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felassan · 2 months

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Image credits: David Gaider [source link below]

Article: 'Who is qualified to make a world? In search of the magic of maps'

"You're travelling with your imagination..."

An extensive feature article about maps, map creation and world-building. It refers to David Gaider and the team's early world-building and early-days process of creating the universe that would become Dragon Age. It includes this early series of original sketches of the map of Thedas through time that Gaider drew when the world was being created.

Excerpts under the cut (due to length):

"Dragon Age. That's the game Gaider was working on - or rather, it was the world he would dream up. Ideas had been swirling about what Dragon Age would be for a few months. The team knew it would be like D&D but would not be actual D&D, because BioWare was sick of licensed games at the time. They knew they were going for Tolkien rather than Conan or Diablo. "We definitely had at least some idea of the kind of RPG this was going to be," Gaider tells me when in a video call. But BioWare didn't have a world. One day, Gaider was handed a historical atlas of Europe and tasked with going away and coming up with a fantasy world for players to explore. And almost immediately, he sketched a map." - "What is it about a map that gives it magical powers to bind us and pull us in? I wanted to know more, and through talking to David Gaider and learning about his creation of the map for Dragon Age, I hoped I might find out." - "In fact, he corrects me, "I sketched a lot of maps." But they were the same map, replicated over and over, because in order for a world to make sense to Gaider, it needed history. "I drew this coastline and then made a bunch of photocopies of it," he says, "and did this series of sketches, like, 'Okay in this era, this is where people lived and where they migrated and created different cultures,' and those cultures changed over time as they got conquered. Much like the book of European maps I had, I was doing it in eras and forming an idea in my mind about how these groups all mingled together. David Gaider was kind enough to share his original sketches of the Dragon Age world with me, and in them, you can see an emerging flow of history. You can see the spread of the Tevinter Empire as the race of Men lands in the north and then begins to spread out. You can see, in the earliest images, there's still a kingdom of Elves in the forest of Arlathan, nearby. Then, they are forced out by the growing Tevinter Empire, south to the Dales, where we encounter them in the Dragon Age games, subjugated to being a kind of slave race. Tribes give way to kingdoms, and names we're familiar with begin to appear." - Caption on the sketches: "David Gaider's original sketches of the Dragon Age world. Wherever you see a name typed in, it's because it was changed by EA's in-house sensitivity team, which cross-checked place names with real-world names in case there was a clash. The area of Antiva, for example, used to be called Calabria, but Calabria is the name of a region in southern Italy. "Well, if you do something with the Calabrians that real Calabrians don't like, they might get upset," the sensitivity department at EA told Gaider. "So I was like, 'Oh fine, I'll change it,'" he says." - ""My feeling on history when it comes to worlds," Gaider says, "is that you need to have a lot of it." Without it, he says a world will feel like a facade. "Sometimes you'll see worlds where they've made only what is needed for their current story, and it's like an old Western set: it feels right, it looks right, but then you slowly get a sense of, 'Oh, there's nothing behind those doors.' Before he sat down to draw, Gaider already knew some of the geographical elements he wanted. He knew he wanted a topsy-turvy 'South was cold and North was hot' idea for the continent, to play with people's expectations, and he knew he wanted a large waterway - that he likens to the Mediterranean - carving its way far inland. Today, we know this as the Waking Sea, and it's an incredibly important feature in the Dragon Age games. Gaider also knew he wanted islands far up in the north, from which an unknown race could invade. "I knew that I wanted an 'other' race that would come along," he says, "which ended up being the Qunari." Gaider also knew he wanted untouched areas for adventure, like forests and mountains, just in case the game would need them. "I didn't want every place to be so civilised that when it came time for 'we need ruins' or 'we need massive wilderness', we've got nowhere to go because I've civilised the entire thing," he says."

"Because remember, the team didn't yet know where the game they were making would be set. That's why so much of the continent you see in the sketches is as yet unused in Dragon Age games - the series hasn't needed all of it by this point. Continents are vast, after all, and realising them in 3D for players to explore is a mighty task. "I guess in my head," Gaider says, "we would be probably either on the north of Ferelden, on what became the Free Marches, or maybe off in the west more towards the Tirashan Forest or the Hunterhorns. That was a very wild area and I was like, 'That's a good place for an adventure to be.' Atlas at hand, photocopies in front of him, Gaider set about his work of growing a game world from a bunch of maps, and with not a small amount of trepidation. There was a lot riding on the world after all; it was a far cry from the worlds he'd created and freely abandoned as a teenager. "This is going to form the foundation, ideally, for a lot of games," he says, "and a lot of people are going to do work [on it]. And the trepidation is like, 'I don't know what I'm doing.' I'm essentially the equivalent of a 13-year-old just going, 'La la la, I'm going to call this Ferelden!'" - "Some things bother David Gaider about the Dragon Age 1 map, still, and they occurred when artists prettied his sketches without his involvement. "Oh," he said awkwardly when they were presented to him. "I didn't want it to look like this, exactly." He says they added a lot more rivers and mountains, and flipping between his sketches and the Dragon Age: Origins map, you can see some have moved around, or gained prominence, and places like Redcliffe have shifted. Apparently people would take to the BioWare forums after the game came out to complain about the map's geography. "And I'm like, 'You know what? You got a point,'" Gaider says. This is mostly anger at himself, though, for not doing more about it. Similarly, he wishes he'd been able to sit down with artists and work out what the rest of the continent you don't see in his sketches looked like, so they didn't have to have "the continent just keeps going..."-like messages at the edge of it. "But to where?" Gaider says. But it speaks to something he's noticed in his decades working in games about artists and writers. "They really speak two different languages," he tells me. They process things differently and they tend to care about different things. There were reams of history and lore written in a "world bible" for the Dragon Age team, but getting artists to read it was another matter. They wanted clear visual cues, not piles of backstory. Dragon Age: Origins eventually found its setting in Ferelden, the kingdom in the bottom right bulge of the sketches, so it left a huge portion of the sketched world unused, which the team presumed no one would ever see. "We thought that was going to be the only one," he says of Dragon Age: Origins. "That's why when you get to the end of Origins, there's so many epilogues that cast off far into the future, which, if we'd known that we were going to keep going and keep going with history, we wouldn't have said, 'Oh, in fifty and one hundred years, this is going to happen.' I think we would have played our cards a little closer to our chest. EA apparently found the game very old-fashioned and thought no one wanted turn-based role-playing games like that any more, which of course now seems ridiculous given the success of Baldur's Gate 3. "Baldur's Gate just goes to show how wrong people are when it comes to industry wisdom," Gaider says."

"Nevertheless, when Dragon Age 2 eventually was green-lit, the scope of it, and the focus of it, would completely change. With it, BioWare and EA would push towards a console RPG experience that stopped and started less, and had more action-packed combat. And EA only gave BioWare 18 months to make it, so BioWare decided to make a much smaller, more tightly focused game. It seemed like a good idea at the time. "People at BioWare convinced themselves that the fans would be okay - it'll be fine if it's a smaller game," Gaider says. "And I don't know why we thought that was the case, but for a moment there in time, we were like, 'Yeah, sure, it'll be fine.'" As for the mapping, a tighter focus meant centering on one place rather than a whole region, so the city of Kirkwall on the Waking Sea became the heart of the game, and BioWare developed a time-jumping idea for the game so you could see it at various different points in your character's lifetime, which I still think is really neat. And because there wasn't a large region to explore, the game didn't need a sprawling map, so BioWare turned the map on its side to give Kirkwall some height and majesty instead. It wasn't particularly memorable, but it looked nice. The game didn't go down well. "Its highs were really high, and its lows were really low," Gaider says now. "It was very unpolished. If it even got six months more polish, I think the reception would have been a lot different." More importantly, it meant everything would need to change again for Dragon Age 3." - "In Dragon Age: Inquisition, the third game in the series, the map plays a starring role. It's built into the game world specifically so you and your Inquisition advisors can gather around it and push pieces about as you choose where to go next. Thematically, this fits neatly with the theme of running an organisation like the Inquisition, but the map was also required to cover a lot of ground. One thing BioWare knew the moment it started making the game was that it needed to be bigger than DA2. This time, the game would spread across areas of Ferelden we hadn't been to as well as some we had; up to Kirkwall and into surrounding Free Marches, and then west to the city of Orlais and onwards until it reached past the Waking Sea and arid desert land. But the sense of scale was an illusion. Dragon Age: Inquisition wasn't a continuous, open world, but a fragmented one, made up of a few open-world-like zones, some small parts of cities, and many 'you can't actually explore there, but you can read about it' text-window interactions. Again, this was Gaider's idea, to give the game "a feeling of breadth" without needing the art department to render it all in 3D. By the time Inquisition came out in 2014, the world of Thedas - the name an amalgamation of "the" and "Dragon Age Setting" by the way - had been reinterpreted for three games and touched by many pairs of hands. Gaider's writing team had plugged the holes he, as a single writer, couldn't fill, and the art team had shown us what the world looked like. There was even, fittingly, a Dragon Age encyclopaedia released, compiling the teetering piles of lore and backstory, and maps and imagery that BioWare created for it. People were now joining the team who were already fans of the series. This was no longer an imaginary world; Thedas felt real. And perhaps it no longer needed Gaider to steer it."

