Thread: Sylvia Feketekuty On The Influences Of Emmrich And The Mourn Watch

Chronological Timeline of Dragon Age Media - From "Stolen Throne" to Veilguard

A timeline I put together for my own personal reference, which I figured I'd share. It does not include every single piece of Dragon Age media (for example, it doesn't have all the short stories Bioware has put out or some of the older comics) but it's got all the big ones.

These dates are either taken from the timeline found in the first volume of "The World of Thedas," surmised from evidence within the stories themselves, or in a few cases provided by the writers and creators.

Events listed under the same year are not necessarily listed in chronological order, as it's often not clear in which month specific events took place.

9:00 Dragon

The events of "Stolen Throne" (novel)

9:10 Dragon

The events of "The Calling" (novel)

9:22 Dragon

The events of "Dawn of the Seeker" (animated film)

9:30 Dragon

The events of DA:O begin

The events of DA2 - Prologue

9:31 Dragon

The events of DA:O conclude

The events of DA:O - Awakening (DLC)

The events of DA:O - The Golems of Amgarrak (DLC)

The events of DA2 - Act 1

9:32 Dragon

The events of DA:O - Witch Hunt (DLC)

9:34 Dragon

The events of DA2 - Act 2

9:37 Dragon

The events of DA2 - Act 3

~9:31-37 Dragon (exact dates unknown)

The events of DA2 - Legacy (DLC)

The events of DA2 - Mark of the Assassin (DLC)

The events of "Redemption" (web series)

9:38 Dragon

The events of "Silent Grove" (comic)

The events of "Those Who Speak" (comic)

The events of "Until We Sleep" (comic)

9:40 Dragon

The events of "Asunder" (novel)

The events of "The Masked Empire" (novel)

9:41 Dragon

The events of DA:I begin

The events of "Last Flight" (novel) begin

9:42 Dragon

The events of DA:I conclude

The events of "Last Flight" (novel) conclude

~9:41-44 Dragon (exact dates unknown)

The events of DA:I - The Descent (DLC)

The events of DA:I - The Jaws of Hakkon (DLC)

9:44 Dragon

The events of DA:I - Trespasser (DLC)

The events of "Knight Errant" (comic)

The events of "Deception" (comic)

~9:44-45 Dragon (exact date unknown)

The events of "Blue Wraith" (comic)

9:45 Dragon

The events of "Dark Fortress" (comic)

~9:44-51 Dragon (exact dates unknown)

The events of "Tevinter Nights" (short story anthology)

The events of "Absolution" (animated series)

The events of "The Missing" (comic)

The events of "Vows & Vengeance" (podcast)

~9:52-54 Dragon*

The events of DA:V begin

*From what I could find, there is conflicting information from different devs as to the exact year that Veilguard begins. If anyone has newer information or an official answer, please let me know.

Rook: sooo, i got the lighthouse as a base, this cool structure in the fade. how were you guys adventuring?

Inquisitor: i had a castle in the frostback mountains called skyhold

Hawke: well, we lived with my uncle for a bit and then i had a house in high town of kirkwall

Warden: ...

Warden: tent in a forest

Types of Possessions in Dragon Age world

Monsterification:

The possession can involve strong emotions but doesn't have to (it depends on the case, as it's hard to assume rocks or dead bodies have emotions, but places within the game can have lingering echoes of strong emotions that make such possessions more likely to occur within such area - spirits will just possess whatever).

It's unclear if such possession needs consent to occur.

The possession can be forced by a third party.

The person that gets possessed gets horrifically transformed.

The transformation can't be reveresed after it happens.

The person is driven mad by the transformation.

The possession can be prevented by Litany of Andralla.

Example: Slavren (DAO), Witherfang (DAO), Olivia (DA2)

There are other types of this type of possession that include objects, animals, plants or even corpses. It includes creatures such as: Sylwans (possession of a tree), Arcane Horror (possession of a mage's corpse), Rock Wraith (possession of a rock), Reverant, Skeleton (possession of a corpse), werewolf (possession of a wolf) and more similar cases.

Puppet:

Person that gets possessed is trapped in the Fade.

Demon takes over the body and wrecks havoc all around, but isn't physically present inside the body of the host (?).

There is no transformation of the body.

The person can be saved by killing the demon in the Fade.

Needs established consent (with demon it will be a deal).

Examples: Uldred (DAO), Connor (DAO)

Teacher:

Person that gets possessed is a living willing host.

It's the opposite of the Puppet - person and the spirit coexist in a type of symbiosis, while the person is taught by the spirit.

There is no visible transformation of the body.

