future Game/DLC?"
Corinne: "That's an interesting possibility to explore. Especially given what we've learned in Harding's quest line and the awakening of her powers through her connection to the Titans. It's a really fascinating side of lore, but like we've mentioned already we don't have any new story content coming to the game or anything further to announce."
Q: "I want to give a shout out to John, Corinne, and Trick in particular. What a great group of people who clearly love this series! Would love to know about their canon Rooks/romances and their playthroughs"
Corinne: "At this point I've done so many playthroughs it's difficult to keep them all straight! If there was one that I'd say is my "canon" however, I'd say it would be my Shadow Dragon Qunari Rogue, named 'Rin'. She was a Veil Ranger who was always a bit quick on the draw, chose to save Minrathous, selected Maevaris for Archon, and romanced her one true love: Taash! Ultimately Rin and Taash agreed that Taash should honor their life as a Rivani, before we defeated the gods, redeemed Solas, and sent him off into the fade to be with his own true love: The Inquisitor. <3"
John: "Qunari mage Rook who's romancing Harding. He's the handsomest Qunari in Thedas, and that's a burden he bears every day. I'd also just add that while I appreciate the kind words, a game like this couldn't come together without a tremendous number of people, far more than are active on social media. So shout out to the whole team for the hard work they've done."
Q: "Can we hope to see something related to Awakened Darkspawn in the future that the franchise has? (As in prequels or new instalments.)"
Corinne: "Difficult to say. I've always been a fan of the rare cases of Awakened Darkspawn, but if they were to turn up, it would need to be because they were right for the story."
Q: "My question is - what are your plans for upcoming patches? Do you expect that they'll mainly be bug fixes, or is there a possibility that there could be content patches? And if so, any chance for more interaction between Rook and the companions, since that's top of many of our wishlists for the game right now? (Lucanis in particular for me :) but every one of us has their own favorites!)"
Corinne: "I'm so glad you enjoyed it!! I believe we've responded to another question about the post launch plans, but let me include some of that information here as well. We're currently focused on various bug fixes, balance updates, and quality-of-life improvements. Notably new character creator options and armors for DA Day and N7 Day, and some cool features like Photo Mode filters. Beyond this focus however, we largely view this story as complete and are not planning for further story content."
Q: "Where does Andraste and the Maker fit into the world of Thedas given all that was revealed during Trespasser and Veilguard. We obviously know the whole story about the Evanuris and their role in shaping the world as it is, the Black City, the Blight, etc. Is The Maker just a human mythology that sprang up to explain this? Does The Maker still exist?"
John: "That's a weighty question. I do think there are some questions we should never (and likely will never) answer completely - I think the moment you reveal everything there is to know about a fantasy universe, you start to lose some of the mystery that brought people into it in the first place."
Q: "Are you going to add new armor or skins as you added the Mass Effect one?"
Corinne: "We actually just dropped the new Hawke-inspired armor, face paint, and body paint, as of today in celebration of Dragon Age Day!! Really hope you enjoy! I know for me personally, it's going to be my go-to transmog armor from now on."
Q: "What features/storylines were left on the cutting room floor? Followup if you're feeling generous: How was the development of Veilguard viewed internally, and was the majority of the studio satisfied with the time given to develop the game?"
Corinne: "Tightening up content and making cuts is a tough but typical part of game development. A few of the biggest cuts we had to make were trimming down the Faction story arcs, and letting go of a few explorable spaces. There were also a few areas, like blighted Weisshaupt that we could've returned to and explore. In both cases however, I believe we rightly opted to let go of these quests and areas in favor of increased focus on the quality of the existing Faction quests and exploration areas and shipping a high quality performing experience."
Q: "After reading the Dragon Age: The Veilguard book I noticed the jurassic tortoises didn't make the cut into the game, they were also teased in the initial teaser trailer from a few years ago. Any particular reason they were cut?"
John: "It's less about them getting cut and more that they just never moved far enough ahead to be a part of the game with full animation sets (combat, locomotion, etc)"
Q: "Is there any hope that you'll be announcing official mod tools, or a toolset like Dragon Age: Origins?"
Corinne: "No, we don't have any plans for official mod support."
Q: "My question is >! where does Solas/where do Solas and the Inquisitor go off to at the end if he’s redeemed? Back into the prison he made or just the fade in general?"
John: "We're leaving that ambiguous on purpose, but given that the Fade is shaped by dreams and thoughts, I think it's fair to say that the section of the Fade that Solas and the Inquisitor end up in is a lot nicer than the Fade that Solas gets trapped in with the other two endings."
Q: "How do you think Veilguard sets up the future of the franchise? Where would you like to take it from here?"
Corinne: "I'm sure it won't surprise you when I say we riff on this topic a lot! What really captures my imagination now that we've resolved some of the mysteries pertaining to the blight and the Elven gods, is exploring the aftermath of this crisis in a deeply destabilized Thedas. As you can imagine, given a blight of this magnitude, and the revelations of the Elven gods, it's going to have long lasting geo-political implications, and there will be those eager to take advantage of the situation. Not to mention, there is so much yet to explore in the nature of the the Dwarves and Qunari, and their relationship to the Titans and Dragons respectively."
John: "To riff on what Corinne is saying - I think, for myself, I'd love to look at taking it down from 'end of the world' to 'the world is changing, how do you adapt and react'. The balance of power has changed, and the Sword of Damocles that is the Evanuris and the Blight is no longer hanging over the world. What does that look like? Who's on top now? And with all the revelations brought up in DATV, what does that look like for the Dwarves, or the Qunari?"
Q: "1) I've seen people that they believe Andraste was a vessel for Mythal because of a comment Morrigan makes about a previous vessel falling in love with an Almarri Chieftain. Is this the case or was she talking about Flemeth? 2. About the Executors, is their manipulation more on the level of leaking information to select people to guide events, or is it more along the lines of "Loghain suspects that Cailan wants to ally with Orlais, let's stoke his hatred by having him see/hear events that remind him of what they did." 3. Lastly, are there any plans to let us visit Kal Sharok proper in any future games? It was great getting a small glimpse of the Dwarves from there and see an outpost but would love to see the actual city!"
John: "I think I'm going to have to keep the first question a mystery for everyone. :) For the second, it varies. The Executors are very mysterious and, more importantly, incredibly risk averse. They attempt to manipulate events in the most subtle way they can manage. Sometimes that means leaving a particularly inflammatory document on the right desk. Sometimes it means stoking existing fears and doubts. Not everything they try is successful, in part because of how unwilling they are to put themselves at risk. For Loghain, it would have been incredibly subtle. He's smart, strong willed and, in his own way, loyal to Ferelden to a fault. For others, it would've been different. I'd love to do more with Kal Sharok as there are some interesting stories still to tell that involve them, but we don't have anything to announce as it relates to future games."
Q: "If you could make one of the faction leaders a party member in the next game, who would you choose?"
Corinne: "For me, it would absolutely be Evka and Antoine (you have to bring them as a couple, right???). They've come to have place in my heart, and I would love to know what the future of the Wardens looks like. That said, a couple of runners up: Maevaris Tilani, and a reprised companion role for Isabela, would make me very excited!"
Q: "Did you expect so many players to be so thirsty over Emmrich? He is the best player in the game for me, thank you for his lovely presence."
Corinne: "I mean, we definitely had our suspicions. Within the dev team, we are also fans of the game, and what we found was that some of us were very drawn to, and quite vocal about, our resident necromancer. There's something so endearing about his gentle demeanor and that juxtaposition of necromancy as a force for good and reverence, that makes him really compelling."
Q: "I wanted to start out by saying I love this game, but one of my major questions is: What happened with the Lords of Fortune? They have significantly less content and reactivity than the other factions with Rook not even commenting on things that they would already know like Isabela explaining what "Pulling a Barv" is. Similarly, the Lords don't have a theme for the Lighthouse OR colorways or even a real faction quest line like the others have. Were they intended to be a different faction (a qunari/tal vashoth one maybe) and it got swapped late? Where they just added late when time/budget was already running low? Was it determined that fewer players would pick that faction so less resources were allocated? I feel like there's a reason as to why since the difference between playing as a Lord and playing as any other faction feels really extreme."
Corinne: "We always knew that some of the factions needed to have a larger presence in the overall story than others, so when we approached our content planning, we took that into account. They are inherently assymetrical. That said, I think there is a lot of interesting material to now work with in regards to the Lords of Fortune and the Rivain Coast if that's right for another story."
Q: "What was the motivation behind writing the Inquisitior's missives and the ultimate fate of southern Thedas? Is that an area you are likely to revisit in future games? T his question is the result of a lot of discussion that's been had in the fandom as of late and one to which there's no definite answer, but I'm curious: as developers and writers, what features and qualities do you believe make up Dragon Age's core identity?"
Corinne: "Around the time we approached Alpha, we realized that this blight, and the impact of the gods on all of Thedas was so much bigger than what the player would see in the north. We felt this was a natural opportunity to have the Inquisitor serve as that connection to the events happening in the South, to show that the entirety of Thedas was impacted, and the Inquisitor was not one to stand idly by. Sometimes I daydream about exploring the parallel adventures of the Inquisitor in the south while these events are unfolding in the north. That could be a really fascinating tale and perspective. Regarding Dragon Age's core identity. Well, that's a big question and one that will mean different things to different people. I can tell you that internally we've always stood-by the mantra that 'Dragon Age is an experience about people'. That is to say, the setting serves as an opportunity to really explore the depths and motivations of characters during times of crisis, joy, and companionship. Another that I reflect on frequently is how Dragon Age has become a franchise where each game has been different in its approach, and while it can make these titles challenging to develop, it also creates an opportunity to keep the franchise fresh."
Q: "What was the reasoning behind only making Dock Town an explorable area in Minrathous, rather than a combination of areas of the city, such as where the upper class lives?" [I think this comment was edited at some point after posting hence some of the answer below seeming unrelated]
John: "Given the state of Thedas at the end of DATV, Minrathous has become the diplomatic hub for the entire continent. While we could, to some degree, avoid references to the Divine and Ferelden's leader by virtue of this game taking place in Northern Thedas, I don't think that would be possible (or satisfying) going forward. There will, as always, be some choices that we won't reference, but others are, I think, going to be required to tell a coherent story in the future.
Focus, more than anything. We originally had a few areas in Minrathous but rather than spread our resources thinly across multiple areas, we chose to focus on Dock Town and make sure it felt coherent and cohesive, as well as doing our best to stamp out any bugs we found. If we ever revisit Minrathous (which I'd love to do), I think we'd spend more time in the other districts.