- "So Gaider left BioWare in 2016, having worked there for 17 years, most of it spent on Dragon Age. Really, he'd had enough of wizards and demons, and Anthem wasn't the tonic he sought. Eventually, he'd move all the way from Canada to Australia for a fresh start, where he'd start Summerfall Studios and make a role-playing musical called Stray Gods, which was released last year. That game, incidentally, only featured a small map for travelling between city locations. Today, he awaits the arrival of a new Dragon Age game - Dragon Age: Dreadwolf - like the rest of us, having had no direct input. It's an anxious wait, as you can imagine. "I was Mr Dragon Age for ten years," he says, "so there is a certain amount of attachment. I'm not sure how I will feel when Dragon Age 4 comes out. I have a hard time believing that if I play it, I won't spend a lot of the time second guessing any choices I see, like, 'Oh, hmm, I wouldn't have done that.' What if they bring back some characters that I wrote? They're going to Tevinter so what if Dorian's there? Gah! I don't know; I am of two minds as to whether or not I will even play it." "It makes me wonder about these people who create worlds, who draw them into existence - whether that's in a preliminary sketch or a lavish piece of artwork - and whether there's always a point where success comes with the consequence of ceding control. Had Gaider kept the world of Dragon Age to himself, a photocopied map, folded and stuffed in a back pocket, we'd never have played it. And had millions of people not played and enjoyed it, I wouldn't be writing about it now and have that feeling when I look at an image of one of Gaider's photocopies, that I'm in the presence of something special, something powerful. But it's no longer Gaider's map, and no longer Gaider's world. It's all of ours."" - "For Gaider, maps are snapshots of history, photocopied slideshows explaining how places came to be. And of course they are, because he was thinking about Dragon Age when he started in on maps, which meant that he was thinking about geography, sure, but also the passing of time, and the way the latter affects the former."

[source and full article]

#dragon age: dreadwolf #dragon age 4 #the dread wolf rises #da4 #dragon age #bioware #video games #longpost #long post #anthem

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dearasteria · 9 months

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Major Gale romance SPOILERS below, so please DO NOT read and watch if you don't want to get spoiled.

I was REALLY worried about how romance with Gale would go, especially after talking to him right after he gets Karsas' book. My Tav wanted to believe and trust him, but something didn't feel right. At the end of Act II, when Tav tries to convince him not blow himself up for his ex's forgivness/to save Faerûn, it can be summed up with that one gif from Grey's Anatomy: "So pick me. Choose me. Love me" 🤡. Honestly, she asks not only to choose her, but also not to kill her and the rest of the team. Gale is so easily swayed and tells Tav that he loves her, even more than Mystra. Tav should be happy, right? But I'm like WAIT A DAMN MINUTE, it was faaar too easy, I mean, no protests from him, I didn't even have to use persuasion to convince him. At that point, after the trauma that Bioware had caused us with Anders and Solas, I'm getting paranoid. Gale doesn't love Tav, he's definitely hiding something. But I'm thinking to myself, "Okay, calm down, he just doesn't want to die, super understable. Maybe he really loves her and he needed to hear it? He needed reassurance that he has something to live for? Yes, it must be it". But then I go to the quest journal and see this:

DAMMIT GALE, you snake 🐍 My poor baby Tav (especially since the romance scene in Waterdeep was so warm and tender). She's so in love in him. Now I'm convinced that he will definetly betrey us, stubs us right in the heart.

At the beginning of Act III, he becomes obsessed with a book called The Annals of Karsus that may help him learn more about the crown. He becomes obsessed with how powerful he can become. When Tav gives him the book and says, "We already know the crown's dangerougs. Wouldn't that make things worse?" he replies:

"Worse? It could be the best thing that ever happened to me. To us."

After all this, Gale tries to convince Tav to help him reconstruct the crown. We have this beautiful scene on the boat and when I tell you my jaw dropped. HE CHOOSES TAV, listens to her concerns and simply chooses her.

The way he says it, the way he corrects himself… damn. For Tav, it's like a bucket of cold water. And I'm like, "Here we go again" 🤡

Furthermore, when we visit the Stormshore Tabernacle in Baldur's Gate and interact with Mystra's statue, he seems to feel so uncomfortable, he doesn't want to be there. Tav starts to think he's definitely hiding something. She would like to hear Mystra's version of what happened between her and Gale (I hope we can talk to her at some point in the game, it would be very interesting).

My Tav, however, disagreed, and Gale replies, "I hope you're right. I truly do. Godly power, perhaps I can live without, but you? You're everything". Has the curse of dating mages that leave players heartbroken been broken?

But I have to admit, when he said: "With you, I forget my goddess. I love you. Tell me you feel the same way. Tell me you want what I want. Please" - OH GODS 😳. I was so close to agreeing to this madness. The VA did an amazing job (side note: so many talented VAs in this game, it's mind blowing), the writing is amazing, the music is incredible, I was blown away, really.

Next day, after the boat scene, he's so adorable and full of love for Tav. Then I remembered his gratest flaw (for me it's more like his biggest fear) from the scene with Zethino in the circus: "He thinks he, and the world, might be better off if he were dead". At the time I thought he was lying, manipulating Zethino and his answers. My distrust of mages in games… Yes, I have a problem 😅

I haven't finished the game, but I have high hopes for a happy ending. No spoilers please, thanks :)

What a rollecoster of emotions, I love it, I love Gale. It felt like I was playing Dragon Age: Origins for the first time, way back when I was a teenager. It's really insane how this game makes me feel, how much I care about its characters and story.

EDIT: Okay, so we have an audience with Mystra, I mean only Gale, but we see the whole conversation between them. My only complain is that Gale doesn't mention Tav when Mystra asks him why he defied her 💔 The outcomes are different depending on whether you do it before or after the boat scene. Personally, I think doing the boat scene before meeting Mystra is much better. I get the impression that Gale is abandoning the plan to reconstruct the crown solely for Tav and his love for her. And the drama 👌🏻 it gives me life.

#sorry for the wall of text #ignore my rambling #the thing is i'm very excited and none of my friends play bg3 and my husband can't listen to me anymore 🤭#baldur's gate 3 #bg3 #baldur's gate 3 spoilers #bg3 spoilers #Gale #gale of waterdeep #gale romance #might delete later #Tav #gale bg3

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eff-plays · 7 months

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every time i remember that astarion has 4 extra hours of dialogue compared to wyll, i get so sad... before i got to the end of the game, i was like "ah. wyll must not be in any fandom posts i saw because of predictable reasons, but surely he still has cool scenes and an equivalent level of care in the canon writing!" RIP. he does not. it's like a self-sustaining vortex of the fandom and the writing team both being way more excited about the pale elf than any other character.

it's a shame because astarion is otherwise a well written and acted character, but it makes me dislike him on principle if i feel he's the authors' Favourite Little Boy, hah.

God YEAH. It's so fucking frustrating!

Like he's my favorite little boy! He fully is! But I would give up HOURS of his content if it meant the effort was equal across the board! Because that's good game design, that's good writing! That's what they should have done!

And it's so so fucking frustrating to see how Larian are basically leaving the other companions in the shitter just to cater to a small and annoying minority of rabid fangirs who shit themselves silly at the mere mention of him.

Y'all know that pretty post with all the companions' eyes? Well someone added some shit about how Astarion's eyes have micromovements that are faster than anyone else's because he's always looking for threats.

And I'm just sitting here like. This is the Dragon Age fandom again. Y'all are here overanalyzing insignificant shit just because it pertains to your favorite crusty white man. It's giving "let's pretend that BioWare's shitty canned animations are worth of deep frame-by-frame analysis". I think in general it's fine to analyze animations in the case of BG3, because there's mo-cap and actual acting involved, but c'mon, y'all. Derailing a beautiful gifset of EVERYONE'S eyes with some sappy addon about only Astarion?

I honestly HATE the fact that I like Astarion as much as I do, because it means sharing a fandom with the type of people who think Cullen is a gift to all women. Which, yeah, a lot of parallels there, in that he also got a hugely inflated role because of a minority of extremely horny idiots who saw a pretty white boy (though the pretty part is debatable in Cullen's case) and all other thoughts flew out the window. I literally initially didn't like Astarion because based on what I'd seen from the fandom, he'd be another unrepentant asshole that people woobiefied like they did Cullen, and to some extent, Solas. And I was right! I just ended up liking him in the actual canon enough to make my own judgment in the end.

It's also why I am filled with glee whenever another Astarion-centric blog blocks me, because the more of those guys I keep away from me, the less I want to shoot Astarion point-blank just by association.

So yeah. He's my little guy but I also fully 100% understand disliking him because of the hype. It's 100% justified and I fault nobody for doing so. His being so well-written as a result of poor management, crunch, and fandom pressure isn't something to celebrate. The ends do not justify the means here. Either extend dev time to give everyone the same amount of love, or don't fucking bother with extra content at all. It's that fucking simple.

Also the optics of admitting all of that in a Discord server just to satisfy a bunch of dipshits looking for a pat on the head for making the Canon Choices. Just ... bleh.

#bg3 critical #bg3 fandom critical #da fandom critical #also i've already lost two followers for talking about this lmao #bye!!

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shittybundaskenyer · 8 months

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✹ ▬ 𝐓𝐄𝐍𝐃𝐄𝐑𝐍𝐄𝐒𝐒 𝐈𝐍 𝐂𝐑𝐀𝐌𝐏𝐄𝐃 𝐒𝐏𝐀𝐂𝐄𝐒

rating: Explicit pairing: Female Shepard x Garrus Vakarian summary: the Mako breaks down in a snowstorm on Noveria. Shepard is stuck with her turian friend after some things went sideways in one of the research labs. warnings: first time gone wrong (but then so right), sex pollen, so much kissing, just pure smut (what do you want from me??), does doing it in the Mako is considered car sex?, interspecies sex, love confessions, so much fluff, Garrus is too sweet for his own good word count: 3831

a/n: I had Mass Effect Legendary Edition on my PC for like a year and I'm now cursing myself why I've waited for so long to play the trilogy. The Bioware brainrot took me once more under its influence so I guess I'm going back to my roots. This is almost entirely is pure smut, I guess I can't write anything else nowadays but I'm embracing it now. So have this very rusty, messy love scene I wrote in a frenzy after finishing the trilogy. <33

MASTERLIST | ARCHIVE OF OUR OWN

Noveria is cold and white and still beautiful in that strange way only death can be. It became the noose woven around Garrus’ own neck too, when it twirled his fate and Shepard's own together in form of a messy string.

