Cinnamon Roles

Veilguard in many ways is reductive while being the most directly moralizing of the Dragon Age games, which makes it impossible to play a character with politics, ideas, or morals different from those the game espouses.

The game continuously tries to convince the player that these options do exist, hints at the fact that you will need to make sacrifices in order to win the war against the Evanuris, and ultimately, to stop Solas. But it fails to actually deliver on any of those promises by providing only three major choices, and a handful of minor choices. Not to mention that most of the dialogue options won't allow you to be authoritarian with a sole focus on defeating the Evanuris.

In my mind our three major decisions are:

The City you choose to send other people to defend, resulting in it being Blighted and captured by the villains already vying for power.

The person you choose to lead the other group when attempting to kill Ghilan'nain.

Whether to provide Solas closure & redemption, trick him, or fight him.

My issue with the first decision is that it does not go far enough. In a game that is ostensibly about hard choices, the fact both cities come out of it still standing, even if one survives in very bad shape and under totalitarian rule, doesn't make sense to me. The city you help should barely survive thanks to your presence, and the one you leave others to defend should be blighted and uninhabitable.

Additionally, you should be able to give a reason to your companions, in game, as to why you chose one city and not the other. For example, my Grey Warden Rook chose to help Treviso because they knew Minrathous' history with Blights and thought they might be able to handle it without them. But there are other Rooks who will save Minrathous because they hate The Crows. There are Rooks who will flip a coin and follow its lead. There are Rooks who think Minrathous does not deserve to be saved.

But this game does not, textually, allow Rook that kind of anger. It does allow Rook to say anything at all about the choice, other than that they had to make it, and that they are sorry. The game tells us we must feel bad for not being able to save everyone. But why?

Part of my issue with the second choice lies with Lucanis, and the fact the game does not allow you to dismiss any of your companions. He fails to strike when it counts most, and Rook and the whole team seem understanding if frustrated by it, but are willing to give him a second chance. But why? Because it is the morally right thing to do? Because he needs a shot at redemption?

Those are not good enough reasons for my Rook. But the game does not allow Rook to dismiss him after a catastrophic failure. It insists he remain, despite it being more than reasonable to kick out the guy who had one shot and missed.

Which relates to my real gripe with this choice: you should be able to choose any of your companions to lead the group, resulting in any of their deaths. And they should be the one to strike the final blow, not Lucanis, unless he is the person that is chosen. This, to me, is far more narratively satisfying, and puts the choice back into Rook and the player's hand.

The final decision is the one I feel is the most well done, but I still have issues with it.

The Inquisitor, romanced or not, and Morrigan, should be there in all endings. Morrigan should always help you defeat Solas, and the Inquisitor, based upon decisions they made in the prior game and not solely relying on whether or not they romanced him, should either fight with or against you. If they meet that criteria in the ending where you trick Solas, they should be the final boss. Additionally, the Inquisitor should get to choose whether or not to go with Solas if they have high enough friendship or romance in the redeemed ending.

My frustrations with Veilguard overall are the way it tells you it is doing something, without ever showing you, the severe limitations it imposes on actually roleplaying, and the way it glosses over previously established cultural issues and flaws within its narrative. It reduces the Venatori and Antaam to shells of their former nuanced selves. References to slavery within Tevinter culture are almost entirely removed. The Crows have morphed into an illusion to an Italian Mafia rather than a brutal group of spies who take part in child slavery and kill those who do not live up to their expectations. I cannot be a dalish elf, or a city elf, in a way that at all reflects the culturally distinct upbringings those two groups have. I cannot make Rook into anything more than they already are. I cannot make a Rook that falls outside of what the game deems as acceptable.

This game sanitizes the aspects of Dragon Age that were most interesting to me personally, trying to tie up all lore questions in a nice little bow, in aim to appeal to the widest audience possible. But it fails to do that, because in doing so, it lost the identity that makes it appealing.

I have said this before, and I will say it again: All art is inherently political because art is both a reflection of and the means by which culture is facilitated. And the illusion of choice in this game, the illusion that you can make hard decisions or play a character that's antagonistic or authoritarian, feels very inline with what capitalism presents to those who live under it. The choices we are presented with are a facade. The representation we are given is surface level and largely unsatisfying. We must act, even in our fantasies, in a way that corporations deem acceptable. We must maintain the status quo.

why are people pretending that sex is the only axis upon which some people willingly enjoy things that hurt/scare them

Turns out people really like me waffling about Narnia on Twitter.

So here’s a more hopeful spin on Susan Pevensie. (From the author’s pen to your eyeballs.)