Both Harding and Davrin have specific, non-quantum reasons for being willing to sacrifice everything to stop the gods. For Davrin, he saw Weisshaupt fall - and he had his own opportunity to heroically sacrifice himself taken away. For Harding, she's been on this quest for nearly a decade, and she saw Varric, her friend and mentor, fall. Neve/Lucanis could have worked in either slot but that multiplies the complexity even further - and Neve already was earmarked for the wards."
Q: "During development, did you plan for a cameo of any companion from previous games that ultimately got scrapped? If so, may I ask who? And on this topic, has an appearance of the Hero of Ferelden on the table at any point? Is there a reason they haven't appeared since Origins?"
Corinne: "Thank you so much for the kind words! Glad you enjoyed! While not a companion, for a long while Charter had a role in the game. Ultimately we felt this wasn't the best fit and decided to move away from her appearance. In some cases, the opposite was true, where we added former Companions. Bringing back Isabela was a relatively late call, but we did feel we had the right role for her to fill within the Lords of Fortune. I often think about the role the Hero of Ferelden might play. It's a challenging one due to the choices the player may have made, not to mention how we handle giving them a voice that matches player expectation given they were a silent protaganist. But I do think there is something there, and I would like to explore it, if we can find the right story to tell."
Q: "If an elf were to, say, exist in the Fade for an extended period of time, would they regain the elven magic (if not already a mage) and immortality? 👀 And if, hypothetically, they one day returned to the physical realm, would those qualities persist? (Tried to be as unspoil-y as possible!)"
John: "I think, at this point, no one really knows what's going to happen to an elf who spends an extended time in the Fade. In part because the Elves of today and the Elves of Solas' past are not really the same at all. But also, the Fade has changed since Solas was a spirit. So while he may have theories, he can't say anything for certain."
Q: "Throughout the game there are many hints at a new storyline involving the past of the Qun, The Devouring Storm, and the involvement of The Executors. In what capacity can we expect this new narrative thread to be explored (novels, comics, next game)?"
John: "I think that if these story elements aren't at the core of any new material, they're at the very least going to exist on the periphery. The story of the Evanuris is done - the gods are dead (or imprisoned) and Thedas is in a state of flux and uncertainty. I imagine that whatever happens next is going to be a surprise to everyone, including the people of Thedas."
Q: "I was wondering what happened to the forgotten one and why was he scared of the eye does that mean something or is it just him say that he is scared of going back into the fade"
John: "When Anaris is defeated, he's sent back to the Void. What's there isn't something anyone really knows, but if you read the other Codex entries scattered around Arlathan, it's clear that Anaris has touched something far darker and more dangerous than he expected, and now it has his scent, so to speak."
Q: "Compared to previous installments, Dragon Age: The Veilguard makes an effort to de-centralize the moral complexities of Thedas (i.e. the softening of the Antivan Crows, the lack of slavery seen in Tevinter, etc), instead focusing on choices based on character arcs instead of politics and/or morals. Is this shift an intentional one? If so, should we expect these kinds of character choices to be the new standard for Dragon Age games?"
John: "What worked for DATV isn't necessarily what's going to work for the future. Particularly with Thedas left in the state it's in - the balance of power has shifted dramatically. The South is suffering and the North isn't doing much better. Even those who may have forgotten past prejudices and put aside their differences in the name of stopping the gods are now being faced with a very different world than when they began this fight."
Q: "What other player choices from Inquisition and/or Origins & DA2 would you have liked to have implemented if you had more time and resources? Also, what characters would you have wanted to bring back?"
John: "Well of Sorrows. I think that's the biggest one - and we had some ideas for what we wanted to do with it. Unfortunately, making games is rarely a straight line endeavour, and some of the challenges we ran into required us to scrap that choice. I'd have liked to do more with the Divine as well, though with how little we touched on Andrasteism in this game I think it would've been a bigger challenge than expected. I think Fenris is the easy answer, but it's also the real one. Given his history, his relationship with Dorian and Mae could've been fun to explore, particularly depending on how you left him in DA2. That said, the challenge always does come down to 'quantum' - if a character could be dead, you can't make them load bearing, so they end up relegated to a cameo."
Q: "Is there a canon reason (maybe in some supplemental stories) that explains what happened to Fen'Harel's agents? Are some of the Dalish clans still working for Solas? What are the Arishok and the rest of the Qunari doing while the Antaam are conquering parts of Thedas? Does their absence in veilguard imply that they secretly approve of their actions or are planning on using them to their benefit? The faction of crows we interact with is very heroic and often puts aside their role as assassins in order to protect Treviso's citizens. Does their altruism create fiction between them and the other factions, who might see them as weaker or idealistic? What are some of the other factions like?"
John: "Solas' experience leading the rebellion against the Evanuris turned him against the idea of being a leader. You see it in the memories - the entire experience of being in charge ate at him and, ultimately, convinced him he needed to do this on his own. And his own motivations were very different from the motivations of those who wanted to follow him - he had no real regard for their lives or their goals. So at some point between Trespasser and DATV, he severed that connection with his 'followers' and went back to being a lone wolf. There are Dalish clans who are sympathetic to his goals, but even there, there's an understanding that he's too dangerous to have a more formal connection with, and that he will, ultimately, sacrifice them to his own ends if necessary. The Antaam no longer recognize the authority of the Arishok. Part of why they've split into warring factions of warlords is that they felt his adherence to the Qun (which he still adheres to, even now) was holding them back, so they organized what I'd describe as less of a coup and more of a 'choosing to ignore his orders' and launched their own attack on the mainland. Absolutely. I don't recall if this exchange made it into the final game, so apologies if not, but it's very clear that the faction of Crows you interact with is the 'idealists' of the bunch. The rest of the Crows, on the other hand, are far more pragmatic and willing to work with whoever emerges on top of the pile. Illario's far more representative of the average Antivan Crow than either Teia or Viago, and it's only Caterina that kept him in check this long."
Q: "What led to the player Quanari appearance compared to the Antaam, who look like Quanari from the previous game. Was it an armor modeling issue or just a design choice?"
Corinne: "To be honest, it's both. First let me say that when you have a character creator with the breadth of sliders and options for both head and body, that does create some constraints that you need to work within. We felt this was ultimately a good trade-off for the player, to ensure they could get the full range of face and body sliders that the other lineages were afforded. Also, we viewed the player-created Qunari as a continuation of the style of player-created Qunari in Dragon Age: Inquisition, which in both games, differ from some of the other forms of Qunari we've seen."
Q: "Having reviewed some of the game files, I'm curious about what the "dreamer" mechanics would've looked like? Would there have been dreamers on every map? Would it have just been a dialogue or would we have been able to see/experience the memories/dreams the dreamers are stuck in?"
Corinne: "We explored the idea of Dreamers at several points in developement. I believe the instance you're referring to was a mechanic in which you could encouter a Dreamer in the world, and then also encounter their corresponding consiousness in the Crossroads. We would have used this as a way to encourage a "back-and-forth" set of optional quests and mysteries to encourage exploration and discovery. Ultimately we abandoned the concept because mechanically the Crossroads Gates and corresponding Champions were providing a similar experience in driving the player from the Crossroads, out into the world, and then back to the Crossroads again."
Q: "The hair physics in the game are incredible. When did the studio commit to improving the hair options/physics, and was there any conversation/debate over that? Bad hair has been a staple of the franchise, so this was a delightful change to see."
Corinne: "Thank you so much! We heard the fans loud and clear, when it comes to character customization, that we needed to step up our hair game. This tech was something our engineers, character artists, and technical animators were all deeply passionate about (as you can tell!). So all of that combined it was a relatively early decision to invest in."
Q: "Some of the companions’ questlines left me craving more lore! For example, how did Valta end up as the Oracle and how does her gift differ from Harding’s? How did Zara manage to get Lucanis possessed as a rogue? Are there any other Forgotten Ones like Anaris actively trying to make their way back to the world? In short, might these questions be answered in the next Dragon Age game or additional media, or are they purposefully left open?"
Corinne: "I'm so glad these stories have their hooks in you! We have to leave some threads to tug on for future stories. ;-)"
Q: "(Spoilery question) Do elves or dwarves exist beyond Thedas?"
John: "That's a great question - and it's actually one that Bellara herself asks. I think 'what lies beyond the sea' is one of the most interesting spaces to explore in Dragon Age and whether the same people exist there is something that... well, I have some ideas, but I don't want to get into spoilers."
Q: "What happened to red lyrium? It feels like it was all but forgotten after DAI, even though it is blighted lyrium, and it felt like it would have made perfect sense to dig into its lore and workings a bit more since Ghilan'nain is the mother of the blight, and now knowing what the ancient elves did to the titans for lyrium.Red lyrium caused a lot of grief over the games that feels is just up in the air now, I'm curious if it was written out for the sake of a different narrative. Sortof connected to my previous question, if red lyrium is now not so significant in the lore/missing from it, why did the two gods need a specifically red lyrium dagger after losing Solas' purified red lyrium idol one? How does one purify something/someone of the blight itself?"
John: "Red lyrium is still present in DATV - it's how Ghilan'nain and Elgar'nan are able to craft their dagger, after all, and it ties directly into Harding's personal quest - but at a certain point it felt like it wasn't serving much of a purpose 'out in the world', so to speak, that the Blight wasn't already serving. It made a lot more sense in DAI, where you had the Red Templars who were directly using it to gain power, but without them in the picture, we chose to lighten the emphasis on it for DATV. Particularly in a game where the connection and threat of the Blight is so much more immediate, with the gods out in the world."
Q: "How did you get the hair physics to do all that?"
John: "A lot of tremendous work from character art, programming, tech art and tech animation. I'm sure I'm missing some groups but, yeah, the hair really is incredible. I've been on DA since DAO and I recall the (fair) critiques we got of our hair post-DAI. It was incredible to see it come together."
Q: "Where does Emmrich sleep? He’s the only one without a bed in his room lol"
John: "He sleeps standing up, like a horse."
Q: "which of the three/four endings do you find the most thematically satisfying? in regard to solas and/or rook (because i’m not sure the answer is the same for both!) & why isn’t rook invited to the book club?? sorry this is my villain origin story, why is my beloved emmrich enabling this social ostracism. does rook canonically hate to read?"
Corinne: "As a Solavellan, I personally love the Redeem ending with the Inquisitor/Solas romance variant. I cried my eyes out at the end of Trespasser, and now that they can finally be together to know the joys of their love makes me so happy."