It only started becoming strange when Shepard started to tear her armor off of her body, but by then all common sense was out, laying dead in the relentless snowstorm. She became feverish, smelling so sweet, like summer, like sun-warmed earth, like arousal that Garrus had realized all too late. They were warned by the dangers of the labs surrounding Peak 15, the tower that was like an old pine ringed by fungi, all the rot and unethical discoveries blooming under the disguise of neat little buildings that twinkled in the darkened landscape—a constellation hiding in a thick cloud of dark matter.

He knows she was curious. He knows she only wanted to help, but Spirits, it will be the death of her one day, N7 or not, she’s only human. And she’s fragile, a goddamn glass cannon that can blow up the whole universe and crumble from hands that grip her a bit too tight at the same time.

Liara’s warning came too late, they had to cut to the chase and there was no time to think about the consequences of Shepard's stray shot breaking open the containment cell of an unnaturally lush, succulent little flower in one of the labs. It didn’t set in until they were in the Mako and she steered the dumb tank even more recklessly than she did it stone cold sober. A boulder came, then the half of the mountain too, raining down thick globes of fresh snow until the Mako was good and well stuck. She was sweating by then, skin hot and wet and her eyes wild and Liara offered to get help from one of the nearby labs, leaving Garrus to protect his commander with his life. From what, he didn’t know. There was nothing, only snow and wind and Shepard’s warmth all around them for miles. But time trickled by like water on a glass window after a storm, slow, sluggish, and Shepard couldn’t keep herself in line anymore.

She pleaded for a caress she always wanted from him and he wanted to give her everything instead.

(Maybe he loved her all along.)

And now, now Liara is gone and has been gone for hours, and Garrus pushes Shepard into the Mako's seat, his forehead meeting hers, something akin to a kiss only lovers do. Her skin is damp, her hair sticking to her face in messed up crimson ribbons and he tries to trace the constellations under her eye with a blunted talon when blood floods her cheeks, making them twinkle like stars adrift a sea of nebulae. The Mako is dark but not dark enough to hide the fire flickering in her gaze, shielded by a series of curved, dark lashes. Humans and their strange hair—eyebrows and lashes and thousands of fair fuzz that stand up as he moves his hand lover, to the vulnerable skin of her throat, swiping a thumb over her pulse that jumps wildly at the touch.

"Kiss me," she whispers, barely audible for the translator to pick up, and it almost sounds like music like this, a series of hisses and high notes, so he nuzzles his way closer to hear it once more, now pleading, the sound buzzing in her throat.

It's beautiful in a way.

"How?" he whispers against the side of her jaw, warm plates against cooler skin, and she puts a hand to his face, five fingers splaying over his colony markings, urging him upwards until her lips can brush over his mouth. It's strange. It's unbelievably soft. Then— wet as her tongue darts out and tries to coax his mouth plates apart.

He takes the leap and lets her in. Even if he has all the sharp teeth, even if it's wildly different from his own experiences. And Spirits, it feels good. It's tender—even though they started to tear at each other's armor before this, even though he has to clench his fingers into a fist before he scratches her in his hurry. This has to be gentle where nothing in the world is.

His tongue meets hers, and now he understands why humans like kissing so much. He does now too. Shepard makes a sound as he tastes the inside of her mouth, the blunt edge of her teeth and sucks in a breath when Garrus pulls back to gaze down at her and find her looking dazed.

"Alright?," he checks, always, afraid of fucking this precious thing up and Shepard has the audacity to smile. Full of teeth and curving lips, a flash of white in the darkness.

"I'm good," she knocks her forehead against his, nuzzling him, "really good."

Garrus kisses her again as an answer, bolder now, so much braver, and he kisses and kisses her until there's no more left to give, until there's no air in her lungs. Something new shines in her eyes, in the pool of darkness that is her pupils, dilated beyond belief, ringed by a thin strip of wild green, a black hole with a halo. Want. Need. Something more. Something unbelievable.

Garrus rumbles deep in his chest, a sound so low she can only feel its vibration against her sternum, the crook of her neck where his face finds a home. His subvocals sing so many things at once, a confession she can't understand, not yet. Contentment. Gratefulness. Lust. Love.

(Maybe I love you.)

She drags her hand across his face again, that delicate, soft hand that is only calloused in places where wielding a gun made the skin harder. She touches his fringe, and under it, where plates turn into the most vulnerable patch of hide he has on his body. His voice grows louder, more like a growl than a purr, and she smiles again, so pretty something under his keelbone jumps and bursts and flickers—a star being born.

"That's—," he starts and he's not proud of the way his voice trembles. "That's one way to give the night a quick start."

Shepard's fingers stop in their movement, but before she could pull away he takes a hold of her forearm and soothes a thumb over the inside of her wrist, guiding her back to that spot.

"Am I hurting you?"

"Spirits, no," he flicks a mandible at her, his way of smiling, and Shepard puts her mouth to his jaw as her confidence grows. Garrus can feel the plates at his sheath slowly parting and somehow he's hyperaware of her body trapped against his, her knee brushing his own, warm even through metal and ceramic plates.

They have to strip down that damn armor, like, right now.

But Shepard knows this, feels this too, and her hand disappears so she can grab the waist of his pants and tug on it, even though turian armor is not designed in a way that it could make it come off easily.

"Help me, will you?" she asks against the side of his mandible, face and incredibly soft lips still so close, her eyelashes brushing his jaw as she looks down between them in the dark and Garrus desperately wishes that he could feel that fluttering. Instead, he's stripping. The rest of his undersuit that was hanging by his hips goes lower when he unfastens every little clasp and belt he has around his spurs.

Shepard licks his mouth. He rumbles again, louder when the thin fabric of protective weave finally pools on the Mako's floor, and he's right up there against her, pressing close, so close, until his keel digs between her breasts and his side is framed by her knees and he kisses her the human way, with so much tongue and want it leaves her breathless.

"How much time do we have?" he asks against the underside of her ear, finding a soft spot there, one that pulls a whimper from her.

"Barely any," she hisses and lets him nibble on the curve of her neck. "Gonna make the most of it?"

"Trying to," he smiles, mandibles catching her messy hair, blood red on silver, hands going up to cradle her nape, to get lost in that soft sea of crimson.

Shepard likes this, likes the feel of his hide on her skin and she wants more, wants no barriers in those minimal, quiet gaps the differences of their bodies create. Negative space filled with heat and some unintelligible emotion, something like summer, something like home. She melds her body to his and Garrus can't help the low resonance his subvocals start to make.

"Am I hurting you?" she whispers as she lays tiny kisses on his neck, just beside the edge of the plates shielding his spine. "You're trembling."

"No, I just—," his breath hitches as those kisses turn into gentle nips. Right where a bondmark would go. Spirits, he's slipping. She can't know this, she can't— "You just found all the good buttons to push."

He feels her smirk on his hide. He wants to have her mark here, even though the thought terrifies him.

(Maybe I love you.)

"You know I'm good at pushing buttons."

Garrus chuckles but it comes out rasped. He doesn't care. Not when he can feel her body vibrating, shivering as his hands finally roam downwards, onto her sides, her hips, the soft of her belly that is so blessedly bare.

He slides a talon along the muscles leading down, around the small divot in the middle, lower still where Shepard's already lifting her hips up to let him free her of her undersuit pants. There's still some fabric that remains, covering her most intimate parts but she grabs his hands and makes him grip the fabric of it in a hurry.

"Pull this down too," she whisper-commands and he obliges, skims the tips of his blunted talons over the jut of her hipbones, a feature all too familiar on a body made of infinite curves. It traps his gaze, the small hills and valleys, freckled here too, and hairy when he gazes lower, a trail of tiny red curls disappearing between lush thighs as he reveals more of her skin.

The undergarment only gets down one leg, dangles on the other by her knee when he pries apart her thighs, makes himself at home right in the cradle of them. This is all too fast and all too hot, but none of them complains as they meet in another heated kiss. She smells different like this, stronger, sweet and tangy and something else, pure arousal he realizes, and Garrus can't hold himself back any longer, can't will the swollen edges of his sheath to stay closed.

"Show me how to touch you," he asks, almost pleads, because damn, he can't be selfish with her, not when he trusts her with his life and wants all the happiness the world can offer for her. That too, is a confession he's not ready to make, not for himself and not for her, but Shepard stops him in his thoughts as she puts her hand back right under his fringe, driving him wild.

"None of that right now," she pants, breathless as his hands go bruising on her hips. "I just want you inside me."

Fuck, this was not the way Garrus thought he would die.

"I don't want to hurt—" she interrupts him with another kiss, then a hand on his stomach, low enough to almost graze the plates on his groin.

"Please, Garrus," it's a plea. Broken and rasped. Raw, like a fresh wound. Why is she suffering?

"Don't let me hurt you. I could not live with myself and the consequences."

"You're sweet," she smiles quietly, looking up at him from under the shadow of those long lashes, eyes burning with fire and want and that same thing that eats his heart alive, while it still beats a wild rhythm only for her.

Garrus touches a hand between her legs, follows the trail of fascinating hair to where it parts in a seam of flesh, soft folds hiding a hot, wet warmth. It's familiar enough, so much more slick and so much smaller, but there's give in the muscle lower, where his finger finally dips inside her. Spirits, that’s—

She angles her hips, and moans, right beside his ear when his finger slips deeper, almost to the last knuckle in one go and damn if that's not something he'll remember for the rest of his life.

"C'mon," her lips brush the word against his mandible. He puts his forehead to hers and pulls his hand away, moving her instead, three fingers splayed on the jut of a hipbone.

