You can play the wolf but you can't escape the woods
KIROKAZE

if i look back, i am lost
The Bright Sessions
🪼
Today's Document

shark vs the universe
hello vonnie

oozey mess

titsay
almost home

Love Begins

Origami Around
RMH
No title available

pixel skylines
★
Cosimo Galluzzi
Aqua Utopia|海の底で記憶を紡ぐ
EXPECTATIONS

Product Placement

seen from Australia
seen from United Kingdom
seen from Vietnam
seen from Canada
seen from Türkiye
seen from Malaysia
seen from Kyrgyzstan

seen from Iraq
seen from India
seen from Peru
seen from United States
seen from United States
seen from United Kingdom
seen from India
seen from Netherlands
seen from Germany
seen from Lithuania
seen from United States

seen from Switzerland
seen from United States
@purpleshadowmask
You can play the wolf but you can't escape the woods
if rook has a million fans then I'm one of them
if rook has one fan then I'm THAT ONE
If rook has no fans that means I'm dead
Beautiful Bellara Art by Albert Urmanov [X]
Regarding your canon love interest for each of the four games:
Do you tend to romance the same class?
All four of my canon romances are the same class
Three out of four are the same class
Two and two (e.g. two warriors and two mages)
Two, one, and one (e.g. two warriors, one mage, one rogue
See results
Absolutely no one asked:
...but unless and until one of the devs corrects me, I've come down on the side of the opinion that while Solas was able to make Rook forget that Varric had died, Varric as an entity is entirely made up of Rook's memories and feelings - a lingering impulse in the Fade because of Rook's love and grief, even - and nothing he says is because of Solas. Not even the things that seem to be excusing or forgiving him.
I've been chewing on this for a while for no particular reason except that I went through Here Lies the Abyss on my DA:I replay.
I really am fascinated by Cassandra both for her own character (seeking and telling truth vs the implications of her namesake) and the fact that even when she's talking about becoming Divine, she mentions Varric being Andrastian. The two of them *cannot* keep each other's names out of their mouths.
The Inquisitor wondered if the spirit they met in the Fade really was the ghost of the Divine, and with the hindsight of Veilguard, and the way Cassandra talked about how we do not know what happens after death and the way souls travel through the Fade, and the way Emmrich talks about souls and feelings lingering on in the dead, I can't help but think that Varric somehow "lives on" in Rook.
I think Solas wanted Rook to forget because he thought the shock of it, the regret, would bind them to the prison. But Varric had changed in the 8 years since the Inquisition (and Solas had not) and had been too good a friend to Rook. What lived on inside of them was...something else. Not regret. Real grief, and kindness, and a willingness to help.
Even when Varric had regrets, he always had kindness and he always stepped up. And when you allow yourself to change, time can temper regrets.
Both Varric and Harding have an infinite source of compassion for Solas. I think that's why it feels like they're forgiving him, and why it might seem like Solas is manipulating Rook through Varric. But Varric started the game insistant that Solas needs another option, another story, a reason to change his mind.
Maybe he was thinking of that dialogue all the way back in the Hinterlands, when Solas told him that his stories were bringing peace in dark times, and the impulse that's left clings to the hope that a Rook that can talk down the First Warden, that can convince the fragment of Mythal, can also give Solas the story he needs to hear.
Solas can't manipulate Rook quite that way, because Rook isn't "haunted" by Varric. Varric was part of Rook all along (as corny as that is to say). Or at least, his teachings were. (remember Rook and the Inquisitor sharing his little "sayings"?)
All of the expressions of grief we see in the game and the ways Rook navigates them are meant to help show how the dead live on through us, through love, and memories, and the things they taught us, and the hope they gave us.
I can't help but compare it to the fragment, the "memory" of Mythal, that Solas keeps locked away but never visits. Solas never engages with his grief. Rook lived with their grief as a friend.
the veilguard ( ˘ ³˘)♥
I find the criticism that the Crows are portrayed as freedom fighters and entirely good a bit funny, because I’m unable to roleplay Crow Rook as anyone other than a cult member. Even in their more “heroic” moments, there’s this weirdly intense, borderline fanatical energy that just doesn’t come across as purely noble.
After work hours
Almost all the pawns that Davrin carved out. I was inspired to make this gifset by this post.
please excuse me while i yell because according to the file names the pawns symbolising companions Rook places around during the Last Gambit cinematic were actually carved by Davrin...
bro, i'm so fine and normal learning this tonight.
OMG!
I have some screenshots.
Bellara, Taash, Emmrich.
"I just… don't have Illario's gift for flirting."
Lucanis, babe, I don't think you thought that one through
Does she look like herself? I still don't get it.
So, people keep saying Veilguard is "sanitizing" Dragon Age because it’s not letting random NPCs hurl slurs at your character anymore, and listen. I get it. There’s a real fear that the game is smoothing over the sharp edges that made Dragon Age’s world feel raw and oppressive. But here’s the thing: oppression in storytelling isn’t just about how much overt cruelty a game throws at you. It’s about how a world is structured, how power moves, and what choices the player is given to respond to that.
Veilguard isn’t getting rid of trauma or struggle—it’s just shifting the focus. Instead of telling a story where the PC is explicitly victimized because of their race or status, it’s exploring grief, loss, and the way people hold onto each other through suffering. And yeah, maybe that’s not the same power fantasy as "you called me a slur so I’m going to stab you in the town square," but does that automatically mean it’s bad.. What it does mean is that Veilguard is asking different questions.
Origins threw you into a world where the first thing you did was fight back against the system that tried to break you. Veilguard is looking at something else: what happens when fighting back isn’t an option? When your world has already fallen apart? How do you rebuild? How do you find strength in kindness instead of just revenge?
veilguard recognises that oppression isn’t just big, dramatic acts of cruelty; it’s also the slow erosion of hope, the systems that make resistance feel impossible, the way grief isolates people and makes them vulnerable. And what Veilguard seems to be doing is giving the player a different set of tools to push back.
Because let’s talk about mechanics for a second. Veilguard is letting you build alliances, resolve conflicts, and use emotional intelligence as a tool and that’s not a weak approach to oppression. That’s a different kind of power fantasy. One that says, hey, maybe dismantling oppression isn’t just about vengeance. Maybe it’s about survival. Maybe it’s about finding people who won’t let you fall apart. Maybe it’s about healing.
Like, yes, I understand why people loved the City Elf origin. It was cathartic! It was painful and messy and let you tear down the people who hurt you. But that doesn’t mean it’s the only valid way to explore oppression in a game. Power isn’t just swinging a sword—it’s also choosing to be kind in a world that tells you kindness is useless.
Veilguard isn’t saying "oppression isn’t real." It’s saying, "What if we looked at the ways people actually survive it?" And if the idea of a game that values understanding and emotional resilience as forms of resistance makes you uncomfortable, maybe ask yourself why you think the only valid response to oppression is cruelty in return.
me on my way to replay the entire dragon age franchise after finishing Veilguard
couple goals 💕