John: "I'm a big fan of Outsmart, largely because I think there's something deeply satisfying in outsmarting someone who is very confident about their cleverness and spends a lot of the game reminding you of it. That said, I will admit that the Solavellan ending is deeply moving, even for someone who, at one point, wanted to fight Solas like a Yakuza boss. As for why Rook's not invited - it's entirely an attempt to avoid forcing roleplay on a character that may not fit your idea of Rook. Some people's Rooks may not have the connection to the team that would let the book club make complete sense. That said, I totally get why people wish their Rook could be involved."
Q: "TLDR: ll some classes be buffed? Iirc in an interview corinne (i think? I dont remember where or who), said shield toss got nerfed cuz it was waaaay too strong. Having playing the game now with pretty much all classes, will there be some balancing changes? I definetely dont want shield toss to be nerfed again, i love it soooo much, but its definetely waaaaaay above everything else i managed to build so far."
Corinne: "We're definitely monitoring class balance, and have generally taken the stance of "buff not nerf". That said, we're finding pretty good viability for all of the specializations, with the right supporting skills, gear, and companion builds. So in terms of priority that's lead us to largely focus on addressing properties on skills and gear that were not functioning as intended. I don't want to dismiss your feedback here though - I'll take a moment to dig deeper into our Veil Ranger data and see how those builds are comparing specifically. Glad you're enjoying the shield toss builds. That playstyle was definitely one that we were very excited about supporting!"
Q: "Why did Assan have to die with Davrin in the Ghilan'nain choice?"
Corinne: "Turlum is a powerful bond. There was simply no way Assan would have given up on Davrin so easily. Hope is a powerful force when it comes to the people you love, and sometimes we risk everything for it."
Q: "Something that has me confused. When Bellara/Neve are blighted but help use the blight to stop Elgarnan and at the end when all the blight in the area died and they were cured of the blight. How did they get cured? Is the blight itself now curable? Also, how did Solas manage to cure the red lyrium idol of the blight so he could have it back to it being the normal lyroum dagger?"
John: "When Solas bound himself (or, depending on your ending, was forcibly bound) to the Veil, it severed the connection that the Blight had to the waking world. The reality is that the Veil has been leaking ever since the Magisters first entered the Black City, and the dreams of the Titans gave it its terrible and awesome power. Now that the Veil is fully repaired, the Blight lacks that motive force, and being so close to the epicenter of that change has stripped the Blight in Minrathous of its vitality. It's calcified now - dead - and Bellara/Neve no longer suffer its effects. If they'd been anywhere else, further from that epicenter, it would've likely been different and they still would be looking for a cure. But without that power behind it, it's less dangerous and deadly than it's ever been before. So while it isn't generally 'curable', it's less of a short-term death sentence than it has been previously. As for how Solas cleansed the idol - another ritual. This one was much smaller scale, but a lot more dangerous."
Q: "What lead you to the decision to step away from active conversations with the companions as in previous Bioware games, where you can initiate them at any moment and ask exhaustive questions?"
John: "For us, because of tech limitations, it became a choice between exhaustive investigate conversations, or letting the companions move more freely around the Lighthouse. With the kind of experience we were going for, one where seeing the team grow around you is paramount, we felt that seeing them interact in common spaces (and in each other's rooms) made more sense."
Q: "I have just one very important question: what are your thoughts on Solas and Rook as a pairing? Their chemistry and interactions were a highlight in the game for me personally and I need to be able to sass and then kiss that egghead."
Corinne: "Oh gosh, you and me both! I'm not sure any of us could have anticipated how notable that chemistry turned out. And what excites me is how this relationship is something that could be developed even further."
Q: "I was wondering if it would be possible to see Cassandra in Nevarra interacting with Emmerich or Zevran in Antiva interacting with Lucanis? I understand that there a danger of turning any game into a cameo fest that would only appeal to old school fans but I did miss them. Especially as we had Isabella and Dorian in Rivain and Tevinter. To make the question a little more general what are the chances of seeing pre veilguard companions in any future iteration of dragonage?"
John: "I think the joy of the kind of 'fresh start' that the end of The Veilguard gives us is that, if we do make another game, we're no longer spending so much of the early game not only onboarding players into a new story, but also onboarding some of them (namely, those who didn't play DAI or don't remember it) into the story that leads up to this story. And part of what that allows you is more opportunity for returning characters who are meaningful, because their past is less likely to be narratively load bearing to the story. People who recognize them will have a moment of recollection, and people who don't won't be any more confused by the experience."
Q: "How did Jowin achieve the rank of First Warden? Was he ever deserving of the kind of respect Davrin seemed to have for him?"
John: "By the time you meet Jowin in DATV, he's become a political creature more than anything else. Which makes sense - after what happened to the Order in Origins, I think there was an internal realization that they had to spend more time making nice with the leaders of the various countries so no one would ever do to them again what Loghain did back then. But he didn't get that position entirely due to his connections. He was a fearsome warrior and a brave Warden in his own right, saving people and winning against impossible odds time and time again. He's older, though, and is still fighting the last war in his mind. Internally, we always described him as the general who was a brilliant tactician back in his time, but war has changed so dramatically and he refuses to keep up. I think he was deserving of that respect, though - and if you choose to talk him down (which very few of you seem to have done) you'll get a glimpse of the man he used to be."
Q: "If Solas ritual succeeded, what would have happened to the elves? And to the human? The art book make it look like they just drop dead but solas dialogs don't seems to go in that direction"
John: "I think the reality is that even Solas couldn't properly answer that question. In his mind, there would be some pain and suffering, for sure, as everyone adjusted to the raw magic now pouring into the world and the demons everywhere, but eventually everyone would live surrounded by magic and possibility. Immortality would be possible as well, and you can't make a world saving omelette without breaking a few eggs. I also think Solas is a gifted liar to everyone, including himself. Deep down he knew that the ritual was going to result in large scale casualties, but he saw it as an acceptable price to pay to fix what he saw as his mistake."
Q: "Unlike the last game, there were 2 fewer Companions, a rouge, and a warrior less, if it was up to you what sort of characters would fill up those two spots? and also if you could have a character from earlier games temporarily join you for a single quest who would you choose? with the exception of Bioware games which RPG game is your favorite"
Corinne: "Oh gosh, well I'll answer some of questions 1 & 2 together... I would have loved to bring back Fenris, either as a cameo or to fill that Warrior slot. As for the Rogue role, I do think something akin to the Saboteur Specialization would have been an interesting style for a Companion. Favorite RPG outside of BioWare games, well I'll give you three in order: Baldur's Gate 3, then Xenogears, followed by FFXII."
Q: "What happens to the lighthouse and the crossroads after the end of the game? Do the Veiljumpers claim it?"
Corinne: "Good question! I actually daydream about this one a lot! Does Rook, assuming they survived, continue to reside there given what they'd been through with Solas? Is stewardship returned to the Elven people? One thing has always been true for me: The Lighthouse existing as it does is intrinsically linked to the Caretaker, and I doubt we've seen the last of them."
Q: "My questions are mainly centered around the game's lore. Dragon Age Veilguard seems to have established a very elf centric past for the world as well as the races populating the world. Current state of the Titans, the Blight, the Old Gods, and some other things I may be forgetting, they all have links and origins to the Evanuris and the rest of the elves. In future installments, can we hope for other races to get more attention with respect to this? Because right now, it feels that most of the biggest mysteries of the universe as well as circumstances leading to the present state of the world, are a result of the elves... T o me, the magic system in Veilguard felt very different from the other games in the series. When Bellara mentioned stuff like 'recalibrate the matrices', 'readjusting energy flow', etc., it felt more scifi than fantasy. None of the past Dragon Age games had this kind of talk and it felt too big a leap for going from Southern Thedas to the North, especially considering none of the Northern characters in past Dragon Age games spoke like this either. This was one of the few instances in the game that felt immersion breaking to me. Can you guys help reconcile Veilguard's magic system with the magic of the past games?"
John: "I do agree that the elves have had their place in the sun at this point. We're never going to stop telling stories about the elves, but I think there are plenty of interesting stories to tell in Thedas where the Evanuris are tertiary characters at most. I think that's a fair reaction, but I'll answer the question in two parts. First - Bellara assumes she knows everything about magic. She probably knows more about the way ELVEN magic works better than anyone else in the world who isn't an Evanuris - but that doesn't mean she actually knows how magic itself works. The thing about the Evanuris is that, ultimately, they were able to take a very specific type of magic and shape it into doing what they wanted. But even their understanding of magic was only skin deep. Bellara and Emmrich get into this a little bit in their banter, but so much of the rest of the world - the magic of death that the Mourn Watch wield, for example, or the magic of the deep Fade that Bellara feels when she does some of her experiments in the lighthouse - is not the same as Elven magic. Even the magic that Tevinter wields, the magic of the Southern mages, is different from what the Evanuris used. The magic of the Evanuris is powerful but it's sterile, and it's constrained. So while the Evanuris have made magic work in a way that's more predictable and understandable, it's not the only kind of magic out there, and even then, I'd say they understood it at a very surface level. People were confidently describing how the natural world worked back in the 16th century. Very few of them were right."
Q: "I need to know about companion approval! I understand how companion bond rank works as it is well explained and visible in-game, but I cannot seem to find a good explanation for approval. Are the two linked? What effect does approval/disapproval have in the game? Is there something I'm missing in-game where current approval level is visible and I just haven't found it yet? PS: Spellblade Supremacy"
Corinne: "Yes! They are linked! Approval does contribute a small-to-moderate amount of progress towards your Bond. Disapproval is a small negative, but it's important to note that your Bond cannot de-level. Overall however, the surest way to advance your Bond is by helping the Companions with their personal quests. Also, really glad you enjoyed Spellblade as much as we did! The gameplay team really outdid themselves with that Specialization."
Q: "I'm mostly wondering if/how the griffons can be saved as a species since there's only one surviving clutch. It seems like a lack of genetic diversity would doom them to re-extinction, but I'm hoping there's a lore-friendly way to overcome that."
John: "It's funny you say that because I keep thinking the exact same thing. I can't remember exactly how much genetic diversity you need to have to make a species viable but I am sure it's more than just the clutch of eggs you saved from the Gloom Howler. But in a setting with as much magic and mystery as Dragon Age, I think that's probably the least of the problems the Griffons are going to face going forward."
Q: "With the ending showing a cured Neve/Bellara is that implying that the Blight outside of the Fade has been cured? If so, do Wardens no longer hear the calling, and what does that mean for the Kal-Sharok dwarves? Especially curious about this since DA:I implied the HoF was searching for a cure to the calling. In the concept art book it seemed like there were plans to show us more of Minrathous/Tevinter than just Dock Town. Curious to know what changed and if we will ever have an opportunity to return to other areas of the city?"