It takes a little more shuffling, a little more angling and gripping for him to slot himself right at the apex of her thighs, her warmth scorching here, a sun, a red giant star, her wetness smearing on the bare hide of his stomach and then he's holding her firm and letting his sheath finally, blessedly open, his cock sliding out and into her in a slow, perfect motion.

Shepard doesn't breathe. She can't. Garrus can feel her shuddering against his keel as he keeps filling her, making way for himself inside her even though there's barely any. He never thought she could— that she would have all of him, like this, with her leg cramping up around his hip, with her throat full to bursting with unsaid curses and whimpers. His subvocals scream, his mind fogged by the feeling of her oh so close, so perfect, so beautiful like this, with her hands bruising his neck and her lips open on some silent shout.

"Fuck, Garrus I—," there's a hitch in her breath, then a fluttering squeeze right on his cock, her muscles clenching up. He's gonna lose his mind just like how he lost control of his voice.

(I love you.)

“I got you,” he murmurs instead, eyes half-closed, hands still gripping her waist. “I got you sweetheart.”

Shepard squirms, pulls his face right down to her, then lower, into the crook of her neck and a deep urge surfaces in him, an instinct buried deep under centuries of civilized life and culture, yet it was never erased from his genes. He evolved like this, with the want, the need, to bite, to mark something that he wants to forever keep his own. Turians mate for life. If she leaves now, he thinks he will die. Can another soul be ripped from his own? He would gladly lay in a cold grave with her. Would follow her to the end of the universe and back, just so he can protect her. Shield the one that wants to keep the world from crumbling. Travel through all the stars and Mass Relays laying dormant, see all the wild emptiness and beauty of the galaxy and it would still be nothing compared to the way she looks up at him now.

There’s water collecting at her pinched brows; sweat, he remembers, and he lifts a hand there to swipe it away. Her eyes are wet too, glossy, glinting in the low light like a starry night sky over home.

“Garrus—” she presses out between her teeth, her face scrunched up in a frown of pain-pleasure he assumes, because she never makes a move to push him away, to halt this perfect joining. He hopes it’s okay. He hopes he’s not fucking this up. Losing her after this would be a killing blow. A heart-shaped bullet hole right on his heart.

“Just tell me how,” he takes her cheek in his palm, angles her so that he can kiss her. Slowly. Softly. It’s a fleeting thing that ends with her nipping on his mouth, his tongue, just to get his attention. Like his every nerve was not focused on her anyway from the start.

“Please move,” she murmurs against his mandible, her body squeezing him tight, making him groan. He pulls back a little, testing, careful, always so afraid of hurting her, his tough girl, but Shepard smiles and it’s enough to make him thrust shallowly into her. “Yeah, you feel so good.”

Garrus’ vision whites out for a second as her insides tug him back inside, so warm and so wet that a messy patch is already forming between their bodies, his sheath hitting her folds, the friction blinding, and the sight even more as he looks down, fringe tangled into her hair, and in the darkness he finds himself nestled deep, her cunt stretched around him, glistening in their combined want.

He moves, spirits, he moves. And his chest rumbles and his hands shake and his mandibles twitch at her cheek and his heart aches so damn hard it makes his breaths get stuck in his lungs like trapped creatures in a bone cage.

(I love you so damn much.)

She moves with him like a tide, like water rising on an endless black ocean alight with stars, then falling back, and even though he knows she's the most horrible dancer the galaxy has, she follows the steps of this tango by heart. Maybe because it's wanted. Maybe because it's with him. He desperately wishes that it would be true.

"I won't last long like this," his voice is barely picked up by the translator and he knows this, hopes that she doesn't mind the sounds he makes. They're real. So perfectly clear in their meaning, so sure in expressing something he's not yet ready to say when she can understand.

(I love you, I love you, I love you.)

She puts a palm to his stomach, just above his sheath, five lithe fingers mapping out the narrow lines of his sides, and damn, it makes his cock twitch, makes him thrust in roughly for the first time. There's a sound of delight. It comes from her, head tipped back and lips smeared with spit and red strands of hair, like fresh blood after a good brawl.

"Yes," she breathes out, dragging him down to her, clinging to him tightly as he finally moves his hips in a hard, steady rhythm. His knees are gonna kill him later but it doesn’t matter because he’s with her, joined like lovers, like mates.

She takes his hand, leads it over her body, to the divot of her collarbones, her sternum, the dip of her stomach, then the soft of her belly where she makes him press down a little, makes him feel the distinct shape of him moving inside her. That's something entirely new.

It makes him even more aware of the fact that this small, fragile woman would take up a krogan in a fistfight and come out alive. It makes him lose his mind. It makes some sick, posessive part of him growl and rumble and hold her so tight he's sure her hips are gonna bruise.

"Shepard," he hisses, one hand gripping the seat behind her to find more leverage, her sounds getting louder, out of breath and high-pitched, his name a silent mantra only muttered with gaping lips. “Show me how to make you come.”

She whimpers, clutches his fingers tighter on her navel. The talons of his other hand tear the Mako’s seat behind her. She drags his palm over the mound of hairy flesh where they join, and he enjoys carding his talons through the curls, then she takes a thick finger and places the pad of it just above where he’s stretching her open with his cock, on a small bundle of swollen flesh that instantly makes her tighten around him. This is something he could never get used to—the tight warmth clinging to him like a second skin under Palaven’s unforgiving sun. He swipes his thumb over it, then draws a slow circle. The tightness becomes almost unbearable. He keens.

“Damn clever turian,” she hiccups, grinding into his touch, into his unsteady thrusts, her hand gripping his wrist instead, not guiding but trying to steady herself. “I’m so close, Garrus.”

He nuzzles her jaw at that, forehead meeting forehead after, then lips with plates, tongue with tongue. The kiss breaks off in a series of desperate gasps, and Garrus murmurs against her, “let me come with you. Senna, please I—”

“Love you,” she pants into the crook of his neck, teeth grazing him, and then biting in when he pushes his whole length into her, the stretch unbearable, her words ringing in his ears like endless echoes in a hallway made of dark matter and stardust, and he claims her, puncturing her shoulder and filling her cunt, his tie growing, the taste of her blood bursting on his tongue. Sweet. Salty. Iron. Just like her.

She tightens on him impossibly so, and then there’s a fluttering, her muscles spasming violently in an orgasm that makes her legs shake and her stomach jump. His thumb slowly stops moving on the bundle of flesh she showed him when her short nails dig forcefully into his forearm.

(I love you, I love you, I love you—)

Subvocals screaming, his whole body trembling, he finally releases her flesh, knocks his nose against hers until her eyes flutter open, dazed and unfocused, brimmed with tears, pupils dilated to infinity. She smiles, blunt teeth flashing white and blue in the low light, and it takes him a few seconds to realize that it’s his own blood on her lips.

He leans down to lick it off, to embrace her tighter, to feel the taste of her tingle in the back of his throat. She bit him. She marked him for life.

“I love you so damn much, baby.”

It’s out and it’s his own shot right through his heart, a shard of metal carved out just in the shape of her, and Garrus knows that nothing ever will be the same. The marks, the blood, his tie cradled by her fluttering warmth, his heart laying bare out in the snow, thawing in her warmth.

Turians don’t like the cold, but Shepard scorches and it's just the right way.

“Thank you,” she whispers, weak now, entirely spent, but not influenced by the poison of want anymore. “I know this was… not how a first date should’ve happened but…” she bites the bruised swell of her bottom lip and he smooths a hand over her cheek, brushing away sticky hairs from her face. “Can we… have a next time?”

Garrus flicks out his mandibles in a smile and hugs her tighter, reassuring, eyes full of hope and wonder and her own disheveled reflection, “I want all the next times with you.”

“Good,” her grin tickles his hide, mischievous now. “I’m looking forward to it.”

(I do too. I do, I do, I do.)

#mass effect #mass effect fanfiction #shakarian #shepard x garrus #garrus x shepard #garrus vakarian #commander shepard #oc: senna shepard #mass effect 1 #mass effect legendary edition #mass effect fanfic #shakarian fanfic #so um i wrote this while being sleep deprived #i'm so rusty #but heyy new babies i can obsess over #i cried so hard at the end of the trilogy i had to do something about it #you call it coping i call it the writer's muse

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exhausted-archivist · 9 months

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Concept Art Moments and Ideas: What I Wish Was Kept

Pretty sure we've all been there. Seen some of the concept art and thought how cool it was and how much you wish it had made it in the final game. These are some of mine, I won't go too much into why they're not in the game, the answer is usually either one of the following or a combination of: they needed to narrow the scope of the project, frostbite was a new engine they were struggling to make do what they needed, time, they didn't feel it had enough narrative weight or purpose, or it would make the world states branch out far too much.

I'm not really wanting to discuss whether or not I agree with cutting them either. I just really think these are neat concept, ones I've thought out how they would fold in, possible ways they could have played out, and some that personally I have worked into my fic just to fully explore the ideas.

Most of the images that don't have a source link came from either the art book or the BioWare Stories and Secrets From 25 Years of Game Development (B25) book.

Now lets start with the most common one:

[Source]

I'm know others have said this, but I really wish that it had been feasible for you to become Divine. Though, honestly this only would have really worked as decision at the end of the series. While personally in my canon world state I don't have anyone I would want to put in that role. I do have an OC who I did design for that and would have been nice to see it play out. Especially come Trespasser.

These are story boards from the art book of the prologue walk through Haven. The voice lines for this are still in the game files even though they're cut. Something I always wanted in the prologue was something to actually motivate me. There is no real sense of danger, and the walk through Haven hold no real weight. It's mostly telling and no showing, it feels hollow after your first play-through where you aren't curious and uncertain. It honestly would have been interesting to me if this was in there and if there were non-standard ending option outside of combat. Provoking the scared survivors to where they mob you, a timer on the mark instead of just the one check point. If it started draining your health the longer you took to get to the Breach. Things that could easily be removed if you decreased the difficulty level and wouldn't impact the game overly much.