Person and a spirit can be separated via special rituals.

Example: Sigrid Gulsdotten (DAI: Jaws of Hakkon)

Impersonator:

The possessed person is already dead.

Spirit / demon is convinced they're the dead person or posses all the memories of the dead person as if they were them. (Demon may refer to the host as "food" separating itself from the host, while spirit will be confused by the memories of the body).

There is no visible transformation of the body, in fact the body is to some extent preserved thanks to the possession. (In case of a demon there is a second voice hearable when the person speaks).

Example: Sophia Dryden (DAO: Soldier's Peak), Kristoff? (DAO:A)

Revival:

The possessed person is already dead.

The spirit enters the body of the dead person and revives them. It's unclear if the spirit simply ties the soul of the dead person back to their body or assumes the role of said person. (It's quite possible that the spirit could think they're the person that already died or that the soul of the dead person turned into the spirit).

No visible transformation of the body, voice or personality.

No emotional outbursts.

Example: Wynne (DAO)

Merging:

The possessed person is a living willing host.

The spirit and the person merge into one being.

It's not possible to separate them as they're already one.

No visible transformation of the body. (Possible visible veins of the Fade light and change of the voice when the spirit is fronting).

Possible emotional outbursts. (Due to taint corruption?)

Possibly person and the spirit loose sense of selves with time to become a fully integrated single personality.

Needs established consent (with demon it will be a deal).

Example: Anders (DA2), Flemeth (DAO, DA2, DAI)

Note: i wanted to add Cole here, but when I was writing down the criteria I noticed for possession I realized that Cole is a spirit that impersonates the dead person, not a spirit that took over his body. (Correct me if I'm wrong here, because I'm pretty sure he was seen as a free roaming spirit that just looked like a human - like the spirits of the old that could just randomly take on the mortal looking body).

Rhythm and Breath in Dragon Age: Inquisition

Inquisition plays around with a couple recurring rhythms:

iambic pentameter (dagger skill tree, Maryden)

trochaic tetrameter (Saga of Tyrdda Bright-Axe)

the cadence from the song Hallelujah (Solas)

Many folks have already written technical comparisons of these different rhythms, but I specifically wanted to talk about how they handle breath.

Without even paying attention to the word content of these rhythms, the breath patterns help set the mood. Are my breaths regularly spaced? Am I gulping for air? Am I breathing slowly and calmly?

As we go through the different rhythms, try reading them aloud to see where your breath lands.

Iambic Pentameter

Iambic pentameter is a five (penta-) foot meter, where each foot is an iamb. An iamb is a two-syllable “da-DUM” sound, an unstressed syllable followed by a stressed syllable. So each line has 10 syllables total.

Here’s an example from the dagger skill tree, with the feet color-coded:

You leap through shadows to attack your foe

With deadly strikes that hit them from behind.

Before your target turns to face your blow,

You move to stealth, impossible to find.

If we read this aloud, we find that 10 syllables is a lot! There are very few mid-line commas, so we naturally want to breathe between lines. But each of those breaths needs to last for ten syllables. If we don’t want to pass out, we’re reading the lines a bit faster than we normally would.

The iambs add even more forward momentum. Since we need to save more breath for the second syllable in each pair, we hurry slightly faster over the unstressed syllables.

Because we keep repeating that same syllable count and stress pattern, the overall effect is one of speed and precision. This is a rogue rapidly making blow after blow after blow with their daggers, hitting every single time. This is Maryden rattling off each sentence with perfect poise and musical training. There’s no time here for thinking; no room for mistakes. The next line is going to be ten syllables too. And the next. And the next.

Trochaic Tetrameter

By contrast, the Saga of Tyrdda Bright-Axe only has 4 (tetra-) trochees (DUM-da) per line. On every other line, the final unstressed syllable is dropped (catalexis).

That’s a lot of jargon, let’s color code the feet:

Tell the tale of Tyrdda Bright-Axe

mountain maker, spirit’s bride:

Free, her people, forged in fastness

made in mountains, hardy hide.

This is a classic meter, often found in nursery rhymes and folk songs. Because there’s only 8 syllables per line (plus lots of mid-line commas), we can read each line at a casual pace, without speeding up. The catalexis adds extra emphasis to the rhyming lines, since we get to the last (7th) syllable with more breath to spend. And even within each foot, we don’t have to manage our breath as much, because the stressed syllable comes first.

This creates a comfortable rhythm that lends itself to memorization and recitation. We can easily imagine this saga being passed down beside a campfire.

