…And you absolutely need to watch it.
Critical Role is a show streaming on twitch every Thursday. A bunch of nerdy-ass voice actors roll dice and play Dungeons & Dragons – in the words of Dungeon Master Matthew Mercer, at least. It also just happens to be my current obsession, as I am in the fourth rewatch of it while also getting up at 4 AM every week to watch the newest episode as it is streamed. And sometimes even twice a week to catch the after show Talks Machina on Tuesdays.
(Sidenote: That’s 4 AM German time. It’s 7 PM California time where they’re filming, and you just do your own math from there.)
All episodes are available on youtube and Geekandsundry.com, the entity behind this shindig, where they’re uploaded on Mondays after airing, but only accessible via the Geek and Sundry website for about two months or so. They’re immediately available after airing if you subscribe to the twitch channel (which you can do at no additional cost if you have an amazon prime account) or pay for access on Geek & Sundry’s own streaming service, alpha, which has additional overlays, snarky written commentary, and half an hour of extra content of Talks Machina.
And I mean, if that one sentence premise already sounds appealing to you, my job here is done and you can just follow up on the links and get started immediately. Just, be warned, the series is a bit like TV Tropes, it will take over your life for a while, and demand a whole damn lot of time.
In fact, as I am writing this, episode 88 is coming up next Thursday. That’d already be a hefty number for your average hour long television series; almost 4 full seasons worth, really. The problem is that the episodes aren’t an hour long. They average in at around 3, with some pushing five hours – such as 2016’s final episode, 79 did, which featured the finale to a 40 episode story arc and had me seriously worried about whether I’d make it to my dentist appointment at 9:30.
As of episode 78, without the breaks and Q&As and “Critmas” segments during which the cast opens presents sent to them by the viewer base, there was more than 300 hours of pure story content available.
So, yeah, catching up takes a while, and the show isn’t ending soon, either. It’s a bit of a commitment. The sheer amount of time needed is prone to scaring off people from even starting the series, so this piece right here will be my attempt to counteract that.
If you like your content in a neat TL;DR slide form, there’s also a presentation you could watch.
The Lay Of the Land
So, first things first, the show has almost no visuals beyond people sitting at tables, rolling dice, fumbling with paper, eating, drinking out of occasionally oversized mugs, and making faces at each other. And everything except for the faces is completely unrelated to what is going on in the story at any given moment, unless Matt Mercer goes into full monster mode.
Well, and in later episodes sometimes there’s really fancy battle maps.
And now while the cast interacting with each other is basically the best thing about this, they’re also all trained voice actors, and since everything lives and dies from Matt Mercer’s ability to tell a story and impersonate characters and monsters and whatever else you need, you can very comfortably listen to these episodes like you would to a very long podcast. I hear that’s very nice for a dedicated workout or something. Personally, I use them as audio books to go to sleep to a lot myself.
Sitting down and watching a 3+ hour episode in one sitting without being bored is also completely possible, of course. Even if you catch a slow episode and not much else is going on, the cast is very, very nice to look at.
Death is Cheap, Until it isn’t
One oddity out of the way immediately: This is a D&D campaign. In D&D, once you have access to a decently leveled cleric, death becomes a minor inconvenience so long as there’s a body left. Drag their cold, lifeless asses to the next temple, pay a fine for the spell maybe, bam, back to live they are. Those are the base game mechanics.
Matthew Mercer puts a homebrewed twist on that, in that there are dice rolls involved. There essentially need to be offerings to bring the soul back to the body, and you can fail these offerings. And even if you succeed, there’s a chance the ritual itself might fail, as it all ultimately depends on one last die roll made by the DM.
Now, mathematically speaking, this still makes resurrections easier than collecting all the dragonballs, but the characters don’t act like that at all.
Death has happened on the show, so much so that at the time of writing this, only 2 out of the 7 lead characters haven’t died, and several who have died more than once. But this apparent “cheapness” of death is never, ever felt, since every new instant of death reduces the actors to sobbing messes, sparks some of the most raw and intimate character moments, and deeply affects characters even after being resurrected.
And those are always some of the best moments and episodes – death may be cheap-ish, but it is never laughed off.
Where To Start?
Episode 1 is not very beginner-friendly. If you are familiar with tabletop RPGs at all, you are well aware that most adventures start with a group of characters who all kind of suck meeting at a tavern and going to kill monsters of little consequence. Or answering a post on a job board of sorts. Or meeting in a prison cell.
Critical Role, however, starts after the cast has already been playing together for two years or so. They’re around level 9, no one is introduced beyond
the character background videos (that you should watch once or twice no matter where in the story you’re going to start), and they’ve even already been given the quest they’re on (rescue a Halfling paladin called Kima who went missing during her vision quest in the Underdark).
I tried starting with the first episode once and was very annoyed and very bored with it all. It’s still an excellent episode, just not an excellent start. If you’re anything like me, you need to be invested in something to care about what’s going on. And while I wouldn’t recommend my particular route to catch up, there are several ways to go about it.
See, since the show has just SO. MUCH. CONTENT, it only make sense that is has various different things to offer. It’s all about what you want to see, really.
…Though no matter what that is, start with the character introduction videos, the write ups of the characters I will do next week, and also the backstory video they made, explaining what happened before the stream started.
And also this video to get you going.
I just want people sitting around and having fun playing a D&D campaign!
…That’s cool. That’ll be episode 1 for you, pal. Or literally every other episode ever. But the one thing you can say about the beginning is that it feels the most like the classic playing a game around someone’s kitchen table approach to these things. The story arc is very self-contained, on the shorter side with 13 episodes, the stakes are… The lowest they’re ever at until like where we are now (at episode 86, before the real new arc has really started), and it’s the closest to classic dungeon delving we ever get.
I want a quick start on the characters and then some light-hearted fun!
Well, who doesn’t? In this case, I’d recommend skipping the first 13 episodes, and catching the tail-end of things in episode 14.
That way, you meet all the characters in their natural habitat, whereas the Underdark has most of them out of their element in one way or the other.
Here, they’re all at their best and most natural, and the dynamics are easy to pick up on. You also get introduced to Kima, Allura, and GILMORE! Who are probably the most frequently reoccurring and most highly regarded NPCs in the entire series.
Another nice feature is that you first get to feel out how the party interacts with each other, and then see that challenged when they’re forced to split up for four episodes and play nice with different people. The entire Vasselheim arc (episodes 14-23) is just excellent for that, even though it’s mostly smaller adventures for 1 or 2 episodes at a time that are very much self-contained. Of course, that also means there’s not much continuity for you to keep up with, so you can basically dive right in.
I want intrigue, suspense, horror, and drama!
Shady characters from a party member’s past come a knocking, causing the party to try and play the political game for a bit to oust them on a public stage. When that plan goes tits up (like most plans do), they have to clear their names and find a city overtaken by undead and other dark shit, causing them to start a rebellion against forced darker and more evil than they could have anticipated.
Oh, also, not just the city is overtaken by dark shit, a party member’s mind is, too.
This arc, usually referred to as the Whitestone or Briarwoods arc, is where the show really came into its own, and where you really start to fear Matt Mercer because he is mean and brutal and probably some shade of chaotic evil. Well, neutral, because at least he sometimes feels sorry about torturing everyone.
Everything’s close and personal, the relationships between party members really start to pay off, and some of the most iconic moments happen during this time. It is also one of the most well-handled vengeance arcs I have ever seen, the effects of which are still being felt 30-40 episodes later.
Just get me to the big, exciting fights already!
Well, I mean, all of the fights are big and exciting to a degree, but okay, I hear you.
So, the biggest, baddest, and longest arc of the series starts in episode 39 (but starting at 37 helps for context). It’s the point where the series goes from some dungeon and almost no dragons to no dungeons and way too many dragons.
There’s a lot of build-up to the individual dragon fights, and a lot of character development happens in-between, and oftentimes, it’s not the actual dragon fights that hit the group the hardest, but the callbacks to their personal arcs.