John: "The Blight is forever changed. It's less perilous and less virulent than it was before, and whatever motive force was coming through the Veil to empower it at the end of the game has been severed. That said, it still exists in some form, and not everyone is going to be cured in the same way. Beyond that - the Wardens no longer hear the whisper of the Calling, but right at the edges of perception, they're hearing something. What is it? Great question. With how long this game's been in development, there are things that have come and gone over time as we shift the project's scope and direction from one type of game to another. Originally we did have more of Minrathous built out for the player, but we chose to focus on making Dock Town feel meaningfully full of content instead of creating more areas just to put nothing in them. I will say that, for me, I want to revisit Minrathous in the future. I don't think we gave it enough time and there are multiple other stories that can be told both in it and with it. Particularly with the way the game ends, its importance in the world has only gone up, as it's become the diplomatic hub of Thedas, and thus a place of even greater importance in the world."
Q: "Maybe someone else can answer this question but why does Mythal’s essence relieve Solas of his guilt in the romanced Inquisitor ending when in his memories, she’s objecting to what he’s doing? Since winged dragons are female, does that mean the Archdemons/Old Gods are female? I noticed they’re labeled as male on the wiki and was unsure if it’s not updated or Old God followers assumed or were told they were male. I understand if this might pose as a logistical nightmare but would the devs consider polyamorous and/or open relationships instead of monogamy if they haven’t already? Given how diverse sexuality is in Thedas, I’m surprised there aren’t more instances of poly/open relationships. I miss going to brothels too"
John: "People grow and change over time. Mythal's essence - and in particular, the fragment of her spirit that Morrigan carries, that she got from Flemeth - is not the same Mythal who he knew millennia ago. Centuries of living in this world and being around the kinds of people Flemeth found herself around - the Hero of Ferelden, Hawke, the Inquisitor - changed her views, and made her realize her own culpability in turning Solas into the kind of person he is now. Correct, all Archdemons are female. Elgar'nan, of course, doesn't really care what reality is, only what HIS reality is, and so he's quite happy to see Lusacan as simply being an extension of himself and, thus, male. Something about Elgar'nan that we only really show in the ending is that he is, in truth, just as scarred and blighted as Ghilan'nain, but he uses a portion of his magic to always look handsome and regal, because his ego really is that big. Polyamory is something we've talked about doing before, and it's something that I know the writing team was into, but rather than simply turning it into a 'you can have multiple romances' toggle we wanted to be sure we did it respectfully and properly."
Q: "Does Solas know about the Executors and will he ever appear again in future games (similar to Morrigan)? Was there ever a point that the Inquisitor was considered as the main or secondary protagonist for this game? It was interesting to have a person with no knowledge about Solas–a cunning, ancient elven god–try to track him down especially when that anonymity did not work in their favor anyway (Solas knew about Rook for a year prior to meeting). Was 'rook' initially an alias for the Inquisitor, which they'd utilize to stay under the radar in the north, away from Solas' agents eyes and able to track him down because they knew him well (ex-companion/friend/lover)? Like was this idea ever discussed at the table or suggested by writers but trunked for xyz reasons? Idon't know if Trick Weekes will see this but I just wanted to tell them thank you for writing Solas-- in a HEA ending, what do you think they're upto in the prison? (besides the obvious)"
John: "Solas knows more about the Executors than he's let on - in fact, he knows more about the Executors than any other living being, including the other Evanuris (though I suppose they're not technically living beings anymore). But even he isn't entirely sure what they're up to or who they actually are. Their paths have crossed before, though - beyond the Tevinter Nights story that they briefly show up in. As to whether he appears again - I think it's fair to say Solas' story is done, at least for now. Even back in early development, the protagonist for this game was always going to be someone other than the Inquisitor. I don't recall if, in those early days, we ever discussed the possibility of bringing them back - the struggle with having the same protagonist game after game is that you really do paint yourself into a corner. Either it becomes prohibitively expensive to account for branching, or you ultimately underserve the very people you're bringing them back for. Rook was always the protagonist, though in very early days Rook had a number of other potential monikers including Shrike and a number of other bird names that I do not remember."
Q: "Why aren’t the Tranquil ever mentioned or depicted in the game? Correct me if I’m wrong but I’m pretty sure the word tranquil isn’t used even once. Have they been retconned? During development was there ever a conversation about potentially including a Solas wins ending? Where he succeeds in tearing down the Veil either because you let him or because you fail to stop him? I know I’d be curious to see what Thedas would look like afterward."
John: "Tranquility still exists. While not unheard of in Tevinter, the reality is that it's a far more common punishment in Southern Thedas than it ever was in Tevinter. In Tevinter, in particular, it's used more of a tool of political vengeance - but generally, only against a mage who is utterly without allies or political power. All the Tevinter mages you encounter in DATV, including Maevaris, still have some clout and subjecting them to the rite would be a huge expenditure of political capital for very little gain. Better to leave them alive and stripped of their formal authority. We had a few conversations about some non-standard game over endings, actually - anywhere from 'player takes too long in the Prologue' to an out-and-out 'yeah you know what I think I'll help Solas' conversation choice early on. What we released in the game I'm happy with though, as there are already multiple different endings you can get depending on your choices in the game."
Q: "Any chance we're going to get any behind-the-scenes content? I CRAVE a high-quality video clip of Zach doing mocap for Assan."
Corinne: "You never know! We do enjoy sharing new content from the game on our social channels so follow along in case something pops up."
Q: "What was your favourite region/area to work on (whether that be writing quests, level design, or any aspect)?"
Corinne: "For me, it was definitely Arlathan Forest. The team had so much fun with the exploration, the environmental storytelling, and the strange magic manifesting in the area. In particular I remember the first time I saw people that had been twisted into trees showing up in the area, I was taken back by the inventiveness of the team in capturing that beauty in horror. I must say, I also found the sightlines in the area absolutely gorgeous. It was really fun to watch it develop."
Q: "What are these called? [link]"
John: "Tadpoles is the name we use internally."
Q: "are telemetry surprising you in any regard?"
Corinne: "The biggest surprise for me in the telemetry is that the Save Minrathous/Treviso choice is basically split 50/50. We were all anticipating that saving Treviso would be the clear winner, but I'm happy to see it's not so cut and dry."
Q: "Did you ever thought that players would be addicted to having Rook barrel through crates and chests? There should be an Achievement for non stop barrel rolls lol."
Corinne: "Oh 100% yes! In fact, originally wide-spread destructibles weren't really planned for as a part of the game. We found with our particular take on combat that it just felt reaaaally good to smash the few destructibles that we did have. I think I spent the better part of a year putting in constant requests to make more and more things smash and break apart - not to mention the ability to roll through them! I'm glad to see I'm not alone in my obsession. Let's go break things!!"
Q: "1) Was there any plan with Radonis during concept period? 2) What more about Neve's family can you share? 3) Is there a parallel in the way Solas sacrificed the world to restore the elven world and Celene burned Halamshiral to save Orlais from a civil war? (Trick Weekes p l e a s e)"
Corinne: "At one point we did toy with having Radonis make an actual appearance in the game. In fact, if Minrathous falls to the Venatori, we had discussed having his execution on display, but we ultimately chose not to pursue this."
John: "For Neve, I'll have to ask Neve's writer, as I don't recall off the top of my head.
For the question about Solas - I think it's less a direct parallel and more that Dragon Age is a series where major players sometimes have to make incredibly difficult decisions that may NOT necessarily be the best decision, but it's the best for them at the time - true for both Solas and Celene."
Q: "I just want to know... do the other companions also think Davrin's a hunk? Do you think there are companions who were rooting for a Rook x Companion romance as it was happening?"
John: "I think the different companions have different relationships with Davrin. Bellara, for example, sees him as almost a big brother - someone who she has a unique connection that she doesn't share with the other companions. Neve sees him as a fellow professional, who hunts monsters in much the same way as she does, just that his monsters are a lot more literal. As for who's rooting for a romance - I think Bellara is just excited whenever people get together. She's a huge romantic and a believer in happy ever after, so she's going to fully support whoever of her friends get together."
Q: "Please humor my newfound Nevarran cuisine obsession - it seems, based on the menu at the Lords of Fortune bar, that Nevarra is majority vegetarian ("want it Nevarran-style? Ask to leave off the meat!" or something like that), and we know Emmrich is a vegetarian. But Emmrich also reveals his father was a poor butcher. So, my questions - Who is eating the meat produced by Nevarran butchers if Nevarra is vegetarian enough that other countries equate Nevarran = veggie? Do butchers largely cater to non-Nevarran immigrants or visitors? Are the Mortalitasi/Mourn Watch entirely vegetarian (would make sense, just because of being put off by being around corpses all day, and their reverence for said corpses)"
John: "While Nevarra is a primarily vegetarian country, that doesn't mean everyone who lives there is a vegetarian. Nevarra attracts plenty of students and scholars from around the world, given its unique connection to the Necropolis and the specific magic tutelage that the Mourn Watch offers. With that in mind, its cuisine is going to be pretty broad across a number of different cultures and regions - and for some of those cuisines, meat is absolutely a very big part of it."
Q: "My biggest question is this: if Solas had been released by Mythal before Inquisition started, would he have let go of his plan? Was service to her all that was motivating him? Or would he have decided to continue with his plan until the inquisition showed him that the modern world mattered?"
John: "The latter, I think. It took the confluence of everything that's happened to him in the time since he woke back up to get him to where he needed to be for the Redeem ending. Guilt and regret motivate Solas."
Q: "When I’m writing, I tend to listen to music that goes along with it. Did any of the Devs have songs they listened to that they felt tied into the game or the characters?"
John: "I can't speak to the other writers necessarily, but for Bellara I listened to a LOT of Aphex Twin. There's something about the ambient weirdness that really worked for me as I was writing her character (to the point that one of their songs is my most listened song in 2024)."
Q: "Are rivalry paths abandoned for Bioware games? What made you design approval/bond in a way that only goes up?"
Corinne: "Oh definitely not! Rivalry will continue to have a role when the story calls for it. In the case of Veilguard, we conceived of this threat being so large, that your companions would commit no matter the cost. This afforded us some unique opportunities, like being able to tie the progression of the Companions to your relationship with them."
Q: "What are you as a team most proud of and are there any plans for a NG+ Update ?"