[Left Dragon Age Art Book, Right World of Thedas vol. 2 p. 245]

To continue on with my desire for the steaks in Inquisition to be more intense, for you to actually feel some type of risk or hostility from the world. These two are more of an expansion on the attack on Haven. I wish Corypheus was given a more dramatic entrance than being seen on the hill with his Commander. That when he arrived to scoop you up, that it was more ominous and threatening. Something to illustrate as him having this overwhelming presence and force.

In Hushed Whispers had the concept art of King Alistair going with you and honestly, I feel like it is a missed opportunity. Not only would it make sense but there is a sort of thematic element with Alistair once again having to save Redcliffe from a mage. I think this also could have worked if he was king or warden. If he was a warden, it would have been a very nice way to tie in the Warden plot for Alistair and even Loghain. Would have really given the Inquisitor a reason to care about choosing between them or Hawke in the Fade.

[Source]

Matt Rhodes labeled this as Anders in the tags, and I am really intrigued by this prospect. We know by the end of DA2 if he's alive he doesn't have many friends with the displaced mages of Kirkwall after awhile. It would have been nice for him to come back in that Warden role they were considering for the cancelled Exalted March DLC. But what really makes me curious, is why he's out in what we might think is the Western Approach/Hissing Wastes and what happened to his missing right arm.

Alternatively, another scenario I would have liked to see with Anders comes from the B25 book. We see they explored the idea of Anders, as a Grey Warden in the cancelled Exalted March DLC. Honestly, I feel as if he would return regardless of if you killed him or not because we know that Justice can and has prevented fatal injuries from killing Anders before. This could have been an interesting thread to not only pull his story to an end in dai, but also introduce the Warden contact instead of the ones we had. Because he was on the run and the Wardens would offer a degree of protection so he would be unwillingly forced to return, couple that with him knowing of Corypheus - which would likely be the thing that forced the Wardens to keep him alive once they found his prison empty.

[Source]

This is Western Approach concept art, specifically this was suppose to be Adamant. Matt Rhodes describes that it was suppose to be a monastery, self-sustaining, and a place where they could cultivate their own food, weave their own fabrics. It would have been interesting to be able to see it like this, to see the game use this to not only explore how the Wardens survived out here but also how they recovered the fortress after it was wrecked in Asunder. It would have tied in nicely with exploring the fact that the reversal of Tranquility was found here, a fact known to everyone in game at this point (they just didn't know the Seekers hid it from the Chantry and mages). It would have been an excellent way to fold in Rhys, Evangeline, flesh out Cole's backstory and personal quest, and even show another side of the mages - the ones who didn't want to be involved in the war and fled to the Wardens.

Two Words: Giant. Scorpion.

Look how massive that is. I love mega fauna so much. I want something massive to be living in the Hissing Wastes and I want this to be fighting dragons. It would have been amazing. Look at the boards they put out.

[Source]

I want to believe this is for the Western Approach given the ground type and the smoke in the background. If this thing was guarding the sulfur fields by Griffon Keep? It would have been epic. Or even if we saw it fighting the Abyssal dragon. Honestly, I think more areas should have had a competing predator for the dragons to be fighting. It would have been cooler if they kept great bears (previously known as Dragon Bears) at their massive size to fight a dragon in the Emerald Graves too.

[Source]

That said, this scorpion concept gets even better when you see the concept art for smaller versions being Venatori mounts.

How do you not get stabbed bud? How do you domesticate/train this? What is the intelligence of this little critter? I can just picture a play on the scorpion and the frog happening here. This would have been really cool as mini-bosses or something of that nature. Particularly around the ruins, Venatori operations, or raids against the keeps.

Another piece from B25, we see new concept art of the Inquisitor leaving Skyhold with the Inquisition as Skyhold is destroyed in the background. We learned from David Gaider that at one point Skyhold was actually suppose to be attacked by Corypheus, but it ended up being cut due to time/scope. This is something I wish they kept, having your second base attack, you home at the point where you felt the strongest and potentially after a recent victory.

It would have reminded the player that Corypheus and his commander, Calpernia or Samson, were a real and active threat. Something missing from Inquisition honestly. It would have been interesting to see if we had to find a new base of operations or if we had to rebuild. When first settling in Skyhold everyone mentions being able to see the enemy coming, about not retreating from Skyhold. They really built up an expectation that at the very least a scare of an attack would happen.

There would have been a sort of poetic sense to Skyhold being leveled. Considering it is of Fereldan make, built on top of a leveled elven site. To have the site once again leveled, the history brought back to its foundations. It would have been a thematic foreshadowing to what Solas plans to do as well.

These are clearly just things I found interesting, things I feel would have really added to the game, and some others might not agree with. There are other things I wish they hadn't cut, but I didn't want to include anything that has been post-humorously mentioned by the devs because I wanted to focus more on the concept art aspect. A lot of decisions were shaped by circumstances we'll never really know the full scope of, and sometimes I wonder if they had gotten more than the 3-4 years they had for Inquisition and maybe on an engine that wasn't so fickle and worked better for the style of game how different it would have been.

#dragon age #dragon age inquisition #dai #dragon age concept art #cw insect #cw scorpion #cw blood #wishlist of my heart #what could have been #long post #archi is yelling into the void

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justcallmecappy · 1 year

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A closer examination of Fenris and Anders' party banter

There's two particular Anders-Fenris party banter that gets pointed out a lot as them being antagonistic to each other, but upon second readings, they both can seem like genuine attempts at connection:

Fenris: Is there something you want, Anders? Anders: You really don't have the temperament for a slave. Fenris: Is that a compliment or an insult? Anders: I'm just wondering how your master didn't kill you. Fenris: How have the templars not killed you? Anders: I'm charming.

Here, it almost seems like Anders is saying, "You rebelled against your oppressors too, huh? I had to survive by being charming. I just wonder how you did it." It was a moment of acknowledgement and recognition, that Fenris, too, rebelled against the ones who had power over him and survived, just like Anders did.

Fenris: You should have lived in Tevinter. You'd be happier there. Anders: You're probably right. Fenris: There, your magic would be a mark of honor. Apprenticed to the right Magister, you would do well. Anders: Is there a down side? Fenris: Only if you're bothered by owning a few slaves and performing the occasional blood ritual. Anders: So they all do those things? Fenris: Just the ones who don't complain about how powerless and persecuted they are.

And in this banter, it's almost as if Fenris is saying, "No, you aren't like the mages and magisters I met in Tevinter. You're different." All the 'normal' practices of Tevinter like blood rituals and owning slaves ... Fenris knows that Anders would never do that. I'm tempted to even say it was almost a compliment -- Fenris acknowledges Anders' talents as a mage, but also recognizes that Anders has no desire to social-climb, and that is what differentiates Anders from the power-hungry magisters of Tevinter.

Their banter looks like vicious sniping on the surface, but on closer inspection, they really were just a hair's breadth away from making a connection.

This banter from the 'Legacy' DLC drives me insane because it was literally right there. We were so close to a breakthrough.

Anders: When I left the Wardens, I swore I'd never spend another minute in the Deep Roads. Fenris: "Left" sounds like it was a mutual arrangement. Anders: Fine. I ran away. What's it to you? Fenris: Ran away from the Circle, ran away from the Wardens... it sounds like a habit.

(If Hawke is in a romance with Fenris)

Anders: Running away from your family, straight to Danarius. Running away from Danarius, straight to Hawke. Maybe we're more alike than you think.

(Otherwise)

Anders: And you ran away from Danarius. Maybe we're more alike than you think.

(if Varric is in the party)

Varric: I've always said so.

If only BioWare's writing had allowed them to explore that common ground and be allies, even friends. They understand each other on a level the other companions couldn't. They recognize themselves in each other, they could have supported one another because both of them know exactly what it means to be constantly on the run, looking for escape, looking for a place to belong to. Not to mention it would have been such a compelling development to their relationship!

But no, for the sake of forced grey morality, where both sides needed to be portrayed as equally good and bad, BioWare needed to use Anders and Fenris as mouthpieces for opposing sides so they couldn't allow the relationship to ever evolve past arguing with each other, despite seven years of companionship and proximity.

#the analyses of these party banter are courtesy of lesetoilesfous and potatowitch on the Fenders Discord Server #i just wanted to document it somewhere #too many people are quick to dismiss anders and fenris' relationship as just hating each other and just leave it at that #their relationship had so much potential to be so much more #but bioware never wanted to explore that potential #fenders #bioware critical #character analysis #da meta #da2 meta #dragon age 2 #fenris dragon age #anders dragon age #fenris da2 #anders da2 #fenders meta

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murfeelee · 3 months

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BG3 INSP: Escape the Nautiloid

Githyanki Woman: Abomination! This is your end! Narrator: Your head throbs and your skin tingles. Visions run past: a dragon's wing, a silver sword--and a flash of your face seen through the strange woman's eyes. Githyanki Woman: Ugh, my head! What is this? Tsk'va! You are no thrall? Vlaakith blesses me this day! Together, we might survive. Imps block the path forward. You will assist me in destroying them--we must reach the helm before we transform. Ryuu: Transform? What do you mean? Githyanki Woman: We carry Mind Flayer parasites! Unless we escape--unless we are cleansed--our bodies and minds will be tainted and twisted. Within days we will be ghaik: Mind Flayers! Ryuu: We are turning into Illithid? There must be something we can do! Githyanki Woman: We can do nothing until we escape--that must be our priority. Ryuu: I am Ryuu; who are you? Lae'zel: Who am I? Your only chance of survival, Lae'zel. Ryuu: Is the helm our way out of here? Lae'zel: It is where we might gain control of the gh'ath--this Nautiloid ship. Once in command, we will deal with our ghaik captors. We will address the matter of a cure for this infection once we reach the Material Plane. Ryuu: Onward then. The ship won't be able to take another dragon attack. We need to get out before it's too late.