The more I saw the more impressed I was

Dragon Age Ukiyo-e Character Fan Art - Created by Dakkun39

Follow the artist on Tumblr!

I apologize for my brief recommendation of the further novels, as it was without context and born out of my excitement for the books. Frankly, I wrote it with the assumption that whatever my feelings upon the matter you already had your own, and would do whatever you wished no matter what I said. Having said that, I will now write the reason I so quickly recommended the books without giving you context.

Reading Bujold, for me, is a baseline to expand one’s empathy for others. All books do this, to an extent, but Bujold does it with particular finesse, and with, I admit, a dry irony I very much enjoy. She writes humans who push the boundaries of how we define humanity and asks us to expand our definition of humanity to include them.

Within her books she discusses a wide variety of topics, frequently pertaining to ethics. She is at her best while writing ethical intellectuals. A shortlist of the topics Bujold breaches are, family, identity and self-discovery, redemption, ableism, patriarchy, the mechanics of privilege (from different points of view), tradition and innovation and how they relate, medical ethics, bioengineering, and more (not to mention a generous portion of science fiction ethical dilemmas). Within the world of her books she focuses more upon characters than she does upon science, giving a plausible future scenario in which she can discuss more topics more freely than she might be able to within the modern era.

Shards of Honor was Bujold’s first published novel, and therefore lacks some of the polish and skill of the later novels. She is an author whose writing gets better, not worse, as she progresses. This is even more impressive when you realize that Shards of Honor is no where near a ballpark that could be considered bad.

I do not have a reference for how much you know about the series, so I will now expound a little upon its format.

The protagonist of Shards of Honor, Cordelia, appears as the main third-person narrow point of view for one more book before a time jump and a change in perspective to her son, Miles. Miles is his own protagonist for the majority of the series, though in later books the cast expands. Miles is a complex character that I do not wish to spoil should you decide to keep reading, but he very atypical for a protagonist of his sort, and it leads to a lot of interesting things about the series at large.

In addition, it is important to note that not all of Bujold’s novels are romances. Barrayar, the next book, can be semi-classified as a romance given as Aral and Cordelia are both still present, but I find it more justly fit into a political thriller. All the novels in the series can be called space operas. Furthermore, depending on the book, she writes within the genres of horror, speculative fiction, comedy, mystery, and drama. While this has a potential to be jarring with a less skilled writer, with Bujold, the result is instead a cohesive, interesting universe with realistic societies.

The books do include trigger warnings on rape and torture, though the worst instances are in the scene you mentioned in Shards of Honor, and instances in Mirror Dance much further in the series. The most common just complaint I have heard of her books is a lack of understanding of gender and sexual orientation early within the novels. She does not handle the subject horrendously, as you have likely gathered from the nature of Beta colony, but there are some instances that reveal a lack of understanding into bisexuality and what in means to be transgender. However, this lack of understanding, too, improves as she continues to write.

The series itself is extremely important to me, which doesn’t necessarily mean it will be an extremely important to everyone. However, I would highly recommend you continuing to give it a chance. I did not receive the impression you particularly disliked it, but rather you enjoyed it well enough, but not enough to derail your reading for the next month as you finished the series. I strongly urge that you do. Personally, I find it some of the most poignant books ever written on human nature and on human hope, and have long felt the relatively insular community that knows of its existence should expand. It is a series I honestly believe would improve the world if everyone read and understood its messages. It is a story of finding joy in the darkest times, of changing the world, and of the power of human inspiration.

Read further. Just do it.

@unexpected-firestorms replied to your text post

Read further. Just do it

I’m not absolutely opposed to the idea, but I’m gonna need way more of a convincing pitch than that.

I just really love this artwork okay

Star Wars 

Created by Terese Nielsen

"depiction is not automatically glorification" can and should coexist with "some depiction is glorification and you need to be able to tell the difference"

Companions and NPCs I want to see again in DA:D

Because it makes narrative sense:

-Dorian

-the Iron Bull

-Krem

-Fenris

-Merrill

-Sten

-Scout Lace Harding

Because I want to see them 🥺:

-Zevran

-Isabella

-Sera

“I’m thinking ‘bout how people fall in love in mysterious ways Maybe it’s all part of a plan I’ll just keep on making the same mistakes Hoping that you’ll understand” 

Thinking Out Loud–Ed Sheeran

Inktober Day 15. Mysterious. Alabaster, Syenite, and Innon from The Fifth Season by N.K. Jemisin.

First week of #31daysofharry challenge :)