Corinne: "Gosh, there are so many ways I could answer this. And I think the answer would differ depending on who on the team you were to ask. So let me just say this: The creation of any game of this scope, with a team this large, is kind of miraculous when you consider all the knowledge, coordination, discussion, and expertise required. So broadly speaking, what I'm most proud of is the way the team came together to pivot and be true to BioWare's roots of creating great single-player party-based RPGs, and delivered such quality and stablity. I'm also quite proud of how player-first the effort was; Everything from being Steam native, to no Denuvo, to no micro transactions. We mustn't take for granted what monumental task it was to make this happen. There are individual features and experiences that I know we are all proud of as well. The character creator, for example, was a really big one for us. We've long sought to put the control over player-characters in the hands of the fans, and this is the game where the team believes we've best done that. In fact, it was central to one of our creative pillars "Be who you want to be". As for NG+, that's something we discussed, but at this point we don't have any plans to support it."
Q: "Can you go into more detail of Spite’s role in Rook and Lucanis’s romance? Did you expect everyone to want to romance Vorgoth?"
John: "Spite gives Lucanis and Rook privacy whenever they're being intimate. This was, I'm sure you'll be surprised to hear, a consistent topic of discussion as we planned out some of our romance scenes - is Spite watching? But no, he wanders off and reads a book (or whatever demons do for fun). At this point I am not surprised about anyone y'all want to romance. Sentient fog bank? Sure"
Q: "Looking further, what parts of Thedas you personally want to explore more (regardless if that will or will not be implemented in the future games)? Maybe specific time periods?"
John: "I don't think it's any secret that I find the idea of 'what lies across the sea' to be fascinating. It shows up a lot in Bellara's content - what happened in the parts of the world that weren't Thedas? But Kal-Sharok is another place I'd love to spend more time in. It has a very unique relationship to dwarven culture, and particularly in a post-DATV world, it feels like it'd be super interesting to get more time with them."
Q: "What made you decide to remove greatswords as an option? It's one of The fantasy weapons. Why did you choose to have a "convergent" design, gameplay wise, of classes? What i mean is that all classes have a melee option, a "parry" of sorts, amd a ranged option, with warriors throwing a nonexistent shield when 2h. Usually, in an rpg, different classes have different capabilities and limits, to make them feel more diverse. What made you choose otherwise?"
Corinne: "Originally when we concieved the 2-handed weapon stance for Warrior we did want to include Greatswords. We moved away from it largely because the movement set when swinging a large blade diverges quite a bit from what you'd see with an axe or a hammer. Ultimately we felt, given the number of bespoke animations and transitions it would take, that the time is better invested in other areas of the experience. Regarding the classes, we opted for a unified control scheme and baseline set of actions each could take (e.g. every class having a ranged attack for example) for several reasons: 1. In knowing that each class has a similar core set of actions, it allowed to better design the encounters, levels, and missions with a greater level of variety. If Warrior, for example, had no ranged attack, a large number of the missions would have much more egregious constraints on what we expect the player to do. 2. It allowed us significantly more space to play with the types of builds and breath of the skill tree. We're all very proud of how this played out in practice, and in our view created a high degree of divergence. 3. Given the real-time nature of the gameplay, it's a benefit to lean into the muscle memory the players have already established on prior playthroughs"
Q: "Hi I'm non-binary and the ability to be non-binary in this game was really special and made me feel seen in a way no game has before. In addition---TAASH! "NUFF SAID. Love em! My question is: how did you get so much past censors in 2024? How did you deal with localization? Was EA supportive of the push for more representation? Do you think we can see more diverse companions like Taash and our own player character in the future in Bioware games? I am a little worried about the backlash to Taash and the player character, especially right now. It is scary to think about going backwards after you've just achieved this amazing thing for video games. Thank you so much for making me feel so loved playing a video game, this game gives me so much hope and joy for being a trans gamer and nerd and person. I know there's a lot of hate but for me it means the world."
Corinne: "I'm so glad Taash meant so much to you, and so many others! There are two mantras we often refer to within the team: 1. We believe stories are better when they reflect a large variety of relatable experiences. 2. Games can be a reflection of the teams that make them. Taash's journey and support we had in bringing it to life, was something everyone on the team wanted to do and was invested in. It was a story and experience we wanted to tell that made sense in this time and place. I wont lie, it wasn't easy. This is a delicate subject, deserving of respect, that is deeply personal to so many. We didn't want to mess it up, especially for those it would mean the most to. We were fortunate to have a lot of support through internal and external partners to ensure we were handling this story with care, and of course the talented writing and experience of Trick Weekes. It lead to a lot of edits, localization challenges, and some rewrites. But as the old adage goes, nothing worth having comes easy."
Q: "If Solas is bald because the ancient elves just go bald during their immortal lifespans, then why does Elgar’nan have hair?"
John: "I think maybe it's more accurate to say that Solas lost hair because of stress. Elgar'nan, on the other hand, doesn't feel stress - he makes other people feel stress. And, honestly, Elgar'nan is incredibly vain. Something that doesn't show up until the end game is that he's also very vain. The reason he doesn't look blighted and corrupted throughout the game is he uses a portion of his magic to remain looking the way he does."
Q: "In the DAI trespasser DLC elves saw the crossroads different from the other races. Why was that not the case in this game?"
John: "The Caretaker gets into it a little bit, but while the Crossroads in Trespasser were 'peaceful', the Crossroads in DATV are under assault by the gods."
Q: "If you could start DAI or DATV again, what would you change/add/remove? Could you share with us the most emotionally difficult moment to achieve in DATV? And the easiest? Favorite moment?"
Corinne: "One of the most difficult moments to land was actually the prologue. It sets up a lot of context for the player, and evokes a lot of big feelings. We did many revisions on it before we found the right balance of pacing, information, and tension. In my experience, prologues always are among your most reworked content"
John: "Absolutely the Varric twist. There's always a balance of trying to leave hints for the players while not having them guess the ultimate end game of it, and it's INCREDIBLY hard to make that judgment yourself, because you KNOW what's coming, and all you can see is 'how could anyone NOT get that this is coming?' But I'm happy with how it was received and how it landed. The actual conversation with Varric at the end, though - that one was a gut punch."
Q: "So… does Bianca know?"
John: "Yeah. Harding would have gotten word to her."
Q: "I'm curious to know two things, both Solas related: -What happened to his followers? Presumably they weren't /just/ following him and were on board with the revolution that he represented. -What was his plan past making a new prison and transferring the two Evanuris? It sounds like still an eventual tearing down of the Veil but how was he actually mitigating the risks across Thedas? (Presumably with that network of followers)"
John: "Essentially that. Keep the Evanuris imprisoned, tear down the Veil, and then Solas was CERTAIN everything would get better, even if some people had to, tragically, die. One of Solas' defining characteristics, of course, is that he overestimates how successful his plans are going to be (if you listen carefully to the argument between Solas and Varric in the prologue, Varric makes this exact point - everything Solas has tried ended in disaster, so why wouldn't this as well?) As to mitigating the risks - he had a few things going on, but as to how effective they would've been, I think it's safe to say that it wouldn't have worked as well as he'd hoped."
Conclusion: "We've answered everything we can for now, thank you all so much for your questions and the love for Dragon Age!"
Qunari are empowering Saarebas with lyrium so that they can become stronger, open temporary Rifts, slow time down, and use mysterious spells, all through unknown means.
Tevinter is terribly weakened, corrupted, and will not last in the war against the Qunari.
Fen’Harel, now incredibly powerful, is planning to eliminate the corrupted parts of the Qun (good thing), but also to tear down the Veil (not that good, depending on the consequences). He will probably help the Tevinter slaves in rebelling against their masters too.
Titans are awakening. They are enormous beings living deep underground, whose blood has been consumed for millennia by mages and Templars alike, shaping the world as it is today. They also seem able to influence events above ground and they are very angry with the world or at least with the elves. They will probably re-establish their contact/link with the dwarves.
Something is happening in Weisshaupt, the Wardens have gone silent, and a new Blight is most likely coming.
The Evanuris are still locked away, but it’s obvious they will get free soon. They are a bunch of homicidal assholes who will not think twice about conquering Thedas again. They might be also tainted by the Blight, if the theories “Evanuris locked away with the Blight in the Black City” are true.
If Kieran was born, Flemeth/Mythal took the Old God’s soul from him, planning to do something with it. We still don’t know what it is, but it’s unlikely she will stay “dead”. She still has to have her revenge, her “reckoning which will shake the very heavens”.
Either Morrigan or the Inquisitor drank from the Well of Sorrows and the consequences of that act are still unclear, but whatever they are, they are going to suck or at least be mildly disturbing.
Mysterious Dalish elves live in the Tirashan. They are violent, cruel, and worship the Forgotten Ones.
Strange people from the Volca Sea are returning after a long absence, claiming a terrible calamity struck their lands.
We still don’t know what lies beyond the Amaranthine Ocean, but whatever it is, it makes people go insane and suicidal.
It's starting to drive me nuts how often I'm seeing the claim that the "southern" Chantry and its relationship with magic have zero influence in the north.
The Chantry schism created the Imperial Chantry vs. the Orlesian Chantry. Imperial because it’s only a thing in the Tevinter Imperium. That’s one country in the north.
Yes, we only get to see the Mournwatch in Veilguard, but have we forgotten the College of Magi in Cumberland? The philosophical heart of the Circle of Magi? Where they used to elect the Grand Enchanters? How about the Circle of Perendale? There’s an actual wartable mission about Perendale's mages who barricaded themselves in for fear of what the general populace will do to them!
Remember Zevran mentioning the Circle in Antiva and how the templars there were watching the mages like "a jealous husband guarding the chastity of a wanton bride"? Remember Josephine's line "little but the Chantry ties Orlais, Nevarra, Ferelden, Antiva, and even Rivain to a common cause"?
You think Brother Genitivi - a Fereldan Chantry brother - would call the Anderfels a nation that produces the most devout priests if they didn’t give af about the Orlesian Chantry? The place where they carved a giant statue of Andraste into a mountain?
Rivain, sure, the Chantry’s influence there has always been minimal (though ironically, the aftermath of the Dairsmuid Circle's annulment is the only time we actually see the Chantry’s influence up north in this game). But Nevarra, Antiva and the Anderfels?!
Sorry, no, there's an entire list of known Circles of Magi readily available online. Don’t freaking try to tell me that people everywhere were letting their mages cuddle wisps and shit, and it was only Orlais, Ferelden and the Free Marches that didn’t get the memo! Of course there have always been cultural differences, but "we're in the north now" is a piss-poor excuse for Veilguard's absence of any palpable faith.
It damn well should have mattered who we put on the Sunburst Throne.