Your road to all the important fights goes thusly:
64 – 71: Draconia/Vorugal, also Percy’s issues come back with guns for the most devastating fight to the group yet in 68.
79 – 83: Endgame. But I really don’t recommend starting there, because there’s a LOT of personal issues leading up to these episodes, and they just don’t pack the same punch without dealing with those.
How about some good, old fashioned fetch quests?
Oh, oh, absolutely! These intersect with the dragons, though, because why settle for one classic when you can have two in technically the same 40+ episode arc?
See, to properly fight way too many dragons, you need the appropriate swag. And the so-called Chroma Conclave arc is basically a steady back and forth between getting the swag and fighting the dragons. And of course, the required items are spread far and wide between fun locations on several planes of existence, which more often than not cause amazing shenanigans.
59 – 63: Feywild arc
65 – 67: Ank’Harel arc
74 – 76: Elemental Plane of Fire arc.
As you can see, it is pretty intimately intertwined with the dragon fights, so you can basically just start with 39 and keep going from there for the most context and best character moments, but, after all, this piece is trying to get you to start the series in a way tailored to your personal tastes, so if you find any of these things individually appealing, more power to you. Speaking of which…
…uhm, I actually would like some romance? If that’s okay?
Oh. Oh friend, there is nothing wrong with that. And unlike most tabletop RPG campaigns I have sort of witnessed at one point or another, this series actually has romance in it. Two. Three. Maybe four. Sort of. It’s complicated. Oh my god, technically five. Six. Aaah, I need to stop counting.
Okay. So, first of all, the romance angle is what got me actually invested enough to watch from start to finish. I mean, not that I don’t appreciate a good narrative without any romance in it, but in case it has been too subtle so far, apparently I am also the go-to person for shipping on this site now. Not that I don’t actively encourage that.
There’s a few ways to go about this. Thing is, the romance arcs between the actual player characters are very closely tied to their personal development, so it’s all interspersed with the crazy amount of episodes we have. This is why I’d argue that the couples that do end up being sort of canon at some point very organically developed out of the narrative, but as is always the nature of things, party of the fandom will violently disagree with that. Violent disagreements will be covered in another piece on this, though.
If you want the most bang for your buck, you kind of need to start with episode 14 and go along for the ride (which ironically was also the episode I recommended for the most character development, amazing how that works, isn’t it?), but I understand if that’s too early for you and you want to be caught up eventually.
Now, for some reason, when left completely to their own devices, the cast somehow managed to have their characters hook up in like a Pride and Prejudice/Much Ado About Nothing formula:
There’s one pairing that is established kind of early (if you call the early thirties kind of early), and then delayed for another thirty episodes because of drama, misunderstandings, and other stuff like the world ending. They take up some space in the narrative, and in-universe, are basically the main ship up to a point. It’s just that for that pairing you’d have to start at like episode 20 and wait 45 episodes for a resolution, so, uhm, as much as I love them, it’s not what I’m recommending here.
No, what I’m recommending is starting at episode 57. Both because it is one of my absolute favorites ever, and because from there on up until… Uhm. It’ complicated. 72, 78, 87, ongoing? You get the most neatly condensed little romance arc the show has to offer so far. It’s not the main plot, ever, at all, but it’s the most condensed build up and payoff in that regard.
Technically, that particular ship canonically (as in, the actors said so) started way early, like episode 5, and you can also see it coming (if you’re paying attention, as a lot of viewers inevitably don’t) from the early 30s onwards, but yeah. This would be the secondary pairing that sneaks up on you, and yet ends up being the fan-preferred one. But unlike in the examples I listed, there’s not even a little initial dislike. For any of these.
Boy, don’t ever let me ramble about romances, I have a series to sell here, dammit.
I want adventure in the great wide somewhere!
Full speed ahead, not knowing what’s coming? Well do I have a suggestion for you!
See, that 40+ episode arc we had just wrapped up. The episode coming up the next Thursday from when this was written is 88. And right now, it’s actually kind of easy to just jump right in.
Like, I’ve seen people recommend starting with episode 86 and then catching up, but I’d actually say, for maximum catch-up in minimal time, watch the first half of 84, the second half of 85 (timestamped here for your convenience) and then just watch from there. Admittedly, the second half of 84 is a nice illustration of how shell-shocked and paranoid the party has become after years of adventuring and betrayals, but nothing really happens, so you can skip that. The first half of 85 is a really cool one on one fight though, so watching that is fun, and makes the second half hit harder even if you have no real idea what’s going on.
Your catching up can then also be finding out all the things Scanlan Shorthalt willfully misconstrued, which is a fun perspective to have.
But besides that, the stakes have never been lower, and the character literally embark on a side adventure far away that is related to one of them personally, but not in a way you necessarily need to have any more context for than this. It’s Aang going to the northern water tribe, in more ways than one. Strap in and have fun!
Though I mean, at the end of the day, you could probably tune into just about any episode of the show and get something out of it, no matter at what part of the story you jump into. Because…
It’s all about the Characters
Remember how someone did the math that there’s over 300 hours of content for this series? About two thirds of that is entirely devoted to character interaction and development.
Just think about that for a moment. That’s more character development than anything but the longest running procedurals or soap operas ever got in – and with the same cast, mostly. That means that literally everyone, even the side characters all played by Matt Mercer, gets in hefty amounts of development, even the ones that are more easily brushed off as gag characters. Like, my first reaction to the first episode was “Oh, great, everyone’s elves, why the fuck is there a guy with a gun in a fantasy setting, and oh, wow, they have a giant guy who hits people, and a tiny guy who hits on people. Really original, that.”
The latter two are archetypes of characters, especially in a fantasy setting, that I just loathe. The latter two are the only characters on the show to date who have made me bawl my eyes out. And I basically never cry about fictional stuff. I will yell about it, a lot, but not cry. So, kudos.
And I mean, proper investment in the characters can make any crap show of a narrative work. Ask me about my decade in the Naruto fandom some time, oh boy that’s going to be fun. But the thing is, the narrative Matt Mercer creates is just an almost perfect balance of external and internal threats; we basically alternate between taking down threats to the world and facing the characters personal demons. And the narrative is excellent in challenging the characters to grow as people and as a group.
In a quick aside, while there is bad and dark shit happening a lot, it seems to me that the narrative as a whole actively defies the grimdark. There is always brightness, always hope to be found, and that is something assured by both the DM and the characters themselves. There’s entire episodes devoted to them finding levity in the darkest moments, and encouraging each other to hold on hope and all that mushy stuff that never feels mushy but entirely earned.
But it’s also kind of about the actors
So there’s no real script. Matt Mercer has the external threats, the overarching narrative planned out to a degree, but if you have any experience with tabletop RPGs at all, you are fully aware that you can never account for what curveballs the players are going to throw your way.
Hence, every interaction and all that delicious development I mentioned, is improvised. It’s improv sessions with dice. It’s a group of predominantly voice actors (though most if not all of them have some experience with stage and screen acting as well) improvising what their characters would do or say in any given moment.
The thing is, they have been with these characters for almost five years now. And this is something I say both as praise and out of exasperation with the fandom – they know what they’re doing. They know their characters really, really well, and have been working on them constantly, every week, since the show started almost two years ago. They know their shit, and seeing how they have acted in all kinds of narratives before, they know what appeals to them, what doesn’t, and what they’d like to try out for their characters.
What I mean to say is, watching this show makes an excellent case for just trusting your actors with the material, even in a show that isn’t all improvised. I know many a scripted show that might have benefitted from that on occasion.
The other side of the coin is that these people have also been playing a game together for almost five years now, and they were friends even before that. This is weird, I know, but part of the charm of the show, and one of its biggest strengths in my experience is just how much these people love and respect each other, in-character and out.