-- Baldur's Gate 3

MY THOUGHTS (mini rant) & CC CREDITS

MY THOUGHTS

Unpopular opinion, but I LOVE Lae'zel. She's my favorite character in the whole game (EASY #2's my daughter Karlach 🥰). People say Lae'zel's hella mean, but I like her whole melting the ice queen shtick.

My biggest complaint about BG3 is that most of the companions are way too irrelevant--other than Halsin, Lae'zel's the only one closely tied to the actual frikkin plot (unless you count that annoying wench Shadowheart blabbing about Lady Shar all frikkin day. I haven't dealt with her & the Nightsong yet). I was with Lae the whole time: get these nasty AF parasites out of my frikkin body RIGHT NOW. 🤮 To the creche! (Then we got to the creche and I was like jfc. 👀💀)

And her going on & on about Queen Vlaakith was way more interesting than Shadowheart with Lady Shar & her whole amnesia excuse (plus I just don't like her, so.... XD).

The Githyanki were giving me strong Qunari vibes from Dragon Age--but that's not surprising, since Bioware made the first two Baldur's Gate games & DA likely lifted at lot from D&D. Lae's kinda like a way more intense Sten or Iron Bull? And both the Gith & the Qun have dragon-obsessed cultures; these are my people. 💪😤

CC CREDITS

- Midnight Hollow lighting mod

- Tank pose w/ 75% OMSP resizer

- Skyrim dragon by me

- Fireextinguisherfailfx is a GREAT Fog Emitter fire-breathing effect, which I realized when I had Ryuu detonate the parasite pool, and the explosion set sim!Lae'zel on frikkin fire! That orange burst when the extinguisher fails is just perfect.

I was dying when Ryuu just STOOD there while she did all the work putting out the fires, after I told him to put out the fire FIRST! Typical; Dark Urges can't be bothered helping people, I guess. XD

Fortunately for sim!Lae, there was a nifty Restoration Station nearby where she could wash all the soot off:

- Lae outfit from Dragon Valley, boots & bracers at TSR

- Ryuu Dragon Age staff acc by @greenplumbboblover

#sims 3 baldur's gate 3 #baldur's gate 3 #mini rant #sims 3 sakura avatar gameplay #sims 3 gameplay #sims 3 wips #dragons #did i mention dragons #Dungeons and Dragons

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sealeneee · 8 months

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doc from swtor is arospec. here's why.

disclaimer: obviously this is a headcanon. i consider it based on canonical stuff, but there has been no in-game or in-lore mentions of doc's romantic or sexual orientation. i'm also basing this on my experience as an aromantic person, which may not be the same as your experience as an aromantic person. it's also perfectly fine to disagree as long as you're not a fucking dickhead in my notes.

now to the actual reasoning.

he does not get into serious relationships until he meets the knight. there's that story with the twi'lek woman and him abandoning her at their wedding, but we don't really know how that happened. this does not make him less of a dick for doing that, to be clear -- in the context provided by the game there isn't any evidence to support he was justified in doing that. at the same time though, there is very little we know about the whole situation. was he pressured into it by his or his fiancee's relatives? did he not want to be in a relationship, but agreed to it to not hurt her feelings and didn't have the guts to end it until it was too late? was his fiancee just unhinged and organized a wedding without getting the groom-to-be's consent? is doc just an idiot with commitment issues? we don't know. i mean, we do know that he is an idiot (affectionately) with commitment issues, but whether that was the reason for the failed wedding is unknown. i'm kinda derailing, but the point is, the only serious relationship we know of was a disaster and it's not even known how it came to be like that. his romance dialogue also suggests this is the case, from him thinking he's going crazy for actually falling in love with someone, to saying stuff like "normally, i'd kiss you for talking like that. but i'm trying to do this right", which is, again, not definite proof, but substantial evidence for me.

also based on his dialogue, he finds the concept of non-casual relationships weird. "...wookies mate for life. that's not normal!". of course this can just be him being the whore he is, but i don't think your average "sleeps around with everyone" character would find the concept of marriage for life abnormal. not fit for them, sure, but not an insane thing either.

his opinion clearly changes when he is in a relationship with the knight though. he goes from being the guy who thinks marrying for life is insane to being the only romance option in the game to have an on-screen marriage ceremony and even referencing the wookie thing in a positive context this time: "i want us to be together. like the wookies". he also stays completely faithful despite what some people in this fandom try to claim. you know who you are which is admittedly an incredibly low bar to have but it's not like it's completely unprecedented in bioware games sealene please stop the salt and he is still just as madly in love with her as he was seven years ago.

considering his bafflement with what (i assume) is a normal human romantic experience and literally thinking he's going insane for falling in love with someone, i think it's safe to say he could very well be demiromantic. i don't identify as demi myself, so please correct me if i misrepresent the experience, but the definition for demiros is "describes people who do not experience romantic attraction until they have formed a deep emotional connection with someone" which checks out, it takes him about a year and a half (according to the "1 chapter = 1 year "thing) to get to the point where he realizes he has feelings for the knight. checks out.

so yeah. diversity win! the womanizer guy is queer.

#swtor #archiban kimble #swtor doc #'sealene what the fuck' let me be normal in peace ok

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canmom · 1 month

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more baldur gate

I think I've gathered most of the party now. time to venture forth

we did find another warlock it turned out. they've got a spin on him as a kind of demon slaying folk hero, which is cute. what's weirder to me is when characters will just casually speak of game mechanical stuff like being a 'warlock'. like, oh yeah i made a pact with an eldritch entity beyond space and comprehension, but it's no biggie, you know? there's one in every neighbourhood. though that is something of the problem of Forgotten Realms, it's such a kitchen-sink setting that it's very hard to figure out any sort of coherent narrative thrust for any of it.

my character seems to be settling by default into the kind of default 'pragmatic, generally prosocial crpg hero' model. most of the other dialogue options just seem needlessly standoffish. they do have certain party members disapprove when you take plot hooks, but honestly that all feels a bit silly to take as a prodding to play a more selfish character because like. what do you want me to do, not engage with the game? occasionally you get to click a 'hey, look, I'm also from baldur's gate!' dialogue option, but it never adds up to much.

it's frustrating in a way, because this being so specifically D&D-based really calls attention to the difference between CRPGs and TTRPGs. at the tabletop, I can give my character a distinctive voice, motivation, general habitas - and other players can respond to that and react appropriately. of course, this is not possible in a CRPG to the same degree, except within the rails laid down by the game writers. since the main character is unvoiced and characters react to dialogue the instant you click it, she is even further diminished from the voiced characters.

something noticeable in this is that it has a similar line reading problem as a lot of Bioware RPGs. characters' lines will sometimes noticeably differ in how they're acted - intonation, force, etc. - and there's that ever-noticeable cut between individual lines of dialogue. it has the feeling that the lines were recorded separately in a studio without much in the way of context.

overall the NPC acting in this game is... well it's that classic modern AAA videogame problem right? the character models and rendering are very lifelike when they're still, but the way the characters move is a bit stiff, a bit broad, a bit unnatural. of course nobody has the money to individually hand-animate every single dialogue line in a CRPG of this sort of scale, so they're leaning on canned animations and procedural blending techniques, and it works sorta well enough. it's got that fuzz of videogame jank to it.

it looks like we're about to run into the Evil Races D&D Problem pretty soon, oh boy! the goblins are attacking the poor tiefling refugees. why? i'm sure it will be given a clear understandable motivation and not just that they're evil by nature, right? this is something that I'm pretty sure the game is inheriting from the OG Baldur's Gate games - I definitely remember venturing into a mine to fight gnolls or something. Minsc was there. I have no doubt Minsc will show up in BG3 as well - he's like the most iconic character in the series.

the contrived nature of the premise is classic D&D shit. "you all meet on a mind flayer spaceship, united by parasites in your brain" is definitely the sort of thing that a human DM would cook up as a campaign starting point. that said, it does feel a little weird that everyone on the mind flayer ship between them cover most of the player classes, each with their own colourful backstory and an identically sized tent that they can pitch in your mysterious extradimensional campsite. I think the fact that the introductions are spread out a bit makes it feel more artificial - I get why they didn't want to frontload it with every single character right at the beginning, but it's like, 'damn, this guy has a player character sort of vibe, i bet he was on the airship' and sure enough, he was...

(speaking of the immersion-breaking camp, the respec guy really seems kinda unnecessary as a diegetic element. just have a menu somewhere, trying to make this skeleton guy make narrative sense just raises way too many questions.)

but I mean I can't complain too much that a videogame is a videogame, right? as I recall, in BG1, the recruitable party members were just random adventurers who you'd run into here and there. this is more of a KotOR II-like scenario, where every character has a thing in common that pushes them together.

the Tactician difficulty level, combined with the squishiness of level 2 characters, is definitely pushing me a bit. I had a fight with some bandits. all of them had names and unique voices, interestingly - really applying the Apocalypse World principles. however they will not like, surrender or anything. don't ask me why I was fighting these people to the death, I don't think they did anything that really did any harm to my character, but I wanted to unlock the respec character and you have to get past them to do it. not that I knew that when I saw hostile characters.

anyway, it was a cool fight because it was a bit of party-vs-party - the enemies were using the same abilities I was, and using the environment to their advantage (read: blowing me up with exploding barrels, the nerve of it). Larian of course have their fancy fluid sim system from the Divinity series, which actually integrates rather well with certain D&D spells like Grease. there's a lot of potentially interesting tactical possibilities, although in the end, it came down to the familiar tactics of 'split them up', 'disable them with debuffs' and 'focus dps'. D&D combat is very swingy - once I took out a couple of that other party, the fight was pretty much decided, but when I'd taken a few downed party members, there wasn't really much reason not to just load the quicksave.