Why Fenris could Never Cameo in Dragon Age: The Veilguard
In the run up to Dragon age: The Veilguard, I was almost certain that Fenris would be our main legacy character from previous games. Not only has he been central in the comics released between DAI and DATV, he is an escaped Tevinter slave who's plot revolved around magisters, magic and the structural prejudices surrounding elves in Thedas. Not only that, but he's canonically in Tevinter killing slavers currently so he's geographically in the right place for us to meet him.
About halfway through the game though, it was clear to me: Fenris could never cameo in The Veilguard. Because he'd break it.
How the Veilguard treats Thedas is...odd to me, to say the least. I will be writing another post about how much I adored the expanded big lore in this game (the titans, ancient elves were spirits, where the blight came from etc.) and yet while these large lore expansions worked for me, the actual culture of modern Thedas is entirely softened, its sharp edges filed down until it's a sanitised fantasy world devoid of what made the franchise so vibrant and compelling in the first place.
So let's start with Fenris and slavery. In all three games, the reality of slavery is pushing at the corners of the world. In DAO Loghain allows Tevinter Magisters to enslave elves in order to raise money for his war effort. In DA2 Fenris is fighting to be free from slavers who will not leave him be, let alone the reminders that the city was built by slaves which are everywhere. In DAI one of the two possible mini-bosses is Calpurnia who was a slave, and characters such as Gatt and Dorian both show us how much slavery is tied into Tevinters culture and success.
But DATV the first game actually set in Tevinter where we get to see the famed Minrathous...it's like the game purposefully wants to avoid the issue. I can feel it tilting the camera away to not allow me to see. Slavery is mentioned, but never talked about in depth or as a specifically ELVEN problem in Tevinter. This might have been done to be less problematic, it feels ignored.
We are in DOCK TOWN. We are at the DOCKS. You would think that slaves from all over Thedas who are being smuggled and bought by various groups would be everywhere. You would think that the injustice in dock town would be partly built on the back of ships we've seen in the comics crammed with elves in chains. This is the world Dragon age set up for us. And yet...nothing. zilch. A tiny easily skippable side quest where we free a couple of venatori slaves, but only one of whom is an elf.
None of our Tevinter characters seem to have been influenced by their culture even a little bit when it comes to how they view elves; there is no moment when Neve fucks up and says something prejudiced, no moment when Bellara or Davrin are distrustful of her for being a Tevinter mage.
The same goes for Zevran; a character who epitomised the issues with the crows. The crows have consistently been characterised as very morally dubious assassins who kill for the highest bidder and who buy children on the slave market and torture them as they grow in order to assure that they reach maturity able to withstand torture without giving away a client's name. Zevran is very explicit about the fact that if you fail a contract your life is forefit.
Nobody responds particularly to you if you're an elf. Nobody trusts rook less for it in Tevinter. Nobody treats Rook any differently. Even DAI had better mechanics for this; with nobles in Orlais less likely to trust you as an elf.
Considering one of the main plot points of this game and what makes Solas sympathetic is the fact that he was fighting against the slavery of ancient elves...you'd think the game might want to mirror that in modern Thedas. It might want to show us how characters fighting to end slavery in Tevinter are similar to Solas and how the society Solas fought against was similar to the one that characters we love such as Fenris have fought against in modern Thedas. Maybe we'd want to explore how in a world of slavery like this, how could the answer NOT be to tear it all down? Maybe we should have that option at the end of the game so it really can chose whether we agree with Solas and his plans or not.
Adding Fenris to this game would entirely break the game because Fenris refuses to allow you to look away from this horror. He is a sympathetic character who had to learn to trust mages again because of course he didn't trust them. Of course he didn't. Fenris wouldn't allow the camera to shift focus because he's literally covered in the lyrium scars that show how slaves are used as experiments in Tevinter. Fenris WOULD question Neve on how she feels about elves and slaves. Fenris WOULD have things to say about Lucanis and the crows (let alone the fact Lucanis is an abomonation). So he could never be in this game; he'd drop a bomb on it's carefully constructed blinders to the very society its supposed to be set in.
And yet, in DATV, the crows are presented as...a found family of misfits and orphans? The politician who opposes the crows having absolute power in Antiva is framed as a comically evil idiot who doesn't understand that the crows are ontologically good. Yet...they're NOT. Crows in this game act more like a secret rebel group than an assassin organisation. We see no crow taking contracts with the VERY RICH venatori magisters despite being hired killers. We see crows just refuse to kill people despite having a contract because 'its crueler to leave them alive'. The crows don't feel like the crows here, they feel like a softened version of a cool assassin group who are cool because they wear black and purple.
Our pirate group are also sanitised; the Lords of Fortune are good pirates who only steal treasure that's not culturally significant. Theyve clearly read the modern critiques of the British Museum and have decided to explicitly stop anyone levelling similar critiques at them. There is no faction of the Lords of Fortune who aren't like this, no internal arguments about it. Everyone just. Agrees. And is able to accurately tell what a cultural artifact is vs. what treasure that you can have yourself is. Rather than showing us why a pirate stealing cultural artifacts might be bad (like in da2 where such a situation literally causes a coup and a war) it just tells us it's bad. But also pirates are cool so we still want them in our world.
This issue seaps into Thedas and drains it of any of the interesting complexity and ability to SAY anything that this franchise had before this game. It becomes a game about telling and not showing rather than the other way around. The games have ALWAYS asked questions about oppressive structural systems and their interplay with society, religion and culture and how these things can affect even the most well meaning character. Dragon age at its best IS a game about society and how society functions both for and against it's characters and what happens to societies built on cruelty and indifference. The best bad guys dragon age has given us are those who are bad because they embody these systems or have been shaped by them. Our main characters have had to wrestle with questions surrounding how to exist in these systems, fight against them, learn and grow.
Yet every group you come across in DATV is sanitised and cleaned up to the point of being as non problematic as humanly possible. None of our cast of characters have to wrestle with where they came from or the world that shaped them. None of them have to confront their own biases. They start the game perfectly non-problematic and end it that way too.
And this just...isn't what Dragon Age has been in the past. It isn't why I love the franchise. The whole game just felt, in a way, hollow. And this was a CHOICE and it is why the legacy characters are few and far between. Too many dragon age characters are just too...angry and complex for this game. You can feel them pulling their punches on this one. I have to imagine they did this because they didn't want to be criticised or have too much controversy? But I think it honestly goes far too much in the other direction and just makes it bland.
I can't imagine what I say here will be unique, but it is the basis for a LOT of my other thoughts on this game so I wanted to get it out of the way first. The softened Thedas and characters make this game by far the weakest in the franchise.
# Also D.Gaider explaination about Fenris design being too difficult and expensive to be included in new games looked like an excuse
# If they managed to create the complicated designs of Ghilan'nain and Joanna Hezenkoss I'm sure they could afford to integrate Fenris lyrium tattoos too, come on.
# or just give him long sleeves or a full tracksuit or something
Tevinter is the heart of slavery in Thedas. This lore has been established in every game, novel, comic, and other extended material in the Dragon Age franchise to date that so much as mentions the nation. But in Dragon Age: The Veilguard, when we are finally able to actually visit this location for the first time… this rampant slavery we’ve heard so much about is nowhere to be found. It’s talked about here and there; Neve mentions The Viper has a history of freeing slaves, as does Rook themselves if they choose the Shadow Dragon faction as their origin, for example. But walking down the streets of Minrathous, you’d never know. Because Dragon Age: The Veilguard, for all its enjoyment otherwise, has one glaring issue: It’s too clean.
The world of Thedas is full of injustices. Humans persecute elves, fear qunari, and belittle dwarves. Mages of any race are treated like caged animals in most places. The nobility is corrupt. Although, Dragon Age has not always handled these injustices well, mind you. Many, many times I’ve found myself frustrated with moments that just feel like a Racism Simulator. But what makes it worth it, is when you can actually do something about it. These injustices are things that a good-aligned character strives to fight back against, maybe even for very personal reasons. Part of the power-fantasy for many minorities is that this fight feels tangible. I cannot arrange the assassination of a corrupt politician in real life, but I sure can get Celene Valmont stabbed to death in Dragon Age: Inquisition, for example. Additionally, these fictional injustices can be used to make statements on real life parallels, like any source of media. For example, no, the Chant of Light is not real, but acting as a stand-in for Catholicism, through a media analysis lens we can explore what the Chant of Light communicates on a figurative level.
When starting Dragon Age: The Veilguard and selecting to play as an elf – this should be unsurprising to anyone who is familiar with my bias towards them – I was fully prepared to enter the streets of Minrathous and immediately get called “knife-ear” or “rabbit”. But this did not happen. I thought perhaps it was just a prologue thing, but returning to Minrathous once again, there was not a single shred of disapproval from any NPC I encountered that wasn’t a generic enemy to fight. And even the generic enemies, the Tevinter Nationalist cult of the Venatori, didn’t seem to care at all that I was a lineage they deemed inferior before now. This is a stark difference from entering the Winter Palace in Dragon Age: Inquisition and immediately getting hit with court disapproval and insults. Are we now to believe that Tevinter has somehow solved its astronomical racism and classism problems in the ten years since the past game? Or perhaps are we to believe all the characters who have demonstrated Tevinter’s systemic discriminatory views were just lying or outliers? Because it makes absolutely no sense at all for this horribly corrupt nation to not have a shred of reactivity to an elven or qunari Rook prancing around. But here were are, and not a single NPC even recognizes my character’s lineage. And because this is so different from every single past game, it feels weird.
As an elf, you have the option to make a comment about how “too many humans look down on us” in one scene early in the game. You can also talk to Bellara and Davrin, the elven companions, about concerns that people won’t trust elves after finding out about the big bad Ancient Evanuris… but this is presented as if elves don’t already face persecution. It’s all so limited in scope that it could be all too easily missed if you are not paying very close attention, and coming into the game with pre-existing lore knowledge.
All this made it easy to first assume that the developers simply over-corrected an attempt to address the Racism Simulator moments. And if that was the case, than I would at least give credit to effort; they did not find the right balance, but they at least tried. However, the sudden lack of discrimination against different lineages in Dragon Age: The Veilguard is not the only sanitized example of lore present.
In Dragon Age: Origins, Zevran Arainai is a companion who is from the Antivan Crows; a group of assassins. He discusses in detail how the Crows buy children and raise them into murder machines through all kinds of torture. The World of Thedas books also describe how the Antivan Crows work, echoing what Zevran says and expanding that of the recruitment, only a select handful of those taken by the Crows even survive. When you start Dragon Age: The Veilguard as an Antivan Crow, you immediately unlock a re-used codex entry from the past, “The Crows and Queen Madrigal”, that says the following:
“His guild has a reputation to uphold. They are ruthless, efficient, and discreet. How would they maintain such notoriety if agents routinely revealed the names of employers with something as "banal" as torture.”