At its core, this show is about a group of friends having fun together. Usually while playing D&D, or while on their own talk show. There’s copious amounts of footage of them just unwrapping presents from the audience together. Sometimes they play Just Dance. And sometimes they throw cream at each other’s faces for a good cause. They also basically constantly mock each other over twitter, so you know where the casts of most shows have falling outs over the years, these guys are still as tight as ever.
So, yeah. Critical Role is my favorite thing right now, I adore almost everything about the story and the people involved, so much so that I can’t shut up about it and next week, will deliver a lengthy introduction on all of the characters and actors, because as described above, it’s a bit of a package deal.
Images courtesy of geekandsundry.com
Waiting for Katoh: Romancing the Iron Bull in Dragon Age
Inquisitor: It’s a little unnerving that you have this down to a system.
The Iron Bull: Systems are comfortable. And my goal is for you to get… very comfortable.
Spoiler Warning for Dragon Age: Inquisition
NOTE—CONTENT AND POTENTIAL TRIGGER WARNING: This post includes some respectful yet candid, open and potentially NSFW discussion of The Iron Bull’s DAI romance (and its BDSM elements). Please proceed with caution and full awareness.
Once upon a time, I’d been dreaming of romancing a prince in a videogame. Then I played Dragon Age: Inquisition and stumbled across The Iron Bull.
He was everything I hadn’t wanted. And he was perfect: funny, brilliant, sensual, and caring. I fell flat and (thinking I was on my way to an adorable Beauty and the Beast-style romance for Bull and my little blonde Inquisitor) instantly decided that he would be mine.
Pretty soon I began to realize, however, that this romance was not going to be as easy as I’d expected. Despite his purported availability and enthusiasm, Bull didn’t show much interest in my Inquisitor’s charms at all, and had instead spent dozens of hours in-game smilingly ignoring her efforts. Months, in game-time. Months. My poor Inquisitor was not a happy camper. (Please note that I’ll be generally referring to the Inquisitor as “she” throughout this piece since I’m discussing my own playthrough, but of course as Bull is pansexual, the Inky can be any gender preference the player chooses.)
At first, I hadn’t found Bull attractive—he was intimidating, this big, hulking guy who just wasn’t my type at all. But then, as I described, I started to realize what a fantastic and complex character he was, and soon I was gazing at Bull with glowy pink hearts in my eyes, just like pretty much everyone else in Thedas:
Cole: The Iron Bull, a woman in the last village wanted you to pick her up and take her clothes off.
Iron Bull: Most people do.
Cole: In her mind, you were very big.
Iron Bull: Well, that’s flattering.
But meanwhile, I wasn’t getting anywhere, and my poor Inquisitor’s flirts weren’t seeming to have any effect at all. Then, although I was trying to avoid spoilers, I saw a comment that eventually Bull would show up in the Inquisitor’s quarters when his approval was high enough. So (hilariously) in between flirts, my poor Inquisitor started running back up to her room to see if Bull would show up there. (Just in case you thought this couldn’t get anymore embarrassing…)
But my Inky kept flirting, determined to win Bull’s heart. And then he finally showed up in my Inquisitor’s quarters, and everything changed. And I basically fell out of my chair at the options he presented, because they were a hell of a lot more eyebrow-raising than “So, hey, I got you a rose.”
This was not at all the fairytale I thought I had been pursuing… but it was fantastic writing from Bull’s writer (fantasy novelist Patrick Weekes). And beautifully character-appropriate.
First off, the reality: when it comes to romance, Bull’s in a league of his own. I mean, let’s be honest—a few frilly words with Solas and Cullen and you’re making out on the rooftops.
But as I mentioned, Bull’s different. There’s no reaction at all. (I always picture him reacting with faint amusement, like, “Nice try, Boss…”) Until, one day, finally, there’s a reaction. The day arrives, when you’ve made so many overtures that Bull himself couldn’t fail to acknowledge the signals. Victory is yours, on the night Bull shows up in your quarters out of the blue, and he finally makes his move.
But he’s got a proposition for you. And it’s a doozy. He’s not just propositioning you for sex, he’s asking you to enter a world that may scare or intimidate you just a little.
And just like that, BDSM entered the world of mainstream gaming.
Terms and Conditions
When Bull finally takes action, it’s fascinating, because from a character and story perspective, he’s risking everything on a very specific moment. If Dragon Age: Inquisition were an actual novel (and not the playable novel I believe it actually is), I’d be fascinated to know exactly what caused Bull to go, “Okay. It’s time.” Was there a specific flirtatious moment? Or was there an outside cause? It would be interesting, for instance, to headcanon a message from the Qun, or even a proactive decision when he recognizes interest in the Inquisitor from a potential rival.
Either way, Bull shows up, and makes his play. If he succeeds, everything’s changed. If he fails, it would be interesting to wonder what his backup strategy might be… if he’s Qun-loyal, does he then coldly seek out Dorian, for instance? Or is he content to continue to prove himself simply as a captain and companion?
But… on the other hand, this is Bull we’re talking about. He knows human nature like nobody else (humans, elves, dwarves, everyone, etc.). He reads signals and micro-signals. He understands how people are wired. Then he acts. And it’s interesting that when he does, he’s continuing his previous “playing it cool” approach—he’s still holding himself back a bit, a little removed and detached.
Most of all, he’s still playing games. Only this time, he wants you to play, too.
I mean, let’s face it, Bull could’ve taken my Inquisitor up on her flirtations, offered her a jolly night in the sack, and he’d have probably been pretty safe doing so. She would’ve been perfectly happy with this, too, on some level—we already know, from hearsay, that such nights with Bull are perfectly satisfying and that he certainly appears to make sure everyone goes home happy. But as with most situations for Bull, he’s thought this through, and he’s determined that there’s only one specific outcome that works.
And he’s quite aware that it’s not everyone’s cup of tea. Perhaps no other character’s romance is as careful about consent as Bull’s, and your character can say no to Bull’s flirtation with zero hard feelings on either side. Spy or not, secret agenda or not, he’s genial and kind in response:
Iron Bull: …I’m not sure you know what you’re asking. Not sure if you’re ready for it.
Inquisitor (refusing): You’re right. Flirting was fun, but it probably wouldn’t work out.
Iron Bull: Exactly. So don’t worry about it. Let’s just keep killing things. We’re really good at that. For what it’s worth, though… you would’ve been walking funny the next day. Anyway, nice talking with you. Have a good one.
I mean, Bull handles rejection like a champ here (and elsewhere, as our Inquisitor can turn him down here, break it off the morning after, or when their romance is discovered, among other occasions). I really like that he’s not kidding about there being zero repercussions or hard feelings.
An Object of Obsession
Meanwhile, let’s get back to motives for a moment. If Bull’s motive was simply to seduce the Inquisitor, he could’ve done this months ago (in-universe), couldn’t he? And if his goal was just sex, again, wasn’t this already within reach for him fairly quickly?
Instead, he’s still playing chess, still being strategic to shore up his position in the long game. From a character standpoint, my impression is that he’s willing to risk losing because he’s confident enough in his own skills, his own abilities at reading and understanding human nature, to do so.
My take here, in fact, is that he’s willing to gamble because if he’s right in his assessment here (whether Qun-loyal or Tal-Vashoth, depending on the outcome of “The Demands of the Qun“), Bull won’t just have the Inquisitor as a casual bedmate, he’ll be providing them with a relationship whose demands satisfy a need previously unrecognized within the Inquisitor herself, and in ways only he can satisfactorily meet. In short, he’s positioning himself fairly coldly to be the object of a sexual obsession. And he’ll gain a potential (and high-ranking) chesspiece in his play to both control or affect the Inquisition as well as for his potential return to the Qun as a power player despite his past sins (at least, as an option).
Which is where the BDSM aspect of Bull’s romantic proposition to the Inquisitor comes into the picture.