I decided to spec my 'lock as a bladelock - I'm playing a chainlock on tabletop so this seemed like a good way to mix it up. of course then it turned out that Wyll is also a bladelock, so he's probably not gonna get much time in the party ^^' but maybe I should bring him along and we can just be warlock buddies. that said... the 4-person party size is... I can see its necessity as a balancing measure, but it does feel like it pushes me towards the standard healer (shadowheart)/tank (lae'zel)/rogue (astarion)/me structure. since I need someone to unlock doors, I need someone to heal, and I need someone to stop the enemy beating up my poor squishy party members. but now I'm a bladelock, maybe I can take over from Lae'zel as the frontliner and free up a slot for one of the other guys. probably it's a big enough game that there will be room to mix and match parties over the course of it.

one thing I do kinda miss from Bioware's games is the intra-party dialogue triggers. the characters here mostly don't have random conversations, at least so far - maybe they will later in the game. that stuff did a whole lot to add life to your party members and make them feel more like characters.

honestly? this is making me want to go back to various isometric CRPGs like Tyranny. so far, despite spicy elements like the mindflayer thing, I'm not fully hooked by this story. but I will give this one a chance all the same.

#computer games #baldur's gate 3

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midorisudachi · 5 months

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"We are ridiculously awesome!" - Zevran Arainai (after winning a battle)

Happy December, loves! How are we already at the end of the year? I have felt incredibly scatter-brained this entire year, due to how fast it has been flying by. I feel as if I didn't get anything (that I had planned to do this year) done. Does anybody else feel that way? I had all these ideas in my head to drawn Dragon Age Inquisition characters every other Monday until Dragon Age Day...which was December 4th...and I did not accomplish my goal! Life catches up to you, ya now?

Zevran is absolutely delightful in Dragon Age Origins. He has no shame in what he says...zero filters with his words! Ha ha! He has the best conversations with the characters and I love his bantering. He's my favourite bisexual elf! I had decided to draw him in a heavy armour...I think it was the "Ceremonial Armour".

Some of my favourite Zevran quotes:

"Elves plant these trees to remind themselves of who they once were. And then they pee on it. Charming symbolism, really." - At the vhenadhal tree.)

"How did I get here? What happened to all those luscious wood nymphs?" - After waking up from the Sloth Demon tricking him

"Hmm... Anyone up for a little bit of naked cliffdiving? No?" - At Redcliffe

And the best one:

Zevran: Might I offer you a bit of advice, my good friend Alistair?

Alistair: I like my hair the way it is, thank you.

Zevran: Truly? As you wish... though my advice is regarding something else completely. It has to do with your recent... exertions with your fellow Grey Warden that I overheard.

Alistair: My...? Oh.

Zevran: It did seem as if you just got going when all grew quiet. You are... feeling all right, yes? Perhaps you are tired?

Alistair: We aren't talking about this, are we? Did I hit my head?

Zevran: I have some roots from home that you may chew if you need energy. As for volume, perhaps you ought to try arching your--

Alistair: Whoa! Whoa! Awkward!

Zevran: You Fereldens are so finicky. How will you ever learn how to pleasure each other unless you talk about it?

Alistair: Not listening! La la la la la!

I hope everybody likes this fan art! Notice the date on it? Yes! I drew this a year ago. Why did I not post it on Tumblr before? *Facepalm* Really though...I hope this is well received & enjoyed. This year I have felt like a failure when it comes to art, for it honestly seems like people prefer digital art over traditional art. Is this so? I love traditional art...I don't want it to die out. Even worse is that some people prefer AI "art" (more like ART THEFT!) over real artists. It can be hard to be an artist sometimes. Don't get me wrong. I love digi art, too. But often my heart yearns for more traditional artwork, as it often gets tossed aside. I feel that is one reason why I had not done well with my art on Instagram. From now on, I will only be posting art here on Tumblr. Thank you to ALL of you who have liked and shared my artwork. You mean a lot to me and I appreciate you in supporting me. PLEASE let me know if you draw Dragon Age fan art, too! I'd love to see it.

Drawn with Sakura Pigma Micron pens and then coloured in with a mix of Copics and Ohuhu markers. White accents done with a gel pen. Background was done in Photoshop Elements.

Zevran Arainai & Dragon Age Origins (c) Bioware & Electronic Arts

#dragon age #dragon age origins #dragon age zevran #zevran #zevran arainai #dragon age rogue #dragon age elf #dragon age fan art #dragon age origins fan art #zevran fanart #zevran arainai fan art #dalish #bioware #electronic arts #ea games #fantasy art #elf art

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felassan · 1 month

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I was sent a link to a ‘chat with Mark Darrah' interview video that I hadn’t seen before. [here is the source] link. the interview took place in 2022, so bear that in mind when listening, but it still has interesting insights and things in there.

the rest of this post is under a cut due to length.

this post is just some brief notes and a few transcribed quotes of interest from the video.

Mark ofc was in charge of DA:O, DAII, & DA:I, then, quote, “then a bunch of malarkey happened” and he ended up in charge of Anthem in 2017 in its final ~16 months

In AAA games narrative is a certain thing that was very much defined in a lot of ways by BioWare

There’s a BioWare story in Anthem (though certainly not its best), if you just ignore everything else

The average gamer puts way too much stock into what engine is used to make a game

Mark is pretty sure that the guts of Neverwinter Nights is underneath the Witcher engine

Moving DA from Aurora to Eclipse to Frostbite (engines) opened up more possibility spaces

Frostbite stagnated because it essentially was the engine everyone had to use at EA

Before DA:I, there was a game at BioWare internally codenamed “Blackfoot”. It was going to be a multiplayer DA game and was using Frostbite before DA:O, during the time of DAII’s late development but before DA:I started development. It never shipped as it got eaten by DA:I

For the MET, Casey was originally trying to make a Star Control-type game but cinematic. Echoes of this can be seen in ME1. But ME the IP itself wants to be a space opera. Ultimately the cinematic experience side of it won out

And some specific quotes:

“Something that I noticed is that, sometimes, if your studio is hiring only your biggest fans, which I saw at BioWare sometimes, those people are in some ways, they’re almost more, they have more zealotry towards the ‘old way’ of doing things than – that’s right, that [from a fandom point of view] is all they know. And they don’t necessarily know that this was awful or that ‘there could have been a better way, we just didn’t see it until later’. All they know is, ‘this is what you did, and you made this thing I love, so we have to do that too’, and, so that’s a danger that could happen is, you get the, you know the monkeys and the bananas, like, ‘I don’t even know why we’re doing this anymore, but I know we’ve always done it.’”

“The biggest reason to consolidate on an engine is for the ability to share more work within your studio. In theory.” “The problem that often happens is that you end up with not nearly as much sharing as you would imagine. FIFA doesn’t share anything with DA. And in BioWare’s case it’s even worse than that, there’s very little sharing between DA:I and ME:A, and between ME:A and Anthem. A lot of troubles ME:A and Anthem had is [because of] not building upon the foundations of DA:I.”

“My great frustration of BioWare from around 2013 to basically today [2022], there wasn’t a building upon the past.” “30% of DA:I’s tech budget was spent on tooling. On ME:A they didn’t build upon the tools that were laid by DA:I, partially because they started before DA:I shipped, but also for ‘Not Build Here’ reasons. They spent 10-15% approximately of their budget on tools. Anthem didn’t build on either of these foundations and they spent about less than 10% of their budget on tools. So it was like they were going backwards, respecting the engine less and less as they went forward, resulting in more and more struggles happening.” “I have the most sarcastic PowerPoint presentation ever which compares those two games, which are treated as if they’re widely different things. They’re pretty much exactly the same game, from the perspective of any external observer. ME is more like DA than it is like anything else. So it’s ridiculous. The answer is hubris, is the answer.”

On endings and the future:

“I think you have to do something [about the endings]. ME was always conceived as being a trilogy, but I think what you actually end up with with ME1-3, if you kind’ve just stick them together into one ridiculously big game, that’s why it, in some ways, the complaints about the original ME3 ending are so hilarious because in a way, the game ME3 is the ending for this entire huge game, which isn’t awesome, because you know, the last Hobbit movie is also stupid because it’s all ending. So, that’s not necessarily the best, but that’s essentially what you have. So because it was intended as a trilogy, it, to some kind of degree it kind of takes its ball and goes home at the end, where its like, ‘I’m gonna render the possibility of a direct sequel to this sooo nearly impossible that it’s ludicrous’. It could be that, so we know that the Mass Relays are down, that’s also true, but, like, we have potentially, everyone’s a cyborg, potentially there are no robots, potentially, potentially, potentially, it’s bananas. But interestingly, if you look at ME1, ME2 and ME3 as a single game, and then you look at DA:O, DA:O was always, was originally envisioned as a standalone game. There was never even a consideration for a sequel made for that. If you look at DA:O and then look at what it does at its ending, so the ending of the game itself is fairly tight, it’s like, well you definitely have to kill the Arch Demon, and you’ve ended the Blight, but then you go through the end credits stuff, the epilogue screens. And it’s like, maybe there’s a civil war happening in Orzammar, maybe there are werewolves spreading across this entire part of Ferelden, maybe there are no werewolves at all. Like it’s similar. Now what DA, the way that DA approached the solution to that was to canonize some of those choices, but for the most part just move away, far enough physically, so it’s like, okay, well maybe there are werewolves down south there, that’s not my problem, I got my own problems. Or it moves through time, which is one of the reasons why DA2 moves through so much time is, it gives distance from DA:O. One of the major reasons why ME:A is literally hundreds of years in the future and in another galaxy, it’s like, okay, well, something happened, [shrug], we can react if we want to but we don’t have to worry about the consequences. DA has had the same problem that ME had, just to a lesser degree. DA:O did such a great job of building up the Warden that people are really attached to that and they keep wanting to see the Warden come back. People are never gonna let go of Shepard. DA, new player characters every time because it allows things to be done, but there are costs to that, if you don’t have nearly the [same] attachment. I mean, there’s a reason why every single Zelda game starts with you as Link getting bonked on the head. They’ve essentially solved the problem, reset button, either you have amnesia or you’re like the great-great-great-great-grandson. So it’s like, maybe there’s a way that they can do something like that, but Zelda’s jumped through a lot of hoops that probably a modern game can’t be allowed to do. You’re “Link”, so maybe there’s a way that you can be Shepard but, but Shepard, you can be “Shepard”, maybe there’s a way you can do that, but yeah, it’ll be interesting, it’s definitely a problem that they have. Because certainly, Ryder from ME:A is not the same character, nor could any character from a single game compete with a character from three games. Maybe the approach is, you canonize the choices from MET and you say, ‘and the choice we’re making is, Shepard made it, and you’re Shepard. [shrug]”