Hallelujah

Since the Hallelujah cadence comes from music rather than poetry, it has an additional kind of stress, the mid-measure secondary stress.*

We don’t exactly have feet, but we can color code each measure:

I lay in dark and dreaming sleep

while countless wars and ages passed.

I woke still weak a year before I joined you.

For the first two lines, each measure is 4 syllables long, so we get 8 syllables in each line, similar to the Tyrdda poem. If we read it aloud, it’s easy to do it slowly and thoughtfully. The secondary, quieter stresses also create an echoing effect, which emphasizes that Solas is thinking about the past.

Then the last line goes absolutely bananas. It abandons the unstressed-stressed repetition and gets much longer, flying up to 11 syllables — even longer than the 10-syllable lines in iambic pentameter.

Additionally, Solas tends to glue the first two lines together, which is SIXTEEN syllables, so they sound closer to an octameter** than the tetrameter(ish) sound of the original song.

The overall effect is of someone trying to be measured and thoughtful, but partway through he gets hit with nostalgia and the lines spill out in a long breathless rush. Bro has to speak quietly so he doesn’t totally run out of air.

*Music theory sidebar: Leonard Cohen’s original version is in 12/8 time, so the secondary stress isn’t as prominent. It shows up in one or two verses, but not all. A lot of the subsequent covers, including k.d. lang’s, sound more like 6/8. That means every measure has a 2-beat count: 1-2-3 4-5-6. I think the 6/8 version fits Solas’ speech pattern a bit more. But he’s not singing, and secondary stresses are harder to place. Syllables don’t have to align 1:1 with melody notes (in fact, in Hallelujah there are several places where the syllable alignment changes from verse to verse). So someone else could easily hear a slightly different stress pattern.

**This implies a cursed version of Solas where the last line is omitted and he’s actually syncing his speech to Modern Major-General.

Ferelden and the Sea

Ferelden had never been a seafaring culture... (The Stolen Throne, p. 209)

Arl Rendorn's objections in private had been strenuous. He did not trust the sea, like any good Fereldan... (The Stolen Throne, p. 216)

The Fereldan distaste for the sea comes up multiple times in The Stolen Throne and I don't think any later canon has really contradicted this. Unlike other coastal nations like Antiva and Rivain, Ferelden lacks any substantial naval forces or seafaring culture.

This is really odd for a nation bounded by the sea over more than half its borders, a nation with a whole handful of major ports. And based on that line about Arl Rendorn, it doesn't seem to be merely a worldbuilding oversight but an active cultural distrust for the sea.

Why would that be the case?

It's always worth remembering that in Dragon Age, humans are not native to Thedas and therefore did not evolve on this continent the way humans and human cultures have evolved in the real world. To the best of our present knowledge, humans have only lived in Thedas for about 4000 years, give or take. They came from somewhere else, and they presumably brought cultures with them. The first humans in Thedas were known as the Neromenians, arriving from the north and gradually spreading across the continent. The human tribes that would become known as the Alamarri are believed to have settled in Ferelden sometime around -2415 Ancient. Legend has it that they came south fleeing their previous home, where they had been troubled by some sort of spirit they called a "shadow goddess."

The Alamarri maintained tribal social structures longer than most humans in Thedas, only uniting to form the nation of Ferelden about 400 years before the present day.

I wonder what beliefs and cultural norms the Alamarri might have carried from the time of the Neromenians that might have caused them to distrust the sea.

We don't know much about where humans came from before they arrived in Thedas, but it seems logical that they came from across the sea. In more recent years, we've seen the presence of a mysterious people calling themselves "the Executors," or "those across the sea." Are they connected to the origins of humanity in any way? Who knows? At this point, we don't have enough information about them to say. The most we know is that they have taken an interest in the recent events in Thedas, and that Solas claims they are dangerous.

But what if the early humans of Thedas remembered some great danger across the sea--something, say, that caused them to flee their original home? And what if the Alamarri held onto those cultural memories longer than most, with their distrust for the sea embedding itself in Fereldan culture to this day, for reasons no one remembers anymore?

no but how popular are maryden’s songs?? i know she’s playing in every tavern we go to but that could be a conveniently identical npc because inquisition didn’t have a ton of models lol

like what kind of notoriety does Scout Lace Harding have? is rook going to feel like they’re meeting, idk, billie jean. eleanor rigby. jolene herself

A list of potential cures for the Calling, that we know about, that BioWare has apparently forgotten

Andraste's grace: it's not specified whether the flower the kennelmaster has you pick in the Korcari Wilds is Andraste's grace or if the game just needed a one-off asset and decided to reuse one they already had. However, in the dark future in DAI, Leliana is found to have unusual tolerance for the taint, and in DAO she talks about her mother pressing her laundry with dried Andraste's grace flowers, so it makes you wonder. Anyway, the flower stops Barkspawn becoming a ghoul and seems to make them immune to the taint from that point on.