It shouldn’t be surprising that, in the bedroom, as elsewhere, Bull’s secretly all about power dynamics and exploiting those for his own benefit.
Waiting for Katoh
It’d be one thing for Bull to make his move as an uncomplicated typical romantic overture. Basically, the kind of scenario where he’d say, “Hey gorgeous, Bull here. If you’re agreeable, let’s finally hook up!”
It’s quite another for him to show up in your quarters unannounced (a great and subtle way to start the scenario with the Inquisitor off-balance), to say, “So… I’ve gotten the messages. I get what you want. And it’s tempting. So let me make you an offer in return: What if I promise to give you everything you want, plus that escape you crave, but only on my terms, and at the sacrifice of full control, in a scenario that demands your absolute trust? While, in addition, possibly changing your entire outlook on who you thought you were?”
Um… No big deal, right? The only problem is, Bull is asking for that absolute trust, that willingness to be completely vulnerable… after he himself has already openly told us, at that point, numerous times, why he himself should not be trusted. If we’re paying attention. So it’s a pretty fascinating and fraught situation from a story standpoint, and one that provides the potential for a surprising amount of tension and drama. And if he’s working an agenda, and we don’t gain his loyalty (in “Demands of the Qun”) the outcome of the story that begins here is truly heartbreaking at the conclusion of “Trespasser.” (People, save the Chargers. Just please, always save the Chargers.)
Meanwhile, no matter what Bull’s agenda here, as I mentioned, Bull makes his move with care, respect, and delicacy. He ensures consent—not once, not twice, but three separate times. The consent aspect is important and even somewhat poignant if you think about it, because Bull himself comes from a culture in which sexual consent, at least in the big-picture sense, is nonexistent. In life under the Qun and elements like the Qunari breeding programs, what or who you want personally doesn’t matter. The Qun is all about the collective good. Individuals either assimilate, do what they’re told (or who they’re told), or they die.
All of this is why, for me, Bull’s emphasis on consent here is a vital and very telling character note. (It’s also why criticisms of that consent scenario drive me batty, but more on that farther down.)
The issue of consent is doubly important in Bull’s scenario from a larger standpoint, I’d further argue, precisely because lack of consent has been such a troubling yet consistent aspect of other BDSM representations in popular entertainment, most notably, in stuff like 50 Shades of Grey. (Full disclosure: I haven’t read it, but in researching this, I became aware of the criticisms of the romance and its issues with consent and abuse.) The emphasis Dragon Age: Inquisition places on an empowered and consenting relationship is therefore, to me, culturally important and responsibly done.
We’re Definitely Not in Hyrule Anymore…
In a big-picture sense, seriously, all of this is pretty complex and surprising stuff for a videogame. Because it puts the player/protagonist into a situation in which they might very well react in any number of ways—with discomfort or outright disgust, with amusement or interest, or with enthusiasm and delighted approval, et cetera. (What’s interesting is that the Bioware team was evidently initially very concerned at the reactions from players and was subsequently pleasantly surprised when Bull’s romance was a non-issue for the vast majority.)
Keep in mind that, strategically (if it occurs before “Demands of the Qun”), Bull has everything to lose here in terms of the political coinage he’s acquired with the Inquisitor over his time with the Inquisition. Yet he’s willing to risk it, because he’s gambling as always on his proven ability to read other people. He’s basically saying, “Okay, I’ll give you what you want… but only on my terms… if you agree.” While pretty much already assuming he knows the choice they’ll make.
Right away, when he shows up in the Inquisitor’s chambers, Bull presents her with a series of choices. The short answer? He’s still making sure we’re chasing him (and his approval). It’s all so smart, and so much fun from a writing standpoint. Sure, he’s there, he’s willing… but there’s also that palpable sense that Bull’s also pretty uninvested in the outcome (at least by all appearances). He’s acknowledging the flirtations, but he’s also halfway out the door. It’s calm and deliberate—a far cry from Solas’s, Cass’s, or Blackwall’s passionate declarations of desire or love even against their better instincts, simply because they cannot help themselves. Instead, with Bull, it’s slightly cold, almost amused.
But either way, he makes his offer, and we can respond. And once the Inquisitor consents the third time (in an agreement that’s either more innocent and romantic or that’s more worldly and experienced), we end on a real smile from Bull, an embrace… and then a quick fade to black.
(Honestly, maybe that fade to black was perhaps a little too quick. I’m just sayin’…)
But we don’t jump to the next morning, as we might expect. Intriguingly, instead, we’re shown a moment when The Iron Bull is leaving the Inquisitor’s chambers, and he’s confronted by Leliana, who is stopping by to ask the Inquisitor for input on an Inquisition matter.
Bull’s response there is to tell her no, point-blank. He sends Leliana away—Leliana, our leader, spymaster, and warrior-nun. The person nobody says no to. And he does so with a shrug. It’s intriguing and textbook Bull: “Let her rest,” he says, coolly meeting the eyes of the most terrifying person in all of Skyhold. He’s at ease. He’s also amused, relaxed, and confident. And Leliana, visibly thoughtful about this unexpected development, departs without further comment. (And I love that she never, ever says a word about what she knows here. Nobody keeps secrets like our Nightingale.)
In an obvious sense, Bull’s just done some oddly positive things here. He’s—it’s certainly implied—provided the Inquisitor with the escape and release she needed. He’s also fended off potential interruptions and made sure she gets some much-needed rest.
He’s also just made a major power move. He just told Leliana, in no uncertain terms, that he’s now a factor in the Inquisitor’s life. It can be taken as selfish (“I’m someone you need to take note of”) or unselfish (“I’m here to make sure you give her the space she needs”). Or a combination of the two.
For me, the headcanon read on this scene depends on what the outcome was to “The Demands of the Qun.” If we saved the Chargers, Bull has no more need to apply ulterior motives, and he’s simply doing what he’s best at—caregiving and protecting. If we chose to sacrifice the Chargers, however, Bull’s motives immediately get a lot murkier. (So much so that it’s going to have to be a whole separate blog post in the future.)
Meanwhile, my Inky got her night with Bull. And I’m assuming it was fabulous and delightful and probably earth-shattering on a number of levels. But she certainly had some questions the morning after (and so did I).
The best part is? He answers them.
Warnings and Watchwords
It’s interesting that Bull’s seduction has a decidedly cool element, a visible detachment, yet he’s so much warmer and kinder the morning after. This could be an expected result of the intimacy of their previous night together. Or it may also simply indicate that he’s more confident and not feeling the need to hold himself at arms’ length anymore.
Regardless, Bull’s actually very approachable the next morning, if we choose to go ask him to talk with us about what happened the night before. He’s genial, friendly, and open—surprisingly so. (My favorite part of this early conversation is when we first try to talk to him about the previous night, Bull assumes we just want some therapeutic advice on physical comfort in the aftermath, responding cheerfully that, “I can show you some stretches…”.)
Then he realizes what the Inquisitor wants to talk about, they sit down together in her quarters, and just… talk. In an extended, smart, literate, and mature dialogue sequence about what they did, how the Inquisitor feels about it, what each wants, what he’s offering, the rules of engagement, what the boundaries are, and where those boundaries end. He also addresses, bluntly, the psychology behind his choices.
And here’s where it gets fascinating. He reveals to you at this point, fairly candidly, how he thinks you’re wired and what he thinks you need. He admits that he’s using his Ben-Hassrath training to intuit this stuff, but also that he’s using those powers for good:
Inquisitor: I’m still not sure how to react to the things we did.
Iron Bull: If you’re limping, I can show you a few stretches that’ll take care of it.
Inquisitor: That’s not what I meant.
Iron Bull (pausing): You don’t say. Found a part of yourself you didn’t know was there before…
The Inquisitor doesn’t answer.
Iron Bull (more gently): Ben-Hassrath training, remember? Grew up learning to manipulate people. When it’s a hostile target, you give them what they want. But when it’s someone you care about, you give them what they need.