“I think there is a lot of DNA of its older games still at BioWare, but you’re right. Every game needs to be a game in its moment. It needs to be appropriate to the time and space of what’s going on. So, I get it, you kind of just want to feel the thing you felt when you played ME2 or feel the thing you felt when you played DA:O.” “If suddenly you got an ME2 again magically appearing out of the ether, I don’t think it would be received the same way. The industry isn’t in the same place. BioWare needs to set a new bar.” “The sad truth is, the older you get, the less relevant a part of the buying demographic you are. So the reality is, I mean ME:A had a shaky launch unfortunately, but it’s a lot of peoples’ favorite ME. Mostof those people who it is their favorite ME are younger people because it targets, you know, it’s got a younger PC, it’s got a stronger, more. I mean, the MET is very much, Shepard is a hero from action movies from the 80s and 90s, for millennials. He’s stoic. Whereas Ryder is definitely, he’s much more a protagonist from a CW show. The reality is is that, sorry, but they’re not trying to make it for you anymore.”

[source and full watch link where you can check it out]

#dragon age: dreadwolf #dragon age 4 #the dread wolf rises #da4 #dragon age #bioware #mass effect #mass effect: andromeda #next mass effect #anthem #video games #longpost #long post #(ty for sending the link!)

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thefloatingstone · 1 year

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Mass Effect mod list

Ok I said I'd make a list of the Mods I have installed for Mass Effect. Sorry it took me a while.

All my mods are just tweaks and adjustments, nothing that actually changes vanilla in any meaningful way or alters what the core experience is like.

This list is spoiler free

First off, some pointers;

You will need the Mass Effect Mod manager. It works the same as the Mod Manager used for Skyrim, but this one is specific to Mass Effect. You can find it here

For textures, the Mods and Tweaks manager has automatically included the program needed to mod textures for the game. I don't need to teach you how to use these programs as they have built-in tutorials and on screen instructions that walk you through everything.

I learned this the hard way. Only change textures AFTER you have added all the mods you want (that are not texture based). If you change the textures and then want to add more mods, the mod manager will stop you because this confuses how it applies the mods + textures. So make sure to do ALL your mods before you add texture changes.

Whatever else mods you add, make sure to add the LE1 Community Patch, the Unofficial LE2 patch, and the LE3 Community Patch. These are general patches that fixes bugs. That's it. They just fix bugs. But they are essential.

Ok! With all of that out of the way, here you go! No "read more" thing, we die like men.

1: Default Femshep Retexture.

This was actually one of the main reasons I wanted to mod my game. This mod's texture doesn't change Jane Shepard's iconic design, it just uh... makes it better. Mostly because a bunch of game dev dudes are not the best to understanding things like.... make up.

This texture makes Shepard look less like a straight guy's idea of a drag queen and more like an actual person who knows what they're doing would. It also gives her freckles better placement and makes her eyebrows.... less like that.

I love this mod to death. I nearly cried when I saw how good she looks in-game

2: Iconic Femshep Hair Fix For LE3

For reasons unknown, Bioware did not give Jane Shepard her iconic hairstyle in the third game. (Probably for the same reason nobody has the right blood colour in the third game either) This makes sure she has the right hair style in the finale.

3: LE1, LE2 and LE3 Garrus and Turians - Face and Eyes Textures

I'm only linking the first game's but make sure to get the same for the 2nd and 3rd game.

For whatever reason, the Turians often get shafted in the texture department. There is also a bug which has apparently been fixed in the Legendary Edition where Garrus' texture will load in super low res.

This just fixes some resolution issues, fixes their eyes, and just improves the over-all skin texture. Again, this made Garrus and the other Turians look so good I almost cried.

4: Immersive Emails

When the third game launched, there was an app you could get for your phone (irl I mean) where the characters would message you depending on decisions you make in the game itself. Including getting messages from whoever you decide to romance. Sadly the app was never available in my country, but the screenshots were circulated a lot.

(He's asking if you wanna fuck)

Anyway, with the app now defunct, this mod adds ALL the messages into the game itself to appear in your in-game emails instead.

Highly recommend not only for the romance ones, but because in one of the best DLCs in the final game, you get to hear everyone essentially yelling at each other in the Normandy Discord chat, and I imagine that's basically what these messages kinda are.

5: Some mods that restore things that were accidentally removed in the Legendary Edition

Admiral Daro'Xen Restored Kirrahe Makes Good Missing Codex Restored (ME2LE) BUGFIX Genesis Intro Dialogue Undo Mod - Legendary Edition

6: Kasumi Dress ported to Citadel DLC

You get a cocktail dress in the 2nd game as part of a mission which has also become rather iconic.

This ports it over to the third game for a specific mission which required formal wear.

This mod isn't essential at all, I just like the 2nd game's dress a lot

7: Casual Underwear for Femshep

For reasons I'm sure will forever remain a mystery to us 🙄 Shepard's default underwear in the game is like.... lacey and frilly and shit?

That's fine if you like that sort of thing but it really clashes with her personality as well as like... it doesn't make a lot of sense? And in the modder's own words: "I discovered the butt window on femshep's underwear today which sent me into a spiraling modding frenzy (that and fuzzy memories of how awkward the ME3 cutscenes-)"

Anyway this mod replaces the horny game devs' underwear with something that's more in character for her.

(also low key Athletic underwear is a lot sexier imo)

8: Casual Hubs for LE1

The Team Mates wear their casual outfits while on the Normandy or on a non-threatening world like the Citadel. I like this one because I always felt it must be uncomfortable for them, especially when Shepard is allowed to wear her casual outfits on the ship.

There is also this mod for LE2

The casual outfits for some squadmates in the 2nd game are optional, such as Jack wearing a prison uniform on the ship which I personally would not put her in because she's too chaotic to keep that sort of thing on.

The woman was gonna be walking around topless for the 2nd game until EA told Bioware "no" ffs.

9: Cerberus Ladies Wear Cerberus

Bioware never patched the 2nd game so that the Cerberus women actually wear Cerberus uniforms. This fixes that.

10: LE3 Opening Remaster

in the modder's words:

"LE3 Opening Remaster aims to improve the opening cinematic of Mass Effect 3, using remastered footage from an early ME3 Xbox 360 demo, as well as diversifies the opening text scroll if the Arrival DLC was completed."

11: Apartment Additions

In the 2nd game you could invite Shepard's SO to her cabin to hang out. Someone made a similar mod for the 3rd game 👀

12: LE3 Prologue Outfit Customization

The third game's prologue is weird if you have a specific casual outfit you like to put Shepard in (it's the hoodie... we all know it's the hoodie) and she doesn't wear it.

This mod let's you decide which outfit she should be wearing in the opening to better match how you've been dressing her in the 2nd game.

13: Garrus with No Visor and New Outfits (LE2)

Gives Garrus some more outfits he can wear rather than just his green one and optionally removes his visor when he's wearing his casuals (or always if you just dislike the visor).

The visor is lore important so I keep it on him most of the time... but I have it removed for when he's wearing his casuals because it's just kind of awkward for him to have it when he and Shepard start sleeping together.

Also he just looks better in blue than green ¯\_(ツ)_/¯

Mods I couldn't install because I had already installed textures :(

LE1 and LE3 Diversification mods.

"A project designed to diversify LE1 through increased population count, better species' population balancing, outfit/appearance diversification and overall breathing more life into the world."

This includes adding female turian NPCs to the first game (they were only given a model in the 3rd game because something something video games) As well as giving the Elcor their walking animation.

The Diversification project is busy being worked on for the 2nd game as well but for now is only applicable to Omega.

I'm only linking to the first game's mod but you can find the third game's from the same creator.

Please note; Diversification mod and Variety are mod are TWO DIFFERENT MODS and may cause clashes if you install both.

I want this mod so bad..... I might risk breaking my game just to add it I swear sldjfsdklfjksd

And that's everything I use!

Before anyone asks, I don't have the "ALOT of textures" mod installed despite it being really good for no other reason than it replaces the signs into english text and that just bothers me for some reason. Especially since the most common spoken language by all species is "Trade". So having signs in english just doesn't make sense to me.

Shepard is an Alliance marine. She would know how to read Trade.

There is also a mod to improve lighting to an insane degree but I haven't messed with it because it requires a seperate program to introduce modern lighting engines to older games and I am too intimidated by it to try it.

Anyway I hope this helps!

#Mass Effect #Mass Effect mods #Mass Effect textures #Nexus mods #Lore friendly #long post

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