Ruthless, efficient, and discreet. Torture is banal. This is what the Crows were before Dragon Age: The Veilguard decided to take them in a very different direction. The Antivan Crows in this latest game are painted as freedom fighters against the Antaam occupation of Treviso. Teia calls the Crows “patriots”. And while I can certainly believe that the Crows would have enough motivation to fight back against the Antaam, given that it is in direct opposition to their own goals, I cannot understand why they are suddenly suggested to be morally good. They are assassins. They treat their people like tools and murder for money. Even as recent as the Tevinter Nights story Eight Little Talons, it is addressed that the Antivan Crows are in it for the coin and power, with characters like Teia being outliers for wanting to change that. It makes the use of the older codex all the more confusing, as it sets the Antivan Crows up as something they are no longer portrayed as.
I personally think it would have been really interesting to explore a morally corrupt faction in comparison to say, the Shadow Dragons. Perhaps even as a protagonist, address things like the enslavement of “recruits” to make the faction at least somewhat better. (They are still assassins, after all.) Instead, we’re just supposed to ignore everything unsavory about them, I suppose…
We could discuss even further examples. Like how the Lords of Fortune pillage ruins but it’s okay, because they never sell artifacts of cultural importance, supposedly. Or how the only problem with the Templar Order in Tevinter is just the “bad apples” that work with Venatori. I could go on, but I don’t think I have to.
It is because of all this sanitization, that I cannot believe this was simply over-correction on a developmental part. Especially when there is still racism in the game, in other forms. The impression I’m left with feels far deeper than that; it feels corporate. As if a computer ran through the game’s script and got rid of anything with “too much” political substance. The strongest statements are hidden in codex entries, and I almost suspect they had to be snuck in.
Between a Racism Simulator and just ignoring anything bad whatsoever, I believe a balance is achievable; that sweet spot that actually has something to say about what it is presenting. I know it is achievable, because there are a few bright spots of this that I’ve encountered in Dragon Age: The Veilguard too. For example, some of the codex entries like I mentioned, and almost all the content with the Grey Wardens thus far. It is a shame there is not more content on this level.
Dragon Age: The Veilguard is overall still a fun game, in my opinion. But it’s hard to argue that it isn’t missing the grit of its predecessors. The sharp edges have been smoothed. The claws have been removed. The house has been baby-proofed. And for what purpose?
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I have seen this question floating around a lot, and I know there is plenty of speculation going on about it, but I thought I would share my two cents as well.
Obviously, spoilers for anime only readers for future content, before you read on. Not all my posts are spoilery, but most are 😜
So timeskip Norman looking like an adult is pretty much an aninomous observation by now. I know that plenty of people have suggested growth experiments, and I have argued against that in my Norman is a Ratri genetic experiment born at Lambda theories, but I am not here to talk science today.
Haha, I guess I do enough of that in my day job.
What I want to talk about is the symbolism and poetic meaning behind making Norman look older than he is. There is an artistic purpose, and it’s not the first time Posuka-sensei uses this tool.
The same thing, though the opposite way (and much more drasticly) was used in these panels:
We all know that both Yuugo and Lucas are definitely grown up, and there is no logical reason why they would suddenly transform into children for mere moments, just before their death.
In my opinion, it’s a visual tool to invoke that feeling of, “Ah, 15 years passed, they grew up physically, but in their hearts they are still the same children” without having to use a narrator spell it out to us.
I think there is also a secondary purpose of making this statement just before they fall to their death. After all, this is a manga about Neverland, a place where children can never grow up… because in this promised Neverland children die before they grow up.
By reminding us that Yuugo and Lucas are still stuck in that past, that they are still those bright children at heart, the message is that they couldn’t escape this cursed, promised Neverland, even if they physically grew up: they died as children at heart.
I am sorry if I have made you sad with that thought, but I wanted to make the point that the way Norman is portrayed is with this theme in mind. And it’s all because of this part:
Norman intends to break the Neverland curse, but it isn’t just a literal destruction of the farm system. There is an added layer of symbolism in the fact that him CHOOSING to GROW UP already breaks the theme of this Neverland.
The irony of the situation is that while this 13 year-old barely teenager is literally surrounded by a group of adults, he is the one who actually behaves the most adult out of them. Experiment or not, they are all physically grown up, yet Zazie seems hardly capable of more thought than a toddler, then Cislo and Barbara pretty much behave like small children, shown when talking with Emma and Ray, with Vincent acting like a snarky teenage brother who was left in charge by the parent to babysit them…
If you look at those panels again, you can actually see how the art illustrates those behaviours: the baby toy tiger on Zazie, the childish expressions on those two’s faces and Vincent’s deadpan expression as they squabble with him.
Well, it’s no surprise that Norman ACTS so GROWN UP, after all, he is literally and figurately trying to fit the clothes of James Ratri, and carry the mantle of William Minerva. (If you ask my friend @vobomon about the topic, I bet you will hear a really good explanation of how this parallels Peter Pan in scarlet, the sequel to Peter Pan, where Peter Pan tries to wear the coat of the gown up, James Hook… and ends up with an identity crisis. I won’t comment on it more though, since I don’t know it well enough).
Both of these roles are that of an adult, so Norman can’t afford to be seen as a child by others. Technically there is no way for him to age his body, but body language, mannerism and clothes can do wonders, and Norman, ever the perfectionist goes to town on this with a full blown business suit that literally couldn’t scream more ADULT and RESPONSIBLE visually speaking.
He is so successful at it actually, that he manages to convince a full crowd of children, and even his followers that they should see him as a depenable adult, rather than the teenager he is in reality. Actually, it goes as far as him getting compared to a god… and being viewed as a superhuman being, or having all those expectations of a saviour piled on someone must be an awful lot of pressure even for an adult, and Norman is only 13…
I don’t want to dwell too long on this, but I do want to comment how super unhealthy this situation must be for his mental health, how it must make him feel isolated and under an insane amount of pressure to succeed and keep this image up… The only way I see it heading is a mental breakdown, possibly with a full on panic attack followed by anxiety disorder… yes, unfortunately I’m speaking from experience.
Guys, seriously, the ominous thing about Norman isn’t that he might be evil, but that he is trying to do too much, trying to do humanly impossible things, trying to not make any mistakes, all by himself, without an emotional support system, and we are basically watching in slow motion as he heads towards a car crash once things don’t go his way… Just look at his expression when he finds out Mujika is alive despite his calculations… That expression isn’t just simple fear, but a full blown punch in the gut by anxiety that HE WAS WRONG AND WHAT ELSE COULD HE HAVE GOTTEN WRONG OH NO… HE CAN’T AFFORD MISTAKES NO NO NO…
Right, but lets get back to my original topic, and to the fact that Norman can act as adult as he wants, he can’t actually change that on the inside he is still basically a child, and certain situations make his adult mask crumble and revert him back to a child. One of the best examples is how when Emma sees him after almost 2 years, he appears at first, calm, collected, ADULT, but as soon as he calls her name, he can’t hold himself back from actually breaking, and crying like a KID, as he hugs her for dear life (not illustrated here, cause I have enough pics lol).
Posuka-sensei chooses to visually illustrate the contrast, and this is what some of you have observed as an “inconsistency” in her recent Norman art. However, the truth is that she is VERY CONSISTENT. Every time Norman is shown looking older than his actual age, he is behaving as if he was older. E.g: while talking politics he is drawn like a middle-aged politician.
But every time his adult mask breaks, or every time he allows himself to relax around people (which is mostly just the Gracefield kids, and especially Emma and Ray), he is drawn like a child. Like in the panel that everyone loves, it goes as far that it almost looks like those adult clothes are too large on him, and don’t actually fit him…
So that’s it. In summary, I think Norman is only symbolically drawn as older than his age, and only as a visual emphasis when he is actually acting adult, and trying to look grown-up. But in situations where he acts like a child should, we can see the real him drawn by Posuka-sensei.
Just look at these two panels side by side, they are even the same pose, but one of them shows Norman with his walls down around the GF kids, and the other is of him among demons he knows want to eat him.
(P.s: I tried writing this post on the PC to be able to include more than 10 pics without reblogs, but now I don’t know how to format the pics to not be so giant… D,: yes, I know I fail, sorry…)
I liked how Norman stare at Ray like: protect Emma.
Ah; I think this is a good prompt for me to reply with a CHAPTER 128 META on:
Norman’s trust and love for Emma and Ray
I want to pick apart Norman’s behaviour and analyse it, since I think he and his growth is easily misunderstood due to having a tendency of trying to hide his true feelings. Luckily we have LOTS of REFERENCES from the escape arc to work with.
First of all; this is not primarily a shipping post (though you can take some parts of it as that), and ofc spoilers for anime only people.
Secondly, I have seen some people say that Norman seems to be too harsh with Emma, and doesn’t care if she dies during this risky mission, and that…
is simply wrong.
Norman cares so much it is killing him on the inside, but he chooses to let them go because he loves and trusts both of them.
Because if you love someone, you let them have their independence and make their own choices, even if you DISAGREE with them.
It is made exceedingly clear that Norman disagrees with Emma. However his growth is shown that compared to the escape arc, he makes his feelings and resistance clear from the start.
While back then he monologues, now we see him make his points outloud. And look at how similar they are to 2 years ago. Norman is shown to still hold the same beliefs as then.
(Note that I have numbered the references so you can match everything, since there are a LOT of callbacks.)
Regarding references 4 and 5, note that the panels show the same view of Norman, BUT in the escape arc he PUTS UP A FRONT and smiles, but in the new arc, he is HONEST.
He has grown enough to realize that he can’t lie about his worldview anymore to Emma just to make her happy. He is ready to be realistic with her from the start.
The thing to note however is that despite being honest, Norman still keeps his calm. He is firm, but very collected in explaining his reasoning… except when Emma comes up with a crazy plan. And… the SAME thing has happened in the escape arc.
The authors have even sacrificed 2 panels’ space to draw attention to this parallel that most likely Norman himself realizes as well.
Just like back in the past, the only thing that can really throw off Norman from his game is the thought of Emma and Ray putting their lives in danger.
Norman literally goes mad with worry, going as far as shouting when even Ray, who is supposed to be logical and rational supports Emma’s plan. It happens in both cases, and the expressions are basically identical on his face.
He completely loses his sh1t composure at the thought of them being hurt.
Emma comforts him the same way as she did back then too: simple, loving, physical contact. The difference is that this time the embrace is much closer, much more intimate and Ray doesn’t want anything to do with it, because he is a self-conscious boy who is not okay anymore with THIS LEVEL OF INTIMACY thank you very much.