Inquisitor: So if I agree, how does this… work?
Iron Bull: Outside this room, nothing changes. You’re the Inquisitor. You’re the Boss. I will never hurt you without your permission. You will always be safe. If you are ever uncomfortable, if you ever want me to stop, you say “katoh” and it’s over. No questions asked.
Inquisitor (one of several minor varying options): It’s a little unnerving that you have this down to a system.
Iron Bull: Systems are comfortable. And my goal is for you to get… very comfortable.
My favorite part of this exchange is the way Bull is employing his usual talent for lying with the truth and hiding in plain sight.
Just as he told us he was a spy the moment we met, here he points out that his Ben-Hassrath training is enabling him to manipulate the Inquisitor, and that he is blatantly doing so. But he’s doing so (or so he implies) for good, not ill. For our benefit. And if we saved the Chargers in Bull’s personal loyalty quest (turning him into a true rebel by necessity—a Tal-Vashoth), this is true. If we sacrificed the Chargers and he remains loyal to the Qun, things here are, as mentioned, actually pretty dark. But more on that later.
Either way, what Bull doesn’t do, at any point, is compromise. Instead, Bull lays out the scenario for the two of you going forward. The crux of his approach: To put it somewhat demurely, Bull gets to drive. The Inquisitor will have to agree. He will not compromise, as noted in a further conversation and partial negotiation they may have later on (all of these dialogues were written with his usual eloquence and subtlety by Patrick Weekes, who wrote Bull, as well as Solas and Cole, in his Dragon Age: Inquisition appearance).
What You Need
The Inquisitor can then return to Bull for a third conversation, and this was my favorite of the three, because the writing allows the Inquisitor a variety of character options–they can ask a dozen questions, or they can commit right away. They can show confidence, or admit to vulnerability or insecurity for example, asking Bull if the BDSM is an aspect of any of his other relationships, for instance, with the serving girls or others Bull has bedded in the Inquisition. Bull’s answer there is simple: nope. Because that’s not what the serving girls needed. He’s wired to give people what he perceives they need, so each scenario for him is different and unique.
Bull further elaborates below (note that he starts out with a clear statement that he’s committed to you, absolutely, as of this moment—that there’s nobody else, until or unless you end things):
Iron Bull (speaking about his previous dalliances): I mean, I used to. Long as we’re doing this, you’ve got my complete attention.
Inquisitor: You told me that this is what I needed. What did you mean by that?
Iron Bull: You’re the Inquisitor. You didn’t ask for the job, but you’ve taken on the responsibility. You’ve got thousands of lives riding on your decisions. You bear that weight all day. You need a place where you can be safe, knowing someone else is in charge for a bit.
Inquisitor: So if this is a conscious decision for you, could you do something else if I wanted you to?
Iron Bull: No. This is who we are. It’d be disrespectful to what you need to treat you any other way. If it doesn’t work for you, though, I understand. No hard feelings.
Inquisitor: What about what you need?
Iron Bull: Hey, I’m good. I am better than good. You don’t trouble yourself on that front. Old Iron Bull is just fine.
It’s interesting to me that Bull’s highest allegiance here is to what the Inquisitor needs. It’s the thing he’s most drawn to as a nurturer, spy or no spy, that ability to fulfill that, and it’s something he won’t compromise on. He even calls it out specifically, that “It would be disrespectful to what you need to treat you any other way.” He won’t do otherwise… even if it’s in his best interests politically. And, typical for Bull, he utterly discounts what he himself might need out of the relationship. (I find this weirdly moving, and would certainly of course headcanon that the Inquisitor is generous and attentive regardless of this statement—he deserves it.)
Either way, these conversations while certainly a bit edgy for the mainstream, really shouldn’t be. Speaking as something of a bumbling semi-human toon myself (when it comes to, like, non-pixellated romances), I found them intelligent, insightful, and respectful, and had no issues with Bull’s romantic narrative in any way. Besides, in service to the story, ultimately, to me it’s powerful, it’s emotional, and best of all, it’s also responsibly and affectionately set forth. It’s true to who these characters have been painted to be.
I definitely appreciate that there are (to me, at least) no issues regarding consent, physical or emotional danger, or of power abuse, unlike popular and often irresponsible representations of BDSM across much of entertainment media (cough, 50 Shades of Grey). Ultimately, as someone unfamiliar with that culture, my own reaction to the portrayal of Bull’s romance as a depiction of BDSM, after reading a fair amount of discussion (both pro and con), is that it has been handled here with real responsibility, as well as with sensitivity and a clear understanding of both the characters, the lifestyle, and of human nature by Weekes and the rest of the Dragon Age creative team. I think in that way that the romance storyline is a pretty significant milestone for inclusivity, and should be celebrated as such.
However, not everyone agrees with me. Beyond his romance with Dorian (which as I’ve noted, I don’t think was remotely abusive and will address in more detail in the future), there’s been some heated discussion about Bull and his relationship with the Inquisitor. So it was interesting to wade into that minefield. Some felt there were consent issues (which I cannot understand at all, given what we’re provided here), some had issues with his assumption that the Inquisitor is submissive, while still others felt that Bull’s “take it or leave it” approach to the relationship was somehow triggering.
Again, I don’t get any of these critiques or find them viable.
First off, Bull’s assumption that the Inquisitor is seeking a submissive role in the bedroom is an easy thing to address within the story—you can either headcanon that he’s right, or hey, you turn him down. It’s not difficult. Me, I thought it was a believable character note for a number of reasons. It spotlighted Bull’s insights into human nature in an unexpected way (and keep in mind, Bull is shown to be scarily accurate about reading people in this way); it provided a scenario in which our protagonist is actually challenged about their own perceptions of what they want in the bedroom (and how often does that happen in a game?); and it explored Bull’s caregiver tendencies in ways that were complex and even potentially disquieting… and yet lovely, too.
Because Bull’s immediately all in. If we agree, he’s 100% monogamous and focused only on us, on giving the Inquisitor whatever is needed. And this caregiver aspect isn’t just subtext to me, but actual text. The entire relationship is, in my own view, presented as genuinely healing, and so many people miss that about Bull’s romance. Yes, there are power dynamics at work here, of course, but there’s also something gentle about what Bull’s offering the Inquisitor—it’s not ever presented as harsh or scary; it’s not the cliche of whips and chains (not that there’s anything wrong with that, if that’s what floats your boat), but is instead rather a safe haven. There’s a genuine element of fantasy and play to it, and we see both aspects, the gentleness and the fantasy element, in the scene where Bull and the Inquisitor are interrupted later on.
And while it’s true that Bull may in fact eventually betray you (if you betrayed him), that happens on the battlefield. Never in the bedroom. No matter what you chose when it came to his loyalty mission, by all appearances he keeps his promise and the Inquisitor’s bedroom remains a safe and separate space.
Regardless. Not everyone will be into what Bull proposes, nor will they take him up on it once he sets the stage for what he wants to provide. And in those cases it’s then, luckily, quite easy to say, “Nope” and move on.
Arguing the Dynamics
To Speak or Not to Speak
Meanwhile, to me, Bull’s pretty careful, thoughtful and thorough when discussing exactly what their relationship will be like if the Inquisitor proceeds. He provides the Qunari word “katoh” as the ‘watchword’ (or, ahem, safe word) in case the Inquisitor is uncomfortable at any point, then leaves it up to her whether she wants to continue. Bull may have an agenda, but he is also incredibly sincere on the issue of agency in every way.
And speaking of “katoh,” it’s probably my one area of minor complaint in the romance. Eventually, the ‘watchword’ becomes a kind of badge of honor for the Inquisitor—the fact that she never says it, it’s implied in a lighthearted way, is because she’s adventurous, not afraid of her own limits, and because the two of them are having a terrific time together.
