The sequel to Dragon Age: Inquisition faces an identity crisis in an action game that shows little interest in its past. While I have not reached the 100-hour mark myself, the sentiment that no character mentions the term “Veilguard” seems accurate. Within the world of Thedas, characters like Rook, Varric, and Harding are oblivious to the term plastered across marketing materials.
It is as if Tony Stark and Steve Rogers had no idea they were called Avengers. The only name the characters are aware of is Dread Wolf, the mythical moniker of former companion Solas, which was the original subtitle for this fourth entry in BioWare’s fantasy series. Many aspects of the game suggest it is a soft reset or spin-off from the main Dragon Age series.
Set in the northern Tevinter region, it leaves behind the saga’s original home of Ferelden, along with its characters and politics. Dragon Age has always introduced new stories with each game, unlike Mass Effect, which follows a persistent protagonist. The setting shift aligns with Dragon Age’s history, but it is also the series’ first direct sequel, continuing the story from Inquisition.
So much of the game focuses on Solas. The opening scenes show him performing a dangerous ritual, and numerous quests explore his history and ties to dark deities. Despite everyone discussing the Dread Wolf, the game’s title does not reflect this.
Instead, Solas is reduced to a fantasy Hannibal Lecter, offering advice in dreams, while other dark elven gods take center stage, making the game more approachable for newcomers. Despite trying to be a fresh start, the game struggles with its dedication to Solas.
Identity crisis in Veilguard sequel
Solas’ story and the world-altering choices from previous games do not carry over. Players cannot import or recreate their save games and world state, affecting the continuity. Creative director John Epler explained that moving to Northern Thedas provides a clean slate, with fewer previous decisions impacting the current events.
However, this shift means the world players shaped in previous games does not reflect in the new installment. The division between old and new is further highlighted by the different tone of the game. Its grand Necropolis and floating Minrathous fortress contrast sharply with the earthier lands of Inquisition and the darker regions where the saga began.
The new title feels like a new world that awkwardly continues Solas’ story. BioWare could have opted for a complete fresh start, akin to Mass Effect: Andromeda, with entirely new characters and settings. Instead, the game grapples with balancing established storylines with new beginnings.
The lack of in-depth dialogue options further weakens the experience. Initial conversations with party members lack the multi-tier dialogue trees needed to form bonds and shape relationships. Varric, one of Dragon Age’s most beloved characters, is sidelined, resulting in minimal engagement with him.
New characters also lack the depth needed for players to fully connect with them. In conclusion, the latest Dragon Age aims to be both a continuation and a fresh start but struggles to reconcile these conflicting goals. It attempts to move forward while still tethered to its past, leading to an experience that may leave fans desiring a clearer direction.