The panels fit so well together, it looks almost as if Norman is remembering that past scene, and perhaps he is…
Because what he does next is also similar to what he did back then: he draws up his walls by distancing himself and lies to Emma to placate her.
He makes the exact same face when he lied in the old arc. But he is NOT lying about the same thing.
(my personal theory is that he is lying because he plans on going to Gracefield to rescue Phil and co. while Emma is gone… but it might be the case that it’s more along the lines that he plans on self-sacrifising himself in his plans for some reason like in @vobomon and my demon gene theory…)
He has already been honest about disagreeing with Emma’s plan though , and having a different plan, (which was what he lied about back in the escape arc) and in the next panels he drives this home further, even going as far as being intimidating:
As you can see from the comparison, he has done this to Ray before, and if you remember right afterwards he was ready to welcome him back into his trust and make him his spy. Norman was simply using the intimidation to make his boundaries absolutely clear.
This is where I stand, DO NOT CROSS
(or I will be angry for real and hurt)
But, if he was so distraught about Emma’s plan, what changed his mind? The last time he didn’t let Emma or Ray risk hurting themselves…
I think it is also part of his growth to finally realize…
How to treat and trust the people he LOVES
Norman feels conflicted and confused, so he looks to the other person he cares the most about. There is a silent communication between them that needs no words to be said outloud, since their connection is so deep. I will try to fill in the blanks though:
Norman: Ray… What do I do? Is it really okay to let the two of you go? What if you are hurt? What are the chances of you even succeeding?
Ray: Norman, TRUST US. Haven’t I kept Emma safe so far? I wouldn’t be doing this if I thought it was was impossible…
Norman: I… I… *hesitates*
I will trust and let you go because I love you.
But it hurts to let you go… it hurts to be left alone…
I think the real reason Norman doesn’t hug Emma back and distances himself from her is because he needs to be able to put up a front that he is HURTING deep inside by making the mature choice to support the people he loves even if he disagrees with them… Norman decides that he can’t control or cage them up, that if they want to go despite knowing the risks, he must accept their choice. Even if he is left feeling all alone without them, unable to follow them or their ideals… ah, the distance isn’t just physical between them…
So Norman clenches his teeth, and while he is bleeding inside, he smiles at them and wishes them luck and prays desperately that they will be safe…
You can see that Emma and Ray is brimming with confidence, just like in the escape arc, they wear the exact same expressions. Yet Norman is unable to smile together with them the same way since he is breaking apart on the inside.
As soon as Emma and Ray leaves, his smiling facade falls down, and you can see just how devastated he is by letting them go on their own on this dangerous mission.
It’s a powerful callback to the time where he put up a brave front before.
There is no inner monologue this time, but his expression and slumped pose matches when he was previously afraid to die… this time though
he feels like dying thinking about the possibility of losing Emma and Ray forever…
(Note: he doesn’t actually look at the hand that failed to hold Emma, that’s his left hand and this is his right hand… the same hand he used to sign the contract with Giran… Is he also thinking about how he could die in his plans? Or is he upset because he knows he has some demon genes and if he wants to destroy all demons, he must destroy himself as well? Well, there is not enough evidence yet to confirm that theory, but it could fit too.)
TL;DR: Norman was able to let Emma go because he trusts Ray to keep her safe (and vice versa). He chose to support them and give them freedom to choose their own path because he loves them.
But watching them leave to risk their life and leave him behind in the process… alone, perhaps forever… kills him on the inside with worry and lonliness.
I hope you enjoyed my analysis of this amazing chapter, and if you agree about how much Norman really cares about both Emma and Ray, then feel free to signal boost until everyone gets the message! 😉
a lot of people have told me that they really like the way i write alistair (thank you!! i do try really hard to get canon characters’s voices down right), but because there seems to be an uptick in this recently, i thought i would make a little post with some tips and tricks i use when i write him! :) i’ve included examples of his canon dialogue alongside various lines i’ve written in my own fics where i try to recreate similar vibes.
(disclaimer: i don’t consider myself some sort of “alistair expert,” and these tips are not the be-all end-all alistair writing bible. i just thought i would share some ideas.)
Alistair is a goofball. He’s awkward–this is something very evident in all his canon dialogue. But it’s important to note that his awkwardness doesn’t stem from stupidity. It comes from nervousness, discomfort, inexperience, etc. Alistair is not dumb.
When he’s nervous or uncomfortable, he breaks up his speech into short bursts of words with pauses in between (periods/commas in writing) and often uses “uh,” “er,” etc.
(canon) I’m Alistair, uh…King of Ferelden. And this is Teagan, my uncle. Sort of.
(mine) I’m sorry. I was only wondering, are you cold? It’s, um, it’s a little cold, isn’t it?
And when he’s had enough of an awkward conversation, he’ll often either joke his way out of it or end it outright.
That said, Alistair is smoother than he thinks he is. Early Alistair flirting may be awkward because he’s nervous, but generally, his lines are very charming–his usual dorkiness just adds to the appeal.
When he’s comfortable, the charm should seem effortless.
(canon) I thought maybe I should say something. Tell you what a rare and wonderful thing you are to find amidst all this darkness.
(mine) Emilia: Stop trying to be a gentleman. Alistair: Rest assured, my lady, there’s no effort involved.
And when he’s really confident, his lines should almost sound teasing.
(canon) Have you ever licked a lamppost in winter?
(mine) You’d be beautiful in no shoes. Just your socks. In fact, you’d be especially beautiful in just my socks.
Alistair is funny. He often uses jokes to get his way out of a serious conversation. His humor generally presents itself through sarcasm, but his sarcasm isn’t dry or subtle–he wants people to pick up on it–so sarcastic dialogue for him should imply some sort of emphasis on the punch lines (basically, you should be able to read it in your head and hear exactly where he would voice the joke). I prefer using italics to indicate this.
(canon) You know, one good thing about the Blight is how it brings people together.
(mine) Oh, yeah, that’s a great idea, a really fair contest, seeing as we’re both so equally skilled at hurling tiny knives into things.
And finally, Alistair has a heart of gold. Whether or not he seems to have the right words for a situation, his intent is always good, and on the rare occasion that he acts unkind, it’s generally pretty justified. His dislike of Morrigan stems from distrust. His coldness toward the Inquisitor (if king) is because he tried to do something good for the mages only to have it backfire with the Venatori. But all in all, Alistair wants to do the right thing, so there’s always a layer of goodness and positivity in his dialogue when I write him. :) Because he is a good bean.
potential da:o and da:i spoilers below. Read at your own risk.
Blackwall
Zevran: Are you feeling well, my friend?
Blackwall: I’m feeling just fine. Why d’you ask?
Zevran: Are you certain? Ah, well perhaps you are distracted by our dashing leader’s good looks, yes? I don’t blame you, they are quite good looking.
Blackwall: Are you going somewhere with this?
Zevran: Well you see my friend, when I traveled with my dear warden, s/he and Alistair were never surprised by the darkspawn. And yet, I noticed we had no warning about that last group of them
Blackwall: Right. Well. …I just thought they were further away than that. No point announcing it then.
Zevran: Hm…
—-
Blackwall: So. You fought in the fifth blight?
Zevran: Ah, yes! It is quite a tale! Or, well, it will be after I decide how to tell it without including the days of trekking through icy fields of mud and frozen wastes, or the many varied ways my dear warden was distracted by finding stray pets….
Blackwall: You’re not serious.
Zevran: My friend, you have not traveled Ferelden if you have not solved at least ten personal disputes.
—-
post - revelations
Zevran: And I thought I was the only murderer in our merry band!
Blackwall: Don’t, please. Not about this.
Zevran: I was only going to say, my friend, that it is not every day one gets a second chance. Do not waste it.
if Blackwall is in a Romance with the Inquisitor, and Zevran romanced the Warden
Zevran: I was only going to say, my friend, that it sounds familiar.
Blackwall: What are you on about?
Zevran: Oh, did you not hear? I met my dear warden because I was sent to assassinate her/him.
Blackwall: Well. That’s – heartening. Thank you.
Zevran: (laughs) I thought you might think so, my bearded friend!
—-
Sera
Sera: uuuugh, elves.
Zevran: My dear woman, pardon me if I’m wrong but you too are an elf, are you not?
Sera: Yeah but I’m not all elfy like sir-fadey-bottom, all, ‘the veil is wibbly here’ and that shite.
Zevran: (laughs) I see! Well, I can think of ten differences between myself and our shiny friend without trying.
Sera: Whatever. Bet you can’t name one. You can’t!
Zevran: Hmmm, well. if nothing else, I have hair, my friend.
—-
Zevran: I am beginning to feel rather like a bullseye. What has you staring my friend?
Sera: You’ve been in Denerim, right?
Zevran: Not in some time, why is it you ask?
Sera: When I was little there was this box, and this door and these people –
Zevran: Truly, a remarkable tale.
Sera: Shut it, you! But there was this box, and I took it and you were there!
Zevran: Between you and me, my friend, I still have no idea what you are talking about.
—-
Sera: (cackling)
Zevran: (laughs)
Sera: (over the top cackling)
Zevran: (laughs longer)
Sera: (snort-laughing)
Zevran: (’evil’ laughing)
Sera: (’evil’ laughing)
Zevran: Ah, that’s my game!
Sera: Piss.
—-
Dorian
Dorian: Did I hear right, Zevran? You were an Antivan Crow? I’ve heard of them. You don’t get many in the Imperium.
Zevran: Well, yes. Do not take this the wrong way my friend, but it is hard to assassinate someone when so many other people have already lined up to try.
Dorian: (laughs) None taken.
—-
Zevran: Ugh, why this, and all the mud? Mud should not exist when it is this cold!
Dorian: And then there’s the ever-present stench of wet dog. Where does it come from I wonder?
Zevran: There isn’t even a dog, this time.
Dorian: Blasted southern winters.
Zevran: Ugh.
Inquisitor: It’s spring.
if Varric is in the party
Varric: Maybe if either of you wore more clothes you wouldn’t be so cold.
Zevran: And hide these legs?
Dorian: Perish the thought.
—-
Dorian: Those tattoos, Zevran. Do they mean anything?
Zevran: Oh, these? (laughs) There serve only to emphasize what is already there, my friend. I have more if you’d like to see them.
Dorian: Well, perhaps I would. You know where my tent is.
if Dorian is in a romance with the Inquisitor
Inquisitor: I’m right here you know.
Zevran: You can come too, my friend. The more the merrier!
Dorian: Oh, look at him blush!
Inquisitor: (sighs)
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