However, the idea that not saying it is somehow a good thing doesn’t work for me. To me, the whole point of “katoh” (especially in the case of a character who is new to these scenarios, I’d imagine) should be that expressing her boundaries or areas of discomfort is not just allowable but is actually healthy for both her as well as for Bull as the relationship begins. (I mean, I’d think for most people, there might be, hilariously, “katohs” all over the place to start, as they got comfortable with each other, or maybe I’m just projecting here.) But from a story standpoint, I can see why the fact that she doesn’t say it (surprising Bull, to say the least) also has an emotional component and says something about her trust in him.
The Offer Beneath the Offer
Regardless, Bull’s setting forth the ground rules. And at this moment, if she says that one word (“katoh”), it’s over, no hard feelings. And please note—potential double agenda or no, Bull means this—I’ve played through all the different variations, and when Bull promises “no strings,” he puts his money where his mouth is. He’s even genial and supportive if the Inquisitor moves on after their night together to romance other companions:
Iron Bull: Understood. I’ll see you later, Boss. (Alternatively: Huh. You got it, Boss.)
But if the Inquisitor questions Bull on his point of view, his reasons, and his goals for the relationship, it’s a fascinating conversation, and one of my favorites with romanced companions across the entire Dragon Age landscape.
This is because Bull’s logic for why he wants the relationship to go this way is pretty irresistible, and it’s seriously the world’s oddest combination of creepy and sweet ever.
Because… what he’s offering your Inquisitor is even more seductive than sex; he’s offering escape. As well as open permission to be vulnerable in ways the Inquisitor is simply not allowed to be in daily life. And, quite possibly, it may be the only true escape they’ve found since becoming Inquisitor. He’s saying, “Come with me, play with me; I’ll take care of you and you can take your mind away from this apocalyptic time, place, and responsibility you never asked for.”
I mean, if you’d been catapulted to a position of leadership you’d never wanted or imagined, were surrounded by strangers (many of whom feared, hated or were initially trying to imprison you), had left or lost everyone you’d loved, were suddenly leading a world political power, were managing a magical mark that was also slowly trying to kill you, and the world was falling to hell around you in a rain of demons from the skies…?
Yeah, I’d think that offer would be pretty damned tempting.
“I Cannot Move My Legs”
Then, not long after Bull and the Inquisitor embark on their escapades, there’s a scene where Cullen, Cass, and Josie happen upon them unexpectedly. It is seriously the funniest scene I’ve ever seen in a game, and I laugh out loud every time I see it. But there’s also more to it than you might expect at second glance—it’s actually a lovely and surprising interlude—funnier than you’d anticipate, but also potentially tender (and really sad, as well, depending on your character’s choices). Either way, it’s a revealing moment in the romance if we look closer.
We open on Bull and the Inquisitor, right after another encounter. Bull’s naked and still relaxed in the bed, the Inquisitor dressing in a matter-of-fact, “we’ve been together awhile now” kind of way. And this is where we catch a glimpse of that gentle hidden aspect to the relationship. Bull’s voice is soft:
Iron Bull: There we go. No Inquisition. No war. Nothing outside this room. Just you, and me. (Pause) So. What’d you want to talk about?
Then Cullen inadvertently walks in. And he realizes what he’s walking in on and his body literally tries to march him backward out the door on its own. It’s fantastic. Then he settles for covering his eyes against the sight of a naked Bull as if he’s a vampire faced with sunlight.
Then Josie comes in. And she freezes in place, mesmerized by the glory that is, evidently, Bull’s junk (amusingly and thankfully hidden by the Inky and various other elements as the scene progresses).
Then comes Cassandra as the capper on the scene, and her patented disgusted noise here is probably the best example of that classic Cass-reaction in the entire game. Because she’s not really disgusted, just exasperated. Like she’s going, “Inquisitor. Bull. The world is falling down and NOW you decide to do this? I am disappointed.” And she’s of course raising one perfect eyebrow in judgment at the same time.
Anyway, it’s one of the funniest things you’ll ever see in a video game, as all three are mortified by the situation and yet cannot look away. Josie’s “I just had three shots of Novocaine” face is seriously the best thing ever (“I cannot move my legs…”), while Cullen’s little snicker adds a much-needed dash of humor to our often stoic Commander’s personality. (Seriously, when he giggled at this, I went, “Okay, fine, Hot Templar Man, I’ll romance you” and added him to my mental list behind Solas.). Cassandra (perhaps funniest of all) is simply irritated at being faced with the entire situation.
She doesn’t give a crap about sex or safe words or orgasms. She’s just wondering why you’re wasting your time when there is WORK to be done. And given that Cass is DAI’s die-hard closet romantic (not to mention there’s the matter of her occasional flirtations with Bull in their banters), it’s kind of weirdly adorable. I almost wonder if there isn’t an element of her protesting a bit too much, but there’s no hint of that, so I think ultimately it’s simply her allegiance to the Inquisition that’s causing her extreme disapproval here. (At least outwardly.)
A Dignified Exit
But it’s not all just fun and games. We can commit to Bull here, proud of our relationship with him and absolutely fine with people knowing. Yet, meanwhile, for the unexpectedly sadder ending—if we express embarrassment at being discovered with Bull, it’s much more bittersweet, as Bull sacrifices his dignity without a qualm—but only to a point:
Cass: I apologize for interrupting what I assume was a momentary diversion.
Cullen (snickers): Nothing wrong with having a bit of fun.
Josie: Who wouldn’t be a little curious?
Inquisitor: Responds either affirmatively (“Bull and I are together”) or ends things, with “This was just a fling” (“Iron Bull and I were just blowing off some steam”).
Iron Bull (if option 2 is taken): Yeah, the Boss wanted to ride the Bull. Nothing for anyone to get excited about.
Josie (flustered): I’ll just…
Iron Bull (after a pause): Hey, Josephine… you busy later?
Josie actually does pause momentarily (and personally, I hope she looked him up), then they all leave.
Iron Bull: Ah, well. Fun while it lasted.
Inquisitor (being a total jerkface): We don’t have to stop.
Iron Bull: Yeah. We do. I was trying to relieve your stress. Not add to it. If you’re ashamed of this, I’m doing a crappy job.
Iron Bull: Don’t worry about it, Boss. I’ll see you later.
I love this moment (well, I hate what the Inquisitor’s done, but I really like Bull’s reaction). I love that Bull will actually turn down the Inquisitor here. So much of Bull’s persona is about his support and willingness to give, but at the same time, there needs to be a limit. And the quiet way he walks away in this moment (as he should) when faced with the Inquisitor’s shame at being with him is a perfect and necessary character note. He may be a caregiver but the guy has the self esteem to expect better of those he sleeps with… and he should.
However, if we do commit to Bull, it ends very sweetly and on a much happier note:
Iron Bull: You okay Boss?
Inquisitor: You know, I believe I am. But since we have a moment…
Iron Bull: What’s that?
Inquisitor: It’s a dragon’s tooth, split in two. So no matter how far apart life takes us, we’re always together.
Iron Bull: Not often people surprise me, kadan.
Iron Bull (pulling her down into the bed): Kadan. My heart.
And as I’ve mentioned, I may have actually let out a cheer at this, because I headcanoned that my original Warden was in love with Sten (and vice versa) even though they both knew it was hopeless. Their only outlet, I believed, was his use of that word, his one way of expressing his hidden feelings. So, in other words, every time Sten called her “kadan,” I plotzed a little.
So this was fabulous. (And yes, yes I know that “kadan” can be used in a nonromantic context. I just can’t hear you over the la-la-la sounds I’m currently making to ignore that.)
Nobody Says I Love You…
Bull’s romance continues to evolve through the DAI story after this point, and again, I found it so refreshing that the game dared to explore the dynamics of a relationship that began with sex and evolved into something more complex. Bull and the Inquisitor are still evidently having sex all over Skyhold, including, evidently, one or two occasions on the War Table itself (Cole informs a delighted party of companions of this fact in one of his highly revealing little banter dialogues about Bull’s romance with the Inquisitor, and Blackwall’s response is especially funny: “I look forward to informing Cullen!”).
