Collages reflecting my ideas about fashion in Thedas (part 1).
The following references were used:
Ferelden: Fashion of Tudor England
Orlais: French and Venetian fashion
Tevinter: Byzantine and Ottoman costumes
Antiva: Italian Renaissance
Nevarra: Art Nouveau Fashion
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This beautiful commission I got from @mooreaux of my Dragon Age Oc Sancha Fonte! She is a Courtesan/Opera singer from Antiva that has a nice romance with Warden Alistair.
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Collages reflecting my ideas about fashion in Thedas (part 2).
Thanks for all the feedback you gave me on part 1! It really means a lot to me!
The following references were used:
Rivain: Pakistan and Indian fashion, Middle Eastern costumes in general
Avvar: Scandinavian costumes
Chasind: Costumes of the indigenous peoples of Siberia, costumes of Native Americans
Par Vollen: South Asian and Greek Fashion
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Honestly something that really affected my view of Varric (and again, I say this with great love for the character) was playing my Terrible Hawke, Emilia, who ends the game an absolute anti-mage fanatic who believes that magic is a curse and it was a blessing that the Maker called Bethany back to His side before she could fall to demons. She is a Hawke who is mainly diplomatic, well-spoken, respected, and absolutely unhinged in her views on magic. She is the Viscount of Kirkwall, and by the time she comes to the Inquisition she's also taken Chantry vows and become an actual templar (after having practiced the discipline off the books for years). She singlehanded kept Kirkwall under Chantry control after Meredith's death. She slaughtered every mage to a one, even the ones who surrendered.
She's Varric's best friend. And he's just as starry-eyed about her in Inquisition as he is about any other Hawke. I love what a deeply unsettling side of Varric that is to see.
She's the best. She's a hero. She saved his city.
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I think a lot about the fact that Leliana and Sera were young orphan girls from working class families who were adopted by human noblewomen... how Leliana took to that life like a fish to water and Sera rejected it wholesale: the material excess when others have nothing, having pride in something you didn't earn but were lucky enough to be born into. But Sera being an elf meant her life with Emmald was never going to be the same as Leliana's with Cecilie. The music and etiquette lessons that carried Leliana are harsh reminders of a life that didn't make room for someone like Sera.
They're both religious but their faith leads them to the same conclusion: no one should be excluded based on who they are and no one is without worth. They're rogues who love pranks and teasing their friends, they love ✨️ WOMEN ✨️ and are vocal about it, they're willing to sacrifice themselves and gut their enemies if it means protecting their people. They're steadfast friends and devoted lovers. Leliana learned her archery skills from Marjolaine - a nobleman's sport, a game to mirror The Game, 'I made you, Leliana. I can destroy you just as easily' - while Sera learned by the sweat of her brow, practicing until the arrow hit its mark more often than not and her arms no longer shook. There are no tutors in back alleys.
Leliana forswore her old ways for the ascetic life of a Chantry sister (before taking up arms to defeat the Blight); Sera inherited Emmald's fortune and gave it all away to orphaned children despite herself being hungry and homeless, because Sera is kind and because the knowledge of where that money came from was more painful than the joy of spending it.
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the thing with Solas is that he's proud, and wise, and clever, and cunning, and regretful, and guilty, and honest when it'd be so much easier to lie, but while canon tells (and shows) us all of that, it doesn't tell us that the other deep-seated emotion that drives him is shame.
shame about what he did, shame about what he's going to do; shame about what he was, shame about what he is; shame about killing his friend; shame about viewing the people of the current Age as shadows; shame about not knowing better; shame about not wanting to know better; shame about a befriended/romanced Inquisitor, shame about the friends he made; shame about hiding in plain sight, shame about not telling the truth; shame about making the same mistake twice, knowing how it'll turn out; shame about his outbursts, shame about not being good enough; shame about feeling attached to the current Thedas, shame about not feeling attached enough to stop; shame about not having anything to be proud of anymore.
I was recently struggling with a scene that didn't go the way I thought it would, until I realized that neither pride nor guilt nor regret nor wariness was the the real motivation; they were just the result, the display, the cover: the real motivation was the shame.
and then everything kind of clicked into place, precisely because pride is such a focal point of Solas' character - if shame is a deep-seated emotion, it contradicts his pride, his wisdom, his intellect; if shame is a deep-seated emotion, it fuels his regret, his guilt, his determination; if shame is a deep-seated emotion, it's the one thing he's actually managed to conceal. (then again, I wonder if he's even aware that what he's feeling is shame.)
and, as I kept thinking about it, it kept making sense: to be ashamed is a grave sentence for someone like Solas, who's entire character revolves around his pride and his wisdom and his regret. he regrets enough of his mistakes to be disappointed, unsatisfied with himself, to be uncomfortable with what he's done; he's wise enough to know that he has no logical reason to feel ashamed for half of these things and yet even more reasons to feel ashamed for the other half; he's proud enough to loathe admitting to this shame. he gets wary if you poke at him, defensive if you manage to get to close to this sore spot, upset if you keep at it. his pride won't allow him to admit to his shame, and his wisdom won't allow him to not admit to it, and his shame won't allow him to speak about it, and that keeps him stuck in this vicious cycle.
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