Maric's longsword: he finds it in the Deep Roads and is suprised it isn't covered in the same Blight-rot as everything else - until, that is, he touches the sword to a patch of it and sees it wither away. Whether it's the dragonbone the sword is made of or the runes on the blade is difficult to say, though if it was just the dragonbone then it would make sense for that to be a more well-known property of the material (and would have been an interesting reason for why dragons were hunted to extinction). If Alistair carries it with him, doesit slow the progession of the taint through his body? Does he know its effects, and give it to the HoF to help keep them safer on their journey to find a permanent cure?

That obsidian dagger Duncan finds in The Calling: the dagger belonged to First Enchanter Remille - who also gave the expedition members brooches that accelerated the spread of the taint. iirc the both the dagger and the brooches are made by the Architect with Blight magic, which means the darkspawn magisters have more knowledge of how the Blight works than the Chantry attributes to them.

Whatever the fuck is going on with Avernus: he hasn't managed to cure himself yet, but he's managed to make it to 200 and the Warden can let him continue his experiments if they don't kill him - and he'd be a really useful resource if the Warden later wanted to send him other potential cures for testing.

Dragons: they have an ability to isolate the Blight in their bodies by forming crystaline cysts around the initial infection to stop it spreading. Useful if it can be more widely applied. Also, it's implied that Maric's reaver blood, which Calenhad gained by mixing his blood with a dragon's, is what somehow cured Fiona of the taint, kinda like a reverse STI, BUT in the Deep Roads they went through an area where the walls were coated in a pale, chalky substance suspiciously devoid of Blight-rot and she touched it, so I'm a bit suspicious of that.

Blood magic: makes sense since the taint is a problem that starts with infected blood. There are two major instances in DA canon where blood magic has been used to purge the taint from an object or being (both by elves btw). The first is Isseya using it to draw the taint out of a clutch of unhatched griffon eggs, which she says is only possible because the taint hasn't yet taken over the hatchlings' bodies to the same extent that it had with the adult griffons. The second instance is Merrill purging the Blighted eluvian in DA2. It's insane that Anders - who is a reluctant Warden and who possibly knows the HoF seeks a cure - isn't more excited about this. She literally removed the Blight from a fully tainted object. Since Isseya proved the same can be done with living tissue, it's probably the closest we've come to an actual cure, but since it also took years there's no telling if it could be a practicaly solution for all Wardens

Daemon Age: Inquisition

Blackwall & Leojeanne AKA Thom Rainier & Marta

Wire-haired Dachshund (C. l. familiaris)

When Thom Rainier settled, his father did not say anything of note, and his sister could not, for she was dead. The first comments on Marta’s form were made by the dog-hangers, and they said, “Fitting that your daemon would be a little bitch, Rainier!” Thom and Marta both wanted to beat the living daylights out of them. They chose not to. They chose to do nothing.

Blackwall, the real Blackwall, had a black bird. Small, and unnoticed most of the time. The imposter Blackwall could lie and say, “No, no, I have a black dog, not a black bird.” No one did anything. How could someone have the audacity to imitate another man and his daemon?

Blackwall is often covered in bites of unknown origin. Well, he knows. They come from Marta, who delivers the punishments she believes are deserved. She bites and growls and hisses insults at him. Nobody loves you. They all hate you. Thom believes her.