But there’s still something that hasn’t been said—those three little words that determine that there’s emotion involved here, and not just sex. And as we know, there’s no room for love and sex to occur at the same time traditionally under the Qun.
Then, however, we get a post-coital conversation between Bull and the Inquisitor about how their relationship is going (everyone’s very happy, let’s just say), and about his surprise that she’s never used the safe word he provided. The two then proceed to banter about the potential safe words of our other companions, and as always, it’s an opportunity for Bull to show how insightful he really is when it comes to reading other people. There’s a brilliant little moment when his use of a particular Orlesian phrase about Blackwall says volumes about how much he’s already figured out about the mysterious Grey Warden and his true backstory, which for most has not yet been revealed at this point in the story.
It’s interesting to note that while Bull and the Inquisitor wonder aloud about the safe words and predilections of many of their companions, a few notable omissions there include Solas (interesting, since I definitely think he’d have one at the ready—as he directly implies in an early flirt scene with a mage Inquisitor), and Dorian.
Side Note: I would have laughed so hard if Solas’s suggested safe word had been “Fade.” Come on. Admit it. It’s funny. He’d never have even made it through the door on your very first date. And it would’ve been hilarious.
I think Dorian’s omission here, meanwhile, occurs for many reasons—first, because it’s another subtle example of Bull judging others and what they need, and I think the implication is pretty clear that Bull doesn’t think a BDSM scenario would be ideal for Dorian (with his history of rejection and betrayal, I’d agree, although it’s also implied that there are elements of kink to the relationship in other ways). I also think Dorian may not be discussed because he’s an alternate-timeline choice for Bull as a romance, and his omission keeps the two stories wholly separate.
This interlude can end on a few different genuinely touching emotional notes. In one, the Inquisitor implies love and thanks Bull for being with her even if they don’t survive.
Bull interrupts this speech, however, and his broken “Katoh. Stop. I can’t… We’re coming out of this together.” is one of Prinze’s most beautiful moments in voice acting the character of Bull. What gets me is that Bull is the first one to use the word in earnest here; he’s giving us the rare glimpse of the guy who survived Seheron… and then broke.
Sex and Love Beyond the Qun
All variations on this scene end with the two falling back into bed together, but the differences in each conversation thread choice are fascinating because the scene can end in exactly the same way each time, yet in one instance it’s slightly emotional and intense (the Inquisitor fearing death and Bull comforting her), in another sweetly affecting (the Inquisitor telling Bull she loves him, and him returning the sentiment after responding teasingly), or even playful (as the Inquisitor ends on a lighter tone, telling him this was fun). And it’s all lovely and moving… as long as he’s Tal-Vashoth.
Because, if he’s not, once again, this is all empty. An act. Depending on whether we saved the Chargers, or doomed them.
If we saved the Chargers, then I think part of the reason Bull genuinely allows himself to love you is because he’s in a freefall of relief at Krem and the Chargers’ survival (his family), secret relief at being free of the Qun, while also still navigating his total fear and despair of what he’s supposed to do now. All combined with the constant fear that he will go “savage” and become Tal-Vashoth.
And of course, add in a healthy amount of guilt because he now must wonder how many Tal-Vashoth he hunted and killed for the Qunari were simply good men like him trying to break free. So to me, it’s natural that Bull is more open to the romance and actually allows himself the possibility for love and even commitment. That is, if you saved the Chargers. And saved the part of himself that had allowed himself to feel and love.
As I’ve written before here, Bull is innately generous, a giver at heart. The Qun, once upon a time, warped that impulse into something darker and more controlling. Then came the Inquisition, and his own “last chance.” Sure, Bull was playing a delicate game at first, and balancing both potential outcomes. But at some point, somewhere along the way, it all became real. He returned to his core self, abandoning power and politics, turning to something he’d never been allowed to imagine existed—real intimacy, commitment and trust.
It’s ironic in the end, that while Bull offered our Inquisitor the possibility of escape both emotionally, psychologically, and sensually, the person who achieved the actual escape in the end was Bull himself. And we’re the ones who gave it to him. By saving his self-built family, we saved Bull and (unknowingly) ourselves. And that’s the opposite of cold; it’s something that goes beyond sex, power, or obsession and is simply about love and trust on truly absolute and unshakable levels.
And that’s always going to be greater and more powerful than any demands of the Qun.
Images Courtesy of BioWare
This article is a reprint (with minor modification and expansion) of an article originally published by Angela D. Mitchell on DumpedDrunkandDalish.com.
Things that Make a Good Video Game Great
E3’s conferences have come and dazzled us with shiny new games, gameplay trailers, and a whole host of hopes and dreams on which to pin our little gamer hearts and budgets. While I try to figure out how I’m going to afford the first few months of 2019, it’s also a good time to keep in mind all of the things that make video games good. There are the obvious things — story, graphics, art, not making us wait a million years in loading scenes, and the ability to hop over a knee-high fence — and then there are the little things that set a game apart and take it from a good use of 60 bucks to Game of the Year material.
If there’s one constant in games, it’s that the art keeps getting prettier and prettier. Whether you’re going for photorealism or a Disney-esque art style (hi, Kingdom Hearts!), we spend a lot of time looking at video games and devs spend a lot of time giving us something good to look at. Whether you’re a sucker for stunning landscapes or like to laugh at the pretzel positions the bodies of your dead enemies land in, sometimes you just have to take a picture so you can remember your journey (or to share and amuse your friends). Photo mode can be simple (removing the HUD) or complicated. Horizon Zero Dawn photo mode not only stripped the HUD, it gave you the ability to change the time of day, move around the camera, remove Aloy or put her in silly poses, and even slap on borders and cheesy postcard greetings. Assassin’s Creed: Origins lets you turn a murder adventure into full-blown tourism.
New Game Plus, and Other Replayability Mechanics
Even if you’re a casual gamer, we all sink a fair amount of cash into games. Some of those games are silly, some are thrilling, and some hit us right in the feels. The good games, the really well-made ones, are experiences that sit with us for a long time and make us yearn to relive them. Of course, you can never really go home but with functions like new game plus, you can certainly try. Whether you’re the kind of person who likes to torture themselves with tragedy, explore every skill and dialogue tree, or go evil overlord instead of virtuous savior, replayability is a huge factor in video games. A good new game plus can add more challenges, higher difficulty, and can help you relive all those moments that made you fall in love in the first place.
Silly Side Quests
Not all games are scripted equally. Some are the height of absurdity, and some are super serious. Whether you’re playing Saint’s Row or Assassin’s Creed, every game needs a side quest that is the best kind of stupid to break up the tension. In The Witcher 3: The Wild Hunt Geralt had to get hammered to attract a demon that only goes after drunk people. In Assassin’s Creed: Origins, Bayek rescues a lipstick-covered balding guy, who, totally drunk, fell prey to a scam (and almost got eaten by a pack of crocodiles). The mission in Skyrim that is effectively the plot of The Hangover is much beloved, as are half of the side quests in Borderlands 2. Side quests can be grindy, fetch quests are obnoxious, and escort missions make me want to play something else. But a quest that pays me to kill myself, or murder dwarves in a giant smashing machine in order to steal their beards (or any quest in which I get drunk and then have to do mechanics with drunk camera happening) is a thing of beauty.
Borderlands 2 has a shotgun that shoots swords. Dragon Age: Inquisition has the banana nailed to a stick. Dead Space 2 has a finger gun, and Gears of War 3 has the chicken-firing Cluckshot. Mr. Toots, the rainbow-farting unicorn from Red Faction: Armageddon, is hard to beat. Then there’s The Penetrator from Saints Row 3. Joke weapons might take you out of the seriousness of saving the universe from evil aliens, but by George, it does make for a good time.