𝑚𝑢𝑠𝑖𝑐 𝑜𝑓 𝑡ℎ𝑒𝑑𝑎𝑠; 𝑟𝑖𝑣𝑎𝑖𝑛 🌻 𝑇ℎ𝑒 𝑤𝑎𝑟𝑚 𝑤𝑎𝑡𝑒𝑟𝑠 𝑜𝑓 𝑅𝑖𝑣𝑎𝑖𝑛 𝑤𝑎𝑠ℎ 𝑜𝑣𝑒𝑟 𝑦𝑜𝑢𝑟 𝑓𝑒𝑒𝑡 𝑎𝑠 𝑦𝑜𝑢 𝑙𝑜𝑜𝑘 𝑡𝑜𝑤𝑎𝑟𝑑𝑠 𝑡ℎ𝑒 𝑠𝑒𝑡𝑡𝑖𝑛𝑔 𝑠𝑢𝑛. 𝑇ℎ𝑒𝑛, 𝑡ℎ𝑒 𝑠𝑚𝑒𝑙𝑙 𝑜𝑓 𝑤𝑒𝑙𝑙 𝑐𝑜𝑜𝑘𝑒𝑑 𝑓𝑜𝑜𝑑 𝑓𝑖𝑙𝑙𝑠 𝑦𝑜𝑢𝑟 𝑠𝑒𝑛𝑠𝑒𝑠 𝑎𝑛𝑑 𝑦𝑜𝑢 𝑑𝑒𝑐𝑖𝑑𝑒 𝑡𝑜 𝑤𝑎𝑛𝑑𝑒𝑟 𝑖𝑛𝑡𝑜 𝑡𝑜𝑤𝑛 𝑡𝑜 𝑓𝑖𝑛𝑑 𝑡ℎ𝑒 𝑠𝑜𝑢𝑟𝑐𝑒. 𝑇ℎ𝑒𝑟𝑒 𝑎𝑟𝑒 𝑎𝑠 𝑚𝑎𝑛𝑦 𝐸𝑙𝑣𝑒𝑠 𝑎𝑛𝑑 𝑄𝑢𝑛𝑎𝑟𝑖 𝑎𝑠 𝑡ℎ𝑒𝑟𝑒 𝑎𝑟𝑒 ℎ𝑢𝑚𝑎𝑛𝑠 ℎ𝑒𝑟𝑒, 𝑎𝑛𝑑 𝑦𝑜𝑢 𝑒𝑛𝑗𝑜𝑦 𝑡ℎ𝑒 𝑠𝑖𝑔ℎ𝑡 𝑜𝑓 ℎ𝑎𝑟𝑚𝑜𝑛𝑦 𝑏𝑒𝑡𝑤𝑒𝑒𝑛 𝑡ℎ𝑒𝑠𝑒 𝑐𝑢𝑙𝑡𝑢𝑟𝑒𝑠. 𝑀𝑎𝑛𝑦 𝑜𝑓 𝑡ℎ𝑒 ℎ𝑢𝑚𝑎𝑛𝑠 ℎ𝑎𝑣𝑒 𝑒𝑙𝑒𝑔𝑎𝑛𝑡 𝑡𝑎𝑡𝑡𝑜𝑜𝑠 𝑝𝑎𝑖𝑛𝑡𝑒𝑑 𝑜𝑣𝑒𝑟 𝑡ℎ𝑒𝑖𝑟 𝑏𝑜𝑑𝑖𝑒𝑠 𝑎𝑛𝑑 𝑦𝑜𝑢 𝑡ℎ𝑖𝑛𝑘 𝑡ℎ𝑎𝑡 𝑝𝑒𝑟ℎ𝑎𝑝𝑠 𝑦𝑜𝑢'𝑙𝑙 𝑔𝑒𝑡 𝑦𝑜𝑢𝑟𝑠𝑒𝑙𝑓 𝑎 𝑑𝑒𝑐𝑜𝑟𝑎𝑡𝑖𝑜𝑛 𝑏𝑒𝑓𝑜𝑟𝑒 𝑦𝑜𝑢 𝑙𝑒𝑎𝑣𝑒. 8𝑡𝑟𝑎𝑐𝑘𝑠 / 𝑌𝑜𝑢𝑡𝑢𝑏𝑒

I think a lot about the fact that Leliana and Sera were young orphan girls from working class families who were adopted by human noblewomen... how Leliana took to that life like a fish to water and Sera rejected it wholesale: the material excess when others have nothing, having pride in something you didn't earn but were lucky enough to be born into. But Sera being an elf meant her life with Emmald was never going to be the same as Leliana's with Cecilie. The music and etiquette lessons that carried Leliana are harsh reminders of a life that didn't make room for someone like Sera.

They're both religious but their faith leads them to the same conclusion: no one should be excluded based on who they are and no one is without worth. They're rogues who love pranks and teasing their friends, they love ✨️ WOMEN ✨️ and are vocal about it, they're willing to sacrifice themselves and gut their enemies if it means protecting their people. They're steadfast friends and devoted lovers. Leliana learned her archery skills from Marjolaine - a nobleman's sport, a game to mirror The Game, 'I made you, Leliana. I can destroy you just as easily' - while Sera learned by the sweat of her brow, practicing until the arrow hit its mark more often than not and her arms no longer shook. There are no tutors in back alleys.

Leliana forswore her old ways for the ascetic life of a Chantry sister (before taking up arms to defeat the Blight); Sera inherited Emmald's fortune and gave it all away to orphaned children despite herself being hungry and homeless, because Sera is kind and because the knowledge of where that money came from was more painful than the joy of spending it.