Minigames Done Right
I loved Ni No Kuni 2. It’s a happy game, where instead of murdering one bad guy after another you save the day with the power of friendship and forgiveness.
And minigames. Lots of minigames.
For me, Ni No Kuni 2 is the perfect example of minigames done right — and minigames done wrong. The kingdom building stuff was great; the battle system that forced you to listen to Evan shouting the same three phases over and over was not. Good minigames, whether it’s a casino filled with chocobo racing or slot machines that occasionally spit out dynamite, give you a break from the adventuring, murdering, and saving the world. They give you a chance to come up for air, win an elite weapon, earn a trophy, and otherwise have a little fun. Bad minigames force you to learn complicated rules for a card game in order to move the plot forward.
Fast Travel, and Other Reductions in Time Waste
We spend a lot of time in games, and if you play Skyrim you spend a lot of time in load menus. As games get bigger, with more stuff to do and more land to traverse, anything that saves time is an essential mechanic. Fast travel is the most prominent of these time-saving mechanics, while other games give you things to do during your trek across the planet. Assassin’s Creed: Origins lets you scout out the upcoming territory with your bird friend, and Horizon Zero Dawn lets you gather mats while mounted. God of War tries to hide loading screens by having Kratos stroll around in circles getting lessons on Nordic mythology from your handy companion. If the internet is to be believed, we’re all getting a little more ADD. It’s nice to have a game give us something to twiddle away load times, even if it cuts into my Reddit time.
A good game has a story that’s engrossing. A great game delves so far into its own lore that it has us donning tinfoil hats and swearing that Dragon Age’s Flemeth is secretly Andraste. One of God of War’s greatest elements is how deep Mimir takes us into the lives of the gods. A person could spend a lifetime digging through the lore of The Elder Scrolls. Every replay unveils something new, and when you’re between games it gives you something to obsessively Google, or the ability to torture your friends with obscure Mario Bros trivia. Deep lore speaks to good world building, which speaks to immersive gameplay. It’s all about falling down a game’s rabbit hole so deep you never want to come back out.
DLC that Counts
When it comes to video games, there’s so much extra crap to spend your money on that sometimes it’s hard to decide between a season pass and a new Amiibo. There’s nothing quite as annoying as purchasing an add-on only to find out it’s stupid and shallow and a waste of money. Nobody wants to feel like they’re being milked for every dollar they have. An add-on, especially one that costs real money, should add something to the game: a new element of gameplay, more story, more character development. DLC that lets you bond with your team, like Mass Effect’s Citadel DLC, or brings a nice tidy end to the story, like Dragon Age’s Trespasser, or lets you check in on your favorite characters and make sure they’re doing okay after the big events of a game like Borderlands 2’s Tiny Tina’s Assault on Dragon Keep, is exactly what DLC should be.
The Ability to Destroy Your Friends
Co-op is fun, but sometimes the best time is defeating your friends so badly someone rage quits and swears they’ll never play Mario Kart ever again. You know your friends are good at games — after all, you’ve teamed up for some wholesome player killing in everything from Overwatch to Fortnite’s Battle Royale. But there’s something very sweet about proving you are better than the people you play with the most. Besides, a friendship that can’t survive Mario Party is no friendship at all.
I’m a girl. I like to dress my characters in pink. I also like shotguns and grenades. If I can put my character in a pink outfit, preferably with a unicorn of some sort, while lobbing hand grenades at mobs and running in Leeroy Jenkins style so I can shotgun people in the face, I’m happy. This paragraph might be a complete explanation of why Borderlands 2 is one of my favorite games, but it’s also a good example of why customization is important. Skill trees that play to my strengths, dialogue trees that allow me to make snappy comebacks, renegade interrupts that let me headbutt jerks, outfit choices, weapon types, dodging vs blocking, a character creator that takes hours to get right, these things all let you play games the way you want, in a way that makes you happy.
And that’s what it’s all about, right? Spending your time and your money on the things that make you happy. Playing games that make you laugh, or scream, or wish you could erase your memory of it entirely so you can do the whole thing over again. That’s a great game.
Images Courtesy of Guerrilla Games, Bioware, and Bethesda
Celeste is Everything About Anxiety
Celeste is a phenomenal, and difficult, game. I hadn’t heard of it until about a week ago, when fellow Fandomental Kylie mentioned it off-hand as something the streamers she watched declaring as “the greatest platformer of all time”. Seeing as how it was $20, and on the Switch, I thought why not? Maybe it’ll be like Shovel Knight, or Fez. Well, it wasn’t those things, but the story it tells is something that resonated very powerfully with me.
You play as a young woman named Madeline who sets out to climb the titular Mountain Celeste, somewhere in Canada. Easy enough set-up for a platformer. Except, very early into the game, you find out that Madeline suffers from anxiety and panic attacks (the coping of which is an actual game mechanic). The twist is that she doesn’t have a tragic backstory of any kind. Like, at all. And that kind of shocked me. Protagonists who struggle with mental illness are typically tied to a “root” cause of that illness, most likely some form of trauma.
But Madeline is just woman with some bad anxiety that she doesn’t really know how to cope with super well. That’s it.
In a nightmare, Madeline’s mother calls her on a payphone and speaks in a very guilt-trippy, almost antagonistic style. When Madeline wakes up and properly calls her mom, she’s nothing but supportive and happy to hear from her daughter, asking if she’s having fun on her trip and if she’s doing okay. If she’s struggling with her panic attacks. She’s completely encouraging.
As Madeline climbs the mountain, she encounters a few other wonderful characters, notably fellow mountain climber Theo. From their conversations, we find out that Madeline isn’t trying to climb the mountain as a form of escapism, or to figure out what she wants to do with her life; whatever it is she does for a living seems to make her happy. No, Madeline is trying to climb the mountain because she needs to be able to do something different, and prove it to herself that it’s possible.
And she does that quite literally, proving it to herself. After she breaks a mirror, a “Part Of Her” is set free on the mountain to hunt her down and fight her at every turn. It’s a simple color pallete swap of Madeline’s sprite, but it’s clearly a physical manifestation of her anxiety. The “Part Of Her” only has one goal, which is to help Madeline escape and go home, because she’s infuriated that she could ever be so stupid as to believe that this was a good idea. That she was capable of reaching the peak of the mountain. That she could change.
The harder Madeline rejects that “Part Of Her”, the more aggressive they become. The more often they appear in the game, and the more difficult it is to avoid them. There’s a point where the “Part Of Her” quite literally drags her down off of a cliff and all the way down to the base of the mountain. Eventually, Madeline figures out that everything that this “Part Of Her” does is out of fear for herself, and for Madeline. So she stops trying to fight it, which is ironically when the “boss battle” (if one can really call it that) begins.
After a long chase, Madeline manages to calm the “Part Of Her” down enough so that they agree to work together. Because Madeline just needs to able to try and reach the top of the mountain; it doesn’t matter if she makes it or not. It’s the act of trying, and doing so with self-confidence and self-care, that is important. And, well, she does make it up to the top of the mountain.
Anxiety is, in most instances, your brain’s fight-or-flight instinct going into overdrive. It’s flagging everything as dangerous and trying to protect you when there’s no actual threat to your well-being, be it physical or emotional. You process more information faster, which leads to panic since your brain can’t find the actual threat to you, thus defaulting to the conclusion that “it’s there, but you can’t find it”. This is why so many people who suffer from an anxiety disorder just freeze up or become overwhelmed in certain contexts; they literally can’t do anything else. Especially when they’re actively fighting their anxiety, and that’s the key to Celeste.
You can’t fight your anxiety. That only makes it stronger, just like it did with the “Part Of Me”. Only when Madeline accepted that aspect of herself as, well, part of her, did the “Part Of Me” become willing to cooperate. In the end, Madeline learns to co-exist with her anxiety, not just deal with it or acknowledge it. It’s a very powerful message from a wonderfully designed game.